Inn Signs of the Ages

Manawatu Times, Volume 62, Issue 16, 20 January 1937, Page 13 (Supplement)

Inn Signs of the Ages

ROADSIDE ART CAMPAIGN One hundred and seventy-four years ago London held its first exhibition of inn signs. The second exhibition was opened last month. Like its predecessor of 1762, it showed the old as well as the new, for sign-painting and designing, so far from being lost glories, are reviving crafts in the modern era of the road. The exhibition, the result of a suggestion by the Council for the Preservation of Rural England, and of an appeal by Sir Guy Dawber, was described as “the first blow” in a campaign for the preservation and increase of appropriate trade signs. It proved an inspiration and an education to proprietors of roadside properties, builders, designers, and artists. Eminent men sitting as a “hanging committee” examined photographs and drawing which pourned in from overy English country. As a result 250 signs were selected and brought to London, while in addition there wore numerous designs and pictures of signs which were impracticable to remove. Just as Hogarth, is believed, was an exhibitor in 1762, so the inn signs shown in 1936 included work attributed to eminent artists, including Royal Academicians. Some of the exhibits possibly appeared curious, though the collection was made in no freakish sense, but with the main object of emphasising beauty and utility in its broadest aspects. Some old London signs which are now museum pieces were shown.

“When the road went out of fashion tho inn sign declined, but with the revival of the road there has been a sign revival, and the modernist strain is being shown,” an official said. “Thus the greyhound has become the racing greyhound, and the phantom coach is now seen dimly in the headlights of a modern sports car, which has taken its place as the main feature of one sign. “The oldest sign came from Clare in Suffolk—that of the Swan Inn. It still hangs after 500 years. Actually it is tho base of an old window, with a swan, the Plantugenet arms, and the family arms of the de Veres and Claves carved in lo.v relief.

We are apt to forget that, in the days when people could not read, the sign was all important, and through it has emerged much local history and lore, while it has given a valuable insight into the social life of the past. One sign shown is said to have been painted originally by 'Old Crome,’ of Norwich, and it is a matter of regret that in cases such as this there is, naturally, little original work surviving. ’ ’ Sussex, Hertfordshire, and parts of Norfolk and Essex appear to be richest in signs, and, moreover, the art is being perpetuated in several of the towns and villages. In Sussex, for instance, owners are now employing ‘ * two outstanding young artists” with marked suc-

Many sign origins are obscure. The Blue Cap in Cheshire, for instance, proved, after much research, to be a famous foxhound; but the Roaring Donkey, of Holland-on-Sea, near Frinton —which for an interval last century changed its name to that of a lesser royalty—seems to be founded only on its picture of a violently braying ass. Dukes of Wellington abound in all shires, while the vast majority of Queen’s Arms and King's Heads are apparently memories of Elizabeth and Henry VIII. There are inns in honour of Lord Beacousfield, but none commemorate Mr Gladstone. But quite recently in Suffolk, with a gallant portrait sign, the first Earl Haig Inn has appeared. Apparently no other leaders of the Great War are thus commemorated.

An ancient Running Footman sign as about to be restored to its original premises on the outskirts of London. One exhibit showed the sign of one a the inns named The Man Loaded with Mischief—there is one in London and another in Norwich—graphically making plain the plight of a husband carrying his wife on his back, some bags of money, and a chattering magpie.

There were many which, however, could not be shown, including The Five Ails of Poole, Dorsetshire, showing in panels a king, “I rule all”; a parson,

“I pray for all”; a soldier, “I fight for all”; a lawyer, “I plead for all;” and a tailor, “I clothe all.” In another part of the country a wit deleted the tailor and substituted a picture ot John Bull, with the pathetic plaint, “I pay for all.” Neither was the sign of Tho Wild Man exhibited. This, showing a nude figure, stood on a posting road to the north. It iB on record that when Queen Victoria passed that way a cloth was hung in front of the sign to that Her Majesty would not be shocked. Nowadays the work of sign artists is properly framed to withstand the weather. One sign so treated recently showed The Quiet or Silent Woman—an adornment for an inn in the Midlands, showing the face of a scold with her lips padlocked.