Tish Farrell Writer

Conserving Geometrically ~ Sunshine In A Jar

On Saturday we were in A.J. Pugh’s, our excellent Bishop’s Castle butchers. It was their first day of opening since Christmas, and so I was surprised to find the Seville oranges had already arrived. Sixteen crates of them, I think we were told. To myself I marvelled at the crowds of marmalade makers that this prodigious quantity implied. Were there really so many in our small rural town? Clearly there must be. Andrew Pugh knows his stuff. He’s been serving the Castle since 1980.

This thought then induced an impulse purchase. Must get ahead of the marmalade makers’ stampede.

And so on Sunday afternoon, a day of gloom and wet snow (and after a quick consultation with Delia Smith HERE) I extracted pips and pithy innards, squeezed juice, and simmered the shredded peel till it filled the house with a heady orange fragrance. That alone lifted the spirits. And then, after a couple of hours, there was the pleasure of domestic produce: eight oranges, roughly a kilo, yielded eight assorted jars and a part jar, which should keep us going for at least a year, as well as providing a gift or two; this so long as Paddington Bear impulses don’t take over.

#GeometricJanuary Day 7

Fruitily Geometrical: The Pink Pineapple Pavilion

Some of you will have seen this before, but I thought it deserved another outing; ideal for Becky’s #GeometricJanuary.

We came upon it a few years ago when visiting National Trust stately home, Berrington Hall, in Herefordshire. It is the work of installation artists Heather and Ivan Morison; their interpretation of the Georgian garden pleasure principle, which included all manner of temporary structures for dining, conducting assignations, or communing with the great outdoors. It’s called Look, Look, Look!

In the 18th century, Britain’s landed rich expended their often questionably-gotten gains in the creation of pleasure parks around their grand houses. These were places for promenading, a little sporting activity (fishing, sailing, archery), for re-enactments of famous naval battles (if you had your own lake); there were ‘eye-catcher’ summer houses, grottos, fake ruins, and classical temples. It was also the era of wholesale removal of villages from the sight-lines of the gentry in the ‘big house’. Garden tunnels were also dug so the horticultural workforce could go about their labours largely unseen. Above all, these gardens were ‘show off’ places, and if you wanted the best, you employed the likes of Lancelot ‘Capability’ Brown to design it.

Another show-off item was exotic fruit, especially the pineapple whose possession, in the flesh, produced in your own very expensive-to-run hot house, or as architectural motifs about the house, demonstrated your wealth and prestige. At Berrington Hall there are both pineapple allusions, and the surviving landscape contrivances of Capability Brown. The park is magnificent, and Brown’s last endeavour as a garden designer. There is currently an extensive garden restoration project which aims to recover his original groundworks.

Inspired by the pineapple, detail from a Berrington Hall bed quilt

N.B. You can find full details of the Pink Pineapple’s construction, with architectural plans HERE.

#GeometricJanuary Day 5

Elephantine Geometry: The Things One Sees In Bishop’s Castle

Well, at first sight, glimpsed through a December hedgerow, it truly did look like an actual elephant. Good heavens! What was it doing here in the Shropshire Hills?

We discovered it last week, by chance, as we explored the hillside paths above the town. There it was, beside the Shropshire Way, at Foxholes campsite, and with company too. The Buddha no less.

Closer inspection of course revealed that it was cunningly constructed of metal plates, now richly rusted.

We then realised that it was doubtless one of the exhibits in the Bishop’s Castle town trail, The March of Elephants. You can see the other artworks at that link. This particular work was created by local artist Ben Ashton, but I couldn’t find anything further about him.

By now you could well be wondering why there is an elephant art trail in a Shropshire market town wherein the trade in sheep and cattle has for centuries been the major enterprise.

There are two connections.

First there is Robert Clive aka Clive of India (1725-1774). After he had finished plundering Bengal (he had started out as a clerk of the East India Company), he returned to his native Shropshire with an eye-wateringly colossal fortune and lived at Walcot Hall just outside Bishop’s Castle. He was further rewarded for his India efforts with a seat in Parliament (MP for Shrewsbury) and an Irish peerage. His newly wrought family crest featured an Indian elephant, of which a carved stone version still survives in the town’s Market Square. It had once been prominently sited on the main window of the Market Hall (since demolished) built by Clive’s son Edward.

A rather more pleasing elephant association is the fact that during World War 2, one or more circus elephants were kept in Bishop’s Castle for safety’s sake. They lived in the stables of The Castle Hotel at the top of the town. At least one was to be seen exercising along the lanes. There’s a brief film clip of it here: https://www.youtube.com/watch?v=AnMu3l3Q0rE

So there you are. Seeing elephants in Bishop’s Castle is not so outlandish after all.

P.S. The war-time elephants’ quarters have been given a plush makeover and you can now stay in The Elephant Gate House.

#GeometricJanuary Day 4 This month Becky is hosting square photos with a geometrical theme.

Blue Waves ~ Geometrically Commemorative

I’m all for public art enlivening urban spaces. But what does this sculpture say to you? Despite the blueness, I can’t help thinking of spaghetti, or maybe unravelled knitting, which doesn’t mean I don’t like it, though I’m thinking it might be better served in parkland surroundings.

The setting, however, is key. Bath Street (originally Bath Lane) is the place, and Blue Waves marks the source of Royal Leamington Spa’s claim to fame as a once fashionable place ‘to take the waters’.

Until 1800, the town, in its original format of Leamington Priors, was a very small village. The saline springs around the parish church had been known of for centuries, and in 1586 one Robert Camden had declared them healthful. But it was not until 1784, and the discovery of the Bath Street spring, that local worthies Messrs Abbott and Satchwell decided to exploit the resource and open the first bathhouse.

And so the village, spurred on by speculators, grew into an elegant resort with fine rows of classical town houses, parks with promenading avenues and ornate bandstands, and grand public buildings, including the Royal Pump Room And Baths and the Assembly Rooms.

All to cater for the great and the good. In fact the place was grand enough in 1838 to attract the likes of a young Queen Victoria, whose visit naturally conferred royal status on the enterprise. One wonders what was ailing her so early in her reign. The waters were said to ease stiff joints and tendons, and give relief to sufferers of rheumatism and gout. But perhaps it was the all round social whirl of the spa town that attracted her. She came again twenty years later.

The local people, though, were not forgotten. The spot where Blue Waves is sited seems to roughly match the footprint of the first public well-house which was opened, also in classical style, in 1803, and known as Aylesford’s Well. Here’s a photo of it in the 1950s from Leamington Spa’s History Society website:

https://leamingtonhistory.co.uk/leamington-history/

#GeometricJanuary

Join Becky for a month of squares. Geometry is the theme and the header photo must be square in format.

Installation Geometry: ‘Green Dwelling’

Here we have one element of an art installation called ‘Green Dwelling’. In 2021 it was sited in the Old Town Meadow of Compton Verney Art Gallery & Park, a grand Warwickshire venue for some magnificent art, ancient, old, and contemporary. Very well worth visiting.

But I’m not quite sure what to make of Green Dwelling as a whole, although for some reason I like this square. Perhaps it feels like a happier, more mundanely accessible version of Mark Rothko’s many ‘windows’, which I also admire, but find more challenging.

Here are the 23 other blocks that comprise the installation.

Dutch artist Krijn de Koning was commissioned to create a work that would encourage people to engage with Compton Verney’s landscape, designed by Capability Brown in 1779. It also marks the site of the lost medieval village of Compton Murdak, the blocks placed to create new framed vistas, and arranged on mown pathways that might suggest the presence of the ancient settlement.

Well, as I said, I’m not quite sure what to make of the whole; perhaps more appealing in the conception than the physical manifestation. Perhaps, too, if I’d thought to venture closer, I might have become more involved. On the other hand, it looks to me as if the landscape, domesticated as it is, needs no such cues of engagement. In fact it rather outdoes the structures.

If I had walked to the further side of the square and looked through, I might have seen this kind of vista: Compton Verney Manor, essence of classical architecture – symmetry, perspective and lots of angles…

#GeometricJanuary

Of Right Royal Geometry

So begins Becky’s month of square format photos – of things geometrical. So here goes.

There’s almost too much geometry in this shot: triangles, rectangles, circles, semi-circles, octagons. It is was taken at Kenilworth Castle in Warwickshire, a medieval fortress transformed in the 1570s into a grand Tudor palace, wrought at huge expense by Robert Dudley, Earl of Leicester, and with the sole purpose of entertaining his queen (and rumoured lover) Elizabeth I.

More of that story here: Greater love had no man…

The photo shows a slice of the pleasure garden and ornamental aviary constructed in 1575, specifically for Elizabeth’s visit. This is how she would have first glimpsed it, descending from the royal apartments to a loggia terrace, whence she could view the whole extravagant horticultural confection. For this particular visit, it is said Elizabeth arrived with thirty-one barons and four hundred staff.

And they stayed nineteen days. (Just imagine!)

Robert Dudley pretty much bankrupted himself to keep them all amused, not only with lavish banquets, but also with hunting, pageants, plays, bear baiting and fireworks.

And after all this, Elizabeth still could not be persuaded to marry him.

As to the garden, it was lost for nearly 400 years. English Heritage have reconstructed it using an eye-witness account of the visit by one Robert Langham plus archaeological and historical investigation.

You can read Langham’s account HERE. He speaks of ‘fair alleys…green by grass…and some (for a change) with sand…pleasant to walk on, as a sea-shore when the water is availed.’ He mentions too (and not an inconsequential attribute in those times) ‘the sweetness of savour on all sides, made so respirant from the redolent plants and fragrant herbs and flowers, in form, colour, and quantity so deliciously variant’.

And the ruins of the erstwhile royal apartments:

Wishing everyone an all round happy New Year

#GeometricJanuary You can join Becky’s square posting every day this month. The only rule is the photo must be in square format. How you interpret ‘geometry’ is up to you.

This Made Me Smile ~ Once Upon A Time In Kenya’s Highlands

It seemed the greatest gift for this nosy writer when Graham said I could go with him to survey the Kikuyu farms just north of Nairobi. Yes, yes and yes. I would be delighted to look for smutted Napier Grass. And hold the clipboard. And manage one end of the tape measure.

We were all set then, along with Njonjo, senior driver for the Kenya Agricultural Research Institute, where Graham’s crop protection project was based.

It was the time just after the late 90’s El Nino rains. The Rift escarpment roads were terrible, many of them washed away. In other places great chasms had opened up, or the roads were strewn with boulders brought down the hills by flash floods. But this was also home territory for Njonjo. He had ancestral land there. A farmer then, when he was not employed as a driver. He anyway handled the Land Rover with great skill, and astonished us, too, by simultaneously negotiating giant pot holes and spotting plots of smutted grass growing many metres from the roadside behind kei apple and winter jasmine hedges.

Njonjo and Graham

Trading centre after El Nino rains

Of course, after a fine spell, the roads baked hard into gullies and corrugations. This next photo shows one of the Rift Valley lanes on the edge of the escarpment. You can just make out the valley bottom through the far haze:

I don’t recall why we were all out of the Land Rover at this point. Probably Njonjo was asking directions. Even locals have problems finding their way across the ridges. Anyway, this was the moment I met this lovely young man:

Small-holder farms at Escarpment, in the Rift’s shadow, Mount Longonot in the background

As we jolted and slid along the country lanes, Graham was using a GPS to select farms at random. When a location was chosen, Njonjo then took further charge of operations and went to find the owner of the farm, and talk them into admitting a couple of wazungu , who would like to look at their Napier Grass.

Over the weeks of the survey it became a matter of pride that no one turned us away. In fact the opposite was often overwhelmingly true. Wherever we went, we were met with great courtesy, mugs of tea and presents of farm produce: plums, pears, sugar cane, a cockerel. We had brought useful information that must be reciprocated. Njonjo was particularly adept at fending off serial invitations to lunch, and did so without us seeming too rude. Otherwise the job would never had been done.

This farmer gave us sugar cane

One chilly morning Mrs. Njuguna served up mugs of hot chocolate before we went to examine her napier grass plot

Napier Grass (foreground in both photos) is an essential animal food crop for small-holder farmers who zero graze their stock. Zero graze means they have no access to pasture, but grow plots of grass wherever they have space, including on roadside verges, and then crop and deliver the grass to their animal pens. (Commercial tea gardens in the background). Most farms (shambas) are on ancestral land that has been subdivided down the generations and may be only a few acres or less.

By now you’re probably wondering what Napier Grass smut looks like. You will also have gathered that in this context, smut has nothing to do with off-colour jokes or questionable practices. (That said, everyone found it hugely amusing that Graham was doing a part-time doctoral thesis on smut). It is in fact a fungal disease that attacks grasses, including maize and sugar cane. On Napier Grass it becomes visible when the plant begins to flower; the florescent parts look as if they have been dipped in soot.

Two happy plant pathologists: Graham with Dr Jackson Kung’u admiring smutted grass growing on a road reserve in Nairobi, as spotted across a busy dual carriageway by Njonjo.

The diseased grass isn’t apparently harmful to the animals that eat it, but there are serious implications for farmers who rely on it for zero grazing. In time, smut weakens the plant and so less and less leaf mass is produced. The spores spread on the wind, although Graham thought the most likely source of infection was due to farmers unknowingly giving cuttings of infected plants to their neighbours. The only solution is to dig up the plant and burn it.

Farmers, predominantly women, were keen to hear anything and everything Graham could tell them. Impromptu roadside smut seminars became a feature, Njonjo providing lectures in Kikuyu or Swahili for those who did not speak English. Graham also distributed information sheets. We never seemed to have enough!

On some of the farm visits, it was inevitable that Graham would be consulted about other plant diseases that farmers had noticed. Here there’s some problem with the fruit trees.

The farmer’s daughter watches us. Her father had handed her one of Graham’s smut information sheets: the school girl in the family…

The Kikuyu uplands are mostly 5-6,500 feet above sea level, the settlements strung out along ridges. Although at the tropics, early mornings and evenings can be cool, and especially in June and July, when there may also be fine rain and fog. Some of the highest settlements at around 7,000 ft are in the frost zone, the landscape’s bleakness, with bracken growing along the roadside, reminding me of Scottish uplands.

All in all, Graham’s smut survey was among the highest highlights of our seven year stay in Kenya. Although not everyone was always keen to speak to us:

Lens-Artists: This made me smile Ann-Christine is making us all smile with this week’s theme.

In An Autumn Light: The New Kitchen

Henry, who produced the structural design brief and plans for our kitchen extension came round on Wednesday to take photos of the finished ‘product’. This reminded me that I had not posted any photos so far, mainly because there are a few bits and pieces to finish off. But then this week we’ve had some glorious light through our roof lantern and this morning it spurred me into action.

But first, this is how it was just after we moved in:

The sitting room then had a galley kitchen (around the right hand corner) and the back door opened onto an oldish, large uPVC conservatory. The conservatory was pleasant enough in summer being shaded by the house and the hedge on the south-west, but its doors also faced north so it was pretty chilly in the winter.

Our plans for replacing it with a properly insulated room were constrained by the hedge and the position of the upstairs windows. We are also in the town’s Conservation Area. We thus had to stick to the original footprint although we could add a metre or so along the rear wall, taking in the exterior downstairs former kitchen window. When it came to the roof, we could have had a shallow lean-to option with roof lights, but decided the parapeted flat roof with lantern would give us the best light.

So: there were all sorts of compromises, including cost, and constraints over access at the rear of the house and to the front of the house for debris removal and deliveries. We also didn’t want to do anything that would be at total odds with this modest little 1920s town house.

It finally came to fruition thanks to weeks of conscientious in-put from builder-hero, Alan Morris, who project managed the whole thing. He was also responsible for some nifty brickwork, as well as taking pains to match, as far as was possible, the original brickwork.

Alan Morris conducting a spot of problem solving with Graham.

And the final result suits us very well.

Here are some reminders of what happened in between, starting with the conservatory as moving-in dumping ground:

And inside, it all went on around us:

The old kitchen:

Range cooker gone and original access to cloakroom restored. This is now the utility room, stud-walled and doored. The downstairs loo has been much smartened up and its parma violet and bottle green walls banished. Also discovered but covered up again was an old flue that probably served a laundry copper. Still some finishing off to do in this quarter.

New wall and door to the utility room on the right.

And the new kitchen – yes, I know, It is more than a touch quirky. For one thing, we didn’t domesticate the original outside wall, just washed the spiders off, and kept the window spaces too. Anyone who moves in after us can plaster board over them if they want to.

We left the window space by the back door open. A kitchen ‘hatch’ no less. It gives us instant access to the utility room sink. Ideal for chucking freshly dug spuds into it:

And of course there’s the aardvark:

Handmade units made by Shepherd Hills cabinet makers. The angles either side the cooker were tricky to deal with:

The ‘horrid hedge’, which I’m still tackling, has turned out to be just the place to hang some bird feeders. The sparrows and robin have found them, but the jackdaws haven’t (not yet anyway), and we have good mealtime views of passing birds.

And now, after all that, a good sit down beside the wood burner is called for:

There’s still a lot to do. Top of my list is that Graham needs to get rid of all his trailing cables. We don’t have TV but stream and screen things we want to watch via a laptop and projector. At present the system is mobile and makeshift, waiting for the moment when all the wiring will be hidden under the bedroom floor. There are signs that this might happen soon. Apart from this, much decorating is still required, and we still haven’t quite moved in. One day…

In the meantime, the Castle is a good place to be.

The Grateful Gardener

We have snow here in the Castle. We woke up to it early yesterday. What a shock. Snow in November. It’s much too soon. I’d seen the weather forecast of course, but was expecting only a spot of sleet that would soon melt away with the global boiling, not several inches of real snow, the sort perfect for snowballs.

Anyway, it’s not the snow I’m grateful for, but I do love the brilliant blue sky it’s brought with it. And also this golden Rowan tree in its white cocoon. It stands just outside our garden, and provides us with some borrowed treescape. And it, in turn, has recently been much loved by the birds, especially the blackbirds. Before the snow came they were busily stripping the stems.

I’ll miss the berries when they’ve gone. On bright autumn days they light up like jewels. This is how they looked in early October. A tree full of joy. Thank you, Rowan.

The snow fall also focused my eye on the latest garden addition: a Jelly King crab apple tree. Yesterday morning while sitting at the kitchen table eating my porridge, I could see its clutch of red apples glowing like little beacons at the bottom of the garden. Time for a photo then, and to say how very pleased I am with this Halloween birthday gift from my other half. Thank you, Graham.

It came a few days before my birthday, delivered in a tall box to the front doorstep, whither I was directed to investigate the new arrival. Once I’d broken through the cardboard, I was surprised to find the little tree had come with eight tiny apples still firmly attached. There were also a dozen loose ones in the bottom of the box, sadly not quite enough to make crab apple jelly, but filling me with high hopes. I decided to keep them as a spur to locating a wild tree. I thought I knew where there was one. And so it proved. Last week I found a fine crop of fallen apples in a patch of woodland on the way to the builders’ merchants. We now have crab apple jelly. No need to wait for the little tree to do its stuff then.

And speaking of stuff – we still have some of the salad variety growing outdoors and in the greenhouse.

This year I’ve grown Red Radicchio endive. For the past few weeks it’s been growing fatter by the day, and as temperatures lower, the more red it becomes. I’ve been plucking the outer leaves with hopefully plenty more to come. In the greenhouse I have tubs of red Chinese mustard, Moroccan Cress which grows like a cut and come again lettuce and a few oakleaf lettuces. Also some lettuces out in the garden, though they may have succumbed to the snow. Likewise the marigolds. But it makes me very happy to find a bowl full of fresh salad leaves in late November. Thank you, garden.

And one little plant that is standing up to the snow, once I’d dug it out it earlier today:

These sweet little hearts ease type pansies have been flowering for weeks and weeks in a pot on the garden steps. And they’re still going strong. They were a gift from my sister. Thank you, Jo.

Lens-Artists: Gratitude This week Tina sets the theme, both timely and thoughtful. Please visit her ever lovely blog.

The Silence Of Stones

This is Shadwell Quarry on Windmill Hill, Much Wenlock, part of the Wenlock Edge Silurian reef system.

There’s an air of brooding here, even on a bright winter’s day: of violation survived, albeit roughly; scrub and small silver birch trees recolonising the horizontal shelves. It’s a silence all its own, cupped by sheered off walls and the mysterious deep pool below. Then there is my own silence: awe at the scale of this one-time endeavour now shut down, truncated, closed as if it never mattered: the hard lives of the men who worked here, their injuries and doubtless deaths, unrecalled.

Half a century ago, this hillside and the nearby town of Much Wenlock rocked with every quarry blast. Then came the soft fall of lime dust that clung to every surface.

The quarry closed in the 1980s, but in its heyday in the late 19th-early 20th centuries, steam powered goods trains huffed and clanked up the incline from the Ironbridge Gorge to the quarry’s own siding, there to take on stone to use as flux in iron smelting at the Coalbrookdale Works and the furnaces of the Black Country; industries that are also long defunct, or exported to China along with the roar of red-hot hearths, the crucibles’ hiss of pouring iron, shouts of foundrymen.

But then there’s another absent soundscape here, one so ancient it is hard for human minds to grasp. The limestone reef exposed in this quarry began to form over 400 million years ago in a shallow tropical sea somewhere off the Comoros Islands in the Indian Ocean. In waters teeming with corals, sea lilies (crinoids), bony fish, sponges, trilobites and molluscs began the depositing, compacting and solidifying of decomposing animal parts. And while this was happening there was apparently no terrestrial life, but instead there were endless howling gales rampaging across the landmass; brutal winds terrifying in their loudness.

Good that they’ve gone then. Instead we are left with other ungraspable events, for instance, envisaging how vast land masses shunted around the planet, ending up in places many thousands of miles from where they began; the slow, slow scrunch of tectonic plates; the gradual upthrusting and folding of ancient strata; a world we somehow think is in our power!

The stones beneath our feet, the rocky uplands maybe silent, but they have wider, wiser perspectives to impart if we choose to pay attention. I think our ancestors may have understood something of this.

Wenlock Edge quarry

Lens-Artists: Silence This week Egídio explores the principles of silence in the work of American photographer, Robert Adams. Please see his photo essay and be inspired.