The River Waveney

This waterway forms the boundary between the counties of Norfolk and Suffolk for most of its length. Before the county boundary changes of 1974, it formed the boundary along its whole length, but in that year Gorleston and a few other North Suffolk parishes on the Suffolk side of the river were transferred to Norfolk. The Waveney flows into Breydon Water at Burgh Castle and there the river ends; the villages of Belton, Fritton and Blundeston were once in Suffolk and now are in Norfolk. The river Waveney flows past these villages and this is where it ceases to be the county boundary. Like the conurbation of Yarmouth and Gorleston, Thetford is another town that straddles the river, but in that case, it is the Little Ouse so we will not be considering that here.

The river Waveney rises in the Redgrave Marshes, near South Lopham in Norfolk. This is also where the source of the Little Ouse is and the two rivers rise only a matter of metres away from each other. When the glaciers of the last ice age melted a lake formed in this part of East Anglia and the Redgrave Marshes are what remains of this lake.

Waveney (1958)
The river Waveney at Beccles on the Norfolk border. 1958. Photo: Joe Mason

The river passes the towns of Diss and Harleston, both in Norfolk, before reaching Bungay and Beccles in Suffolk. In the 17th century Geldeston Lock was built between these two towns and keels (later wherries) were then able to take their commercial loads upstream to Bungay. The town flourished with the lock providing access via the river Waveney to the sea. This was supplemented by coming of the railway in 1860 and this took much of the traffic from the river. Geldeston lock closed in 1934 and since then the head of navigation has been at Geldeston Locks Inn. This remote pub gets much of its trade from its proximity to the river Waveney and its motor cruisers. Beccles has a large marina and it is the major inland port on the river Waveney. The town of Lowestoft can be accessed from the river but this requires passage through Oulton Broad.

From Breydon Water you can pass up the river Yare, but another watercourse between the two rivers is the New Cut which was constructed in 1832. Being a canal through marshland it is very straight and so quite dull but there is swing bridge where the railway crosses the New Cut at Haddiscoe. It is near where it joins the river Waveney. This was intended to be a commercial venture, allowing shipping to avoid Yarmouth where the harbour authorities imposed heavy dues. Mutford Lock was built to allow passage from Oulton Broad to Lake Lothing. The New Cut cost over £150,000 to dig. As soon as it was opened Yarmouth reduced its charges and shipping from Norwich took the more direct route to the sea. The New Cut was never a financial success and after it was damaged by the 1953 Flood it was proposed to abandon it. Luckily this did not happen. (My daughter works for the Environment Agency in Flood Control for Norfolk and it is proposed that she is given responsibility for the river Waveney. She is quite enthusiastic about the prospect – as I would be too!) The New Cut is now used far more by holidaymakers than it ever was by commercial shipping.

There is an interesting structure across the river at South Elmham St Mary between Harleston and Bungay. Homersfield Bridge was built of wrought iron, cast iron and concrete in 1869. This makes it one of the oldest concrete bridges in the world. The road bridge was in use for 101 years. It is no longer used by road traffic being replaced by a new bridge in 1970. It was restored by the Norfolk Historic Building Trust in 1990.

Source:
https://joemasonspage.wordpress.com/2018/11/19/by-the-riverside-five/

ATTRIBUTATION: Both text and photo is attributed to joemasonspage. Norfolk Tales & Myths does not claim credit for either.

John Craske: An Artist Saved By The Sea.

John Craske was a fisherman from a family who had been fishermen for as long as anyone could remember. The sea was in his blood, he felt at home there, both when it was calm and breathing like a great beast resting, and also when it was wild and holding his life by a thread. But Craske was never a well man, and so he had to learn how to go to sea in his mind so he could paint and stitch pictures of maritime elements that mattered to him and that he understood.

Craske (Portrait)
Portrait of John Craske as a young man by Trevor Craske. Photograph: Trevor Craske.

John Craske was born in the town of Sheringham on the North Norfolk coast on 6th July 1881 where he joined a North Norfolk family with a long tradition of being associated with sea. John was the Grandson of Nathaniel and Elizabeth ‘Granny’ Craske, a staunch salvationist who lived to be 100 years of age and during her time she produced 12 children. Her eleventh child, Edward married Hannah Sare Dennis from North Walsham, Norfolk, in 1875. It was these two who were to be John Craske’s parents.

But times were indeed hard for fishing in and around Norfolk towards the latter part of the 19th century and presumably prospects were better further north; that was the direction taken by Edward and Hannah in 1876 when they moved to Grimsby. Their first son, Edward was born there soon after their arrival, followed by Robert Nathaniel in 1879. A further two years then passed before the family decided to return to Norfolk to live at Lower Sheringham. It was here where John Craske made his entrance, followed by a sister in 1883. Later the family moved yet again to Grimsby. where two more sons were born, between 1889 and 1896.

Craske (Fishing out of Grimsby)
Fishing out of Grimsby. (Photo: copyright owner unknown – see Notice below.) 

John Craske eventually put his schooling behind him when left his Board School in Grimsby to follow family tradition; he went to sea to become a deep sea fisherman. So commenced a period in his life which was to make a lasting impression on him; it was, in fact, to become almost a passion which was to dominate his artistic talent and output of paintings and embroideries in later years. But for the moment he fished alonside his two older brothers until their parents decided, in 1900, to return, with most of their children, to Sheringham. But times were still tough; tough enough to eventually convince John’s family to distance themselves from the sea altogether and move inland to East Dereham where, in 1905, his father opened a fishmonger’s shop. Father Edward ran the shop with his two sons, John and Edward, buying a daily supply of fresh fish from Lowestoft.

The Craske family tolled with its fishmongering business whilst the local fishing industry continued in its decline. Inperceptably, tourists began to take over, gradually moving in to enjoy the air, the newly built promenades and the more frequent train connections within Norfolk and to and from London. Tourists, by definition, did not have to work, instead they delighted in taking photographs of the fishermen who, to most outsiders, looked like becalmed wild tribesmen as they lolled against their boats, dressed with their high Cossack hats, tight Guernsey sweaters, heavy thigh boots with metal cleats and each with a distant gaze in their eyes that hoped for a better catch next time. None, it would seem, had enough money in their pockets to live on.

Then there was the Craske family’s strict Christian upbringing which saw them attending services at Dereham’s Salvation Army Citadel where in summer months John, in particular, took part in outdoor services held in the Market Place. On one particular occasion, a certain Miss Laura Augusta Eke came along and her attention was drawn to a tall young man standing on a soap box in the centre of the ring of Bandsmen and worshipers. He was dressed in a fisherman’s blue jersey, his black hair ruffled by a stiff summer breeze. Laura watched and listened as a noticeably nervous John Craske began to sing ‘Since Christ my soul from sin set free…………….’

Craske (Dereham Primitive)
Dereham Primitive Methodist Church as it has appeared in recent years. Photo: Keith Guyler 1987 

John and Laura married on 22 July 1908, at the Primitive Methodist Chapel in Dereham, after which they went to live at Swanton Morley where John started a fish hawking round, serving the surrounding villages. He obtained two ponies which carried pannier baskets full of fish which were slung over their backs. It was a precarious existence which forced John to lead a very vigorius life, often working sixteen or seventeen hours a day. It was extremely rare for him to even take a half day off. On top of this, Swanton Morley lacked a railway station so, in order to make things easier for him to obtain daily supplies of fish from Lowestoft, he and Laura moved to North Elmham in 1909. From there, John continued to collect fish for his father’s shop and carried out all their fish curing and smoking. Then, in 1914, John and Laura moved back to Dereham and continued to carry out fish hawking business. Shortly afterwards, the First World War broke out.

John Craske was never strong and it is not certain whether, in 1916, he volunteered or was called up when conscription began. There was certainly doubts about his health for on two occasions when he attended medicals, he was classified as being C2 during his first visit then C3 subsequently. John gained exemption, however, some local people was said to have appealed to the authorities against exemptions and John received his call-up papers. It was also said at the time that the authorities were so desperate for men that they were taking on practically anyone. John formally joined the Army on 9 March 1917. That was fine as far as it went but the training process was to become John’s nemesis, from the point when reference was made to his “relapse”.

Craske (In Hospital)
John Craske (fifth from left) sitting next to the uniformed officer in Ward 22 of Davidson Road War Hospital, Croydon, on 20th April 1917. Photo: Bishop Bonner’s Cottage Museum Dereham Antiquarian Society.

On the 7 April, Laura received news from Davidson Road War Hospital in Croydon that John has relapsed whilst recoving from influenza; three days later she received the news that he had an ‘abscess on the brain’ which left him prone to attacks of nervous collapse from which he would not recover. He no longer knew his own name or who he was, just that he missed his family, his brothers and he just wanted to go home. He could not even remember his age. Initially, John was diagnosed as being an imbecile and admitted to seven different hospitals before finally being transferred, in August, to Thorpe Mental Asylum near Norwich. Laura visited him on alternate days; then on 31 October 1918  he was discharged into her care; his health verdict being that he was ‘subject to harmless mental stupours’Laura: a shy, strong-bodied woman with a devout belief that God would provide small miracles when needed. It was Laura, who came to collect him, having signed a declaration form saying that she would care for him – and care for him is what she did ever after.

Craske (Fishing Boat 'Gannet')
Fishing Boat ‘Gannet’ Photo: Sheringham Museum

It was Laura who first suggested that her restless and unhappy husband try to soothe himself by making a picture. It was said that she took the calico her mother was saving for the Christmas pudding, tacked it onto a frame and he sketched a boat. “We found some wools,” she wrote, “and I showed John the way to fill it in.” He fell into stupors for months, or even years at a time, awaking to ask: “Have I been away again?” Then he “got back to stitches”. Craske would regularly slip in and out of “a stuporous state” but still managed to eat and drink. Theories were inevitably expounded as to what was wrong with him, from diabetes to pituitary trouble; however, the most popular opinion was that he had depression with a “psychic neurotic basis”.

Then in 1920, John’s father died. This affected John so badly that he relapsed through shock and became confined to a wheelchair for a while; certainly until his GP, Dr Duigan, suggested a spell of recuperation by the sea, because “only the sea can save him”. Apparently, this was endorsed by an endocrinologist who, on hearing about this recommendation, said “Wise man, – the movement of the sea acts as a very good calmative for mental instability.” John and Laura rented a cottage, ‘The Pightle’ near the Blakeney estuary and were lent a boat, for which Craske, duely motivated, soon cut the sails for Laura to stitch them. Whenever the weather was kind the two would set off on the tide’s ebb and return with its flow. It would be three hours each way, drifting within the safe confines of an estuary rich with terns diving for sand eels, abundant dab being caught on hooks and where mud banks surrounded marsh wort, sea poppy and sea campion. Everything and everyone enjoying big skies and quiet days.

Craske (A Detail from Embroidery NUA)
A detail from an embroidery of John Craske’s ‘Rescue from Breeches Buoy’. Photo: Andi Sapey

Craske gradually improved and more aware of his surroundings; he had become aware that the cottage was unsuitable as the living room floor was below street level and all he could see were the legs of people walking by. They returned to Dereham after 5 months but it was the moment when John said to Laura that he would like to paint a picture on the lid of an old bait box. It turned out to be a red-sailed lugger leaning precipitously to one side in a storm where the wind appeared to be scudding through the crests of the waves and creating an imaginary roar. From the bait box he went on to paint on anything he could find: cardboard, brown wrapping paper, mantelpieces and doors, jugs and teacups. Even when he and Laura had another spell by the sea, this time in the village of Hemsby further down the east coast, he still went on painting.

Craske (Norfolk Coast with Boats)
Embroidery by John Craske depicting the Norfolk coast Photo: Sylvia Townsend Warner Collection

It was whilst the two were in Hemsby that Craske began to also make toy boats to sell to passersby, and that was how the poet Valentine Ackland first came across him and persuaded him to sell her one of his works which she showed to her lover, Dorothy Warren, who had a new gallery in Maddox Street in London. Valentine was keen to add Craske to her list of artists; so much so that she returned to Norfolk to find him. By then, Craske had left Hemsby and returned to Dereham. She eventually tracked him down there and found him in bed in a coma and close to death. Laura thought this tall lady in trousers had come to ask for her money back, but when she was told that more of the same was wanted, Laura brought out all of her husband’s paintings and, in return for £20 in £5 notes, gave them to Ackland who took a good few away with her. A few months later she and Warren returned to Dereham to find Craske much improved. He had produced his first embroideries and was more business-like than his wife, selling pieces according to the time he had spent on them.

Craske (All at Sea Painting-Sylvia-Townsend)
‘All at sea’ … A John Craske painting from the Sylvia Townsend Warner Collection

He had taken up embroidery because he could stitch while lying down. He used deck chair frames as stretchers for the cloth and old gramophone needles to hammer it in place. Craske was very meticulous about getting the precise tilt of a boat according to the pull of a current or the direction of the wind. It was said that when a photocopy of an embroidery, called Rescue from Breeches Buoy, was shown to a Cromer fisherman, he looked at it and said: “See, she’s foundered and she’s going to get smashed. That main line there is to get the people off …….. they’ll be alright soon enough.”

The first exhibition of John Craske’s work opened at the Warren Gallery in August 1929 where it was a success: “the ship pictures by Mr. John Craske are definitely – if crudely – works of art,” said the Times. The Daily Mail declared: “the work, though childishly naive, has extraordinary charm and decorative effectiveness”, adding, “The hero of the hour himself, a humble and God-fearing man, was not present as he is seriously ill.”

Craske (Dereham Times 1934)
John Craske, as pictured in the Dereham Times of July 1934. Photo: EDP

A second exhibition followed but this did not go so well. The principal reason was that Ackland had fallen out with Warren having started a love affair with the writer Sylvia Townsend Warner. In a strange and curious way, Craske became part of their romance when Townsend Warner was taken to meet him. She was immediately impressed by his speechlessness, his simple poverty and by what she saw as the integrity of his vision. Both Ackland and Warner became his patrons and bought his work whenever they could, persuading their friends to do the same; with the Norfolk preservationist Billa Harrod acquiring a number of pieces. For the two women, together with Ackland’s wealthy American lover Elizabeth Wade White who appeared on the scene a few years later, Craske encapsulated not only the beauty of the north Norfolk coast and the North Sea, but also of happier times. The three had numerous examples of Craske’s work on the walls of their houses, although the embroideries yellowed by cigarette smoke and bleached by the sun. But it is mostly thanks to Ackland and Warner that Craske’s work has survived, especially when in the early 1970s, Townsend Warner presented her collection, along with whatever biographical material she had, to Peter Pears and the Snape Maltings, believing that:

“Craske is an artist whose work should be on view in east Anglia ……. enhanced in the sharpened light of a seaboard sky”.

Craske (Water Colour-Sylvia-Townsend)
John Craske’s Watercolour of the tiny boat with big sea from the Sylvia Townsend Warner Collection.

Craske continued being mostly silent and often ill, making pictures whenever he could. He must have produced hundreds of images, but most have been casually mislaid, and although his work did receive a certain amount of praise when it was shown in the US in the early 1940s, his reputation was never established beyond a small circle of admirers. When the Norwich Castle Museum was approached in 1947, with a request to borrow a large embroidery which they had in storage, the curator agreed on condition that her name was not mentioned, “because, quite frankly, I do not think work of this type comes under the heading of art”.

Craske explained that some of his ideas came from memory and some from imagination, which was often inspired when friends told him of shipwrecks or lucky escapes at sea. He spent an increasing amount of time listening to the wireless and in 1940, he heard how the English soldiers had been pushed back to the Normandy coast. The unfolding account of the evacuation of Dunkirk inspired his most ambitious embroidery: a sort of modern-day Bayeux tapestry, 13 feet long, which told the story of men in boats being saved by the sea. He worked on it until his death, leaving a raggedy patch of unstitched sky that still needed to be filled in.

In his lifetime Craske, a self-taught artist, was briefly welcomed by the arts world, championed by writers such as Sylvia Townsend Warner and her friends who bought and sold his works, and exhibited in London and in the US. Craske died on 26 August 1943 but within a few years of his death he was almost completely forgotten. Many of his works were destroyed, thrown away, burned, faded in sunlight on parlour walls, or left decaying in damp museum stores. Craske’s widow, Laura, gave the Dunkirk embroidery, which she regarded as his masterpiece, despite the poignant patch of bare unfinished canvas in the sky, to the Norwich Castle Museum. Craske would have been proud to know his work was in the museum, she once said – but it has never been exhibited there!

Arguably, the largest exhibition ever of John Craske’s works, rescued from museum stores or borrowed from private collectors, was as recent as 2015 in Norwich; it was displayed at the Norwich University of the Arts Gallery, where he is regarded not as a forgotten eccentric but as a neglected genius. It was Prof Neil Powell, curator of the exhibition along with Craske’s biographer Julia Blackburn (see below), who quoted at the time:

“I don’t believe Craske should be viewed either as an outsider artist, or as naïve. In any other country he would be properly viewed as a serious artist. He had a highly sophisticated sense of colour and form, and a truly extraordinary ability to convey the three-dimensional world in the medium of needlework.” Julia Blackburn added: “He was poor, he was sick, and he was a man who did embroidery – of course he was forgotten.”

Craske (Dunkirk Embroidery)
Detail from John Craske’s Dunkirk embroidery shown at Norwich University of the Arts (NUA) Gallery in 2015. Photograph: NUA. 

It was purely by chance when Prof. Powell and Julia Blackburn learned that they had been separately on the trail of Craske; Powell had been hunting for surviving works, including some given by Townsend Warner to the Aldeburgh Music centre, whilst Julia Blackburn had been gathering scraps of biographical information including a hand-coloured studio photograph of him as a young fisherman, self-consciously holding what she thought was a photographer’s prop, a length of fake paper rope. “You get more old photographs of fishermen than any other workers – they had them done to leave some record in case they drowned,” she once said.

It was the hope that the NUA Gallery exhibition would revive Craske’s reputation and uncover more of his work. Previously unknown postcard-sized paintings still cherished by his doctor’s family turned up weeks before that exhibition. Prof. Powell and Julia Blackburn also found that many of the owners expressed surprised when the experts thought them worth exhibiting.

Craske (Julia Blackburn - biographer)
Julia Blackburn, photo by her partner, the sculptor Herman Makkink (2013)

Julia Blackburn also recalled that during the preparation for her biography on Craske, she visited Sheringham and looked up old people who might have remembered John Craske. In her own words:

“Eliza, who had had 12 children and at the age of 92 could still dance, thought John was her uncle “Ninny” Craske, but she wasn’t sure. She told me of “Little Dick” Craske, her grandfather, who learned to tap dance on a wooden chest when he was sent to Icelandic waters at the age of nine, and who would dance for the ladies and their clients in the ‘Two Lifeboats’ whorehouse. “Where’s my little Dick?” asked his mother when she came looking for him, and that was how he got his name. The only Craske that Old Bennet knew was Jack, drowned in 1931; they saved his friend Sparrow by grabbing hold of his hair. Old Bennet had lobster pots instead of flowers in his front garden and he giggled like a schoolboy when I asked him how to catch whelks: “They’ll eat anything, whelks … they travel about the sea looking for dead meat …… a boat turned over and three men drowned, they was full o’ whelks.”

Julia Blackburn’s book Threads: The Delicate Life of John Craske was published by Jonathan Cape and is still available.

THE END

Sources:
https://www.theguardian.com/artanddesign/2015/mar/13/life-on-rocks-john-craske-saved-by-sea
https://www.theguardian.com/artanddesign/2015/may/11/stitch-in-time-john-craske-exhibition-revives-work-of-artist-fisherman
http://www.derehamhistory.com/news.html
https://artuk.org/discover/artists/craske-john-18811943
http://www.edp24.co.uk/features/the-amazing-norfolk-artwork-inspired-by-the-miracle-of-dunkirk-1-5103495
Featured (Banner) Image: John Craske’s embroidery of The Evacuation of Dunkirk shown at the NUA gallery, Norwich.

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‘Bootiful’ Bernard!

Eight years ago, on the 25 November 2010 to be exact, Bernard Matthews of Great Witchingham Hall and turkey fame died. That November date is otherwise of no significance here, but in the USA it denotes ‘Thanksgiving Day’ – which is often dubbed “Turkey Day”!

In 2010, Bernard Matthews had reached 80 years of age and his death ended a remarkable business career that started just after the World War II when he purchased a clutch of eggs and an incubator. He went on to make his fortune by cultivating the British taste for turkeys, whether they be plucked and oven-ready, tumbled, extruded, lubricated, breaded or shaped. All these choices were packaged into 120 assorted products, all produced within a multinational business that, by 2010, produced seven million turkeys a year, employed more than 2,000 people and had an annual turnover of more than £330m.

Bernard Matthews (Photo REX)
Bernard Matthews at Great Witchingham Hall, his home in Norfolk. Photo by Glenn Copus/ Evening Standard / Rex Features (1084174a )

Bernard Trevor Matthews was born at Brooke, near Norwich, on 24 January 1930, the youngest of four children of a motor mechanic. He was a bright child and won a scholarship to Norwich Grammar School, but his early life was not an easy one. His father was regularly out of work and his mother worked as a cleaner to supplement the small amount of money that her husband did manage to bring home. When Bernard was 11, he and his sister had to move in with an aunt after their parents suddenly disappeared. They eventually returned, but divorced when Bernard was 16. After leaving school and then completing two years national service as an RAF clerk, Matthews found clerical work at a livestock auctioneers at 35 shillings a week. It was barely enough to live on, and he began casting around for a moneymaking hobby to supplement his income.

That lucrative hobby began, or so he thought, on the 8th May 1950 when he bid at auction for 20 turkey eggs and a paraffin oil incubator. They were knocked down to him for £2.50. Twelve of the eggs hatched but, as he had not built into his costs the money needed to feed those birds, the venture netted him far less than he had hoped; needless to say, he sold the chicks – to a neighbouring farmer for the equivalent of £9 today. Then, after resigning his position at the auction house in 1951 he became an insurance clerk with Commercial Union where the salary was appreciably better. He now had more money to spare and with that money he bought a second batch of turkeys and sold them on as day-old poults – baby turkeys. This may have been a touch fortutitous at the time since a gale force wind blew the turkey shelter away and the rest escaped. But, Bernard being Bernard, refused to give in and tried again. By 1952 he was selling over 3,000 turkeys a year and within 12 months thereafter he left his insurance role to become a full-time turkey farmer on a grand scale.

Last Duel ( Witchingham Hall)1
Great Witchingham Hall, where Bernard Matthew’s business was first hatched! Photo: Courtesy of Bernard Matthews.

In 1955, backed by a £2,500 loan, he bought Great Witchingham Hall and 36 acres for £3000. The Hall was a dilapidated 80-roomed Elizabethan manor outside Norwich, near Lenwade, which had once been the home of Oliver Le Neve and John Norris, man of letters. He and his wife Joyce moved in, despite its broken walls and leaky ceilings and soon nicknamed it ‘Turkey Hall’. Several hundred turkeys also joined the young couple and apart from the bedroom in which he and his wife Joyce were to live, he put most of the turkeys in the grand reception rooms, turned the bedrooms into massive incubators and  transformed the huge kitchen into a makeshift slaughterhouse. Matthews said at the time:

“People said I was crazy. The place was almost derelict, but it was the cheapest turkey house I could find. So it became the only stately home in England occupied by turkeys.”

He reckoned that, at 5p a square foot, it was considerably cheaper than the 30p a square foot he would have had to invest to build his own turkey sheds.

Bernard Matthews (Joyce with turkeys)
Joyce Matthews coaxing some turkeys down the 16th century staircase of Great Witchingham Hall. Photo: The Sun Newspaper 2016

When Matthews began his business in the 1950s, turkey was a luxury item, seen exclusively as a Christmas treat for the better-off. The average turkey, a huge beast, cost two weeks’ average wages. By the 1970s, Bernard Matthews had turned the turkey into the cheapest meat product on the market and available all-year-round. He then went on to become a household name in the 1980’s when he, all be it reluctantly, agreed to front an advertising campaign to promote his products. Standing in a Norfolk jacket and plus fours in front of Great Witchingham Hall, he extolled the virtues of his turkeys in a broad Norfolk accent: “Bootiful, really bootiful”. Those three words increased sales a massive 17-fold, breaking all previous records for an advertising campaign and propelling Matthews into the rank of a multimillionaire.

Bernard Matthews (factory)
A lorry bearing the famous Matthews’ livery and slogan parked outside his processing plant in Norfolk. Photo: Daily Mail.

A powerfully built man who stood 6ft 4in tall, Matthews came across on television as a ruddy-cheeked, chubby, jovial Norfolk poulterer. But the bluff image was deceptive. In fact, Matthews was a rather solitary, reticent man who took himself and his turkeys extremely seriously. He was defensive with journalists and disliked personal publicity. His direct, brusque style did not endear him to some of the more traditional members of Norfolk society and his intensive factory farming techniques made him the bête noire of environmentalists, animal rights campaigners and foodies. Yet there were many people in Norfolk who admired him, not least for the jobs he had brought to the County and his generosity to local causes. And even his rivals had to admit that he was no fool. When supermarkets and rival manufacturers tried to duplicate his success with spin-off products in the early 1980s, they found both the products and the processes involved protected by impenetrable patents, an unusual thing in the food industry at that time. Matthews was always happiest when running his business and talking turkey. As chairman of his company, he would regularly spend two hours in the food laboratories, testing out new lines. Sometimes he would taste 30 products in one session: “You really have to like turkey to do this job,” he declared.

The new squire of Great Witchingham soon established himself as the leading player in the industry, which until then had been a small if profitable sideline for only a few farmers. After filling his house, Matthews moved out into the surrounding acres and, in 1958, bought the former United States Airforce airfield at Weston Longville, the first of six redundant airfields across Norfolk and Suffolk. It was a shrewd move. Aerodromes were secure and isolated, and their concrete runways ideally suited for turkey houses. He built the first big turkey slaughterhouse and went into large-scale production.

Bernard Matthews (turkeys)
Photo: Farmers Guardian

Matthews quickly realised that the normal-sized turkey was too large for most modern families – even at Christmas – so he began breeding smaller birds at weights of between five and seven pounds. That led to higher turnover and more efficient methods of producing them in quantity, which helped keep prices down. Matthews’s frozen turkeys took the oven-ready market by storm. Eventually his empire would run to 500 vast turkey houses, most of them in Norfolk, which, if laid end to end, would stretch for 40 miles. In 1964 he presented a 55lb turkey to the Soviet leader Nikita Khrushchev during a Moscow trade fair. Soon afterwards he began developing food production plants for the governments of communist countries such as Romania, Hungary, Yugoslavia, Poland and Bulgaria.

But his domestic market remained stubbornly seasonal, and by the mid-1970s was showing signs of stagnation. So he set about making turkey a year-round, non-luxury item by deboning it, chopping it up and repackaging it in smaller portions. In 1975 he developed a revolutionary new “co-extrusion” technique in which meat is taken off the bone and pumped into a long casing like a sausage. This enabled him to move into mass production of spin-off lines, but he did not build up a really big market for his turkey rolls and turkey roasts until the 1980 advertising campaign.

The effect of the campaign was to turn Matthews PLC – the company went public in 1971- from an agricultural business into an advanced food processor, and Matthews patented the extrusion technology, not just for turkeys but for all meat. He diversified into red meat, chicken, fish and pork products, moved into North America, New Zealand and Europe, and sought royalties through international deals for his technology. He even launched a range of vegetarian products, though this did not prove successful. By the 1990s, nine tenths of his earnings came from spin-off products. The festive season, by comparison, was something of a sideshow.

However, the brand once advertised as “bootiful” also came to embody everything that food campaigners believed was wrong with factory farming. On the quality front, Matthews’s turkey products featured in reports that claimed that water was added to increase weight. “Chicken breast” sold under the brand, for instance, consisted of 80% chicken, the other 20% being water and chemical additives. When the celebrity chef Jamie Oliver set about his mission to improve school meals, he identified the ubiquitous Bernard Matthews Turkey Twizzler – made with only 34% turkey meat – as an example of the lowest common legal denominator of poultry products, precisely the sort of food that children should not be fed. The product was withdrawn in 2005.

Bernard Matthews (Twizzlers)
The ubiquitous Bernard Matthews Turkey Twizzler. Photo: The Sun Newspaper.

The following year, two employees admitted ill-treating birds at a Bernard Matthews unit in Haveringland, Norfolk, by playing “baseball” with live turkeys. On 19 June 2007, the Daily Mail reported the incident and went on to state that:

“Poultry tycoon Bernard Matthews faces more criticism after animal rights supporters released a video showing one of his workers repeatedly kicking turkeys. The footage was secretly taken last week by an undercover investigator for an animal welfare charity who sneaked on to one of the multi-millionaire’s farms. The same investigator last year filmed two other Bernard Matthews staff appearing to play baseball with live turkeys on another farm.

The confidence of consumers with Bernard Matthews products was also shaken in February (of 2007) by an outbreak of bird flu at his biggest farm  in Holton near Halesworth., Suffolk. Production at the farm and its adjoining factory was halted as more than 160,000 birds were culled after the discovery of the virulent H5N1 strain of the disease. The latest video is another embarrassment to Matthews managers who had claimed they did not tolerate workers abusing poultry.

The new film shows a balding worker in overalls delivering eight separate kicks to turkeys in a shed on a farm at Wreningham near Wymondham, Norfolk. The incident was filmed prior to two different workers being shown loading live turkeys into crates which were delivered to the shed by a forklift. The video is said to have been filmed through an open door in the giant shed by an investigator who sneaked on to the farm at around 1.30 am last Thursday………”A spokesman for Bernard Matthews said he could not comment until he had seen the video, despite being shown still pictures of the alleged abuse.”

Their lawyer told the court that the men were influenced by “peer pressure” at the factory, but the company took out full-page newspaper advertisements reassuring shoppers that its employees were “conscientious people”.

Bernard Matthews (bird flu)2
The scene at the Bernard Matthews factory in Holton, near Halesworth. Photo: Getty Images.

Bird experts had long argued that intensive poultry operations were magnets for disease. They must have felt fully vindicated when the H5N1 strain of bird flu surfaced in the UK for the first time in 2007. This was at Bernard Matthew’s plant at Holton, Suffolk, which called into question the much-vaunted “bio-security” of such state-of-the-art units. Certainly, Matthew’s products appeared to regularly ruffle feathers, but the appeal of ‘instant’ bite sized pieces bland white meat, coated in a deep-fried breadcrumb crust continued to prove more potent with consumers.

Bernard Matthews (with turkey)
Matthews lived a lavish lifestyle on the back of his turkey empire. Photo: Express & Star.

Matthews’s no-frills factory farming techniques attracted the opprobrium of environmentalists and animal rights and health campaigners. He was twice prosecuted for polluting Norfolk rivers with effluent and once fined for failing to admit on a label that some of his products contained “mechanically recovered meat” (MRM). Though sensitive to criticism, he was always robust in defending himself and was to reject criticism of the conditions in his turkey houses. He said, probably more than once, that:

“Turkeys have a very low IQ. All they need is food and warmth. They don’t need to be taken to the cinema twice a week!”

Matthew’s Private Life:

Bernard Matthews once described his private life as ‘complicated’! All that needs to be said here is that he married his childhood sweetheart, Joyce, in 1952 and they adopted two girls, Kathleen and Victoria, and a boy, Jason. They separated in 1975 but remained married, despite having lived apart from her for 35 years. He then fell in love with Cornelia Elgershuizen, a Dutch aristocrat, and they lived together for eight years in his 80-room Norfolk country house, Great Witchingham Hall, where their son, Frederick, was born in 1981. However, that relationship ended when Matthews fell for U.S. model Natalie McCray, and the devastated Cornelia returned to Holland with their son. She died there in 2004. He also was reputed to have had a ‘long-term partner’, Odile Marteyn. If all this had been a play then the cast could well be publicised as follows:

Leading man: BERNARD MATTHEWS (January 24, 1930 – November 25, 2010)
Wife: JOYCE REID (married 1952. Lived apart from 1970s but never divorced)
Adopted daughter 1: KATHLEEN MATTHEWS
Adopted daughter 2: VICTORIA MATTHEWS
Adopted son: JASON MATTHEWS
Lovechild: GEORGE FREDERICK ELGERSHUIZEN
Mother of the lovechild: CORNELIA ELGERSHUIZEN
American lover: NATALIE McCRAY
French mistress: ODILE MARTEYN

Matthews did not flaunt his wealth. His two big concessions to multimillionaire status were a Rolls-Royce and a 158ft yacht, the ‘Bellissima’, which he eventually sold to “an Arab who wanted it more than I did”. In addition, he restored and furnished Great Witchingham Hall with antiques, and where he lived a careful, modest life, preferring to spend his evenings at home to going out and socialising.

On the plus side, along with the fortune he made, he did support a number of charities and had a positive effect on the local economy. In 2007 he was appointed CVO for services to the Duke of Edinburgh Award Scheme.

Bernard Matthews (CBE)
Bernard Matthews pictured at Buckingham Palace with his wife Joyce (left) and daughter Kathleen, after he received his CBE in 1992.

One of the very few people who appeared not to have heard of the brand name Bernard Matthews was the Queen who asked him, during the CBE ceremony, which branch of the poultry business he was in. Apparently, when he told her, she observed that “a lot of turkeys come from Norfolk” – to which he more than likely replied “Yes, Maam!”.

THE END

Sources:
https://www.telegraph.co.uk/news/obituaries/finance-obituaries/8162155/Bernard-Matthews.html
https://www.thesun.co.uk/archives/news/899161/the-tangled-lovelife-of-the-turkey-tycoon/
https://www.telegraph.co.uk/news/uknews/1541576/Bird-flu-its-here-to-stay.html
http://www.edp24.co.uk/news/poultry-industry-awaits-bird-flu-verdict-1-694473
https://www.dailymail.co.uk/news/article-462909/Bernard-Matthews-worker-caught-playing-football-turkeys.html
http://www.dailymail.co.uk/news/article-1381103/Bernard-Matthews-Dutch-lovechild-inherit-30m.html

COPYRIGHT NOTICE

 

An Odd Little Station!

There is a railway station in Norfolk that is more than a little odd. Its history is odd; its size and shape is odd and where it is located is odd. So, what makes this particularly station odd, over and above the established ritual that passengers are expected to go through when they alight there – and when they leave! We are talking here about the Berney Arms Station on the often windswept Halvegate Marshes.

Berney Arms Station
Berney Arms Station: The train will not stop unless someone on board has asked to be dropped off.

Why not start with the station’s platform, which is too short to accommodate the small two-coach train which stops on request on its way to and from Great Yarmouth (Vauxhall). Then there is the platform’s tiny wooden hut which, quite frankly should be labelled “Room for one person only”. Inside, there is a very informative map of the area which, with the aid of a pointer tells, you, “You are here”. Next to this very helpful statement someone once wrote: “In the middle of nowhere” – and that is just how you will feel if you ever get off at Berney Arms station. There is no road there, not even a track, but in a northerly direction you will see a path which is part of the Weaver’s Way which will take you, given time and stamina, to the north coast at Cromer. To the south there’s a grassy track which leads to the waterside.

Berney Arms Station2

Should you feel inclined to venture forth on the basis of the information so far imparted, be also prepared to attract a degree of attention from those on the train, a few of which would never dream of following when you alight. But, it’s a fair bet that they would think that you were off to go to the Berney Arms pub. This pub, by the way, is not beside the station but a good three quarters of a mile walk away! So, What’s the point?

Berney Arms Marshes (by Ian Dinmore)3
Halvergate Marshes – Nothingness! Photo by Ian Dinmore.

This is a very pertinent question, bearing in mind that there are plenty of decent pubs close by in Yarmouth – in the opposite direction of course. But this sort of question has been asked ever since the Berney Arms station was created in the mid 18th century. Then, and ever since the assumption has been that the station was built because the pub was there – simply not true! The Berney Arms station is there because the original landowner, Thomas Trench Berney, would not sell to the railway company unless a station was put there “in perpetuity”.

Berney Arms (cottages_1969)
Station Cottages
The station cottages were built around the same time as the railway in the 1840’s. One of the rooms was used as the Post Office, rail ticket office and waiting room. The shot was taken in March 1969 shortly before demolition.
(Taken from the book “Berney Arms: Past & Present” courtesy of the author, Sheila Hutchinson.)

So, a station was built, along with a row of cottages alongside, one of whose rooms served as the ticket office. But right from the very beginning of the station’s operation, very few people used it; so much so that within a decade from the station opening, the rail company announced that its trains would no longer stop there. Hey! – what about our agreement? protested Berney at the time; to which the railway company replied “Our promise was that the station would be there in perpetuity; we did not promise that our trains would stop there in perpetuity. There was, of course, much acrimony over this before it was finally ruled that one train in each direction should stop at that point on Mondays, Wednesdays and Saturdays. For this change, Berney was paid £250 as compensation.

Berney Arms (lamps_1953)
Lighting the Lamps
An atmospheric shot taken in 1953, showing station mistress Violet Mace lighting the oil lamp on the station platform.
(Taken from the book “Berney Arms: Past & Present” courtesy of the author, Sheila Hutchinson.)

From then and until the mid 1990s, the station seemed timeless, still retaining the old wooden name board from Great Eastern days, on top of which a lamp was mounted. Against the sign stood a short metal runged ladder allowing access to the lamp. The platform was lined with old sleepers which had seen better days and its surface was shingled and rough. From the beginning of the second millennium, the platform still looked the same but just about everything else went, replaced by the standard Anglia Railways metal name board.

The service of course runs daily, to and from Berney Arms station, with several trains a day and sometimes more on Sundays. The well established custom also continues, namely, that the train will stop at the Berney Arms Station but only if requested to do so. All the passenger has to do on the outward journey is warn the conductor in sufficient time. Returning home, however, requires a different procedure for the passenger, that of waving energetically to the driver of the oncoming train as soon as it comes into sight and approaches the station.

Berney Arms Windmill (by Ian Dinmore)
Berney Arms Windmill Photo by Ian Dinmore.

So, having stepped from the train on to the platform, what can you do to while away the three-hours at your disposal before you take the return train back to Norwich? There is, of course, little option other than to take a walk along the grass path that runs south of the railway – towards the waterside and the pub. It is the same path that takes you first to the Berney Arms windmill, which is sometimes open to the public. From there, you have two options; either walking eastwards, which follows the river towards Yarmouth or, walking in the opposite direction towards Halvegate. Either way, there will be boats chugging by and many water birds massed on the edge until you approach when, in domino fashion, they will dive into the river at the first sound of your feet. Butterflies seemingly will take no notice as they flit in and out the foliage and ground cover. Above there will ornithological specimens of various kinds coming and going. Beyond these meadows and the grazing cows you will not fail to notice the distant A47 highway traffic scudding along, symbolising the kind of world you probably had come here to get away from. As in almost a complete contrast, the walk west towards to Reedham is even better: little disturbance here, only passing boats and the occasional swoop of swans crash landing and then, ritually, adjusting their attire of wet feathers.

Berney Arms Pub2
Berney Arms Public House

Then, there is the Berney Arms pub, all brown, homely and cosy inside, ready to quench the thirst of a long walk – but watch the clock and time your return to the station. With whatever time you have left, enjoy the company of fellow walkers, and if you choose to sit outside you can watch the multifarious activities on the water. The boats ritually dislodge their holidaymakers, they and the crews in search of a pie and a pint or two. Then there are those people, regularly seen on a Broads holiday, who find it impossible to look anything other than habitual landlubbers but intent on establishing their credentials by shouting commands which incorporate such seafarer words as “ahoy”!

It will remain a safe bet that whilst drinking in the Berney Arms there will be someone who will say “I always wanted to come here”. Equally, if that person is then asked if they knew of any other station in England as odd as the one three-quarter’s of a mile back up that grassy path, the answer would be somewhat vague at best. So, what’s the point of the Berney Arms station? Well, for those who come across it, either by accident or intent, it deserves to survive ‘in perpetuity’, as a kind of therapy for stressed out urbanites who just wish to get away! But goodness knows what they would do if it rains.

THE END

Sources:

http://www.berneyarms.co.uk/html/berneyarms/railway/berney_railway1.htm
http://www.broadlandmemories.co.uk/blog/2015/09/the-wherrymans-way-berney-arms-to-reedham/

COPYRIGHT NOTICE

Romancing The Broads!

The Broads as we know them today were, originally, a man-made accident. They were formed by the flooding of medieval peat excavations which provided fuel to Norwich and Great Yarmouth. As sea levels began to rise, the pits began to flood and by the end of the 14th century, these pits were abandoned and large individual areas of enclosed water were formed. Collectively, they were not known then as Broads and certainly not the Norfolk Broads. That name seems to have gained popularity in the mid-Victorian era, about one hundred and sixty-five years ago; this was when they were ‘discovered’ and promoted by devotees of all things picturesque.

Norfolk Broads (Ariel View)

At the beginning of what became the ‘Broads’ brand, the railway had wielded its way across Norfolk and taken much of the carrying trade out of the wherry-man’s hands; eventually to rob him entirely of his livelihood. Victorian pleasure-seekers followed, at first in small numbers to explore the waterways and try the marshland inns during what was, at the outset at least, a short season. Then, as time past, visitor numbers increased so that the Broads, like many other places became overcrowded, a situation which in some people’s opinion was quite detestable!

Norfolk Broads (Wherry)
Photo: Courtesy of the Norfolk Wherry Trust – Home Of the Wherry Albion

It seems quite natural for so charming an area as the Broads to have had so much literature written about it. However, George Borrow (5 July 1803 – 26 July 1881) was one writer who, despite having lived for a while by Oulton Broad, did not write anything about the neighbourhood or the Broads – but, there were other less eminent early writers who did. They were the ones who busied themselves in making known the attractions of the flat landscape of the Broads, its slow moving waterways, the peaceful meres, the free shooting and fishing, together with the apparent strange life of the marsh-folk who drained the waterways.

Norfolk Broads (Gathering Waterlilies)1
Peter Henry Emerson, Gathering Water-Lilies 1886, platinum print from glass negative, 19.8 x 29.2 cm
Wilson Centre for Photography

By the late 19th century, luxurious boats could be hired to navigate the waters amongst the clean white sails of yachts, all of which mingled with the dirty brown sails of the wherries on the rivers Yare, Bure, and Waveney. William Dutt, (1870-1939) wrote admirable books about Norfolk and its Broads which were read with great pleasure by those of his time, He knew the country and the people thoroughly, and wrote in a very agreeable fashion:-

“……the visitors who content themselves with what they can see of Broadland from a yacht’s deck can never become really acquainted with the Broads and Broadland life. To gain a real knowledge of these, they must, to some extent, ‘rough it,’ as the early adventurers did; trudge the river walls; associate with the eel-catchers, marsh-men, reed-cutters and Breydon gunners, as well as exploring the dykes which were non-navigable by yachts. There are also the swampy rush marshes where the lapwings and red shanks nested……..spend days with the Broadsman in his punt, and nights with the eel-catcher in his house-boat; crouch among the reeds to watch the acrobatic antics of the bearded titmice, and mix with the wherrymen at the staithes and ferry inns……..If the stranger in Broadland is unwilling to do these things, he must rest content with the outward aspect of the district and second-hand knowledge of its inner life………But there must always be many whom lack of time, opportunity, or inclination will debar them from becoming intimately acquainted with the scenery, inhabitants, archaeology, history, sport, and wild life of this most delightful and interesting district.”

Norfolk Broads (Eel Catching)
1887
“An Eel Catcher’s Home.”
Image: Peter Henry Emerson/Royal Photographic Society/SSPL/Getty Images
Norfolk Broads (Reed Cutters)1
Plate titled During the Reed-Harvest from P H Emerson and T F Goodall’s Life and Landscape on the Norfolk Broads 1887
Royal Photographic Society/National Media Museum/Science & Society Picture Library

Then there were the illustrators and artists who produced drawings, oil paintings and water-colour sketches of the landscape, the sailing craft, the birds, and the vegetation of the Broads. These ‘interpretations of reality’ were, and indeed still are, exceedingly attractive and capture the full charm of the area. By the very successful process of colour printing they have, for many years, been reproduced in books that did not rely on just wearisome pen sketches or tonal single-colour photographs – although the best of these have found their place.

But it must be said that if one is to understand and appreciate the real, deep laying, beauty of the Broads, it is clearly advisable to also gain at least an outline on the history of this part of the County, from its earliest days, when a great chunk of East Norfolk was the bed of a vast estuary. Close behind came the Roman days when galleys could sail up to Norwich. Then there were the years of great inundation and, at the beginning of the 17th century, the work of reclamation with much of the swamps being drained and the resulting pasture put to profit.

Fortunately, despite all this activity, the Broad’s wild life was not seriously affected when Sir Thomas Browne made his list of Norfolk birds. Then the peewits were so plentiful that cartloads were brought into Norwich and the rustics used their eggs in puddings. Cranes bred, on what is now the Broads, till 1542 and spoonbills nested in 1671. The avocet ceased to breed by about 1825 and the black-tailed godwit’s egg was last taken at Reedham in 1857. At the same time, it used to be believed that the bittern and the black tern would, most likely, never rear their young again in the county of Norfolk – but they have.

Norfolk Broads (Bittern)
The Bittern

We are told about the life of the marsh-folk of old; how the eel-catchers set about their business and made a precarious livelihood; how the professional wildfowlers became an extinct race; and how the marshmen controlled the drainage, looked after the cattle, and made a harvest of the reeds. Much has been pleasantly described, not least about the wild life on Breydon, an area of thirteen hundred acres which remains, strictly speaking, not a Broad, but an estuary to which numerous sea-birds and waders come and go. Many a rare straggler from foreign countries used to be shot there; spoonbills used to appear there every year and even more commoner birds used to, and indeed still do, visit the Breydon flats at the seasons of migration. It used to be said that an old Victorian gunner boasted that he once secured over a hundred dunlins at one discharge of his punt-gun. Although Breydon is not a Broad, there are about fifty pieces of water, some, of course, small pools, which are called Broads. Hickling, Rollesby, Ormesby and Barton are good examples, each having an area of over two hundred acres, with eight others of the best-known broths each more than a hundred acres in extent. Such a district has much to make it attractive to animals, plants and humans!

Norfolk Broads (Punt Gunner)
1887
“Gunner Working up to Fowl.”
Image: Peter Henry Emerson/Royal Photographic Society/SSPL/Getty Images

On the subject of ornithology, nests of the marsh harrier can still be found and, certainly, the Montagu’s harrier was known to have been present on the Broads in past years. However, one big complaint used to be expressed against the gamekeeper’s ‘pestilent activity’ which if not restrained, would doom many species, including the ‘ruff and the reeve’ sandpipers.

Norfolk Broads (Montagu Harrier)
Montagu Harrier (Circus pygargus)

Norfolk Broads (Great Crested Grebe)2Norfolk Broads (Common Crane)Norfolk Broads (Marsh Harrier)Norfolk Broads (Spoonbill)

Entomology is another specialism which has always thrived on the Broads and written about; the precursor to the preservation of the species, such as that of the swallow-tail butterfly which in the past had been on the verge of becoming very rare, if not extinct. At one time, this would have been due to the insatiable greed of collectors and also to the draining of places where the hog’s-fennel, on which the caterpillars feed, once grew abundantly. On the other hand, the greatest treasure still to be found in Broadland is the moth, Fenn’s Nonagria typhae (Bullrush Wainscot) which was first discovered way back in 1834.

Norfolk Broads (Butterflies)
A Selection of Butterflies common to the Norfolk Broads. Courtesy of The Broads Authority. Photo: copyright Pat Thorne 2013

Then there is the ‘pond life’ which has been described as a rather vague branch of natural history for it deals in the ‘research of pond life which takes the seeker, who is after knowledge, into a world totally different to that in which he may otherwise have lived.” However, for such a person to study the rotifers and polyzoan, a microscope is needed which few visitors to the Broads are likely to possess.

Norfolk Broads (Lilies)
Cockshoot Broad (Photo: Ray Jones)

Then there is Botany, another of those subjects which is more likely to be studied by the intelligent tourist. In the past, popular interest in plants was almost confined to orchids and ferns which suffered accordingly. Ammophila arenaria, is a grass which did spread from the sand-hills of coast and would not have competed with the flowering fern (Osmunda regalis) had it not itself been exterminated in many spots by past fern-gatherers. Neither should it be forgotten that the small orchis (Spiranthes autumnalis) used to be dug up by ‘wretches’ armed with trowels.

Norfolk Broads (Grass)
The Grass Ammophila arenaria
Norfolk Broads (Fern)
The Fern Osmunda regalis
Norfolk Broads (Spiranthes-Autumnalis)
The Small Orchid Spiranthes autumnalis

In total, the natural features of the Broads, and its geological history, differ so greatly from those of other parts of England. We are told that its earliest strata was cretaceous, but goes back only to the comparatively recent geological period when East Anglia, like the rest of Europe, was under the sea. Nature, assisted by man, is still at work. But one should not forget that in the past, owing to the deposition of mud, the drainage of swamps, and the effects of tidal currents, the Broads were in danger of slowly, but surely, vanishing. Fortunately, in these days of ‘enlightenment’ that is no longer the case.

But, the Broads have always been much more than that described above. Nothing has yet been said about prehistoric men who made the flint implements which have been discovered in the valley gravels of the Upper Waveney. Then there is yacht-racing which was once known as “water frolics” and dates back to the 18th century, whilst “regattas” and “yachting” as we understand them are inventions of the 19th century. Fishing, we are told, is not what it used to be on the Broads but good bream fishing may be had in some places – the worst of the bream is that it is useless when you have caught it. Perch is even less abundant. On the other hand, pike fishing is excellent in winter, and it has been known for the occasional 36 lb specimen to be caught. Roach, we are again told, remain abundant but Rudd, which will take a fly, give better sport in places like Barton Broad and in some parts of the Bure. Wild-fowling and free shooting used to be a popular pastime, but has long been restricted if not banned. Snipe, redshanks, and plovers were once at the mercy of a reputed twenty or thirty gunners who made a living on Breydon water; these have long disappeared and life has been allowed to flourish and move on.

Norfolk Broads (The Bow Net)
Thomas Frederick Goodall, The Bow Net 1885–6, oil on canvas, 83.8 x 127 cm
Walker Art Gallery, Liverpool

FInally, for the statistically minded, the area covered by the Norfolk Broads is estimated to be 303 square kilometres (117 sq mi), most of which is in Norfolk, with over 200 kilometres (120 mi) of navigable waterways. There are seven rivers and 63 broads, most less than 4 metres (13 ft) deep.

THE END

Sources:

http://archive.spectator.co.uk/article/25th-july-1903/19/the-broads-it-must-now-be-about-half-a-century-sin
http://www.broadsnet.co.uk/introduction/
Wikipedia.
Photos:
https://www.tate.org.uk/context-comment/articles/life-and-landscape-on-the-norfolk-broads
https://mashable.com/2016/04/30/norfolk-broads/?europe=true
https://www.wherryalbion.com/links/wherryart.php
https://getoutside.ordnancesurvey.co.uk/guides/bird-watching-in-the-broads/

COPYRIGHT NOTICE

Horsford Church – An Oasis of Calm!

It was Simon Knott, way back in 2009, who referred to All Saints Church in the village of Horsford as being “an oasis of calm” – and so it still is.

All Saints Church, Horsford 032

For those travelling from afar, Horsford lies to the north of Norwich and close by the City’s new Broadland Northway, formerly the Northern Distributor Road. Although close to the orbit of Norwich and the busy A140 Cromer Road, All Saints Church sits quietly amidst an equally silent graveyard. The church is set comfortably back from Church Street, with the southern side of its churchyard resting in between. Quite close to the south facing walls of the church runs a side entrance path to the building’s front porch; this same path is also, unbeknown to some, a public footpath which runs right through the grounds of All Saints and seems to disappear beyond.

Turning up on one of the hottest days in July was not the best of choices for walking round the churchyard. But, everywhere was bathed in strong light and, together with equally dark shadows, enabled a few striking photograph to be taken – who would want to miss such an opportunity? However, relief came with entry into the church itself, through a porch which is not the oldest part of the church, having been first built in 1493, the year when an Appeal for funds went out to not only complete the reconstruction of the Tower but also to include a south facing porch which would face directly towards the Church Street entrance gate. Reconstruction of the Tower itself had first begun in 1456, but it seems that immediately from this date the work had been frequently been interrupted for long periods, which included necessary ‘repairs’ – one can only imagine of what.

The 1493 Appeal did, however, ensure that both the Porch and Tower were completed within a sensible time thereafter; this work may also have coincided with alterations made to the roof height of the Nave. The Tower was certainly ready to have bells hung in it by 1506. as witnessed by a bequest for the provision of a bell. Today, the Tower has one remaining bell which is still rung to herald the beginning of Sunday services; it is inscribed: Anno Domini 1565 I.B – which stands for John Brend. Rather unusual for a tower of this date is that it appears to have been designed without a door in its west side and that its West window had previously been raised in the early 14th century; one may guess that the reason for doing so was probably to bring more light into the rear of the Nave.

Inside the Porch are some 16th century capitals with angels on either side of the entrance arch and its roof was, like the rest of the church at that time, a thatched one. I later discovered that, in the Victorian era, the Porch was in such a sorry state that, in 1884, the Rev. Josiah Ballance had it rebuilt and re-roofed with tiles as a memorial to his deceased wife, Margaret.

On entering through a modest but still attractive door and into the rear end of the Nave, the coolness there was a welcome friend and the light streaming though the south windows showed that this church is certainly not a gloomy place.

A walk around the inside of the Church, together with a few enquiries, told me that the building of the Nave was started soon after 1100 and was made of well-coursed flint work. From outside it is possible to see, particularly at the east end of the Nave (not the Chancel), a number of the low courses in the south wall where there are regularly banded unknapped flints. This, I was told, was evidence of a building technique commonly used in the 11th and 12th Centuries that was generally abandoned later in the middle-ages for less-coursed flint-rubble construction. Just inside the  South Door, by the Chancel, is the 13th Century Trefoil Piscina with its ‘Holy Water’ Stoup, a stone basin which would be used in the Mass – in use until the 16th Century Reformation.

All Saints Church, Horsford 062
the Trefoil Piscina with its ‘Holy Water’ Stoup.

Outside, on the south wall, the height of the original Norman Nave is shown by a a line of knapped flint work, just below the later brick and flint courses which were laid so that the pitch and height of the Nave’s thatched roof matched that of the Chancel. In the late 14th Century, the earlier headed windows were heightened and the roof again raised by adding the brick and flint courses. When, in the 19th Century, the Nave’s thatched roof was removed, the walls had to be raised by a further 50cm in order to support the timbers for a new slate roof. More recently, in 1980 to be exact, these slates were replaced by re-cycled tiles.

All Saints Church, Horsford 003aAs for the Chancel, this was probably built at the same time as the Nave; an example of an early English rustic structure, with a thatched roof and once neatly plastered walls but now flaking in places and requiring some loving care. Outside, the date of 1703, picked out in a naive style with red tiles in the flint of the gable, indicates that repairs were done that year to the East Gable and to the coping of the Chancel. Past speculation suggested that these repairs were necessary as a result of the 1703 storm, one of the two great storms of that century which destroyed much of the fishing fleet along the Norfolk coast and much inland.

All Saints Church, Horsford 020There is still a hint of a curve in the Chancel’s sanctuary area which may be the remnants of a pre-Norman, early 11th Century Apse. On the south side there is a ‘low-side window’. This is the term for a small window or opening always built in the south wall of a chancel that is positioned lower than other windows in the church, usually at eye level or lower. I was told that these were not originally glazed, but shuttered. There is also scholastic conjecture over their original function, some thinking that they were intended to allow those outside the church to get a glimpse of the altar, or even of the Eucharist, as they walked past; others thinking that they were simple ventilation devices; and others reckoning that they would have been used for the distribution of a dole. Where they do appear, some say in about 100 churches in Norfolk, they are always in the same position.

All Saints Church, Horsford 060
The Communion Rails above, and in the Lady Chapel of the North Aisle were designed by Mr Cecil Upcher, architect, and made by Harry Sole who, under the main Altar rail, skilfully re-cycled some balusters rescued when Didlington Hall was demolished. The 1920’s East window was produced by the firm Percy Bacon & Bros. of London.

During renovation work in 1956, a vault was discovered by the then Vicar and Churchwardens. It was beneath the floor directly in front of the south side kneeling rail. Apparently, in the Vault were several lead coffins of the Day family; it was decided that these should be left undisturbed, the Vault being resealed and the floor reinstated. The positions of the Altar in the Sanctuary and its Communion Rail were also altered in 1956, following the discovery of the Day Vault.  The step was extended westwards, thereby creating a second higher dais for the Altar. The original Altar table was placed in the east end of the North Aisle to create a Lady Chapel and, because its top had been badly worm-eaten, a new top (all be it a second-hand one) was attached to its legs. A new main Altar was made by All Saint’s devoted Churchwarden, Harry Sole who was a highly skilled joiner employed by R. G. Carter Ltd. He also made a frontal cupboard, which stands on the left-hand side of the Chancel. In addition, he made the Bishop’s Chair and the Oak Credence Table and the Vicar’s Prayer Desk, which stands before the Screen in the Nave of the Church.

All Saints Church, Horsford 012
The Screen between the Chancel and the Nave dates from the 15th Century and was formerly vaulted on both sides.

Probably the star of the Church is set into the south wall of the Nave, close to and at right-angle to the Screen. It must be East Anglia’s best example of a 19th Century window by the grandly named Royal Bavarian Institute for Stained Glass and made by the famous F. X. Zettler workshop of Munich. The window depicts and remembers three sisters, Edith, Dorothea and Nona Day, who died of consumption in 1891, 1892 and 1893 in Davos and Cairo. One sister stands on the far shore of the Jordan, welcoming her sisters across to an imaginary paradise, which is clearly more Bavarian than Middle Eastern. This is a wonderful stain-glass window, despite the sisters’ halos being rather unconvincing .

All Saints Church, Horsford 010
The Day family of Horsford Hall, opposite the Church, dedicated this window to their daughters. They were wealthy, well-connected in society and spent most of the year in Switzerland, so it was not surprising that they used a famous Munich firm of Zettler to make such a window. That firm also installed windows in many churches and cathedrals in Europe and North America.
All Saints Church, Horsford 073
This Oak Pulpit was made in 1958 by Messrs. Taylor of Cringleford and decorated with linen-fold panelling.

The memorials in various parts of the Church, mainly commemorate the Barrett-Lennard families of Horsford Manor and the Day Families. The Barrett-Lennards first arrived in the area at the time of the Norman Conquest in 1066 – with Sir Richard Barrett-Lennard being the last of the line.

 

All Saints Church, Horsford 071
These Oak Pews in the Nave, except at the west end near the Font, came from Tunstead Church in 1956. Again, Harry Sole, a devout Churchwarden, and his friend, Reginald Wade, the former head gardener at Horsford Hall and skilled joiner, did most of the work between them. The four oak kneeling rails at the front of the pews (out of view) were given in 1958 by Sir Richard & Lady Barrett-Lennard, and dedicated by the Rev. John Pollock, husband of their daughter.

The North Aisle of All Saints Church existed in 1458, for it is mentioned as having been provided with donations for its construction in Wills of that year. Then, in the 1860’s, because the aisle wall and the pillars were leaning northwards, drastic remedial work had to be done under the guidance of the Rev. Josiah Ballance. The core of the arcades, made of brick with plaster over, is of the 15th Century but the present appearance of the aisle and its pillars is due to this timely restoration. The East window of the aisle contains the only medieval glass in the Church. In 1986/7 this window was re-glazed, with the addition of the medieval glass, and dedicated as a memorial to Harry Sole by his widow, Rosetta.

All Saints Church, Horsford 083
The Memorial window, with its medieval glass, dedicated to Harry Sole.

Looking around All Saints, it is clear that over the years and certainly during recent post-war years, this Church has never lost its nerve or its confidence to get things done. A feature at the west end of the Nave is yet another example. Here, there is a relatively new gallery with a metal spiral stairway, built in 1993 to house an organ which had been acquired from Horsham St Faith. The previous organ had been at the East end of the North Aisle until 1956: when the Lady Chapel Altar was installed there, the organ was moved to the the west end of that Aisle before being replaced by the one now in the west end Gallery of the Nave. A gallery, by the way, which is in a thoroughly modern asymmetrical style but mindful of church tradition. It is a style which should take All Saints confidently into the future. A heartening thought!

 

The Font, which I found at the back right-hand corner of the Nave, is of Purbeck stone from Dorset. It is distinctly early Norman, the style being similar to those of the early 12th Century by being square with simple, unlaced, arcading with a plain support pillar at each corner. Again, my informant told me that the central drain and its column could have been added towards the end of that century. Apparently, medieval fonts were made in three sections: base, support and bowl, so alterations posed no problem. This one in All Saints was possibly damaged during the Reformation and may have been removed from its church – which may not have been this one at that time. Then, after it had been rescued, it was placed in All Saints, possibly during its 19th Century repair and restoration work. The arcading did show signs of having been repaired with cement, when meant that the lead lining had to be re-inserted.

All Saints Church, Horsford 050

During medieval times, Holy Water was kept in the Font, being renewed each Sunday. Its purpose was not only for use at Baptisms, which usually took place before the baby was three days old (the mother would not attend this ceremony), but also for blessing ‘bewitched’ premises or animals, for giving comfort to the sick, or for those who were dying. For the sick and dying it was the priest who would use the holy water when administrating the last rites after their confession and witnessing their ‘last well and testament‘.

However, so I was informed, anyone could use the water if it was agreed that the need was urgent. Unfortunately, for the church at least, pagan habits lingered on and the water would often be ‘stolen‘ for use in magic and other sorcery. Consequently, in the 13th Century, the church ordered all Fonts to be secured by a cover and, after 1287, a strong lock had to be added. The usual method was to cover the entire top of the Font with a wooden disc, fastened in place by means of an iron bar which was locked to staples driven into the rim. It was those iron staples which may have caused the initial damage to All Saint’s Font. The present wooden cover, though, was made in 1934! Until 1956, this Church’s Font stood on the west side of the most westerly pillar between the Nave and the North Aisle. There is a radiator in that position now, but the mark of where the Font once rested against the pillar can still be seen.

All Saints Church, Horsford (Chest)

The Church Chest sits besides the Font. On its lid are the initials H.S. and R.C. along with C.Ws., presumably indicating they were once the ‘Churchwardens’. Its date is, apparently, unknown but it still has two padlock. In the past it had three: one for the incumbent and one for each Churchwarden; this was a simple security measure necessary in earlier times when money collected for the Poor Rate would be kept in the Chest ready for distribution to the ‘deserving poor of the Horsford Parish’.

All Saints Church, Horsford (Nave)
The result of a final look before departing into the heat!

THE END

All Saints Church, Horsford (Map)

Sources:

‘A Brief History of the Parish’ by Marjorie A. Marshall, B.A. Hons. Modern History in consultation  with Dominic Summers Ph. D. of the U.E.A.
http://www.norfolkchurches.co.uk/horsford/horsford.htm
http://www.streetmap.co.uk/place/Horsford_Manor_in_Norfolk_731611_424611.htm
PHOTOS 1: (Feature) Original watercolour (c) Malcolm Cockell at The PictureSmith Ltd 2006. Email: enquiries@thepicturesmith.co.uk and http://www.thepicturesmith.co.uk
PHOTOS 2: (All Others) Haydn Brown (c) 2018

 

 

Church Ruins in Someone’s Garden!

St Peter’s Church, North Burlingham, Norfolk has long been in ruin and what remains shows that it was mostly Perpendicular with the nave and chancel dating from the 15th century. There is a suggestion that, even further back in time, the church’s origins rest in Late Saxon times. The church was heavily restored in 1874 by the Burroughs family but its once proud round tower, with octagonal tope, collapsed in 1906 and the church was abandoned in 1936 in favour of St Andrew’s close by……… Many people over the years since then have visited the ruins of St Peter’s and, no doubt intrigued, have taken photographs and written interesting accounts; not least the following by Simon Knott who, in November 2007, paid his own personal visit:

**********

“It was Historic Churches bike ride day 2007. We had been to Hemblington, explaining our plans for the day to the nice lady on welcoming duty, and to a gentleman cyclist who had just checked in. “Don’t forget that there is a ruined church at North Burlingham”, he said. We hadn’t forgotten, and already had plans to track it down, but we wondered if access to it was possible. “Certainly”, said the nice man. “I own it. It’s in my back garden. I give you Permission”

St Peters (N Burlingham)2

If only it was always that easy. Thanking him profusely, we headed on back down to the A47. North Burlingham is bypassed these days, but not by much, and the thunder of traffic was very noticeable after the peace of Witton and Hemblington. It is not a huge parish, but was obviously busy enough to maintain two churches well in the second half of the 19th century, when both underwent major restorations. St Andrew, a couple of hundred yards to the west, is a big, late medieval building with a huge tower, but St Peter was more typical of the area, a smaller, older church with a round tower.

St Peters (N Burlingham-vincebettsphotography.com)906

It was the tower that led to the demise of the building. One night in 1906, it collapsed into the nave. At first, the gap was merely boarded up, but, not surprisingly, this was found to be unsatisfactory, and in 1936 the remains of the congregation finally decamped up the road to St Andrew. The building has been left to decay since then, pretty much, quietly returning back to nature. Ashes to ashes, dust to dust. It is hard to see beyond its restoration, but this must have been a little Norman church, perhaps with a 13th century chancel.

We stepped into what must have become a completely Victorianised building in the 1870s. Now, little remains. Victorian tiling forms an aisle up the middle to the off-centre chancel arch. The roof timbers are mostly still in place, although completely unsafe. There are broken ledger stones, and you can see into the vault beneath the chancel floor.

There was an elegant, quiet dignity about the building on this beautiful sunny day. The elder and ivy filtered the light as if they were stained glass windows, and although the building is now nothing but a faltering shell, it was quite possible to repopulate it in the mind’s eye with 19th century furnishings and people. There are quaint niches either side of the east window in a Decorated style, and I wondered if this was a suggestion that St Peter had been quite High Church in its 19th century heyday, perhaps as an alternative to Lower worship at St Andrew’s.

St Peters (N Burlingham)905

There was plenty of time for the furnishings and treasures to be removed, of course, and they have been mostly reinstated up the road at St Andrew. There you will find the pretty rood screen, now filling the mouth of the tower arch. Also there are the memorials, including two medieval brasses.

The medieval benches went across the A47 to Blofield, and other furnishings went to Earlham and Lingwood. The bells are in the keeping of the Norfolk Museum Service, along with so many extraordinary treasures in the great storage warehouse at Gressenhall.

img_3710Norfolk has many ruined churches. I have already visited fifty or so of them, and there are plenty more to come. But there was something particularly atmospheric about the interior and setting of this particular ruin. It would be impossible to find such a place sinister or eerie, for it is organic and harmonious. As if to accentuate this oneness with nature, a dead barn owl lay on the nave floor. It seemed not inappropriate. It was, as Tom observed, a good ruin.

We wandered through and around to the north side of the church. Here, hauntingly, there are surviving gravestones, dotted among the trees. The latest appeared to date from the 1920s or so, a cross for James William Oliver, who died aged 17 months. If he had lived, he would have been 85 this year. I wondered if anyone ever came here to remember him. There was something particularly poignant about these forgotten headstones, so close to the busy road but utterly unknown.

We came round the west end, to find the remains of the round tower virtually indistinguishable from the uneven flinty earth about them. Light shone through from the nave and out of the former tower arch, now a pergola for hanging ivy. As I watched, a blackbird alighted on the ledge, the light spangling his feathers. He opened his mouth and gave a throaty warble for a moment – then saw us…… and was gone.

Many more have visited the site of St Peters Church since Simon Knott first wrote about it and many more will assuredly come, to admire, speculate, imagine what once was, to take their photographs and videos (see below) and report on social media.

Like Pam Shortis who wrote on Facebook in 2017:

“This place never really loses its mystique. As Larkin put it”:

A serious house on serious earth it is,
In whose blent air all our compulsions meet,
Are recognized, and robed as destinies.
And that much never can be obsolete,
Since someone will forever be surprising
A hunger in himself to be more serious,
And gravitating with it to this ground,
Which, he once heard, was proper to grow wise in,
If only that so many dead lie round”.

Also in 2017 Jean Walker-Baylis briefly noted:

“From 1945 to 1965 I lived at North Burlingham, this photo of the ruins was taken 1955”.

St Peters (N Burlingham 1955)908
Courtesy of Jean Walker-Baylis

 Then there was Roella Trughill in the summer of 2018:

“I visited here today! I was searching high and low for it! A couple staying in a caravan on The Church Farm Site said they had seen it through a hedge so off I went in search of it! I met a man and asked how I could access it but he said it was in someone’s garden so he went and knocked on their door and asked if I could photograph it and they kindly said yes! I asked how they came to own the church Ruin and she said that someone was going to turn it into a private house so she wrote to the church commission and they said she could buy it for a nominal sum”!

St Peters (N Burlingham)907
Courtesy of Roella Trughill

Sources:

http://www.norfolkchurches.co.uk/burlinghampeter/burlinghampeter.htm

http://www.heritage.norfolk.gov.uk/record-details?MNF8524-St-Peter%27s-Church-North-Burlingham&Index=8003&RecordCount=56881&SessionID=0ba0991f-683d-4183-9a35-b89957407c9b

https://www.28dayslater.co.uk/threads/abandoned-st-peters-church-north-burlingham-norfolk-march-2017.108013/

https://www.norfolkinruins.co.uk/stpeters-church-north-burlingham

 

Two Mayton Bridges – Not One!

The thing about waterways is that they have bridges – nothing surprising about that because people and vehicles need to cross them and keep dry at the same time. Very occasionally, when these waterway are diverted, for whatever reason, a second bridge is necessary to span the new cut. What happens to the older structure? Well, depending on circumstances; if the old course is not needed then, presumably, it is filled in and put to other uses. If, of course, water still has a need to flow along that old course then the old bridge remains to do its job.

That was a case in point here, in Norfolk where the River Bure flows near Coltishall at Horstead with Stanninghall. As with other parts along the Bure’s lower reaches, the road crossings here tend to be both large and infrequent. For those travelling up stream, there are various examples of bridges built to connect Coltishall with Horstead and beyond, but the one that we are interested in is Mayton Bridge, or to put it more accurately, Mayton Bridges – plural, near to the now disused Coltishall RAF airbase.

Mayton Bridges (Bure)
The long lonely canalised reach of the River Bure. Photo: Captain Ahabs Watery Tales – see Notice below.

The first and widely recognised Mayton Bridge is the flat topped construction with two cylindrical holes cut in the abutments to increase flood water capacity. This bridge was never part of the Aylsham Navigation although an earlier bridge must have stood on the site. This bridge occurs mid way along a long straight canalised section of the river, with the old watercourse winding off to the west as it approaches Buxton. Many in the past must have spent their summer days swimming or wading around this bridge for the depth of water under the span is rarely anything more than 18 inches, with the bridge itself originally built on a raft of huge oak logs.

Mayton Bridges (New Bridge)
The more modern Mayton Bridge. Photo: Captain Ahabs Watery Tales – see Notice below.

It is a matter of pure speculation whether the original bridge collapsed as a result of a past flood, or was torn down and rebuilt during World War II to allow heavy lorries to move between a local sand quarry on the west bank and the RAF base being built on the east – to become ‘RAF Coltishall’. The current bridge certainly seems to sit on top of a huge pile of rubble.

Mayton Bridges (Old Bridge - Road)2
The old brick bridge, this dates back to around early to mid-16th century. Phot: Captain Ahabs Watery Tales – see Notice below.

But the real interest of the ‘Mayton Bridges’ lies a couple of hundred yards to the west of the main, straight flowing, river where the road rises over a second bridge; this much older bridge comes complete with a couple of very unusual little shelters. This bridge has two arches spanning what some believe to be the original course of navigation. The bridge itself is very fine and in an excellent state of repair for its age although it was repaired in 1984. It is unusual in that it’s two arches are peaked in a manner not seen elsewhere on the river. Maybe this was how they were all built originally, or maybe this was a one off – it’s anyone’s guess!

Mayton Bridges (Old Bridge - Rail)
View towards Mayton Hall from Mayton Bridge. © Copyright Evelyn Sim

Very little seems to be available to describe Mayton Hall and I have not be able to find any photographs of it. For the moment, and until a kind and knowledgeable reader can provide something, I am left with the following brief outline: – Mayton Hall stands on the site of an earlier medieval moated manor and parts of the moat still remains. The earliest parts of the Hall date from the 15th century. This timber framed building was extended to the north in the late 16th century, further alterations were made in the 18th century, and a new façade was built in the 19th century. It was severely damaged by fire in 1984.

Mayton Bridges (Old Bridge - Arch)
The arch that now crosses the stream. Photo: Captain Ahabs Watery Tales – see Notice below.

As for the old brick bridge, this dates back to around early to mid-16th century; it is a scheduled monument. It has two arches, although it has been suggested that it has four; only one of these now crosses the stream. On west side there is a large central cutwater with a sloping top. The water which used to flow beneath it is thought to have been an outflow from the moat at nearby Mayton Hall, once keeping the water fresh and preventing it from stagnating. The moat inflow was some distance upstream from the bridge. The suggestion that the bridge was built over the original course of the river is considered by some to be improbable. On each side of the bridge and facing the road are small shelters which may have been for the toll collector to sit.

Mayton Bridges (Old Bridge - Two Archs)
Photo: Captain Ahabs Watery Tales – see Notice below.

To the more nostalgic amongst us, it is easy to imagine wherries being quanted (poled) up against the current and those in charge thankful for a second arch to relieve the water pressure against the bows – Dream on!.

THE END

Sources:

COPYRIGHT NOTICE

Pull’s Ferry – A Little Gem!

Pulls Ferry (Sindlin's 1800)
Sandlins or Sandling’s Ferry – circa 1800

Faced with an unfamiliar city, the temptation for many visitors is to head straight for the city centre. This is particularly true in Norwich and for those who arrive by train – the station forecourt seems to point you towards the bridge over the river which will lead to Prince of Wales Road the shops, castle, museum and much more. Those who resist this temptation and take the river path instead will find, just a stone’s throw away to the right, a real gem of the city’s history – Pull’s Ferry, sitting pretty on the River Wensum and one of the most famous landmarks in Norwich.

Pulls Ferry (1850-1900)
Pull’s Ferry 1850-1900

 

Pull’s Ferry is a 15th century medieval Watergate but it came centuries after a more ancient waterway was dug by monks. You see – both before and during the medieval period, transportation was a persistent problem, especially the transportation of heavy building materials. Roads were poor – if they existed at all, so bulk item were, of necessity, transported by boat. So it was in Norwich. Before any work could begin on building the proposed Priory and the 11th century Cathedral such a canal was needed to bring the materials direct on to the site. As well as stone, there was timber from the Baltic and iron from Sweden. But it was not only building materials that came via the canal; peat would also arrive, from what were to become the present-day Norfolk Broads, to be used as fuel in the Priory kitchens. However, it seems that over the centuries, the heavy stone used to build this holy place received most, if not all, of the publicity. Maybe this was because it’s journey was so long and arguably hazardous – for it came from France.

Pulls Ferry (Cathedral)
Norwich Cathedral

To be precise, this stone came from the quarries near Caen and would travel up and across the channel and onwards along the rivers Yare and Wensum to the Norwich building site that was to become both a Priory and Cathedral. This new Seat for a Bishop would serve as the central church for the Norwich Diocese, the work starting in 1096 and completed sometime between 1121 and 1145. During all this time, there was no port at Yarmouth and because sea-going ships were comparatively small they were able to make such a complete journey from France to Norwich. This must have certainly made the rivers Yare and Wensum places of great activity, because not only was materials being brought in for the Cathedral, but also for the Castle too.

The present short dyke which connects the river to Pulls Ferry itself is all that remains of the waterway which existed until 1772 when it was filled in and built upon. Before then, this same waterway flowed under the arch of the Watergate and deep into the Cathedral Close; having given its assistance to construction, it was the means by which river traffic was able to bring on-going goods and materials right up to the Cathedral and the accommodation thereabouts.

Pulls Ferry (Watercolour)

It was in the 15th century that the arched Watergate was built across this canal; it is this same structure that is the most obvious historical feature of Pulls Ferry today. The Watergate served to guard the approach to the Cathedral, and it was not until the Priory was dissolved by Henry VIII in the 16th century that the current Ferry House was built in 1647, thus incorporating the Watergate. The house itself was both an inn and the home for the ferryman who transported people across the Wensum. The first ferryman was named Thomas Howes, or Holmes but Ferry House was never named after him. Instead, it had been known as Sandlins or Sandling’s Ferry, a name that it would keep for at least 200 years, presumably after a 17th century predecessor. Certainly, at the time that Blomefield was writing his ‘Topographical History of Norfolk’ in the 18th century it was still called Sandling’s Ferry.

A Little Anecdote!

On the 13th July 1758, a short but severe thunderstorm wrought its fury on a house standing alone on the causeway near Sandling’s Ferry in the city of Norwich. Lightning struck off the roof tiles and pierced the house where it ‘tipt off the top of an old chair…… snapt the two heads of the bed posts, rent the curtains, drove against the wall…… forced out an upright of a window frame a yard long and sent it a right line into a nearby ditch’. This shaft of electricity peeled plaster off the walls and melted a row of pewter dishes. ‘An ancient woman’ sitting in a passageway was scorched all over, ‘her skin almost universally red and inflamed…… her shift burnt brown, stocking singed…… her shoe struck off’. The lightning missed:

……. another woman, sitting knee to knee with her companion as it shot along the passage. Those nearby heard a violent explosion and thought the whole house would collapse. It turned red, as if on fire, but it remained standing and the whole smelled as if fumigated with brimstone matches.

(Cooper, S., ‘Account of a Storm of Thunder and Lightning’,
Proceedings of the Royal Society of London, 1683-1775)

Pulls Ferry (Francis_Blomefield)Then along came 28 year-old John Pull to become ferryman and publican for the next 45 years – between 1796 and 1841; probably the last licensee to do so. Apparently Pull got married the year after he took the post, to Ann Haywood who lived for only a few years, dying in 1800. The couple had a son, John, in 1798, who was baptised at St John Timberhill. John Pull married again in January 1802, to Ann Steers. A child was born to the couple in the June, which suggests that it was either very premature, or the marriage was one of necessity! But, there were tragic consequences – that child died only a week after being baptised. The Pulls, however, went on to have five more children but only three survived beyond childhood. Ann Pull ‘the second’ died in 1837 at the age of 52, and her husband, John Pull, followed in 1841, aged 73.

Pulls Ferry (Bishops Bridge by Joseph Paul)
Bishops Bridge by Joseph Paul

The pub closed sometime before 1900, and the building became derelict. As for the ferry, this operated until 1943, although with Bishops Bridge only a stone’s throw away one wonders why there was ever a need for a ferry. The answer may lay in the historical fact that Bishops Bridge had been a toll bridge into the Middle Ages and that Pulls Ferry was a cheaper way for foot passengers to cross the river. However, by the middle of the 20th century all other ways of crossing from Norwich were free. It should also not be forgotten, if one ever knew at all, that before the building of Riverside Walk, the way to the Bishops Bridge involved a lengthy walk through the Cathedral Close. But, it still seems difficult to imagine who would have used the ferry, unless they actually lived or worked in the Close – particularly since the ferry could not have been free. Maybe, and some possibly think this, the ferry was kept open by the request of the Cathedral Dean and Chapter?

Pulls Ferry (1950)
The ferry boat shown in the water in this 1950 colour photo (above) was still there, drawn up on bank, until about 1970 when it attracted the attention of the local vandals who broke it up one night – probably ‘just for fun’.

 

Ultimately, both house and archway were saved by a bequest from Camilla Doyle and money raised by Norwich Girl Guides Association; that was in 1947. Over the next two years, restoration was undertaken by builders R. G. Carter and the architect Cecil Upcher. Today, Pulls Ferry and Ferry House remains privately owned; the only reminder of the history of the site is a small plaque at the top of the drive leading down to the ferry. Whilst there is a footpath along the river from the railway station Bishop Bridge which passes directly by Pulls Ferry, the best view of it is from the opposite side of the river, on Riverside Road. This view has been used in so many tourist brochures that Pulls Ferry has long been one of the ‘signature’ views of Norwich. It goes back over 900 years.

Now, it’s difficult to imagine that at the start of the 19th century the land opposite Pulls ferry was largely countryside but, like all things urban, much of this saw the start of building projects which grew apace during the next fifty years. Along came Riverside Road, the Norwich gas works, Rosary Cemetery and, inevitably, the Railway Station, turning this once tranquil area  into a suburb of the city centre with all its noise and activity. Between Riverside Road and the river bank opposite Pulls is now the Norwich Yacht Station, much used by Broads and river holiday visitors. Painters and photographers ever since have recorded a more industrial river bank, with boat building yards, a mustard factory and much else besides.

Pulls Ferry (Winter, Alamy)
Winter … Pulls Ferry, Norwich, a Watergate through which French stone for the cathedral was carried by a specially built canal. Photograph: Alamy
Pulls Ferry (At Night)
To end with… How about a Night Scene of Pulls Ferry. Credit: Google Images.

THE END

Sources:

https://www.theguardian.com/travel/2017/feb/24/norwich-walk-river-wensum-cathedral-castle

https://joemasonspage.wordpress.com/2013/01/28/pulls-ferry/

http://www.georgeplunkett.co.uk/Norwich/clo.htm

https://historicengland.org.uk/services-skills/education/educational-images/pulls-ferry-at-water-gate-ferry-lane-norwich-10683

https://www.britainexpress.com/counties/norfolk/norwich/pulls-ferry.htm

https://www.girlguidingnorfolk.org.uk/out-and-about/pulls-ferry/

https://www.visitnorfolk.co.uk/inspire/seven-natural-wonders-wensum.aspx

 

 

The Secrets of Literary Norfolk

Is Norfolk England’s most secretive and strange literary County?

Critics and commentators are always prey to big ideas – the bigger the better, in fact – and so tend to overestimate certain factors in the production and formation of books, preferring to emphasise the influence of some particular social, historical, political, institutional, linguistic or psychological fact or force and to ignore certain others. These explanatory fashions come and go. Thus we currently have cognitive poetics, ecocriticism, and post-colonial theories all being successfully applied to explain various aspects of our national literatures. But as yet – alas – we have no County Theory of English Lit. This is my big idea.

Literary Norfolk (Thurn Mill)
Hurne Mill at Sunset.

If we were to apply some of the quantatitive methods for analysing literature developed by the great maverick literary theorist Franco Moretti, a map of the UK as a whole adjusted for size according to literary production might produce a hunched, swollen-headed creature with an enormous Scotland, a bulging Northern Ireland, withered limbs, an empty heart, and a vast and protuberant Norfolk.

In popular culture, Norfolk represents nice but naff, a kind of watery, dandelion pleasantness. And yet the literary landscape of this most remote and unassuming of the English counties – just over 2,000 square miles of agricultural land, rivers, fens, towns and forests – is subtly strange and wild. In 2012, Norwich became England’s first and only Unesco city of literature (the others are Edinburgh, Melbourne, Iowa, Dublin and Reykjavik). The title alone suggests the panoramic sweep of the county town’s literary achievements and associations, extending all the way from Julian of Norwich’s Revelations of Divine Love, one of the first books published by a female author, to the UK’s first MA in creative writing, established in 1970 by Angus Wilson and Malcolm Bradbury at the University of East Anglia. An untiring advocate of the joys and merits of his adopted home county, Bradbury figured Norfolk as a place of writing parsons, farmer-writers and sensitive poets: John Skelton, Rider Haggard, John Middleton Murry, William Cowper, George MacBeth, George Szirtes. Bradbury’s Norfolk rather resembles John Betjeman’s, in fact, in whose poem “Norfolk” the lanes “recall lost innocence” – a land untouched by time.

Literary Norfolk (Broads Sailing)
Sailing on the Norfolk Broads

But there’s more to literary Norfolk than the merely bucolic. My own first encounter with Norfolk in literature came in the form of the heroic and crime-solving adventures of Arthur Ransome’s Coot Club, a plucky little gang of boys and girls who live around Horning on the Norfolk Broads, in the Swallows and Amazons series of novels, a world as far from my own upbringing as was imaginable. For me, Norfolk became a place of fantasy, derring-do and detection – a place of mysteries and obscurities. In perhaps her greatest novel, Devices and Desires, (1989) PD James sends off the lugubrious Adam Dalgliesh to a fictional remote Norfolk community, Larksoken, somewhere on the coast between Cromer and Great Yarmouth, where he has inherited a windmill – but of course! – and is on the trail of a serial killer known as the Norfolk Whisperer. James dwells not only on the conflicts between the people of Larksoken but also on the continual interplay between sea and sky, where the “never-ceasing moaning of the tide” can be forever heard below lowering clouds. Norfolk-based writer Henry Sutton explores similar dark territory in his novels, which one might describe as droll Norfolk gothic. Sutton’s Bank Holiday Monday (1997) should be required reading for any middle-class couples considering renting a holiday home in Norfolk this summer. Ditto Ali Smith’s characteristically odd, delightful and polysemic The Accidental (2005).

Literary Norfolk (Wells Huts)
Beach Huts at Wells-Next-The-Sea, Norfolk

Even more off-putting and alluring is WG Sebald’s The Rings of Saturn (1995), where the mysterious narrator begins the book in a “state of almost total immobility” in the Norfolk and Norwich hospital, and so begins to write his great account of his wanderings through East Anglia. His memories and musings begin with a lengthy discourse on the fate of Sir Thomas Browne’s skull. In Sebald, Norfolk is never the focus but rather the beginning of a digression.

Literary Norfolk (Cromer Pier)
Cromer and its Pier, Norfolk

There are writers, however, who have made the county explicitly their subject. The excellent Ruth Galloway series of crime novels by Elly Griffiths are all set in Norfolk, with Galloway, the head of forensic archaeology at the fictional University of North Norfolk, digging deep into Norfolk’s past to solve the crimes of the present.

But perhaps the Norfolkest of Norfolk novelists, the Norfolkiest of them all, is DJ Taylor. Born in Norfolk, living in Norfolk, often writing about Norfolk, Taylor has waged a one-man campaign against smug, shiny literary metropolitanism since his first non-fiction book ‘A Vain Conceit’: British Fiction in the 1980s (1989). Proud to be a “provincial” writer, in his novel Kept (2006) Taylor begins with a bravura passage describing his home county: “A land of winding backroads and creaking carts and windmills, a land of flood, and eels and elvers and all that comes from water, a land of silence and subterfuge, of things not said but only whispered, where much is kept secret which would be better laid open to scrutiny.”

Literary Norfolk (Norwich Cathedral)
Norwich Cathedral

In my own new novel I hope to contribute in some small way to the subterfuges of what may be England’s most secretive literary county. My protagonist, Swanton Morley, is named after a Norfolk village. Morley lives in Norfolk, in a house called St George’s – which I suppose is intended to suggest all of England. The novel is titled simply The Norfolk Mystery in honour of the many hours of dark-bright pleasure that the county and its writers have given me. “Do different” runs the Norfolk motto: I have done my best.

Ian Sansom’s ‘The Norfolk Mystery’ was published by Fourth Estate

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