Sam Larner: They Were All Singers at Winterton!

By Haydn Brown.

Chris Holderness once asked ‘Do fishermen sing nowadays’? because, according to King Herring, in an unidentified news article about northern singers – “they used to be great singers when they got together years ago in their favourite pubs or at the annual jollifications of the beachmen’s societies.”  Perhaps the latter should have paid a visit to the Norfolk fishing village of Winterton where the old songs connected with the fishing community, those with plenty of salt in them, were sung until relatively recently. It used to be said that “They were all singers at Winterton”,  but foremost among them was Sam Larner, who knew dozens of such songs and whose extrovert performance style proved very influential to more recent singers. His impact was immediate and electrifying … and some thought that it was a privilege to be in the presence of such genuine greatness, a dominant figure due to his personality and extensive repertoire, in an area where singing was still commonplace in much of the first half of the Twentieth Century.

Sam Larner (Portrait)2
Sam Larner. Photo: Mustad

Samuel James Larner, (1878–1965) and known as Sam, was a fisherman because fishing was an almost inevitable occupation for one of nine children of a fisherman father and growing up in a village where, out of a population of 800 people, 300 were fishermen. Larner was once quoted as saying

“Why, for me and my brothers that was either sea or gaol, and that for my sisters that was service or gaol.”

Many Winterton families had been involved with the fishing industry for generations, most notably the Greens, Georges, Goffins, Hayletts and the Larners.  All were inter-related, as was common in close-knit communities, and all had singers amongst them.

Sam Larner (Fishing Fleet)
A Norfolk Fishing Fleet from the past. Photo: Mustad

Sam was born into this community in 1878, into a family of bricklayers and fishermen.  He first went to sea as a cabin boy on a sailing lugger at the age of 13 and in 1894 signed as a deckhand on The Snowflake, another sailing boat. It was a very tough existence as he later recalled, describing the dread when going to sea for the first time and that you’d be “on the knucklebones of your arse when leaving for sea.”  Some of the older fishermen “didn’t care for nothing … cruel old men.  You weren’t allowed to speak” and if you were sleepy they would “chuck a bucket of water on you to wake you up.” From 1899 he worked on steam trawlers and in 1923 married Dorcas Eastick who had hailed from Great Cressingham, near Watton. Sam met her when she was in service at the rectory in Winterton. Sam was to leave fishing due to ill health in 1933 and spent some time unemployed as well as doing whatever jobs he could find, including road mending and forestry.

Sam Larner started singing from an early age, learning the songs his grandfather and others sang in the pubs at Winterton, and earning pennies by singing them to the coach parties that visited the village. As a fisherman he learned the songs fellow crew members sang when pulling in the nets, as well as in singing sessions in pubs in fishing ports the length of Britain. He won a singing competition in Lerwick in the Shetland Islands in 1907.

Sam Larner Winterton Fishermen 1940)
Winterton Fishermen in 1940. (Photo: copyright owner unknown)

Although some trips were ‘home fishing,’ meaning that the fishermen would return the same day, more often than not the trips would take them away for weeks at a time, sailing around the British Isles in search of the herring.  This of course meant stopping for periods in various ports when there was opportunity for musical diversion whilst ashore, as well as the possibility of adding new songs to his repertoire.  Indeed, Sam Larner recalled that he won a singing competition in Lerwick in 1907 with his rendition of Old Bob Ridley-O. As he recalled:

“There was a singing competition in the town hall at Lerwick – all among the fishermen though. And the Lerwick ladies, they had to judge; and the gentlemen had to judge the singin’.  And I got the most encore of the whole lot for that song.  They won’t let me sit down; I had to sing them another song.  That was in 1907.  These people all know it about here; I aren’t tellin’ stories.  And I got the first prize.”

Unfortunately no Winterton singers, other than Sam Larner, were recorded extensively, but his detailed and lively accounts of both fishing and singing do give us a good indication that many of his songs were learned from fellow fishermen, many of whom were close relatives.  One example was Butter and Cheese and All, a popular song in the village; Sam said:

“That’s my old dad’s song.  I heard him sing it when I was a little boy.  Used to sing all them songs, my old father did.  Yeah, old ‘Bredler’ they used to call him; Bredler Larner; Bredler used to call him.  Big man, about fifteen or sixteen stone.  Big man, he was.  Oh, and he could do the step dance.” 

Sam Larner (The Dogger Bank)1

If there was opportunity at times to add to a repertoire of songs whilst on these fishing voyages, the real outlet for performance seems to have been, unsurprisingly, when back home after a long voyage – such as  “The Dogger Bank”:

Now we are the boys to make a noise, when we come home from sea,
We get right drunk, we roll on the floor, and cause a jubilee;
We get right drunk and full of beer, and roll all over the floor,
And when our rent it is all spent, we’ll go to sea for more.

Sam Larner (Fishermans Return Pub)
(Photo: copyright owner unknown)

An exaggeration maybe, but certainly the fishermen did adjourn to the village’s two pubs, The Fisherman’s Return and The Three Mariners, for lengthy bouts of singing and step dancing during which time, complete respect was given to the singers so as to avoid the possibility of violence. Certainly the old songs and the performances were taken very seriously. Ronnie Haylett also remembers:

Sam Larner (The Three Mariners)1
(Photo: copyright owner unknown )

“Now, Boxing Day, the pubs closed at half past two legally, you know, but they’d open here until four or five o’clock.  Policeman’d come in and have a look…….”Boys all right?”  Well, they’re all fishermen, you know…… Yes mister, Boys all right. Do you want a pint, mister?  No, I’ll leave you. He’d just go away and leave them.”

Sam Larner related more than once that “we used to have a rare old, good old time.  We used to get in the old pub, and we used to have a song, a drink and a four-handed reel … That was all there was for our enjoyment.”

Sam Larner (Dick Green)1
Dick Green. Photo Mustrad

Other singers at the time was Dick Green (b1909), another Winterton singer and fisherman; he was Sam Larner’s nephew but eventually turned his back on both the sea and singing to become a policeman, ending his days in Harleston.  In later years, he declined to be recorded singing the old songs as he felt his voice was not good enough to do so, but he was still able to recall such songs as Maid of Australia which he had sung in the village years earlier. Dick’s older brother Bob (1908-99) was another singer and fisherman, known locally by his nickname ‘The Devil’. He went to sea at fourteen as cook, working his way up to become a trawler skipper.  He also served in the Royal Naval Reserve during the Second World War.  He sang such songs as were popular locally such as The Maid of AustraliaCruising Round Yarmouth, and Henry Martin as well as comic songs such as The Hobnail Boots My Father Wore and Paddy McGinty’s Goat.  The father of Bob and Dick Green, also Bob Green, (born 1882), was recalled as having regularly sung The Wild Rover which, apparantly, was his party piece.

Sam Larner (Tome Brown)1
Tom Brown. Photo: Mustrad

Then there was Jack ‘Starchy’ George (1888-1975), another Winterton singer, fisherman and trawler skipper. Caister singer Tom Brown, who was on drifters with Jack George, described him as “a great singer” who would sometimes “lean out of the wheelhouse window and sing, and maybe he’d sing while he’d be on watch.”  All of the male Georges seem to have been known as ‘Starchy,’ apparently from one former family member who favoured starched shirt collars.  As well as the songs popular locally, many connected with the sea, such as Herring on the Griddle-O, to which men would dance as if flames were rearing up, and Jack Johnson which he also sang at weddings

In this fertile environment for song acquisition and performance, Sam Larner certainly stood out as an outstanding singer.  With an extensive repertoire of traditional ballads, sentimental and comic pieces and, most of all, songs connected with the sea and fishing, all performed in a vigorous, exuberant style; it is easy to imagine him being the centre of any singing session in the village or whilst away fishing. As a natural entertainer, Sam would also recite Christmas Day in the Workhouse in the pub, with much histrionics.

Step Dancing:

As well as the singing, another part of the evening’s entertainment in The Fisherman’s Return and The Three Mariners was step dancing.  Sam was a good exponent of this, just like his father, George.  As someone recalled, “The tables in there years ago, they had a bead round like this; a raised bead like that.  They all had pints of two.  Cause, comin’ out the old barrels, they’d all be wet, wouldn’t they?  So they’d stand them there and somebody’d shift the pints and Sam’d come up and do a tap dance on the table.  Beer’d all spilt!” 

Often, there was no musician to play for the step dancing, so it was performed to singing and diddling. Sam Larner remarked, “I could do the Old Bob Ridley-O; that was a song and a dance.  I hadn’t got the wind to do it now.”  Whilst singing the song, he would pause half way through to comment “then they all step” which suggests something of a communal performance. Sam generally seems to have accompanied himself step dancing by diddling tunes such as The Sailor’s Hornpipe.

Cromer (Richard Davies)2
An example of Step Dancing from Richard Davies. (Photo: copyright owner unknown.)

In the early 1960s, writer and broadcaster John Seymour described a visit to the Larners, in company with fiddler Alan Waller:

‘The Larners live in a little semi-detached cottage not far from the sea, and we all sat round the small kitchen while Alan played the fiddle and Sam sang, and Mrs Larner looked on and beamed.  And Sam could hardly restrain himself from jumping up and step dancing.  In fact he failed to restrain himself once or twice, and he is over eighty.  He kept challenging Alan as to whether he knew this jig or that step tune, and was absolutely delighted when he found that Alan knew them all.’

Sam Larner (His Cottage)
Sam Larner’s Cottage at Winterton, Norfolk. (Photo: copyright owner unknown)
Sam Larner (Philip Donellan)1
Philip Donnellan

Sam Larner first came to wider public notice when Philip Donnellan, a radio producer for BBC Birmingham, happened to meet him in a pub in 1956.  Donnellan was making radio documentaries about working people in Britain and Sam was exactly the sort of person he was looking for to provide him with information.  He recorded about twenty five songs and some speech from him in 1957 and 1958.  Sam appeared in two of Donnellan’s radio productions: Coast and Country: The Wash on Sunday 15th September, 1957, for which he was paid £1.1.0. Then there was Down to the Sea which was recorded on Sunday 15th February, 1959 with a rehearsal at a house in Happisburgh known as ‘Thatchers’.  It was broadcast on Friday, 27th February, 1959 and Sam was paid £8.8.0.  These were live performances and the sound recordings made by Donnellan have been deposited in the BBC archives.

 

Donellan also brought Sam Larner to the attention of Ewan McColl, Peggy Seeger and Charles Parker who were engaged in producing the first of the innovatory “Radio Ballads”, which used songs, sound effects and music combined with the voices of people involved in an industry or common experience. Sam took part in the third program in the series “Singing the Fishing” which was broadcast on 16th August, 1960, to great acclaim. The series was about the East Coast fishing industry.  Ewan McColl’s song The Shoals of Herring,  which describes a fisherman’s progress from cabin boy to deckhand, was largely based on Sam’s life and written for the program. Over a period of time, after editing Sam’s songs and anecdotes about his life, they were left, in MacColl’s words, with “almost thirty hours of magnificent talk and three hours of songs, ballads, stories and miscellaneous rhymes” from this ‘octogenarian’, ex-herring fisherman from Winterton, Norfolk.  What a wonderful person he was!  Short, compact, grizzled, wall-eyed and slightly deaf, but still full of the wonder of life.  His one good eye still sparkled at the sight of a pretty girl.’

Sam Larner (MacColl & Seeger)
Ewan McCall & Peggy Seeger. Photo: The Guardian

McColl and Seeger were to record even more material from Sam who went on to perform in their Ballads and Blues Club in London where, having been introduced by Ewan MacColl, Sam ‘sat and sang and talked to the several hundred young people, who hung on his every word and gesture as through he had been Ulysses newly returned from Troy to Ithaca.  He never forgot it.’  “They liked them old songs, they did.”  Also, in 1960, Peggy Seeger and Ewan MacColl published a book of English and Scottish folk songs called The Singing Island. They included thirteen of Sam’s songs: Maid of Australia, Clear Away the Morning Dew, Maids When You’re Young, The Wild Rover, Henry Martin, Cruising Round Yarmouth, Bold Princess Royal, The Dolphin, The Dogger Bank, The London Steamer, The Ghost Ship, Jack Tar and Butter and Cheese and All.  The copy they presented to Sam was inscribed: ‘Sam: a book in which your songs are not ‘written wrong.’ Many thanks for your songs and your friendship.  Peggy and Ewan.  1960.’ Certainly the songs that Sam had picked up from his community and fishing expeditions and sang so exuberantly were now reaching a much wider audience.

Sam Larner (Record)1This exposure to the world at large, or at least that portion of it interested in traditional song, reached a peak with the release of the LP Now is the Time for Fishing on Folkways Records in 1961.  This featured nineteen tracks of Sam Larner singing and talking about his life and the fishing industry, taken from the recordings made by MacColl and Seeger.  The interspersing of anecdotes amongst the singing put the songs in vivid context, with Sam’s rich dialect and turn of phrase, on what must surely be the first full-length LP issued of an English traditional singer.  A radical approach, perhaps, in 1961, which still stands as a seminal recording today.

In 1962 Charles Parker filmed both Sam Larner and Catfield singer Harry Cox for BBC Birmingham, singing and talking about their lives for a programme entitled The Singer and the Song.  As well as snatches of several old popular and comic songs Sam sang Now is the Time for Fishing, Clear Away the Morning Dew and The Wild Rover.  It was broadcast on BBC Midlands in 1964.

Sam Larner (Sitting Trio)
Sam Larner with two other Villagers at Winterton. Photo: Winterton on Sea.

By this time, Sam was a very old man of eighty six.  He had lived in Winterton all his life, aside from the often lengthy fishing voyages away after the herring, of course.  He had met his wife Dorcas there and had spent all of his working life at sea until ill health caused by the rigours of the fisherman’s life forced him to abandon this at the age of fifty six.  This grand old man of traditional song died on September 11th, 1965. He left £857.

Sam Larner (Neil Lanham)1
Neil Lanham. Photo Mustrad

About a year after Sam Larner’s death, Suffolk agricultural auctioneer and song collector Neil Lanham happened to be in Winterton, trying to find out in the churchyard about a relative who had been lost at sea in the area.  There he met retired fisherman Walter ‘Tuddy’ Rudd (1905-82) and asked him if he knew any of the old songs sung in the village. Rudd certainly did and arranged for several retired fishermen to get together at his house so that Neil could record them.  This happened on 17th December, 1966 when Tuddy Rudd and Johnny Goffin (1909-77) sang a variety of songs. These, unfortunately, are the only recordings made of Winterton singers other than Sam Larner, but they do give a good indication, together with the wealth collected from Sam, of this once-vibrant tradition.  Tuddy also told Neil Lanham that he got An Old Man Came Courting Me (Maids When You’re Young) from a fish-hawker in the village known as ‘Lame Jimma.’ Murray Noyes, once resident in the village, remembered Johnny Goffin’s father Roger, the gamekeeper on Lord Leicester’s Holkham estate, as a singer and learned Cruising Round Yarmouth from him.

Sam Larner (Record)2In 1974, Topic Records released a selection of fifteen of Philip Donnellan’s recordings as LP A Garland for Sam.  About the same time, collector Peter Kennedy issued his own selection of the Donnellan material as a Folktrax cassette (later CD) Sailing Over the Dogger Bank: Sam’s Saucy Salty Sailor Songs. Clearly, interest in Sam Larner’s singing and his songs continued strongly a decade after his death, and has certainly carried on doing so to this day.

  • Peter Kennedy was to claim that the rights to the Philip Donnellan recordings were signed by Sam Larner over to him in 1958.  There’s no evidence that Kennedy ever went to Winterton but he may well have met Sam in London.  Generally speaking, various relatives and others in the village felt that Sam signed away rights to the songs he sang far too easily, to others who may have wished to make financial gain out of them.

By the middle of the Twentieth Century, the fishing industry in the Winterton area of Norfolk was in serious decline and the formerly close-knit community was becoming increasingly less so.  The song sessions also declined as a consequence, as the way of life which fostered them all but disappeared. Ronnie Haylett certainly had very vivid memories of the nights in the pub and could recall parts of songs, but never became a singer himself: ‘Sam, he said to me one day – my father’s name is Jack – “Boy Jack”, he said, – (it was commonplace in the area for somebody to be referred to by their father’s name, together with the word ‘boy.’)  “why don’t you go up and sing like your grandfather?  Your grandfather Larpin.  Your grandfather larnt me a lot of these songs what I sing.”  I say, “I can’t sing, old chap.”  “You can.  You’ve just gotta stand up and get goin’.  Why don’t you come up and sing, boy?”  Of the two village pubs where the fishermen would congregate for such entertainment, The Three Mariners closed in 1955; it reopened for a short while as The Wishing Well but then became a private residence.  The Fisherman’s Return does continue as a public house but sadly is no longer host to such nights of song and step dance of which Ronnie Haylett said, “They were lovely times down the pub when I was a youngster.”

THE END

Reference Sources :
Principal source for this blog was the Chris Holderness article at:
https://www.mustrad.org.uk/articles/s_larner.htm , supplemented by information and images via the following links:
http://www.samfest.co.uk/why.html
https://en.wikipedia.org/wiki/Sam_Larner
https://eatmt.wordpress.com/sam-larner/
http://www.greatyarmouthmercury.co.uk/news/folk-fans-gather-to-remember-sam-larner-1-4257514
http://www.greatyarmouthmercury.co.uk/news/winterton-s-famous-folk-singing-fisherman-to-be-honoured-with-festival-1-4074003
https://wintertononsea.co.uk/village/sam-larner.html
See also Rig-a-Jig-Jig: A Norfolk Music History Project)

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A Ghostly Tale: Phantom Horses!

There are numerous ‘phantom’ horses and coach’ tales in Norfolk and indeed throughout East Anglia; however, actual first-hand accounts of them are few and far between. The following account was sent to the Editor of the BSIG’s ‘Lantern’ magazine in 1975 by a lady who, at the time was living in Diss, Norfolk. It is interesting…….!

Phantom Horses (Mockbeggars Hall)2
Mockbeggars Hall, East Tuddingham, Norfolk

“Last September (1975) I had just moved to East Tuddenham, Norfolk. One evening late in September on a cold, slightly windy evening with a full moon, I was taking my dog for a walk. I had walked up Common Road, past the Post Office and up to Mockbeggars Hall. I had walked up the road and had just reached some old cottages, when I heard the sound of ‘loose’ horses galloping towards me. My dog was upset and so I started to turn back for home. I thought that they were live horses and I was terrified as I was not able to get off the road as there were thick hedges on each side and I was afraid of being trampled underfoot.

Phantom Horses2
(Photo: copyright owner unknown)

I turned back for home running as fast as I could and hoping to get near some cottages to get off the road by getting into one of the gardens. I could still hear the sound of the horses following, and then I had to stop to get my breath – and the noise stopped! As I ran off again, the noise started again and stopped when I was able to get off the road. As it was a straight road and moonlight, I looked up the road and saw nothing but as I looked a car came down the road with lights on – but there was nothing to be seen.

In my youth I rode a lot and can distinguish between horses on fields and those on a hard road or cobbles. This was definitely a hard road sound of horses. Once I realised that it was a sound and not the real thing I was no longer afraid, but my dog was very upset and eager to get home.

I asked in the local shops if anyone had heard of this happening to anyone else and was told that there was a local man who had had the same experience………!

THE END

Source:
https://www.hiddenea.com/lanternarchive.htm

NOTICE: ‘Norfolk Tales, Myths & More!’ is a ‘non-commercial’ Site seeking only to be informative and educational on topics broadly related to the history and heritage of the County of Norfolk in the U.K. In pursuing this aim, we endeavour, where possible, to obtain permission to use an owner’s material. However, for various reasons, (i.e. identification of, and means of communicating with an owner), contact can sometimes be difficult or impossible to established. NTM&M never attempts to claim ownership of such material; ensuring at all times that any known and appropriate ‘credits’ and ‘links’ back to our sources are always given in our articles. No violation of any copyright or trademark material is intentional.

 

Norfolk: Its Literary Secrets.

Back in July 2013 the author Ian Sansom, writing in the Guardian Newspaper, asked the question: “Is Norfolk England’s most secretive and strangest literary County?” On the basis that little would have changed in seven years, it seems a good idea to repeat his rhetorical question and to present it to what might well be a different group of readers; it is equally of benefit if the response he gave at the time is also repeated. Here it is:

Processed by: Helicon Filter;
Heacham Beach at Sunset. Photo: Nick Colledge

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, eco-criticism, 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 Literature. This is my big idea!

If we were to apply some of the quantitative 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.

Literary Norfolk (Brograve Mill)
Brograve Mill, Norfolk Broads. Photo: TwoPointZero.

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 the late 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 (Norfolk Broads)
A stretch pf the Norfolk Broads at sunset. Photo: HotelsAfloat.

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 Ransoms‘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).

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.

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.

Literary Norfolk (D J Taylor)
DJ Taylor. Photo: David Levenson/Getty Images

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.”

In my own 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.

 

Literary Norfolk (Book_Ian Sansom)
Ian Sansom’s The Norfolk Mystery was published by Fourth Estate

THE END

Sources:
https://www.theguardian.com/books/2013/jul/26/ian-sansom-literary-norfolk
http://www.literarynorfolk.co.uk/Poems/norfolk.htm
Header Photo: Heacham Sunset by Robin Limb

NOTICE: ‘Norfolk Tales, Myths & More!’ is a ‘non-commercial’ Site seeking only to be informative and educational on topics broadly related to the history and heritage of the County of Norfolk in the U.K. In pursuing this aim, we endeavour, where possible, to obtain permission to use an owner’s material. However, for various reasons, (i.e. identification of, and means of communicating with an owner), contact can sometimes be difficult or impossible to established. NTM&M never attempts to claim ownership of such material; ensuring at all times that any known and appropriate ‘credits’ and ‘links’ back to our sources are always given in our articles. No violation of any copyright or trademark material is intentional.

St Benet’s Abbey: Treachery!

It is not uncommon for tales of apparitions to have grown up around the sites of former monestries. In the turbulent years of the Middle Ages, and either side, monks were thought to have had supernatural powers and were associated with mysticism and superstition in people’s minds. It is not surprising therefore that several tales about villainous monks at St Benets Abbey have circulated over these years – and indeed, still flourish.

Mostly these tales have been linked to political and religious intrigues and double-crossings; many of which were simply part and parcel of powerful establishments. One example relating to St Benets is when, in an attempt to transform the Abbey into a pilgrimage centre to rival Walsingham and Bromholm, the monks there invented the cult of St Margaret of Holm who, according to a medieval chronicler, was strangled nearby in Little Wood at Hoveton St John in 1170. This barbarous act recalls to mind the crucifixion of the boy saint William of Norwich in 1144 (see here for separate Blog), which was within living memory of those monks at St Benets!

St Benets, or to give it its full name of St Benedict’s-at-Holm (or Hulm) Abbey, has been a Norfolk Broad’s landmark for almost 1000 years. Situated on the banks of the river Bure, the Abbey has long been reduced to just the ruins of the former gatehouse, into which an 18th century farmer built a windmill. This strange ruin, as small as it is, holds many stories and hides more than a few mysteries.

Shrieking Monk (Normans)2The tales which have survived the test of time include attacks by the Normans then, 300 year’s later, the Peasants Uprising when the Abbey was stormed and its deeds and charters destroyed. There are also those mythical stories and legends relating to images and sometimes terrible things that had once been a part of this once sacred place and have since been periodically returned by what may well be magical means! They include the recurring story of a monk from St Benets who, on quiet evenings, can still be seen rowing between the Abbey and Ranworth in a little boat, accompanied by a dog. It is said that he is quite harmless and concentrates only on his regular task of maintaining the rood screen in Ranworth church. Then there is the Dragon which once terrorised the village of Ludham and ended its life at the Abbey. The Legend of the Seal is another tale dating back to the days of King Henry I when a legacy of ancient carvings depicting the story were built into either side of gatehouse entrance and can still to be seen today. However, let us not be carried away in directions that would take us away from the following Tale – an apparition which has its roots firmly at St Benets. Just Remember! in common with all orthodox ruined abbeys and priories, St Benets and its surviving gatehouse is still believed to be haunted!

Shrieking Monk (St Benets)4This tale is known as ‘The Shrieking Monk‘ and it is believed to be that of Ethelwold (some say Essric?), the young bailiff monk who basely betrayed the Abbey in the hope of becoming its Abbot. This spectre has a fearful significance – and it screams! Like many, it has an anniversary date for appearances, but it is just as likely to be seen at other times of the year when ‘conditions are just right’. They say that it is possible to experience this particular spectre in the late autumn, on All Hallows Eve, or winter on dark nights between midnight and early dawn, particularly if the dawn is shrouded in a heavy mist and there is a distinct chill in the air. Even today, few would care to pass the old ruin when such conditions are abroad – particularly when they hear the tale of a certain Ludham marshman who perished one night near the ruined gatehouse of St Benets. Apparantly, according to William Dutt’s ‘Highways and Byways in East Anglia’ (1901) –  this marshman was on his way home from his bullocks. As he draws near the gatehouse and sees something in the shadows that ‘started screeching like a stuck pig’. Some years later this story was further elaborated when retold by the Stalham folklorist, W H Cooke; he call it ‘The Shrieking Monk’. It tells how this monk terrified a local wherryman one foggy night – All Hallows Eve and he rushes away to seek the safety of his wherry which is moored nearby; he slips in the early morning mud and falls into the Bure and is drowned!

Following in the tradition of gilding each ghost story in its re-telling; here, we again go back to those Norman times and to the moment when William the Conqueror was, apparently, experiencing great difficulty with taking St Benet’s Abbey. This version of the story again surrounds William’s difficulty and the monk Ethelwold who falls to temptation, opens the Abbey gates to the Normans – but subsequently is executed. Imagine now the Abbey materialising out of thin air, along with the obligitory mist; the present ruinous Mill transforming itself into a stone tower from where the execution referred to took place.

Shrieking Monk (Normans)3We are told that the Monks of St Benedict’s successfully withstood attacks from King William’s men for months on end and could have held out for much longer had it not been for the act of treachery by Ethelwold, the young bailiff monk. The strong walls of the Abbey had proved impregnable and there was enough food to feed those inside for at least twelve months; some also believed that a trust in God by the Abbot and the rest of the Abbey’s monks also played an important part in staving off the enemy. Unfortunately for all concerned, the young monk held aspirations which did not match his low position in the church. His aspirations, if legend and myth are to be believed, also made him a prime candidate  to be bribed.

The Norman army deployed around the Abbey had been on the verge of giving up on their task but the general in charge decided that maybe a different tactic might work, having identified the monk as a possible solution. What was needed was for a messenger to be sent to the Abbey with a letter urging the Abbot to surrender, but at the same time to, surreptitiously, slip a tempting offer to this particular monk. This plan was put into operation and a messenger was despatched on horse back, carrying a white flag to guarantee entry. Once inside and before meeting the Great Abbot to hand over the general’s letter, the messenger managed to hand a separate note to Ethelwold, asking him at the same time to, somehow, return with him to meet with the General; a safe audience would be guaranteed.

Shrieking Monk (Ghost)4
Photo: Spinney Abbey

On receiving the general’s letter, the Abbot bluntly refused to contemplate his demand and quickly sought a volunteer to convey his decision back to the other side. Unsurprisingly, Ethelwold, the highly flatterable monk, stepped forward and offered his services; he by then being totally intrigued by the general’s attention in him. This monk’s ego and aspirations were further enhanced when on arrival he was told by the general that he, Ethelwold, was obviously destined for a better career than that of a humble bailiff monk. Now, if only he would help the general’s soldiers take over the Abbey he, the humble monk, would be elavated to Abbot of St Benedict’s Abbey – for LIFE – a gift that would be far beyond the menial’s wildest dreams! The general added that the young brother had absolutely nothing to lose, for if the Abbey held out, despite impressive defensive walls and generous stocks of provisions, the army would attack in even greater force and inflict a terrible result on the religeous order. But, if this “Abbot Elect” would just open the gatehouse doors that same night, everyone would be spared.

Although clearly naive, Ethelwold was not without a degree of intelligence. Surely, he questioned himself, the other brethren would punish him if he was ever found out; they would certainly not accept him as their Abbot? He was not even an ordained priest – for heaven’s sake! Even here, the general had anticipated such doubts but seemed to have no difficulty in convincing the monk that by using his new elevated rank of ‘conqueror of the Abbey’ the brethren would accept their new Abbot, in pain of losing the present incumbent and anyone else of a rebellious nature. With this assurance, the now traitor returned to St Benet’s in both excitement and with not a little fear. Ethelwold was naturally welcomed back and praised for his bravery in delivering the Abbot’s letter of refusal; whilst he held a burdensome secret.

Shrieking Monk (St Benets)6The final days of May that year were full of sunshine, bridging the final days of spring to the start of summer; the evenings were however deceptive with one culminating in a sudden dissolved dusk displaced by a very chilly, dark and eerie night. The bell in the Abbey tower rang out eleven times, each ring echoing across the night ladened marches whilst Ethelwold’s heart pounded at an ever increasing pace as he waited for the final chord. This was followed by the sound of three knocks on the gatehouse door; the expected visitors had arrived! The nervous bailiff slowly withdrew the well lubricated bolts and was about to slowly release the door quietly when it was flung open and the monk was brushed aside as soldiers burst through and set about their task. Very quickly the monks realised a betrayal and offered no resistence because shedding blood was abhorrent to their beliefs; any arms were put aside and a truce quickly agreed, followed by an order that all must essemble in the Abbey Church the following morning.

Shrieking Monk (crowning)2There, on a morning that reflected the prevailing mood of the defeated, the young ‘Abbot Elect’ was paraded in with great ceremony and in front of the assembly was anointed and then dressed in cope and mitre. The Abbot’s crovier was placed in his hand, followed by a pronouncement that the once monk was now the Abbot of St Benedict’s-at-Holm – for LIFE! To complete the ceremony, the new Abbot was escorted the length of the Abbey by Normans in ceremonial armoured attire and banners flying – but with no applause except for that coming from the Normans. The defeated audience watched in total silence. The new Abbot was, however, full of himself and he ignored a part of the spectacle that was clearly of no importance to him. That changed all too quickly; the Abbot’s face, so flushed with utter pride one moment, turned deathly white as his hands were suddenly thrust behind his back and tied unceremoniously. Still dressed in his glittering robes, this ‘newly annointed abbot’ was dragged off – Norman’s abhor treachery!

Shrieking Monk (Hanging)Ethelwold, shrouded by a realisation that he had been completely fooled and foolish, cried for mercy but his cries were ignored. His march from the throne to an open window in the bell tower was further ignominious. There, he was hoisted up on to a makeshift gibbet made of a simple stout pole protruding out from the widow that faced a still misty river and marsh beyond. Then, no sooner had the noose been placed around the unfortunate’s head, when he was pushed to swing in full view of those who had gathered below. Those who were further away and out of sight of this summary execution would have their chance to witness the result. They would understand the stark message that was directed to everyone under to authority of Norman rule; all who dared to be treacherous for personal and selfish gain would meet the same fate! The church authority may also have considered the outcome appropriate and that the individual who had fallen from both window sill and grace, was now in the process of being judged by his Maker.

This story makes you wonder! – How many of us today, would choose to manouver their boats along the river Bure in early morning mist or walk the same path past the ruined Abbey, and concern themselves with apparitions? – particularly if the morning, from midnight onwards, happens to be misty? How many out on the 25th May would quicken their stride or increase water speed – just in case! Maybe all it takes is to be alone in the dark or in an early mist, a mist that was thought to be rising, but drops again suddenly at the same moment as the temperature takes on a deeper chill……! One thing is certain; all that is needed beyond these conditions is for a lone lapwing to swoop close by and send forth its pre-emptive cry of what might follow!

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THE END

Sources:
Dutt, W., Highways and Byways in East Anglia, 1901
Cooke, W.H., The Shrieking Monk, 1911
Tolhurst, P., This Hollow Land, Black Dog Books, 2018
Photos: Wikipedia, Google, Spinney Abbey.

NOTICE: ‘Norfolk Tales, Myths & More!’ is a ‘non-commercial’ Site seeking only to be informative and educational on topics broadly related to the history and heritage of the County of Norfolk in the U.K. In pursuing this aim, we endeavour, where possible, to obtain permission to use an owner’s material. However, for various reasons, (i.e. identification of, and means of communicating with an owner), contact can sometimes be difficult or impossible to established. NTM&M never attempts to claim ownership of such material; ensuring at all times that any known and appropriate ‘credits’ and ‘links’ back to our sources are always given in our articles. No violation of any copyright or trademark material is intentional.

 

John Craske: An Artist Saved By The Sea.

By Haydn Brown.

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)

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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Mousehold’s Little Railway

By Haydn Brown.

 The Norwich Electric Tramway Company was a subsidiary of the New General Traction Company and its construction work started in Norwich in June 1898 with its first routes opened in July 1900. In conjunction with the laying of rail track and all else that is required to establish a tramway system, an electricity generating station was built on Duke Street in Norwich to supply power for the scheme. The Company’s tram depot was also built on Silver Road in the City. The whole network was essentially complete and fully operational by the end of 1901, but there were minor additions and changes in 1918 and 1919 – see below.

Norwich Tramway (Map - Plunkett)
A Diagram of the Norwich Electric Tramway System. Photo: George Plunkett

The above Diagram shows a tramway system which operated seven main routes throughout the central areas of the City; each route ‘colour-coded’ using White, Red, Green, Blue, Orange, Red & Blue and Yellow & Red. This article is concerned only with the Green route which transversed the City from the junction of the Unthank and Newmarket Roads to Castle Meadow, then onwards to Prince of Wales Road, Norwich Thorpe (GER) Railway Station, Riverside Road, Bishopbridge Road ; then generally terminating at the Cavalry Barracks. However, during the summer months there was an ‘extended summer service’ route which ran from Riverside Road, up and along Gurney Road to the elevated spot on Mousehold Heath at the Pavilion (now Zaks) where the trams would terminate and make ready for the return trip.

Norwich Tramway (Cavalry Barracks 1900)
The Cavalry (Horse) Barracks, Norwich in 1900. Photo: Public Domain.
Norwich Tramway (Tram Riverside)
The section of the Norwich Electric Tramway system ‘Green Route’ which operated between Newmarket Road and the Cavalry Barracks (above), taking in Mousehold Heath during summer months. This photograph shows a tramcar travelling along Riverside Road, between Norwich Thorpe (GER) Station and Bishopsgate Road. (Photo: Courtesy of Norfolk County Council)

Towards the end of World War I (1914-1918) a temporary extension to the ‘Green’ route was laid down to transport armaments, munitions and aircraft parts between the then Mousehold Aerodrome, on which a munitions factory was situated, and Norwich Thorpe (GER) station. This extension was named the ‘Mousehold Light Railway’, and to operate its movements, the Light Railway used part of the existing Newmarket Road to Cavalry Barracks ‘Green’ tram route belonging to the Norwich Electric Tramway – namely,  the section that ran between Norwich Thorpe Station and the Gurney Road Pavilion on Mousehold Heath.

121339416_10157361931631689_6942411255187335457_n
Tramway heading for the Gurney Road Pavilion on Mousehold Heath. Photo: George Plunkett.

Beyond this point, one end of the new ‘extended’ light railway then cut through the valley woods to pass south-east of the ruined St William’s Chapel site, before entering the ‘Mousehold Aerodrome’ site itself, with its munition’s factory. The entrance to this airfield was on the other side of what is now termed the Norwich Ring Road and  along what now is Roundtree Way.

Norwich Tramway (Mousehold)
A section of Mousehold Heath through which the Light Railway once ran. Photo: Blipfoto

The other end of the Mousehold Light Railway separated itself from the existing ‘Green’ passenger tram route at the southern end of Riverside Road; from there, it crossed the Thorpe Road junction east of Foundry Bridge and entered the Thorpe Station forecourt. From there, a spur line was laid to run parallel to the northern side of the rail Terminus to a siding which effectively served as Platform 7; here, the goods were off-loaded on to suitable main line rolling stock for onward main line trains journeys. The wagons used along the whole length Light Railway were hauled by two Government owned electric tractors, with BTH controllers and 38hp motors, powerful enough to pull the heavy loads up into and across Mousehold Heath. At the end of the War the line was discontinued and the tractors passed into the possession of Norwich Electric Tramcar Company who converted them for tram use. They were known as ‘Dreadnoughts’ due to their wartime role.

As for the rail line extensions, these were recycled from the disused King Street tram-route but differed in re-construction with the use of wooden sleepers. These rails and sleepers remained in- situ for about twelve years before being taken up in the 1930’s. Today, there still remains some evidence of the course of the light railway; a short length of former tramway survives as a cutting close to the south-east corner of the earthworks associated with St William’s Chapel.

Norwich Tramway (Mousehold - Lidar)
A Lidar image of Mousehold Heath showing  the St William’s Chapel site (center) and the approximate route of that section of the Mousehold Light Railway that linked what is now Rowntree Way with the Gurney Road section of the ‘Green’ Norwich Electric Tramway system, thus allowing the Light Railway to reach into Thorpe Station.

MOUSEHOLD AERODROME SITE

During much of the 19th century, the area outside of the present outer ring road, between the present-day Salhouse and Plumstead roads, used to be the Norfolk Regiment’s Cavalry Drilling Ground. During World War I (1914 and 1918), the area became a Royal Flying Corps (RFC) airfield and was sometimes referred to as ‘Norwich Aerodrome’. In April 1918 it became the ‘Royal Air Force Station Mousehold Heath’; its size covering 263 acres and containing a domestic and technical site. The technical site was equipped with a number of hangars including a coupled General Service shed. The first unit based at Mousehold Heath was Number 9 Training Squadron which stayed there until January 1918. A number of other squadrons stayed at the airfield including 18, 37, 85 and 117 Squadrons. From 1916 Mousehold Heath was the headquarters of the RFC Number 7 Wing.

Norwich Tramway (No.3 Badge)No. 3 Group Headquarters was located at Mousehold Heath between July and November 1919.

Norwich Tramway (B & P Mousehold)
One of Boulton & Paul’s Hangers at Mousehold Aerodrome in 1918. (Photo: copyright owner unknown – see Notice below.)

The airfield also became an important repair and maintenance depot in 1917 which subsequently became the Number 3 Acceptance park. This was formed on 22 March 1917 originally as the Norwich Aircraft Acceptance Park later designated as the No. 3 (Norwich) Aircraft Acceptance Park and on 26 July 1919 became the Norwich Storage Park. The park was to accept aircraft into service from local manufacturers Boulton & Paul, Mann Egerton, Portholme and Ransome Simms & Jeffries until 1930.

Norwich Tramway (Bi-Plane)
The Beardmore Inflexible aircraft at the Norwich Air Display, Mousehold Aerodrome, May 1929. Photo: The Flight magazine archive from Flightglobal, CC BY-SA 4.0,  

The Norwich & Norfolk Aero Club was formed at the airfield in 1927 and the airfield operated as Norwich Municipal Airport between 1933 and 1939. During this period, the airfield was also used by the military as a Motor Transport Storage site and as an Elementary (and Refresher) Flying Training School (Number 40 E & RFTS) between 1937 and 1939. Then, during the Second World War, the airfield came to be used as a bombing decoy with dummy aircraft stragetically place throughout the area. The airfield also had an anti-aircraft battery and radio beacon; further to this, it has been suggested that part of the area may have been used as a Prisoner of War camp. Flying from the airfield finished in the early 1950s and the hangars were subsequently converted into light industrial use as part of Roundtree industrial estate.  The whole area is now the Heartsease Housing Estate.

Norwich Tramway (Heartsease)
Aerial view of the early stages of the Heartsease Estate. Photo: No date, Plate P1195

THE END

Sources:
https://www.blipfoto.com/entry/4116220
http://www.pastscape.org.uk/hob.aspx?hob_id=1492579
War Work at Boulton and Paul, Norwich.
https://en.wikipedia.org/wiki/RAF_Mousehold_Heath
www.edp24.co.uk/features/when-trams-ruled-the-streets-of-norwich-1-4856536
Header Picture: Painting by John Crome, circa 1818-1820. Tate Gallery, London.
Photographs by George Plunkett are published by kind permission of Jonathan Plunkett.

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

On this St Crispin’s Day, 25th October 1415, Norfolk’s Sir Thomas Erpingham led the English archers at the Battle of Agincourt, where 9,000 troops, under King Henry V, defeated 60,000 French troops. To commemorate that battle and the contribution and bravery of Sir Thomas, together with all troops who fought that day, the following and imaginary ‘first hand account’ of that day is re-issued once again.

Agincourt (Erpingham)1
Sir Thomas Erpingham as seen at the Erpingham Gate in Norwich, Norfolk. Photo: Literary Norfolk
Agincourt (Battle Scene - Archers_Pinterest)1
English Archers. Photo: Pinterest

In autumn time when leaves crumble on the bough and birds turn eyes to warmer climes, that’s when eyes of men and women turn oft to distant lands and long-remembered places. It’s that time of year again. The nights are drawing in and kings, queens, knights, yeomen, serfs and all look into the warmth of their homes rather than the cold outside. Yet think back 596 years to the 25th October 1415 and for a small band of English, Welsh, Irish and Scottish soldiers home was a long way away.

On this morning all those years ago, I recall our good king Henry V extolling all of us to do our duty in the face of horrendous odds: to do battle against the glory of France and to win. The problem we faced was this: our total force was fewer than 6,000; those of our enemies were – as far as I could see – at least 20,000. But there were probably more.

Agincourt (Present Day View)
Present-day view of the Agincourt site. Photo: sirgawainsworld.wordpress.com

It had rained the night before. My fellow soldiers were cold and wet. The ground was muddy underfoot. I recall Sir Thomas Erpingham, the commander of the archers, wandering among this filthy soldiers, offering calm and reassuring words – his Norfolk burr whispering like a plane over elm.

I recall the king explaining to his lords the protocol of what to do should defeat occur. But I also recall him laughing in the face of adversity across the sodden field ahead of him. If we can be touched by the hand of God, then let that time be now. Within hours the French would overwhelm us – only prayers and fate could help us beneath the leaden skies of Picardy.

Agincourt (Map)1

There we were at Maisoncelle, a small hamlet of fewer than 100 souls, standing and looking across the plain ahead of us. In the distance, to the left, we could see the church as Agincourt nestling in the trees. To the right, another woodland. In between, the feudal host of France glistened in the early morning. We could hear jesting and laughter – the confidence of well fed men, fully rested and ready for battle. Yet we few souls knew that we would have to face these men on this field or lose the war. Agincourt, this dirty village, would either be famous for all time or some nameless burial ground for an army of lost souls.

Yet the French would not come forward. We knew then that we had to advance and attack them: sheer folly, given the size of the field in front of us and the risks of flank attack. Yet so it was that Henry gave the instruction for our pitiful band to advance. Fortune favours the brave. Across that field we walked, the archers upping sticks and then, as we neared the village, placing them again in the earth – hammering their stakes into the ground and sharpening their tips. We were but 300 yards from our enemy. We could see them, their faces, their movement, their laughter. They were drinking and scornful of our ragged force. And still they would not come…….Here it was that Henry urged strength and with a signal to Sir Thomas Erpingham urged our archers to loose upon the enemy a hail of arrows so vast that it would seem as if it snowed. Sir Thomas raised his baton in the air and at the command of “Next Stroke” lowered his arm. The arrows loosed like a cloud of darts and down they fell. In minutes the French, the immovable host, started to edge forward. I will be honest and say that fear gripped us but we knew now that we must stand and fight.

Agincourt (Archers)
Agincourt Archers. Photo: Pinterest

Our archers delivered wave after wave of arrows in a storm upon the French. Many brave men fell and piled high in mounds, crushing those still living until they drowned in the soft earth of that sodden field. It was not chivalry. It was not war. It was carnage. Yet still they came, pushing back our knights so that even our archers had to get amongst them. I recall the Duc d’Alencon at one point surrendering his sword to Henry in surrender – yet to my shame I saw him cut down by the king’s bodyguards. In the height of battle, urgency overwhelms sensibility. As it did when fear of a French attack from the rear compelled the king to order the killing of many prisoners. With ransoms due on those men, I can assure you that this was not a decision taken lightly nor indeed received well by those guarding them. Yet so it is when victory can turn to defeat.

Agincourt (Mud)
Mud. Photo: Copyright © myArmoury.com

Within hours – I would say two hours at most – it was all over. The long road to Agincourt and on to Calais had ended here. Perhaps two hundred of our own in exchange for many thousands of the enemy lay strewn across the mud. As in all such battles at that time, those who lay suffering through terminal wounds were despatched where they lay by friends and fellow warriors. The peace of death came brutally to those who had avoided it during the battle’s climax.

When I think back to that fateful day all those years ago, I sometimes wonder what might have happened had things turned out against us. And yet they did not! As our good bard, William Shakespeare, was to write so many years later,

gentlemen in England now a-bed shall think themselves accursed they were not here and hold their manhoods cheap whiles any speaks that fought with us upon Saint Crispin’s Day.”

Agincourt (agincourtmiddleb)
The Aftermath.

As for Sir Thomas Erpingham, he gave thanks for such a resounding victory and his survival by paying for the Erpingham Gate, in Norwich, to be built at the entrance from Tombland to the Cathedral Church.

Agincourt (Erpingham Gate)1
The Erpingham Gate, Norwich, Norfolk. Photo: Copyright Evelyn Simak

Sources:
https://sirgawainsworld.wordpress.com/tag/sir-thomas-erpingham/
Banner Photo: British Battles

NOTICE: ‘Norfolk Tales, Myths & More!’ is a ‘non-commercial’ and ‘non-profit making Site which publishes items which are considered deserving of wider exposure. In pursuing this aim, the Group endeavours, where possible, to obtain permission to use another owner’s material. However, for various reasons, (i.e. identification of, and means of communicating with owners), contact can sometimes be difficult or impossible to established. Nevertheless, please rest assured that any known and appropriate ‘credits’ and ‘links’ back to sources, are always given in our articles. No violation of any copyright or trademark material is ever intentional.

The Stanfield Tragedy -Trial and Execution!

By Haydn Brown.

“On the morning of the 20th November, 1848, the City of Norwich was aroused from its usual state of general calmness and tranquillity by a rumour that terrific deeds of blood had been committed in the vicinity; and many were the shapes which the tale of horror took in travelling from mouth to mouth. But, however distorted, it was unfortunately true”……………

The Background to the Tragedy:

James Blomfield Rush
James Blomfield Rush. (Photo: copyright owner unknown – see Notice below.)

James Blomfield Rush was a farmer with inflated pretensions of being a country squire, but he held a very long record of suspect dealings and financial problems. He always seemed to be trying to crawl through legal loopholes to dispose of his debts and badly arranged financial commitments. He also fell foul of suits brought against him for seduction and bastardy – by more than one woman. He met his match in Isaac Jermy though – formerly Preston if you remember! He was the Recorder of Norwich and a member of the Norwich Union Board who knew the law, finance and was not backward in using both to his advantage.

Cartoon of Shooting

The mortgage for Rush’s Potash Farm was due to be settled on the 30th November 1848, but Rush had no way of paying it. Two evenings prior to this deadline Rush, disguised with a mask, wig and whiskers, walked the short distance from his farm to Stanfield Hall and hid in the bushes until IsaacJermy Snr. stepped out after dinner for his spot air and possibly a smoke. Rush immediately came forward and shot him at point blank range before striding into the Hall where he shot dead Isaac’s son; a further round hit Mrs Sophia Jermy’s upper arm, while a second wounded Eliza Chestney in the groin and thigh as they attempted to flee. The murderer then went out through a side door. After medical examination by a doctor it was thought that Eliza had suffered a compound fracture of her bone. The wound to Mrs Jermy’s arm resulted in an amputation. Despite wearing a disguise, the size and gait of Rush was recognised by the staff of Stanfield Hall and he was quickly arrested the following morning after police had surrounded Potash Farm.

Potash Farm 1849 2
An antique print of Potash Farm dated 1849.

 The Trial of James Blomfield Rush:

The circumstances surrounding the murders at Stanfield hall and the subsequent trial of the accused, James Blomfield Rush was an occasion which had all the hallmarks of a classical Victorian melodrama. The story had a large country mansion as the backdrop and plenty of blood; a villain who was cast perfectly with the right physical appearance of hard looks, bad behaviour, brusque manners, dubious morals and sinister scheming. If that was not enough then it had a riveting plot, all wrapped in a readymade story. This was the answer to a writer’s dream. No wonder the lurid details of the murders helped sell millions of copies of local and national newspapers, their column pages and supplements given over to the case. Queen Victoria was rumoured to have taken an interest, along with the great Victorian author, Charles Dickens who visited the scene and recorded his impression that the Hall “had a murderous look that seemed to invite such a crime”.

Norwich Court (Outside) 1849
Outside Norwich Assize’s Court.

Everything was exposed at Rush’s trial which opened on Thursday morning, 29 March 1849 at the Norfolk Assizes before Judge Baron Rolfe. Every available seat was taken and no one was allowed to enter without a ticket of admission. On the opening of the doors, shortly after 8 0’Clock, there was a rush for the seats and the Court was quickly filled “in every part by gentlemen and ladies of the highest respectability, including several noblemen” Precisely at 9 o’clock, Judge Baron Rolf entered, there was an immediate solemn silence and the prisoner James Blomfierld Rush was called. Every eye was directed towards the Box when Rush entered, dressed in black and, apparently, in good health. He was informed of the indictment charging him with the murders of Isaac Jermy, Esq and his son, to which he pleaded NOT GUILTY!

Norwich Courtroom 1849
Inside the Courtroom.

Rush had previously turned down offers of a legal representation, opting, quite arrogantly, to conduct his own defence which, because of his own incompetence, belligerence and blatant intimidation of the prosecution witnesses, was to simply hastened his downfall. he was to present his defence over fourteen hours of rambling without making any impression in his favour. His address was full of repetitions and the witnesses that he called, one way or another, damned him; he also damned himself, not least when he was to ask one witness, a Maria Blanchflower who had passed within feet of him on the night, “Did you pass me quickly”! – a very unfortunate slip of tongue in open court and was to do his defence no good..

But that was to come later for the Prosecution were the first to present its case, calling on several witnesses, the first of which set the tone for Rush’s ultimate conviction. Thomas Jermy aged 67, then a gardening labourer living in south London was simply asked: “Can you write?” and he answered even more briefly “No Sir”. From his reply it was obvious that he could not have signed the Notes, dropped by Rush at the time of the murders, allegedly claiming the Stanfield Hall Estate by Larner and Jermy:

Forged-Note
Forged Note.

It was established that Rush was behind this deception with the intention of casting suspision for the murders on to Larner and Jermy, who could not possibly have committed them since at the time of the crime both were in London.

Other witnesses followed, including the injured victim Eliza Chestney and the principal witness, Emily Sandford. Both of whom were to be cross examined by Rush, again with a mixture of charm, religious fervour, rudeness and intimidation. Finally, his Lordship, in the most patient of manners simply requested the Jury to give the words of the accused “the degree of weight they deserved”. Then, having been told to consider their verdict, the Jury retired. After barely 6 minutes, they returned to deliver the verdict – GUILTY!

The Judge then put on the black cap and to a profoundly silent Court he sentence Rush to death, his penultimate words being:

“It remains only that I pronounce the awful sentence of the law upon you; and it is, that you be taken back to the place from which you came, and from thence to the place of execution and that you be there hanged by the neck until you are dead, and that after death your body be buried within the precincts of the gaol and may the Almighty have mercy on your soul”

Finally adding a few exceptionally severe words:

“It is a matter of perfect indifference to society at large what your conduct maybe during the few days remaining to you”, being as you are “an object of unmitigated abhorrence to everyone”

Rope
The Rope!

Rush remained still for a brief moment after the Judge had finished, but when the gaoler touched to remove him Rush smiled in a slightly demonic manner and uttered what sounded like a few joking words. His escort, whilst not responding to the prisoner, took great precautions to see that there was no communication between him and anyone in the Court as they left. The Judge then retired and the Court was quickly cleared.

For the several days between the trial and the time of execution, Rush was confined to his cell still imagining that he could persuade those around him that he was innocent. Several members of the clergy attempted to bring him to his senses and to see the awful and unhappy position he was in, but with no success. One person expressed the hope that Rush would at least realise the old aphorism that the man who begins by deceiving others often ends by deceiving himself; but Rush continued to adopt airs and graces and offer phrases of a deeply religious man, but no one was fooled.

The Execution:

On the morning of his execution, Rush asked for some hot water to wash himself and a clean shirt in which to be buried. The solemnest of his cell as he passed his final hours was in stark contrast to the hive of activity already in evidence outside in the streets of Norwich where thousands of pedestrians were beginning to gather, mingling with the trades people that were there to sell their wares.  One reporter observed:

“ If such be the usual state of the city on an ordinary market day, one may form some slight conception of what was likely to take place when, in addition to the attraction of the Market, there was to be witnessed the execution of so atrocious a criminal as James Blomfield Rush” – and then on observing the mass of people assembling said “the Cry was, still they come!”

The universal theme of conversation since early that morning was noisily about Rush and the Stanfield Murders. Then from about 10 o’clock the sounds of the bustle and hum of preparation for business ceased, to be replaced by anxious expectation of everyone, whether selling or buying. Perhaps more offensive to some was the conduct of a handful of ‘ballad-mongers’ who continuously bawled out doggerel rhymes of the person to be hanged later while a large black flag floated over the entrance to the Castle and a large section of those nearest gazed upon the gibbet perched over the bridge spanning the dry moat and from which Rush would hang.

JBR (william-calcraft-executioner)
William Calcraft (Executioner)

Between 11 and 12 o’clock the bell of St Peters Mancroft tolled the death knell for the criminal; at some moment within this hour Rush was escorted from his cell to the turnkey’s ‘receiving-room’ to be pinioned; there he met with William Calcraft, executioner, of whom he asked Mr Penson, the Governor “Is this the man that is to do the business?” The affirmative reply pre-empted Calcraft’s task of pinioning Rush who, at that moment, shrugged his shoulders saying “ This don’t go easy” then “not too tight”.

Just after 12 noon with the preliminaries completed, a procession formed and made its way to the scaffold with the Chaplain leading. The distance between the Castle door and the gallows was about sixty yards, along which the Chaplain read aloud.

“ I am the resurrection ……………… blessed be the name of the Lord”.

Rush, on the other hand, presented an assumed dejected pose of someone who had ‘avenged a great injury’ and was satisfied with what he had done. He then raised his pinioned hands to his face and violently trembled before removing his hands from his face and, turning his eyes to heaven, assumed the attitude of prayer. When both he and the Chaplain had finished the ritual, Rush beckoned to the Governor of the Castle to his side and the following brief conversation took place:

Rush: “Mr Penson, I have a last request to make to you; it is, that the bolt be withdrawn while the Chaplain is reading the Benediction – “The Grace of the Lord Jesus Christ, and the love of God, and the fellowship of the Holy Ghost be with us all evermore”.

Mr Penson: “I will immediately communicate your wish to the Chaplain and I have no doubt it will be attended to”.

However, the Governor was economical with the truth for the general impression of the officials there in the ‘receiving room’ was that they feared that Rush intended to carry out ‘some vain and fruitless feat’, as indicated by both his behaviour overnight, during the early hours and, particularly, his last request for the drop to happened when certain words of the Chaplains were spoken. Mr Penson, fearing that something was afoot, intended to give Calcraft the signal in advance of any chosen words – and whilst it was not his intention, the moment chosen by Penson would come as quite a shock to Rush! –  if indeed he ever had plans for a final grand performance in front of the authorities and public.

norwich-castle-bridge
The Bridge at Norwich Castle on which the scaffold was erected and from where James Blomfield Rush hung.

Rush, accompanied by the officials and the executioner ascended the gallows which had been erected over the bridge that spanned the Castle’s dry moat. An observer’s comment was that the structure was “a clumsy and inconvenient structure, as badly arranged and as unsightly in appearance as anyone could conceive. It seemed to be the work of a most unskilful designer”. Rush, for his part, looked ghastly pale as if conscience or fear had at last done its work. For a few moments he looked at the huge crowd then, seemingly recollecting that it had been arranged that he should suffer death with his back to the people, he turned around. One eye witness recorded:

“The poor creature looked for an instant on the vast mass of spectators, whose earnest gaze was upon him and on every movement he made, and then turned himself round and face the castle – his back being towards the populace.”

Rush then shook hands with the Governor just before William Calcraft, the hangman, placed him under the beam on which he was to hang and then began placing the noose around his neck. Even at this moment Rush could not resist being theatrical, saying to Calcraft:

“For God’s sake, give me rope enough. Don’t be in a hurry; take your time” Then, moving his head about, Rush added,”! Put the knot a little higher up – don’t hurry”.

This done, the white hood was drawn over Rush’s head and the Chaplain proceeded with the prayers. It was at this point that the Governor’s intentions became clear with his signal to Calcraft to ‘pull the trigger’. Before the Chaplain arrived at the words “The Grace of our Lord ………………..etc the Executioner had withdrawn the bolt, the platform had fallen and Rush was at the bottom of his one-way descent; a descent that was with such force that his body had shaken the whole gallows and the snap of the rope under extreme tension had been audible to everyone. Rush’s body remained perfectly still for about two minutes before there was a short convulsive struggle – then all was completely over. Rush’s death was greeted with loud applause then, at one o’clock he was cut down, removed to the prison on a wheeled litter and during the afternoon, his head was shaved and a cast was taken for phrenological study. Later, the remains of James Blomfield Rush was buried, as decreed by the Judge, in the precincts of Norwich Prison; the timing was 8 o’clock in the evening in a deep grave next to the remains of Yarman who was executed some three years earlier for the Yarmouth murders.

 

JBR Headstine001
James Blomfield Rush headstone at Norwich Castle Prison.

Footnote:

In the end Rush’s wax image was ‘taken from life’ at Norwich by Madame Tussauds and placed on display in her Chamber of Horrors in London for over 120 years.

The Executioner, William Calcraft, lodged in Hay Hill, Norwich

Emily Sandford emigrated to Australia – paid for by public subscription – and married a German merchant two years later and moved, with her husband, to Berlin.

Stanfield Hall was finally sold out of the Jermy family in 1920.

THE END

Sources:
https://wellcomecollection.org/articles/trial-james-blomfield-rush-1849https://archive.org/details/b28407404
http://myweb.tiscali.co.uk/tripartite/The%20Murders%20At%20Stanfield%20Hall.htm
http://jermy.org/anon49c.html
https://en.wikipedia.org/wiki/Murders_at_Stanfield_Hall

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

 

 

 

 

Norfolk Militia Omnibus

Overview:

During periods of war, Britain has long relied on soldiers on home soil to ease the fear of invasion. As far back as Anglo-Saxon times, able-bodied men were bound to serve in a militia army, called the fyrd, mobilised usually as a reaction to raids by Vikings. The fyrd comprised a core of experienced soldiers supplemented by ordinary villagers and farmers. Its function was to defend local lands from invaders. They were not full-time fighters, but bound to serve when the king needed them. Men could be fined if they neglected service in the fyrd on being called up.

Norfolk Militia (Battle of Hastings)
King Harold’s army at the Battle of Hastings (1066) included the fyrd. Photo Copyright: National Army Museum.

The decay of feudal life in Britain during the 16th and 17th centuries led to a rise in mercenary soldiers who could be paid to fight. This might have meant that locally conscripted civilian militiamen no longer played a part in defence. But the British Civil Wars (1639-52), and the reign and deposition of King James II in 1688, showed that a centralised army could be used as an instrument of royal tyranny or political revolution. The part-time militia was preserved as a counter to a small professional army that had to be sanctioned by Parliament. It became an increasingly important institution in civilian life. The Militia Act of 1757 transformed these men further into a better-trained and better-equipped national force, organised by county.

The Militia was very much local in character. Militia officers were gentlemen chosen by the local landowner and the ordinary militia soldiers were local farmers, tradesmen and labourers. These were conscripted by ballot from their own communities – unless they could produce a substitute – to serve for five years.

Norfolk Militia (Knapsack 1795)
Militia knapsack, about 1795. Copyright; National Army Museum
A knapsack was among the 60-odd pounds of equipment carried by soldiers at this time. It was in these sacks, tied with leather straps, that the men carried their kit. This included items such as shirts, spare shoes, stockings, brushes, a button stick, comb, pen, ink, black ball, pipe clay, and tent pegs.
The design of this piece of equipment changed over time. Until the introduction of the famous ‘Trotter’ black lacquered knapsack, designed by Thomas Trotter of Soho Square in 1805, troops carried a canvas version on their backs, supported by straps (from 1790 to 1805). This canvas type was still worn by militia men who had joined line regiments in the 1815 campaigns.
As in this example, the number of the regiment or volunteer unit to which the wearer belonged was inscribed on the front flap of the knapsack. This one has a badge on a red background including the cypher of King George III, crown and thistles, encircled by the name of the 10th Regiment North Bristol Militia.

Uniforms and weapons were provided and regiments were assembled for training and to deal with civil disturbance. The sheer number of eligible men obliged to serve in the militia meant that many more ordinary civilians had experience of military service than they do today

End of compulsion:

Although muster rolls were prepared as late as 1820, compulsory obligation to serve in the Militia was abandoned in the early 19th century. Those who joined would return to their day jobs after initial training, subsequently reporting only for extra instruction and the two-week camp every year. There was never an obligation for Militia to serve overseas like regular soldiers sent on active service, and for all ranks it was a relatively soft option in comparison. However, the Militia still appealed to agricultural labourers and men in casual occupations who could leave their civilian job and pick it up again. And the pay they received could be a useful top-up of their usual wages.

The Militia Act of 1757:

Norfolk Militia (Officer 1759)
Officer of the Norfolk Militia, 1759 Photo:WikiVisually 

The Seven Years’ War was a global conflict fought between 1756 and 1763. It involved every European great power of the time and spanned five continents, affecting Europe, the Americas, West Africa, India, and the Philippines. The Militia Act of 1757, passed at an early stage of the Seven Years War, enabled part-time reserve forces to be raised in each County of the British Isles. Each Lord Lieutenant was to command the Militia of his County and recruiting was the responsibility of him and his deputy lieutenants. Each County was to provide a given quota of men according to its population.  The men were chosen by ballot in each parish and had to serve for three years or they could provide substitutes or compound for a monetary payment, and there were various exemptions. The Act replaced earlier less-formal arrangements and led to better records being kept, and the men were selected by ballot to serve for longer periods. Proper uniforms and better weapons were provided, and the force was ’embodied’ from time to time for training sessions.

In effect, Militias were formed to be the “Home Guard” for the British Isles should there be an attack by foreign powers….notably the French. While this was the “primary” reason for the Militia’s existence, it was no doubt thought that in times of civil unrest, the Militia could be used to put down any pro-revolutions by the population. For this reason, most militia rarely served in the area in which they were raised so as not to be put in the situation of shooting their friends, neighbours and family. There were cavalry and artillery militia but most numerous were the infantry militia where a soldier was not required to serve overseas. Despite this ruling, the lure of adventure and ‘possible’ riches made many join up with the regular Line Regiments; indeed, roughly half the recruits for the Army came from the ranks of the Militia.

Norfolk’s Contribution:

Norfolk Militia (Edward_Russell, 1st Earl of Orford)
Admiral of the Fleet Edward Russell, 1st Earl of Orford.

In 1758 the Admiral of the Fleet, Edward Russell,  1st Earl of Orford put the “Act for the better regulating of the Militia” into effect and The Norfolk Militia was the first regiment to be formed under the Bill of 1757. It comprised of the 1st Battalion Western Regiment of the Norfolk Militia (West Norfolk Militia) under the command of Lord George Townshend and the 2nd Battalion Eastern Regiment of the Norfolk Militia (East Norfolk Militia) under the command of Sir Armine Wodehouse. Their Colonel in Chief was  the 1st Earl of Orford who set the total number of men to serve in the regiment at 960, with the city of Norwich providing 151. These men were detailed to exercise once a fortnight for three years.

The West Norfolk Militia:

Norfolk Militia ( Geo. Townsend)
George Townshend, 1st Marquess Townshend, first Colonel of the 1st Battalion Western Regiment of the Norfolk Militia (West Norfolk Militia).

In the book called ‘The Norfolk Assembly’ Ketton-Crèmer of Felbrigg Hall quotes Lady Townshend as saying ‘My Lord is at Dereham with his Militia playing soldiers’. He used Raynham Park to review his West Norfolk Militia.

Norfolk Militia (Raynham Park)2
View of Raynham Hall showing medieval building and stables on the left, the Hall in the distance and St Mary’s Church on the right. Photo: Copyright of Charles, Viscount Raynham, (Charles George Townshend).
Norfolk Militia (Raynham Park)
Raynham Park, Norfolk. Photo: Courtesy of Francis Frith
Norfolk Militia (Musician)
A musician of the West Norfolk Militia, and the only known image of a West Norfolk Militia uniform in the public domain By Unknown – Antique print., Public Domain, Photo: Wikipedia

West Norfolk Militia Snippets:

In 1850 the Reverend Benjamin Armstrong was made vicar of the considerable parish of Dereham in Norfolk. In his diary he mentions that the West Norfolk (Dereham Volunteers) held their first outdoor display in the Vicarage grounds in May. Families were invited and four tents which had been used in the Crimea in 1854/5 were erected for the benefit of the ladies. Two bands played at intervals and there were military movements, bugling, running, kneeling and firing.

In June 1859 a public meeting was held in the Corn Hall, Dereham, for the formation of a Dereham Rifle Volunteer Corps. The Reverend Armstrong made a short speech urging people to join. About thirty men did, the eldest an elderly fat banker of 70 years, and the youngest a seventeen-year-old.  They were kitted out in a grey uniform. The Corps met regularly to drill and exercise. The following June the Queen reviewed no less than 30,000 Volunteer Rifles in Hyde Park, London. This was to give a warning that an invasion would meet with strong resistance.

Norfolk Militia (Rev. Benjamin Armstrong)
The Reverend Benjamin Armstrong.

The Dereham contingent continued to work hard and helped to put on a Subscription Concert the following November. It was recorded that the hall was full and the Dereham Rifles’ fife and drum band was a great attraction. In September they attended a review of 2,000 volunteers at Holkham Hall, hosted by Lord Leicester, who dined the whole force and 500 private guests too.

About this time competition was starting between the Corps of Dereham and Wymondham and in April 1862 a Rifle Match was staged at Swanton, which Dereham lost. As the day was windy it was said it was chancy shooting anyway! There was a Grand Entertainment given to the volunteers at Letton Hall, where a vast crowd assembled. 150 volunteers sat down to a dinner under a tent and speeches were given. Social events were held to raise money for needy volunteers.

It was a red-letter day when the Dereham Volunteers marched with the Reverend Armstrong to the railway station to form a Guard of Honour for the Prince and Princess of Wales, and the Queen of Denmark who were en route to Costessey Hall.

Norfolk Militia (West Norfolk Button)
1st or West Norfolk Militia Victorian Officer’s silvered tunic buttons.

Thorpe Rail Disaster, 1874

Two serving members of the West Norfolk Militia, Sgt Major Frederick Cassell and Sgt Robert Ward, are recorded to have been killed in the Thorpe Rail Accident whilst returning from a fishing trip. Their bodies were recovered and they were buried with full military honours. Robert Ward had previously been part of the Coldstream Guards.

Norfolk Militia (Rail Accident 1874)

Both the two Norfolk Militias were recognised as being the first to offer to “march wherever they might be most serviceable to the public defence.” Consideration was also given by King George II “that every mark of his Royal Favour should be shown to this Corps” and that they “should be distinguished by the title of Militia Royal”.

Norfolk Militia (Wodehouse)
Sir Armine Wodehouse MP for Norfolk, Colonel of the 2nd Battalion Eastern Regiment of the Norfolk Militia (East Norfolk Militia), at a Review of his Regiment near Norwich,  4th June1759.

It was on the 4th June 1759 when the East Norfolk section of the Norfolk Militia, comprising of 1 Colonel, 1 Lt. Colonel, 1 Major, 11 Captains, 11 Lieutenants, 8 Ensigns, 1 Adjutant, 24 Sergeants, 24 drummers and 466 rank and file, was reviewed by the Earl of Orford on Magdalen Fairstead, just outside Norwich. The event was reported in the press at the time, with the conduct of the men being praised and a statement that the unit could now be ready to march given four days’ notice. Then on Wednesday 4 July 1759 both battalions did just that by marching from Norwich to Portsmouth barracks, to accept orders from Major General Holmes. They marched via Beccles, Ipswich, Colchester, Islington, and Petersfield and arrived at Portsmouth on Tuesday 24 July. During the march, they were reviewed by King George II at Kensington Palace. Then, due to the day-time heat, they again set off soon after midnight, when they were described as being in good spirits.

Norfolk Militia (East Norfolk Button)
2nd or East Norfolk Militia Victorian Officer’s silvered tunic button Scalloped rim, crowned title strap, castle over lion centrally. Approx 24 mm VGC Shank Firmin & Sons 153 Strand London.

By August of that year the two Militias were alternately guarding prisoners-of-war and undergoing training exercises. It was also in 1759, when “A Plan of Discipline Composed for the Use of the Militia of the County of Norfolk” was published by William Wyndham of Felbrigg & Lord George Townshend. This text, written for the use of officers in this English rural militia unit, went on to become one of the most important drill manuals employed during the American Revolution.

From 1759 onwards, The Norfolk Militia moved around the country; they were quartered in Cirencester on 5 July 1760, but moved back to guard prisoners in Norfolk in July. On 28 May 1761 King George awarded the two battalions of the Norfolk Militia a “Warrant for Colours”. In November the East Norfolk Militia was ordered to Fakenham, then to remain at Wells and Walsingham for the duration of the Fakenham Fair.

Ireland:

In September 1798 all of the officers and most of the rank and file volunteered for service in Ireland during the Rebellion. Eight hundred men of the West Norfolk Militia were serving in Ireland in 1815 and 1816, and aspects of this were dramatised in the writings of George Borrow‘s book Lavengro.

The Norfolk Militia’s Connection with Norman Cross:

Norfolk Militia (Norman_Cross_painting)
A painting of Norman Cross c1797. Photo: Wikipedia.

Norman Cross lies near Peterborough, Cambridgeshire but traditionally is in Huntingdonshire, it gave its name to a Hundred and lies near the junction of the A1 and A15 roads. It was the site of the world’s first purpose-built prisoner-of-war camp or “Depot” built during the Napoleonic Wars by the Navy. At the time, the Royal Navy Transport Board was responsible for the care of prisoners of war. When Sir Ralph Abercromby communicated in 1796 that he was transferring 4,000 prisoners from the West Indies, the Board began the search for a site for a new prison. The site at Norman Cross was chosen because it was on the Great North Road only 76 miles (122 km) from London and was deemed far enough from the coast that escaped prisoners could not flee back to France. The site had a good water supply and close to sufficient local sources of food to sustain many thousands of prisoners and the guards. Work commenced in December 1796 with much of the timber building prefabricated in London and assembled on site. 500 carpenters and labourers worked on the site for 3 months. The cost of construction was £34,581 11s 3d.

The Norfolk Militia became heavily involved in the transit of prisoners from Yarmouth to the Norman Cross camp, the operation of which included Lieutenant Thomas Borrow of the West Norfolk Militia, who was the father of author George Borrow. Thomas Borrow was quartered at Norman Cross from July 1811 to April 1813 and young George spent his ninth and tenth years in the barracks there.

In October of 1799, whilst escorting French prisoners of war from Yarmouth to Norman Cross, the East Norfolk Militia locked up their prisoners for the night and safe keeping in the Bell tower of St Nicholas Church in Dereham – apparently, this was a regular occurrence during such a duty. On this occasion however, an officer by the name of Jean De Narde, the 28-year old  son of a notary from St. Malo, managed to escape from the church. Finding that the Militia had set guards around the perimeter of the Church he climbed an oak hoping that his absence would pass unnoticed and that the party would leave without him, thus allowing him to make good his escape. Unfortunately for De Narde, the Militia, realising that they were missing a prisoner conducted a search of the locality and the Frenchman was spotted – thanks to him leaving his legs dangling from the tree. The Sergeant, who was told to get the Frenchman down, called on De Narde to surrender. Now, whether the prisoner did not understand English or that he did not even realise that he had been discovered, stayed where he was. Unfortunately, as events turned out, the Sergeant shot the Frenchman out of the tree, killing him instantly. The local population were apparently ashamed by this action and thought this deed to be one of unnecessary cruelty, according to the Parish Priest at the time, the Reverend Benjamin John Armstrong . Eventually a monument was raised to the unfortunate De Narde and the family in St Malo informed of his fate.

Norfolk Militia (Jean De Narde's Grave in Dereham Churchyard)
Jean De Narde’s Grave in the Graveyard of St Nicholas Church, Dereham. Photo: Dereham History.
The memorial reads…….
In memory of Jean De Narde,
Son of a Notary Public of St. Malo;
A French prisoner of war, who, having escaped from the Bell tower of this church, was pursued and shot by a soldier on duty, October 6th, 1799, aged 28 years.
The back of the memorial reads: –
This memorial of his untimely fate has been erected by the Vicar, and two friends who accompanied him on a visit to Paris, as a tribute of courtesy to a brave and generous nation, once our foes, but now our allies and brethren. October, Ainsi soit-it (So be it) 1857.

STORY 1

On the 11th June in 1804, the Royal Artillery, two troops of the 1st Dragoons, 24th Regiment of Foot, Colonel Patterson’s Battalion, the City of Norwich, Regiment of Volunteers (on permanent duty) and the Riffle Corps, had a sham fight at Bramerton; one party (as English) marched by Trowse, and the other (as French) by Thorpe to Postwick grove, and crossed the Yare on floating bridges, formed by wherries placed alongside each other and planked over. The troops were in motion at 6 am.

The representation of an action was on a very extensive scale. The English, of course, were victorious, and were regaled with several barrels of porter and marched back to Norwich. The vanquished returned to Postwick grove where their spirits were ‘recruited’ with brown stout. They then returned to the City about 4.30pm. The concourse of spectators in carriages, on horseback and on foot, was immense.

Norfolk Militia (1822)2

The Volunteer Infantry and Rifle Corps had been formed two years earlier at a public meeting held in the Guildhall, for the purpose of conforming to the regulations of the Acts for the Defence of the Realm.

(The Norfolk and Norwich Remembrancer, Matchett and Stevenson, 1822

Invasion Threat:

Militia units were fully assembled – or embodied – on a permanent footing during the Wars of the French Revolution (1793-1802) and the Napoleonic Wars (1803-15). During these periods, troops were stationed at strategic locations, especially along the south coast to allay the fear of French invasion. It was in 1805, after Britain had declared war on France on 18 May 1803, when Napoleon did, in fact, turn his attention to invading England and, in preparation, started to assemble an expeditionary force at Boulogne. With the British Isles threatened, the Norfolk Militia were ordered to join the Southern District (Sussex), which covered Kent east of the river Cray and Holwood Hill; Sussex; and Tilbury Fort in Essex. The General Officer Commanding (GOC) was General Sir David Dundas who directed that the East and West Norfolk Militia regiments be placed, along with the Nottinghamshire Regiment of Militia, into the Infantry Brigade of Major General Alexander Mackenzie Fraser whose headquarters were in Winchelsea. The 712 men of the West Norfolk Militia (under Lt. Col. George Nelthorpe) and 698 men of the East Norfolk Militia (under Lt. Col. George Berney Brograve Bt.) were barracked at Clifford Camp.

Norfolk Militia (East Norfolk Colours)
Ensign and colour sergeant with colours of the 9th (East Norfolk) Regiment. 1813 illustration. (Photo: copyright owner unknown – see Notice below.)

East Norfolk Militia Snippets:

Following declaration of Peace, the Norfolk Militia was disembodied at Great Yarmouth in 1814, and was not called out again until 1820. Then, in April 1853, 612 men of the West Norfolk Militia, under Col. the Earl of Orford, mustered in Norwich at the Swan Hotel. During this muster they were subjected to verbal attacks by members of the Peace Society and “Liberals”. On the same date, 571 enrolled in the East Norfolk Militia assembled at Great Yarmouth under Colonel the Hon. Berkeley Wodehouse. It was noted that:

“Their appearance was much more respectable than might have been expected, and many of those who were prepared to ridicule them acknowledged that they were a much better class than they expected”.

Again in 1853, an order for the provision of Militia barracks at Great Yarmouth was issued. The intention was to base all three regiments of the Norfolk Militia at Great Yarmouth, but on February 25 this order was rescinded, and it was agreed that:

“…..the present Committee be empowered to receive estimates and tenders for building barracks for one regiment of Militia at Norwich, and for one regiment of Militia and one regiment of artillery at Yarmouth, on such plans as they may think best suited for the purpose.”

This was followed on 16 May 1854 with the East Norfolk Militia being presented with new colours, and these were still being carried in 1898. These colours were presented at a public ceremony held on South Denes, Great Yarmouth, that was attended by 10,000 persons, including civic dignitaries. The day concluded with a ball held at the Town Hall, which had been decorated with the new colours, mirrors and stars formed of bayonets. In 1853 it was noted that the government intended to convert the Board of Ordnance store (an arsenal) at Yarmouth to create the Gorleston Barracks; the site was originally designed by James Wyatt and built in 1806 to supply Royal Navy ships anchored off Great Yarmouth during the Napoleonic Wars. This facility was converted into army barracks to accommodate the Prince of Wales Own Norfolk Artillery Militia in 1853. This regiment comprised of two field officers, 15 sergeants and 408 men of the East Norfolk Militia. The old Great Yarmouth barracks having been converted into an Admiralty hospital.

In 1856, the East Norfolk Militia, comprising of 1 Major, 13 officers, 3 sergeants and 415 men left Great Yarmouth by train, travelling to an encampment at Colchester. At Colchester railway station they were met by the band of the Royal Essex Rifles. On April 23 all the units at Colchester, including the East Norfolk Militia, were reviewed by Prince Albert, but by June 4 orders were issued for the East Norfolk Militia to return to Great Yarmouth for disembodiment. In the same month, the left wing of the West Norfolk Militia returned to Norwich from Fermoy, County Cork; with the right wing reaching the city on the 26th.

On 20 May 1861, the East Norfolk Militia were involved in a serious military riot at Yarmouth, against men of the Royal Artillery. It was reported in the Norfolk Chronicle that this riot included the use of belts and stones, and that 200 Artillerymen, armed with swords and knives issued from the arsenal, had to be prevented from joining the fight by “persuasion and threats”. The report also said that officers from both corps were involved in ending the riot, and that guards had to be placed on the bridge to keep the Artillery out of Yarmouth and the Militia from crossing into Southtown.

The Norfolk Artillery Militia were granted barracks in All Saints Green, Norwich from around 1860, these consisting of Ivory House, a parade ground and stables. These barracks remained in use until the late 1920s.

Norfolk Militia (3rd Volunteer Battalion 1861)
Oil on canvas by Claude Lorraine Nursey (1820-1873), 1864. Copyright National Army Museum.
Administrative battalions were formed mainly in rural areas, to provide Staff and headquarters facilities for widely scattered Volunteer units. This particular unit was formed in 1861, and in 1883 became the 3rd Volunteer Battalion, the Norfolk Regiment.
The painting depicts the battalion encamped at Gunton Park in Norfolk, the commanding officer, Lieutenant Colonel Lord Suffield’s family seat.
Norfolk Militia (Gunton Park)
Gunton Park, Norfolk. (Photo: copyright owner unknown – see Notice below.)

The Prince of Wales became Honorary Colonel of the Artillery Militia in 1871, and the Great Yarmouth Assembly Rooms became frequently used as the Officer’s Mess, whilst artillery practice was conducted on South Denes. In 1883 Lt. Colonel Lord Suffield and Major Edward Southwell Trafford purchased the building on behalf of the Artillery Militia, and the building remained under the Militia’s ownership until 1918 after which it became a Masonic Lodge.

Norfolk Militia (P of W reviewing troops)2
Period print of the Prince of Wales reviewing the Norfolk Artillery Militia at Great Yarmouth, June 1872. (Photo: copyright owner unknown – see Notice below.)

In 1880 the unit was renamed the 1st Norfolk Artillery Volunteers, then 2nd Brigade Eastern District Royal Artillery (Prince of Wales’ Own Norfolk Militia Artillery) in 1882 and, in 1902, becoming the 1st Norfolk Royal Garrison Artillery (Volunteers).

In 1901, during the Second Anglo-Boer War, five officers and 134 Other Ranks from the Prince of Wales’s Own Norfolk Royal Garrison Artillery (Militia) were sent to Cape Town, from which they were split up for garrison duty on armoured trains Wasp, Challenger, Bulldog and Blackhat, among other duties including Military Intelligence and escort duties for the Royal Engineers. The Special Service Company of the Militia was commanded by Colonel Thomas Coke, 3rd Earl of Leicester, who had served in the Scots Guards until 1892.

Uniform:

The uniform of the East Norfolk Militia was scarlet turned up with black. An early sketch by Lord Townshend, published in “A Plan of Discipline Composed for the Use of the Militia of the County of Norfolk” in 1759, shows a Private wearing a simple uniform of cocked hat, jacket, breeches and shoes worn without gaiters. A cross belt and waist belt, with bayonet, are worn over the single-breasted jacket, with the latter secured by a single button close to the collar, two at the chest and three at the waist.

Long boots were discontinued, except for mounted officers, on 12 April 1814. On 22 June 1820 epaulettes, buttons and ornaments of dress were changed from gold to silver, although serving officers were permitted to retain their old style of uniform unless called on for actual service. In January 1831 the old uniform was finally discontinued, with orders that all uniforms must meet the latest King’s Regulations and include black velvet and silver epaulettes.

Gold lace was restored to the East Norfolk Militia on 5 June 1882, at the same time as the badge of the then 4th Battalion Norfolk Regiment was changed from the castle and lion to the figure of Britannia.

STORY 2

On the 7th October 1859, as part of the great Volunteer Movement that started in Norwich in that year, the first muster of the Norwich Rifle Corps Club with 22 men present. Three companies were formed, the Mayor’s, the Sheriff’s and Mr Gurney’s. Many in the Quaker community were hesitant to join but stipulated that ‘on no account could they be called from Norwich except in the actual case of invasion or rebellion.’

Norfolk Militia (1822)1
(Photo: copyright owner unknown – see Notice below.)

The uniform consisted of a ‘grey cloth tunic with black mohair braid and buttons down the centra, with a low, upright collar…….this was surmounted by a shako of hair-cloth of the same colour, with a plume like a shaving brush, and……a black patent leather waist belt with pouch bags’ Officers carried a sword in a steel scabbard with brown whistle and chain. The Government later provided the Corps with long Enfield rifles, with which to practice on Mousehold Heath. By the there were 1,200 volunteers who were inspected by the Lord Lieutenant of the County; standing in long lines of grey, the ‘rank and file from various social grades from bank clerks down to those of weekly wage-earners.’

(Mottram, R. H., Portrait of an Unknown Victorian, Robert Hale & Co., 1936.)

TO BE CONTINUED

Sources:
http://www.derehamhistory.com/norfolk-militia.html
http://www.derehamhistory.com/jean-de-narde—1799.html
https://eastnorfolkmilitia.webs.com/themilitia.htm
http://www.wikiwand.com/en/Norfolk_Militia
https://wikivisually.com/wiki/Militia_(Great_Britain)
https://www.british-history.ac.uk/
https://www.nam.ac.uk/explore/civilian-soldiers
http://www.wikiwand.com/en/Gorleston_Barracks
ttps://joemasonspage.wordpress.com/2017/08/07/the-revd-benjamin-armstrong/
Feature Photograph: The Genealogist

NOTICE: ‘Norfolk Tales, Myths & More!’ is a ‘non-commercial’ Site seeking only to be informative and educational on topics broadly related to the history and heritage of the County of Norfolk in the U.K. In pursuing this aim, we endeavour, where possible, to obtain permission to use an owner’s material. However, for various reasons, (i.e. identification of, and means of communicating with an owner), contact can sometimes be difficult or impossible to established. NTM&M never attempts to claim ownership of such material; ensuring at all times that any known and appropriate ‘credits’ and ‘links’ back to our sources are always given in our articles. No violation of any copyright or trademark material is intentional.

 

Yarmouth’s Rebecca Nurse

By Haydn Brown.

Rebecca Nurse was the oldest child of William and Joanna Blessing Towne from Great Yarmouth and one of three sisters who, in time, would be accused of witchcraft at the infamous Salem Witch Trials. Out of these three sisters Rebecca would be the second of them to be hanged.

Rebecca Nurse (St Nicholas)
St Nicholas Parish Church,Great Yarmouth, Norfolk  Photo:’Moldovia’ on Wikimedia Commons

Her father, William Towne was baptised on 18 Mar 1598/99 in St. Nicholas Parish Church, Great Yarmouth, Norfolk, England and his parents were said to be John TOWNE and Elizabeth CLARKE – although, others say that his parents were Richard TOWNE and Ann DENTON. Her mother, Joanna Blessing was born in 1594 in Great Yarmouth, Norfolk, England but there again, others have said that she was born in 1595 in Somerleyton, Suffolk, England to John BLYSSYNGE and Joan PREASTE .

Whatever the true antecedents of these two, William Towne married Joanna BLESSING on 25 Apr 1620 in St. Nicholas Church, Great Yarmouth England.  He and his wife remained at Yarmouth long enough to have six children before emigrating to America aboard the ‘Rose of Yarmouth’ with 32 other parishioners; this was sometime around 1640. Among Rebecca’s siblings were Mary Easty (or Eastey, to be arrested 21 April 1692 and hanged on 22 September 1692) and Sarah Cloyce (or Cloyse) to be arrested on 4 April 1692 but the case was dismissed January 1693). The Towne family finally settled in America around 1640 to live on a farm in Salem where two more children were born to William and Joanna Blessing.

Four years later, Rebecca met nineteen year old Francis Nurse who was a “tray maker” by trade but more than likely also made many other wooden household items. Due to the rarity of such household goods, artisans of that medium would have been highly regarded. Rebecca married Francis Nurse on 24 August 1644, after which they went on to live for the next 30 years in the more thickly settled part of Salem, “near Skerry’s” not far from where the bridge crosses to Beverley. During this time they had four sons and four daughters, all but one of them married by the fateful year of 1692. As for Rebecca, she had “acquired a reputation for exemplary piety that was virtually unchallenged in the community” and became a long standing member of the Salem church; but she was also known for occasionally losing her temper. In 1672, Francis served as Salem’s Constable and was regularly asked to act as unofficial judge to help settle disputes in the village.

Rebecca Nurse (Homestead)2
Rebecca Nurse’s House, built 1636. (Photo: copyright owner unknown – see Notice below.)

Rebecca and the Salem Witch Trials

The public accusations of witchcraft in Salem Village began on February 29, 1692. The first accusations were levelled against three women who were not considered very respectable: the Indian slave Tituba, a homeless mother Sarah Good, and Sarah Osborne who had a somewhat scandalous history.Then on March 12, Martha Corey was accused, and on March 19, Rebecca Nurse found herself accused, despite both being church members and respected community members.

A warrant was issued on March 23 by John Hathorne and Jonathan Corwin for the arrest of Rebecca Nurse. In the warrant were complaints of attacks on Ann Putnam Sr., Ann Putnam Jr., Abigail Williams and others. Rebecca Nurse was arrested and examined the next day. She was accused by Mary Walcott, Mercy Lewis and Elizabeth Hubbard as well as by Ann Putnam Sr., who “cried out” during the proceedings to accuse Nurse of trying to get her to “tempt God and dye.” When she held her head to one side, those claiming afflictions moved their heads to the side as well “set in that posture.” Rebecca Nurse was then indicted for witchcraft. “I am innocent as the child unborn, but surely what sin hath God found out in me unrepentant of, that he should lay such an affliction on me in my old age,” she said.

That Sunday was Easter Sunday, which was no particular special Sunday in the Puritan calendar, but with Rebecca Nurse in prison, as were Tituba, Sarah Osborne, Sarah Good and Martha Corey, the Reverend Parris preached on witchcraft. He emphasised that the devil could not take the form of anyone innocent. During the sermon, Sarah Cloyce, Rebecca’s sister, left the meetinghouse and slammed the door.

Rebecca Nurse (Towne Sisters)
Caption: “The Towne Sisters”
Plaster statue depicting Rebecca Towne Nurse, Mary Towne Esty, and Sarah Towne Cloyse, wearing shackles. The statue is located in the Salem Wax Museum of Witches and Seafarers, Salem. Artist: Yiannis Stefinarkis, ca. 1970.

The sequence of events thereafter was that on April 3, Rebecca’s younger sister, Sarah Cloyce, came to Rebecca’s defence…..but was then accused and arrested on April 8. Then on April 21, another of her sisters, Mary Easty, was arrested after defending Rebecca’s innocence. John Hathorne and Jonathan Corwin then ordered the Boston jail to take custody of Rebecca Nurse and others for acts of witchcraft committed on Ann Putnam Jr., Abigail Williams, Elizabeth Hubbard – and others.

In a deposition, written by Thomas Putnam and signed on May 31, he detailed accusations of torment of his wife, Ann Putnam by the spectres of Rebecca Nurse and Martha. Another deposition detailed accusations of afflictions inflicted by Rebecca Nurse’s spectre.

A Mary Warren testified on June 1, that when she was in prison, George Burroughs, Rebecca Nurse, Elizabeth Proctor, and several others said they were going to a feast at the Parris house, and that when she refused to eat some bread and wine with them, they “dreadfully afflicted her” — and that Rebecca Nurse “appeared in the roome” during the taking of the deposition and afflicted Mary, Deliverance and Abigail Hobbs, and that Philip English appeared and injured Mary’s hand with a pin.

On June 2, at 10 in the morning, the Court of Oyer and Terminer convened in its first session. Rebecca Nurse, Bridget Bishop, Elizabeth Proctor, Alice Parker, Susannah Martin and Sarah Good were forced to undergo a physical examination of their bodies by a doctor with a number of women present. A “preternatural excrescence of flesh” was reported on the first three. Nine women signed the document attesting to the examination. A second exam that day at 4 in the afternoon stated that several of the physical abnormalities they saw in the morning had changed; they attested that on Rebecca Nurse, the “excrescence …… appears only as a dry skin without sense” at this second examination. Again, nine women’s marks are on the document. A grand jury indicted Rebecca Nurse for witchcraft on June 3.

On July 3, the Salem church excommunicated Rebecca Nurse.

Rebecca Nurse (Brought in Chains)
Caption: “The sheriff brought the witch up the broad aisle, her chains clanking as she stepped.”
This drawing illustrates a scene in John Musick’s book The Witch of Salem in which Rebecca Nurse is brought in chains to the meeting house where the Rev. Nicholas Noyes pronounces her excommunication before the congregation.
Source: The Witch of Salem or Credulity Run Mad. By John R. Musick. New York: Funk & Wagnalls Company, 1893: 275. Artist: F. A. Carter. Source: Photograph by Benjamin C. Ray, 2001

Rebecca’s trial started on June 30 1692. Banned from having a lawyer, she represented herself and 39 villagers appeared on her behalf as character witnesses; her accusers broke into fits as they spoke about their claims and the so-called “spectral evidence” was deemed to be relevant. Regardless of this, Rebecca was found not guilty and there was an immediate outcry – the girls fell into prolonged fits and spasms, the public bayed for blood and the judges asked the jury to reconsider. Unsurprisingly perhaps, the verdict was changed and Nurse was sentenced to death on July 19 1692. However, another twist came into play; in light of urgent pleas from Rebecca’s family and abundant evidence of her good character, Sir William Phips, the Governor of Massachusetts granted Nurse a reprieve – then he withdrew it despite Rebecca filing a petition protesting the verdict, pointing out she was “something hard of hearing, and full of grief.”! On July 12, William Stoughton signed the death warrant for Rebecca Nurse, Sarah Good, Susannah Martin, Elizabeth How and Sarah Wilds and they were all hanged on July 19, followed by her sister who was tried and hanged on September 22 1692. Sarah Good cursed the presiding clergyman, Nicholas Noyes, from the gallows, saying “if you take away my life God will give you blood to drink.” – Years later, Noyes died unexpectedly, haemorrhaging from the mouth!

Rebecca Nurse (Trial, Museum)
Caption: “Trial of Rebecca Nurse”
Diorama depicting the trial of Rebecca Nurse, shown seated in the dock at the right, the magistrates in the center, and the “afflicted” girls at the left.
Source: 35mm slide © Salem Witch Museum, 1999.

By October, with 20 people executed and 150 more men, women and children accused, the hysteria began to die down and the tide of public opinion turned against the trials. Sarah was released and later given nine gold sovereigns in compensation for her imprisonment and her sisters’ deaths.

Francis Nurse was to die on 22 November 1695, after the witch trials had been ended (in 1693) but before Rev. Parris finally left Salem Village and before the 1711 reversal of attainder bill that also gave some compensation to Rebecca Nurse’s heirs. In 1697, 12 members of the jury made a public apology, admitting they had been “sadly deluded and mistaken”. On August 25, 1706, Ann Putnam Jr., in formally joining the Salem Village church, publicly apologized “for the accusing of several persons of a grievous crime, whereby their lives were taken away from them, whom, now I have just grounds and good reason to believe they were innocent persons…” She named Rebecca Nurse specifically and publicly confessed her contrition for her part in the trials. Her excuse – That Satan made her do it! In 1712, Salem church reversed its excommunication of Rebecca Nurse and Giles Corey.

Rebecca Nurse (illustration-by-Howard-Pyle-1907)
“The Lord knows that I haven’t hurt them” illustration of Rebecca Nurse by Howard Pyle, published in “Dulcibel: A tale of old Salem” by Henry Peterson, circa 1907
Inscription: “Oh Lord, help me! It is false. I am clear. For my life now lies in your hands….”

Arthur Miller’s Play “The Crucible”:

Rebecca Nurse (the-crucible)
“The Crucible” Thurston Hopkins / Getty Images

Rebecca Nurse is a central character in Arthur Miller’s The Crucible and in a Crucible Character Study of Rebecca Nurse Wade Bradford stated:

“If there is one character in “The Crucible” that everyone can love and sympathise with, it is Rebecca Nurse. She could be anyone’s grandmother, the woman you would never speak foul of or intend to hurt in any way. And yet, in Arthur Miller‘s tragic play, sweet Rebecca Nurse is one of the last victims of the Salem Witch Trials.

Nurse’s unfortunate end coincides with the curtain that closes this play, even though we never see it happen. The scene in which she and John Proctor head to the gallows is heartbreaking. It is the punctuation mark on Miller’s commentary on ‘witch hunts’ whether they be in 1690s Salem or the 1960s round up of alleged communists in America which prompted his writing this play.

Rebecca Nurse puts a face to the accusations and it is one that you cannot ignore. Can you imagine your grandmother being called out as a witch or a communist? If John Proctor is the tragic hero, Rebecca Nurse is the tragic victim of “The Crucible.” She is the saintly character of the play. Whereas John Proctor has many flaws, Rebecca seems angelic. She is a nurturing soul, as seen when she tries to comfort the sick and the fearful in Act One. She is a grandmother who exhibits compassion throughout the play.

  • Wife of Francis Nurse.
  • A sensible and pious older woman held in the highest regard in Salem.
  • Self-confident and compassionate and as the last act demonstrates, the humblest of all the characters.

When convicted of witchcraft, a humble Rebecca Nurse refuses to bear false witness against herself and others. She would rather hang than lie. She comforts John Proctor as they are both led to the gallows. “Let you fear nothing! Another judgment waits us all!”

Nurse also utters one of the more subtle and realistic lines of the play. As the prisoners are led to the gallows, Rebecca stumbles. This provides a dramatically tender moment when John Proctor catches her and helps her to her feet. She is a bit embarrassed and says, “I’ve had no breakfast.” This line is so unlike any of the turbulent speeches of the male characters, or the vehement replies of the younger female characters.

Rebecca Nurse has much she could complain about. Anyone else in her situation would be consumed with fear, sorrow, confusion, and rage against the evils of society. Yet, Rebecca Nurse merely blames her faltering on a lack of breakfast. Even at the brink of execution, she exhibits not a trace of bitterness, but only the sincerest humility. Of all the characters from “The Crucible,” Rebecca Nurse is the most benevolent. Her death increases the tragedy of the play.

Rebecca Nurse (Memorial)
Description: Rebecca Nurse Memorial, erected 1885. Located in the Rebecca Nurse Homestead cemetery, Danvers, Massachusetts. The inscription on the monument reads: Rebecca Nurse, Yarmouth, England 1621. Salem, Mass., 1692. “O Christian Martyr/who for Truth could die/When all about thee/owned the hideous lie!/The world redeemed/from Superstition’s sway/Is breathing freer for thy sake today.” From the poem “Christian Martyr,” by John Greenleaf Whittier.
Source: Photograph by Benjamin C.. Ray, 2001
Rebecca Nurse (Family Assoc.)
Description: Nurse Family Association, dedication of the Rebecca Nurse Memorial, erected July, 1885. The tall granite memorial is located in the cemetery of Rebecca Nurse Homestead, Danvers, Massachusetts
Source: Photograph, courtesy of the Danvers Archive Collection.

THE END

Sources:
https://blog.prepscholar.com/the-crucible-rebecca-nurse-analysis
https://en.wikipedia.org/wiki/Rebecca_Nurse
https://www.thoughtco.com/elizabeth-proctor-about-3529972
http://salem.lib.virginia.edu/people/nursepics.html
http://historyofmassachusetts.org/the-trial-of-rebecca-nurse/
https://www.anamericanfamilyhistory.com/Towne%20Family/TowneRebeccaNurse.html
https://www.history.com/topics/colonial-america/salem-witch-trials
https://minerdescent.com/2010/05/18/william-towne/
http://familypedia.wikia.com/wiki/Francis_Nurse_(1618-1695)

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