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Life at nature’s pace

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Capturing a rainbow in wool Wild Scottish coast of rocks and ruins Red roots filled with sweetness

Mar / Apr 2016

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Issue 29 | Mar / Apr 2016 | £4.25

EARLY BEAUTY

DOVETAIL GREENHOUSES

GREENHOUSES DESIGNED AND BUILT TO SUIT YOUR GARDEN

N S Greenbank Garden Clarkston Glasgow

dovetailgreenhouses.co.uk 0121 3112900

Life at natureâ&#x20AC;&#x2122;s pace

Dear reader...

VERY YEAR AS spring approaches, I am filled with anticipation. After months of looking at a wet, frosty or snowy garden through the windows, I can now get out and walk round. The question I need an answer to is will my camellia be covered in red blooms? An old plant, it flowers only intermittently. For each year of beautiful flowers, I endure three or four of nothing. I know my gardening friends and colleagues would have no qualms about discarding this old plant. But somehow, I always feel sorry for it and so it survives. I can only hope this will be another year when it will delight me. One thing I do know will be putting on a brave show are the daffodils. They never fail to create a burst of colour whatever the weather. Growing in borders and in clumps in the lawn, their bright yellow trumpets are a joy. My dilemma is whether to pick them or not. It seems a shame not to have a vase filled with flowers from my own garden in the house, but they last so much longer outside. Further afield, the countryside is waking up, as days lengthen and get warmer. It only takes a little sunshine to make a huge difference. One day a tree can be bare, the next it is covered in unfurling lime-green leaves. Clouds of white blossom cloak hedgerows, as the blackthorn puts on its spring display. A stroll down local lanes is accompanied by trilling bird song that equals any choir. What can be better than Britain in the spring? Hilary Scott Editor

Contents

Mar / Apr 2016

18 In the garden

In the kitchen

Craft

Golden drifts in the garden

Red roots full of sweetness

Tiers of colour

Gentle hues of early beauties

Light suppers

Little log bugs

Laying a turf lawn

Desserts with a creamy texture

Pot lid coat rack

Lily bulb offer

Regional & Seasonal: The Bull, Ditchling

Storage boxes from string

Crocheted rainbow blankets

Delicate fritillaria bells

126

66 54 Country matters

History and heritage

Regulars

Valleys of blossom

Family of Lake District artists

Readersâ&#x20AC;&#x2122; letters

Dance of the flame-throated fish

Ancient windmill restored to life

Our LandScape

114 An islandâ&#x20AC;&#x2122;s curious breed

A wild Scottish coast

Subscription offer

126 The wonder of feathers

108 The oaken cask maker

In the garden

In the kitchen

In the home

132 UK events

.03.

Readers’ Letters Sharing your news and views of country life

Star Letter LandScape to the rescue As a LandScape subscriber, I cut out the articles on craftspeople featured each issue. I use the subsequent file for inspiration to help me find gifts that are bit different. At Christmas, my daughter couldn’t think of what to get her dad. I remembered the feature on Edradour whisky (Christmas 2015) and suggested that this would be a good present for him. When she wrapped the bottle up, she enclosed the feature on the distillery. My husband loved it as he thought it was really interested to know more about the origin of his present. He also said it was the smoothest whisky he had tasted.

Lynda Robertson, North Yorkshire

Distilling a work of art

Enjoying retirement in Britain

I was delighted to read the article about the Edradour Distillery (Christmas 2015). My husband and I visited it in 2008. We drove into Pitlochry then up through the woods to Edradour. As we came out of the woods, the view of the white-painted distillery was simply beautiful. We had a fascinating tour with a wonderful tasting session at the end of the day. The visit was made even more enjoyable by the exuberant tour manager of the time, the slightly strange smells and the happy-looking workers. We enjoyed the explanations of how it all comes together and ﬁnding out just how knowledgeable and skilful the stillman needs to be. It made us realise what a work of art it is to produce such a wonderful single malt.

I have hitherto resented being retired, but I am now enjoying making up for lost time. This is thanks to your magazine which has opened my eyes to the wealth of beauty, history, rich traditions and culture synonymous with Great Britain. I am now seeing the countryside with almost raw wonder. I have started seeking out local artisans as well as visiting museums and stately homes and other places of beauty and interest. Furthermore, my interest in cooking has been resurrected – the recipes are a treat!

Cathy Conway, West Yorkshire Lighting the church

Thelma Atkins, Devon A snowy delight I recently painted the cover of the Christmas 2014 issue. I just loved the image of the three children walking in the woods.

Kathleen Powell, Worcestershire Back to my roots

The article on the importance of cold in your Jan/ Feb 2016 issue prompted me to send in my painting of frost on echinaceas.

I found your article about Rutland Water and Oakham most interesting (May/June 2015). My late mother was born there in 1906 and was very proud to have come from the UK’s smallest county. One day I hope to get up there and explore such a lovely part of the country.

Janet Blower, by email

Thelma Stevens, Somerset

Capturing frost on canvas

I took this idea from the Jan/Feb 2014 issue of LandScape and used it to decorate four windowsills at our church. I backed the houses with branches sprayed white then covered them with mini battery lights. This gave a lovely glowing eﬀect once it was dark outside, even more so at the candlelight service when all church lights were turned out.

Christine Bell, by email

WRITE TO LANDSCAPE We love hearing about how our readers are enjoying the seasons. Write and tell us about a craft project you have been working on, an interesting place you have discovered or an issue about the countryside you want to share. Letters or emails should come with one or two good-sized photos, taken on a digital camera or smartphone. Write to Media House, Lynch Wood, Peterborough PE2 6EA or landscapemagazine@bauermedia.co.uk.

Praise for neglected species Your article on rooks (Jan/Feb 2016) was a delight as they are a much neglected species. Last year on holiday, I woke to their wonderful clamour and was moved to write this poem.

Inspired by a quieter life This is a print of my original painting, inspired by your article about horse-drawn barges (Sept/Oct 2015). It was a pleasure to read and the photography was truly beautiful.

Mary L Wyatt-Sugg Transported across oceans At breakfast time here in Queensland, Australia, it is overcast and drizzly. The air is still oppressive and humid so I have the ceiling fan on. The back door is open and all is quiet except for the occasional hum of the cicadas. I am completely immersed in reading LandScape and for a while I am transported to far-away Great Britain.

Nancy Pamplin, Queensland, Australia

Winning recipe Last year, I used a recipe from your Spring issue to bake hot cross buns for my parents. My 81-year-old father said they were the best he had ever tasted. And that’s coming from a man who’s eaten his fair share of buns in his time!

Fiona Lickorish, by email Down the garden path Following your article on the man who collects garden tools (Jan/Feb 2016), readers may be interested to know there is a garden museum in an abandoned church in Lambeth, London. Filled with gardening ephemera, it’s well worth a visit.

Rookery First sound on waking Muted through drowsy windows Such commotion! The sound, throaty, tumultuous Echoing and incessant Waves of guttural squawking Raucous and rough edged Outside they agitate the Chilly morning air A battalion on black ensigns Fluttering and pausing Serrated wing and tail feathers Sharp against the brisk clouds Legs dangling A noisy, combative business this Rousing the world from its lethargy

Kathy Trobe, Wiltshire

STAR LETTER PRIZE This issue’s star letter writer receives a copy of Grow Your Own Cake: Recipes From Pot To Plate by Holly Farrell. It takes the very best of the veg patch, fruit cage, herb and flower garden, and celebrates them all with inspiring recipes for every season. To find out more visit www.hollyefarrell.com.

LandScape, Bauer Media, Media House, Lynch Wood, Peterborough PE2 6EA. Phone 01733 468000 Website www.landscapemagazine.co.uk If you or someone you know are aged between 16 and 24 and are interested in work experience opportunities at LandScape go to www.gothinkbig.co.uk

Editor Hilary Scott Art Director Rachel Hawkins Assistant Editor Katy Islip Production Editor Adèle Donaghie Art Editor Katie Peake Editorial Assistant Victoria Hackney-Williams ADVERTISING – Phone 01733 468000 Group Advertisement Director Trevor Newman Commercial Director Iain Grundy Key Account Manager Kayleigh Nicolaou Sales Executive Amy Woods MARKETING – Phone 01733 468000 Product Manager Lynne Fairburn Brand Manager Charlotte Walsh Direct Marketing Manager Julie Spires Direct Marketing Executive Rebecca Lambert Head of Newstrade Marketing Leon Benoiton PRODUCTION – Phone 01733 468000 Print Production Colin Robinson Printed by Polestar Bicester Distributed by Frontline SUBSCRIPTIONS AND BACK ISSUES To ensure that you don’t miss an issue and for the best subscription offers visit www.greatmagazines.co.uk. For subscription or back issue queries please contact CDS Global on Bauer@subscription.co.uk Phone from the UK on 01858 438884 Phone from overseas on +44 (0)1858 438884 BAUER CONSUMER MEDIA Managing Director – Leisure and Technology Kim Slaney Editorial Director June Smith-Sheppard Head of Digital Charlie Calton-Watson Group Direct Marketing Director Chris Gadsby Finance Director Lisa Hayden Group Finance Director Sarah Vickery Group Managing Director Rob Munro-Hall CEO Paul Keenan COMPLAINTS: Bauer Consumer Media Limited is a member of the Independent Press Standards Organisation (www.ipso.co.uk) and endeavours to respond to and resolve your concerns quickly. Our Editorial Complaints Policy (including full details of how to contact us about editorial complaints and IPSO’s contact details) can be found at www.bauermediacomplaints.co.uk. Our email address for editorial complaints covered by the Editorial Complaints Policy is complaints@bauermedia.co.uk. No part of the magazine may be reproduced in any form in whole or in part, without the prior permission of Bauer. All material published remains the copyright of Bauer and we reserve the right to copy or edit, any material submitted to the magazine without further consent. The submission of material (manuscripts or images etc) to Bauer Media, whether unsolicited or requested, is taken as permission to publish that material in the magazine, on the associated website, any apps or social media pages affiliated to the magazine, and any editions of the magazine published by our licensees elsewhere in the world. By submitting any material to us you are confirming that the material is your own original work or that you have permission from the copyright owner to use the material and to authorise Bauer to use it as described in this paragraph. You also promise that you have permission from anyone featured or referred to in the submitted material to it being used by Bauer. If Bauer receives a claim from a copyright owner or a person featured in any material you have sent us, we will inform that person that you have granted us permission to use the relevant material and you will be responsible for paying any amounts due to the copyright owner or featured person and/or for reimbursing Bauer for any losses it has suffered as a result. Please note, we accept no responsibility for unsolicited material which is lost or damaged in the post and we do not promise that we will be able to return any material to you. Finally, whilst we try to ensure accuracy of your material when we publish it, we cannot promise to do so. We do not accept any responsibility for any loss or damage, however caused, resulting from use of the material as described in this paragraph.

Margaret Peters, by email

Our LandScape The best of the season to inspire and admire

MARCH HARES Jewellery maker Sharon Dickinson hand-cast this hare brooch from ﬁne English pewter in her Lincolnshire studio. It is decorated with etched oak leaves and acorns. An antique agate burnisher was used to hand-ﬁnish the brooch, highlighting the raised pattern in contrast to the textured matt background. Sharon was inspired by the Celtic legends and magical beliefs associated with hares. Hare brooch £25, www.folksy.com/shops/ARCHIVES

SCENTED CARPET A woodland floor carpeted with Anemone nemorosa, or wood anemone, confirms that springtime is here. Flowering from March to April, it takes advantage of the light available due to the lack of woodland foliage to flower, undergo pollination and set seed. As the canopy fills out, the plant returns to dormancy until the next spring. The white flowers have a purple-pink underside, and the leaves a musky smell. On sunny days the blooms open skywards to track the passage of the sun. In poor weather, petals remain closed, to protect pollen from the rain.

IN CELEBRATION OF A SAINT On 1 March, celebrations take place across Wales in honour of the country’s patron saint. St David lived in the 6th century, and was canonised in 1120. Little is known of his life, but he is thought to have travelled widely in Wales and Cornwall, and possibly even to Jerusalem. He became an archbishop and founded St David’s Cathedral in Pembrokeshire. Today, to mark his name day, girls and women don traditional Welsh dress of red shawls and black chimney hats. Two of Wales’ national emblems, the daﬀodil and leek, are used as colourful accessories during the celebrations.

FEATHERING THE NEST Now is the time birds begin to prepare for the breeding season. In April the female blue tit builds a nest, with little or no help from her mate. A cup shape is crafted from materials such as moss and dead leaves, then lined with soft materials she has gathered such as feathers, wool or fur. Building the nest usually takes one to two weeks. When it is complete, eggs are laid at a rate of one a day, producing a clutch of 8 to 10. She then sits on them for approximately two weeks before they hatch.

DRY IN NO TIME

Photography: GAP Photos, Stocksy, Alamy.

APRIL SHOWERS Wet weather in springtime is well known. The saying ‘April showers bring May ﬂowers’ is thought to have its origins in a 16th century poem. It refers to the beneﬁts of the warmer, wetter weather on growing plants. One cause of spring downpours is the high position of the sun during April. It is as powerful at this time as during late August and September, and warms the earth. However the atmosphere is still relatively cold, as are the seas to the north of the UK, creating unstable air. Thermals from the warm ground rise and then cool, forming tall cumulonimbus or shower clouds, the typical anvil-shaped cloud of April.

Spring walks may leave dogs with wet and dirty coats. Dog lover Alison Priestley struggled to dry off her four pets following outings on the Norfolk coast. As a solution, she came up with an idea for a towel made from natural materials. Her Ruff and Tumble dog drying coats are made from double-thickness cotton towelling, with fastenings at the chest and belly for ease of use. The range also includes soft towelling fitted dog bed covers to help keep pet beds clean and dry. Dog drying coats from £25, dog bed covers from £20, www.ruffandtumbledogcoats.com

WAVES OF SUNSHINE Resilient and versatile, daďŹ&#x20AC;odils bring welcome gold and white colour to the spring garden

DRIFT OF RADIANT yellow daffodils spreads across a lawn, their massed ranks a bright reminder that spring is on its way. At a time when most leaves and buds are still tightly furled, these golden-headed beauties are a warmly anticipated sight. Distinctive, beautiful and often fragrant, daffodils have a long flowering season. Different varieties bloom from late winter until well into April. Most are extremely resilient, surviving frost or flood to hold their heads high, whatever the weather. There are countless forms, colourings and sizes of these versatile plants. They can be naturalised in grass or under trees, used to edge streams and paths or bring colour to beds and borders. Small varieties are equally at home in rockeries, alpine troughs or containers. With daffodils to suit almost every garden situation, more are planted than any other flowering bulb. i

A picture of spring: a swathe of daďŹ&#x20AC;odils naturalised in grass beneath the boughs of a tree in blossom.

Drifts of ‘Binkie’ and ‘Barleythorpe’ frame a garden wall. ‘Binkie’ has a short white trumpet and yellow petals, while ‘Barleythorpe’ has a yellow cup and white petals.

GROWING IN GRASS Daffodils naturalise easily in grass or beneath deciduous trees that, stripped of leaves in winter, allow sunshine to warm the ground. Once established, naturalised bulbs return year after year, with the clumps increasing in size. “More than anything else, daffodils shout spring, especially the yellow ones. They tend to appear when not much else in the garden is flowering, and attract pollinating insects,” says Christine Skelmersdale. She is the author of A Gardener’s Guide to Bulbs and proprietor of bulb specialist Broadleigh Bulbs. Christine has experimented for decades with naturalised bulbs in her own Somerset garden. There she grows both wild as well as small trumpet daffodils such as the dwarf bi-colour narcissus ‘Topolino’. Dating back to 1923, this has received an RHS Award of Garden Merit (AGM), a hallmark of its gardenworthiness. “I choose shorter daffodils to naturalise in grass as large varieties look out of place. I also like daffodils such as ‘February Gold’, or ‘Jack Snipe’ with its recurved petals,” she says. “‘February Gold’ is very long-lasting, with an iron constitution. It is perfect for massing in grass under trees, or planting among shrubs. One of the first to flower, it lives up to its name most springs.”

Planting scented daﬀodils by the side of steps or paths allows their fragrance to be enjoyed.

Getting the mix right While these are old varieties, all modern hybrids will grow in grass. However, if the flowers are too showy, they may not suit a natural setting. “The choice of daffodils depends on the effect you want to create,” says Christine. “Never mix early and mid-spring varieties, however, because you’ll have dying flowers in among the freshly-opened ones.” However, it is possible to mix early and late-flowering varieties. This succeeds well when the early ones are short, such as 9½in (24cm) high ‘Pipit’ or ‘Minnow’. Sweetly fragrant ‘Pipit’ bears two or three lemon-yellow flowers per stem, the cups quickly fading to creamy-white. Standing just 6in (15cm) high, ‘Minnow’ is a tazetta daffodil, a type which has several heads on each stem. Later varieties include the taller, later ‘Pheasant’s Eye’ with its white petals and orange button centre, or the scented golden yellow ‘Quail’. As the grass grows, it hides the dying daffodil foliage. i

Vintage variety ‘Topolino’ has a vivid lemon-yellow corona, with a ruﬄed edge. These are surrounded by creamy-white pointed petals.

With its white petals and orange centres, narcissus ‘Mercato’ creates a dazzling block of colour. An all-yellow daﬀodil with a sweet fragrance, ‘Pipit’ bears multiple ﬂowers per stem.

NATURALISING DAFFODILS IN DRIFTS If planting a large number of bulbs to naturalise: t The quickest method involves two people. One

uses a bulb planting tool to make the hole and the other follows behind dropping bulbs into each hole and covering with turf. t Alternatively, for massed planting, a 12in (30cm) square of turf is dug out to a depth of no less than 6in (15cm). Five, seven or nine bulbs are spaced in each hole, before the turf is replaced. t After flowering, the grass is left unmown for six weeks to allow the leaves to replenish the bulbs. t If flowering diminishes, it is likely the clumps are congested and require dividing. After flowering, well-established clumps are teased free of the earth using a fork. They are gently split, removing any damaged bulbs, while leaving small offsets attached to the side of parent bulbs. The bulbs are replanted at the same depth and spacing.

Narcissus ‘Minnow’ is a dwarf variety with ﬂat, pale yellow cups and a heady scent.

Bi-coloured ‘Jack Snipe’ naturalises well. Its narrow trumpet stands amid backward curving petals. 13

GROWING IN BORDERS

‘Rijnveld’s Early Sensation’ provides early colour, planted between rangy dogwood stems and diminutive winter aconites.

“When it comes to border planting, the best thing is to plant the daffodils in clumps towards the back,” says Christine. “Here they flower before the herbaceous planting grows up fully. This will then hide the daffodil leaves as they die back.” Planting in large groups of 25 bulbs creates maximum impact. Repeating the clumps at intervals of 3ft (1m) and upwards builds a sense of rhythm. In smaller beds, a dramatic clump acts as a centrepiece. The bulbs are planted 6in (15cm) deep, and spaced apart approximately twice the bulb’s own width, with the pointed end facing upwards. After backfilling, the ground is gently firmed, without treading on the soil, which may damage the bulbs beneath. Planting a range of varieties creates a succession of colour throughout March and April, or even earlier. Among the first daffodils to appear are golden ‘Rijnveld’s Early Sensation’ and white petalled ‘Spring Dawn’. As spring advances, there is a plethora of glorious dwarfs, including ‘Jack Snipe’ and ‘Bell Song’. The latter has creamy-white petals and a rose pink trumpet. Taller cultivars that work well in clumps include light yellow ‘St Patrick’s Day’ and ‘St Keverne’. Then the season

Drama is created by underplanting tall daﬀodil varieties with a contrasting colour, such as these lilac-coloured scillas.

DAFFODIL BULB CARE TIPS With the exception of some species daﬀodils that need special growing conditions, most are extremely easy to grow. “The most common mistake people make is to plant daﬀodils too shallowly,” says Christine. t Regardless of size, bulbs are planted 6-8in (15-20cm) deep where

they are less vulnerable to cold, heat or drought. t When dormant, daﬀodil bulbs need cool, dry, well-drained soil.

They will rot if allowed to lie in water. t Daﬀodils thrive best in a sheltered position. t Many hybrids are vigorous, and can become overcrowded. When this

happens, they produce healthy leaves, but no ﬂowers and are referred to as blind. The solution is to lift and separate the clump after the foliage has died back. The soil is improved with organic matter before the bulbs are replanted with a 2-3in (5-7cm) gap between each one.

An intense clump in a small bed draws the eye to a point of focus.

bows out with later varieties, such as white flowered ‘Ice Follies’ and ‘Cheerfulness’. To achieve maximum impact at the back of borders, there are very tall varieties. Narcissus ‘Stratosphere’ reaches approximately 24in (60cm) and stands above other plants. Some daffodils produce up to 20 flowers per stem. ‘Avalanche’, ‘Martinette’ and ‘Falconet’ are examples of these. Medium-sized, standing approximately 12in (30cm) high, all have larger leaves, making them most suitable for planting in borders. Thanks to their height they work well around vigorous perennials such as geranium ‘Rozanne’ or nepeta ‘Six Hills Giant’. These plants will quickly engulf and hide the dying foliage. Mid-season and late-flowering daffodils less than 10in (25cm) tall are best planted near the front of herbaceous beds and borders. These include ‘Sundial’ or ‘Minnow’. There they do not risk being obscured as perennials break through. i

Floriferous narcissus ‘Martinette’ can have up to 20 ﬂowers per stem.

Later-ﬂowering narcissus ‘Ice Follies’ has a gently ﬂattened central cup, rather than a protruding trumpet.

DEADHEADING Flowers of all daﬀodils, wherever grown, should

be deadheaded, preventing the plants expending energy on seed formation. All are then left for at least six weeks, to allow the leaves to die back naturally. During this time, the leaves manufacture food through photosynthesis, which replenishes the bulb ready for the next season.

THE NARCISSUS FAMILY Daffodils come from the large narcissus family of approximately 150 species, mainly originating from north Africa and Europe. The name comes from Narcissus, a beautiful young Greek. He became so infatuated with his own reflection in a pool that he pined away and was turned into a flower by the gods. The daffodil’s nodding head represents Narcissus leaning over the water to gaze at his reflection. For centuries, swathes of the wild daffodil, Narcissus pseudonarcissus, have bewitched passers-by. The most famous are the Ullswater daffodils, immortalised by Wordsworth in his famous poem. There is uncertainty as to whether this wild species is a true British native. One theory is that it was introduced by the Romans, naturalising over time. The oldest daffodils known to still be in cultivation include species such as Narcissus x medioluteus, which can be traced back to the 16th century. It was not until the 19th century that increasing numbers of hybrids were bred from species daffodils collected in Europe. Over the ensuing centuries, 156,000 different cultivars have been developed from the original species. This creates ever greater diversity in terms of size and shape. To bring order to this multiplicity, daffodils are split into 13 divisions, based upon distinct characteristics. These start at

division 1, trumpet daffodils, which have flowers with cups longer than the petals. They include ‘Topolino’, and ‘Rijnveld’s Early Sensation’. Division 2 are large cupped flowers that are not longer than the petals. An example is ‘St Patrick’s Day’. Other divisions include varieties that have multiple heads such as ‘Martinette’. Common characteristics Despite their differences, all daffodils share much in common, including being mildly toxic if eaten. All develop from bulbs, which spend most of the year lying dormant underground. They awaken in autumn to produce roots and then, during winter or spring, send up leaves. These vary in shape from strap-like to slender or grass-like. Leafless stems follow, bearing flowers singly or up to a score in number. Each flower consists of six spreading petals or perianth segments in shades of yellow or white and occasionally green, surrounding a corona. This varies in size and shape from a shallow cup to a long trumpet that, according to variety, is coloured yellow, white, orange or pink. Modern breeders have developed daffodils with coronas that feature beautifully contrasted rims or frilled edges. There are also varieties such as ‘Reggae’, that come with coronas in pink shades.

‘Tête-à-tête’ is a gardener’s favourite as its long-lasting ﬂowers are produced freely and reach only 6in (15cm) in height.

Other developments include cultivars with clusters of miniature petals, or petaloids, in the centre. “Daffodils can be grown from seed. It is years before they flower, and yet more while they are trialled and proven to be good garden plants,” says Christine. This is the reason why so many of today’s most popular daffodils are old varieties that have stood the test of time. One of the best known is ‘Tête-à-tête’. This prolific flowerer, registered in 1949, is both early-flowering and long-lasting. A miniature daffodil, its radiant yellow flowers will brighten even the dullest of spring days. Undemanding and easy to grow, they are ideal for borders, rockeries and containers for a sunny windowsill; or grow them in bold drifts naturalised in grass. “It was bred by Alec Gray, who founded our nursery,” adds Christine. “It is the universal, all-round daffodil.”

CONTACT Broadleigh Gardens Barr, Taunton, Somerset TA4 1AE. www.broadleighbulbs.co.uk. The garden opens in aid of charity all year round, Monday-Friday, 9am-4pm.

Christine Skelmersdale surrounded by drifts of narcissi.

Photography GAP; Nicola Stocken

▯ Words: Nicola Stocken

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CLOUD VALLEYS Mists of white shroud an area of south Cumbria as its damson trees burst into blossom

N SPRING, THE countryside in the southern Lake District turns white with drifts of blossom from the damson trees that abound in Cumbriaâ&#x20AC;&#x2122;s Lyth and Winster Valleys. For centuries this area, between Kendal to the east and Windermere to the west, has been famed for these trees. Damsons have been grown in what was the county of Westmorland since the early 1700s, if not earlier. Today, visitors flock there to marvel at the remarkable displays of annual blossom. Set among the imposing grandeur of the Lakeland fells, wild trees abound in the hedgerows, while old

orchards surround the cottages and farmsteads. They thrive on the thin calcareous soils in the mild, damp climate. Sheep, with their newborn lambs gambolling about them, crop the old greensward beneath the sweet-scented damson flowers. Early ďŹ&#x201A;owering The damson, Prunus domestica subsp. insititia, probably originated from a crossing of the cherry plum, Prunus cerasifera, and blackthorn, Prunus spinosa. Its single white flowers appear on the bare branches in April. They are

Damson trees usually reach no higher than 16-26ft (5-8m), but occasionally make 32ft (10m).

The damson ﬂower has only ﬁve petals but numerous stamens.

GROWING DAMSONS Damson

approximately 1in (2.5cm) across, borne on ¾in (2cm) stems. These delicate blossoms are an early source of nectar for bees, the tree’s main pollinators. Damsons are self-fertilising, however, so isolated trees still fruit well, as long as there are pollinators. In close succession to the flowers, the elliptical or oval, finely toothed leaves emerge. These have a sharp point and are usually 2-4in (5-10cm) in length. The bark on young trees tends to be reddish brown or even slightly purple with horizontal striations. It becomes dark grey-brown and fissured as the tree reaches approximately 20 years. Some trees, particularly young suckers, may have long thorns i

trees prefer a warm, sunny, sheltered situation, thriving in most soils, except heavy clays or peat. Planting of bare-root trees should be carried out in the winter months. This is also the time to transfer suckers to new sites. To do this, as much of the root system as possible is ﬁrst carefully teased oﬀ from the parental roots before severing. Tree management is minimal, simply requiring the removal of dead wood when necessary. If pruning is thought necessary, it should be done in mid summer to avoid excessive bleeding. Pruning in winter is avoided as it leaves the trees susceptible to the ingress of disease such as bacterial canker or silver leaf fungi.

Grown in the open, the trees’ lower boughs spread wide.

on the main stem. This is redolent of the ancient parentage of blackthorn. The trees develop slightly sinuous trunks, with the lower branches dying back in the shade of the upper crown. Shape is variable, depending on whether the tree is growing in the open or confined in a hedgerow. Trees in dense hedges tend to grow upwards rather than outwards. Those in the open have more of a spreading nature with larger, lower boughs. They live for between 70-80 years, although long before this suckers start to push up from their root system. These can appear up to 20ft (6m) from the main trunk, showing how extensive the root system is. Sending up suckers is an effective mode of regeneration, creating several clones to maintain the line. Old trees are extremely brittle with boughs splitting off under the heavy weight of snow or in high winds. This is particularly the case if the tree is infested with ivy, which acts as a wind sail. Fruits and varieties The fruits are small blue-black skinned plums, 1½in (4cm) long, with green flesh and a tart flavour. There are approximately 20 British varieties. The exact number is unknown as a variety may have its own regional name in different areas. The Westmorland damson is an example of this, being the same variety as the prune damson, Cheshire damson and Shropshire damson or prune. Identity is further confused by hundreds of years of hybridising. In 2007, an extremely rare variety, ‘Blue Violet’, was identified in the Lakeland village of Crosthwaite. This damson ripens early and is slightly larger than usual, with a very distinct violet bloom to the skin. Sweeter than other

varieties, the ripe fruit drops easily from the tree when shaken, making harvesting easier. It is believed to date back 200 years. Today there are only five known surviving trees. The normal method of harvesting is to either climb the trees or use ladders to reach the fruit. The quantity of fruit is dependent on whether or not late frosts nip the flowers. Damsons have always been harvested but in the 1930s, transport improved sufficiently to get the fruit to market quickly and efficiently. In this decade, approximately 200 tons of damsons were sold annually in Westmorland. Most went to jam factories in Lancashire. In 1938 the Westmorland Damson Growers Association (WDGA) was formed to boost the fortunes of the damson industry. As part of this, it built a small canning plant and its own jam factory. The onset of the Second World War, however, deprived the area of workers as well as severely rationing the availability of sugar. The venture failed and for the next 60 years agricultural and cultural interest in damsons slowly dwindled. The orchards were neglected and many trees lost. Then in 1996, a small group of enthusiasts formed the Westmorland Damson Association (WDA) to ‘enhance the economy

Photography: Alamy; GAP

Damson trees send up suckers from their roots which will produce fruit themselves within 10 years.

A USEFUL FRUIT Damsons are a ready source of sugary energy for various birds and small mammals. Blackbirds and thrushes take them and butterﬂies may be seen feasting on rotting fruit on the ground in September. Field mice seek the stones, carrying them back to their hideaways where they eat the kernels. Until the Second World War, the main uses of damsons were either for jam or as a dye. A range of purples, blues and khaki were derived from the skins. The last was used for army uniforms. The timber of damson is hard and takes a good polish. It has been used in the past for household items as well as inlay in furniture. When ﬁrst cut, it displays an array of colours from pale browns, through pinks to mauve and purple. These latter colours, however, tend to fade to browns as the timber seasons. Today the main uses of damsons are culinary and include jams, jellies, chutneys, gin and wine. Damsons are bottled whole or as a syrup. They are made into ice cream or incorporated in breads, cakes, pastries and puddings. Another use is damson fruit cheese, a thick sugary jelly made from strained damson pulp and served as a condiment with cold meats.

“Alas, good master, my wife desired some damsons, And made me climb, with danger of my life.” William Shakespeare, ‘Henry VI Part 2’ and landscape of traditional damson growing areas in Cumbria by supporting the growing, picking and use of Westmorland damsons’. With this aim, it established an annual Damson Day, held every April to coincide with the flowering of the trees. Up to 3,000 people attend, celebrating this beautiful tree and the produce that can be created from its fruit. ▯ Words:

Archie Miles

CONTACT Damson Day is 16 April, 2016. www.lythdamsons.org.uk

The garden in... March and April Kari-Astri Davies is enjoying the welcome colour of new ﬂowers as they start to unfurl their petals

Left to right: Wallﬂower ‘Bowles’s Mauve’; time to start sowing carrots; an early honey bee gathers nectar; a wren on top of a leylandii.

LL AROUND US birdsong is building to a crescendo, territories are being proclaimed and ladies courted. Last year I found out that it was male wrens which build the mossy little nests to attract females. I wanted to move part of a Bergenia ciliata to the relatively new, vaguely Himalayan-themed raised border. This bergenia puts up massive bristly paddle leaves later in the year but at the moment is still hunkered close to the ground. Parting the leaves to find a good splitting point I discovered a wren’s nest with one tiny, brown freckled egg.

“Among the dwellings framed by birds In field or forest with nice care, Is none that with the little Wren’s In snugness may compare.” William Wordsworth, ‘A Wren’s Nest’ I closed the leaves and left all as it was. Needless to say the nest didn’t last long, a few days later something had left it strewn across the lawn. Wooing male wrens build three or more nest

sites, however, so there was still time for Jenny Wren to start again, she just needed to chose somewhere a little more practical. Not shy at all Presumably the only connection between the phrase social wallflower and the wallflower plant is where they can be found. The phrase is said to date to a poem from the 1820s describing the person hugging the wall whilst others filled their dance cards and twirled the night away. The flowering kind can eke out an existence clinging to old buildings, their roots growing in lime mortar. On my journey to work, there’s a Somerset front garden on a steep rocky bank with a striking display of colour through much of the year. The gardener favours a rich burgundy, purple and orange palette. I was particularly taken by the eye-catching use of Siberian wallflower, Erysimum x marshallii with its zingy bright tangerine flowers. This is an idea I might steal. In the past I have grown a rare old cultivar, ‘Harpur Crewe’, with doubled dark yellow flowers running like tiny buttons up the flower stem. ‘Bowles’s Mauve’ is a good doer but not deliciously scented. It flowers on and off for ages, but tends to exhaust itself, then dies. Both can be kept going by taking cuttings. I have done the traditional thing and interplanted bedding wallflowers, Erysimum cheiri,

“Now the sun walks in the forest, He touches the bows and stems with his golden fingers; They shiver, and wake from slumber.” Katherine Mansfield, ‘Very Early Spring’

Left to right: Siberian wallﬂower ‘Harpur Crewe’; time to start cutting the grass; daﬀodils bring welcome spring colour.

with tulips in raised beds around a paved seating area. The flowers provide a food source for early bees, and me with wafts of rich scent and welcome early spring colour. In June last year, I remembered to sow a row of wallflowers in the new veg plot. I chose ‘Blood Red’ for its velvety richness. The seedlings were thinned out at around 3in high, then finally dug up and planted out in late September. I generally try to grow from seed rather than buying the usually mixed colour bare rooted bundles of wallflower plants for sale in the autumn. I prefer being able to choose the colour and growing from seed lets me do this. Last summer, I pulled up the last few remaining wallflower plants from the previous year. I was amazed to find how little root development the plants had made from the original plugs. This was despite them supporting a good set of leaves and flowers up top. I had bought plug plants by mail order the previous autumn as I’d forgotten the summer sowing. Wallflowers seem to be able to make themselves at home on very little, but shy and retiring they are definitely not!

Bedding wallﬂower, Erysimum cheiri, is a herbaceous perennial, often grown as a biennial. It reaches up to 30in (80cm) in height.

Sowing the ﬁrst seeds In March thoughts turn seriously to veg seed sowing. As the soil starts to warm outside, the first carrots and beetroot can be sown. I’ll start with stumpy Chantenay Red Cored carrots and stripy i

chioggia beetroot. In April indoors, tender crops like tomatoes and peppers, which are slower to get going, can be started in propagators on windowsills. Squash and beans will not be sown until early May. They are faster growing so there’s a shorter time between sowing, potting on and being able to plant out at the end of May. We created the small raised veg beds last year. They are primarily comprised of excavated heavy clay so I’ll be adding green waste compost to lighten the soil. My carrots won’t then come out of the squelchy ground with such a watery thwup! The greenhouse tomato crop last year was better than the previous year, perhaps because they were

“Flower god, god of the spring, beautiful, bountiful, Cold-dyed shield in the sky, lover of versicles” Robert Louis Stevenson, ‘Flower God’ planted into soil rather than in grow bags. They set fairly well, but none were particularly sweet which I put down to the dismal light levels last August. The pulpier beefsteak types made a lot of lovely fresh tomato sauce. This incorporated basil from seed sown directly into the soil around the tomato plants. Most years I stick with at least one variety I know and also try something different. ‘Big Rainbow’ from supplier Baker Creek Heirloom Seeds was new last year. It grew huge, turning yellow and developing red streaking when fully ripe. Stalwart ‘Costoluto Fiorentino’, a crimped smaller beefsteak tomato performed well as I expected, although recent RHS trials didn’t rate it as highly as some. This year I’m trying ‘Bulgarian Bull’s Heart’ from a seed supplier on Etsy.

Plants on the move As the soil warms and dries, it is a good time to start moving plants again. I must harden my heart and dig out plants that have either overgrown their allotted spaces, aren’t happy because conditions have changed, or quite frankly I just don’t like. Initially I was grateful for fast-growing big spreading plants to fill the brand new beds. Now I need to be more selective as we are overrun. Aster ‘Andenken an Alma Pötschke’ will have to go from the rose bed. I loved the rich vibrant pink flowers in the first year. Now it is swamped by plants growing up around it, and flowers only fitfully. There is nowhere else for it to go unless I continue adding disruptive colours to the once cream/yellow-themed border. I’ll leave the Euphorbia mellifera to flower and then reconsider its presence. The little cutting I took when we moved house has grown into a lush exotic evergreen mound which over time will get tall, leggy and unattractive. Atriplex halimus is a fast growing, pretty, silvery leaved evergreen shrub. A Mediterranean native, it has provided welcome height and an instant touch of Southern French glamour. The foliage on the bottom section has already been pruned away to allow plants to grow up underneath. The slower growing evergreen strawberry tree, Arbutus unedo, in the same bed is the intended star of the show. Without the atriplex it can come into its own. There is one last new area to be planted over the next few months where some plants will be relocated, creating more breathing space in other beds. This final bit is due to be a sort of not very purist Piet Oudolfian area planted with (small) drifts of grasses, sanguisorbas, sedums, etc. Again it’s excavated clay, so gravel needs to be worked in. Fleetingly welcome spring ﬂowers I enjoy seeing the first knuckles of pulmonaria buds emerging through the winter debris of old leaves and twigs. The leaves bear varying degrees of silver

Photography: GAP Photos Illustration: RHS

Left to right: Sting-free white dead-nettles; pulmonaria ‘Blue Ensign’ springs splash of colour; ﬁlling raised beds with compost.

splashes, dots and blobs. On warm days the flowers are a-hum with bees. Soldiers and Sailors is a common name for this plant because it sports deep pink and blue flowers at the same time. I’d assumed the colour changed once flowers were pollinated. The pink flowers are the newest and rich in nectar, but apparently the effect of massed pink and blue flowers offers a wider colour spectrum to attract insect interest. When we moved in, the garden was already awash with self-seeded plants. As the year progresses they become rough hairy leaved brutes ramping across the woodbed and need to be kept within bounds. Another plant I have a certain amount of tolerance for at this time of year is the white flowered dead-nettle, Lamium album. As a child I liked it because it wasn’t a stinging nettle – the leaves are softly felty. They can definitely stay.

Striped tulips add an extra layer of interest to spring planting.

CUTTINGS AND MULCHING I will be taking cuttings from overwintered tender plants. Stocks of faster rooting plants such as nasturtium ‘Darjeeling Double’, heliotrope, pelargoniums and solanum can be bulked-up to augment the overwintered plants. It is time to tidy my beds and borders, then add mulch and compost. My borders may be squelchy now but summer brings cracked and compacted soil. Mind you, moles have been doing a grand job all winter turning over and aerating the soil with their unwelcome tunnels! I’ll be sowing not only veg but also ﬂower seeds in the greenhouse, including sunﬂowers which need some warmth, and sweetpeas. Later on coriander and dill will be sown straight into the veg beds.

Kari-Astri Davies started gardening in her twenties with pots of roses, geraniums and sweet peas on a parapet ﬁve storeys up in central London. She’s now on her ﬁfth garden, this time in the Wiltshire countryside. Inspiration includes her plant-mad parents, as well as Dan Pearson, Beth Chatto, Keith Wiley and the Rix & Phillips plant books. Kari describes her approach as impulsive, meaning not everything is done by the book.

GENTLE HUES From the pale wild ďŹ&#x201A;ower to more colourful garden varieties, primroses open their delicate blooms to greet the new season

Britain’s wild primroses have pale yellow, occasionally white ﬂowers. They have a light fragrance, reminiscent of freesias. Dusky pink ‘Sibthorpii’ (centre), a 17th century introduction, is the foundation of pink garden primroses.

The ﬂowers of P. juliae are darker in bud, opening to a violet/purple with a hint of rosy pink.

Double white ‘Alba Plena’ has been kept in existence for 500 years by enthusiastic gardeners.

N A COLD day in early spring, a splash of pale colour gleams in the countryside. Enduring frost and rain, the wild primrose has unfurled its delicate flowers, bringing a carpet of yellow to bare woodland floors and shady hedgerows. Found throughout the British Isles, the early flowers of Primula vulgaris are a welcome reward for the first brave bees and butterflies. Their beauty and easy-going nature also means they have been appreciated by gardeners for centuries. Over the years, myriad kinds and colours have been bred to brighten gardens every spring. At this time of year, the low-growing clusters of leaves are almost hidden by the pastel lemon flowers. Growing on 4in (10cm) stalks, their pale pink hairy stems are just long enough to hold the blooms clear of the foliage. Each flower has five petals joined at the base to form a tube. When in bud, a calyx of five leaflike sepals surround the young flowers to protect them. The colour of the wild flowers in Britain is consistently pale gold, although white forms occasionally occur. The coloured primroses grown in borders and planters today have been selected from natural variations found in gardens or deliberately bred. Others have been developed from varieties introduced from abroad. The dusky pink P. vulgaris subspecies rubra was brought from Turkey in 1656 by John Tradescant. More commonly known as ‘Sibthorpii’, this formed the source of pink cultivated primroses. In 1901 Primula juliae arrived from the Caucasus, situated between the Black and Caspian seas. Its neat foliage, with distinct, dark foliage on red stalks, and bright magenta flowers provided a boost for plant breeders. Today, even the pale yellow ‘wild’ primroses sold for gardens may not be exactly the same as the wild flower. Instead they have been selected for their larger flower size. Flower forms As well as colour variations, primroses frequently produce intriguing variants that have unusual flower forms. Many of these natural variations do not set seed, so would eventually disappear in the wild. However, lovers of the flowers have cherished and bred them, helping them survive. One variety, the double white ‘Alba Plena’ may date back to 1570. It has been kept alive for 500 years by being carefully divided and nurtured.

Types of primrose ﬂower Petals

Petals

Stigma Anthers

Ovary Thrum-eyed

Anthers Stigma Ovary Pin-eyed

PREVENTING SELF-POLLINATION

Primroses have two types of flower, one with long styles, the other short. This is known as heterostyly and is a way of stopping self-pollination. It ensures genetic diversity and stops plants being weakened by inbreeding. Each plant has one type of flower, but never the other. In the flowers of some primroses, the anthers that carry the pollen are situated at the mouth of the flower tube, almost blocking the entrance. The stigma, that collects the pollen to fertilise the ovary and produce seeds, is halfway down the tube. These are thrum-eyed flowers. If a bee visits one of these flowers, it gets pollen stuck around the base of its tongue. If it goes to the next flower on the plant, it does the same but no pollen reaches the stigma. Only if the bee visits a plant with pin-eyed flowers will pollination occur. In these, the stigma is held right at the entrance of the flower tube. Here it is perfectly placed to receive the pollen from a thrum flower. The anthers of this type of flower are halfway down the flower tube. The bee collects pollen from these, which it carries off to the thrum-eyed flowers, pollinating them.

Hose-in-hose primrose ‘You and Me’ is red with a silver edging.

Double primrose ‘Dawn Ansell’ is an example of a Jack-in-the-green variety, with its calyx of ﬁve small leaves surrounding the petals like a ruﬀ.

“My sweet primrose with thy open face, And with fringe-like leaves, without a trace Of coarseness, either in flower or stem, Among all my plants thou art the gem.” Joseph Horatio Chant, ‘My Primrose’

Among the prettiest are hose-in-hose forms. In these, the small green calyx is replaced with another set of petals, creating the effect of one flower pushed inside another. The name derives from the way fashionable Elizabethan gentlemen wore their long stockings or hose, one inside the other and with the top of the outer one turned down. Another ancient form is known as Jack-in-the-green. In these, the five small green leaves of the calyx are enlarged, surrounding the open flower like a ruff. These ruffed primroses were highly prized for centuries. Most have disappeared but today are being revived in modern varieties such as the double white ‘Dawn Ansell’. Double primroses have been treasured since the 16th century, when they were known simply by their colours. These exuberant flowerers have a long-blooming period and an enormous colour range. Modern varieties include the deep blue ‘Miss Indigo’ and apricot ‘Sue Jervis’. Growing primroses P. vulgaris grows in part shade in almost any soil, provided it is not too dry. They thrive in soil enriched with organic matter i

The double rose-like ﬂowers of ‘Miss Indigo’ are deep purple, edged in silver.

NEW VARIETIES An important period for the development of the primrose was 1930-60. During this period, an American, Florence Bellis, set about breeding new and unique colours. Hand-pollinating her plants, she was able to create strains of colours never seen before. Among the most famous of her primroses are ‘Osiered Amber’ with bronzed leaves and amber yellow flowers and the sweetly scented ‘Barnhaven Gold’ with large, richly coloured blooms. Her work continues thanks to Lynne and David Lawson at Barnhaven Primroses in France. Another boost for these lovely flowers came more recently with the Kennedy Irish primroses. Joe Kennedy has been breeding primroses for 35 years. His aim is to bring back some of the old charm of traditional varieties in modern, healthy long-lived garden plants. Many of the large primroses sold in spring have been bred to bloom quickly from seed, to provide early colour. Their large, floppy flowers have no resistance to spring rain and cold. They cannot survive the rigours of a British spring, and rarely last more than one season. Joe wanted to create varieties that were both showy and colourful, but also good garden plants. The first of his introductions were made available commercially in 2013. These were ‘Innisfree’, with rich red flowers above dark leaves, and ‘Drumcliffe,’ with larger, lilac pink blooms. Some of the old varieties grown today are of Irish origins. These include the deep pink ‘Kinlough Beauty’. This has passed its white star markings to Kennedy’s new ‘Avondale’.

Florence Bellis’ ‘Osiered Amber’, produces flowers in shades of amber, apricot and pale yellow with red stems and calyxes (left). Joe Kennedy’s semi-evergreen ‘Innisfree’ has oblong, glossy purpleto bronze-flushed dark green leaves and bright to dark red flowers with yellow eyes (centre). White lines at the centre of sugar-pink ‘Avondale’ petals create a radiant effect (right).

including garden compost, well-rotted manure and leafmould. Herbaceous perennials, their flowers appear in their second season when grown from seed. Plants can be planted in bloom in spring. However, planting in autumn gives them time to establish. They tend to form woody, creeping stems along the soil so are planted slightly more deeply than in the pot. If this is not possible, giving them an organic mulch after flowering allows them to root into it. Primroses live for many years. To keep them growing well they should be dug up and divided every two years in the summer after flowering. If this is not done, they get congested and may dwindle away. Double primroses in particular fade away if neglected. They are replanted in soil that has been enriched with garden compost or well-rotted manure. Care of plants Primroses are affected by several pests. Leaf hoppers suck the sap from the leaves, especially of seedlings. The pale mottling is usually cosmetic but an insecticide will control them.

A weathered wooden planter is ideal for setting oﬀ the simple beauty of primroses.

The most serious pest is vine weevil. The grubs of this dark grey beetle eat the roots and can destroy plants, especially in pots. The first signs are often that the plant looks limp even though the soil is moist. If a leaf is tugged, the plant comes out of the ground. With care, they can be re-rooted and may recover. Watering the soil with a biological control helps combat vine weevil. These nematodes are best applied when the soil is warm, from April to September. With their gentle open faces, primroses, both wild and cultivated, are a welcome harbinger of spring. Delicate and dainty, they are a welcome reminder that winter is over, and warmer days are on their way. ▯

Words Geoﬀ Stebbings

“I saw it in my evening walk, A little lonely flower! Under a hollow bank it grew, Deep in a mossy bower.” Caroline Southey, ‘The Primrose’

P. vulgaris, P. juliae and ‘Sibthorpii’ planted closely together achieves a blanketed woodland eﬀect.

PROPAGATION 1.

PRIMROSES AND OTHER PRIMULAS The common primrose, Primula vulgaris, is one of 500 primula species thriving throughout the northern hemisphere. It can also be found in South America. Half of all these species are found in the Himalayas. Cowslips, polyanthus and primroses are all primulas but not all primulas are primroses. The flowering structure of primroses is different to that of cowslips and oxlips. Primroses have flowers that are produced singly on thin stalks (pedicels) directly from the centre of the plant. Cowslips and oxlips have a thick central stem which lifts the flowers above the ground. From the top of this, there are many flowers held on shorter pedicels. Cultivated, coloured primroses have the same habit as the wild primroses while polyanthus have a habit like cowslips and oxlips. Because these plants have been hybridised for centuries, plants occasionally produce flowers of both types. Deeper in hue and smaller in size, the cowslip, P. veris, is a plant of drier and sunnier sites. The flowers are held above the neat rosettes of leaves. The bell-shaped blooms are carried in lop-sided bunches. The oxlip, P. elatior, has pale yellow flowers in similar bunches. Where cowslips and primroses grow together, they hybridise and the false oxlip, P. x polyantha, may be produced. Superficially similar to the true oxlip, it can be distinguished by the flowers being held all around the trusses.

Step 1: First the seeds are collected when the pods change colour from green to yellow.

Step 3: The seeds are left to germinate in a cool, shaded place and the surface kept moist. The seedlings are pricked out, after two to three weeks.

Photography GAP Photos; Flora Press; The Garden Collection; RHS Images; Garden World Images Illustration Steven Hall

Step 5: The young plants are kept in a cool place for a further two months. They are then moved to the garden in sun or part shade and kept watered.

Step 2: The seeds are planted on the surface of multi-purpose compost and covered with more compost, perlite or gravel. They are watered well.

Step 4: The seedlings are transferred into cell trays when one or two true leaves appear, up to two months after sowing.

Step 6: The plants are moved to their ﬁnal ﬂowering place in autumn. They are watered until fully established.

DIVISION

Named plants will not come true from seed. These can be increased by dividing them immediately after ﬂowering. To do this, the plants are dug up, and the ﬂower stems and dead leaves removed. The plants are then pulled apart, using a knife to cut through the woody base. They are transplanted into a nursery or the place where they are to grow. The plants are watered regularly until established.

TIERS OF COLOUR Old enamel tubs are easily turned into a planter where delicate early blooms shine

MATERIALS

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THE WINTER GARDEN BY EMMA HARDY Published by CICO Books (Â£14.99) Photography by Debbie Patterson Â© CICO Books 2015 www.cicobooks.co.uk

PLANTER CARE Each layer of the tub needs watering. The compost is checked regularly

to ensure it does not dry out completely. The bottom layer is not allowed to become saturated as water drains through the tower to the bottom. Regular deadheading keeps the pansies blooming. More spring bedding plants are added as the narcissi and pansies begin to go over. Using a liquid fertiliser every few weeks from late spring onwards keeps the plants looking their best.

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HOPE YOU’RE enjoying reading this issue of LandScape magazine. There is so much to celebrate in the British countryside, from seasonal cookery to beautiful gardens. Every issue we bring you people who follow in the footsteps of generations to create inspiring traditional crafts. We focus on the wonder of Britain’s landscape and its plants and animals. Subscribing ensures that you’ll never miss an issue. It can also make the ideal present for a friend or family member. LandScape is now available as a digital issue as well as print. All you have to do is choose which of our three great subscriber packages suits you best, and sign up today for great savings. You will also receive a beautiful sage grey ‘Chicken’ design Sophie Allport apron. Hilary Scott Editor

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CREATING A NEW LAWN Laying fresh turf revitalises a fading patch of green

Step 1: Before any turf is laid all traces of weeds are removed and compacted top soil is broken up.

Step 2: New top soil or compost is added.

ARGE OR SMALL, a lawn provides a splash of colour in the garden all year round. It also gives a backdrop to set off colourful border plants and shrubs. Whether starting a lawn from scratch, or replacing a tired-looking patch of grass, laying good quality turf creates an immediate effect. Spring is the ideal time to do this, as the grass will start growing in the warmer weather. For the best results, the ground needs first to be carefully prepared. Existing turf is removed. If this is severely compacted, a turf cutter can be hired. Perennial weeds such as docks and dandelions are eradicated either by digging out by hand, or with a specially formulated herbicide. Sufficient leaves need to be showing to soak up the chemicals, while time is allowed for weeds to die prior to laying the turf. If digging out by hand, care is taken to remove the long tap root, which can be more than 18in (45cm) in length. The soil is then dug to a minimum depth of 6in (15cm), either using a fork or rotovator. The soil is broken down to a fine tilth using a rake, with new top soil or compost added to give the new lawn the best possible start. Laying the turf The ground is levelled with a rake, and then firmed either by treading the area several times in different directions on foot or using a roller. The longer the ground can now be left to settle, the more level the lawn will be. Lawn turf varies according to the mixture of grass species used, so it is important to choose the correct turf for the i

Step 3: A ďŹ ne tilth is created using a rake.

Step 4: The ground is levelled using a roller. Alternatively it can be tamped down by foot.

Step 5: Kneeling on a wide board when laying turves prevents indents being made in the soil.

5. 6.

Step 6: As each new section of turf is unrolled, it is closely butted to the previous one, leaving no gaps.

situation. Fine-leaved grass creates a velvety but delicate putting green effect. Tougher, broader-leaved varieties create a resilient, hard-wearing lawn. At least five per cent more turf than required is ordered, to allow for cutting and shaping. The turf should be laid within 24 hours of delivery, but if work is delayed, laying the turves flat and watering will avoid discolouring. Using a wide board to stand or kneel on when laying turves avoids indenting the soil. Starting from one corner of the area, as each new roll is unrolled, it is closely butted to the previous one. No gaps are left. To conceal the joins, they are staggered on each subsequent row, so that the grass knits together. The turf is pushed into the joins, never pulled or stretched as this damages the root structure. If unevenness is apparent while laying the turves, soil is added or removed. At regular intervals during laying, it is important to ensure that the underside of each turf is in firm contact with the soil. A scaffold board is laid over the surface, and walked evenly along to press down the turves. Wherever the lawn finishes, the edges are finished neatly. In instances where the turf runs directly up to a brick wall or wooden decking, the turf is draped over the hard surface. It is patted down and carefully cut to fit with a kitchen knife. Once the excess turf is removed, the edge is pressed down on the inside. Matching the level of the edge and turf allows a mower to run over it easily, creating a clean edge. If the turf finishes at a flower bed, top soil is piled up to cover the bare edges. This prevents them drying out, curling up and dying. Once the turf has taken, a new clean edge can be cut with a turf cutter. When laying is complete, the turf is watered thoroughly in the early morning or evening. It is kept

Step 7: A scaďŹ&#x20AC;old board is laid over the surface, and walked evenly along to press down the turves.

8. Step 8: To create a flush finish with a hard edge, the turf is draped over the border and cut to fit with a kitchen knife. It is then pushed inside the edging.

moist for several weeks, until firmly established. Thereafter, the grass only needs watering during dry periods, with an occasional thorough soaking. Watering little and often only encourages shallow rooting. Two weeks after laying, the turf is ready for its first cut. The mower blades are set high so as not to remove more than one quarter of the grass blade length. Thereafter, it is cut weekly, removing one third of the blade length. The direction of cut is varied, alternating straight with diagonal stripes on different occasions. This avoids ruts being created by the mower going over old ground every time. Finally, crisp, straight edges are cut using a string line and turf cutter.

Step 9: Piling up soil where the turf meets a ﬂower bed keeps the grass from drying out.

TIPS FOR SPRING LAWN CARE By early spring, grass is in need of maintenance to ensure a healthy lawn all summer long. The lawn is left until it is dry enough to walk upon without leaving footprints in the turf. Then: t The grass is scariﬁed and aerated t A triple-action moss control, weedkiller and lawn

feed is used to treat the grass, repeating one month later on lawns in poor condition t Isolated perennial weeds are dug out, the holes filled with compost, and re-seeded t Broken edges are repaired t Bare patches are re-seeded t Once frosts have passed, the first cut is made with 2¾in (7cm) high blades; thereafter mowing is done weekly, setting blades to 1¼in (3cm) for family lawns, and ¾in (2cm) for fine lawns t Once re-seeded areas have taken, the lawn is watered weekly, by thoroughly soaking it

A healthy green sward of lawn beautifully sets oﬀ colourful borders.

Words and photography: Nicola Stocken

LIT TLE LOG BUGS Milo and Louis collect small logs and sticks on a walk that they transform into pull-along creatures

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In the garden Seasonal ideas for your outdoor space

SNAIL SHELL CANE TOPS As the garden begins to ﬁll with new life, fast-growing plants require support. Fixing empty snail shells to the top of canes removes the risk of injury to the eyes while working in the garden. Balls of modelling clay are softened and placed inside clean, empty shells collected from the garden. One end of the cane is pushed ﬁrmly into the clay to secure the shell. Once the clay is dry, the topped canes are used as supports for plants, or to hold up netting to protect vulnerable young plants from birds.

TIME TO PLAN Now is the time for planning summer colour in the garden, as the ground is prepared for sowing bedding plant seeds. A sketchbook and set of simple watercolours allow consideration to be given to colours and textures. This way a scheme can be devised that will ﬁll borders with colour and scent throughout the warmer months of the year.

FLOCK OF BLUE BIRDS Sculptor Mike Savage works with sheet metal to create pieces inspired by the natural world. These birds are made from copper. Each perches on a slender wire, or can be sited on a ﬂat surface as if perching. They are coloured by heat with a solution of copper nitrate, then protected with beeswax. Mike creates sculptures on a range of scales, from giant seed pods to life-size shoals of swimming ﬁsh, at his studio in Emsworth, Hampshire. Perching birds from £45, mikesavagesculpture.blogspot.co.uk 42

DELICATE CHALICES Magnolias bring colour and shape to the early spring garden. In deciduous varieties, the waxy petals, or tepals, of their goblet-shaped blooms begin to emerge from downy cases in March, before foliage appears. Magnolias thrive in sunny conditions, and even more so in sheltered spots. Moist, non-alkaline soil is preferred by the majority of varieties. When planting a magnolia, care is taken to avoid frost pockets in the garden as extreme cold can damage the ﬂowers. Choosing a sheltered location on the west side of a building ensures the early morning sun does not thaw frozen buds too quickly,

Photography: GAP Photos, Jacqui Hurst

WASH AWAY WINTER Months of wet weather can leave the bark of silver birch trees dulled and discoloured by green algae. The fresh chalky white of Betula utilis ‘Jacquemontii’ is restored by washing it with a soft sponge and warm soapy water. The washing action quickly removes the algae and will also help to peel oﬀ old bark, revealing even brighter white bark beneath.

ADJUSTABLE BIRD ABODE This simple bird box has an adjustable entrance hole to appeal to different bird species. The 32mm hole pictured suits birds in the tit family. When the front panel is removed a larger 80mm x 92mm hole suitable for robins, wrens and wagtails is revealed. A side door enables easy cleaning once the nesting season ends. Made in the UK from Forest Stewardship Council (FSC) certified cedar wood, the box has a double lined roof for extra insulation. A small hook on the rear of the box fixes it to a tree or a wall. Cabin multi-species nestbox £24.95, www.worm.co.uk

SWEET RED ROOTS Vivid beetroot brings a rich ﬂash of colour to dishes, together with many health beneﬁts

EETROOT, THE TAPROOT of the plant Beta vulgaris, is a versatile vegetable. Boiled, roasted, eaten raw or juiced, the bulb has an earthy sweetness. This is because it has one of the highest sugar contents of any vegetable. Up to 10 per cent of beetroot is sugar, but it is released slowly into the body, helping keep sugar levels stable. It is low in both fat and calories, while being full of vitamins, minerals and anti-oxidants. Preparation and storage The most tender and juicy specimens are beetroot that are less than 3in (7.5cm) in diameter, with taut firm skin. The edible red stalks and green leaves should be crisp, not wilted. They are treated in a similar manner to spinach, steamed uncovered in a pan with a small amount of boiling water. The stalks and tail root are trimmed but not wholly removed. The stalks are cut off, leaving a 1in (2.5cm) stem. If they are cut too close to the bulb, the pigment will leach. The trimming is done as soon as possible after the beetroot are pulled up. If the stalks are left on, they will drain water out of the root. Stalks and leaves are stored in damp kitchen paper in the fridge for two days. The bulbs are kept in a cool place for up to two weeks. Frozen, in an airtight bag, they will last for approximately 10 months. Beets are washed rather than peeled as the skins help keep the pigment from escaping. The skin is only removed once the beetroot is ready to be used. Cooking makes the skin

easier to remove. Stains on hands and work surfaces from the juice are removed with lemon juice. Health beneﬁts Beetroot are available in red, yellow and white varieties. It is the red forms, however, that have the greatest nutritional value. Red beetroot gets its rich colour from a substance called betacyanin. Research has shown that this is beneficial in slowing tumour growth in cancer patients. It is a good source of iron and folate (naturally occurring folic acid) and contains nitrates. These have been proven to help to lower blood pressure. A 200g portion of fresh, cooked beetroot supplies one-third of the recommended daily allowance (RDA) of folate. The same amount provides 11 per cent of the RDA of potassium, which encourages healthy heart function. Beets are also one of the richest sources of glutamine and amino acid, essential to the health and maintenance of the intestinal tract. i

RAINBOW ROOTS

When mixed in dishes with their red cousin, white and golden beetroot provide a rainbow of colours on the plate. They have a similar ﬂavour to red beets, with often an even sweeter ﬂavour. They do not contain the red pigment betacyanin, so do not stain the skin like red beetroot. However, this also means they do not supply the health-giving properties of red beetroot.

Beetroot pickle Makes 1kg 1kg baby beetroot 2 red onions 2 cloves of garlic 1 tbsp coriander seeds 500ml white wine vinegar 550g sugar sea salt and black pepper

Mini orange-glazed beets Serves 4 as a side 600g baby beetroots 2 oranges 2 tbsp rapeseed oil sea salt and black pepper 50g sugar 1 tbsp brandy 1 tbsp white wine vinegar ďŹ&#x201A;at-leaf parsley, to garnish Preheat the oven to 200Â°C/gas mark 6. Trim the beetroot, then toss in a bowl with the oil and the juice of half an orange. Zest and juice the other orange, setting it aside, then cut the remaining half orange into quarters and add it to the beetroot. Transfer the beetroot and orange quarters to a roasting tin, season, then roast in the oven for 1 hr. In a saucepan, mix together the reserved orange juice and zest, the sugar, brandy and vinegar. Simmer for 3 mins, while stirring. Bring to the boil and stir on a rolling boil to thicken, then pour over the beetroot and serve, garnished with parsley.

Trim and peel the beetroot and slice the onions and garlic thinly. In a large saucepan, combine the coriander seeds, vinegar and sugar with 250ml of cold water. Bring to a simmer to dissolve the sugar. Add the beetroot, onions and garlic, and season, then bring a boil. Simmer for 1Â˝ hrs, until the mixture is glossy and syrup-like and the beetroot is tender. Pour into sterilised jars and seal with a lid. Store in a dry, cool place for up to three months. Once opened, store in the fridge and eat within a week.

Beetroot corned beef hash Serves 4 2 beetroot 2 x 340g tins corned beef 500g King Edward potatoes 2 tbsp vegetable oil 2 tbsp butter 1 onion, chopped 1 clove of garlic, chopped 1 tsp Worcestershire sauce 2 tbsp chopped capers black pepper

Preheat the oven to 190°C/gas mark 5. Dice the potatoes, then trim the beetroot and chop to a similar size. In a large saucepan, cover the potatoes with cold water and bring to the boil, then simmer for 2 mins. Refresh with cold water, then drain. In a large frying pan, heat the oil and fry the potatoes for 10 mins, until browned, stirring as they cook. Mix with the beetroot and set aside. Now melt the butter in the frying pan. Add the onion and garlic and sauté for 5 mins, until the onion is soft and golden. Roughly chop the corned beef, then add it to the pan and fry for 2 mins. Add the Worcestershire sauce. Season with lots of pepper, before mixing in the capers. Mix in the potato and beetroot and divide between four small ovenproof dishes. Bake for 15 mins, garnish and serve.

ﬂat-leaf parsley, to garnish

Beetroot and goat’s cheese dip Makes 375g 125g beetroot 250g goat’s cheese 1 tbsp thyme leaves ½ lemon sea salt and black pepper crackers, to serve Trim and chop the beetroot into small chunks and transfer to a food processor. Blend until smooth, then transfer to a large bowl. Blend the goat’s cheese into the beetroot with the back of a spoon until smooth and combined. Mix in the thyme, zest and juice of the lemon and salt and pepper. Chill for 30 mins. Serve with crackers.

Beetroot bread Makes 1 loaf 400g beetroot 500g strong ﬂour pinch of salt 1 tsp sugar 7g yeast 1 tbsp olive oil

Trim and grate the beetroot and set aside in a large bowl. In a separate large bowl, place the flour, salt and sugar. Make a well in the middle of the flour and add the yeast. Pour in 300ml warm water and the oil. Mix together in a figure of eight motion. When it comes together, roughly knead for 10 mins. Knead the beetroot into the dough then cover with oiled cling film and a damp tea towel. Leave in a warm place to prove for 1 hr. Knock the air out of the dough by punching into it.

With dusted hands, separate the dough into two. Twist each section around the other and pinch the ends to make a loaf. Place on a greased and dusted baking tray, then leave to prove in a warm place, covered with a clean damp cloth. Preheat the oven to 190°C/gas mark 5. After 30 mins remove the cloth covering the bread dough. Transfer the tray to the oven and bake for 20-25 mins until golden. Allow to cool and serve.

Raw beetroot salad Serves 4 3 beetroot, and their trimmed leaves 1 red chilli 150g spinach 3 sprigs of basil leaves 1 orange, plus four thin slices for garnish 1 tbsp honey 3 tbsp extra virgin olive oil sea salt and pink peppercorns

Trim, peel and slice the beetroot into shavings with a vegetable peeler. Deseed the chilli, then slice into strips and set to one side. In a serving bowl, toss the beetroot shavings, beetroot leaves, spinach and basil. Zest and juice the orange. Add both to a small bowl and whisk in the honey, oil and chilli. Divide the salad mix between the serving plates and season. Add the orange slices and pour over the vinaigrette. Serve.

Beetroot and apple smoothie Serves 4 1 beetroot 4 apples t Recipes: Liz O'Keefe t Photography: Food & Foto

1 x 10g piece of ginger 1 lemon Trim and peel the beetroot and chop, then transfer to a food processor. Blend for 1 min, then slowly add 400ml of cold water, while the blade is turning. Blend until the beetroot is purĂŠed. Strain the juice with a sieve into a jug until totally drained. Discard the pulp. Peel then grate the ginger, zest and juice the lemon, peel, core and chop the apples. Add these ingredients to the food processor. Blend until smooth. Mix in the beetroot juice and blend again. Divide between four glasses and serve. 49

Zesty chicken broth Serves 4

1 red chilli

500g roast chicken thighs and drumsticks

300g spring greens

sea salt and black pepper

1 lemon

2 bay leaves

300g long-grain rice

1 onion

3 tbsp chopped ďŹ&#x201A;at-leaf parsley

4 leeks

In a large saucepan, cover the roast chicken with 1.5 litres of boiling water and bring to the boil. Season and add the bay leaves. Trim, peel and half the onion and make a slit in the chilli, then add both to the pan. Simmer for 20 mins. Slice the spring greens and leeks, and zest and juice the lemon. In a separate pan, cover the rice with boiling water and simmer, covered, for 10 mins. Rinse and refresh. Strain the broth through a sieve into a jug and take the meat oďŹ&#x20AC; the bones. Discard the onion, bones, chilli and bay leaves, transfer the meat and broth back into the saucepan. Add the spring greens, leeks, rice and lemon zest and juice. Season to taste and simmer, covered, for 5 mins. Mix in the parsley, just before serving.

LIGHT AND GREEN Young seasonal vegetables and herbs combine to make healthy suppers for lighter nights

Spring vegetable loaf Serves 6 2 banana shallots 3 baby leeks 125g asparagus spears 150g green beans 115ml rapeseed oil, plus extra for greasing and drizzling 1 tsp honey 200g self-raising ﬂour 5 thyme sprigs salt and black pepper 3 eggs 100g milk 150g cheddar 1 lemon

Preheat the oven at 190°C/gas mark 5. Peel, trim and quarter the shallots lengthways and trim the leeks. Heat 1 tbsp of the oil in a frying pan. Sauté the shallots and leeks for 5 mins, until slightly browned, mixing in the honey half way through. Set aside and allow to cool. Grease the loaf tin and line with baking paper. Sift the ﬂour into a large bowl, mix in the thyme and season, then make a well in the middle of the mixture and add the eggs, milk and remaining oil. Stir in a ﬁgure of eight until combined then beat briskly for 2 mins. Reserving some for garnish, mix in the shallots and leeks, asparagus, green beans, two-thirds of the cheese and the zest of the lemon. Pour the mixture into the prepared tin and arrange the reserved vegetables and remaining cheese over it. Drizzle with oil, then bake for 40 mins. Allow to cool in the tin, then remove and serve, sliced, with a green salad.

Spicy sardines Serves 2 6 sardines, gutted 1 clove of garlic 2 tbsp cumin seeds 1 tsp turmeric 2 tbsp olive oil 1 lemon, plus wedges to serve sea salt and black pepper 6 spring onions 1 bunch of dill, thyme, ﬂat-leaf parsley and mint

Roughly chop the garlic and grind in a pestle and mortar, together with the cumin seeds and turmeric. Mix in half of the oil and the zest of the lemon, then season with salt and pepper. Cover the sardines with the mixture and chill for 20 mins. Preheat the grill. Trim and slice the spring onions then rip up the herbs roughly. Combine and dress with the remaining oil and the juice of the lemon. Place the sardines on a grill tray. Grill for 5 mins on each side until ﬁrm and slightly crispy. Serve with the spring onion salad and lemon wedges.

Baked fish Serves 4 4 coley fillets 200g asparagus 10 shallots 1 tbsp rapeseed oil, plus extra for greasing 4 cloves of garlic sea salt and black pepper 150ml white wine 1 lemon, plus wedges to serve 2 tbsp roughly chopped dill 100g spinach Preheat the oven to 200°C/gas mark 6. Trim the asparagus, and trim and peel the shallots. Grease a baking dish and arrange the asparagus and shallots in it. Add the garlic cloves and place the fish on top, then season. Pour in the wine, grate the zest of the lemon over the dish and squeeze in the juice. Drizzle with the oil, cover with tin foil and bake for 30 mins. Add the dill and spinach, then bake without foil for a further 10 mins, until the fish is opaque and flaky. Serve immediately.

Serves 4 1kg clams, cleaned 800g new potatoes 1 lemon 500ml whole milk 1 clove of garlic 1 bay leaf sea salt and black pepper 1 red onion 200g tenderstem broccoli 2 tbsp cornﬂour 2 tbsp single cream 3 tbsp roughly chopped ﬂat-leaf parsley

Half the potatoes lengthways and zest and juice the lemon. In a large pot, combine the milk with 500ml of cold water, then add the potatoes, garlic clove and bay leaf. Season with salt and pepper. Bring to the boil, then simmer for 10 mins. Remove the bay leaf and garlic. Chop the onion and broccoli and add to the pot. Seaso, add the lemon juice, then simmer for 5 mins. In a small bowl, mix together the cornﬂour and 2 tbsp of cold water, then stir it into the pot. Bring the mixture to the boil, then add the clams and cover with a lid. Simmer on a medium to high heat for 6-7 mins until the shells are open. Discard any that stay closed. Stir in the cream, parsley and lemon zest, then serve.

t Recipes: Liz O'Keefe t Photography: Food & Foto

Clam and new potato stew

Spinach-stuffed chicken Serves 4 4 chicken breasts, skin on 500g baby spinach 1 lemon 1 tsp honey 300g brown rice 1 clove of garlic 2 yellow peppers 4 spring onions 2 tbsp shredded flat-leaf parsley sea salt, pink peppercorns and black pepper Preheat the oven to 190°C/gas mark 5. Place the spinach in a large pan and add 100ml of water. Cover with a lid and cook on a medium heat for 4 mins until wilted. Refresh with cold water and drain. Transfer the spinach to a bowl, grate the lemon zest into it and then add half of the juice. Mix in the honey and season. Place the chicken breast flat, skin down, on a chopping board and cut into the breast from the thickest side, opening it out to make a pocket. Repeat with each breast then fill with the spinach mixture. Wrap the chicken breast around the filling, pinning it in place with cocktail sticks. Place each on a wire rack in a roasting tin. Bake for 20 mins, until cooked through thoroughly and the skin is crispy. In the meantime, rinse the brown rice in a sieve under cold running water, then place in a saucepan with 700ml of cold water and the unpeeled garlic clove, and bring to the boil. Simmer, covered, for 25 mins. Deseed and slice the yellow peppers, and trim and slice the spring onions. Refresh the rice with cold water until cold and drain thoroughly. Transfer to a bowl and mix in the peppers and spring onions. Peel and chop the garlic clove and mix it in, along with the juice from the remaining lemon half and the parsley. Season with salt and pepper. Slice the chicken breasts, after removing the cocktail sticks. Serve with the rice salad.

FRESH FROM THE CHURN Adding milk to hot or cold desserts creates puddings with a creamy texture

White chocolate milk mousse Makes 4 500ml whole milk 100g white chocolate, grated, plus extra to decorate 30g caster sugar 60g cornﬂour 150ml double cream 1 tsp vanilla bean paste

Iced milk pudding Serves 8 425ml whole milk 4 eggs 200g ground almonds 175g caster sugar 200g mixed berries

Beat the eggs in a large bowl, then beat in the almonds, milk and 150g of the sugar. Transfer to a non-stick saucepan and heat, stirring, on a medium heat to a simmer. Continue to simmer, stirring, for 4 mins, until the mixture thickens. Grease a fluted jelly mould and then line with cling film. Cover with tin foil and freeze overnight. To serve, cover the mixed fruits with water and sprinkle over the remaining sugar. Simmer for 10 mins, then bring to the boil. Allow to cool. Turn the iced pudding out of the mould on to a plate, pulling down on the cling film to help dislodge it. Discard the cling film, top with the fruit and juice, and serve.

In a large saucepan combine the sugar and cornflour, then slowly mix in the whole milk and cream. Place on the heat and whisk continuously. Remove from the heat when the mixture starts to become difficult to whisk. Off the heat, stir in the grated chocolate and add the vanilla. Stir and transfer to a bowl. Cover with cling film and chill for 2 hrs. To serve, divide between four bowls and top with grated white chocolate.

T hree-milk bread pudding Serves 8

10 egg yolks

400g tin condensed milk 400g tin evaporated milk

300g caster sugar, plus extra for sprinkling

600ml whole milk

2 tsp vanilla bean paste

1 large loaf of white sliced bread

1 tsp salt

50g butter, plus extra for greasing

3 tbsp cornﬂour

100ml double cream

Preheat the oven to 190°C/gas mark 5. Grease a large, deep oven dish with butter. Trim the crusts from the bread. In a large bowl, whisk the egg yolks and then whisk in the condensed milk, evaporated milk and 500ml of the whole milk, along with half the sugar, half of the paste and the salt. Lay one layer of the bread in the dish, ﬁtting it to the edges, and pour over one third of the milk mixture. Continue to layer the bread and pour over the rest of the mixture until it reaches the top of the dish.

Bake for 30 mins. Sprinkle the top with sugar and then bake for a further 10 mins, until golden and ﬁrm. To make the sauce, heat the butter in a pan, then mix in the remaining sugar. Cook for 1 min. Stir in the remaining milk, the double cream and the remaining vanilla bean paste, then simmer for 2 mins. In a small pot mix the cornﬂour with 3 tbsp of cold water and mix into the sauce. Stir thoroughly on the heat for 1 min, then allow to cool slightly and serve with the pudding.

Sour milk cake Serves 8

1 tsp bicarbonate of soda

250ml whole milk

pinch of salt

1 tsp vinegar

1 tsp ground cinnamon, plus extra for dusting

100g unsalted butter, softened, plus extra for greasing

1 tsp freshly grated nutmeg

200g sugar

1 tsp vanilla essence

1 egg

200ml double cream

250g plain ﬂour, sifted

3 tbsp icing sugar

Preheat the oven to 180°C/gas mark 4. In a jug, stir the vinegar into the milk. In a large bowl, beat the butter and sugar together until fluffy. Mix in the egg, then stir in half of the milk mixture, combining totally. Mix in half the flour with the bicarbonate of soda, salt, cinnamon and nutmeg. Stir in the remaining milk and the vanilla, then fold in the remaining flour. Pour into a greased and lined 20cm round cake tin and level the top with a spatula, creating a slight dip in the middle. Bake for 1 hr, covering the top with tin foil after 30 mins. Allow to cool slightly, then turn out onto a rack to cool completely. Whip the double cream until thick, then fold in the icing sugar. Top the cake with the cream mixture, spreading it out to the sides. Dust with the extra cinnamon and serve.

Milk jelly Makes 6

4 sheets of gelatine

1 litre whole milk

4 tbsp crushed pistachios, plus extra for decoration

50g cornﬂour 75g sugar 4 tbsp rose water

dried edible rose petals, for decoration

In a small bowl, add 2 tbsp of cold water to the cornflour and mix into a paste. In a large pan, combine the milk, sugar and rose water and simmer for 2 mins until the sugar has dissolved. Stir the cornflour mixture into the milk and bring to the boil, stirring constantly for 1 min. Turn off the heat. Soak the gelatine sheets in a bowl of cold water for 5 mins, then squeeze out and add to the milk mixture. Allow to cool slightly then add the pistachios. Pour into six tea cups and chill for 2 hours. To serve, sprinkle over the remaining pistachios and rose petals.

No-bake cardamom rice pudding Serves 6 850ml whole milk 100g pudding rice 1 cardamom pod, plus 18 to decorate 1 tbsp freshly grated nutmeg 50g demerara sugar pinch of sea salt 4 tbsp double cream icing sugar, for dusting

Milk tarts Makes 12

3 eggs

300ml milk

1 cinnamon stick

190g plain ﬂour, plus extra to dust

2 tsp vanilla bean paste

225g caster sugar

150ml extra thick double cream

1 tsp baking powder pinch of salt

t Recipes: Liz O'Keefe t Photography: Food & Foto

75g chilled butter, plus extra to grease

1 ½ tbsp cornﬂour

ground cinnamon, for dusting

Preheat the oven to 200°C/gas mark 6. In a large bowl, mix together 150g of the flour, 100g of the sugar, baking powder and salt. Chop the chilled butter and add it to the flour mixture. Rub together to make breadcrumbs. Beat one of the eggs in a separate jug and add to the mixture. Knead together into a dough, then next wrap in cling film and chill for 20 mins. Grease a 12-hole cup cake tray and, on a surface lightly dusted with flour, divide the pastry into 12 equal pieces. Shape each piece into a disc and mould them into the depressions. Bake for 5 mins, by which time the pastry will have puffed up. Using a teaspoon, push the centres of the pastry cases back down into the base to create a dip, then cook for a further 3-4 mins until golden brown. Allow to cool. Remove by levering them out with the flat of a round-ended knife. Pour the milk into a large non-stick saucepan and add the cinnamon stick and vanilla. Simmer for 5 mins, stirring, then remove and discard the cinnamon stick. In a bowl, beat together the remaining eggs and sugar, flour and cornflour. Whisk this into the milk mixture. Whisk until the mixture slowly comes to the boil and thickens. Allow to cool, then whisk in the double cream. Place the pastry cases on a plate, and spoon the milk mixture into each case. Transfer to the fridge and chill for 2 hours, or until set. Sprinkle with ground cinnamon and serve.

In a large saucepan, combine the pudding rice, cardamom pod and milk, stirring continuously while it comes to the boil. Simmer on a low heat for 40 mins, until creamy and thick. Remove the cardamom pod and stir in the nutmeg, sugar, salt and the cream. Divide into serving dishes, then dust with the icing sugar. Split the cardamom pods and place three on each dish and dust again. Serve.

In the kitchen Inspiring seasonal ideas and recipes

WILD NETTLE SOUP Bursting into new growth now, nettles have been used as food since at least the Bronze Age. Highly nutritious, they are an excellent source of vitamin C and iron. A simple way to enjoy fresh nettles is in a soup. To make: 400g of leaves and fine stems are picked, wearing sturdy gloves and with the forearms covered. Only the top few inches (4-6 leaves) of young stems are used, from plants growing away from roadsides and other sources of contamination. Tips of nettles which have begun flowering will be more coarse, so should be avoided. The nettles are thoroughly washed and any coarse stems discarded. In a large pan, 30g butter is melted, then 1 chopped onion, 1 finely chopped leek, 2 sliced celery stems and 1 large sliced floury potato are added and cooked gently for 10 mins. Once soft, 1 litre of vegetable stock is added and simmered for 10 mins. The nettles are then added, and stirred as they wilt, cooking for 5 mins. The mixture is blitzed with a hand blender, before being seasoned well. It is served with a swirl of double cream.

NATURAL PLACE-SETTING Designer and printmaker Jacqui Watkins creates beautiful images inspired by nature. She uses traditional hand printing methods, cutting her simple designs into individual lino blocks. The process gives a textural quality to her work and ensures each image is unique. Her woodland hare image is a lino cut, with a painted background to complement the printed shapes. It is available as a place mat, with a wipe-clean ﬁnish and a hardboard back. Hare place mats £28 (set of four), www.linenprints.co.uk

TRADITIONALLY DRIED Handmade in Leicestershire, this traditionally styled clothes horse is crafted from cedar wood. Its fabric hinges enable it to fold neatly away. A lacquered ﬁnish protects it against moisture from wet clothes. It measures 23 x 47in (60 x 120cm) folded, and 71 x 47in (180 x 120cm) when fully open. Maker deVOL was founded in 1989 by friends Philip deVries and Paul O’Leary, and now has two workshops in Loughborough, producing items from kitchen cabinets to home accessories. Handmade wooden clothes horse £130, www.notonthehighstreet.com/ devolhomeaccessories

FRESH FROM THE SEA The native palourde or carpet shell clam, Tapes decussatus, is in season now. Found intermittently around the coast of Britain, these molluscs are most numerous in the seas of the South West. Sporting pretty, marbled shells, they steam well and are prized for their delicate meaty flavour. Clams are bivalves, having two shells surrounding a soft fleshy body. As filter feeders, they are placed in purified water once harvested to remove sediment and plankton. When preparing for cooking, any which are open or fail to close tightly when tapped are discarded. A final rinse under cold running water removes any residual grit.

CLEAN COOKING

Photography: Richard Faulks; Shutterstock, Stockfood

HANDMADE DISHCLOTH A knitted dishcloth is a simple and useful craft project for the kitchen. Using thick cotton creates a sturdy cloth suitable for the rigours of the washing-up bowl. Working in a thread of contrasting colour creates a pleasing pattern. To make: using 4mm needles and double knit cotton, cast on 41 stitches. Rows 1-4: Knit one, purl one (this will form moss stitch, rather than a rib). Row 5: (k1, p1) twice, (k2, p1) repeat to the last four stitches, (k1, p1) twice. Row 6: (k1, p1) twice, (p2, k1) repeat to last four stitches, (k1, p1) twice. Strands of embroidery cotton can be knitted in to form a pattern, if desired. Repeat rows 5 and 6 until the cloth is almost square. Repeat rows 1-4. A plain dish cloth can be made entirely in k1 p1 moss stitch.

This spoon rest was hand-thrown from stoneware clay by potter Susan Frankel. Measuring 3½ x 3½in (9 x 9cm), it is ﬁnished with a royal blue reactive glaze and is oven, microwave and dishwasher safe. Spoon rest £12.99, www.folksy.com/shops/CaractacusPots

& A BEACON OF TASTE

REGIONAL

SEASONAL

N THE SHADOW of the South Downs, spring is slowly beginning to unfurl. The first green shoots are pushing up through the earth in the kitchen garden of The Bull in the East Sussex village of Ditchling. Inside, the pub is a refuge from the still changeable weather. Its dark beams and open fires welcome visitors pink-cheeked after a bracing walk on Ditchling Beacon. At 814ft (248m) high this is the third highest point of the Downs. The Bull is one of the village’s oldest buildings, dating to the early 16th century. The original owners were the Nevill family, the lords of the manor of Ditchling. It is their coat of arms, featuring a bull’s head, which has given the pub its name. Since 2003 it has been owned by Dominic and Vanessa Worrall, and today is run by general manager Molly Raftery. “It’s a beautiful old building,” she says. “The feel of the pub is dark, cosy and romantic. “Looking out from the gardens onto the South Downs, surrounded by growing food destined for your plate, is wonderful. Our gardener sits with our chef at the start of each season to discuss what’s coming into season, what to grow next and when it’s all best to use.” For the past three years, the kitchen garden has supplied herbs, fruit and vegetables for the pub.

Menus at The Bull change regularly, with an overall focus on quality, seasonality and local producers. “We’re passionate about food and taste. The only thing we don’t make ourselves is bread and that’s purely because of a lack of space. Everything else comes in fresh as raw ingredients. It’s the only way we’ve ever done it and we can confidently say we know exactly what’s in a dish, because we have put it together,” says Molly. The names of the pub’s suppliers rattle off her tongue. Fish comes from Brighton and Newhaven Fish Sales. “They use short-range boats that come in to shore near Hove Lagoon.” For 13 years Russells of Hassocks, located four miles away, has supplied fruit, while beef is sourced from Trenchmore Farm in Cowfold, 11 miles away. Here there’s a special reciprocal arrangement. “We have our own brewery, Bedlam Brewery, four miles away in Albourne. The spent grain from the beer-making goes to Trenchmore for feeding the cattle,” explains Molly. The relationship between pub and brewery brings a historic tradition at The Bull full circle. Until 1851 the pub had its own brew house attached to the main building. “People can sample the beers here, and we use them in some of our dishes too.” Among The Bull’s sweeter dishes is the traditional steamed

Sussex pond pudding

Set in the rolling South Downs, a historic Sussex pub serves its own

Photography: Alamy

75ml full-fat milk

For the suet cases

75ml water

225g self-raising ﬂour

For the ﬁlling

110g vegetable suet

250g unsalted butter

25g caster sugar

250g dark brown sugar

zest of 3 lemons

3 zested lemons

Line six individual pudding tins with three layers of cling film, making sure there is enough to overlap the top of each tin. To make the suet cases: mix the flour, suet, sugar and lemon zest. Gradually add the milk and water and stir until all the ingredients are combined. Roll the mixture out between two sheets of parchment paper to a thickness of ½cm. Place in the fridge to rest for 1hr. To make the filling: combine the butter and sugar, beating to combine. Set aside. With a sharp knife slice the top and bottom off the zested lemons, then trim all the pith off the sides. Slice the lemons in rounds about ½cm thick and put to one side. Take the suet pastry from the fridge and, with a round cutter, cut out six circles large enough to line the pudding tins and leave a little extra around the rim. Use a smaller cutter to create another six circles slightly larger than the top of the tins for lids. Line each tin with pastry, then divide the lemon slices and butter and sugar mixture between the puddings. Place the suet lids on top and crimp the edges together. Wrap the excess cling film over the top. Place the puddings in a large pan with sufficient water to prevent it boiling dry and steam for 1hr. Unwrap and turn out the puddings. Serve with a dollop of clotted cream.

version of a 350-year-old pudding

suet dessert of Sussex pond pudding, with a caramelised lemon sitting at its centre. First recorded in the late 1600s, the pudding contains large amounts of butter and sugar. This feature gave rise to its name. When cut into, the caramelised sauce oozes out to form a pond around the pastry case. Over time, fruit was introduced. It is not known exactly when a lemon became preferred, but it is thought to be a 20th century adaptation. “It has a tart flavour and it’s quite heavy, but with cream to cut through it, it’s delicious,” says Molly. “You don’t see old-fashioned puddings like this very much any more and it’s always been popular. People actually call us to see if it’s on when they are coming.” The pudding has been mellowed slightly to suit modern palates. “Instead of using the traditional whole lemon, we take the zest and pith off, and use slices of lemon instead. We have refined it a little, otherwise it can be bitter,” says Dion Scott, The Bull’s head chef. A keen forager and kitchen gardener, he loves planning and overseeing the plots. “Because of the weather in this part of the country being a bit warmer, everything comes in earlier and stays a bit later. I like having things come on the menu before anyone else. It makes spring an exciting time.”

Makes 6

Words Katy Islip

Photography Jeremy Walker

CONTACT The Bull, High Street, Ditchling, East Sussex BN6 8TA. Tel 01273 843147, www.thebullditchling.com

OFF THE PEG

MATERIALS

This simple project creates an attractive coat rack

t Old plank of wood t Coarse and ﬁne sandpaper and sanding block t Six porcelain lids, from old teapots, jars and coﬀee jugs t Tape measure and pencil t Remnant wood, for discs t Drill and core bit t Wood drill bits t Wood screws t Wood glue t Wall-mounting hooks

using mismatched lids from old teapots and jars

HEN A FAVOURITE jar or teapot breaks, the lid can be put to good use in an unexpected guise. Several such lids, attached to a recycled wooden plank, form eye-catching hooks for a coat rack.

MAKING THE RACK 2.

Step 2: The apertures inside each lid are measured. Using the drill and core bit, circles of wood are cut from the remnant wood to match each lid aperture. A hole is drilled through the centre of each disc, so it can be screwed into the plank. Step 1: Using a sanding block, the old plank is smoothed to remove sharp edges or splinters. Starting with a coarse grade sandpaper and moving on to a ﬁner grade enables a smooth ﬁnish to be attained.

4. Step 5: Using the wall mounting hooks, the ﬁnished coat rack is hung on the wall in the desired spot.

Step 3: The plank is measured to ﬁnd its centre line. Six equally spaced points are marked along it where each lid will be attached. Holes are pre-drilled at each point. Once the order of the lids is decided on, the corresponding wooden discs are screwed into place. ▯

Project Living4Media

Step 4: Glue is spread on the top and sides of the wooden circles. Each lid pressed ﬁrmly into place. The rack is left overnight to allow the glue to thoroughly dry.

STACKED AND STORED A ball of string is crocheted into lidded boxes perfect for organising small items

ADE OF HOUSEHOLD string, these lidded boxes are ideal for storing bathroom items such as make-up and cotton wool. They can be dyed to coordinate with the bathroomâ&#x20AC;&#x2122;s colour scheme. When the pattern is mastered, it is adjusted to make different sized boxes as desired.

MATERIALS t ZE N OBUVSBM DPMPVSFE CBLFST UXJOF PS IPVTFIPME TUSJOH "

t ZE N DPMPVSFE CBLFST UXJOF PS IPVTFIPME TUSJOH #

t NN 6, DSPDIFU IPPL t 4NBMM DSPDIFU IPPL PS MBSHF EBSOJOH OFFEMF GPS mOJTIJOH PÃ§ FOET

DYEING THE BOXES Abbreviations

ch dc foll sl st st(s) tr

chain stitch double crochet following slip stitch stitch(es) treble crochet

Size Approximately 4½in (11.5cm) diameter x 3in (7cm) high.

Tension 4dc x 4 rows to 1in (2.5cm) square.

The base Using A, work 6ch and join with a sl st into a ring. Round 1: Work 1ch, 5dc into ring. Round 2: Work 2dc into each of the 6 sts of the ring. Continue working in the round so the work spirals as it grows and slowly takes on a hexagonal shape. Place a marker at the beginning of each row if preferred, or just keep count. The ‘2dc’ is worked on top of the 2dc of the previous row so after a few rows it may no longer be necessary to count. Round 3: (1dc into next st, 2dc into following st) 6 times (18 sts). Round 4: (Dc into each of next 2 sts, 2dc into foll st) 6 times (24 sts). Round 5: (Dc into each of next 3 sts, 2dc into foll st) 6 times (30 sts). Round 6: (Dc into each of next 4 sts, 2dc into foll st) 6 times (36 sts). Round 7: (Dc into each of next 5 sts, 2dc into foll st) 6 times (42 sts). Round 8: (Dc into each of next 6 sts, 2dc into foll st) 6 times (48 sts). Round 9: (Dc into each of next 7 sts, 2dc into foll st) 6 times (54 sts). (Dc into each of next 8 sts, 2dc into foll st) 6 times (60 sts) to complete the base of the box.

The sides Working into the back of each stitch to form the sides, work 60dc. Continue in dc until the sides measure approximately 3in (7cm). Cut the string to 4in (10cm) and hook the tail through the last loop. Run the tail through a few sts on the inside to finish off and trim flush.

Gradually diluting dye enables an ombré eﬀect to be created on the base of the box, using tones to match or contrast with the dot on the lid. During the process, several pebbles are placed inside the box to weigh it down and prevent irregular colouring.

Materials

t Fabric dye t Salt (quantity dictated by dye pack

instructions) t Glass bowl or jug t Pebbles

All equipment is assembled near a sink. Using a large glass bowl or jug a strong dye solution is made from a quarter of a packet of dye, a quarter of the specified quantity of salt and 100ml of hot water. As the dyeing process progresses, the solution is diluted, lightening the colour of the dye. The dye solution is stirred thoroughly before the box is placed in it. Dyes generally take better on damp fibres, so the box is dampened before it is immersed in the dye. After 10 minutes, 100ml of hot water is added to the dye, with care being taken not to splash colour on the box. After a further 10 minutes, another 100ml of water is added. A final 10 minutes later, a last 100ml of hot water is added to the jug. The solution is left for 10 minutes. When the desired effect has been achieved, the box is rinsed under cool then warm running water until it runs clear. It is set aside to dry.

The lid Using B, work 6ch and join with a sl st into a ring. Work rounds 1 and 2 as given for the base. Change to A, continue rounds 3–9 as for the base. Now work an extra row thus: Next round: (Dc into each of next 8 sts, 2dc into following st) 6 times (66 sts). Work one round of dc through the back loops of the stitches only to form the sides. Work 2 further rounds in dc. Finish oﬀ as before.

Finishing oﬀ If desired, the boxes can be starched. Liquid starch is used, or a solution is made by mixing a heaped teaspoon of cornﬂour into approximately ¼ cup of water at room temperature. Stir until completely dissolved, then add 1¾ cups of boiling water and leave to cool to room temperature before pouring into a spray bottle. The boxes are saturated with the starch. The sides are teased, pulled and manipulated to straighten them, and the corners pushed out to make them sharp. They are left on a towel to dry.

Project from TAKE A BALL OF STRING BY JEMIMA SCHLEE Published by GMC (£12.99) www.thegmcgroup.com

A RAINBOW IN WOOL Amanda Perkins creates beautiful works of art from her many-coloured crocheted motifs

OFT RAINBOW-COLOURED BLANKETS, created from a jigsaw of shapes and shades, spill out of bags in the North Devon workroom of crochet-pattern designer Amanda Perkins. Balls of yarn are arranged in clusters around the floor, waiting to be turned into future creations. A few finished motifs sit on a table. Next to them are jars holding an array of hooks. These beautifully crafted blankets are a world away from the bright random tones of the traditional granny squares usually associated with crochet. Created from circles, triangles, stars and squares, each motif is made up of myriad colours. “To me, I am not just making a blanket, I’m making a piece of art,” says Amanda. They are not made for sale. Instead she uses them to illustrate what can be achieved with the 100 designs she has created in the past 10 years.

Hanks of ﬁne wool in rich shades of purple and orange wait to be incorporated into one of the designs (top). A few of Amanda’s collection of crochet hooks she uses for her intricate work (above).

Nature’s inﬂuences Amanda was taught to crochet by her grandmother. “I’ve been doing crochet all my life. My granny used to pull apart knitted garments from jumble sales and make blankets. My mother and my granny taught me to knit but I didn’t do it properly. Crochet was a lot easier than knitting because I did a lot of drawing and I could hold the hook like a pen rather than having to use two hands.” She went on to do an art foundation course specialising in textiles. However work and family life meant that she did not pick up a crochet hook again for many years. Then 15 years ago, she became interested in dyeing her own yarn for some embroidery. It began when she decided to pick plants from the hedgerows for dyes, as a cheap way of achieving the colours she wanted. Eventually she realised it was easier to buy plant dyes. A friend then suggested she tried dyeing wool. “I dyed far too much for personal use so decided to sell the excess,” she says. This gradually turned into a business, the Natural Dye Studio. “The wool sold like hot cakes so I ended up dyeing more to keep up with demand and the business developed from that. “I was dyeing solidly and exhibiting at wool trade shows. People asked what they could make with the wool, so I realised we had to have patterns.” She saw a knitted toilet dolly while staying at a guest house and decided to make one. “I couldn’t work out how to knit it so I crocheted one instead. I haven’t stopped since. I designed scarves and made my own clothes. People at shows liked what I was wearing so I wrote patterns. Then I made a couple of blankets and it grew from there.” Amanda closed the dyeing business 18 months ago to focus on her crochet designs. She sells these online, at

Putting together a rainbow-coloured pattern of motifs. Amanda compares the colours as she lays out the circles before fastening them together.

shows and in four books she self-published. For the past two years, she has been working on her first book with a publisher, Rainbow Crocheted Blankets. Creating patterns Crochet is a series of interlocking looped stitches created with a single hook. The blankets are fashioned as a patchwork of pieces or motifs worked in the round and joined together. Using a fine 4-ply yarn to get the amount of detail she wants, it takes Amanda approximately two months to create one measuring 40 x 60in (approximately 101 x 152cm). It can, however, take longer to create the initial design. One design incorporating the stars of the Zodiac took six months to perfect to ensure the featured constellations were all in the correct position. Before she picks up a crochet hook and yarn, her designs and colourways are all worked out on graph paper. She i

Amandaâ&#x20AC;&#x2122;s Zodiac blanket depicts the constellations in the right places in the night sky.

Building up a blanket by creating a new motif attached to existing ones. Amanda prefers to use half treble, a crochet stitch that is quick and easy to do.

designs intuitively, allowing her ideas to stew, before committing them to a pattern. “The colours and the shapes excite me,” she says. “I’m always thinking about designs. As I’m making one blanket, I’m thinking about the next one. I love the tactile element, the fact it keeps people warm and you’re putting love into something. “I work on the computer in the morning creating the designs, then crochet until I go to bed.” Simple tools Over the years, Amanda has amassed hundreds of hooks, ranging in size from 0.25mm to 5.5mm. She prefers metal ones rather than wooden ones because they go through the holes smoothly, with plastic handles that are warm to hold. Her work is completed using the basic crochet stitches of slip stitch, chain, double-crochet, half-treble, treble and double-treble. “I use a half-treble most of the time because it’s just once round the hook, it’s quick and it’s not too big,” she says. “Then I crochet the motifs together. When I finish one motif, I don’t break the end, I crochet it to the next one. I like to do it as I go rather than have a big pile of them because, that way, I can see the design building. “I am completely obsessed. When it’s done, I even enjoy sewing in the ends because turning a mess into something neat is very satisfying. Then I wash the blankets because that settles the stitches.” Only naturally dyed fibres are used to create the blankets, including merino, angora and camel. She does not buy large amounts at a time. “I use yarn that I’ve already got, tiny leftovers, then I buy a bit here and there. Most blankets have a bit of silk in them. It adds depth of colour and texture and gives a drape to it. Because I’m touching it for a long time every day, I want something soft. “I use about half a dozen suppliers. They are friends and I want to support them. Everything I do has to have a personal connection.” She uses wool from a local breed of sheep, the i

Every time a colour is changed on a motif, the ends of the yarn are left loose. These are sewn in before the work is completed.

“The purest and most thoughtful minds are those which love colour the most.” John Ruskin, The Stones of Venice

KNITTING WITH A HOOK Crochet as it is known today dates from the early 19th century. Similarities have been traced back to ancient Chinese embroidery, however, as well as to fabric adornment in Arabia and South America. The word itself is an old French term for a hook. In the 17th century a hook was used to join pieces in lace-making. It was not until 1823 that instructions for purely crocheted work were published in a Dutch magazine, Penelope. An author in the 1840s described “a species of knitting originally practised by the peasants in Scotland with a small hooked needle”. This was reiterated in The Memoirs Of A Highland Lady, written by Elizabeth Grant. This entry was dated 1812, but not published until 1898. She referred to “shepherd’s knitting” where garments were produced by looping yarn with a hook. In mid 19th century Ireland, crocheted lacework was practised as an alternative means of income during the potato famine. It became popular in Europe and America. Crochet was fashionable throughout the Victorian and Edwardian eras, becoming increasingly elaborate. Patterns were available for everything from birdcage covers to lampshades. It was also enthusiastically taken up by the Americans in the post-war period. Colourful crocheted granny squares were popularised in the 1960s and 1970s. Motifs worked in the round were joined together to make blankets, ponchos and scarves. It then went out of fashion, but has been revived again with the resurgent interest in home crafts.

Crochet blankets were traditionally made up of squares. Amanda, however, has expanded this to include circles and triangles. She often uses more than one shape in a blanket, creating a kaleidoscope of patterns as well as colours.

Amanda’s Kissing Circles design, with the circles joined by chain stitch to solve the problem of the gaps between the motifs.

Exmoor Blueface. “I could have walked past a field with those sheep in it,” she says. “Another yarn is from a woman who breeds her own sheep and it smells of the lanolin in their wool. It has a story.” Multitude of shades One of the people who has inspired her is Kaffe Fassett, a textile artist famed for his vibrant use of colour. “Crochet is not respected as much as knitting. I’d like to do for crochet what Kaffe Fassett did for knitting. In the Eighties, he woke people up to colour and shape,” she says. She visited a retrospective of his work in Bath, while she was still running the Natural Dye Studio. “Indirectly, he changed my life. I realised that I didn’t want to be arguing in a wet dye room, I wanted to concentrate on the thing that inspires me. I love orange and pink together and, as you walked into the exhibition, it was all orange and pink. Colour has always excited me. I like solid colours and I struggle with restricting how many colours I use,” she says. “I would rather use 20 shades of blue rather than the same blue. I love the texture and depth that gives. “I like rainbow colours but not the bright ones. I prefer the ones that have a bit of grey in them because they’re more natural. Over-saturated colour isn’t good against the skin.” A favourite shade is the burnt orange produced by the madder root, a staple of Persian carpets. Amanda uses it in many of her blankets. “Madder is earthy and smells of the desert. I would rather be inspired by a rug than another person’s blanket because I don’t want to copy anyone.” She enjoys solving problems that might arise. For her Kissing Circles blanket, she devised a method of joining together circular motifs. “My technical editor said you can’t join circles because there’s always a gap between them and they would be too floppy. But I developed chain-stitch fillers to hold them together. That’s the result of being told I can’t do something!” Sharing a passion In the 20th century, crochet became all about using up scraps, much of it cheaper synthetic yarn. But Amanda wants people to experience natural yarn, even if they buy only one skein. “Wool is sustainable. It’s warm, it breathes and it supports farming communities all over the world. I hope to inspire people to go beyond the granny square. I want to make crochet as exciting for them as it is for me.” ▯

Words: Caroline Rees ▯ Photography: Clive Doyle

CONTACT amandascrochetblog.blogspot.co.uk

The subtle colours in the blankets create a rainbow that is restrained in its hues.

Two of Amandaâ&#x20AC;&#x2122;s blankets, Flower Power and Cornucopia. Flower Power, on the left, is one of the designs which will appear in her new book, due out this autumn.

In the home

Seasonal decorative touches to bring the outdoors in

CAPTURED IN CLAY Impressed with a real cherry blossom twig, this delicate ceramic bowl is handmade in Axminster, Devon, by potter Marieanne Cavaciuti. After rolling out the white earthenware clay and carefully impressing it, she shapes the bowl over a mould. It is then ﬁred, before being painted with glaze and ﬁred again. The bowl measures 13 x 11in (33 x 28cm). Marieanne makes each to order, ensuring every one is unique. Ceramic dish £30, www.damsontreepottery.co.uk

SPECTACULAR SUCCULENTS The ability to store water in their leaves and stems allows succulents to live in warm, dry habitats. This makes them ideal houseplants. Healthy specimens are re-potted now, just before they start to grow again in April. A pot only slightly larger than the current one is chosen. Open and free-draining compost will mimic the plants’ natural arid habitats. Adding ﬁne gravel promotes this. Once the plant begins growing, it is watered freely. The compost is allowed to dry out slightly between each watering. Established plants beneﬁt from a monthly application of suitable liquid feed.

RECLAIMED FRIEND This decorative wooden dog was inspired by a children’s toy from the 1950s. The head, limbs and tail can all be moved to create the perfect pose. Named Millie, she was handmade in Dorset using reclaimed wood, and given a natural waxed ﬁnish. Slightly larger than a hand, the model measures approximately 9in x 5½in x 2in (23cm x 14cm x 5cm). Millie wooden dog £48, www.deepuddy.co.uk

COLOUR AWAKENS At this time of year, colour begins to return to the garden as trees such as cherry plum and cherry come into bloom. Cutting small stems from Prunus cerasifera ‘Nigra’ and prunus ‘Accolade’ for display in an old jug enables the colour and scent of their blossom to be enjoyed in the home. Crushing the ends of the stems slightly before sitting them in warm water for several hours helps them soak up water faster. This encourages the ﬂowers to open.

HAND-CUT KEEPSAKES

Photography: GAP Photos; Stocksy; Living4Media

Seasoned wood stored over the colder months ﬁnds new life as decorative coasters or table place markers. A suitably sized branch is sawn into slices approximately ½in (1.3cm) thick. The cut surfaces are sanded. Names and decorative animal sketches are made on the upper surface using a ﬁne-tipped pen. If desired, a coat of varnish is added to protect the design.

PAPER BUTTERFLIES As the weather now starts to warm, butterflies begin to emerge from winter hibernation. Their colour and movement can be replicated using decorated paper shapes. With a craft knife, a butterfly outline is carefully cut from stiff paper. A piece of cardboard is used as a base to prevent scoring the worksurface. Once cut out, the paper butterfly is folded along the centre of the body and either painted or coloured in. Tape is used to attach it to a length of craft wire. This is then pushed into a lump of clay, fitted inside an old decorative tin. Placed on the tabletop, a light breeze causes the butterflies to bob and flutter as if in flight.

RINGING IN SPRING Maroon and gold fritillaria nod their bell-like heads as they greet the change of season

“Thus in each flower and simple bell, That in our path untrodden lie, Are sweet remembrancers who tell How fast the winged moments fly.” Charlotte Turner Smith, ‘The Horologe of the Fields’

The yellow tips of F. michailovskyi radiate warmth set against the dun tones of an old wooden table.

Metal containers such as this jug, watering can and grater set oﬀ the lustrous colours of F. michailovskyi.

Delicate flower heads lay over the side of a container. Each stem of F. michailovskyi has four to five flower heads.

DAINTY FLOWER Fritillaria michailovskyi is

An individual bloom placed in a slim glass bottle emphasises the ﬂower’s elegant beauty.

one of 100 species of fritillary, all members of the Liliaceae family. They are among the oldest cultivated plants. F. michailovskyi is a bulbous perennial growing to 4–8in (10–20cm) tall, with narrow strap-shaped leaves. The nodding umbels of pendent, bell-shaped flowers are maroon with yellow tips. A native of Turkey, it requires very well-drained conditions, as it does not tolerate winter wet. To use as a cut flower, any foliage that falls below the water line is removed. At least 1in (2.5cm) is cut off each stem before it is placed in water.

▯

Photography Richard Faulks

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Ullswater in spring, painted by Alfred Heaton Cooper. It was wild daﬀodils growing on the shores of the lake that inspired Wordsworth’s famous poem.

FROM ROMANTIC TO RUGGED Three generations of a family have captured one of England’s most evocative landscapes in their own styles

Alfred Heaton Cooper, his son William and grandson Julian Cooper (left to right).

THREE FACES OF THE SCAFELLS

N THE VALLEYS and on the fellsides of the Lake District, newborn lambs play in the early sunshine. On the mountaintops above, the last snows of winter linger in crevasses and shady crags. Scafell Pike stands immensely over all, testament to the enduring nature of its ancient volcanic rock faces and steep slopes. Beloved of walkers and climbers, England’s highest peak Scafell Pike and its neighbour Scafell have inspired artists for centuries. Among them, one family stands out for the simple fact that three generations of its men have each captured its wild beauty in their own individual ways. Between them, Alfred Heaton Cooper, his son William and grandson Julian Cooper have depicted England’s Lakeland for more than 120 years. Their methods and styles differ, but their inspiration remains the same. It is the 885sq miles of mountains, water and valleys that make up England’s Lake District. Fascination with landscape Alfred Heaton Cooper was born in 1863 in Manchester. His mill-worker parents worked hard to ensure their six children had an education. Alfred’s first job was as a council clerk, but his mother was aware of her son’s love of art. She encouraged him to submit drawings and paintings to colleges with a view to gaining a scholarship. He was successful. In 1884 at the age of 20 he began studying art in London under George Clausen. Alfred was inspired by Clausen’s work which depicted landscapes hand in hand with peasant life. He was also fascinated by the countryside depictions of Constable and Turner. His own interpretations of mountain and water often featured locals working the land. A versatile painter, he could turn his hand to landscape and portraiture, in both watercolour and oil. His work in the latter medium was considered comparable to post-impressionistic French painters of the time. Initially he travelled widely in Britain and abroad with the intention of making a living from his painting. His work was sufficiently accomplished to illustrate guidebooks. However, he failed to earn enough to live on and continue to travel. In 1894, he finally returned to England, settling in Coniston in the southern Lakes with his wife Mathilde. His aim was to sell his landscapes to the Victorian tourists who were starting to flock to the area. He was never wealthy, but made a living from his paintings and travel guide illustrations until his death in 1929. Going into the mountains In the 20 years he painted the fells around his adopted home, Alfred’s output was considerable. Much was of the tranquil views desired by visitors. One such painting is his vision of Ullswater in spring. The scene is quintessential Lake District, with the expanse of water, the delicate colour i

The muscular ﬂanks of Scafell and Scafell Pike have inspired all three artists to put brush to canvas. Each depiction reveals a diﬀerent creative approach.

Alfred Heaton Cooper’s painting of Scafell looking across Wastwater.

William’s 1935 view from Mickeldore ridge, between Scafell and its bigger neighbour Scafell Pike, marks out a precipitous path against the brooding dark slab.

Julian Cooper’s atmospheric work gets close to the mountains, showing the details of the rock faces as climbers attempt to scale the peaks.

Alfred’s painting of Church Beck, Coniston.

of fresh spring edging it. Frowning mountains, still with a mantle of snow, stand above the lake, winter-brown heather glowing bronze on their slopes as it waits for summer to revive it. Alfred specialised in mountain scenes, often featuring figures in context, walking, hunting or working the land. He also found merit in mundane rural affairs that spoke of relationships between people and the landscape. These include scenes of charcoal burning, the meagre interiors of cottages, as well as shepherds and hunters at work in the mountains. His paintings, however, had a critical point of difference to even the most illustrious of his contemporary artists. Turner and the painters of the Romantic movement often sought out pleasing vantage points. This was not enough for Alfred and he became the first artist to venture into the mountains themselves. He went off-path with his easel and painted deep in the inhospitable terrain. From high-tucked valleys and summits, he captured scenes in watercolour and occasionally oil that had not been seen by even those living nearby. His intention was always to depict the simple, rural ways and scenes he had witnessed in varying forms on his travels. But there was darkness too. His views of the harder, higher mountains of the Lake District captured a place of dramatic, natural brutality at odds with the more comely wider view. Black peaks sit with mist-furred buttresses coloured by bursts of light.

Alfred captured scenes of rural Lake District life in many of his paintings, including this one of charcoal burning. 84

The next generation In 1903, seven years after the Heaton Coopers settled in the Lake District, William was born. He would represent the family’s next generation of artists. The family had by now relocated to nearby Ambleside where the trade was richer. William gained a scholarship to London’s Royal Academy Schools in 1922. He was 19, a year younger than his father had been when he began his own formal artistic education. Though born a Cumbrian and influenced from a young age by his father, William did not initially intend to follow Alfred’s artistic footsteps into the mountains. Instead he spent seven years in London painting people and situations. On his father’s death in 1929, William returned to the Lake District to build on the foundations Alfred had laid. Initially working in the original Ambleside studio, by 1938 his reputation and influence eclipsed that of his father. William now established a home and a new studio in Grasmere. The studio is still operating today. William’s style took on a marked shift from that of his father. Alfred’s detailed, classically pretty Victorian style was eschewed in favour of graphic, clean lines and a brighter, more minimalist composition. Few of his paintings featured figures. The message that leaps from William’s paintings is spontaneity, something evident in his choice of watercolour on paper as opposed to oil. This allowed him to capture images with speed, compared with the more considered development required by

William Heaton Cooper’s depiction of a tranquil Crummock Water. His father, Alfred, once described the view down this lake as “one of the happiest places I know in the world”.

oils. He compared the difference as being like “diving rather than swimming”. This was articulated through his paintings as the rough energy of a captured moment of light, shadow and weather. It is also evident in what he singled out as his favourite image, Dawn over the Scafells. This grew from a simple pencil sketch captured at a camp in a wild, high spot just after dawn, “pure line, just shapes of mountains,” as he later described it. Seven years later, and after the death of his wife Ophelia who had shared that camp with him, he developed the essence of this sketch into a painting. Popular prints William would be accorded a commercial success and acclaim his father never knew. After the Second World War, he developed new techniques to mass produce his work. This led to the creation of high-quality prints and brought him enormous success. Tourists to the Lake District bought his work in droves. The sheer number of reproductions he sold makes him possibly one of the best-selling artists of all time. His appreciation of the mountains never wavered. In later life, he became one of the leading authorities on the landscape and lore of the Lake District. “It’s one part of England where people are still free to walk

high up and see space and light,” he said in 1987, aged 84. “When you get up to 2,000 feet, it’s almost like entering another dimension. All through I’ve tried to reveal the inner spirit of the landscape, and at the same time to paint it in a recognisable way.” Like his father, he would travel into the mountains to make his paintings. Often he camped amid them, frequently he climbed them. He went equipped with stool and easel to produce the basic details of his paintings in pencil or biro on half-imperial paper in “spontaneous thrill”. Often he completed them in his Grasmere studio. He would also sketch crags on site for climbing guidebooks. Sometimes he undertook the routes themselves with the authors of the books to get an idea of the form of the climb. Getting in close William died in 1995 at the age of 91. His son Julian Cooper was 48 and already an acclaimed artist. Like his father before him, Julian was determined to forge his own way as an artist in London. Eventually, however, the mountains he had visited with his father lured him back. Today he lives in Cockermouth where he, too, paints the fells. He eschews the double-barrelled name of his father and grandfather before him, and goes simply by the surname Cooper. i

huge, wall-sized works of startling texture and relief. “My sort of painting is all about the surface of the canvas. It becomes an object in itself,” he says. “Once you cut off the summit of a mountain, it enriches it. By treating the mountain as a sort of big arena but with no edges, no sky or anything, you can really concentrate on the structure, the goings-on.”

Julian Cooper’s 1995 oil painting of Rannerdale Beck in the Western Lakes near Crummock Water.

“There’s no point in living here without getting into the mountains as a subject matter,” says Julian. “As a painter, there was about 20 years where mountains didn’t figure. I was in London and involved with figurative work. When I was a kid, I was influenced by my dad. But when I was at art school in London, it was the abstract guys, the Jackson Pollock and Willem De Kooning stuff with the big canvases… and I’ve never lost that.” The fusion of his father and grandfather’s love of the mountains and of spontaneity is evident in Julian’s mountain imagery. His studio is floored with barnacles of oil paint, the air thick with the smell of turps. But the shift in style and method is stark. He works with giant canvases, layering oils onto them over time until they resemble things of relief he analogises to mountains themselves. His subjects are details, rather than scenes. Buttresses, faces, ridges, compressed perspectives entirely comprised of rock fill

Diﬀering interpretations Alfred left the security of the lakesides and climbed the mountains to paint. William changed the medium of delivery to the world. Julian too breaks the script, not just with his father and grandfather, but with all the Lakeland painters looking to simply reiterate a scene. His way is considered, aided by photographic aide memoirs as well as on-the-ground canvases. His preference is for the north and western lakes over the southern lakes. “All of a sudden there are these swooping shapes, and there’s Crummock Water, Ennerdale, the Scafells,” he says. He sees the shift between the two areas as taking place over Dunmail Raise above Grasmere. It is in the comparatively more muscular fells of the Western Lakes where perhaps the clearest examples of the family’s work can be admired and contrasted. All three have worked in the high ground above Ennerdale and Wasdale, in the shadow of England’s highest mountain, Scafell Pike. Perhaps the most obvious comparison comes from the three generations’ rendering of some of the highest ground in the land. Scafell and Scafell Pike form a great twin-headed massif rising above Wasdale. Alfred’s image is from the shore of Wastwater. It is an atmospheric watercolour of the entire mountain, faithful but raw, from ground level. William’s image is of Scafell from a high gap near the summit, deep in shadow, sequestered in the rafters of the mountain. Julian’s lacks any skyline, and is instead a textured image of a buttress, complete with climbers in ascent. “We all look at things differently,” says Julian. “Each generation has a different way of taking things in.” Through the paintings of the different generations, the viewer creeps closer and higher into the mountain. It is the same subject, but with significant differences of perspective. The result is a body of work that reflects the Lake District’s rugged beauty in ways that speak to the changing attitudes of visitors to this wild landscape as little else can. ▯

Words Simon Ingram ▯ Images courtesy of Heaton Cooper Studio, Grasmere and Julian Cooper

CONTACT www.heatoncooper.co.uk www.juliancooper.co.uk

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RECAPTURING THE WIND For the past 35 years dedicated volunteers have been reconstructing a historic windmill in Oxfordshire

N THE EDGE of an Oxfordshire village at the foot of the Chiltern Hills, an 18th century wooden windmill is being recreated. Four white sails contrast with the dark wood-clad body. This is Chinnor Windmill, the only surviving six-footed postmill in Britain. It stands on six wooden legs, which themselves sit on brick columns. Built in 1789, the mill served the community for more than 130 years. It only ceased to be used in 1923 when a steam mill proved more efficient. The windmill was left to decay, until in 1967 it was dismantled to make way for houses. Today, relocated to a new home 150 yards down a country lane from its original site, the windmill is rising phoenix-like. Since the 1980s, a dedicated group of volunteers have spent more than 15,000 hours rebuilding it. “Chinnor is a postmill, designed so that everything moves around the central post,” says Adrian Marshall, the project manager. “The buck, the main top part, is mounted on the central post around which it rotates. Because our weather changes direction so much, the sails need to face different directions. “The purpose of any mill is to harness energy and use it to overcome laborious, backbreaking work. It can take a large percentage of the day to grind grain and create enough flour to make bread. That’s a lot of drudgery for a lot of people. On a good day a windmill can produce up to 30 horsepower, the equivalent of 90 men.” Living in the nearby village of Haddenham, Adrian has been involved with the project since 1992 after visiting

local windmills during a treasure hunt car rally. “As an engineer I like to see how things work,” he says. “This is the ultimate challenge. Restoring Chinnor Windmill is about adding to the place. Villagers see it as an asset.”

Adrian uses wooden patterns to test the cast-iron worm gear drives the windmill’s fantail system. This automatically keeps the mill pointing into the wind.

Rescuing the pieces When the mill was taken down, two enthusiasts took ownership of the surviving parts. They stored structural timbers and wooden gears at their homes in Norfolk and Saffron Walden with the intention of rebuilding the mill. In the end, these components remained untouched until a team headed by professional millwright Chris Wallis from Little Marlow intervened in 1980. “The original volunteers – local enthusiasts – had just finished the restoration of nearby Lacey Green Windmill and were looking for their next challenge,” explains Adrian. “They brought the parts back and created working drawings from old photographs.” Approximately half the mill survived. “We had one corner post and a lot of roof, which was well defined. These gave us the windmill’s height of 37ft 9in,” says Adrian. By overlaying old photographs it was possible to estimate the remaining dimensions. The buck is 12ft 2in wide by 20ft 8in long and 24ft 3in high (3.7 x 6.3 x 7.4m). Pictures of each face of the mill were scanned onto a computer. This generated working drawings and a virtual three-dimensional model. At the same time Chinnor Parish Council agreed to support the restoration. Councillors allowed the mill to be built on their Whites Field site. i

The light by the barn that shines all night pales at dawn when a little breeze comes. A little breeze comes breathing the fields from their sleep and waking the slow windmill.

This is the second windmill volunteer Geoﬀ Giles has worked on, having ﬁnished restoring Lacey Green smock mill in 1980.

William Stafford, ‘The Light By The Barn’

They have continued to offer financial backing for the group of unpaid volunteers who are rebuilding it. The project is estimated to have cost approximately £250,000 so far. The original 1789 trestle with the rebuilt buck alongside ready for lifting.

Alan Bennet helping to replace the original 200-year-old trestle with newer, stronger timber.

Starting reconstruction Much of the initial rebuilding was carried out at ground level. This minimised safety risks and reduced the cost of scaffolding hire. The crown tree, a horizontal beam spanning the top of the main post, and two side girts – wooden panels which provide lateral support to the structure – were the first to be built. These were followed by four corner posts creating the inside framework of the buck. “The roof is more or less the original,” says Adrian. “The original main oak post, measuring 28in (71cm) in diameter and 17ft 5in (5.3m) in height, was pressure treated. The outside quarter of an inch was a bit spongy but beyond that as hard as ever. The oak for structures that needed replacing was sourced from local sawmills. We used green or fresh oak, which is hard but not as hard as it gets after 10 years. It is easier to cut now.” More problematic was sourcing elm. This has a particularly knotted grain, making it useful for pieces with curves. If elm is cut on a curve, it is less likely to split than a straight grain. It was used for a circular ring on top of the trestle – the main post and its supporting structure. This ring steadies the windmill. The volunteers had the original, but it proved to be too far gone. Five years ago, however, the Timber

Here Adrian prepares a perfect broad triangular wedge using saw cuts and a chisel.

A model made by Adrian to check the working drawings before moving to large scale carpentry. It shows the fantail that helps rotate the mill.

Research and Development Association did an assessment on the timbers of the trestle itself. This showed that the wood had deteriorated through being outside and had to be replaced. “Wood can look reasonable even when rotting inside. Luckily Chris Wallis was able to source new elm from a stately home in Gloucestershire,” says Adrian. “We were disappointed to have to replace the trestle. But there are two schools of restoration. One is that you use everything you possibly can no matter what. The other is that you cut your losses and make it strong enough. You have to juggle those two concepts. The trestle was okay at first but it deteriorated through being outside.” In August 2011, with the ground dry and hard, scores of villagers witnessed a 70 tonne crane lifting the buck. It now rests on three points: the two shoulders, a circular supporting ring and the main post. The process took most of a day. Video cameras inside the structure enabled the crane driver and volunteers to see when the buck came to within 1in (2.5cm) of its final resting place. Adrian was the first to go inside. “We’d been working towards this for 20 years and I felt immense relief that it went so well. We had a number of oak packing pieces and spent an hour hammering them in from four directions in order to stabilise the buck.” Making new parts Crafting wooden parts from large timber is relatively simple for volunteers, says Adrian, with appropriate chiselling and

The automatic sail shutters are opened and closed by a pivoting lever. A new part such as this would have been forged specially.

The replacement brake wheel in the roof of the mill. The sails are on the end of the cast-iron windshaft through its centre. Work is underway to ﬁt the brake, hence the temporary strapping.

carpentry. Replacing metal parts, such as metal brackets on the sails, requires outside help and money. “I make patterns out of wood so they can be cast. We then take them to Wagstaff Foundries in Slough. They have what look like Victorian vats of boiling metal. Wooden patterns are packed into sand then removed and replaced with molten metal. Two gears cost hundreds of pounds. We are not time-limited so we can wait until the foundry does a batch that includes our pieces.” A series of wire-framed canvas shutters will be created for the sails later this year. Hinges enable them to open or close automatically, minimising the load on the windmill during stormy conditions. When the shutters open they allow the wind to go through so it does not drive them. The rest of the mill, Adrian explains, is a series of gears. These take power from the wind and apply it to one stone which rotates on top of another fixed stone to grind the grain. Out of nine gears, five are currently in place. “To produce quality flour, burrstone from France is favoured as it is very strong with sharp edges,” he says. “The grinding

The original brake wheel was not repairable, so it was used as a template for the replacement. Here Geoﬀ and Adrian are removing it from the mill. It is now on display in the visitor centre.

process is part rotation and part pressure as the gap between stones can be adjusted while they are rotating. When the sails go faster an automatic device called a governor maintains the gap between the stones and regulates the speed in order to grind harder. We have one pair of 48in grinding stones weighing over a tonne. The mill is designed to have two pairs on the first level. We’re on the lookout for a second set.” The diﬀerent levels The first level of the mill is where the grinding process takes place. It is 14ft (4.2m) above ground and accessed by steep wooden steps. The hand rails are cast-offs from London’s Paddington Station. From here, a short, narrow series of steps link to a second level, 23ft 4in (7m) above ground, where the gears are accessed. Originally grain would have been stored in this area in bins. In this upper level, a section of wall is removable for ventilation, allowing fresh air and light to pour in. The buck was designed with flaps in the floor, enabling sacks of grain to be hoisted from ground level to this top i

The mill’s weight is largely borne on its crown tree, which is shown here balanced on the main post of the trestle. The wooden casing around the stones and some of the drive gears can be seen behind.

RECYCLED CENTRE The visitor centre next to Chinnor Windmill was constructed by a village builder with walls donated from the unwanted mezzanine ﬂoor of a factory. The stone ﬂoor was reclaimed from a disused cow shed, collected and relaid, slab by slab. Inside the centre, photographs of the various stages of the restoration work are displayed.

One of the original millstones, made from sections of French burr quartz and held together by iron banding.

Additional photography: Adrian Marshall

section. In a gravity-fed process, grain from the bins is metered out to the centre of the stone to be ground. It is then forced through the gap in channels cut into the faces of the stones and then out into a hopper. From here a chute takes the milled grain into a first set of sacks. Then there is a final sieve through a flour dresser before it is transferred to more sacks. The dresser is a 16in (40cm) diameter cylinder of wire mesh. Inside a brush rotates, sieving the flour. Chinnor’s is approximately 3ft (90cm) long. During demolition, it was taken to nearby Pitstone Windmill for safekeeping and will be returned this year. Working on the mill Six regular volunteers, including Adrian, devote their weekends to working at the windmill. They include Alan Bennet, a retired policeman. “My father was a carpenter and, having picked up lots of information from him, I used those skills to help construct various joints and structures in the mill. There are occasions when I wonder how we can do a particular task but after consultation with other volunteers we come up with a solution. On completion of various stages, I feel a great deal of pride for our endeavours. One of

our major achievements was the lifting of the buck onto the post as well as the erection of the visitor centre. “My hopes are that we are able to complete the rebuilding of this super structure. This will achieve the dreams of the original men who had this ambition many years ago, creating a landmark in the village for many generations to come.” Engineer Richard Marshall has been part of the team since 2009. He dropped in at the site one Sunday afternoon and found a volunteer working alone. “Over the next few years I did some work on the heavy joinery, remembering our motto ‘measure twice, cut once’. I also took over the design and installation of the electrics.” An interest in history and wood prompted volunteer Colin Grenville’s dedication. “I have great pride at having been involved in such a long-running project. I’ve learned a good deal about timber engineering, teamwork and problem-solving,” he says. “I also have an appreciation of the skills of the millers and

Adrian busy in the workshop, which features displays on the history and reconstruction of the mill.

millwrights, the risks they faced and how their work was central to village life.” There is still much work to be done. Over the next five years the remaining gears will be replaced allowing the mill to produce flour. The volunteers are determined to see it through to the end. “The most daunting thing is to look at the whole project,” says Adrian. “You have to suppress the enormity of the task you’re taking on and just focus on the next stage. Take a broad view and deal with today’s problems; don’t worry about next week. “There’s a joy in discovering how things were done years ago and how people came up with clever solutions without the tools we have now. I regard that as important. This is a landmark that is quite special.” ▯

Words: Sandra Smith

▯

Photography: Clive Doyle

CONTACT www.chinnor-windmill.blogspot.com

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S RIVER BANKS start to come alive with fresh greenery, one fish has donned a mantel of intense colour under the sparkling waters. With a throat as red as flame, the male stickleback performs extravagant displays, to attract the interest of roving females. He starts constructing a nest more advanced than those of many birds. The coming weeks are important, as this may be his only chance to reproduce and pass his genes on to a new generation. He has invested heavily for this moment, turning aggressively on former allies in his quest to mate. Britainâ&#x20AC;&#x2122;s common three-spined stickleback, Gasterosteus aculeatus, is found across the northern hemisphere and throughout the UK. Some inhabit coastal zones, with clear reaches to the sea. However, inland lakes, ponds and streams with muddy or sandy bases and ample vegetation all provide suitable habitats. The only essential is that they do not dry out at any point. These fish can either adopt an exclusively freshwater existence, or they are anadromous, spending the majority of their life in the sea. These specimens only move to freshwater to spawn.

Outside of the breeding season male sticklebacks have a drab appearance. When breeding starts however, their throats are ďŹ&#x201A;ushed red and their eyes sparkle azure blue.

Mating colours Outside of the breeding season the male stickleback appears nondescript and featureless. Once the reproductive phase starts however, there are big changes. Its eyes become sapphire bright, its breast flame red. The intensity of the red advertises his worth as a suitor. The pigments responsible for the colour are carotenoids, bright antioxidants ingested as a result of good diet. This includes benthic midge larvae, small aquatic insects and tiny fish for the freshwater populations, and drifting, planktonic organisms for marine fish. Biologically, the fish with stronger reds have higher fertility rates. Eating such colourful diets, so rich in antioxidants, has beneficial outcomes for a fishâ&#x20AC;&#x2122;s sperm. For most of their lives, these tiny fish are socially gregarious. During the endless hunt for their favourite foods, they are at risk of predation. For protection, they forge lifelong relationships with other trusted members of a shoal. Two fish cooperate to inspect threats, working in pairs to establish risk levels on a tit-for-tat basis. One fish moves, then the other, until the threat has been deemed harmless, or both fish have been forced to flee.

DANCE OF THE FLAME-THROATS In rivers and streams across the country, male sticklebacks are preparing for an intricate courtship and the challenges of fatherhood 94

Freshwater sticklebacks beneďŹ t from the inherent protection of plant cover in their habitat. Marine types are far more exposed.

This is forgotten, however, in the hunt for a mate. Triggered by a break in the winter cold, and the following elevated temperatures, male sticklebacks abandon their allies to become solitary. The saltwater populations start spawning behaviour early, swarming inland from the seas in a patchy stickleback armada from February onwards. They spawn with the females that have joined them on the journey. The freshwater fish do not follow suit for another month or more. Both types move to shallower waters at the edges of ponds, rivers and lakes, looking for territories at least 20in (50cm) across to claim as their own. The males police their territories with tyrannical fervour. Weaker rivals and premature females who amble into their domains before they are ready are ruthlessly driven away. i

SALT SOLUTION

When saltwater sticklebacks move to fresh water to breed, their bodies change to help them adapt to the diďŹ&#x20AC;erence in salinity. While in the sea, they drink heavily and produce limited but highly concentrated urine. To cope with a freshwater existence, they alter their renal functions, only taking in water through the gills, and passing out huge amounts of extremely dilute urine. In the oceans, there is an abundance of minerals. In freshwater, with limited mineral supplies, the onus shifts to retaining them.

HOW THE EGGS ARE FERTILISED

The red-throated male starts to dance for a female, his spines erect.

The male then quivers behind the female, guiding her into the nest.

The interested female now swims through the nest, laying her eggs.

The male follows her through, fertilising the eggs as he goes.

The sticklebackâ&#x20AC;&#x2122;s nest is a soft tunnel, anchored to vegetation. He needs to encourage a female to swim through it, laying her eggs before she moves away.

Nest building When his territory is secured, the male stickleback builds his nest, which takes the form of a soft tunnel. He amasses scraps of vegetation, moulding it into a tubular shape before securing it with a gluey substance called spiggin. This is secreted from his kidneys and expelled through his vent, an opening underneath the body. Once the bower is constructed, the male starts to advertise his presence. He displays to the watchful plump drab olive or silvery females, patrolling the many different nests. If a female lingers on the outskirts of his territory, he starts to dance for her. His three spines are erected like flagpoles and his proud red chest prominently displayed. Making little movements to the left and right, he closes the distance between them. Intermittently he breaks off to rush at her with his wide-open mouth. Finally, after repeatedly dancing in a line between the nest and the female, he succeeds in enticing her to follow him down to the entrance. He clearly indicates where it is, by pointing his head directly at the opening aperture. Once she comes closer, the male quivers beside her, encouraging her to enter. She worms her way through the close shroud, laying from 40 to 500 eggs before leaving through the other side. The male then follows through to fertilise them. Animosity now returns with a vengeance, as he chases the female away. Now his attention is focused on caring for his new brood. The females will move on to visit any males that they consider worthy, spreading their genes around several potential fathers. Caring for the young Three-spined sticklebacks have fewer young than many fish species, but offer them a high degree of paternal care. While the females have nothing further to do with their progeny, the male tends to them from egg stage onwards. He chases off intruders who come near, while remaining vigilant for the opportunity to eat his neighboursâ&#x20AC;&#x2122; eggs. Unattended eggs in static waterways low in oxygen would run the risk of suffocation, especially in the closed tent of the nest. To avoid this the father positions himself at the entrance to the nest. Here he begins to swim on the spot, fanning through fresh oxygen-rich water. This is kept up day and night for seven to eight days, until the young start to hatch out. As hatching gets closer, the male makes another opening in the roof of the nest, allowing for even better breathing. Upon hatching, the parent stickleback acts as guard dog. The

fry are free swimming and prone to putting themselves in danger. If they swim off, he catches the young fish in his mouth, spitting them back into the cluster. Leaving the nest The young fish become bolder as they grow, and their father lets them drift further from view. Once they have consumed their yolk sacs, they will drift away altogether. Growth rates depend on the amount of food available, but it is the formation of social groups that takes the juvenile fish to their next stage in life. Such shoals become increasingly obvious, with smaller ‘wolf packs’ of fish forming larger, obvious congregations as late as July and August. Depending on whether the sticklebacks are freshwater or marine in origin, these shoals either drift towards deeper parts of their ponds or lakes, or move back downstream towards the sea. There they swim in clusters around floating seaweed. The juveniles spend the coming years fattening up, preparing to make their own spawning journey. For some freshwater fish, especially those found at extreme latitudes, this may happen in just one year, though most tend to wait two or three. Meanwhile, the male will have rebuilt his nest, and done his best to attract a second or even a third female. This, together with the exertion of guarding his young, takes its toll. A freshwater stickleback returns to the lower levels of water where he tries to either reforge old alliances or strike up new ones. The marine fish expended considerable energy swimming inland to begin with. They also had to adapt to different food sources. For them, the trip is usually one-way. Lacking the strength to follow their young families back to the sea, the sticklebacks – male and female – die of their exertions and strained physiologies. All the young need to do now is survive for as long as they can. Then, when the time comes, the males flare red breasts of their own, taking up their roles as the dancers that follow the tradition of a million generations. The circle of life continues. ▯

Words: Nathan Hill

Stickleback eggs seven days after fertilisation, when eyes, heads and tails are starting to form.

These juveniles no longer need the watchful eye of their father and are ready to swim away to form social shoals.

Photography: Alamy; naturepl.com; FLPA Illustration: Steven Hall

AN UNCONVENTIONAL FISH The three-spined stickleback is difficult for taxonomists to define. Genetically, it is diverse, and variation from fish to fish is rife. Superficially distinct populations may reside within a single stream or pond, refusing to interact. This aquatic tribalism may even exclude inter-population spawning. The sea-dwelling stickleback evolved first. Its ability to flit between fresh and saltwater habitats allowed it to inhabit a vast area. There are sticklebacks in much of the northern hemisphere, including countries as far apart as Japan and Greenland, as well as the northern regions of Africa and America. Current scientific thinking suggests that the

freshwater populations across these regions were trapped following an ice age. Sea-dwelling sticklebacks are easily identified by their silvery suits of scaly armour. Freshwater fish have only a few plates, if any. This reflects the variable predation pressures that each population faces. The greater the armour, the higher the number of threats. Marine-goers are preyed upon by seabirds and fish in an environment with few hiding places. Freshwater inhabitants are threatened by kingfishers, aquatic insects and many native freshwater fish. They do at least have the advantage

of cover, in the form of plants and fallen wood. For both types, the three dorsal spines that give the fish its name are an impressive anti-swallowing deterrent when erected and held firm. Marine sticklebacks may reach 4½in (11cm) fully grown. Those in freshwater will peak somewhere closer to 2in (5cm). The marine types are nearly exclusively silver. Across the belly the freshwater fish are platinum, but green, brown, turquoise and grey decorate their upper, dorsal sides. This colouring doubles as a form of camouflage known as countershading. It makes them as hard to spot by predators stalking from beneath as by those above.

OF ROCKS AND RUINS Scotlandâ&#x20AC;&#x2122;s North Berwick coastline is a place of imposing monuments, both natural and manmade 99

TARK AGAINST THE horizon, a huge slab of rock rises out of the crashing waves of the North Sea. Opposite it, a ruined castle stands proudly on top of a towering spit of land, thrust into the broad and windswept seas. Further inland another castle is testament to the wild past of this stretch of the East Lothian coast. Between them is the ancient town of North Berwick. Huddled around its harbour, its narrow streets have hosted pilgrims, fishermen and holidaymakers over hundreds of years. This is a town in which history runs deep. The ruins of both Tantallon Castle on the clifftops and Dirleton further inland are magnificent. It is, however, the 340 million-year-old volcanic island of Bass Rock that dominates both the skyline and the history books. Rising to an imposing height of 393ft (120m) this seven-acre hulk is stranded two miles east of North Berwick at the exposed entrance to the Firth of Forth. Sheer cliffs make up three sides of this immense plug of rock. To the south is a gentler slope, home to the ruins of a castle dating to 1405. The history of human habitation here extends much further back, to the 8th century when a hermit, St Baldred, is believed to have sought refuge upon it. The 15th century castle was built by order of the then owners of Bass Rock, the Lauder family. The following century saw a garrison of 100 soldiers stationed on the Rock, maintaining it as a symbol of strength and influence. They survived on vegetables grown on its then grassy summit, fish and the meat of gannets. To keep warm, they burnt the birds’ nests. By the late 1600s, the castle had become a notorious jail for opponents of the British government of Charles II. Prisoners were kept in terrible conditions, denied access to fresh water other than that which sat in rock puddles. When James VII of Scotland and II of England was sent into exile in 1688, it was used to hold rebel Jacobites, his supporters. In 1691, four escaped from their cells, seized the Rock and held it for three years. They were supplied and supported by the French navy before finally surrendering.

1837 the price for a plucked and cooked bird was 8d. The fat of young gannets was believed to be a cure for gout and rheumatism. The eggs were another delicacy, and were even served to Queen Victoria. Known as the harrying, the killing of the birds was carried out by men who were let down the cliff faces on the end of ropes. They would move from nest to nest, knocking the birds on the head and dropping them into the sea. Here men in boats would pick them up. Today the harrying is no more, and the gannets are left alone. With more than 150,000 birds there between January and October every year, it is the largest single island colony in the world for these sizeable birds. When the weather is right, boat trips out to the Rock give visitors the experience of seeing the birds up close. “All of a sudden the birds appear, swirling and swarming around the rock,” says Liz Drake, of the Scottish Seabird Centre in North Berwick. “The size of them strikes you straight away, and they look right at you with very blue eyes. The noise and the smell is what you notice next!” Safety for shipping Bass Rock is also home to a lighthouse. This was first activated on 1 November 1902. For 86 years, its keeper climbed the 48 steps to the top of the tower every day to light the lamp until it was finally automated in 1988. Today it is controlled remotely from the Edinburgh headquarters of the Northern Lighthouse Board. The 66ft (20m) high lighthouse was built at a cost of £8,087, the equivalent of £2.5 million today, by a cousin of the author Robert Louis Stevenson. The writer spent many holidays on the mainland opposite Bass Rock, and it is believed Treasure Island was inspired by the wild coastline. i

Bass Rock gannets By the 18th century, the rock was rented to a tenant who grazed sheep on it. Bass mutton was sold as a local delicacy, valued for its rarity and remote farming. However it was the gannets that were the biggest attraction. Thousands of these noisy, agile seabirds have made their home on the Rock for centuries. They were hunted and sold in local markets. In

Bass Rock

A198

North Berwick Dirleton B1347

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Tantallon

Regardless of location along this coastline, Bass Rock looms large on the horizon, standing sentinel in the North Sea.

DARING HIGH DIVERS

The close connection between Bass Rock and its colony of gannets is reflected in their scientific name of Morus Bassanus. Britain’s largest seabird, gannets have a wing span of approximately 6ft (1.8m). When hunting for fish they descend into the sea at speeds of more than 50mph, reaching depths of 30ft (9m) below the surface. “Their skulls are designed to survive the impact, while their nostrils are positioned inside their beaks,” says Liz Drake, of the Scottish Seabird Centre in North Berwick. “They also have air-sacs under their skin around their face and chest to absorb the blow, much like the airbags in a car. “The gannets are fascinating. They’re very territorial, but are also crammed together by the environment on Bass Rock. They joust, they bow to indicate land ownership, they ‘sky point’ to tell their partner that they’re leaving, they ‘beak fence’ as a form of greeting. This display lasts longer the greater the length of time they’ve been away. Birds from Bass Rock are recorded as flying as far as Norway and back for single fishing trips.”

Gannets are resident on Bass Rock from January to October.

Liz Drake looks out to Bass Rock from North Berwick’s Scottish Seabird Centre.

On the north side of Tantallon are the remains of the 14th century Great Hall. To the right of this is where the brewery, bakehouse and kitchen were housed. The doocot at Tantallon (top). This is the only building that remains in the castle’s outer bailey. Paths leading through the outer wall (above).

Alastair Hunt manages the castle for Historic Scotland.

Castle on the cliﬀ Just over half a mile (1km) south of the Bass Rock, the ruined 14th century Tantallon Castle is an impressive sight. Its high walls and battlements today create a ragged silhouette against the sky. From the tops of its walls are spectacular views across the crashing seas. Built in the latter half of the 1300s, it was the home of the Red Douglases for more than 300 years. It withstood several sieges in the course of its history, until a 12-day assault in 1651 by the forces of Oliver Cromwell during the Civil War rendered it uninhabitable. Tantallon was left to the elements. Despite its abandonment, however, the extensive ruins left today still reach almost the castle’s original height. Spiral staircases along the central stretch of the inner walls take visitors to 78ft (24m) above the ground. “It’s the size and the impact of the place that’s so impressive” says Alastair

Looking up Tantallon’s spiral tower staircase, within which the constant crashing of the sea is ampliﬁed.

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Hunt, who manages the site for Historic Scotland. “Visitors love the fact you can get to the top of the battlements.” The remoteness of the site makes it a haven for wildlife. “I see deer and pheasants, hares and stoats in the fields around the castle. We occasionally have dolphins heading up the coast too. It’s a constant delight,” he says. The castle grounds are entered by the main gate, once secured by a broad double door. A doocot stands just inside the perimeter, directly opposite the entrance to the castle. Here thousands of nesting pigeons were exploited for their eggs, as well as the prized flesh of four-week-old chicks known as squabs or peesers. Crossing the now dry moat and stepping inside the castle’s main walls, the atmosphere is dominated by tall, top-lit ruins of towers and stairwells. There is a constant background noise from the surging tides and breakers below the cliffs.

“Tantallon vast, broad, massive, high and stretching far…” Sir Walter Scott, ‘Marmion’

Climbing to the high battlements reveals the celebrated views of the Bass Rock sitting amongst the blue shades of a sunlit sea. A natural harbour sits to the side of the castle, where both visitors and provisions would have arrived. Two of the most impressive sections of the remaining ruins are the Great Hall, and the kitchens. In the latter, there is space for two large fireplaces where great spits would have roasted meat, fish and fowl. Chain-suspended cauldrons would have bubbled above the fires. The walls in the Great Hall would have been plastered and painted. Curtain rugs hung over entranceways, creating a far warmer and more welcoming place than its windswept location and bare condition would suggest today. Place of pilgrimage Three miles to the west, the town of North Berwick has a more peaceful history. Its inhabitants have made a living both from agriculture and the sea over the centuries.

Today, with 6,600 residents, its most recent incarnation is as a seaside resort. The harbour has long been the heart of the town, tracing its origins back to the 12th century. For 500 years, it provided a ferry system across the Forth to Anstruther in Fife. In 1160, a cathedral was built at St Andrew’s in Fife, which soon became the most popular site of pilgrimage in Scotland. Travellers from further south would pass through North Berwick en route. They were seeking blessing and healing from relics associated with the martyred apostle St Andrew. At the northern limits of the town lies a slender spit of land which extends into the Firth, forming the town’s main bay to its west. On this land sit the ruins of St Andrew’s Old Kirk, framed by colourful cottages. In the 12th century the kirk was a simple white-washed building. It was built by monks from Lindisfarne on the Northumberland coast, and was a beacon for early pilgrims on their way north to St Andrew’s Cathedral. A side chapel and i

Looking back to the grand brick houses of North Berwick from the dunes of the sandy West Bay beach.

A HISTORY OF TANTALLON CASTLE It is believed the castle was built by Sir William Douglas in the latter half of the 1300s, in the style of a French chateau. Tantallon earned a reputation for political intrigue and opposition. Archibald Douglas, 5th Earl of Angus, led an attack on James III’s forces at Lauder in 1482. In 1491 his plotting with the English monarch Henry VII against James IV was discovered. This lead to a three-month siege of the castle. The stronghold held out, eventually securing a reconciliation. In 1528, the castle was attacked again, this time by the 16-year-old James V. He was seeking vengeance on Archibald, the 6th Earl of Angus. Archibald had married James’ mother, Margaret Tudor, then reneged on an agreement to care for the young king. Instead he imprisoned him in Edinburgh Castle in order to maintain authority over the royal bloodline. James escaped and Archibald retreated to Tantallon. Legend has it that the drums of James’ army beat the rhythm “ding doon Tantalloun” or knock down Tantallon, as they approached. A 20-day siege left this castle “never ane hair the worse”. On 8 February 1651, Tantallon’s doom was ﬁnally secured when up to 3,000 Roundheads attacked during the Civil War. For 12 days they used gun batteries and six battering pieces against the 91 defenders. Succumbing to a breach in the wall, the castle was ﬁnally defeated.

North Berwick’s rebuilt harbour is edged with 19th century red brick buildings.

The remains of St Andrew’s Old Kirk and its 15th century side chapel, with the Scottish Seabird Centre in the background.

tower were added to the rectangular stone building by the 15th century. The structure collapsed into the sea in the 17th century leaving the knee-high ruins seen today. It is believed that 10,000 pilgrims a year were ferried across the Forth during the Middle Ages. A hospice, no longer in existence, was founded in the town to look after the sick. Accommodation and market stalls boomed. Tin badges, decorated with the cross of St Andrew, were sold and sewn onto clothing by those believing that the journey would absolve them of their sins and heal their afflictions. In the late 20th century 2,000 bodies were excavated here. It is believed these were the remains of people whose illnesses claimed them before they completed their pilgrimage. Their bodies were wrapped in linen shrouds held together with bronze pins. “Pilgrims who travelled north to St Andrew’s from early Christian centres such as Northumberland would pass by this land via the most logical way, the sea route,” says David Berry, who gives tours about the town’s history. “I start here because the church that stood on this spot was the origins of North Berwick. “This area was originally a tidal island. A harbour was developed, which was the start of the route to prosperity. Then the reformation came in the 1500s. Protestants are not ones to take pilgrimages, so the demand for the ferry died out. By the 1600s the locals mined some of the rocks in the harbour, which undercut the island and led to half of the church being washed away, which is why it’s a ruin.”

North Berwick’s fortunes rose and fell through the centuries. The agricultural revolution boosted farming exports and the harbour was rebuilt to a grander size in 1812. “The big heavy, red building here on the harbour was originally a store and granary,” says David. “It has withstood the weather and the vagaries of life well.” The arrival of the railway in 1850 helped boost the region’s fishing trade. “People like my great grandfather moved to North Berwick from Fife,” explains David. “They made up roughly three dozen fishing families, who became a very tight-knit community.” Visitor destination The arrival of the railway also brought visitors attracted by the seaside. The town’s popularity with Edinburgh industrialists gained it a reference in the 1880s as ‘the Biarritz of the North’ by the editor of society journal The World. “The west end of the town still boasts all kinds of stunning stone mansions,” says David. Today the town remains popular with visitors. “There’s nowhere like it,” he says. “I’ve lived in six different countries, been around the world and spent 15 years in Silicon Valley. The world’s very nice, but I’ve come back to North Berwick. Most settlements have a single reason for being and if that reason fails they die. North Berwick has had about six different reasons to be there and has reinvented itself every time. We’re only halfway through so far.” “It’s almost the ideal sized town,” says

JAMES VI’s WITCHES

The darkest chapter in North Berwick’s history came in 1590. It was rumoured that 200 witches danced around Anchor Green, by St Andrew’s Old Kirk, while listening to the devil preach from the pulpit. Under torture, a servant girl named Gelie Duncan had confessed that they were attempting to summon a storm to drown King James VI of Scotland, later to become King James I of England and Ireland. Over the course of the two-year trial which followed, more than 70 people, mostly women, were implicated in the scandal. Each new confession brought forth more names. It was the king who was the chief driving force to the trials. He had a personal belief in, and hatred, of witchcraft. In 1597 he wrote the tract Daemonologie stating that, “such assaults of Satan are most certainly practised, and that the instrument thereof merits most severely to be punished”. David Berry gives tours around North Berwick highlighting the town’s long history.

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On the summit of the North Berwick Law are the remains of an Iron Age fort.

Descending the North Berwick Law, with Bass Rock surrounded by calm seas in the distance.

Amanda Knani, who runs a bed and breakfast at her home. She has lived in the town since she moved there at the age of nine from the north-east of England. “It offers enough variety and it has something for everybody. There are tennis, golf, rugby, sailing and rowing clubs, a monthly cinema society, and of course the Church. “I never tire of the beach. I take a lot of photos, to try to capture how beautiful it is. I love it as much in winter as I do on a beautiful sunny day.” Birdlife and nature Alleyways lead north from the centre of the town to the sweeping beach, and the harbour. Although much reduced, there is still a fishing presence in the harbour among the private pleasure boats moored in the marina. The Scottish Seabird Centre, which celebrates the rich seabird life of the area, is based here. The Centre holds daily talks, presentations and exhibits about the local wildlife. This includes Arctic terns, grey seals and barbed-beaked puffins. On top of all this are Bass Rock’s gannets. “We have placed cameras on the various islands out to sea, which allow visitors to watch the birds and seals,” says Liz Drake. “The cameras are assaulted by

There has been an arch on the top of the 613ft North Berwick Law for more than 300 years. Today, instead of whale bone, it is made of ﬁbreglass. Resident Amanda Knani loves North Berwick for its sense of community, but mostly for the beautiful beach. She caters for the new inﬂux of visitors at her bed and breakfast.

salt spray and wind, as well as the birds sitting on them, so they’ve got to be hefty.” Views from on high Another ancient volcanic plug, a twin to Bass Rock, rises inland on the southern outskirts of the town. It takes its name, North Berwick Law, from a lowland Scots word meaning a conical hill. A trail, just over half a mile (1km) long, wends its way up the western side of the hill to its 613ft (187m) summit. From here the views

north to the sea over North Berwick, and south-west to Edinburgh and the Pentland Hills beyond are as extensive as they are arresting. On the cap are the remnants of an Iron Age hill fort and military shelters dating back to both the Napoleonic era and the Second World War. A whale bone arch has stood on the peak’s highest point since 1709, supposedly as a landmark to guide sailors home safely. It is believed to have been replaced in 1789, the 1850s and 1935, i

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More of a home than a fort, the grounds of Dirleton Castle are home to yew trees, some of them hundreds of years old.

The Nisbet family were responsible for the attractive borders that draw visitors to Dirleton’s grounds.

Kevin Heﬀernan, the keeper of Dirleton Castle. He also works at the more rugged Tantallon Castle but enjoys the homely feel of Dirleton.

Photography: Alamy; Melanie Horne Illustration: Steven Hall

worn away by the weathering effects of its exposed position. The most recent replacement was in 2008 when a 21ft (6.4m) long fibreglass replica weighing 1,235lb (560kg) was carried by helicopter to the summit. A beautiful folly Five miles west from the town sits another great manmade landmark, Dirleton Castle. Although this impressive building suffered a similar degree of conflict in its history as Tantallon, the atmosphere is markedly different. “Its pretty setting is because it was in fact kept as a folly for a wealthy family, the Nisbets, until it was handed over to state care in 1923,” explains Kevin Heffernan, its keeper. Built in the 13th century by the De Vaux family, it has changed hands three times. In the 14th century it went to the Haliburtons, then to the 16th century

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Ruthvens. Later in 1650, after the Civil War, it was cared for by the Nisbet family who lived nearby. The castle was damaged extensively during the Wars of Scottish Independence in the 13th and 14th centuries. Further damage was inflicted during a siege by the forces of Oliver Cromwell in 1650. Little evidence of this is visible today. The keep and walls of the structure were repaired by each owner, leaving visitors able to explore bed chambers, storage cellars, halls and ramparts. “Tantallon is a fort, stark, proud and defensive,” says Kevin. “Dirleton, however, has traditionally had a strong relationship between the castle and the gardens, which gives the place a homely feel. “The yew trees all over the site are the offspring of the original plantings, some of them hundreds of years old. People come to visit the gardens, and enjoy the borders.” The beginnings of spring offer the sunflower-like doronicum, elegant-stemmed polyanthus, dog’s tooth violet, daffodils, magnolias and forsythia

for visitors to enjoy. The previous three families designed and enlarged the castle with well maintained broad storage vaults and a family chapel. There was also a prison pit, a narrow, lightless basement accessed by a small opening in the castle’s lower reaches, still visible today. It was the Nisbets, however, who beautified the grounds. They designed it as an eye-catching feature, visible from their nearby mansion house. Combining nature and history Dirleton, together with Tantallon, stands testament to the area’s wild past. Today the sea continues to surge against the remains of Tantallon and the shores of North Berwick. The natural grandeur of Bass Rock and the Law maintains their dominance of the landscape as it has done for millennia. This corner of East Lothian endures as a land of fierce beauty, both natural and manmade. ▯

Words Dan Aspel

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FRAMING OAKEN CASKS Pounding steel hoops to ďŹ t curved oak staves, cooper Jonathan Manby keeps alive a centuries-old craft at a Yorkshire brewery

NSIDE A SMALL stone two-room building sit piles of wooden staves, stacked on top of each other. A huge workbench dominates one room, with ancient, curved tools hanging on the wall above, up to the ceiling. Everywhere are wooden casks, some complete, others half made. This is the cooperage at Theakstonâ&#x20AC;&#x2122;s brewery in Masham, North Yorkshire. It is the workplace of Jonathan Manby, the last apprenticed craft cooper in Britain. His workshop, next to the main brewery, is permeated by a pleasant aroma of beer, new wood and wood smoke. The first room is filled with wood, large electric saws and bottles of beer gathering dust on shelves. In the next room, which is smaller and darker, a fire burns in a small conical-shaped iron basket called a cresset. It sits in an ancient fireplace large enough to stand in. There are no windows, just two small skylights in the high ceiling. Piles of wood are neatly stacked and rings of metal lean against the wall. Shavings litter the stone floor. i

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A shabby desk piled high with papers and paraphernalia leans against another wall. The cooperage is dominated, however, by Jonathan, a tall, thickset man who wears a large leather apron. He has worked here since 1995, when, at the age of 20, he took up a four-year apprenticeship. He had just completed a City and Guilds course in cabinet-making at college in Leeds. “I didn’t know anything about coopering but knew I wanted to work with the best wood which is oak. It’s top quality, hard wearing, and handles and finishes well. It’s the Rolls Royce of timber. Empires have been built on it and there’s nowt better,” he says. Oak is the only wood used for all the casks, whatever their size, as it is the most durable and least porous wood. “The job was local to me, as I’m from just outside Masham, so was an ideal opportunity.” For centuries, the art of coopering has been handed down from one cooper to another. Nothing is written down, the skill is learnt on the job and no plans or measurements are noted. Because of this the cooper is one of the most skilled craftsmen working with wood as they work by eye, feel and instinct rather than to specific instructions. The only cooper apprentice in the country at the time, Jonathan was trained by then incumbent cooper Clive Hollis. His first job was to paint the chimes, or rim, at the end of each cask. This identifies who the cask belongs to and should be returned to. Theakston’s are red. Over the next four years, he mastered every skill required to make casks. These included shaving out, which involves shaving the inside of the cask smooth to ensure no hops get caught in the rough wood. If this happen there could be a build up of bacteria.

A side axe cleaves the staves from the a quarter-sawn oak log (top). A draw knife is used to shape the staves (above left). An adze is used to angle the staves (above right).

TRUSSING IN At the end of Jonathan’s four-year apprenticeship in 1999, a ceremony called Trussing In took place. This is a traditional ceremony, attended by four other coopers. It starts with the apprentice making a 54-gallon cask called a Hogshead. The apprentice is then put inside the cask while the other coopers close it up around him. “It felt a bit warm,” says Jonathan. Once this is done, all the debris from the brewery is tipped on top of the apprentice – shavings, beer slops, bits of metal. “Thankfully they no longer use horses or the manure would have gone in with me too,” he says. The head, or lid, is then put on, the cask tipped on its side and rolled around the yard a few times with the apprentice inside it. The cask is then righted. The apprentice gets out and is promptly sacked. He has to ask for his job back, but there are no guarantees he will get it. Jonathan did and was given a pint of beer to celebrate. Jonathan now has a new apprentice, so hopefully in four years’ time he will be on the other side of the barrel for the next Trussing In ceremony.

“Tell us, now, how and when, We may find the bravest men?” “A sure test, an easy test: Those that drink beer are the best, Brown beer strongly brewed, English drink and English food.” Robert Graves, ‘Strong beer’

From tree to cask A well-made cask, if treated properly, can last up to 40 years. Some need repairing after 15 years if roughly handled. Today, Jonathan splits his time between repairing and making new casks. The majority of casks he makes are Firkins, which hold nine gallons. These are refilled time and again, with beer kept in the cask for up to 28 days. They are made from quarter-sawn oak from trees that are between 100 and 150 years old. For quarter-sawn wood the log is first quartered lengthways, resulting in wedges with right angles in the centre of the log. This creates boards that are more stable and less prone to shrinkage. The medullary rays or growth rings are more prominent on this cut of wood, giving it an attractive appearance. The wood is then split along the grain and cut into staves before despatch. It is delivered to the brewery where it sits outside for 18 months to season and dry out so there is less chance of shrinkage. To make a cask, Jonathan joins up to 33 staves together and shapes them. They are enclosed by a wooden circular head at each end and bound together with steel hoops. The skill is in shaping the staves to a barrel shape and making sure the cask is watertight. Each stave is shaped and bevelled so they fit together precisely. The staves vary in length according to the size of cask but are approximately 1in thick. They are dressed, or prepared, into an oblong shape and then jointed on a jointer, a 6ft-long plane. The staves are then fitted onto a frame and arranged around an iron hoop. This is called raising the cask.

The staves are initially held in place with a steel hoop.

Heating the wood using the cresset makes the staves more pliable.

Jonathan drives on further hoops that pull the cask into shape.

Trussing the cask The shaping of the barrel requires heat. Jonathan places the cask over the top of the cresset to warm for approximately half an hour so the wood becomes pliable. The cask is next put on a steel stool, approximately 18in high, so Jonathan does not have to bend too much. Then in a process called trussing the cask, using a large hammer called a driver, he drives down the hoops that pull it into shape. These are known as truss hoops and are temporary. The ones Jonathan uses date back to 1919 and have been used many times. As the wood cools the hoops pull the joints in tight. It is friction that holds the staves together so the temporary hoops can be removed when the cask is complete. At that point, they are replaced with permanent ones to make it even more secure. i

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Rivets are pounded into place using a hammer and bick iron, a cooper’s anvil.

Once the cask has been trussed, it is chimed, meaning the ends of the staves are shaped using an adze. This ancient tool has a sharp end like an axe. It is used to put an angle into the wood at the edge of the cask, the chimes, in effect planing it. A chiv, which resembles a chisel, is used to curve the inner top of the staves. A groove is then cut inside the cask’s opening using a croze plane, ready for the head to be fitted. All these tools are curved. Adding the hoops The permanent metal hoops are driven into their final position using a hammer and a driver. The metal for the hoops is bought in ready rolled with a splay on a slight taper. The cask is marked with chalk where the hoop needs to go. Chalk is also used to mark the position of the rivets on the hoop. Two are usually used on each hoop, holding it together. The rivets are hammered in on a bick iron, a tall, narrow cooper’s anvil, using a large hammer. Weighing 4½lb, the hammer has a round face for knocking in the rivets while the other end is tapered for the hoops. “I have no idea how old the one I use is. I have put a couple of shafts on it myself and it is very well worn,” says Jonathan.

Making the lid The head of the cask, the lid, is made on a heading board, a large block of wood. This is called laying the head up. Five ¼in thick pieces of wood are used. All measurements are imperial. “Beer is drunk in pints so all measurements are in inches,” says Jonathan. The pieces of wood are laid on the heading board and joined with two wooden dowels. Between each piece of wood is placed a Norfolk reed, a variety of reed that grows in Cambridgeshire. This is the only sealant used in making a cask and is there to absorb moisture. Timber dries more quickly than the reed so can shrink, particularly in the summer. The reed bridges any gaps that might appear. The head is then made round using an electric band saw.

A heading knife is used to bevel the cask’s lid.

Checking the curve of the cask with a divider calliper (above left). Norfolk reeds are employed to seal the head and absorb moisture (above right).

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THE HISTORY OF THE COOPER

Cooperage is an ancient trade, with The Worshipful Company of Coopers having been in existence since the 11th century. There are four types of cooper. The dry or slack cooper made casks that were used to ship dry goods such as tobacco, fruit and vegetables. The dry-tight cooper made casks to keep dry goods in and moisture out such as gunpowder and ﬂour. The white cooper made straight containers to hold water and other liquids. The wet cooper made casks for long term storage and shipping of liquids. Every village used to have at least one cooper, usually a white cooper who would also do some wet work as well, working alongside the blacksmith. Other coopers worked for breweries or as journeymen. The Navy employed its own coopers on its ships. A physically demanding, as well as skilful craft, a cooper would have been, and still is, a relatively strong, ﬁt man.

The grain of the wood at the bottom of the cask goes top to bottom and on the head side to side. This makes it obvious which is the top and bottom of the cask. The edges of the head are shaped to fit into the neck of the cask, in the groove cut into the inside ends of the staves. The keystone, the hole for the tap, is cut into the head on the cant, not the joint, of the wood. This is where the beer will be served from. A bunghole, through which the cask will be filled, is made in the side of the barrel using a tapered auger. Finally a marked block is put on the final stave that is put in. Traditionally this identifies the cooper who made the cask and is the way he would have been paid for each cask made. Jonathan still puts a marked block in his casks. Keeping tradition alive As a journeyman paid per cask, Jonathan is reluctant to discuss how many casks he can make in a day. “That is between me and the man I work for,” he says. Traditionally a journeyman worked for more than one brewery, negotiating different rates with different brewers and it was kept very much between the cooper and brewer. Jonathan still works to that tradition, even though he only works for one brewer. A member of the Worshipful Company of Coopers, he is very proud of his craft. “It’s a great tradition and one that needs to be kept alive. I love the job and am more than happy to get out of bed each morning,” he says. “The best bit? Having a pint at the end of the day, drinking beer out of a cask I have made.”

CASK SIZES Casks come in a range of sizes including: Pin 4½ gallons Firkin 9 gallons Kilderkin 18 gallons Barrel 36 gallons Hogshead 54 gallons Referring to a cask as a barrel is, according to Jonathan, “like a vacuum always being called a Hoover”.

t Words: Mary Bremner t Photography: Clive Doyle

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The most primitive form of domestic sheep, Soay have strong, curving horns. Nearly a third of Soay ewes have horns, like this one, although these will not grow as long as the ramsâ&#x20AC;&#x2122;.

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Natural mountain climbers, Soays can negotiate unforgiving terrain, including the roofs of abandoned cottages, in pursuit of low-growing meadow or poa grass.

A CURIOUS BREED Intelligent and inquisitive, ancient Soay sheep wander freely, braving the harsh weather of remote and wind-swept Scottish isles

PRING HAS ARRIVED on the isle of Soay, but the wind bites as a ewe and her lamb traverse the clifftops, gulls shrieking and whirling overhead. The ewe has survived the harshest of winters on this bleak island. Nimble and sure-footed, she guides her newborn over weather-worn rocks to rich new pastures, where she can graze in the nascent sun. Remote and isolated, Soay is one of four volcanic islands that make up the tiny archipelago of St Kilda, 110 miles off the west coast of Scotland. Only a mile across, in most weathers it is completely inaccessible, its sheer cliffs rising 1,300 feet from the turbulent waters that separate it from the main island of Hirta. Because of this seclusion, the sheep that roam wild on Soay have had little opportunity to mix with other breeds. The oldest surviving breed in Britain, to all appearances, they are the same as those tended by Bronze Age shepherds more than 4,000 years ago. Horn of plenty Soay, Ovis aries, are small, approximately a third of the size of many commercially reared sheep. A full-grown ram stands 24-27in (60â&#x20AC;&#x201C;70cm) at the shoulder and weighs approximately 80lb (36kg). Ewes are 22lb (10kg) lighter and reach 19-24in (50â&#x20AC;&#x201C;60cm) at the shoulder. Adapted to navigating the fearsome cliffs and i

The 239 acres of Soay is separated from Hirta by the 547yd (500m) wide Sound of Soay. 115

“The Soay sheep is a precious possession from the past.” Frank Fraser Darling

Rams can have truly magniﬁcent horns almost out of proportion to their diminutive frames.

rocky fields of St Kilda, they are fine-boned with long legs, thin tails and prominent withers. This body structure helps makes them more agile. Most male Soay sport a majestic pair of full-curl horns, although there is tremendous variation in size and shape. With a central core of live bone, the horns grow rapidly from birth but slow as the ram ages. Growth is also slow in winter, leading to indentations in the outer keratin sheath, and a ridged appearance. These ridges and valleys can be used to age the ram. The ridges do not always go across the width of the horn, so it is the indentations that are used to indicate age. In years of poor growth, there is a shorter distance between the indentations. A small number of rams, known as scurs, have very small or misshapen horns. Ewes, too, may be scurred. Approximately 30 per cent have horns like the males’, although smaller and less sturdy. Many ewes are naturally polled, with no horns at all. Variations in colour This tendency to variation is carried through to the fleece. There are two main colour forms. Dark animals, known on St Kilda as lachdann, are black or a deep chocolate brown. Light animals range from a pale oatmeal through various shades of tan. Most also have markings similar to wild species of sheep, with a white belly, inner legs and throat, and white tear-drop markings on the face. The undercoat is very soft and fine short hair. This is overlain by coarser hair, known as kemp, which forms a waterproof topcoat to protect against the bitter St Kilda weather. Some sheep have more kemp than others and are known as the hairy type, the others being woolly. i

Fleece ranges from the deep chocolate brown (above), known on the islands as lachdann meaning dark or blotchy, to dun coloured (top).

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A LIVING PROJECT ON AN ABANDONED ISLAND Situated on the westernmost fringes of the British Isles, St Kilda is a UNESCO World Heritage Site of both cultural and natural significance. Its dramatic cliffs, reaching up to 1,400ft, are the highest in the UK. They teem with seabirds, including fulmars, puffins, petrels, guillemots and gannets. Bronze Age burial sites and later Norse artefacts have been found on Hirta, which was home to a small population right up to the 20th century. Although Soay was never occupied, 9th century Norse travellers gave it its name, Sauda-ey, meaning island of sheep. Outside contact was entirely at the mercy of the weather, and Hirta’s inhabitants could be cut off for months on end. The St Kildans lived mostly on the flesh of seabirds, risking their lives to scale the precipitous cliffs gathering eggs. Nothing was wasted. Oil from the birds fed lamps, beaks were transformed into pins and clasps, bones became needles and shoes were made from the skins. Once or twice a year, men would visit Soay to hunt the sheep. The meat was dried and stored, and the wool used to make a rough tweed. With limited access to modern communications and medicine, by the beginning of the 20th century the population of the island began to fall. Young people emigrated to the mainland and beyond. Eventually, the final 36 residents were shipped off the island on 29 August 1930. Two years later, 107 sheep were moved from Soay to Hirta, where their descendants still roam. Soay have lived for thousands of years free of

outside inﬂuence, and in a relatively simple ecosystem with no major predators or competitors. This makes them an ideal population for scientists to study. For the past 30 years, Hirta has been home to the St Kilda Soay Sheep Project, one of the world’s longest-running large-mammal research programmes. Run from the University of Edinburgh, it monitors the animals in Village Bay on the south-west of the island from birth to death. The information is used to gain insights into a range of biological phenomena.

A delicate balance “We follow the sheep their entire lives,” says Professor Josephine Pemberton (pictured), who has been with the project since it began. “They are tagged at birth, so we know them all individually, and we catch them once a year. We measure them and take samples, which we use to answer a whole host of questions in evolution and ecology. “The project was started to investigate the unusual population dynamics on the island,” she continues. “Every so often the Soay population overreaches the winter carrying capacity and declines sharply. We discovered this happens when density is high, the winter weather is harsh and the population contains a lot of vulnerable young animals. This is the regime under which the breed has evolved on Soay for millennia.” Data from the project have also shown two other trends. The overall population size on Hirta has increased, but the average body size of the sheep

caught each summer has decreased. “We think this may be a result of today’s shorter winters, allowing small lambs that previously might have died to survive. This reduces the mean body size of the population,” explains Josephine. Researchers have also studied the ageing process in Soay. This shows, for example, that there is a distinct decline in the birth weight of a ewe’s lambs towards the end of her life. They have also shown that ewe longevity is associated with having a strong immune system, though such females also tend to have low fertility. The project has pinpointed particular genes which account for the unusually wide variation in coat colour and pattern, as well as horn size. The genetic variation for horn type is maintained because, while large-horned males obtain many matings, they do not live for very long. Small-horned males are less successful in any one year, but live longer. Males with intermediate horns have the best of both worlds.

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Soay sheep do not need to be sheared, naturally shedding their wool in the springtime or early summer. This is linked to hormones. Rams are usually the first to shed, followed by the ewes after they have lambed. Non-breeding sheep sometimes retain their coats. The fleece comes loose in patches, a process known as rooing. Sheep are said to roo when they shed their coat, but the origins of that phrase are unknown. Because they are so small, only 1-2lb (1kg) of wool can be gathered from each sheep. Once separated from the kemp, the undercoat can be used for knitting and felting. With its range of earthy colours, it is popular for use in tapestry and weaving. “They are fascinating animals,” says Christine Williams, who keeps 130 Soay at her 35-acre rare breed farm in South Wales. “Soay are more intelligent than commercial sheep and are very alert and curious. I find them a constant attraction and admire their independence. “They have a delicate stature and are actually very deer-like,” she says. “They are fleet of foot and can be easily frightened, but become endearing and friendly with frequent human contact. When alarmed they scatter rather than herding together. I manage them with a working collie but my dog has to work them from a distance and at a very steady pace.”

A Soay beginning to roo, where the long winter coat is being shed in preparation for summer’s warmer temperatures.

ISLAND STOCK

Christine William’s ﬂock of Soays are direct descendants of small numbers of sheep taken from St Kilda to populate parks, farms and stately homes on the mainland. The majority were taken from the islands at the turn of the 20th century, as part of a fashion to have animal collections.

Cycle of life Soay lamb from mid April onwards, later than modern breeds of sheep. This is a reflection of the unpredictable conditions on St Kilda. Ewes find a sheltered, quiet place in which to give birth to their young, although staying within their usual home ranges. Young ewes, pregnant for the first time, usually have a single lamb, but more mature ewes may produce twins. “They are good mothers,” says Christine. “They give birth quickly and easily, and the lambs are on their feet and suckling within minutes. I’ve never known a ewe have a problem with a lambing.” Newborns have a short, smooth coat and are often a reddish-brown. Birth weight is approximately 4lb (2kg) in the wild. A healthy lamb puts on approximately 3½oz (100g) a day until it reaches half adult size, usually by August, when it will be weaned. On her farm Christine allows the lambs to be weaned naturally by their mothers. Ewes and their lambs gather in family-based groups over the summer, although a group will continually break up and reform. Rams live in bachelor flocks, presided over by a dominant male. The rams graze constantly, building muscle and fat, and laying down new horn, to reach the peak of condition. Summer grazing is usually plentiful on St Kilda, with Soay feeding on the poa grasses and sea plantains that thrive there. They can do so unhindered, as they are the only large herbivore on the island and there is no competition for food from other animals. Nor do they have any predators, although weak lambs may be taken by gulls. Rutting season Come autumn, the rams begin to grow a thick ‘mane’ and separate from the main group. If they encounter another male,

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Newborns have a russet coat. Within minutes of being born they are standing to suckle.

Photography: Alamy; FLPA: Ardea

the two will fight, charging each other and head-butting ferociously. By November the rut is in full swing, as each ram goes in search of a receptive ewe. Once he finds her, he will guard his ewe for several hours, mating repeatedly and fighting other rams that approach. Large rams with big horns have an obvious advantage in this month-long battle for genetic supremacy. Smaller males and those with scurred horns will, however, chase oestrous ewes and may also manage to mate. This intense activity takes its toll. Most rams eat very little during the rut, and when it is over they have few reserves. Now the winter weather is at its worst and the food supply low, with coarse heather the staple diet. Far fewer rams than ewes survive the winter months. New lambs and yearlings are also vulnerable. On St Kilda, there is a high mortality rate in the first year. Lifespans can vary greatly from between three and 11 years for the males, and five and 16 for the ewes. The future With only 900-1,500 registered breeding females, Soay are classified as a breed ‘at risk’ by the Rare Breeds Survival Trust (RBST). “These rare breeds have unique genes not found in commercial breeds. If a breed becomes extinct those genes are lost forever,” says Christine. Her flock has 22 rams, a higher proportion than most, to help maintain a wide gene pool. She has assisted the RBST to establish a Soay gene bank. “It would be a tragedy if we lost these wonderful animals,” she says. “They are such a pleasure to keep and I want them to be around for a long time to come. Finding enthusiastic and dedicated new keepers of Soay will help their preservation.

“Some of my animals are sold to homes where they become very attractive lawnmowers,” she laughs. “Others are kept for their wool, and there is also a market for meat. They take about 21 months to become large enough to slaughter, and taste more like game than lamb. But I have a real problem parting with these sheep. I would keep them all if I could!” ▯

Words: Diane Wardle

Peering out to the uninhabited islands of Boreray, Stac Lee and Stac Armin.

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HEART OF THE STONE Lynn Mathias pursues a lifelong passion, repairing walls made of durable ďŹ&#x201A;int

When the chalky white cortex of a ﬂint stone is broken, the inner face reveals various colours that range from grey, as pictured here, to orange.

RHYTHMIC TAP, TAP competes with the chorus of birdsong as Lynn Mathias lightly hits pieces of flint with a metal trowel. Working in the grounds of a Bedfordshire farm, he is rebuilding a Victorian flint boundary wall. Lynn is a flint knapper, a term which stems from the Dutch for breaking or flaking. Flint is a form of quartz occurring in chalk beds both as layers and irregular nodules. It has been used for tools and weapons since the Stone Age, and remains a useful building material today. Flint walls made by the Romans still stand across England, their durability testament to its toughness. In Britain flint is found in a narrow band stretching across south-eastern England from East Anglia to Dorset, and in the South Downs. The wall Lynn is working on is in the village of Kensworth, on the edge of the chalk-enriched Dunstable Downs in the Chiltern Hills. Flint is a popular building material here, much of it found in the beds of a large working quarry at Kensworth Chalk Pit. The geographical location of the flint dictates the areas where Lynn works. “If you go too far east, west or north, you lose it,” he says. “I had a trainee from Sheffield working for me who had never seen flint before.” Early career Lynn first worked with flint when he was 16. He helped his father, a bricklayer and stone fixer, to repair a flint section to the lower part of a medieval tithe barn in Edlesborough in Bedfordshire. “My father was the only person I knew whose hobby was his work,” he says. “He had a real passion for it and thankfully I’ve picked that up from him. I just love my job. I like working outside in the warmer months and I also like the creative aspect of the job. It is truly rewarding to restore something to its former glory. I get real satisfaction from that.” i

This ﬂint in this wall is in a random design, rather than coursed – that is laid in straight lines – like the brick layer.

FLINT USE IN BRITAIN

Flint is thought to be the remains of sponges that grew on the floor of chalk seas. When the sponge died, the ooze left behind would get trapped in the chalk, slowly hardening into flint. The first extensive use of it for building in this country dates back to the Romans who used it mainly for the cores of composite walls. Coarse, quarried flint was also used in the construction of Saxon and Norman churches, a practice that continued during the Middle Ages. A more architecturally sophisticated use of the material began in earnest at the beginning of the 14th century, when the combination of flint with another material to produce flush work emerged. Flint fell out of favour during the 17th and 18th centuries, but was revived in the late 18th century when flint garden grottos became fashionable. The Victorians produced a whole range of flint buildings, including cottages, church restorations and grand country houses, where the flint was coupled with limestone or brick.

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A course of brickwork runs the structure’s length. It provides both decoration and practical purpose, helping to consolidate the front and the back of the wall.

When he was 18, Lynn went to college in St Albans, Hertfordshire, where his studies included historic flint and lime mortar courses. He worked closely with a flint knapper to further hone his craft. Two years later, in 1992, he founded Mathias Restoration with his father. Today Lynn specialises in the repair and restoration of flint and brickwork. Of the two, he prefers to work with flint. “Flint work is more creative. The challenge of working with flint on an old building is trying to get it as good and as close to the original as possible,” he says. “The flint work cannot look like an afterthought.”

Lynn’s hammer would be recognisable to ﬂint knappers from the Middle Ages.

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A trade little changed The tools and processes he uses are unaltered since medieval times. Lynn’s hammers, chisels and trowels would all have been familiar to workers centuries ago. The only modern additions are a spirit level, a knee pad to rest the flint on while he splits it, gloves and goggles. The wall he is repairing collapsed

during a severe storm. If not rebuilt, the remaining sections may also fall down. The field flint is arranged in a random design, although there is also a horizontal band of brickwork. This is known as a lacing course and is used to level and tie the front and back of the wall together. The repair work will take Lynn up to two months to complete. He is rebuilding the wall to its original height of 6ft 6in (2m), and length of approximately 50ft (15m). It is 13½in (34cm) wide and solid, filled in with flint and bits of brick. The wall does not have what would be regarded as a modern foundation with poured concrete. Instead, the original flint workers dug down until they found reasonably solid ground and built on that, putting in larger pieces of flint first. Without a solid foundation, the wall naturally bends or bows over time, for example when trees grow nearby, forcing it to move. This natural give prevents it from falling over.

A string erected with the help of a spirit level ensures the wall runs straight and true.

TYPES OF FLINT There are two main types of flint, field flint and quarried flint. Quarried flint is usually of a higher quality than field flint. It is this flint which is knapped. Knapping involves lumps of quarried flint being struck once with a large hammer to break the stone. It is carried out purely for decorative purposes to reveal the core of the flint and its colour. This can be grey, black or white with a cortex – a line of chalk around the perimeter. The latter is considered the best quality and is found in Norfolk. Quarried flint is used in more intricate projects, such as flush work panels on buildings or more decorative walls. Flush work involves panels of stone cut to shape with the spaces between filled with knapped or squared flints. Lynn is using field flint to restore the boundary wall. This is literally found on the surface in fields, in pieces ranging from small stones of 2-3in (5-7cm) in size to large rocks 12in (30cm) long. This type of flint can be rough and dry. Exposure to frost after the stones have lain in fields for hundreds of year causes fissures and cracks. This means the flint cannot be knapped as it will break in the wrong place. The colour of field flint ranges from whitish grey to orange, depending on the natural geology of where it is found. “During the 18th and 19th centuries, women and children were employed to remove the flint from fields where the ploughs kept hitting it,” says Lynn. He uses the flint already at a job, but if he needs more, he sources it himself from a field in the area.

Getting started The first step is to assess what is there already to ensure it is replicated as much as possible. Lynn studies how the wall was built, what flints were used, their size, colour and texture. He also looks at whether the flints are coursed – laid in a straight row – or not, and what mortar has been used. This information forms a blueprint that he then copies. Once that has been done, he sorts the pieces of field flint left by the damaged wall. “I look for pieces that have good faces – they are the ones that will be on show,” he says. “The misshapen ones I put aside to use in the middle of the wall to consolidate it. Nothing is wasted.” Any soil on the flint is brushed off and unstable pieces are removed. The base area is swept clean with a coarse paint brush. This ensures there is as much contact as possible between the existing flint and the replacement stone. The flint that has been removed for later use is covered with plastic sheeting to keep it dry in case it

rains. Flint is not porous, so does not absorb water well. When it rains the water stays on the flint, instead of soaking in or dripping off. Dry stones bond better with moist mortar and are more secure, acting to stabilise the wall. If the flint is wet, it moves, and the wall buckles. Lime mortar is used to hold the flint in place. Lynn uses a soft hydraulic lime mortar due to its inherent flexibility and breathability. “The common mistake is to use cement, which won’t allow any movement and will fracture and crack over time,” he says. The lime mortar mix comprises two parts coarse sand to one part hydraulic lime from Suffolk, and approximately 1 gallon (5 litres) of water. It is mixed the day before he needs it in a conventional drum mixer. This allows time for the mix to ‘fatten’. Lime is extremely porous. It needs as much time as possible to absorb the water and create a better quality mix that is easier to work with. If mixed and used straight away, the mix tends to be i

Lime mortar is used in ﬂint walls as it is ﬂexible, allowing the wall to move without cracks forming.

Decorative features are created using pudding stone. This is a naturally formed concrete, containing small stones. The quartz and sediment have bonded together over time to form one big rock. Pudding stone is found in ﬂint-rich ﬁelds but is rare.

Finding the ideal stone to ﬁt a speciﬁc gap gives Lynn immense satisfaction.

stiff and dry, and can shrink. “Sometimes people add more water the following day if the mix is stiff,” says Lynn. “This makes the mortar too runny and it will not set well. The secret is to simply remix it and the lime mortar will gradually resume its original texture.” Using a spirit level helps ensure the flint in the wall is straight. A string line is fixed to a wooden post at one end and to the existing wall at the other. The string is positioned approximately 4in (10cm) above the flint line that is being laid. This is used as a guide throughout the building process. Two brass plates, called tingles, are placed over the string to stop it sagging and to keep it in place. Completing the puzzle The flint for this wall is laid flat in a random design as opposed to a coursed one. For Lynn, the process is similar to a jigsaw puzzle. “It’s instinctive and you get an eye for it,” he says. “You see a gap in the wall and you find the appropriate-sized piece of flint and knit it together. Generally you try to get each piece to touch the one below. If the joint is made too big your eye is instantly drawn to that joint and not the overall look of the wall.” Using a metal trowel, he ladles mortar onto the spot, then fits an appropriately shaped piece of flint onto it. The stone is given a gentle tap with either a metal trowel or hammer. This action squeezes out any excess mortar and creates a tighter fitting joint. Sometimes old Victorian glass

An old glass bottle built into the wall adds further interest.

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bottles, found in fields, are built into a wall to provide decoration. In two days the mortar will have stiffened, but it takes at least eight weeks in dry weather to cure, or dry, completely. As this happens it turns a lighter colour. “The process can be deeply absorbing and I get into a rhythm,” says Lynn. “What is satisfying is when I see a silhouette of a gap and a shape that’s created. Then I find a flint and lay it down and it fits perfectly. I think, ‘Wow! That piece was made for it’.” Dry, cloudy days with no wind provide the perfect weather conditions for working with flint. Too windy or too much sun means the mortar is at risk of drying out and shrinking. If this is allowed to happen, cracks form in it and it will not hold the stones. If this occurs, Lynn gently sprays a fine mist of water over the lime mortar with a fine nozzled water pump spray. He covers the wall with hessian and polythene overnight to ensure the mortar is kept damp and the lime cures. Once he has finished the repair, the wall should stand for another 150 years. “With every job I do, I feel as if I’ve left a legacy for the next generation,” says Lynn. “It is deeply satisfying to see that, by using the same materials and the same design, I have done a sympathetic repair. At the same time I have respected the work done by the original flint knappers.”

▯

Words: Amanda Birch ▯ Photography: Clive Doyle

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WONDER OF FEATHERS Complex in form and function, feathers protect birds, are used in courtship and, most striking of all, allow them to ďŹ&#x201A;y

ARRIED ON A sprightly breeze, a bird soars high over the British countryside. Its flight is powered by one of nature’s lightest and most delicate creations, feathers. These provide birds with camouflage, let them perform courtship displays and, perhaps most wonderful of all, leave the earth to fly fast, silently or even under water. A bird’s feathers are known in their entirety as its plumage. The number of feathers within this plumage varies significantly depending on the size of the particular species. It ranges from approximately 1,500 on a small passerine or perching bird such as a robin, to 25,000 on one of Britain’s largest birds, the swan. Soft downy plumage, close to a bird’s body, traps warm air against the skin, helping keep the bird warm in winter. In summer, the feathers can be fluffed up in a breeze, allowing circulating air to reach the skin, keeping it cool. At the other extreme are the stiffer

A bird will preen its feathers daily, rubbing its beak and head against a gland that produces oil. It then rubs the oil on its body and wing feathers to keep them in good condition.

A robin ﬂuﬀs its feathers up in a breeze to allow air to circulate around its body.

primary and secondary flight feathers that create an aerofoil shape on the wings. These are there to create speed and lift, letting the bird attain flight. Types and purposes Feathers are made of keratin, a fibrous protein found in the hair and nails of humans and animals. Each feather has a follicle, which is a socket-like pit in the bird’s skin. In each follicle is a group of cells. These produce feathers, normally once a year, throughout the lifespan of a bird. New feathers form completely within just a few days. While they are growing a bird is said to be in pin. This term comes from the newly growing feathers being housed in a keratin sheath. This serves as protection for the feather as it matures. At this stage the developing feathers look like stiff stalks and are consequently called pin feathers. Each feather has a rachis, the shaft that runs through the middle of the feather. i

On the ﬂight feather on the left the rachis has individual barbs each side that link together to form a ﬂat vane. The barbs on the down feather on the right are separated and designed to trap warm air.

Tail

2 Tail coverts

Secondaries including Tertials (1-3)

Secondary coverts

Alula

Primary coverts

Primaries

WING FEATHERS Primary: These are long, stiff feathers that aid in the generation of thrust and lift for flight. Secondary: Shorter than primaries, more curved and broader, secondary feathers create an aerofoil shape, providing lift in flight. Alula: Short, very stiff feathers sited at the ‘wrist’ joint of the wing, which can be moved slightly upwards and forward to aid flying at slow speeds or landing. Tertial: Close to the bird’s body, tertial feathers are longer than the other secondaries. They act as a cover for a section of the wing. Covert: These cover other feathers and help to smooth airflow over the wings and tail. Tail: The tail feathers act as a rudder, providing control in flight and helping the bird steer.

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On either side are barbs, individual flexible branches. These extend to varying lengths from the rachis and connect together to form a web. There are numerous feather types, all serving different purposes. On adult and immature birds, it is the contour feathers that are visible. These include the body plumage, primary and secondary flight feathers, tail feathers and coverts. The latter cover other feathers, creating a smooth outline. It is the outermost parts of the contour feathers that give the bird its individual colours. On the body plumage, the outer barbs are linked together to form a flat surface, known as the vane. Heavily overlapping, these contour feathers protect the body from exposure to the elements. They also offer protection from injuries including bites and stings. At the base of a contour feather, closest to the bird’s body, the barbs are downy and separated. It is this part of the feather which traps the warm air. Chicks are entirely covered in soft down to keep them warm in the nest. Flying high Flight feathers have flat barbs, which join together via hooks on the side of one barb. These secure themselves into a trough on the side of the adjacent barb. The barbs on the outer webs of flight feathers project from the rachis at a forwards angle

The kestrel is the only bird of prey that can hover. To do this, the distal or furthest section of the outer primaries spread out to allow air to pass through, reducing turbulence. When hovering, the tail spreads out to form a wide fan shape. It depresses, increasing the surface area exposed to the oncoming wind, helping the bird hold its station in the air. This juvenile male is moulting into its adult colouring.

towards the tip. The more acute the angle, the stiffer and so stronger the feather’s web will be. Consequently, the outermost primaries of all birds’ wings have a narrow and hard outer web, with the acutest angled barbs. When a bird flaps its wings in flight, these feathers move further and faster than those on the inner wing. This provides power through the air, while the broader inner feathers create lift. Each wing usually has 10 primary feathers. A common feature on birds that soar, such as eagles, buzzards and kites, is for the distal, or furthest, portions of one or both webs (inner and outer) to be reduced. These are said to be emarginated. When wings with this feature are spread,

Reduced air pressure

Constant air pressure

these feathers form notches, their distal ends resembling fingers. The reduced width of the outer part of the emarginated primary is extremely stiff and of an aerofoil section in profile. In flight this feature allows air to pass through the slots, minimizing turbulence and improving stability in the air. Secondary feathers have more rounded tips than the primaries, are broader and more curved. The exception to this are the three or four tertial feathers, positioned closest to the wing joint with the body. Tertial feathers lay over one another and are more symmetrically shaped. In many cases the tertial feathers are uniformly coloured or patterned on both sides and

quite elongated. When the wings are closed, they provide a top cover to the inner flight feathers. Each wing usually has between nine and 11 secondaries. Some species, however, such as seabirds that have extremely long wings, can have up to 20. The majority of species have 12 tail feathers, matched in six equal pairs. Scientifically called rectrices, they are used for control. Tails create lift and control drag during slower flights and help birds steer during turns. They are furled, or folded, to reduce drag during faster flights. As a rule, the central pair of tail feathers are reasonably straight and symmetrical, with a convex vane. As the i

HOW BIRDS FLY

Lift in flight is created by the flow of air over an aerofoil shape, in this case the bird’s wing. The greater the curve of the aerofoil and its speed through the air, the more lift is created. The top surface of a wing is shaped such that the air that flows between it and the undisturbed air a little way above it is, in effect, being forced through a constriction. The air flows over the wing at an increased speed, and therefore at a reduced pressure, compared with the surrounding atmosphere. The resulting pressure difference between the air above and below the wing creates lift. The whole surface of a wing, both top and bottom, is affected by the airflow. There are pressure forces acting all over the wing and it follows that there can be lift forces all over the wing. However, the top surface generates more lift than the bottom surface. At some angles at which the leading edge of the wing comes into contact with the undisturbed air in front of it, it is as much as 80 per cent of the total. The greatest amount of lift on the top surface occurs where the aerofoil section is curved the most. This is normally approximately one third of the way from the front.

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MOULTING Birds can lose individual feathers at any time of year through, for example, sustaining an injury. However, when a bird moults, it is a complete and systematic replacement of its plumage. It begins through changes in the environment and the bird’s metabolism. In Britain the moult from breeding plumage occurs during the late summer and early autumn. This is shown by the abnormally large amount of feathers laying on the ﬂoor in open areas of concentrated bird population, such as the shores and surrounding edges of reservoirs. Birds which show distinct summer and winter plumages also prove that a moult has taken place. One of the most obvious species to highlight this fact is the black-headed gull. Its summer plumage has the bird’s distinctive ‘black’ hood (below, top). This is actually a dark chocolate-brown colour, but looks black from a distance. By winter, the black-headed gull’s appearance has changed following its autumn moult. It now has two small black dots on an otherwise white head (below, bottom). It will regain its black hood before the next breeding season.

The central pair of tail feathers on this great spotted woodpecker can be seen supporting the bird as it climbs vertically up the tree and drills a nest hole. So much pressure has been placed on them that the tips of both central feathers have broken oﬀ.

Diving birds, such as the gannet, have ﬁne, short body contour feathers to create a streamlined shape. This allows the bird to dive underwater, catch a ﬁsh and surface without its plumage becoming waterlogged.

tail feathers progress outwards, the outer webs become narrower with broader tips and flatter vanes. When closed together, the outer tail feathers lie beneath the convex vanes of the central pair to become a compact unit. Once fanned out, the broadened tips of the outer feathers form a widespread structure. The bodily part of each wing is covered in different types of covert feathers which are quite stiff. They cover the skin and bone of that part of the body. There are also uppertail and undertail coverts, which are heavily convex in form. These smooth the bird’s body shape into the tail feathers. Special feathers Some birds have evolved feathers dedicated to helping with their different lifestyles and feeding habits. Woodpeckers, for example, climb up vertical tree trunks to feed on grubs in the bark and to drill out holes for their

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nest. Their tail feathers have very strong rachis that are pressed firmly against the trunk to provide support. The central pair, in particular, have far thicker and stronger rachis than would normally be found on a feather of this size. The tips of this central pair are often broken off. The inverted V-shaped tip that is left demonstrates the pressure exerted. Gannets, which dive into water to catch fish, have very strong, stiff feathers. These have a thick rachis and tapered webs, which form a pointed vane. The gannet also has fine, short body contour feathers, creating a streamlined shape. These characteristics combine to allow the gannet to dive into water without its feathers becoming waterlogged and so heavy it would have trouble surfacing. Softer, wider flight feathers and fluffy body plumage would absorb a lot of water. As night hunters, owls need to move through the air without sound, to avoid alerting their prey to the danger above. To

The most vividly coloured resident British bird is the kingfisher. The iridescent feathers change hues depending on the intensity and direction of light. They are the product of a thin translucent layer produced by scale-like surface structures. To absorb any light not reflected by the iridescent structures, intensifying the effect, the background of the feathers are black.

Photography: Alamy, Nature picture library, Ardea Illustration: Steven Hall

enable this, they have a velvety down on the upper surfaces of very soft webs. Their outer primaries are edged with a comb of fine extensions which cuts through the air before the main web reaches it. This mechanism creates soundless flight. Colours and strength White feathers are produced as a result of the feather containing pure keratin only. Colouring agents are thought to give feathers more strength. With no colour-producing substances in them, pure white ones are usually more worn than coloured examples generally are. Black and shades of brown on feathers are the result of the introduction of melanin. This is a common dark pigment found in the hair, skin and eyes of humans and animals. The actual colour produced on the feather depends on the density of melanin, and varies from a light buffish brown to darkest black. Blue feathers are produced by a colourless, translucent layer of keratin over a black pigment. Similarly, green feathers are a result of carotenoid, a colourful organic pigment, in the translucent layer over the black pigment. Red and yellow feathers are also the result of the presence of carotenoid. This pigment is found in many plants and forms of algae, so its presence in feathers may be as a result of a bird’s diet. Fit for purpose Whether it is to help a bird support itself on a vertical tree trunk, to fly silently, dive into the sea or even to provide camouflage on the ground, there is a feather that has evolved for that purpose. They come in all shapes and sizes and a whole array of colours and patterns. Birds’ feathers are as fascinating in their diversity as the birds themselves. ▯

The mottled and varied shades of brown on this pheasant’s feathers come from the density of the pigment melanin.

The gold colouring on the goldﬁnch wing is only on the outer webs of the primary and secondary feathers. When the wing is closed, the yellow band appears solid.

Words Jarrod Cotter

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March Events Sculptural needle-felting – garden birds RHS Garden Rosemoor, Devon 2-3 March This two-day course starts with a simple project to learn basic sculptural needle-felting techniques, before moving onto a more complex project of your own choice. Various surface embellishment techniques are explained. You will take home at least two completed sculptures. www.rhs.org.uk/ shows-events Planning a low maintenance garden West Dean College, West Sussex 2 March Find out how to create a great low maintenance garden and discover a selection of tried and tested trees, shrubs and ﬂowering plants that will perform well throughout the seasons. www.westdean.org.uk

StAnza St Andrew’s, Scotland 2-6 March One of the leading poetry festivals in the UK, StAnza features a strong list of contemporary poets from within Scotland and across the rest of the world. Each year, it focuses on two themes which weave around each other to give every festival its own unique ﬂavour. The themes for 2016 are City Lines, and Body of Poetry. www.stanzapoetry.org

Kelham Hall’s Big Vintage Festival Kelham Hall & Country Park, Nottinghamshire 5 March Vintage clothes, homewares, accessories, memorabilia and kitchenalia will all be on show. Chance to learn how to jive like a pro, be entertained by vintage DJs or be transformed into a vintage starlet, complete with rouge and heated rollers. www.britaindoesvintage.co.uk

1 2 3 4 5 6 7 8 9 1 0 11 12 13 14 15 16 17 Sunset goose watch RSPB Scotland Loch Lomond, West Dunbartonshire 6 March Join a sunset wildlife walk to experience the wonderful spectacle of geese coming in to roost at dusk. Keep a look out for other winter wildlife around at this time of year then enjoy a steaming hot drink at the end of the walk. Remember to wrap up warm. www.rspb.org.uk/ discoverandenjoynature

Matronalia at Chedworth Roman Villa Chedworth Roman Villa, Gloucestershire 5-6 March Bring your mother to a Roman villa for a special Mother’s Day visit. Chance to learn the secrets of Roman make-up, dress and hair styles with demonstrations from an expert. There will be children’s craft activities to make special gifts for mums. www.nationaltrust.org.uk Bioluminescence on the beach Jersey, Channel Islands 5 March, 3 April Experience unique bioluminescent creatures and other marine life on this low-tide evening walk across the seabed near Seymour Tower. In just a few hours the ocean will return to cover your footprints by up to 40ft. www.jerseywalk adventures.co.uk

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Tea party and ﬂower arranging Billericay, Essex 5-6 March Give the gift of a beautiful memory and treat your mother to a relaxing and fun afternoon featuring a cream tea and ﬂower arranging experience. www.littletinshed.com

CRAFT & COURSES COUNTRY LIFE & HERITAGE FESTIVALS & EXHIBITIONS FOOD & DRINK Stained glass with traditional glass painting Ardington School of Crafts, Oxfordshire 10 March Design and make a stained glass panel that includes painted kiln-ﬁred pieces. Emphasis will be placed on glass painting techniques. Traditional glass paint is a black medium applied to the surface of coloured glass. www.ardingtonschoolof crafts.com

Crochet rug workshop Alton, Hampshire 8 March This two-hour workshop teaches you how to crochet a rug. Get a basic knowledge of the pattern, then learn to follow it, adapt it to suit you, and how to embellish your rug. www.stitchedbyyou.co.uk

Sky at night – star gazing Down House, Kent 11 March Come to Darwin’s garden as the nights grow darker and the stars grow brighter! This introduction to astronomy provides expert talks and top tips. Then there is the chance to look through a telescope to explore the night sky and gaze on the stars. www.englishheritage.org.uk

The Edible Garden Show Stoneleigh Park, Warwickshire 11-13 March The Edible Garden Show, the UK’s ultimate grow-your-own event, offers all the latest products and expertise for everyone from first-time gardeners through to grow-your-own aficionados. Taking place alongside the show is Good Life Live, which will take you beyond the plot by showcasing a whole host of outdoor living products and experiences. www.theedible gardenshow.co.uk

18 19 2 0 21 2 2 2 3 24 25 26 27 28 2 9 3 0 31 The Magic of Meadows Catholic Church Hall, Coleford, Gloucestershire 18 March An illustrated talk by Stephanie Tyler about the huge loss of wildﬂower meadows over the last 50 years. She will describe and illustrate the ﬂowers, insects and other wildlife of agriculturally unimproved meadows and discuss the formation of the Monmouthshire Meadows group, as well as its achievements. www.gloucestershire wildlifetrust.co.uk

Kendal Food Festival Kendal, Cumbria 12-13 March This two-day celebration of all things food and drink is a chance to experience the best the region has to oﬀer, from artisans and producers to world class chefs and fresh new talent. There is a packed timetable of demonstrations, talks and tastings, a beer festival, family fun and street entertainment. www.kendalfestival oﬀood.co.uk

Spring propagation Godinton House, Kent 12 March A practical session where you’ll learn techniques and gain conﬁdence in propagation by seed and cuttings. Chance to also take home a bit of Godinton for your borders. www.godintonhouse.co.uk

Willow obelisks Anglian Water Birdwatching Centre, Rutland Water Nature Reserve, Rutland 13 March If you are thinking of growing sweet peas or climbing plants this year, this could be the perfect course. Chance to make a 6ft high plant support suitable for all planting needs. www.rutlandwater.org.uk

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March Events

Introduction to lino-cut printing Fred Aldous store, Manchester 19 March Find out more about creating and printing with lino-cut motifs. Blank cards and wrapping paper are supplied, to help create unique works. Participants will leave with knowledge, ideas and inspiration to put their new skills into practice and create a variety of designs at home. www.ministryofcraft.co.uk

Wedding cake class Bath Cake Company, Bath, Somerset 19-20 March In this two-day course, learn how to create an elegant ruffled wedding cake. There will be one-on-one guidance on how to perfectly stack a three-tier cake, achieve a smooth finish with sugar paste and create sugar roses and ruffles. www.bathcakecompany. co.uk

Wheelwrights Day Amberley Museum & Heritage Centre, Nr Arundel, West Sussex 20 March Event celebrating the work of the wheelwright. Try your hand at some of the skills required. Use a spoke shave, mark out and hand cut a mortise, learn about traditional ways of cutting wood. Taster sessions are available on a ﬁrst-come ﬁrst-served basis. www.amberley museum.co.uk

Amazing magnolias Borde Hill Garden, West Sussex 25 March-10 April Explore the beauty of Borde Hill’s magniﬁcent collection of early-ﬂowering magnolias on a self-guided walk, using the detailed magnolia map. To mark 2015’s 50th anniversary of the garden being open to the public, 50 more magnolias have been added to the existing collection in the garden and woodland. www.bordehill.co.uk

19 2 0 21 2 2 2 3 24 25 26 27 28 2 9 3 0 31 Spring foraging advice Farleigh Common, Surrey 3 April This foraging walk will identify a selection of spring shoots and edible plants and ﬂowers, plus edible spring and summer mushrooms. The course starts with a 20-minute introduction on what to look for and a brief of the general countryside codes relating to foragers. After a two to three hour walk around the woods, there’ll be chance to discuss and taste ﬁnds. www.wildfooduk.com Baking with chocolate Betty’s Cookery School, Harrogate, North Yorkshire 30 March Chance to create delicious chocolate treats under expert tuition. Make and take home: Betty’s Swiss chocolate torte, chocolate biscuits, chocolate brownies, and chocolate crème brûlée. www.bettyscookeryschool.co.uk

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Chepstow Walking Festival Chepstow, Monmouthshire 6-10 April From Fit 4 Health walks round Chepstow racecourse to longer routes through the beautiful Welsh countryside, this festival has something for everyone who wants to get out and about and enjoy walking. www.walksinchepstow.co.uk

Spring birdsong RSPB Loch Leven Centre, Loch Leven Reserve, Kinross 3 April Learn spring bird songs and calls heard at RSPB Loch Leven. This relaxed and enjoyable day will help you sort out the songs and calls of robins, wrens and house sparrows, along with other birds encountered around the nature reserve. www.rspb.org.uk/ discoverandenjoynature

April Events Ranger ramble - meet Calke’s rare breed sheep Calke Abbey, Derbyshire 7 April Join a ranger on a two-hour ramble to find out more about Calke’s very own flock of rare breed Portland Sheep. www.nationaltrust.org.uk/ calke-abbey Cambridge Spring Literary Festival Cambridge, Cambridgeshire 6-10 April This twice-a-year literary festival is held in the spring and winter in Cambridge and surrounding area. It aims to provide a richly-packed weekend of some of the best in contemporary fiction, political debate, workshops and events for children. It is a festival for writers as well as readers. www.cambridge literaryfestival.com

Year-round veg course Perch Hill Farm, East Sussex 8 April This course is aimed at those who want to grow their own veg all year round. Gardener Sarah Raven will give her recommendations of what to grow and how best to do it, with successful time-saving techniques and successional sowing plans to provide year-round veg. www.sarahraven.com

Walk Islay Islay, Jura and Colonsay, Scotland 10-15 April Walk Islay is an annual walking event taking place across the islands of Islay, Jura and Colonsay. Walks vary from easy to challenging and take in the beautiful scenery, from beaches and lochs to mountains and moors. Wildlife abounds in all corners with a chance to see eagles, otters, deer, goats and chough. In 2016 there will be a variety of walks oﬀered over the six days across a variety of terrains. www.walkislay.co.uk

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Folk Weekend Various venues, Oxford, Oxfordshire 15-17 April Oxford’s ﬁfth Folk Weekend welcomes everyone, with a unique mix of concerts, ceilidhs, and sessions showcasing the best of Oxfordshire’s talent alongside nationally-acclaimed artists and performers. Three days of diverse and beautiful folk music of the highest calibre is intertwined with traditional dancing and workshops. www.folkweekendoxford.co.uk

Bodenham Arboretum Plant Hunter’s Fair Bodenham Arboretum, Worcestershire 16 April This haven of peace and tranquillity is a beautiful setting for a plant hunter’s fair. There will be inspiring ideas to take home to your own garden. You’ll also have opportunity to explore the working farm with its sheep, cattle and rare breed poultry. www.planthunters fairs.co.uk

Cornwall in a day Philleigh Way Cookery School, Truro, Cornwall 16 April Chef George Pascoe will create a cookery experience of all things truly Cornish, from dressing a crab to making the quintessential Cornish pasty. After completing the course, you will be able to recreate some proper Cornish delicacies for friends and family at home. www.philleighway.co.uk

Thriplow Daffodil Weekend Thriplow, Cambridgeshire 16-17 April Each year up to 10,000 people visit Thriplow for the annual Daffodil Weekend. Stroll down the beautiful traffic-free lanes and connecting footpaths, visiting residents’ open gardens, craft barns, marquees, stalls and demonstrations, while experiencing the warm and friendly atmosphere. Daffodil Weekend involves the village community of 450 residents. www.thriplowdaffodils.org.uk

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April Events Jewellery workshop West Dean College, West Sussex 20 April A one-day practical workshop with help given on an individual basis to explore students’ own ideas. The development of ideas through drawing will be encouraged and help given to realise the idea in three dimensions. Beginners will be given a set project to introduce the basic techniques used when working with silver. www.westdean.org.uk Curious carnations Sarah Horne Flowers, Leamington Spa, Warwickshire 20 April Held in the Regency splendour of Victoria House, this course is perfect for advanced ﬂower arrangers or simply carnation lovers who want to have a fun day with these beautiful and colourful ﬂowers. www.sarahhorne.net

British Quilt & Stitch Village Uttoxeter Race Course, Staﬀordshire 22-24 April Browse the exhibits and competition quilts, stock up on fabric and haberdashery from the exhibitors and take part in workshops to learn new skills. The 2016 show’s special theme competition is Fire & Flame, to commemorate the 350th anniversary of the Great Fire of London. www.quiltandstitchvillage.com

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Wonderwool Wales Festival Royal Welsh Showground, Builth Wells, Powys 23-24 April Chance to enjoy a fantastic range of Welsh and British artisan products and an opportunity to meet the people who make them. A great family day out with hands-on wool-school workshops and events showcasing the best in Welsh and British wool and natural ﬁbres. www.wonder woolwales.co.uk

Harrogate Spring Flower Show Great Yorkshire Showground, Harrogate, North Yorkshire 21-24 April Harrogate Flower Shows are regarded as amongst the most prestigious independent shows in the gardening year. In addition to welcoming approximately 100 of the UK’s top plant nurseries, the shows feature the work of both established and up-and-coming garden designers and landscapers. www.ﬂowershow.org.uk

Spring walk and talk RHS Garden Wisley, Surrey 22 April At this time of year the garden is springing back to life and preparing itself for an exciting year ahead. Join RHS Garden Wisley’s curatorial team on a walk and talk around the garden as they share their passion for plants. Learn about the plants that put on their show at this time of year and what to look out for in the coming months. www.rhs.org.uk/shows-events

Artisan Cheese Fair Cattle Market, Melton Mowbray, Leicestershire 30 April-1 May The UK’s largest dedicated cheese fair has 50 artisan cheese makers from all over the British Isles. Between them they produce more than 250 diﬀerent cheeses. There are talks, demonstrations and tastings. Pies, wine, cakes, cider, bread and chutneys will be available. www.artisancheesefair.co.uk Introduction to pastry tarts Wilmslow Cookery School, Cheshire 28 April This class will teach you how to bake pastry for a French apple tart tatin and a seasonal glazed fruit tart. Learn the professional techniques that go into producing the crispest, thinnest pastry. This class includes a cake tasting with a glass of ﬁzz. www.wilmslow cookeryschool.co.uk

LandScape makes every eﬀort to ensure all details are correct but recommends details are conﬁrmed before travelling.

Country Store

To Advertise please call Amy on 01733 366376 or email: amy.woods@bauermedia.co.uk

137

Country Store WELSH BORDER COTTAGE

NEW 2016 BROCHURE AVAILABLE

Rural location in Brecon Beacons National Park: between Hay-on-Wye and gourmet Abergavenny. 3 double bedrooms, three baths (one en-suite), wood-burner. Fishing available.

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An idyllically peaceful two bedroom self-catering barn conversion on a working farm. 10 miles from Warwick Castle and 7 miles from the famous Rugby School.

Quality self-catering properties throughout Scotland from rustic appeal to 5 star luxury, countryside to seashore. Whatever your pastime come and explore Scotland. Short Breaks Available and Pets Welcome. tel: 01463 719219

Tel: 01865 430703 enquiries@oldpostofďŹ ce-longtown.com

Tel: 02476 301663 www.duckpondbarn.co.uk susan.davenport@btconnect.com

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www.wildernesscottages.co.uk

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M ennabroom Farm B&B

HURDLES,

and Holiday Cottages

CLIMBERS,

Award winning historic properties offering short/weekly breaks. Set in 40 acres with ancient woodland and river walk in a secluded valley on Bodmin Moor. Centrally located for discovering both Cornwall and Devon. Many National Trust properties, beaches, and film locations nearby.

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138

Call on 0129 6 4 81220 or learn more at osmouk.com

MICROPOROUS NATURAL UV-RESISTANT OIL-BASED HIGH COVERAGE

To Advertise please call Amy on 01733 366376 or email: amy.woods@bauermedia.co.uk

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500 £40.00 £70.00

1000 £70.00 £125.00

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CYCLAMEN SOLD IN 9CM POTS £5.90 PER 3 £17.10 PER 9 Coum Mixed Pink Coum Alba Coum Silverleaf Hedrifolium Pink Hedrifolium Alba Hedrifolium Silverleaf HELLEBOROUS SOLD IN 9CM POTS £6.10 PER 3 £17.85 PER 9 Niger Orientalis Lady Series PRIMULA SOLD IN 9CM POTS £4.05 PER 3 £11.90 PER 9 Vulgaris (Wild Primrose) Beesiana Veris (Cowslip) ECHINACEA SOLD IN 9CM POTS £4.05 PER 3 £11.90 PER 9 Pururea Rosy/Purple Pururea White Pururea Pink MANY MORE VARIETIES AVAILABLE ON OUR WEBSITE All bulbs are ﬂowering size including FREE ones Delivery is just £3.50 UK mainland only Other destinations please telephone for price Cheque or card payments please with orders Eurobulbs UK Ltd, 314 Smeeth Rd Marshland St James, Wisbech, Cambs PE14 8EP Tel 01945 430009 Fax 430303 Email info@eurobulbs.co.uk ALL MAJOR DEBIT AND CREDIT CARDS ACCEPTED

Soft fruit specialist to request your latest FREE brochure Please call: 01255 830181 or visit: www.kenmuir.co.uk Please quote GN16MA Please write to: KEN MUIR LTD, Dept GN16FE, Honeypot Farm, Rectory Rd, Weeley Heath, Clacton-on-Sea, Essex, CO16 9BJ

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visit: www.kenmuir .co.uk www.kenmuir.co.uk 139

Country Store Old Newham Farm Cottages

Frisby Lakes is a unique lakeside log cabin development providing a peaceful and private community in which you can relax and enjoy your new lifestyleâ&#x20AC;Ś.

Three character cottages deep in the Cornish countryside on organic farm tucked away in a secluded valley 3 miles from magnificent North Coast and renown coastal path. Log fire, Dogs welcome. Sleep 2 to 4. Stay a week or short Weekend/Midweek breaks.

www.old-newham.co.uk Tel: 01840 230470

1. Low running costs. 2. Appreciating asset inline with house prices. 3. Good return on investment. 4. 99 year leases. 5. Use of 100 acre country park. !&!! ''' &&%# 6. Family ďŹ shing tickets. 7. Custom SOLID log cabins from ÂŁ159,995

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Give Nature A Helping Hand By Putting Up A Wildlife Box Today. Barn, Tawny and Little Owl Nest Boxes Available. As Well Bat Boxes and Garden Bird Nest Boxes. www.theowlbox.co.uk

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www.theowlbox.co.uk Email: Robin@theowlbox.co.uk Tel: 01248 421091 Open From 8am till 8pm all week Tyddyn Waen, Llangaffo, Isle Of Anglesey, LL60 6LP

140

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Our mules are of the highest quality, finished to exacting standards in a range of eight colours and are extremely comfortable. We aim to supply you with the perfect fitting shoe which youâ&#x20AC;&#x2122;ll love to wear.

for the finest British Alpaca socks

tel: 01886 853615 141

Country Escapes NORFOLK

ENGLAND CORNWALL

Degembris Cottages Exquisite Four Star Gold Award self-catering cottages situated in the heart of the Cornish countryside. Ideal for discovering Cornwall’s many hidden gems! Tel: 01872 510555 www.degembris.co.uk/lm

Aviary Court Country Hotel Near St Ives, rural 6 bedroom 3 Star Private Hotel. Woodland walk to beach. Ideal touring location. Home-cooked food. Many returning couples. Attractive weekly Dinner B&B terms. Tennis Court. Tel: 01209 842256 www aviarycourthotel.co.uk

Sunday & School Cottages Two delightful & peaceful Cottages in old Padstow, sleeping 4 & 6. Just minuets walk to harbour, restaurants, coastal path etc. Oﬀ-street parking & woodburner in School Cottage. Tel: 01789 450 214 Full availability on www.sundaycottage.co.uk

Old Newham Farm Cottages Three character cottages deep in the Cornish countryside on organic farm tucked away in a secluded valley 3 miles from magniﬁcent North Coast and renown coastal path. Log ﬁre, Dogs welcome. Sleep 2 to 4. Stay a week or short Weekend/Midweek breaks. Tel: 01840 230470 www.old-newham.co.uk

Stonehayes Farm Traditional converted barns with a contemporary ﬁnish to make your stay with us relaxing and enjoyable. Situated 2 miles north of Honiton, surrounded by the beautiful rolling hills of Devon www.stonehayesfarm.co.uk

DORSET

Cornish Gems Cornwall’s ﬁnest selection of luxury holiday homes, cottages and apartments to rent. Be spoilt for choice, with over 120 country and coastal properties to choose from. Tel: 0844 800 2813 www.cornishgems.com

Upton Grange Exclusive conversion of 6 luxury holiday cottages. 2,3,4&6 berth. Historical property, some with log ﬁres, ships beams, 4 poster beds ect. Open virtually all year. Tel: 01305 853970 www.uptongrangedorset.co.uk

Carpenters Cottage Traditional ﬂint cottage in the Georgian town of Holt. The cottage provides cosy accommodation for four people. Tel: 01263 741053 www.holtholidaycottages.co.uk

EXMOOR

Mennabroom Farm B&B and Holiday Cottages Award winning historic properties oﬀering short/weekly breaks. Set in 40 acres with ancient woodland and river walk in a secluded valley on Bodmin Moor. Centrally located for discovering both Cornwall and Devon. Many National Trust properties, beaches, and ﬁlm locations nearby. Tel: 01208 821272 enquiries@mennabroom.com www.mennabroom.com

Anstey Mills Cottages Two four star Gold Award, spacious and well-equipped cottages sleeping 2 to 11 with log-burner or whirlpool-bath on beautiful non-working Exmoor farm. Tel: 01398 341329 www.ansteymillscottagedevon.co.uk

Barn Drift A stunning barn conversion sleeping 14, situated above Cley marshes overlooking the sea. Tel: 01603 871872. www.norfolkcottages.co.uk

NORTHUMBERLAND

HEREFORDSHIRE DEVON

Cornish Rural Retreat, Trevina Victorian Farmhouse or romantic Housekeeper’s Cottage in 14 acres of gardens & grounds deep in a secluded wooded valley. Farmhouse sleeps upto 15. Ideal for family & friends celebratory weekend or a romantic break for 2. Tel: 01579 321359 www.trevina.com 142

Seashells A spacious, luxury beach house, sleeping up to 6. Spectacular frontline location beside sand dunes. The perfect family holiday in outstanding ‘eco’ new build. Swim, surf, relax, 3 minutes walk to the beach, 5 minutes to Croyde village. Also Gilonica sleeps 5. Tel: 01598 710498 www.croydeholidaybungalows.co.uk

Garden Cottage Grade II listed thatched cottage four miles from the cathedral city of Hereford. Large garden overlooking countryside. Sleeps up to 4. Tel: 01432 850532. www.thatchedholidays.com

Bush Nook Guest House Situated within the wonderful Hadrian’s Wall countryside, overlooking Birdoswald Roman Fort and the River Irthing Valley at Gisland with panoramic views east to Northumberland National Park. Quality bed and breakfast available plus superbly equipped comfortable self-catering holiday cottage. Tel: 01697 747194 www.bushnook.co.uk

PEAK DISTRICT

SCOTLAND ARGYLL

Barn Meadow at Top Eccles Farm Peak District self-catering eco accommodation sleeping 4 (4 star gold) with fabulous views. Wildlife and walks on the doorstep, plus our ‘not so wild’ alpacas. Tel: 01663 750372 Email: ecobarn@topecclesfarm.co.uk www.topecclesfarm.co.uk

Greenway Apartment (Ref: 14924) Very comfortable, cosy but spacious, ﬁrst ﬂoor self catering apartment. Birdseye views of the quirky country town of Bishop’s Castle. Close to Three Tuns and Six Bells breweries. King size bed. Double sofa bed. Tel: 07968354355 mrs.greenhouse@yahoo.co.uk www.skyescottages.co.uk

Tigh Ban Lek Stunning modern cottage oﬀering comfort and spectacular views of the Scottish Islands. Tel: 01592 872339 www.tighbanlek.co.uk

SOMERSET CAIRNGORMS

Beach Lodge, Port Patrick Beach Lodge is located in a secluded shoreline location overlooking Labrax Bay, and oﬀers direct access to the beach, an ideal choice for the pet owner. Tel: 01456 486358 www.wildernesscottages.co.uk

SHROPSHIRE

Dolphin Cottage Five-star Gold Award property close to Bath. 17th-century luxury cottage with original features. Sleeps up to ﬁve. Tel: 01225 722100 www.dolphincottage.com Bon Accueil Five-star, self-catering Georgian country house, halfway between Chester and Shrewsbury. Sleeps up to 14, and has a swimming pool, sauna and spa. Tel: 01948 661168 www.bonaccueil.co.uk

SUFFOLK

Rural village of Wingﬁeld A peaceful, self-contained holiday annexe in the beautiful Suﬀolk countryside, ideal for couples. For further details call Karen on: Tel: 01379 384403 or visit www.staywiththesmiths.webplus.net/

Luxury 4 bed, 2 ensuite property. Situated on the edge of Aviemore, Cairngorm mountain views. Ideal base for outdoor pursuits. Log burning stove. Covered outdoor entertaining deck and garden. Complimentary hot tub, WIFI, dressing gowns, slippers and Arran Aromatic toiletries. Tel: 07974691623 www.bygonedrives.co.uk

DUMFRIES & GALLOWAY

Scotland’s Best Kept Secret We have the perfect escape for you. Well equipped home-from-home cottages in stunning locations. From a cosy pad for two to co-located coastal cottages for up to 14. If you like the Scottish Highlands & Islands, Lake District or Cornwall you will love holidaying in our cottages. But book quickly before the secret gets out. Tel: 01988 600600 www.escapetogalloway.co.uk

FORT WILLIAM AND LOCHABER WEST SUSSEX

Morrells Wood Farm Four self-catering cottages in idyllic farmyard setting, all beautifully furnished & nestled at the foot of the glorious, majestic Wrekin Hill. Perfect for a romantic break or relaxing retreat, in an area of outstanding natural beauty. Lots of local walks and perfect for Shropshire’s main attractions, including the Iron Bridge. Tel: 01952 510273 www.morrellswoodfarm.co.uk

The Old Stables Self-catering accommodation for four in the South Downs National Park. Tel: 023 9263 1761 www.theoldstables.net

Dundream Award winning, luxury, holistic and relaxing self-catering eco holiday retreat. 4 bedrooms with en-suite facilities, sleeping up to 8. Situated on the beautiful North Rhins of Galloway in Scotland with sea views to the Mull of Kintyre, Northern Ireland and Arran. Near to trail walks, bird watching on the shores of Loch Ryan, golﬁng, swimming and watersports. Tel: 07517 373470 www.dundream.com

Sealight, Strontian Sealight is located near the village of Strontian and enjoys a fabulous shoreline location with beach access and views across Loch Sunart. Tel: 01456 486358 www.wildernesscottages.co.uk 143

Country Escapes HIGHLAND

WALES

SNOWDONIA

ANGLESEY

Columba House Hotel Highland retreat in its own gardens near Aviemore. Romantic four-posters, double baths, twins and doubles. It is situated in a designated AONB area and there are lakes and beaches within easy reach. The spot is also a good base for the areas many activities, such as walking in the Cairngorms, skiing, golf and water sports. Tel: 07748 361 718 Email: reservations@columbahousehotel.com

Aspen Lodge Six distinctive houses built from locally sourced timber and stone. The houses sit close to the sea and have under ﬂoor heating, log ﬁres, spa baths and wet rooms. They sleep two to eight. Tel: 01972 500254 www.holidayardnamurchan.co.uk

Tregarnedd Cottage This two bedroomed barn conversion sleeps four people and is part of an 18th century Manor estate. Set in central Anglesey it is ideally situated to visit the many and varied beaches along the coast or why not walk the coastal path. Tel: 01709 877923

Dugoed Isaf, Snowdonia National Park A charming detached cottage set in an elevated position with stunning views over Snowdonia National Park. An ideal base for exploring. Dogs welcome. Tel: 07580 025 621 www.dugoedisaf.co.uk

CHANNEL ISLANDS GUERNSEY

BRECON BEACONS

Spean Lodge Country House B&B Historic Highland lodge in Spean Bridge. Set in lovely landscaped grounds above river. Furnished with antiques and paintings. Three well-appointed rooms. Spacious lounge. Delicious breakfasts. Explore Ben Nevis, Loch Ness, Skye etc. Village facilities. A member of Scotland’s Best B&Bs. Tel: 01397 712004 www.speanlodge.co.uk

Eiland View B&B One double room and two twin rooms take up the ground ﬂoor of this purpose-built house, which has spectacular panoramic views over Inverness, the Moray Firth and the Black Isle. Tel: 01463 798900 www.eilandview.com

SKYE & LOCHALSH

Welsh border cottage rural location in Brecon Beacons National Park Between Hay-on-Wye and gourmet Abergavenny: 3 double bedrooms, three baths (one en-suite), wood-burner. Fishing available. Tel: 01865 430703 www.oldpostoﬃce-longtown.com enquiries@oldpostoﬃce-longtown.com

Le Douit Farm Cottages, Guernsey Converted from the farms granite barns and situated in a small lane, a ﬁeld away from St. Martin’s Church in the ancient hamlet of La Bellieuse where you will be able to relax and unwind in these peaceful surroundings. A short two minute stroll will ﬁnd you in the parish centre. 4 Star - One and two bedrooms. enquiries@selfcatering.co.gg www.selfcatering.co.gg Tel: 01481 237491

GWYNEDD

Glengarry B&B This Victorian villa overlooks the Spey Valley and the Cairngorm mountains. An ideal base for active pursuits, with secure storage for cycles and skis. Tel: 01540 661386 www.glengarrybandb.co.uk 144

Kintail Log Cabin By Loch Duich shore, below the 5 sisters, Oﬀ the beaten track but only 10min walk to local Hotel. Ideal base to tour Skye or West Coast, idyllic setting to relax. Tel: 07831696039/07900225469 Email: mail@kintaillogcabin.com www.kintaillogcabin.com

Old Mill Farmhouse, Snowdonia Comfortable B&B with attractive rooms in converted farm buildings. Excellent model railway in beautiful gardens overlooking the lake and mountains. Friendly llamas, free-range hens, delicious breakfasts. Pets welcome. Tel: 01766 540 397 www.oldmillfarmhouse.co.uk

Sausmarez Manor The Dower Flats (3 star) in Sausmarez Manor are ideal for a couple or couple+1. Furnished with period furniture and mod-cons see:www.sausmarezmanor.co.uk Tel: 01481 235571

DORDOGNE

FRANCE

SEYCHELLES MAHE ISLAND

La Collardiere Unwind in one of our 3 cosy stone cottages with log ﬁres in idyllic and peaceful countryside. Sleep 2-4. Organic herbgarden. Tel: 0033 233386401 http://mandrhewitt.perso.neuf.fr/ web

POITOU-CHARENTES

Les Arbres Du Noix Beautiful cottage sleeps seven with pool in the heart of the Deux Sevres countryside surrounded by ﬁelds of sunﬂowers ideally located to discover Frances second sunniest region. Tel: +33 05 49 27 59 35 lesarbresdunoix@hotmail.com

CHARENTES

Peyrillault Relax in one of our two pretty stone cottages, with shared swimming pool and organic cottage gardens. All set in peaceful Dordogne countryside. Sleeps 2-6. www.peyrillault.com peyrillault@yahoo.com

Cinnamon Villa, Mahe Island. Spacious detached 3 bedroom self-catering villa. Master with ensuite. Seaviews. Large garden. BBQ. From £67.00 per person, per week. www.nature-photography.tv email: dream.location@btinternet.com

ITALY

SPAIN

TUSCANY ANDALUCIA

Manoir du Cervolet Classic 18th Century Manoir sleeps 24. Private heated pool and tennis courts in 7 acres, perfect for complete getaway or group visits. Forty minutes from Poitiers. From €2500 pw. Tel: 07826 541787 clare@bramleylakes.com

La Maison D’Hibou Spacious rural farmhouse that sleeps 10 with open living area, feature ﬁreplace, modernised kitchen and mezzanine. Two large master bedrooms (avec ensuite), one triple and two twin rooms plus separate bathroom and wet room. Private south facing garden and swimming pool - Ideal for families and friends to share. Tel: 01733 243305 lamaisondhibou@hotmail.com

La Ceruglia, Anghiari, Upper Tiber Valley Tranquil farmhouse with wide-reaching views, large pool and garden on Tuscan/Umbrian border. Family friendly sleeping 12-14 in two buildings, with well equipped kitchen, library, pizza oven, wiﬁ, piano. Easily accessible - available for year round letting. www.laceruglia.com Tel: 01392 811436 slrs@perridge.com

For foodies and romantics Over ﬁfty stylish self-catering properties for couples around Andalucia. Relish our information pack ﬁlled with top tips on Andalucian gastronomy. Tel: 01380 816658 www.the2scompanytravel.com

Advertise your holiday retreat from as little as £40+VAT per issue Our readers love to holiday in the UK all year round, enjoying the riches of every season. If you have a hidden gem in the UK or abroad why not showcase your retreat in our Country Escape Collection. LandScape readers are three times more likely than the average person to have taken a UK holiday meaning that they are the perfect audience for your getaway.

Simply send us a high res picture that will show your property off to its best, along with 25 words and your contact details and we will do the rest! Call us on 01733 366376 today to book your space for the May/Jun 2016 issue on sale 27th April 2016, deadline for bookings is 8th April 2016 or email amy.woods@bauermedia.co.uk 145

Spring issue on sale 16 March

In the next issue

THE BEAUTY OF BRITAIN’S ANCIENT CAPITAL A SHEPHERD’S HUT RESTORED TO GLORY A MESSAGE TO NEW

READERS FROM THE EDITOR

Dear reader... Taking out a subscription will ensure you don’t miss future issues of LandScape. Or perhaps you know someone who might like a subscription as a gift? Either way, we are offering you a special price if you visit www.greatmagazines.co.uk/landscape or call +44 (0)1858 438884 (UK and overseas). 146

Hilary Scott Editor

Photography: Food & Foto

FAMILY BAKES TO WELCOME SPRING

OAK FRAMED BUILDINGS | QUALITY DECKING | CLADDING OAK & WALNUT FLOORING | HOME & GARDEN FEATURES

www.roundwood.com Tel: 01435 867 072 Round Wood | Newick Lane | Mayfield | East Sussex | TN20 6RG