Wordless Wednesday is a simple blog post featuring a photo. It seeks to convey a message, but speaks for itself without using words. Mrs P took this photo of a Grizzly Bear snacking on salmon at Brooks Falls in Alaska in 2009
What is it about trains, particularly steam engines, that so captivates the imaginations of young and old alike? Many youngsters love playing with model train sets, “driving” their tiny trains around circuits of track in their bedrooms or a convenient garden shed. Just a bit of harmless fun for kids, you probably think, keeping them entertained when school’s out and foul weather makes it impossible to play outside.
Only for some of those kids the fascination never goes away, and they’re still mucking about with trains when their childhood is just a distant memory. For some folk, trains are the ultimate “big boy’s toy.”
Last summer we visited the Leatherhead Miniature Railway, which is run by the Surrey Society of Model Engineers. The society was formed by enthusiasts in 1978, and has since grown in size and ambition. Its website boasts that “we run miniature trains, with guards, station masters, a ticket office, ticket collectors, and refreshments.” Clearly the big boys – who are all super-keen volunteers, of course – are fond of dressing up as well as playing with their toys!
The society holds around a dozen open days each year when, for a small fee, members of the public can admire the volunteers’ handiwork and take a ride on one (or more!) of their trains. When we visited, the railway was doing great business. Kids were loving it. Their adult carers were no less thrilled, and were probably grateful that looking after the kids gave them a chance to relive their own childhoods without any embarrassment.
The Leatherhead Miniature Railway is clearly run by eccentrics on behalf of other eccentrics, meaning that a great time is had by all. Long may it continue.
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A bit later in the year, and nearly 400 miles (640km) north of Leatherhead, we paid a visit to the Heatherslaw Light Railway in Northumberland. As a 15-inch (38cm) gauge railway it’s a good deal larger than the Leatherhead Miniature Railway, but it still counts as a “big boy’s toy”, not least because it began life as the brainchild of just one man, model railway enthusiast Neville Smith.
Neville was an engineer who had built smaller locomotives in the past, but harboured an ambition to up his game by building a passenger-carrying railway in 15 inch narrow gauge. His dream came to the attention of Lord Joicey, owner of the Ford and Etal Estates in Northumberland. Joicey was looking for an initiative that would encourage more tourists to visit his estates, and he quickly recognised that Neville might have the answer.
In 1989 Lord Joicey and Neville Smith agreed to work together, and the result was a Light Railway connecting Heatherslaw village and Etal castle, a round trip of around 4 miles (6.4km). Today, hourly services run during the tourist season, as well as Santa Specials in December. Steam and diesel locomotives haul vintage-looking wooden passenger coaches, some of which were originally built on site by Neville himself.
The Light Railway has not been without its problems. The track runs along the banks of the River Till, and although this gives passengers some attractive views of the Northumberland countryside and Cheviot Hills, it is prone to flooding. The floods in 2008 washed away part of the track and caused major damage to some of the locomotives and rolling stock. For a while the future of the whole railway seemed in doubt, but the combined efforts of its management, staff and friends ensured that closure was averted.
The popularity of the Heatherslaw Light Railway, as demonstrated by the hordes of happy passengers during our visit, proved once again the enduring popularity of railways with adults and children alike. Big Boys (and Big Girls too, for that matter!) have no intention of being separated from their toys any time soon.
Wordless Wednesday is a simple blog post featuring a photo. It seeks to convey a message, but speaks for itself without using words. This photo shows Drygrange Bridge (foreground) and Leaderfoot Viaduct (behind) crossing the River Tweed near Melrose in the Scottish Borders, was taken by Mrs P in September 2024.
Rats have always had a bad press. When, around 60 years ago, our pet cat gifted my mother a dead rat and expected to be praised for his hunting skills, mum lost it completely, freaking out in a way that I never witnessed at any other point in her life. And when, in the 1932 film Taxi, James Cagney famously addressed Buck Gerrard as “you dirty yellow-bellied rat”, it was not a term of endearment! No one, it seems, thinks highly of rats.
This branch is just a metre above a bird table. Within seconds of this photo being taken, the rat was down and snacking enthusiastically.
Just why is it that rats are so widely loathed and feared? Their perceived connection with disease has a lot to do with it. Rats have long been associated with plague, their fleas being held responsible for the spread of the Black Death that wiped out one third of Europe’s population in the mid-14th century. Except it’s not true, as recent research has shown. The Black Death was mostly spread by human lice and fleas. So if any species deserves to be loathed and feared because of the ravages of the plague, it is presumably us and not the poor old rat!
Rats are also associated with filth – witness Cagney’s reference to a dirty rat. Wrong again! The rat is by instinct a clean critter, and will immediately start to groom itself if its fur gets dirty. Of course, some of the places in which rats hang out are themselves dirty – sewers, rubbish dumps and so on. But hey, we’ve all got to live somewhere, and at least – just like cats – rats work hard to keep themselves clean.
The James Cagney quote also implies that rats are mean, callous animals. But this too is a misconception: research has shown that rats demonstrate emotional intelligence, and are strongly supportive of one another within their social groups.
Historically, rats have also been feared for the threat they pose to human food stocks, particularly grain stores. In the famous German folk-tale, the Pied Piper of Hamelin was hired to deal with just this problem. It is a conflict of interests that is probably less of an issue today thanks to modern bio-secure storage systems, although admittedly that may well not be true in the developing world.
And if rats move on from our grain stores to dine out instead on the take-away food that our species carelessly throws away in the streets, so be it. The solution is simple: don’t buy what you can’t eat, but if you get this wrong then at least dispose of your unwanted fries or burger or kebab somewhere that wandering rats can’t get at it. Scavenging behaviour amongst rats is for them a matter of survival; thoughtless littering by members of our own species is simply a matter of lazy selfishness.
With human food stores no longer available to them, some rats now turn to bird food. The only rats I ever see are grazing on or around bird tables and feeders, nibbling enthusiastically upon the food people have left out for their avian friends. Mrs P’s photos clearly illustrate this behaviour. It upsets some birders, but I regard it as a privilege to be able briefly study an animal that is otherwise largely hidden from me. The rats don’t hang around for long, and the birds are soon back. Everyone’s a winner.
Away from the bird table it is true that rats can be a threat to birds, disturbing nests, driving away parent birds and predating eggs and chicks. The problem is most serious on islands with no history of rodents. On such islands, if rats arrive and become established – normally thanks to the folly of humankind – the effect on seabird colonies can be devastating. In such circumstances the only way to save the birds is to eradicate the rats, a project that is lengthy, laborious and expensive. It can be done, however, as was demonstrated when invasive rats – which had arrived as stowaways on ships – were finally eradicated from Lundy, a small island off the Devon coast in the south of England.
Although their effect on bird colonies cannot be denied, rats can also be beneficial to wildlife. The African Giant Pouched Rat, which is native to the savannahs of southern Africa, can be trained to assist in the prevention of wildlife crime by using its acute sense of smell to detect smuggled ivory, rhino horn and pangolin scales. Cheaper to train than sniffer dogs, and able to operate in spaces that are inaccessible to canines, these so-called “hero rats” are an important new weapon in the war for wildlife. They have also been used elsewhere in other innovative ways, including the detection of landmines and tuberculosis pathogens.
Rats are intelligent animals, more complex than they appear at first glance. They will always be controversial. I hate the devastation they cause in some island seabirds colonies, and accept that their presence in our well-ordered 21st century lives may sometimes be unsettling. But the rats are only doing what comes naturally for them, and from an evolutionary perspective they are doing it rather well. Overall, I would suggest, they are not nearly as bad as popular culture and urban myth would have us believe. And so, ladies and gentlemen, let’s hear it for rats!
Viewed from the outside, Lady Waterford Hall in the tiny Northumberland estate village of Ford is unremarkable, pretty enough in its own way but easily forgotten. Take a look inside, however, and everything changes. The Hall’s interior is extraordinary, the walls lined with a series of outstanding watercolour murals featuring Biblical subjects. Perhaps even more surprisingly, this magnificent work of art was once the village schoolhouse.
The murals were painted in life-sized watercolour on paper stretched on wooden frames or panels, which were then washed with distemper to tighten them before being mounted on the walls. Louisa painted them in her studio at Ford Castle. .
The schoolhouse and its 16 massive murals were a decades-long project of Louisa Anne Beresford, Marchioness of Waterford (1818-1891). Her well-connected father was appointed British Ambassador to France in 1816, and Louisa spent much of her childhood in Paris. Given her high society background it was no surprise that she married well in 1842, when she got it together with Henry Beresford, 3rd Marquess of Waterford.
The exterior of Lady Waterford Hall offers no hint of the marvels to be found within
Louisa spent most of her married life at her husband’s family home in County Waterford, southern Ireland. When he died in a riding accident in 1859, he left Ford Castle and its estate in Northumberland to his widow. She was clearly a kind and caring person, and as such she wasted no time in turning the redevelopment of Ford village, and the welfare of her tenants, into her “great experiment”.
Jesus Midst the Doctors (Luke, ch.2, v.46)
Building a schoolhouse for the village children was one of Louisa’s priorities. Work began in 1860, but did not end with bricks and mortar, nor with desks and blackboards. She was an accomplished artist who had received some tuition from the Pre-Raphaelite master Dante Gabriel Rosetti, and she decided to use her talents to paint a series of magnificent murals to help decorate the school’s interior walls.
Left: Moses and Miriam (Hebrews, ch.11, v.23). Right: Samuel and his Parents (1 Samuel, ch.2)
As well as showcasing Louisa’s artistic abilities, the murals’ religious theme enabled her to shine a light on her deeply-held Christian beliefs. Her paintings were intended to act as a teaching aid, encouraging pupils at the school to learn from the moral lessons underpinning the Biblical stories she depicted. In an attempt to make these seem more relevant to their intended audience, she used local estate workers, villagers and children as models for the people featured in her paintings.
Joseph sent to his Brethren (Genesis, ch.1, v 14)
The murals took Louisa just over 20 years to complete, and one can only imagine the pupils’ wonder as they watched their school gradually morphing into a wondrous art gallery. The building continued to operate as the village school until 1957, meaning that several generations were able to benefit from her efforts.
The Child Saviour (Luke, ch.2, v51)
Today known as Lady Waterford Hall, the former schoolhouse is now managed by a charitable trust which aims to preserve the building and the collection housed within it.
Left: The Sacrifice of Cain and Abel (Genesis, ch.4, v.7). Right: Abraham and Isaac (Genesis, ch.22, v.7 & 8)
In addition to its current role as an accredited museum that celebrates Louisa’s artistic legacy and philanthropic endeavours, the building continues to serve the local community by acting as the local village hall. Until we visited a few months ago I had never heard of Louisa Beresford nor encountered any of her work; from what we witnessed and learned during our time there, she clearly deserves to be better known.
Wordless Wednesday is a simple blog post featuring a photo. It seeks to convey a message, but speaks for itself without using words. This photo was taken by Mrs P at Thornham Marsh, in the English county of Norfolk, in April 2019.
It snowed overnight on Saturday. No surprise there, the forecasters had been banging on about the possibility for days, but there was not nearly as much “white stuff” as they predicted. Certainly not enough to build a snowman, but who cares – we had our fill of snowmen a few weeks ago, and spotted some snowdogs too, when we explored a couple of local sculpture trails organised by Wild in Art.
Eight Maids a-Milking, by Donna Newman
Both trails were inspired by the work of Raymond Briggs (1934 – 2022), a notable illustrator of children’s books. The Snowman was first published in 1978, and remains his most celebrated work. It is a story told entirely without words, relying instead upon a sequence of simple pencil crayon illustrations.
Eleven Pipers Piping, by Sue Guthrie
The Snowman is a magical tale of a boy who builds a snowman in his garden and is astonished when his creation comes to life at the stroke of midnight. Boy and snowman play together happily, but without making a sound to avoid waking the boy’s parents. Later, after a shared candlelit feast, the loveable snowman flies through the air above the snowclad English countryside with the entranced boy held tightly under his arm.
Seven Swans a-Swimming, by Laura-Kate Chapman
When their flight is over the pair return home, the boy to his bed and the snowman to the garden. Upon waking the next morning the boy rushes into the garden to re-join his new best friend, but a thaw has set in and the snowman is little more than a pile of slush. It’s a sad end, a reminder that nothing is forever and that all things must pass, but the abiding memory is of the cheerful, chubby, larger-than-life character of the snowman.
Four Calling Birds, by Laura-Kate Chapman (the other two are on the snowman’s back!)
Such was the impact of Briggs’ enchanting story that in 1982 it was adapted into a 30 minutes long animated film for television. The film caught viewers’ imagination and brought The Snowman story to a whole new audience. It has been repeated regularly ever since.
Twelve Drummers Drumming, by Sue Guthrie
Today the loveable snowman is a Christmas icon, recognised by one and all, so it was no surprise to see Briggs’ creation starring in a sculpture trail at Clumber Park, Nottinghamshire, during the final weeks of 2024. The trail featured a series of sculptures of our hero, his ample body covered with designs inspired by the ever-popular festive song “The Twelve Days of Christmas”.
Six Geese a-Laying, by Matilda ElizabethPartridge in a Pear Tree, by Donna Newman
As I’ve written previously about similar Wild in Art sculpture trails that we’ve followed in recent years, this one wasn’t about sophisticated art or high culture. It was nevertheless a great way to get into the Christmas spirit, to throw off the miseries that Covid had inflicted upon us just a couple of weeks earlier, and to have some much-needed fun.
Five Gold Rings, by Adam PekrTwo Turtle Doves, by Megan Heather Smith-Evans
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The impact of the original snowman film was so great that canny television executives craved a sequel. It duly came to pass in 2012. Raymond Briggs gave The Snowman and the Snowdog his blessing, although he was not personally involved in the project. The story introduces a brand new character, a snowdog, who enjoys a series of magical adventures alongside the snowman and the boy.
Ru Dog, by Donna Newman
The snowdog inspired his own sculpture trail in October 2024, in the elegant Derbyshire town of Buxton. If I’m honest, this one was not quite up to the standard of the snowman trail that we visited a few weeks later, with several of the designs seeming a little lacklustre. Nevertheless tracking down the snowdog sculptures was a good excuse for a day out, free entertainment in a part of Derbyshire that we really should try to visit more often. Later in the year, maybe…
Clockwise from Top Left: Rosy Posy by Jessica Perrin; Elf, by Amanda Quellin; Starry Night, by Benjamin Fowler; Sparky, by Wild in Art; Ginger, by Donna Newman; Gizmo, by Wild in Art; Roodle, by Easy Grass.
With the Big Day fast approaching, and our recent encounter with Covid weighing less heavily upon our bodies, we decided to make one more attempt to get into the festive spirit by checking out the Christmas decorations at Wentworth Woodhouse in South Yorkshire. I’ve written previously about Wentworth Woodhouse, one of England’s grand stately homes, which is being rescued from a state of near ruin by a determined Preservation Trust.
The theme for Wentworth Woodhouse’s Christmas 2024 decorations was “A visit from St Nicholas”, based on a nineteenth century American poem. Beyond the first four lines (“Twas the night before Christmas, when all through the house, Not a creature was stirring, not even a mouse.”) it’s not a poem I know at all well, and the connection between it and the lights display was largely lost on me at the time.
But who cares, the lights were bright and colourful, and the scattering of highly decorated fir trees – with wrapped presents piled up beneath – left us in no doubt that Christmas was indeed upon us. This has been a tough year in so many ways and I’m grateful, therefore, for the couple of hours of innocent escapism that Wentworth Woodhouse’s Christmas decorations offered us. It wasn’t sophisticated, it wasn’t artistically challenging, it wasn’t – in any sense of the term – “high culture”, but it was fun, and don’t we all need a bit of that right now.
And with that thought, it’s time for me to sign off for 2024 by thanking anyone out there who ever reads or comments on this blog. Your continuing interest has helped keep my spirits up throughout another challenging year. It’s my absolute pleasure to wish you a Merry Christmas, and Happy & Healthy New Year. See you in 2025, guys!
Watching wildlife is addictive. Over several decades Mrs P and I have travelled the world to get our fix of animals and birds that we had no hope of ever seeing in the UK. Take Great White Egrets, for example. When we started our quest, they were impossible to find here. We encountered them first in the USA and India, and were well pleased with our achievement. And yet today we see them regularly in wetland habitats across the UK. The Great White Egret is exotic no longer.
At Nalsarovar Bird Sanctuary, Gujarat, India, 2013
The Great White Egret is a large, white heron. It is easy to distinguish from the Grey Heron, a species familiar to birders throughout this country, but can be confused with Little Egrets. The Little Egret is, as its name suggests, a good deal smaller than the Great White Egret, and has yellow feet and a black bill – the Great White, meanwhile, has black feet and a yellow bill. Confused? Me too! Numbers of Little Egrets have surged in recent years, something I wrote about in this post from 2021.
Seen in Texas, USA, 2012
Until around 15 years ago, Great White Egrets were impossibly rare visitors to these shores, and few birders ever got to see them. All that has now changed. The bird had been slowly expanding its range northwards and westwards in Continental Europe for some time, and around 2010 finally began to make the flight across the English Channel to see what the British Isles had to offer.
Great White Egret alongside the more familiar Grey Heron, at RSPB Blacktoft Sands Nature Reserve, East Yorkshire, 2024
The key drivers behind the expansion in Continental Europe are unclear. Possible explanations include improvements to habitat, reduced persecution, and – inevitably – climate change.
At Attenborough Nature Reserve, Nottinghamshire, 2021
Whatever the reason, British birders are clearly beneficiaries. Accurate, up-to-date population data is difficult to track down, but it appears that overwintering Great White Egrets now number at least 100 individuals. They are most frequently found in south-east England and East Anglia, but are moving steadily northwards and can now also be seen in Scotland too.
At RSPB Welney Nature Reserve, Cambridgeshire, 2022
The species first bred in the UK in 2012, and there could now be more than 20 breeding pairs spread across the country. There is every likelihood that numbers will continue to grow for years to come, meaning that Mrs P and won’t be returning to the US or India when we feel the need to re-acquaint ourselves with this handsome heron!
What’s the point of museums? Maybe they exist to remind us, as novelist L. P. Hartley explained in The Go Between, that “the past is a foreign country; they do things differently there”. Museums reveal the weird and wacky ways of our ancestors, and in so doing make us grateful we’ve not had to live like that. We don’t expect to see our own lives on display in a museum.
Street scene from Beamish 1950s Town
A couple of months ago Mrs P and I made a return visit to the Beamish Open Air Museum in County Durham, a “living, working museum that uses its collections to connect with people from all walks of life and tells the story of everyday life in the North East of England.” Since our last visit in 2019, they’ve opened a major new exhibit: The 1950s Town. And this was where Beamish Museum got spooky – I was born in the 50s, and many of the items on display seemed achingly familiar. I was home again, in a land I’d all but forgotten.
The 1950s Town comprises several houses dressed and furnished in the style prevalent at the time. Walking through them I feel as if I’m back in my dear old grandmother’s West London terrace, the living room with its tedious wallpaper, chunky brown furniture and a curvy clock ticking happily on the mantelpiece; the kitchen with its plain, glass-fronted cupboards, “Belfast sink” and shiny white enamelled cooker. I almost expect her to walk through the door and offer to make me a bread pudding, one of my childhood favourites. Yes please, nan!
Achingly familiar. My grandmother would have felt at home here.
There is also a reconstructed street comprising shops and similar outlets, done out in 1950s style. These include a music shop, displaying vinyl records and various electrical appliances that must have been state-of-the-art back in the day. There was no streaming back in the 50s, no Spotify, no Amazon! How did they ever manage, we wonder ironically?
In the 1950s / early 1960s stuff like this would have been the wonder of the age.
The street also houses a toy shop stocked with items that were popular with mid-century kids, and here I stumble across an item that takes my breath away. It must be nearly 60 years since I last saw or thought about my Bayko Building Set, “the fascinating never failing diversion for Boys and Girls”, but here’s one, staring back at me from its friendly yellow box.
Memories of my childhood. Oh, happy days!
Bayko was a construction toy based on plastic and metal components, and could be used to build little houses of various designs. Other kids in my class had Lego, but I had Bayko and I loved it. For a few months it was my go-to toy, and as I stand in the shop at Beamish the memories come flooding back. Oh, happy days!
I never managed to build anything as grand as this. But I could dream!
But how odd it feels, to see part of my childhood behind glass in a museum display cabinet. I can just imagine kids born a few years ago dragging their attention away from their mobile phones for a few moments to inspect the exhibit, then saying “Mummy, did children really play with THAT sort of thing? Did they? Really?”
And that, I think, is the scariest things about going to the museum – finding your own treasured past put out there for everyone to inspect, and then dismissed as boring or quirky or quaint. A reminder, if ever we needed one, that all things pass, and that stuff which today seems so important will eventually be regarded as odd and inconsequential. Nothing is forever,