Tombland – Norfolk Tales, Myths & More!

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

By Haydn Brown.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Footnote:

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

THE END

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

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

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James Stays at the ‘Maid’s Head’

By Haydn Brown.

The year is 1906. The age of the car has arrived and James Edmund Vincent, Welsh barrister, journalist and author, has been asked by his publishers to help put together a motoring guide for sale to touring motorists. The feeling is that there exists a potential need amongst car owners for information which would allow them to take full advantage of the open roads of this country. James’s brief, on this occasion, is to write about East Anglia. He is asked, as the very minimum, to concentrate on detailing the conditions of the region’s roads, outlining the topography and history of notable towns and other places en route; and give an impartial account of the hotels and inns visited with regards to their standards of service, cleanliness etc. Being an established writer, James’s is given a free hand to plan his own itinerary, with the only stipulation being that a completed copy of a draft guide should be completed and with the publishers within twelve months of starting out on his first journey. Payment, including reimbursement of expenses for the work are agreed but remain confidential.

Because James intends to make several forays into the region, he has arranged to use his 6-cylinder Lanchester on all journeys except this one, the inaugural trip to Norwich – a city he is familiar with, having been there before. James has planned most meticulously, with the enthusiastic collaboration of his friend, Claude Johnson, a somewhat large broad-shouldered extrovert who is someone of importance with the Roll-Royce Company. Claude will remain characteristically keen on the arrangements, mainly because he sees them as part of his early promotion to the company of his ideas for a new model car, which will eventually become Rolls Royce’s ‘Silver Ghost’. He particularly wants to prove that this unique car is smooth, silent and solid – and the best car that money can buy! Beyond this, he also wants to demonstrate the car’s reliability to the buying public. What better way would there be than to be part of James’s journey; a ‘trial run’ as it were, for his own anticipated 15,000 mile ‘non-stop’ promotional journey around Britain. Claude will of course drive the company car – who else!

James Vincent (Silver Ghost_TT_Getty) — Charles Rolls co-founded the company with Henry Royce in a forerunner of the company’s ‘Silver Ghost’ model. The car and driver took part in the first ever TT race in 1906; the race was won by Charles Rolls. Photo: Getty.

James is nevertheless, and unquestionably, in charge of all other aspects of the trip to Norwich – and beyond. It will take his party of Claude the driver, James’s wife and youngest daughter – both of whom will occupy the back seats of the Rolls; James will ride ‘shotgun’ next to Claude in the front. Arrangements looked perfect; everyone loves travelling, and what better than to ride in real comfort to what will be the ‘far end of the region’– perfect! The city of Norwich, indeed most of East Anglia, is still almost unexplored territory to most of the party – and there are no impossible hills of any length to worry about. So, with no worrys worth mentioning – they set off.

We next catch up with the James’s party and Claude’s car as it crawls through the narrow and crooked streets of Norwich, having successfully negotiated those ‘questionable’ roads en route, from Cambridge through Newmarket, Ipswich, Woodbridge, Beccles, Lowestoft and Yarmouth. However, the journey has not been completely without incident for the car; which confidently displayed its engine’s smoothness, reliability and power throughout, but did suffer two punctures – through no fault of its own according to Claude! Fortunately, and maybe by some sort of miracle, a garage appeared closeby on both occasions!

James Vincent (Norwich Market) — Norwich Market Place during the early part of the 20th century. Photo: Public Domain.

The still proud Silver Ghost, under the nurturing of Claude, now passes close to the city’s central Market Place before winding its way towards and around the Castle Mound before swinging left, around the Royal Hotel, into Tombland. This is a wide and open space opposite the west end of the Cathedral. James continues to take note of the city’s features which will be included in his eventual ‘tome’. But for the moment, he ponders on the meaning of Tombland’s name, but remains uncertain. Later, he is to write:

“We had seen the Cathedral spire rising against the clear sky, glanced through two great archways leading to the Cathedral Church itself, had passed on our left the “Stranger’s House”, though the quaint fact that the faces of the figures of Hercules and Samson, supporting the arch of its door, are adorned with “Imperial” beardlets.”

James Vincent (Samson & Hercules_Tombland) — To the left is “Stranger’s House” – as referred to by James – along with the figures of Hercules and Samson. Photo: Public Domain.

At the end of Tombland the car finds itself in Wensum Street with the Maid’s Head Hotel, where they are to stay, immediately on the right. Claude steers into the hotel by way of an archway some little way further down the street. Immediately the party finds itself in a covered courtyard. Here, there is such a contrast between the old and the new and James feels that the surviving surroundings are thanks to no other than Walter Rye who had once bought this ancient building and saved it from destruction; thereby winning the gratitude of every traveller of taste who would also witness features as near identical with those of the 15^th-century when the Pastons used the “Mayde’s Hedde” and spoke well of its accommodation.

James Vincent (Maid's Head)1 — The side entrance to the Maid’s Head Hotel in 1904; it led into a covered ‘reception’ courtyard. Photo; The Maid’s Head Hotel.

The Bar Parlour on the left, from which an attentive hostess appears to take instructions from the new arrivals, seems also to be of almost immemorial age. Yet in the centre is the most modern thing in this world, Claude’s six-cylinder motor-car. However, staring him in the face is a notice requesting all motorists, to make no unnecessary noise, but to deposit their passengers, or pick them up, as rapidly as possible and then go! He clearly quips that he almost feels inclined to push the car, instead of compelling it to propel itself, onwards through the covered courtyard and into the carriage yard and garage beyond. Claude truly believes that his Silver Ghost is, a beautiful car—and cars can be beautiful he feels. Half the assertions that they are ugly are due to the fact that his generation is not sufficiently educated in relation to cars, have not grown familiar enough with them to know what the lines of beauty in them are. Still, in the courtyard of the “Maid’s Head,” any car is an anachronism, a jarring note and the sooner this one is moved out of sight the better!

James Vincent (Maid's Head Courtyard) — A postcard showing what used to be the ‘reception’ courtyard. Image: Public Domain.

Probably taking advantage of this distraction, James’s wife and daughter quietly break away to explore the hotel. They soon ascend a very ancient and charming staircase of real oak, really black with real age and found someone who was delighted to show the two around “Queen Elizabeth’s Chamber”. James, downstairs, is soon handed a message telling him to visit them there and on arrival sees that the visit is, in his words, “more than worth paying for”. It is a spacious room, if one considers the floor area alone; but of course, the ceiling is very low and the dark beams supporting it still lower. He sees that one great bed is of carved oak, relieved with gilding, whilst another makes no impression on him at all. But not so the long and low windows, the shining planks of the ancient floor, which boasts its own hills and valleys, slopes and hollows, along with the cleanliness and brightness of everything; these make a very vivid and pleasant impression on James.

James Vincent (Maid's Head)2 — *“Queen Elizabeth’s Chamber” bedroom, circa 1904. Photo; The Maid’s Head Hotel.*

Nevertheless, he understands that Queen Elizabeth I never did sleep in this chamber, or indeed in the Maid’s Head itself when she visited Norwich in 1578 – he had heard that she had stayed nearby in the Bishop’s Palace, at a time when weird pageants were displayed in her honour. No, the “Maid’s Head” was an old inn even in 1578. Edward the Black Prince entertained here after a jousting competition at Gildencroft and Queen Catherine of Aragon (King Henry VIII’s first wife) was entertained here. So, it is reasonably certain that the chamber named after Queen Elizabeth was also there. James then thought the room to be ideal for those who hanker after the old world, but do not yearn for that dirt which seems to have been an all-pervading characteristic of the lives of his forefathers. But this room, together with the hotel is certainly spotlessly clean!

James Vincent (15th Duke of Norfolk_ArtUK) — Henry Fitzalan-Howard (1847–1917), 15th Duke of Norfolk by Hester M. Walker. Portrait: St Edmund’s College, University of Cambridge. Image: ArtUK)

After this small interlude, the rest of the party disperses elsewhere whilst James sets off for a half hour stroll into the city before dinner. But at the foot of the stairs he sees quite an imposing person, whose presence is a happy coincidence for him. James remembers his first visit and the “Royal,” where Lord Kimberley was found to be a guest. Now, at the foot of the stairs of the “Maid’s Head,” is none other than the 15th Duke of Norfolk and his wife, the Duchess; both were about to become guests of this ancient hotel. Heavens! he thought; what a contrast to a similar visit some two centuries ago in 1685, on which Macaulay quoted:

James Vincent (Dukes Palace) — Image: Norfolk County Council Library & Information Service.

“In the heart of the city stood an old palace of the Dukes of Norfolk, said to be the largest town house in the kingdom out of London. In this mansion, to which were annexed a tennis court, a bowling-green and a wilderness, stretching along the banks of the Wensum, the noble family of Howard frequently resided, and kept a state resembling that of petty sovereigns. Drink was served to guests in goblets of pure gold. The very tongs and shovels were of silver. Pictures by Italian masters adorned the walls. The cabinets were filled with a fine collection of gems purchased by that Earl of Arundel whose marbles are now among the ornaments of Oxford. Here, in the year 1671, Charles and his court were sumptuously entertained. Here, too, all comers were annually welcomed, from Christmas to Twelfth Night. Ale flowed in oceans for the populace. Three coaches, one of which had been built at a cost of five hundred pounds to contain fourteen persons, were sent every afternoon to bring ladies to the festivities; and the dances were always followed by a luxurious banquet. When the Duke of Norfolk came to Norwich, he was greeted like a king returning to his capital. The bells of the Cathedral and of St. Peter Mancroft were rung; the guns of the Castle were fired; and the Mayor and Aldermen waited on their illustrious fellow citizen with complimentary addresses. In the year 1693 the population of Norwich was found, by actual enumeration, to be between twenty-eight and twenty-nine thousand souls.”

James Vincent (Dukes Palace)2 — Image: Norfolk County Council Library & Information Service.

What a contrast James felt! Now, on the 9th of March, 1906, the present Duke of Norfolk enters a city of approximately one hundred and thirteen thousand souls; the bells of the cathedral and St. Peter’s Mancroft are not ringing. No guns are being fired. No mayor and aldermen waiting upon the Duke in his Palace, because there is no Palace. All that is happening is that this quiet, bearded English gentleman walks, limping slightly, with a lady into the courtyard of the Maid’s Head Hotel and, after a parley with the hostess, vanishes up the stairs, to be seen no more. It is pure luck that James sees him, and that he is able to recognise this Premier Duke and Earl, the Hereditary Earl Marshal and Chief Butler of England. He was received with precisely the same courtesy of attention that had been shown to James and his party, but without servility. The Duke received all that he wanted, and in a manner which, James thought, really did him credit.

No more is left of the pomp and dignity of the 17^th-century Palace than that of the city’s clothing trade. The Duke of Norfolk has become, in the interval, an Englishman first and a great power in Sussex next, and the clothing trade of Norwich is no more. The city of 113,000 souls is now subsisted, as James is told during his walk-about, on the proceeds of boots and mustard, the latter industry founded by one of whom a correspondent of the Norfolk and Norwich Notes and Queries wrote:

“The original Colman [the name means “free man”] was a jolly old fellow who used to give me sixpence and direct me to the house for refreshment”; it subsisted also, as I learned for myself next morning……. as one of the largest agricultural and pastoral centres it has ever been my good fortune to witness. Times were indeed changed; but he would be a rash man who should say that they were changed for the worse in all respects.”

James Vincent (Maid's Head)3 — The Hotel’s Lounge and Writing Room, circa 1904. Photo; The Maid’s Head Hotel.

James writes up his notes after Dinner, which has been taken in the coffee-room of the hotel, and everyone in his party thinks it is very pleasant there. James includes a further thought that the room also has an air of antiquity, and its deep fireplace certainly charms the eye. The ‘cookery’ is, in his opinion, distinctly good and the attendance quiet and prompt ‘as that in any well-ordered private house’. The Dinner was also the time for him to reflect on some of the other famous associations with the hotel. For instance, the Pastons had used and commended it, and their words of praise, blazoned on the outer door, seems right and proper; but it was a pity, James thought, to have placed newspapers near to them! He also thought that sitting in this same hostelry on the morning of his last fight with Kett and his rebels, Warwick had breakfasted, and had then led his men, who were camped on the market-place, to victory. It is also certain to him that Margaret Paston’s horses were seized here. Then, in the time of the rebellion, the Royalists stayed, despite being scarce in the eastern counties. But Royalists were also Freemasons and held their lodges in the “Maid’s Head” as early as 1724; James understands that on one occasion a Mrs. Beatson hid behind the wainscot of the lodge-room and heard all their mysteries!

James Vincent (Maid's Head)4 — A passage way in the Hotel, circa 1904. Photo; The Maid’s Head Hotel.

As James writes, he is pleased that all this information is decidedly enhanced by the fact that this visit had provided further insight and confirmation. Undoubtedly, its value will also be fully appreciated once ‘his’ Motoring Guide is published – next year?. But his pleasure does not end there. James is also proud to be able to say that the Maids Head, this very building in which he sits, was built on the site of Herbert de Losinga’s first Palace, which once stood on Gothic arches; also, that an Assembly Room was built over the courtyard to become a minstrel’s gallery. The carving in the smoking-room represents a fish – possibly a ray? If this is correct, it probably accounts for the title of the hotel; for it was certainly mentioned in the 1287 Norwich Court Records as the ‘Myrtle Fish Tavern’ where “Robert the fowler stole goods from the said innkeeper at Cook Rowe.” Again, if this fish is a ray, then another difficulty vanishes, for the sea-fishermen of Norfolk call, or once called, the ray, “Old Maid.”

Certainly, the hotel did not take its new title on the occasion of Queen Elizabeth I’s 1578 visit, for John Paston had, in 1472 confirmed the hotel’s name change to ‘Maids Head’ in a letter, recommending the inn as a good place to stable horses:

“if he tery at norwyche ther whyls, it were best to sette hys horse at the Maydes Hedde.”

The hotel is also mentioned in a curious petition to Wolsey, again unearthed by that man Walter Rye. James again blesses Mr Rye for having bought the lease of the Maid’s Head in the 1890’s – and saving it! James also remembers him acquiring property next door on Tombland and building the frontage with the ‘Mock Tudor’ look, but keeping the Jacobean snug and bar. This was the moment when Rye quoted:

“I had been myself a customer of the house for 20 years and more and some of the most pleasant parts of my life had been sent in and about it. It was rumoured that when Mr Webster left the Maids Head, the whole scope of the old Tory house – the nearest approach to the typical old hostel that I ever saw – was going to be spoiled and no longer to be a refuge for those who like peace and quiet and old surroundings. I heard what the new rent was to be and took upon myself the burden…..I will try and keep on trying to make people as comfortable as I was myself.”

James Vincent (Maids head_Front_Agoda) — The present-day Maid’s Head Hotel, Norwich. Photo: Agoda.

The next day James, his wife, daughter and Claude the driver, complete packing in anticipation of an early departure soon after breakfast. James gathers up his notes of all he had witnessed and heard during what had been a short stay; but he knows that he will return. His final accolade is saved for the hotel itself; after settling the account he is very pleased that the final bill is ‘quite moderate—for England’ The party eventually departs Norwich for Cromer and James took that moment to note some further useful information which will eventually be passed to the readers of the proposed Motoring Guide Book:

“As with arriving in this city, great care should always be observed when leaving Norwich, for the streets are narrow, crooked and full of risk, and directions difficult to work out…… Roads here are gerally fair, some good – especially to Cromer”.

THE END

Sources:
http://www.gutenberg.org/
www.gutenberg.org/files/38938/38938-h/38938-h.htm
https://www.maidsheadhotel.co.uk/

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