The last time we had a gander around Norwich Castle’s 900-year Norman keep, it was a hollowed-out shell. When converting the structure from a prison to a museum, the Victorians had ripped out the floors. The 19th-century look certainly had the wow factor and gave the structure a great sense of scale, but it lacked authenticity. Fast-forward to 2025 and, following a five-year, 27.5 million quid transformation by the Royal Palace Reborn Project, visitors can now explore five reinstated floors – from basement to battlements. So we reckoned it deserved a second viewing.
Alongside the remodelled keep, the castle features an assortment of galleries dedicated to local history. We really liked the exhibition dedicated to Boudica, the rebellious Queen of the Iceni who, between 60 and 61 CE, bloodied the noses of the perfidious Romans, torching the embryonic towns of Colchester, St. Albans and London along the way. In the end she and her rebels were crushed, but her heroic struggle has become the stuff of legends.
But we were really there for the main event – the new royal apartments dressed to impress in authentic 12th-century style when the keep was as much a palace as a fortress. What struck me was the gaudiness of the regal decor and trappings. I’ve always thought of the Middle Ages as being draped in drab and dirty earthy colours to match the short, sharp lives of the plebs. But, of course, we’re talking about those at the top of the heap. And what have they always done? Flaunt their wealth and power in glorious Technicolor.







As befits its high-end status, the residence came with all mod cons – a deep freshwater well and a less than freshwater communal toilet – a garderobe in castle-speak – where matters of state would be discussed over a bowel movement and the Groom of the King’s Stool might yell “garde à l’eau” – the possible origin of the modern word ‘loo’ – to unfortunate peasants passing by below.


We were particularly drawn to the centuries-old graffiti carved into the stone walls. Two examples stood out as most poignant: an image resembling a crucifixion in the shape of a St Andrew’s cross and a face of a woman in a wimple – possibly a nun – whose shiny image looks like it’s been buffed over and over again, perhaps by desperate souls seeking salvation before swinging from a rope. Both etchings speak of a time when, for 400 years, the castle was a prison.


We loved the experience and the excited sprogs around us loved it too. The whole show is a wonderfully vibrant way to bring history to life, for young and old alike.
Our last stop was a tour of the ramparts – opened up to the public for the first time. From here the punters get a tantalising glimpse of the modern city through the gaps – called crenels – between the raised stone blocks of the parapet. It screams “we’re in charge now and don’t you ever forget it”. Shame I left my longbow at home.
And to top it all, the museum is a finalist in the Art Fund Museum of the Year Award 2026. The winner will be announced on the 25th June at a ceremony at the Cutty Sark in London. Fingers crossed! 🤞





























