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The Plantation Garden Archive

Numbers 301 to 350 of the pictures in our archive - in numerical order (That is, the order in which they were scanned)

Date: 1980
Source: Photograph by volunteer

One of the early pictures of the fountain which shows how much work lay ahead of the pioneer volunteers. For a description of their first reactions see PGPT181.
This view has been taken looking west, so the Plantation house can be seen top left through the overgrown saplings.
   PGPT301 and 303
Date: 1998
Source: photograph by volunteer

PGPT303 was one of the early photographs taken from the restored rustic bridge (see PGPT304). It was very pleasing to be able to reproduce a view which had been shown in the 1897 photograph (PGPT001) but which had not been available since the bridge collapsed in the 1940s.
   PGPT304 and PGPT312 
Date: 1998
Source: photograph by volunteer

In 1998 the Norwich Society was celebrating its 75th anniversary and invited suggestions for projects to commemorate the occasion. Fortunately for the PGPT, the restoration of a bridge had been one of the Society's original projects, and so it was agreed that the Society would bear half the expense of restoring our bridge.
Allan Sewell, a local architect who had been involved in the Trust from its early days, designed the bridge after close study of the 1893 map, the site and the few existing photographs (cfPGPT373/4). He was pleased to find, once building was under way, that the builders uncovered the original bases of the bridge just where he had placed them.
PGPT312 shows the view from the bridge in 1998 - compare with the 1897 view PGPT001.
Date: 1990s
Source: photograph by Sarah Cocke

The 'medieval' terrace wall was built in 1871, as we know from a plaque with that date set into the wall. The ecclesiastical style, with much use of 'niches' with designs within them, echoes many Norwich church walls, such as that of St Peter Mancroft in PGPT306. Decorative shields, like St Peter's, can be seen in the Plantation on this wall and the Italian terrace wall (PGPT111)
Date: 1990s
Source: photograph by volunteer

This detail of the west wall of St Peter Mancroft church illustrates the influence of the medieval churches of Norwich on Henry Trevor's designs for his garden, where the fashionable taste for the medieval was much in evidence.
         PGPT307, 308 and 316 
Date: 1990s
Source: photographs by Sarah Cocke

These details of the 'medieval' wall reveal clearly Henry Trevor's taste for designs which echo medieval ecclesiastical architecture. The shield in PGPT307 is similar to one of those in PGPT111, the emblem of the cross speaks for itself and reflects Henry Trevor's devout belief that gardening was a godly activity, the 'man' is reminiscent of medieval carvings of comic people. Gunton Bros bricks have been used to create these images (see PGPT113).
         PGPT309, 310, 313 and 314
Date: 1990s
Source: photographs by Sarah Cocke

These are all details of the 'medieval' wall which Henry Trevor built in 1871 as a retaining wall when he levelled the slope in front of the house so that he could site his large Palm house there. He made this wall highly decorative by extensive use of Gunton Bros fancy bricks e.g. the rose, thistle and shamrock chimney bricks (see PGPT311,315). There is no evidence about the source of the 'gargoyle' - it also may be from a Gunton mould.  
          PGPT311 and 315
Date: 1907 and 1893
Source: catalogue of Gunton Bros and photograph by Sarah Cocke

Gunton Bros of Costessey (see Guide book 2009 p11) prospered from the early 19c when the firm was employed to repair the medieval Costessey Hall. They found that the moulded bricks and windows etc that they made in the 'medieval' style were popular throughout the country, so they produced catalogues from which it has been possible to identify many of the bricks, both red and white, found in the garden. PGPT311 shows p11 of the 1907 catalogue, illustrating a set of 'patriotic' chimneys, with designs of an English rose (reflecting chimneys at Hampton Court), between the Scottish thistle and the Irish shamrock. PGPT310, 313/4 show examples set into the walls of the garden.

PGPT315 is a photograph of a set of these chimneys, together with other Gunton chimneys, on a house in Chapelfield North. The house is dated 1891.
Date: c1989
Source: photograph by volunteer

This photograph shows work in progress on the Italian terrace. The eastern section of the balustrade has been restored, the western has yet to be tackled. There are no urns on the upper pedestals and the summerhouse lies in the future.
Date: 1897
Source: enlargement by Sarah Cocke from PGPT002

This enlargement was made to show details of the Palm house made by Boulton and Paul (see pages from their catalogue PGPT075, 078). Points of interest are the glazed entrance to the boiler house on the right, copied in 2000 to make a shed (PGPT097), trestles and a ladder beside the double doors, the ventilators open at the top of the octagon, the trim edges of the paths, the carefully tended flower beds and the neat shaping of the ivy on the 'medieval' wall on the left.
Date: 1980
Source: photograph by volunteer

This photograph shows as clearly as the 1980 photographs of the fountain (e.g. PGPT302) what a task was taken on by the original volunteers in the garden. A comparison with PGPT320, of the same view, indicates how much work was done to remove the years of growth of ivy and reveal the structure underneath. It is certainly to the credit of the original builders that once the ivy was removed so much of their work was still standing, although some of the ballustrades had to be reconstructed.
Date: 1990s
Source: photograph by Sarah Cocke

Comparison with PGPT319 reveals what lay beneath the thick covering of ivy. Although inevitably some repairs to the facade were needed, the most obvious reconstruction was of sections of the balustrade.
In the 1897 auction particulars this area of the garden is described as 'The Italian Garden', with mention of its plantings, but the 'Italian' character really derived from Henry Trevor's 'well kept terraces and balconies'; for he employed here, to cover the steep cliff of the original chalk quarry, the slopes, steps, pedestals and balustrades which Italians had developed to deal with their steep terrain.
The balustrade along the top, which shows white in the picture, was made of bricks in pattern clearly seen on the left in PGPT002 and 022.
Date: 1990s
Source: photograph by volunteer

Shrubland Park near Ipswich may have been an inspiration to Henry Trevor when planning the Plantation garden. Charles Barry was working there 1848-1852, and Pevsner refers to the many Italianate features he added to the house and garden. 'The W garden carried down in terraces on the model of the Villa d'Este at Tivoli works wonders with the little Suffolk landscape offered'.
It is quite possible that Henry Trevor visited this garden before or while he planned his own 'Italian garden', since it was open to the public at times. Another possible connection is that Edward Boardman,the architect whom  Henry Trevor often employed to design for him (cf PGPT008), was a fellow student of Charles Barry's son.
Date: 1990s
Source: photograph by volunteer

This photograph of one corner the wall of the Italian terrace shows a typical mixture of the materials Henry Trevor used in his garden, in contrast to those used to create the Italian gardens of many wealthy owners of country estates. At Shrubland Park (see PGPT321) the grand staircase and its balustrades and pedestals were all made of stone, but this would have been impossibly expensive for Henry Trevor.

Instead he again employed the assortment of materials seen elsewhere in the garden: there are flints, moulded chimney bricks from Gunton Bros (including a bunch of grapes design, PGPT113) moulded balustrades and - a very individual touch - drain pipes to stand in for classical columns on the pedestals.
Source: photograph by volunteer

A visitor making the ascent to the top of the terrace would find continual interest in the designs on the walls. They are amazingly varied and use an eclectic mixture of materials. Thus here a flower pattern has been created from Gunton bricks intended to decorate chimneys (see PGPT011), surrounded by a white brick classical leaf and dart moulding, with a couple of path tiles added above to enliven the flint background. Never a dull moment!
Date: 1980s
Source: photograph by volunteer

This is one of the pair of pedestals that stand at the top of the steps of the Italian terrace. It is notable in several ways. Each of the other pedestals that you pass as you ascend the slope has a different design: here the opposing faces of the two pedestals have the same design, of a shield set within a cusped window frame, with the initials HMB above a design of a tasselled rope.

What significance do these initials have for Henry Trevor? H could be for Henry; M for his wife Mary; B, slightly oddly, for her middle name, Beakley. This is probably the interpretation that Henry Trevor wanted his visitors to understand, an interpretation which would have made him smile. For the plaque that we see here was not custom made for Henry Trevor. It must have been a 'spare' from another job of Gunton Bros (cf PGPT325/6)  PGPT 289, 290 have other views of these plaques.
Date: 1980s
Source: photograph by volunteer

The plaque in this photograph looks identical to the one in the Plantation garden as in PGPT324 - and indeed it is from the same mould. But this plaque is to be found at Oxburgh Hall, where Sir Henry Bedingfeld,6th Baronet, and his wife Margaret, embarked in 1830 upon the restoration of the medieval hall. Sir Henry employed as architect John Buckler, an enthusiastic medievalist, and together they carried out an extensive programme of restoring the building and gardens. Designs by Pugin and Crace were used, as well as heraldry and initials to give a sense of period. This decorative plaque (HMB for Henry and Margaret Bedingfeld) is typical of their fashionable 'medieval' style.
Date: 1980s
Source: photograph by volunteer

The Victorian walled garden at Oxburgh has castellated towers and gateways in the medieval style, as shown here. An HMB plaque (see PGPT324/5) was built in over the doorway.

Since the moulded bricks and the chimney stacks of the Hall can be identified as Gunton products we can feel sure that this was their source for the plaque. It was natural that Buckley, the architect (see PGPT325) should employ Gunton Bros because he had already worked on the restoration of Costessey hall in the 1820s, using Gunton bricks then (see PGPT311,315). Henry Trevor may well have bought a 'spare' from Guntons' yard after Sir Henry's death in 1862.
Date: 2002
Source: photograph by volunteer

The red white and blue of the bedding scheme celebrates the Queen's Golden Jubilee.
Date: 1980
Source: photograph by Allan Sewell

This view looking North from the Italian balustrades toward the house complements PGPT319. In the foreground is part of the ivy mountain covering steps and balustrades.  The lawns and paths have disappeared under a covering of saplings, tall grass and brambles.
Date: 1856
Source: illustrations from 'Rustic adornments for Homes of Taste'

Shirley Hibberd's book, first published in the year in which Henry Trevor built the Plantation, was an enormous success, reprinted several times. Henry Trevor's garden reveals its influence very strongly: here can be seen the tall urn on a pedestal (cf PGPT002) in front of a rustic summerhouse (cf PGPT415); the rustic style of Hibberd's seat reminds us of Henry Trevor's rustic bridge (cf PGPT373); the flint buttresses of Henry Trevor's fountain are also very similar to an illustration for the 'Marine Aquarium'.  Henry Trevor, as a man who sold fashion, would have wanted to show his garden also as an example of fashionable good taste.
Date: early 2000s
Source: photograph by volunteer

In the foreground of this picture of the long west bed beside the main lawn can be seen part of the magnificent display of dahlias planted there for a year or two. Unfortunately they were discovered by a muntjac deer which arrived (probably from Earlham cemetery) and ate them. We did not want to encourage visitations by deer, so abandoned the idea of dahlias!

In the background can be seen the rustic bridge and glazed 'shed'
Date: c.2000
Source: photograph by volunteer

Here can be seen a panel from the original 1886 summerhouse which was found in 1980 on the lawn near the Beeches (see PGPT090). This panel and the one just glimpsed on the right were decorated with 'found' pieces of wood to make images of swans.

Date: 2006
Source: photograph by volunteer

Another picture of the recreated summerhouse with its heather roof (see PGPT135) before it was replaced with a roof of Norfolk reed (see PGPT116).
Date: early 2000s
Source: photograph by volunteer

A view of the Italian terrace, showing the recreated summerhouse in position at the top of the steps (see PGPT319/20)
Date: 1990s
Source: photograph by volunteer

At the top of the rockworks are two large lumps of clinker, each at the head of 'steps' down which a trickle of water could flow.
Clinker from the gaswoks was used by Henry Trevor as a cheap substitute for the volcanic rock which was advised as desirable for Victorian rockworks.

Marj Wilson designed a planting for the elevation which included ferns and cordyline. In the background can be seen one of the copper beeches which Henry Trevor planted.
Date: 2001 or 2002

In 2001 a thoroughly Victorian theme was given to the summer fete - it was, after all, the centenary of  Queen Victoria's death. Actors impersonated the Queen and her heir. In 2002 we celebrated Queen Elizabeth II's Golden Jubilee. On both occasions the garden - and of course the tea tent shown here - was decorated with flags.

The ladies who made cakes and served teas deserve a special mention in the history of the PGPT, for they gave many hours of  time and trouble to the numerous tasks involved in providing teas on the lawn on summer Sundays to an appreciative public. The result of their work was a considerable contribution annually to the funds available to the garden. Gretchen Mason, also Hon Sec at the time, was the first 'Tsarina of the teas' in 1999, Nancy Stewart (picture centre, in mob cap) was 'Queen of the cakes' and others since have carried on their very good work, giving up their summer Sundays to this cause.
Date: c.2001
Source: photograph by volunteer

One Sunday a visitor to the garden remarked that we were not growing a palm in the Palm house. a few weeks later he returned with the gift of a trachycarpus fortunei which has flourished in this sheltered position.
Date: 1997
Source: photograph by volunteer

The family tomb in Earlham cemetery was built in 1862 when Joseph Gray (cf PGPT158) died. His inscription, on the right, tells us that he 'lived in the faith of Jesus Christ for upwards of fifty years', a reminder that he was a minister at the Pottergate St Baptist chapel, like his son-in-law Henry Trevor after him. Other family members buried here include Henry Trevor himself, Joseph's grandson John Joseph Gray Page, another grandson and great-granddaughter.
By 1997 the tomb was in a state of dereliction, and Bruce Adam, chairman of the Trust, raised the money from Henry Trevor's descendants and others to restore it to commemorate the centenary of Henry Trevor's death. Lead letters were replaced, some scattered railings retrieved from under bushes, others recast and the stone cleaned. Since this photograph was taken, a plaque reminds visitors that Henry Trevor created the Plantation garden.
Date: 1997
Source: detail from PGPT337

By the time of Henry Trevor's death, he was well known enough for reports of his short illness (probably a stroke) and death to be reported in the local papers. There was a long piece about his funeral. A brief ceremony at the house was followed by a procession 'led by the head gardener' and managers from the works to join the carriages in the Earlham road. Nearly 100 employees came to the cemetery, and the mourners listed included many eminent  businessmen of the city - including George Green, who would lease the Plantation some 20 years later (see PGPT059-63)
Mary (1815 -1902, cf PGPT159), Henry Trevor's wife has left little trace in the records, though her remarkably long life stretched from the battle of Waterloo to the arrival of motor cars. She was married and widowed twice, and bore at least six children, of whom 4 survived to adulthood. Considering how much time and money Henry Trevor spent on the garden, one hopes that she enjoyed it too. Her father Joseph Gray's will indicates that he valued his garden, with its vinery, hothouse and busts, so her upbringing trained her well!
Poor Eliza (cf PGPT162) died before her parents. Her 2 sons were Henry Trevor's main heirs (PGPT266).
Date: 1990s
Source: photograph by volunteer

A rustic bridge at Shrubland Park (see PGPT321), providing access from one slope to another, is another similarity between Shrubland and the Plantation garden.
Date: 2008
Source: photograph by Shirley-Ann Humphries

The garden has often tempted photographers after a fall of snow!
Date: 1842
Source: 'The Plantation Garden' by Sheila Adam, UEA dissertation 1996

This copy of the tithe map (1842) illustrates the fact that Joseph Gray, Henry Trevor's father-in-law, owned considerable property in the area of Heigham Grove and Chester Place. At this time there were 2 buildings on the site of the Plantation, and the cliff of the quarry can be seen.
Date: 1873
Source: as PGPT341

This is a copy of the map compiled by A.W.Morant, City of Norwich Surveyor. The red outline illustrates the area of the Heigham Estate bought from the Steward family by Henry Trevor in 1877, used for a time as garden land, then sold for building plots in Clarendon Rd in 1897.
Unfortunately, the map's accuracy cannot be relied upon e.g. there are too many houses shown in Chester Place; so that the features shown in the Plantation garden may or not be accurate. It seems unlikely that there were trees rather than a lawn in the centre.

PGPT343 and 344

Date: 1995

Source: diagrams for volunteer guides

PGPT343 is a copy of the 1883 O.S. map on which has been marked ,in green, the numerous beds which would have needed planting with perennials or summer bedding in Henry Trevor's time. PGPT344 (duplicate of PGPT098) indicates the various circular routes which Henry Trevor had devised to provide interesting walks round his garden.

Date: December 9, 1939
Source: Eastern Daily Press, 9th December 1939.

This plan of tunnels underneath Earlham Rd and St John's Catholic cathedral (outlined in pink) is said to date back to 1824. At that time workmen digging a well suddenly found 'a cavern' 35 feet below the surface. Exploration revealed a series of tunnels, which were opened to the public and given jovial names such as Discovery St and Royal Arch (the latter adopted in early 2000s by the developers of a sheltered housing complex nearby). On this plan the original sketch of streets was overlaid with dotted lines showing a conjectural relationship between tunnels and modern streets.
Nobody can be sure of the original date or purpose of the tunnels. 'John Bond 1571' was found carved into a wall and gives us a clue. Mining for flints has been one suggestion, digging out chalk another. We have always assumed that the quarry in which the Plantation garden was created was formed by excavating for flints and chalk.
Date: March 3 1988
Source: photograph by volunteer Bruce Adam

This photograph was taken soon after a bus travelling along the Earlham Rd towards the city suddenly slipped into a hole! It happened just opposite the entrance to the Plantation garden - and by coincidence the house in the background is the house which Henry Trevor rented before he built the Plantation house. The hole, of course, was created when the roof of a tunnel below the road (cf PGPT346) collapsed.

Fortunately nobody was hurt, but afterwards much work was done to fill in the tunnels. Full reports appeared in the local daily and evening papers of March 4 and 5. The incident was even reported on the television news in Australia - and adapted by Polo mints, whose slogan was 'the mint with the hole in it'.
PGPT348 and PGPT349
Date: 2003
Source: photographs by Sarah Cocke

In the first decade of the 20c there were 2 royal visits to Norwich: King Edward VII came in 1909, King George V in 1911. In the newspaper reports of each of these visits mention is made of the furniture, shown here, especially made 'by Messrs. Trevor & Page' to be used by the royals. These photographs show the 'throne' made for George V, with the record on the back that 'the oak was taken from the Norwich Guildhall during repairs 1907-8'. In 2003 these chairs were being stored in the Guildhall; their historical importance was receiving no recognition.
  PGPT350:  Duplicate
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The Plantation Garden Preservation Trust, 4 Earlham Road, Norwich, Norfolk.