Thursday, 17 September 2015

COAST TO COAST PICTURES...a selection!



Standing on top of Grey Knotts looking out over The Lake District.


At the top of Greenup Gill.


A rainbow over Patterdale.


Easedale Tarn.


A lunch stop.


We came across the skeletons of sheep, rabbits and sometimes rats.


On the North Yorkshire Moors. The purple heathers were a beautiful sight.


Some moorland ponies.



Working out our route.


We met a few cows.


We met a lot of sheep.


Clive negotiating an electric cattle wire.


We came across Dan and Jane every so often. Taken in Reeth, 


More sheep!!!!


In a local pub. Those glasses are empty!!!


The fish and chips were delicious I can tell you.



The dry stone walls were awe-inspiring, spidering over the Yorkshire landscape

. Grosmont.

AND TO END THIS POST , THE BEGINNING AND THE END.


A sandstone cliff at St Bees.


A sandstone cliff near Robin Hoods Bay.


 I posted photographs daily on Facebook.

https://www.facebook.com/tony.grant.50552

Wednesday, 16 September 2015

A COAST TO COAST WALK or “The Agony and the Ecstasy.”


The official starting place.

Alfred Wainwright, who is famous for his pictorial guides to the Lakeland Fells, married for the second time at the age of 63. Incidentally that is my age now. He married Betty, arguably the second love of his life.  Read a page or two of any of his guides to the fells or, A Coast to Coast Walk, to sense Wainwright’s absorbing love of that landscape. The language and phrases he uses create a sense of a voluptuous beauty, the curves and contours of the landscape lovingly cherished. It is said that it is Betty who inspired Alfred to create, A Coast to Coast Walk. He researched and wrote the guide between 1971 and 1972. It was published in 1973.

Alfred Wainwright, the creator of,,A Coast to Coast Walk.

About this time last year, Clive and Michael, two old school friends and I decided that we would like to walk the Coast to Coast. Why would we want to do that? People have been asked similar questions. Why climb Everest or swim The Channel?  Sometimes, for want of a better answer, they might say, “Because it is there.” Actually there is a certain truth in that statement. You have an inexplicable need to do it but can’t really explain the reason why. Of course a lot of things are not that obtuse. You may well have a concrete reason to do something.  So anyway, we decided we would do Alfred Wainwrights long distance walk, of two hundred miles of varying and beautiful landscape because….?  

Michael, me and Clive. Leaving our guest house in St Bees to start the walk.

The Coast to Coast walk begins at St Bees Head, on the Cumbrian Coast. We each picked up a pebble form the beach at St Bees before starting the walk. We intended to carry our pebbles to Robin Hoods Bay on the east coast.A steep grassy ascent to the top of St Bees promontory exercises the legs immediately. The high cliffs overlooking the Irish Sea provide breath-taking, dramatic, rugged scenery. The cliffs and landscape here is formed from sandstones from the Permian and Triassic periods over 200 million years ago. They have a deep, dark, rusty, red hew. This was just the first bit of landscape that took our breath away, almost literally with the strong gusts from the sea blowing inland. We were up with cormorants and black headed gulls high above swirling seas crashing on the rocks below. The view down to the white foaming sea was precipitous and created heart thumping moments. After this dramatic overture, just past the whitewashed St Bees Lighthouse, we turned inland, south of Whitehaven. Some farm tracks and field pathways took us through a calmer landscape. As we crossed England from west to east, the landscape changed often. The emotions and the effects on our senses changed with the landscapes we passed through. 

The walk starts. St Bees Head.

 The massed fells of the Lake District came first. Some people call the fells, mountains and some people don’t, but the fells are unique challenging masses of rock. In most cases they reach well over 2000feet. Helvelyn is 3114 feet high and is a true mountain. The fells are cut by steep sided valleys gouged out by glacial erosion. They look and feel spectacular and dramatic. At the summit of Dent Hill, our first high climb, the views back to Whitehaven and the coast were wonderful. The descent down the other side of this particular fell was truly dramatic. It felt as though we were going to drop off a cliff as we descended. It was the steepest descent I think we encountered on the whole walk. It was my first experience of descending a fell. My knees hurt. They were in pain at times. This was the first concern I had about my physical capacity. Michael, enjoyed the descent and was much quicker than Clive and me. Clive took it carefully and cautiously using his poles to aid him. At the bottom, arriving in a beautiful,steep sided valley, my knees stopped hurting. I was relieved. This valley, between Dent Hill and Flat Fell with the Nannycatch Beck bubbling through it, was my first real experience of how the landscape could affect us emotionally.

"Peace," and ,"heaven," once we descended Dent Hill.

 I live in South London. There are always people about, cars, snatches of conversations taking place, hustle and bustle. In this valley there was none of that. It was the first time I had noticed it. The word that came to mind at first was, silence, but it wasn’t silent. Gradually I got used to new sounds. There was the wind, the insistent sound of bubbling water over rocks, an insect flying by and there was the sounds of our feet brushing threw clumps of heather and scuffing rocks. As we walked beside the stream there was also the swish of spiky reeds against our legs. There was no road or much of a pathway through this valley. There were a few sheep scattered here and there. It felt wild and abandoned. It was a strange sensation. It took a while to adjust. The sun shone down on us and our backs felt warm. I could only think that this place was a piece of heaven.

Making our way along Ennerdale.

On our third  day, out of Ennerdale Bridge, we encountered a difficult new challenge. We started the walk along Ennerdale Water. On the map the path we were to take hugged the contours next to the lake.  The path, however, turned out to be rugged, rock strewn and at one place, half way along the side of the lake, the path came to an end and a high rock outcrop stuck out into the lake. We had to scramble around and over it, looking for cracks that might provide finger and toe holds. Our first bit of rock climbing, horizontally. This part of the walk turned out to be merely an introduction to what was to come. We were soon to realise that when we walked through a pleasant valley it would soon end. Every valley in the Lake District, has been created by glaciation. Britain was covered by glaciers 18000 years ago and when the ice receded at the end of this period it scoured out deep valleys across the landscape of Britain and the Lake District was formed in this process. The glaciers started high up in the mountains and the tarns, small mountain lakes, are the remains of these, high in the fells. This means that valleys in the Lake District come to abrupt ends blocked by steep 2000 feet high rocky inclines.  We came to the end of the Ennerdale Valley and we had to go up. If you know about map contours it is those contours that are tightly packed together that you have to worry about. 

The climb out of Ennerdale.

The contours on our map showed a whole series of them very closely drawn together. This was going to be steep. Encountering the climb out of the valley alongside the almost vertical, Loft Beck, was hard work. We had to ascend 2500 feet scrambling over sharp rocks and outcrops. In places, Lake District National Park volunteers, had placed rocks in situations where we could place our feet more easily, but these much welcomed stretches of the climb were few. It took us a number of hours to climb up out of that valley. This walk provided a mixture of pain, doubt and belief, in equal shares, in our physical strength. At the top we were rewarded with an incredibly beautiful view. This is what walking the Coast to Coast is really about. At the top, breathless and amazed that we had climbed so far and for so long we got our prize.  We were looking out over a large part of The Lakes. Ennerdale Water was to our left and to the right we caught a glimpse of Buttermere and the high fells of Red Pike, High Crag, Haystacks and Grey Knotts which were all magnificent in front of us. 

Before we left the Lakes we had to walk the length of Haweswater. The Fells above Haweswater, up near the top of Helvelyn and Angle Tarn were the first time I felt really afraid. The winds were immense. It was difficult to walk and even stand up straight. Michael lost the waterproof cover to his back pack, grabbed by a gust of wind and blown beyond reach. Trying to cross a fast flowing waterfall I was blown from my footing on a boulder into the fast moving current. Luckily it was shallow and I was able to wade to the bank.

Me and a waterfall high in the fells.

  I loved the Yorkshire Dales, dry stone walls threading their way across miles of hills and valleys, lonely wind bent trees and close cropped grass. It was a more gentle landscape than the Lakes but it was harsh and unforgiving in places too. Many of the valleys had deserted and derelict farm buildings. Sheep pens, like ancient Celtic circles, made from limestone blocks were scattered here and there. It was in the Dales that we met sheep after sheep; so many of the hardy creatures with their benign expressions staring straight at us as we passed. We came across some well fed and rather large cows and not a few bulls. They were at peace and gave us cursory glances as we walked past them. It was in this landscape that we came across, limestone pavements. These are created by a strata of limestone that has been exposed in places by the action, once again, of the scouring  of glaciers during the ice age. This limestone landscape is the landscape that gives rise to potholes made by  streams and water seeping underground. . It is a soluble rock easily dissolved in water. Limestone, is a sedimentary rock created from marine fragments such as corals and molluscs. The pavements  are raised above the surrounding bogs and soils, perhaps just a few feet.  They are dramatic. They are flat and uniform in height with deep fissures and cracks  covering hundreds of square metres in many places giving the impression of a raised pavement.

A limestone pavement.

 Another landscape we encountered, especially on the high fells but also on the moors, were peat bogs. These were a special sort of challenge. Seamus Heaney, in his poem,”Bogland,” writes,
"Every layer they strip seems camped on before
The bog holes might be Atlantic seepage
The wet centre is bottomless."
Heaney, in some of his poetry refers to, bog people. These were thought to be ancient Celtic human sacrifices left to sink into the peat and preserved in the peat’s rich damp composition.   I had thoughts of seeing leathery skinned heads or arms sticking out of the exposed black peat.    Heaney’s line, “The wet centre is bottomless,” is apt. I sank up to my knees making a wrong step on a couple of occasions in those treacherous bogs. I had to yank my left leg out with quite some effort one time. That was a little worrying. Clive, Michael and I learned to negotiate peat bogs as we might play a game of chess. Every move had to be worked out. We soon learned an effective strategy.  We looked for stones and rocks first of all that we could step on. We worked out that if a rock was visible it wasn’t about to sink. Where there were no rocks we learned to step on substantial sized clumps of heather. We believed that their root systems would hold us and like snow shoes on soft snow they spread our load. In the absence of handy heather clumps we looked for reeds. If we stepped on the long leathery reed spikes we could create a tough strong ,”carpet ,” to walk on and we discovered that this would hold our weight. Walking across bog land understandably slowed our progress considerably.  

Peat showing just under the surface. A treacherous terrain. 
There were times when we got lost. We had a detailed guide book with  maps of every part of the walk. We also had a specially laminated series of maps of the Coast to Coast. We continually perused and discussed the maps but still, in some instances we could not decide where we were and which path to take.One particular incident occurred when we high on the fells above Haweswater. We could see the lake in the distance to our left. We could see on the map the path we should take. But the landscape we were standing in showed the path stretching in front of us when we thought it should dip to the left towards Haweswater. What to do? We decided that we were not in the location on the map we thought we were so we walked on trusting the route of the path. After a couple of miles ( you could not make this stuff up) we decided that as Haweswater was receding behind us and that we should now be at the side of the lake, we decided we had gone wrong. Of course we had gone wrong. We eventually back tracked  and found the end of the lake. We had intended to reach the lake in the middle but just reaching the lakeside at any point was our aim now. Haweswater is about seven miles long . We were more than a few miles off track. At least we were now aiming for the lake shore. Coming down off the fells at the end of Haweswater proved extremely difficult. There was no path but there was an exceedingly steep and rugged slope. Boulders as large as ourselves were strewn in our way. It took us two hours to walk down off those fells to the end of  Haweswater . We then had eight miles to walk to our destination and B&B for the night. We were knackered to say the least when we arrived at our destination.

The North Yorkshire Moors should have, could have, provided many more beautiful and awe inspiring vistas. What we were presented with, on our first encounter on the moors, from Ingleby Cross to Clay Bank was a relentless walk, after a steep climb, in low cloud and incessant rain that lasted all day. Everything looked grey. Our mood felt grey. Visibility was poor, it was wet and we were cold. All we could do was trudge on and on. The moors improved considerably the next day, after we left Clay Bank. The purple heathers, undulating gently across the landscape were beautiful. We came across pheasants and grouse and indeed were halted for a while because a grouse shoot was taking place. Grouse are very inquisitive creatures. They seemed to be unafraid and stood close to where we walked to look at us. We all thought they had the funniest voices of any bird we had ever heard. They garbled away in a sort of high pitched turkey gobble. This part of the moors was like a switch back. We ascended steeply and then descended just as steeply. This roller coaster continued for three ascents and descents.

Michael in the wet, damp mists up on the moors.

 The final ascent took us up to the Wainstones, a group of massive, broken, fissured blocks of sandstone, some twenty or thirty feet high forming a barrier in front of us. They stuck out of the hill at crazy angles. I wondered how a feature like this could have been formed. Michael thought water and ice entering cracks and fissures and forcing the rock apart  had caused it. He was right. I lead the way up to the Wainstones and because I was concentrating on where to place my feet, missed the narrow path that lead to one side. We spent half an hour trying to find a route around or over the Wainstones. Eventually we returned to a point where we remembered seeing a path leading off to the left. We took this route although it wasn’t easy. Some scrambling was required with steep drops to our left..

The Wainstones.

The beauty of the different landscapes we passed through was an important element of our walk but  it was important who we were with.   Michael, Clive and I have known each other since we were about 14 years of age.   While we walked the three of us generally spread out along the pathways. We, in effect, although we were together, walked on our own for a lot of the time. We could see each other ahead or behind.  Often it took all our focus to just concentrate on where we placed each step. The whole walk, from St Bees to Robin Hoods Bay,  could be described as a sort of meditation. We had time for our inner thoughts but also all our senses became alive in so many ways. Each of us  certainly got into our own individual, mind zones and formed our own walking rhythms. Once in a while we would stop and come together to consult maps and stand in awe of the surroundings we happened to be passing through.We had individual rooms in all of the bed and breakfasts  we stayed at. In the evening we met in the bar or restaurant of the place we were staying at and talked about the days walk and events and sites along the way we had experienced.

Me, Michael and Clive at the start of "High Street" high on the fells above Hawsewater. We got lost!!!

We met some lovely people along the way.  An Australian couple called Dan and Jane kept appearing at various stages, either, high on the fells or going off down a path on the moors. We had a number of very friendly conversations with them. Betty, a New Zealander, was an elderly lady, older than us three anyway, we first met carrying a heavy back pack in the woods along the end of Ennerdale Valley. She was walking alone. We chatted for a while before moving on. We saw her climb the steep precipitous waterfall at the end of the valley stepping carefully and slowly, a long way behind us. We met her again later on. She had undoubtedly made it. Betty was a very impressive lady.

While continuing our walk through the beautiful Dales we came across Nun Cote Nook Farm, between Reeth and Richmond. A hand written sign informed us that cream teas were available if we went round the back to the conservatory attached to the rear of the farmhouse. There we met a smiling flowery aproned lady called Elaine. She was all smiles. Her youngest daughter appeared and asked us if we would like to sit in the garden while she brought us a menu. Teas and coffees were prominent at the top of the menu followed by a selection of cakes and scones. I chose a piece of the most mouth-watering chocolate fudge cake with a large cup of Yorkshire Tea to wash it down with. Michael, chose a Victoria sponge cake with clotted cream and real strawberries as its filling. Clive had cream with scones. The sun was shining, the garden had beautiful vistas over, stone walls, high hills, sheep and cows. We were in heaven! When I took my empty cup and plate back to Elaine’s kitchen I saw her kitchen ceiling festooned with masses and masses of ribbons. She told us that they were prize winning rosettes for her sheep. Her kitchen looked spectacular. Elaine’s daughter told me that the whole family take part in the competitions. They were two very proud and happy ladies. Elaine sold Coast to Coast mugs. She had had them made herself, so we were not going to be able to buy them anywhere else. We each bought one of her lovely mugs.

Elaine's farmhouse kitchen with her ceiling festooned with rosettes.

After walking further into the Dales on another day and traversing a river by a beautiful stone bridge we ascended a high hill. We could see in front of us another working farmhouse. It had a row of tractors in front of it and a number of farmers and tractor drivers milling about. As we approached an amusing sign announced, BEWARE! FREE RANGE CHILDREN. Another sign a little further along informed us that we could get tea and coffee at this farmhouse too. It was called, Ravenseat. There were other walkers outside the farmhouse drinking tea as we approached. The tractor drivers had started up their tractors and the smell of diesel pervaded the air. I asked about this and I was told that they were getting ready to drive in convoy to a local fair for charity. We approached the farmhouse door to ask about tea when suddenly a rather tall, ebullient lady burst forth, took our order and suggested the three of us did not need sugar in our tea because we were, “sweet enough.” That brought coy smiles to our faces. The order of tea was passed on to one of her, “free range children,” as their mother jumped on to a four wheel drive buggy, grabbing her youngest toddler to her bosom and then dramatically roaring off on this sturdy carriage up the opposite hillside where she stopped to take pictures of the now long stream of chugging tractors as they wended their smoky way over the hill and away from the farm. She was very impressive and I immediately named her, “Boudicca.” She reminded me of the strident statue of Boudicca in her chariot next to the Houses of Parliament and Westminster Bridge in London. It was not till later, back in London, I was looking at the books about The Coast to Coast walk in Waterstones in Wimbledon when I caught sight of a book entitled, “The Yorkshire Shepherdess, “by Amanda Owen. The picture on the front immediately showed me that,” Boudicca,” was indeed the Yorkshire Shepherdess. We had been given tea by a famous author. I bought the book.

A convoy of tractors on their way from Ravenseat Farm.

All the landladies at our various bed and breakfast were lovely. They were always friendly and appeared so pleased to see us. We were invariably made most welcome.  Sue and her husband Chris, who run the Eden House Bed and Breakfast in Kirby Stephen were particularly helpful. They saved us! We were booked in to the Jolly Farmers guest house next door to Eden House. We waited for some time but there was no answer to our knock on the door or to our phone calls. We knocked on the door of Eden House to find out if they knew anything. We discovered that The Jolly Farmers was closed. The proprietor had gone to Spain for a wedding. Sherpa, the company who transported our heavy luggage each day between B&B’s had a key to the Jolly Farmer’s to let themselves in and had deposited our luggage inside and locked the door after them. We had no way of getting to it. While I negotiated with Sue at Eden House, Michael phoned Macs Adventures, our tour company. Sue and her husband Chris were able to get hold of a lady who worked at The Jolly Farmers who had an access key. She arrived and allowed us to retrieve our luggage. Sue offered us a double room for the night and Michael negotiated with Macs Adventures to get us another room in a B&B along the road for Clive. All was saved. Sue and Chris were more than wonderful.

The School House bed and breakfast at Patterdale.

The most intriguing B&B we stayed in was at The School House, Patterdale. The tiny village is set in a narrow valley with the high crags of Catstycam , Arniston and Birks surrounding it. We couldn’t get a mobile phone signal here and the internet connection was weak. The school house had been built in the 1860’s and looked a little austere from the outside. However, once we walked through the door an incredible sight was revealed. The owners had decorated it with carved wood panelling from Thailand. There were rugs and wall hangings festooned around the bare stone walls. My bedroom had a four-poster bed with intricately carved posts and rails. Our hosts were wonderful too. I had my peat bog soaked jeans washed that night. You could have stood them up on their own, they were so stiff with peat. The mattress on my bed was unbelievably high and I had to use a low stool to enable me to climb up onto the bed. I was reminded of Grimm’s fairy tales.

Robin Hoods Bay in the distance as we turned the headland.
We arrived in Robin Hoods Bay on Saturday 5th September absolutely elated. Our last days walk from Glaisdale had provided us walking encounters with roads, fields and some moor lands, which we had been informed, had peat bogs. Our initial thoughts were, not dreaded peat bogs, remembering what we had encountered before on the fells. These proved to be mild versions of what we had encountered before. There was no chance that we would sink and disappear into these shallow excuses for a bog. The last part of our walk was negotiating the headland, high up on the cliffs leading to Robin Hoods Bay. We were once again walking high  above  very impressive cliffs, wind-blown. It was a sea ravaged and rugged red sandstone landscape and proved to go on and on forever. Then we saw the huddled buildings of Robin Hoods Bay spilling down the cliffs to the beach. We had made it!!!!!!!!! The walk had provided us with a dramatic start high above the sea and it had ended with a dramatic finish high above the sea. We walked on to the village and straight down the steep main street to the beach. We threw the pebbles we had carried in our pockets from St Bees into the sea. A kind gentlemen, walking past with his dog, shouted over to me."I know what you three have done." I felt a little puzzled and answered,"What is that?" "You've walked the Coast to Coast." He could tell.  He took our cameras off us  took a group photograph of the three of us. Then we retired for a pint of ,"Wainwrights Beer," in Wainwrights Bar at The Bay Hotel next to the  beach. We had a lovely meal at The Smugglers Restaurant that evening. We stayed in a beautiful Victorian guest house, at the top of the village, called, The Villa, owned by a kind and friendly lady called Jane who loved  barn dancing we discovered. 

On Sunday 6th we took a bus to Scarborough and then a train to London. Walking the Coast to Coast and completing it together is very important to the three of us. I began this review of our adventure wondering, why we should do it. There is of course no definitive answer but the process of walking it and its effect on our senses, our relationships with people and how it has informed an understanding of ourselves is something very special. We have lived it.


 The happy three of us standing on the beach at Robin Hoods Bay.

                                                                                         

Tuesday, 11 August 2015

TEA CUP...maybe!!!!!


A definition of what good design is as difficult to come by as a definition for what the word, art, means and art is impossible to define really. Here are a few attempts.
“Good design is not just what looks good. It also needs to perform, convert, astonish, and fulfil its purpose. It can be innovative or it might just get the job done.”
“A good design cannot be measured by a finite way – multiple perspectives are needed.”

“A good design is always the simplest possible working solution.”
Statements taken from Dieter Rams: ten principles for good design.

Also
“Design is the way we decide how we want things to be. Everything we make is designed by somebody. So the question is not whether we need or can afford design. It’s whether design is good enough.
Richard Simmons Chief executive, CABE (Commission for Architecture and the Built Environment)
And
“The stock answer is that good design is generally a combination of different qualities - what it does, what it looks like, and so on. But as our expectations of design change, so do those qualities and the relationship between them.”
 Alice Rawstham (design critic) writing in the New York Times, June 2008

There are many more sources where definitions of good design can be found but these, I think, cover the generally accepted ideas even though they are merely generalisations. It is difficult to pin down a truly satisfactory definition maybe because new designs to solve new problems are always being created. Especially with modern technologies new things never seen or imagined before are being created. 
Roughly speaking then, good design is about ensuring something is able to do a job well. It can be easily  used for its purpose. Often, just by looking at a well-designed artefact, you can see immediately what it is for. A side effect of a well-designed artefact is that it has elegance and beauty. Maybe that is what beauty is, if something works well and does a job it is beautiful and elegant.

Minoan cups from about 1500BCE

This all leads to the moment when I walked into the rooms I and II on the ground floor of Heraklion Archaeological Museum during our recent holiday on Crete. Most of the museum has artefacts from the Minoan period, a very sophisticated Bronze Age civilisation that was centred on Crete and the island of Santorini before the catastrophic explosion of the volcano at Santorini in about 1450BCE. The Minoan Civilisation lasted from approximately 2600 to 1400 BCE. A lot of the artefacts come from Arthur Evans excavations at Knossos, the main Minoan palace on Crete but there were also many artefacts from the other Minoan palaces, country houses and temples located at Phaistos, Gallitos, Mallia and Hersinnosis. Rooms I and II have many pottery artefacts from Knossos. There in front of me was an elegant cup with a handle attached to one side, perfectly turned on a potter’s wheel, sitting there on a tray. It was ready to be used for afternoon tea  in one of Jane Austens drawing rooms. I felt immediately disoriented. How could this be?
This cup was 3,500 years old. Cups with handles looking identical to this one were designed for use in English drawing rooms in the 19th century. The tea trade with China brought with it tea bowls from China to drink tea from. However, the Britiish liked their tea hot and the design was adapted by adding a small handle to one side so we didn’t burn our hands. Drinking from saucers, to cool the tea, as an alternative, was quickly passed by. New manners and tea drinking conventions were created. A tea etiquette was created to go with teacups with handles that sat on small saucers to protect the varnished and veneered table surfaces they were placed on. But here was a tea cup that was designed well before the British Empire was thought of, long before tea drinking was even imagined, when here in Britain we lived in mud and thatched roofed houses, hunted with flint tipped arrows and were just beginning to create cast iron and bronze artefacts in small furnaces. We were a hunter gatherer society slowly settling into a more rural farming lifestyle.
The cups in Heraklion Museum were designed almost identically to the cups first designed in the 19th century. If we agree that design, using our earlier definitions, are for a given purpose then surely these Minoan cups must have been designed for a very similar purpose.

 A tray to hold six cups and a teapot? "Afternoon tea Jeeves!"
There were many examples of cups with handles in the Heraklion Museum. They are round in shape and taper from the top to the bottom getting narrower at the flat base. A flat base enabling the cup to stand on a flat surface without being unstable. From visual evidence the volume of liquid each cup could hold looked about the same as a 19th century or modern cup will hold. In one display cabinet there was a circular tray with holes in it to rest a series of cups on. This suggests they were used when a group of people gathered for some purpose somewhat like afternoon tea with a group of friends. The small round handles attached to one side suggest that the cups were held in the same way as their modern counterparts. I can just imagine an ancient Minoan, man or woman, sticking out their little,”pinky,” and delicately raising the cup to their lips. "Pleasant weather we are having Elizabeth."
 In the 19th century the handle was a necessary design feature because the liquid inside the cup was hot. I can only guess that the liquid the Minoans drank in these cups must have been hot too. However, I am sure it was not hot tea. I decided to find out about  the Minoan diet and maybe discover if there were any drinks they might have drunk hot. Surprisingly, nowadays scientists can discover what ancient people ate and drank from their eating and drinking vessels. Scrapings from the inside of containers can be examined and their molecular structure can reveal what foods and drinks had been used in them. The Minoans drank a variety of wines produced on Crete but also imported from around the Mediterranean. Of course they ate olives and used olive oil in their cooking. They sweetened their food with honey. They also made a form of mead using honey. Interestingly I discovered that Herodotus, the Ancient Greek historian, living about 500BCE, wrote about the drinking of mulled wines and meads. Mulling a wine involves adding spices and herbs to a drink and then heating it until it is hot. This was the only mention of a hot drink in the ancient world I could find. We know wine drinking and mead drinking was popular amongst the Minoans so why wouldn’t they mull their drinks? A,”tea cup,” with a handle would be ideal to drink hot mulled wine from.
"Will you pour or shall I?"
One more thing. Drinking a hot drink from a cup with a handle solves one problem. However, the hot drink has to get into the cup. In the 19th century and nowadays we use a tea pot, with a lid and a long spout enables us to poor  the steaming liquid accurately into the cup. A large handle, large enough for our hand to hold the teapot firmly is placed to one side of the teapot to make it easy to  lift and pour. So what about the Minoans and their hot drink? They would want to pour it accurately and carefully into each cup on their tray too before serving. Yes, they designed a ,”teapot,” with a spout and handle. Amazing!! Their teapot looks a much better designed pot than our version. Claris Cliffe herself would have been proud of designing the Minoan teapot.
I am sure Jane Austen would approve.





Sunday, 9 August 2015

TOOTING FOLK AND BLUES FESTIVAL

The audience gathering at The Tooting Folk and Blues Festival.

It seems that I have been hearing about the Tooting Folk and Blues Festival as long as I can remember. Gabriel, a good friend of mine, has been planning this event with Ellen, his daughter, for the last year or two. The festival is the legitimate offspring of their much lauded folk nights at The Breathing Room held at the back of the Antelope Pub just off Tooting Broadway on the last Sunday of every month.
Now Ellen Harrison and Gabriel Mesh have achieved their dream. 

The proud organisers Ellen and Gabriel.
The festival took place on Saturday afternoon the 8th August in a setting that belies the fact that this was South London. The event location was in a beautiful corner of Tooting Common just along the road from Tooting Bec station.  A setting with large glorious oaks and bordered by poplars and low shrubs. The birth pains are over with a delivery as sunny and joyous as the blue skies and warm sunshine that graced the festival on its first outing.

Marilyn and I arrived early. There were mums and dads with young toddlers settling down on their blankets dispersed around the large grassy area. A relaxed family orientated atmosphere was beginning to be formed. Food stalls surrounded the arena area. There were the smells of delicious kebabs, Korean barbecues, various burger grills heating up and vegetarian stalls. The stage area and Green Room tent were located at one end.

I was sitting on the grass in front of the stage. As the minutes passed by before the first act at 1pm, approached, I looked around. Where there had been a few groups of people, families and friends, there was now a large crowd forming and as the event progressed more and more people joined the crowd  from all points of Tooting Common. By the time the music began there were at least two thousand gathered and this number was added to as the afternoon progressed. There was a buzz of voices, people enjoying themselves and relaxing. As the afternoon unfolded toddlers danced, sometimes even moving to the beat and sometimes, in a totally unaffected way, approached the stage. Some mums in floaty dresses did impressions of a hippy past taking great joy in performing loose limbed dances like strands of wheat in a gentle breeze. Their little children laughed.

The beer tent provided by The Antelope Pub did a very good trade. The queue stretched far back along one side of the arena area for most of the afternoon. They had five staff on the bar and I think this is something that could be expanded next year. Two beer tents perhaps? I had three pints of the local Wandle brew which created a very pleasant sensation.  


Steve Morrison,opening the  first Tooting Folk and Blues Festival.

Some of the musical highlights included the opening set by Steve Morrison. He made the excuse that he was starting the event because he had another gig to go to later. However, I am sure the crowd got the feeling after a while that he so much enjoyed playing to such an appreciative audience in such beautiful surroundings under  a blue warm sky that he was regretting having to depart later. I think he realised that he was the first act in an event that was important and going to be important for the future. Steve played his version of delta blues, Muddy Waters and Howlin' Wolf style. There were some Eric Clapton riffs in there too.When, inadvertently, one of his guitar strings broke and he had to leave the stage for a few moments to replace it  the excellent professional stage crew slipped in a few  blues tracks and just as slickly, faded their sounds  out  as soon as Steve rejoined us.  He created a rich fruit cake of moods that tickled your arm pits and punched you in the guts, occasionally, both at the same time.

The one and only Gabriel Mesh.

The great Gabriel Mesh performed an iconic set in the middle of the afternoon. Gabriel’s exciting and brilliant guitar riffs and techniques pervaded the arena creating a kaleidoscope of  fantastic sounds. He performed his wonderful eclectic collection of self-written and well known numbers. His songs are often personal, especially those penned to his, “special lady.” His voice has an elastic quality bending notes from a deep guttural base to a high invigorating flute like pitch.

Other great performances included the Case Hardin band with their electric blues ; a mixture of insistent electric guitar riffs overlying some stomach churning drum beats. 

Wizz Jones performing.

The wonderful, hoary headed, hunched form of Wizz Jones, his white shock  of unkempt hair like a sparkling explosive November the 5th firework graced the stage towards the end of the afternoon with his famous  mix of blues numbers. In one song he reminisced about his father who was awarded the Burma Cross.  His wonderful guitar playing was overlayed by his clear lyrical voice pushing through the air like a forceful breeze. He was backed at times by  his son, Simeon Jones,a talented  musician who added some Gerry Rafferty style saxophone and  Jethro Tull type flute chords. An exciting and interesting collection of musical delights.

To complete a fantastic afternoon, other wonderful performances included the brilliant Niall Kelly Band, The Bara Bara Band, both groups stalwarts of the Breathing Room nights, Whom By Fire, who I have also seen at the Breathing Room alongside Chaz Thorogood and Garry Smith. There was not one under par performance. They were all incredible.

The atmosphere at the whole event was relaxed and fun. I can only imagine that all those who attended will tell their friends. The local press was there to report on the festival. I hope Croydon Radio will invite Gabriel and Ellen back to tell the wider world about the events great success too. I spoke to the two members of the parks police who were obliged to attend. I commented on what a wonderful event it was and how friendly and happy everybody seemed to be. They agreed with me. They said that they will report back to the council. Both of the constables could not see why Gabriel and  Ellen should not get council funding  in the future. They also suggested that lottery funding would be possible. I know Gabriel and Ellen found it tough to get enough funding this time and are so grateful to The Antelope, Daniel James, the Pearl Chemist Group and the Tooting Daily Press for the bulk of their funding this time.

Everybody who I have talked to thinks that this event is the start of something important.  I fully agree with that. Events like this one are important for our community.  I am looking forward to the Tooting Folk and Blues festival, next year.



Monday, 13 July 2015

THOMAS and WILLIAM DANIELL and THE ROYAL PAVILION BRIGHTON

The Royal Pavilion, Brighton.

Thomas Daniell was born in 1749 in Kingston upon Thames in Surrey. His father was the landlord of the Swann pub in Chertsey, a few miles from Kingston. He was born in the same year as Charles James Fox, the great Whig politician and adversary of William Pitt the Younger. Fox lived in Chertsey in the latter part of his life.. I am sure the two never met, partly because of their differing backgrounds and also because their respective occupations were so very different. Thomas had an artistic talent. He spent his early career as an heraldic and coach painter. He became a member of the Royal Academy but found it hard to establish himself even though he exhibited over thirty works, paintings and illustrations at The Royal Academy between 1772 and 1784.
In 1785 he decided to try his luck in India. He got permission to travel to India from The East India Company. He took with him, as his assistant, his young sixteen year old nephew William Daniell. William Daniell had been born in 1769 and also resided in the Swan Inn in Chertsey, his father taking over the tenancy from Thomas’s father. The two left from Gravesend on the 7th April 1785 and they arrived in Calcutta in early 1786.Thomas kept a detailed journal of their time in India and it is through this journal that we can follow their tours and know exactly where they were on given dates.
Thomas immediately took an advertisement out in The Calcutta Chronicle. It stated his intention to publish a set of views of the city created by etching and aquatint.. He completed twelve plates. Selling prints from these plates provided Thomas and William with the money to set out and tour India.
In September 1788 the Daniells toured Northern India setting out by boat along the Ganges. They set off initially for Murshidababd and went on to Bhagalpur where they stayed for a while with Samuel Davis of the East India Company. They then went on to Kanpur and then overland to Delhi visiting Agra, Fatehpur, Sikri and Mathura. The following April they went to Srinager. Uttarkhand and on to Gharwal in the Himalayas. They sketched and painted temples, palaces, tombs and the scenery wherever they went. They held a lottery in Calcutta for their finished work. The fact the lottery raised enough money for their further exploits shows that their work was admired and its importance recognised. People were prepared to buy lottery tickets knowing they only had a small chance of obtaining one of the original pictures.  The Darnell’s must have held an exhibition of their work for all the people buying the lottery tickets to see the paintings. They used the funds to tour south.

By February 1792 the Daniells were back in Calcutta. On the 10th March 1792 the Daniells left Calcutta once more for Madras which they reached on the 29th March. They hired servants and then followed the route of the British Army the year before. The British had defeated Tipu Sultan. By January 1793 they were back in Madras.
A final tour took Thomas and William through Western India from Madras to Bombay. They eventually left India in May 1793 and arrived back in England in September 1794.



 William Daniell

Once back in England their main priority was to publish acquatint prints of their paintings of India. William worked extremely hard and worked for the next seven years from 6am in the morning to midnight perfecting his techniques. The Daniell’s great work, “Oriental  Scenery,” was eventually published between 1795 and 1805.They consisted of one hundred and forty four coloured acquatints and six uncoloured title pages. The cost of one set was £210. The publication was a success both financially and artistically. Thirty sets were sold to The East India Company and there was a further order of eighteen. Some of the acquatints were based on the drawings of James Wales showing the Caves of Ellora. Each plate was etched by the two Daniells, uncle and nephew.
Much of the buildings they painted in India were those of the Mughal Empire which was situated in northern and central India. The Mughal emperors brought together Persian, Indian and local designs. They were a Muslim nation who followed Islam. Muhammed was their profit and their lives were governed by the Quran.  Human,, animal and living things could not be represented in art or architecture. This had not been written in the Quran but the Muslim worlds contact through war and trade with the Christian world with its art and architecture considered western art forms idolatrous to the thinking of Muslims. With this clash of cultures Islam formed its rules against the portrayal of living things. The architecture, the Daniells painted, comprised of mostly holy places such as mosques and royal palaces, the great buildings of the Mughal Empire which reflected these beliefs. Their architecture encompassed intricate, geometrical design that intrinsically was not influenced by living nature. However it is easy to see leaf and plant forms in many examples of Muslim architecture. Whether this is accidental or intentional I am not sure. Architecture was put to practical uses and the needs of the people. It was influenced by the landscape and climate.  Intricately designed latticed stone screens created spaces and allowed air to flow through to cool the space. They wanted large spacious prayer halls in their mosques so that large groups of people could gather. The idea of domes to provide roofs over these large spaces was formed. Domes are also good for circulating air so helping to keep the space below cool. Minarets were constructed so that mullahs could send their prayers and their call to prayer out to the surrounding world. In the 18th century, nothing like this had been seen before. Architecture, whether western or eastern, modern or ancient always has a purpose.
One particular building the Daniell’s painted and has become the epitome of Persian and northern Indian architecture is the Taj Mahal. They were probably amongst the first western artists to draw and paint it. It was created by the Shah Jahan I the first half of the 17th century. This period marked the emergence of Persian architecture in India. The use of the double dome, recessed horse shoe shaped archways, a perfect symmetry and balance between the different parts of the building and the setting within formal gardens. These features, portrayed in the Daniell’s paintings were to have an influence not imagined by the Mughals in India.

A painting by Thomas Daniell.

The Daniell’s hard work and efforts were a great achievement. They showed Indian architecture to the England of the 18th century. They played no small part in the west’s understanding of the east. However their work was also bastardised and misused. George IV as Prince Regent had a holiday home in Brighton. He was extravagant, indulgent and indifferent to the opinions of others. In 1787, the architect Henry Holland extended the original lodging house  the prince used, into a neoclassical building called the Marine Pavilion.George was a lover of French decorative art but also Chinoiserie, a style influenced by China. The captains of tea clippers often brought examples of furniture and pottery from china along with their cargo of tea. The style took off in 18th century England and George was a great advocate.  He employed Crace, the firm of interior decorators to furnish his marine pavilion with Chinoiserie. At about the same time George had the magnificent stables next to the pavilion, built in the Indian style of architecture and designed by William Porden. The stables dwarfed the Marine Pavilion. George turned his attention once more to pavilion. He wanted to build a new pavilion. He chose the architect John Nash who proposed an Indian style to match the stables complex. Nash was also influenced by Humphrey Repton who had ideas for a formal Indian garden. Of course the illustrated book of Indian Architecture, “Oriental Scenery,” by Thomas and William Daniell had been published at that time too. Nash plundered ideas from their book. He was provided with all the design ideas he needed.

The Taj Mahal by Thomas Daniell.

If you study the Royal Pavilion at Brighton today you can see how the Daniell’’s paintings influenced the design. Many of the features of the pavilion can be seen in the Taj Mahal. There are domes covering spacious areas beneath. A number of minarets are interspersed between the domes. The surfaces are covered by intricate geometric designs, some of them plant like. Latticed stone archways create shaded cool spaces along one side of the pavilion. Latticed balconies and symmetrically arched windows adorn the outside. However,in the case of the Brighton Pavilion the large spaces the domes surmount were used for profligate activities. In identical spaces in Indian mosques prayers would be intoned. At Brighton lavish, gluttonous feasts would be held, brandy and wine fueled balls would take place and women lusted after by misogynistic men. Where the call to prayer at the top of  Indian minarets was intoned at Brighton the smoke from coal fires, warming the Royal Pavilion, poured out into the atmosphere. The contrast between the two purposes was stark. 18th century England discovered many cultural elements of the east but it is not sure they understood or empathised.

The rear of The Royal pavilion Brighton.  
The surrounding gardens originally designed by Humphrey Repton.

There are some dire consequences and dangerous resonances today caused by our  inability to understand and empathise with other cultures.  The fear caused is palpable.


References: