The Cat, the Canary, the Carpenter and the Canon

​The clatter and clang of scallop shells and bells shaken at the approach of a resident once signalled an unlikely vendetta. This famous piece of Henfield's folk history has made the picturesque Cat House and its feline carvings our best-known building for well over a century. Here, the genesis and the tale...

One of Bob Ward's cat and the canary carvings on Henfield's 'Cat House' (photo: R. S. Gordon)

​According to local architectural historian Annabelle Hughes, the cottage itself was probably built around 1550, based upon its original three bay construction, central smoke bay without chimney and sans-purlin coupled rafter roof. The eastern section was added on, likely a generation or so after construction. From 1872, the resident was one Robert 'Bob' Ward and his wife, Eliza (née Boon, of Ringmer). The cottage was then known as 'Leaches', although more delicate locals were sometimes wont to rebrand it as 'Beeches'. Born in Henfield in 1815 to John and Sarah (née Peskett), Robert was one of an even then impressive, fourteen siblings. A skilled carpenter and joiner by trade, he and his family lived at Hacketts Cottage, then divided into three tenements. Working with his older brother William, they had the shortest possible stroll to work at the yard by the cemetery lych-gate.

The red sun carving on the Cat House, Henfield. Photo: R. S. Gordon

​The 1851 Census found Robert and Eliza at Hacketts, living with their seven-year-old nephew George Green and their son, three-year-old namesake Robert, who was sadly to die before his twelfth birthday. Another child, Eliza, had succumbed after only a few days in 1844, then all too common. Ward was however to be the Great Uncle of a Henfield character to come - the eponymous department store owner, long standing Free Church organist and local property magnate Charles Tobitt. Ward's older brother Peter and nephews also ran another 19th century Henfield institution - Ward's gunsmith at No. 5 London Road, open from 1825 right through to the Edwardian era.

​Ward's early handiwork can still be admired in the museum, including the glorious novelty of the Change 8 Bell musical set. Completed in 1849 (or once suggested, 1830) - apparently after two years' work in the evenings - it was at one time displayed in the Vicarage Garden and arrived in the collection via the Tobitt family. Also displayed, a folding table now used for museum gifts, and a finely carved treasure box. It may also be wondered if the strikingly designed table in our rather stern (possibly long suffering!) photograph of Eliza is her husband's work. A man of strong religion, he took too an interest in local history, with an idiosyncratic hand drawn and neatly annotated village map of his now residing in the museum collection.

1862, and the other player in our story had entered the stage from what was soon to be a position on high. Moving into the imposing (albeit since enlarged) Martyn Lodge from nearby Shoreham, he was Nathaniel Woodard, freshly minted in 1870 as Canon of Manchester Cathedral by Prime Minister Gladstone. A man of energy, he is best known today for founding various private schools aimed at the middle classes, reflecting the necessity of home education in his own youth. Starting while a Curate at Shoreham, what was to become a grand project of eight schools bloomed locally with Lancing, Ardingly and Hurstpierpoint colleges. He did not though neglect Henfield, soon after arrival inviting both local worthies and those of lesser means (the latter of course ate in the kitchen!) to enjoy a Christmas meal at his expense. However, his main local legacy was his initiation, along with the Borrer family and other locals of means, of the ambitious rebuilding of much of Henfield Church in 1870. This was at high cost and using the same accomplished architects responsible for Lancing College's famous chapel.

Nathaniel Woodard, from the August 1911 Denstonian magazine

​It is quite possible that the old Henfieldian Ward was not impressed by the newcomer's disruptive efforts - or perhaps opposed his High Church Tractarianism. It was said by local Vicar and historian Henry de Candole that three wooden, painted panels depicting the Ten Commandments, the Creed and the Lord’s Prayer were displayed at the head and foot of Ward's bed. These were probably those taken out during the 1870 church reordering - the family being long in the trade, perhaps they had also been made by a Ward forebear. After Ward's death, they were ultimately returned to St. Peter's (where they are held in store as of writing). A former canon law rescinded in the 19th century had required them to be displayed, probably being on either side of the High Altar. Helpfully written on the back of the largest panel - the Commandments - the dates '1777' and '1870' and the text 'In this Church 93 years', presumably added when they were removed.

​At this point the infamous story of the cat and canary arises. Ward kept canaries and Woodard a cat. The two mixed one day to fatal result and Ward seemingly made it his mission in life to use his skills to remind Woodard of his negligence, and his cat's victim. Multiple weatherboards with metal cat and canary figures were erected on the house, with a wire supposedly being connected to a line of scallop shells and bells, which would be rung every time Ward saw Woodard walking past on his way up to St. Peter's from nearby Martyn Lodge. Slightly unbelievably in any other scenario, the story goes that Ward would also blow loudly on a ram's horn from the 'Zulu Hole' at the approach of Woodard (and perhaps also of his cat?). That is, until neighbours stepped in to prevent this excitingly ridiculous new village soundscape. Probably a reference to the contemporary Anglo-Zulu War of 1879, the hole still exists and it wouldn't be beyond the realms of reason to think that someone at the time may have made allusion to that greater conflict in the light of the local feud.

​Although nothing of it remains today, the garden also appears to have ended up fully dedicated to the cause. We're lucky that this striking spectacle does not only have to be imagined. A painting in the museum collection by M. Russell is helpfully signed off on the back by Ward to be 'a true sketch of my house c. 1882'. Our view is from an angle now obscured by the brick house built next door around 1900. What may be the man himself can be seen standing in front in Sussex smock, pointing to the scene. Two suns and several all-seeing eyes looked out in addition to a line of trumpeting cats of Jericho erected along the garden fence, with accompanying boards with references to lines from the Old Testament, including the Book of Joshua: 'Sun stand thou still upon Gibeon'.

The Cat House, Henfield 1882, M. Russell, Henfield Museum Collection

​A head of Joshua also hung down with its accompanying lines, whilst an image of a cannon was no doubt starkly symbolic. On the house itself, a long since gone plaque stated, slightly intimidatingly, 'This old house has got eyes before and behind to watch the old liar'. However, another sign in the garden stated 'False charge of damage to hedge and fence', indicating that other disputes perhaps also lay behind what was no doubt an elaborate entertainment for many, but an ongoing trial for Woodard. It may be imagined what Ward's wife Eliza thought of the matter, let alone the Canon himself. Publicly described by his contemporary Bishop George Selwyn as 'one of the most candid and straightforward men I have ever met', the undignified spectacle was all probably somewhat perturbing!

Seemingly first published in print in a half page article in the first volume of the Sussex County Magazine in 1927: 'A Queer Story About a Sussex Cottage', the tale had clearly been doing the local rounds for the half century prior, certainly losing some facts - and perhaps gaining some myths in the process. Indeed, the author 'E.S.' notes that they had also heard of an alternative interpretation whereby the cats were symbolic of Ward's (lack of) regard for Woodard as merely the 'cat's paw' of the people. In Henfield, Elizabeth McDougall most recently revisited the tale in print for BN5 in October 2009, while an excerpt from this article is also currently displayed in Church Lane for curious visitors. Many will also recall the former Cat & Canary pub (previously the Station Hotel and now the Old Railway) taking this story for its unusual name. The Cat House and story in brief has popped up from time to time in county magazines, local merchandise and on social media and can no doubt be relied upon to do so again in years to come.

Martyn Lodge, c. 1870s. Mrs. Woodard is seated, wearing black at left. This image was presented to the owners of Martyn Lodge by Woodard's Great Grandson Robert Woodard on 1st July 1979 to mark the dedication of the blue plaque on the front of the house. Henfield Museum Collection

How much has been embellished or redirected from fiery theological disagreement purely onto the cat and canary incident is open to debate. At the least, both men can be said to have left some fine achievements to posterity - and an even finer story to this Sussex village. Ward died in 1889, while Eliza lived on until 1899, leaving an estate of £140 16s. Their double grave can be found at the south corner of Henfield churchyard. Woodard meanwhile lived on until 1891, even remarrying to a young Yorkshire bride two years before his death!

​Both men also shared an ability to avoid being pictured. The striking image of Woodard (re-used in a 1911 Denstonian College magazine) is the only one your author can locate, excluding his well-known posthumous portrait, and funerary effigy at Lancing College Chapel. For Ward, we have only a single photograph likely to be of the man - the reverse having an unclear name, but stating 'outside his Cat House'. The image was taken from some distance and appears as if obscured by the mists of the intervening years. Luckily, his features still show through. He sits outside his Cat House with prominent nose, upturned hat, cane, broom and perhaps Sussex smock or apron, one sunny day around 140 years ago.

By Robert S. Gordon, Friends of Henfield Museum, 2024.
​
This article was first published in the Henfield Parish Magazine in September 2024. Thanks go to Churchwarden Pat Burdock for kindly showing the old church panels and Henfield Museum Curator Alan Barwick for information on the Ward family.

Next time you visit the museum, remember to take a look at some of Bob Ward's handiwork. Or, take a walk past the Cat House towards St. Peter's in Woodard's footsteps and try to imagine Ward's creative cacophony...

Henfield Museum Curator Alan Barwick discusses the Cat House during a guided walk for the Friends of East Grinstead Museum in 2017 (Photo: R. S. Gordon)

~ Bibliography ~
​
Anon. The Denstonian (Shrewsbury, Wilding & Son Ltd, August 1911).
Colgate, Edward. Henfield's 19th Century Egg Basket (George Mann Publications, 2020).
de Candole, Henry. The Story of Henfield (Hove, Combridges, 1947).
E. D. 'A Queer Story About a Sussex Cottage' in Sussex County Magazine (1927).
Henfield Museum Collection (objects)
Henfield Museum Collection (St. Peter's baptismal records)
Hughes, Annabelle. Unpublished research, Henfield Museum Collection
McDougall, Elizabeth. 'The Cat House' in BN5 Magazine (Oct 2009)
Russell, M. Untitled (aka 'The Cat House') [1882, oil on canvas]. Henfield Museum