There were at least four great men of the Norwich School of Artists connected with this church, wrote Mr John Hotblack Turner, in his report to the Norfolk & Norwich Archaeological Society.
In a 3,500-word summary of the history and architecture of St Mary Coslany, which was published in Vol XVII (1910), he notes the artistic connections.
One of the greats of the Norwich School, John Crome was married in it, John Sell Cotman was christened and Robert Ladbrooke was married.
Mr Turner singles out the “fourth” man – the Rev Eward Thomas Daniell. Although he did officiate at the church and also signed the registers, he was never appointed vicar or curate of the parish.
“I should claim that we have in them the three greatest Masters of that great School, for if John Crome and J S Cotman may be placed first, I should without hesitation put E. T. Daniell, amateur though he may have been, next only to them.
Daniell, a younger son of Sir Thomas Daniell, Baronet, was born on June 6, 1804 in London. After his father’s death in 1806, his widow moved to St Giles, Norwich. She had been left an income of £300 pa from land and estates in the West Indies.
At Norwich School, he was taught by the drawing master John Crome. After Oxford, where he neglected his studies for his growing interest in art, he honed his skill in etching with guidance from Joseph Stannard, who died in 1830 from tuberculosis.
With financial independence, he went on a Grand Tour of Europe and quickly won praise for his drawings and painting – later many were acquired by Norwich Museum.
On October 2, 1832, Daniell was ordained in Norwich Cathedral as a deacon and three days later was licensed as a curate of Banham parish church, which he held for 18 months. During his time in Norfolk, he produced many highly-regarded landscapes including Burgh-next-Aylsham bridge, Flordon bridge and Whitlingham Lane by Trowse.
He also took up painting in oils and was an honorary exhibitor with four of his works shown at the Royal Academy.
Daniell moved in the highest artistic circles – he was friends with J W W Turner and entertained many of the country’s leading artists at his London home. He died on a sketching tour of what is now modern Turkey in September 1842.
“I may remark that I think we are very fortunate in having his work so well represented in the Castle Museum,” added Mr John Hotblack Turner.
There is, besides others, one fine old monument in the chancel to Clement Hyrne, his wife, and children.
There is a memorial tablet to the great Daniell in the nave. His mother is also buried in the church too.
There are several tablets to the Finch family, and one large one to the Springfields.
The great north transept window has been restored by members of the Springfield family, the great south transept window by members of the Finch family.
The south-east chancel window has been given by the Rev A F Rivers, a former vicar; the south-west chancel window is being restored by the descendants of Martin Fountain, and will be a beautiful example of local stained glass work by J. J. King; the subject is the Annunciation.
The north-west chancel window is being restored by the sons of the late vicar, the Rev. Charles Morse.
The north-east transept window is the gift of the members of the Archaeological Society, One of their members, Mr G A King, giving the beautiful centre light (St Thomas).
The south-east transept window is the gift of the relatives of the late John and Lydia Gardener.
One of the windows on the north side of the nave has been given by the neighbouring clergy, and another by Mr Francis Hornor, whose grandfather, Mr Jared Hornor, is buried in the churchvard.
Compiled from the 1910 Transactions of the Norfolk & Norwich Archaeoligical Society by Michael Pollitt
