Here is a place that turns up as a subject several times amongst The Norwich School of Painters. It’s a place steeped in interesting history. The Norfolk Archeological Trust state that “It was the only Anglo-Saxon monastery in the county which continued in use throughout the Middle Ages” and that “… the site was left undisturbed after the Dissolution because of its inaccessible location.” They have more details, art, site plans and photos on their St Benet’s Abbey page




I’ve been here about three times; two of those occasions were more memorable for disappointments. The first was a picnic plagued by flies and inquisitive cows; the second was a bitterly cold and windy day early in the year. This is one of those places that leaves me feeling great sympathy for anyone who ever had to live there. The surrounding landscape is as flat as Noel Coward said; almost the only objects above the horizon are clouds; virtually the only noticeable change of view anywhere around the ruins is which side of the Abbey you’re looking at - at least, this is how I recall it.



In short, this is the last place on earth I would choose as a subject. But look what the Norwich School could do with this ‘back of beyond’.

Remains of St Benedict's Abbey on the Norfolk Marshes - Thunderstorm clearing off 1847
Henry Bright
(1810-1873)
oil on canvas 1847
80.3 cm x 132.9 cm
Castle Museum number NWHCM : 1947.172.1 : F
© 2007 Norwich Castle Museum and Art Gallery

‘…As the following pages will prove, Henry Bright’s life was one of honourable distinction in his calling. He had Royalty, his brother brushes, and, if the numerous cuttings I have inspected are any criterion, the Press on his side. He was a highly successful art-master, a member of the New Society of Painters in Water-Colours, and a familiar exhibitor at the Royal Academy and British Institution. To crown all, he enjoyed the friendship of Turner. Despite all these advantages, the public passed to something fresh, but I am happy in the belief that my own efforts at restoring his laurels are taking effect, and that Henry Bright will be a name to recognise in future text-books.’

Augustus Walker

from Henry Bright of the Norwich School by Frederic Gordon Roe
(link to article currently broken - awaiting notification of repair)

A brief biography of John Sell Cotman mentions that “… in 1799 he left to work with the patron Dr Thomas Monro (1759-1833) … Cotman became a prominent member of the Sketching Club founded by Thomas Girtin (1775-1802)”

Maybe that could contain the germ of some explanation why this was such a popular subject as J.M.W. Turner, Tintern Abbey, the transept, a watercolour at the British Museum states that “From 1795 to 1798 Turner was employed by Dr Monro in the evenings to paint washes over copies of watercolours by J.R. Cozens, for which Thomas Girtin drew the outlines.”

St. Benet’s Abbey, Norfolk
John Sell Cotman (1782-1842)
watercolour on paper
1831
32 cm x 47 cm
inscription in red bottom left signed and dated ‘J.S. Cotman 1831′

And finally as you might expect, the ruined Abbey also features in local folklore as part of the legend of a ‘wyrm’…





“A fire-breathing dragon struck fear into the hearts of the Ludham residents. Upon discovering its cave they tried blocking the entrance, but the dragon merely tore away the rubble. Finally one man found a boulder that was the exact shape of the cave entrance and blocked it up whilst the dragon was out.




On finding its cave blocked the dragon moved to the vaults under the ruins of the Abbey of St Benadict.”






A very pragmatic dragon!





More dragon legends from around the UK at The British Dragon Gazetteer