Here in the UK autumn ends today, 30th November. Unless, that is, you subscribe to the notion that the seasons are astronomically determined, in which case you’ll need to wait until around 22nd December for the official start of winter. But as a cold wind whistles around the house and I look out at naked trees, a garden littered with fallen leaves and sullen skies devoid of swooping swallows, I know that autumn’s over. Sigh!
“Release“, cast in bronze by sculptor Leonie Gibbs, is flanked here by glorious autumnal foliage. We saw it at The Sculpture Park in Surrey.
After a difficult few months in which we found ourselves mostly confined to the house by wardrobe woes, the horrible heatwave and the Covid blues, autumn’s been a welcome opportunity to spread our wings a bit. When we visited Surrey and Sussex in October, a few trees were just beginning to turn. They made a perfect backdrop for the artworks at two sculpture parks we visited, and also for Arundel Castle and the Polesden Lacey Garden Cottage.
Left: “Release” and reflection in the lake. Top right: Arundel Castle in Sussex, viewed from its grounds. Middle right: Autumn foliage at the Hannah Peschar Sculpture Garden in Surrey. Bottom right: The gardens at Polesden Lacey Garden Cottage in Surrey.
Fungi were also much in evidence, a sure sign of the changing seasons.
In terms of its symbolism, autumn is ambiguous, a season of immense joy and unbearable sadness. On the one hand it is a time of plenty, ripening, harvest, and abundance. And yet, on the other hand, it represents decline, decay, old age, and the imminence of death. The colours of autumn are glorious, a celebration of life, but we know it won’t last. The golden leaves will inevitably fall and perish, and greyness will prevail. Autumn is the ultimate proof that All Things Must Pass.
Hidden amongst the autumn trees is “Inca” a one-off sculpture, hand forged from iron by sculptor Nimrod Messeg. We saw it at the Hannah Peschar Sculpture Garden.
But even though All Things Must Pass may sound depressing, it is, for me, a message of hope. Although hard times will soon be upon us, they too shall pass. Nothing is forever, and, in the fulness of time, spring’s awakening will be with us once more.
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Musical postscript
Forever Autumn, written by Jeff Wayne, Gary Osborne and Paul Vigrass, and sung here by Justin Hayward, is a plaintively beautiful love song in which autumn serves as a metaphor for despair and loss. The song features in Jeff Wayne’s musical adaptation of H G Wells’ War of the Worlds. Here’s a selection from the lyrics:
The summer sun is fading as the year grows old
And darker days are drawing near
The winter winds will be much colderNow you're not here
...Through autumn's gown we used to kick our way
You always loved his time of year
Those fallen leaves lie undisturbed now
'Cos you're not here
'Cos you're not here
'Cos you're not here
...
A gentle rain falls softly on my weary eyeAs if to hide a lonely tearMy life will be forever autumn
'Cos you're not here
'Cos you're not here
'Cos you're not here
Listen here, and gently weep for the loves you have lost…
Back in the early 19th century around 10,000 windmills graced this green and pleasant land. These days they’re pretty thin on the ground, but luckily my home county of Derbyshire boasts one fine example: Heage Windmill. Just a couple of miles up the road from Platypus Towers, it is a sturdy, reassuring presence in the local landscape, popular with locals and tourists alike.
Sadly, however, looks can be deceiving, and not for the first time the mill is currently in danger. Major repairs are urgently needed, so it’s all hands on deck to raise the money needed to get it fixed.
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The village of Heage (pronounced heej) lies 13 miles (21km) north of Derby. The name is a corruption of ‘High Edge’ and comes from the Anglo-Saxon Heegge meaning high, lofty and sublime. It’s therefore an ideal spot to locate a windmill, a fact that did not go unnoticed by an enterprising businessman in the late 18th century.
Reports in the Derby Mercury imply that construction of Heage Windmill began in 1791, and was completed by 1797. It had four sails, and as such differed little from a host of other windmills scattered throughout Derbyshire at the time. The local population was expanding rapidly in the early days of the Industrial Revolution, and with it the demand for flour. In the circumstances it seemed certain that the new mill would enjoy a long and busy working life.
But any structure that is deliberately located to catch the wind is inevitably vulnerable to being wrecked by it, so it should come as no surprise that in February 1894 the cap and four sails were blown off in a violent storm. Repairs were soon underway and Heage Windmill was reborn with its now familiar six sails, which would have provided more power to the millstones than the standard four sail configuration.
The repairs were doubtless well made, but the wind kept on blowing and in 1919 Heage Windmill was once again severely damaged by a howling gale. This time there were no repairs: the country was in a financial mess as it sought to recover from the horrors of World War 1, and wind power was in any case regarded as outdated technology.
The mill languished, unloved and unlovely, for some 15 years before being sold for £25 (USD 33). However, its milling days seemed to be over for good: the tower was used only for storage and fell into ever greater disrepair, a situation made even worse in 1961 when it was struck by lightning.
Heage Windmill’s fortunes began to change in 1966, when a legally-binding Building Preservation Order was placed on it. Two years later Derbyshire County Council stepped in to buy it for the princely sum of £350 (USD 456). Although this meant the mill was now in public ownership, finding the money to restore it to working order was – inevitably, I suppose – beyond the Council’s capabilities. The sails would only turn again a generation later, when the local community and a motley band of mill enthusiasts took up the challenge.
In 1996, with the Council’s support, the mill’s supporters formed a charitable trust with the aim of getting it going. Hope at last! But just a year later, as Heage Windmill Society was finalising its plans, lightning struck the tower once more. The mill’s supporters were devastated, their dreams seemingly in tatters.
Luckily this time the damage done by the lightning strike was not serious, and work to restore the mill soon recommenced. It was an expensive project, but the Society rose heroically to the challenge, raising nearly £450,000 (USD 588,000) from various sources. Their efforts, together with the hard work of countless volunteers, prevailed and Heage Windmill finally opened to the public on 1 June, 2002.
Job well done, you might think. And it was, but of course nothing lasts forever. In 2015/16 severe rot set in, and a major fund-raising effort was needed to sort it. The money poured in and Heage Windmill was saved again. I guess the Society thought it could finally relax, but it was not to be. Earlier this year further structural defects were identified, and they need rectifying urgently. It feels like we’ve been here before!
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Heage Windmill officially opened for the 2022 season just a few days ago, and there was a good turn out to see local television personality and celebrity auctioneer Charles Hanson cut the ribbon. But although the weather was uncharacteristically balmy and a fine time was had by all, everyone “in the know” probably had just one thing on their mind: how do we, once again, raise a vast sum of money to save our precious windmill?
It sounds daunting, but this is no time to be downhearted. Like Lazarus, Heage Windmill has a track record of rising from the grave. It’s an iconic landmark hereabouts, and as the only working six-sailed stone tower windmill in England it is also a building of national significance. Losing it is unthinkable. This iconic mill has survived countless misfortunes in its 225 years of existence, and given the scale of support that was evident at the official opening I’m confident it will be saved again.
Our county of Derbyshire has many exceptional stately homes, where ordinary folk like me can catch a glimpse of what life was like for the English super-rich before inheritance taxes prompted them to modify their extravagant lifestyles. Kedleston Hall, an 18th century Palladian and Neoclassical masterpiece now managed on behalf of us all by the National Trust, isn’t the most famous of these, but it’s definitely one of my favourites.
Rear of Kedleston Hall viewed from the Long Walk, with the C12th All Saints Church to the left. Note also the ha-ha, which is invisible from the Hall and stops wandering sheep getting too close.
Of course, when you’re obscenely rich, conspicuous consumption doesn’t have to end with your palatial mansion – when you’ve spent as much as bad taste will allow on alabaster, marble and gold leaf, you can always throw more of your wealth at the rest of the estate. Kedleston is a case in point. As you wander through the magnificent parkland in which the Hall sits, it’s easy to forget that this is an entirely man-made landscape.
Trees have been selected and positioned to add to the visual appeal of the parkland. The sheep help too!
Kedleston is the ancestral home of the Curzon family, who have lived in the area since the 12th century. Between 1759 and 1775, Nathaniel Curzon, 1st Baron Scarsdale(1726-1804) commissioned renowned Scottish architect Robert Adam(1728-1792) to design an opulent new mansion, flanked to the south and west by an elegant formal garden of trees and shrubs. Surrounding the Hall and garden, and separated from them by a ha ha – a sunken wall which was invisible from within and intended to keep livestock out – was a landscape comprising some 800 acres (324 hectares) of rolling, naturalised parkland.
Robert Adam’s fine three-arched bridge, one of the highlights of Kedleston’s parkland
Once there was a small village at the centre of the estate, clustered around the C12th All Saints Church. However in 1759, as was the custom of the time, the villagers were all evicted to ensure that Baron Scarsdale could go about his daily business on the estate without any danger of coming into contact with representatives of ‘the great unwashed.’
An idyllic landscape, now managed on behalf of the nation by the National Trust
The peasantry having been removed, it was time to set about taming the landscape. Adam put the stream that traverses the estate to good use, moving mountains of earth to create a series of scenic lakes and cascades. To cross the stream he built a fine three-arched bridge, and this remains one of Kedleston’s most impressive features. Other structures to adorn the parkland include a bath-house and a fishing pavilion, although several temples and follies proposed by Adam were never completed.
One of the civil engineering works required to create and manage Kedleston’s lakes
Robert Adam wanted his creation to be enjoyed from all angles, and to this end he designed the Long Walk, a winding three mile circuit through the estate, with views of the rear of the Hall and across the parkland. It was this walk that Mrs P and I embarked upon a few weeks ago.
The bath-house, designed by Robert Adam
The sun was shining, the birds were singing, lambs frolicked playfully under the watchful eyes of their mothers, and the vistas offered by the Long Walk were uniformly pleasing. After long months confined to our own modest house and garden by the Covid restrictions it was great to escape its confines and to enjoy the wide open spaces that the Kedleston estate offers.
Aaah, cute!
Robert Adam was without doubt a genius: both the Hall (which I shall write about in a future post) and the parkland lift the spirits enormously. But if you ever visit Kedleston do spare a thought for the local peasantry, who lost their homes so that this magical place could be created as an exclusive pleasure ground for Baron Scarsdale and his idle-rich buddies!
Although Dovedale’s only a fairly short drive from Platypus Towers we don’t go there often. It’s just too popular, the jewel in Derbyshire’s crown, always heaving with tourists and therefore devoid of the very peace and tranquillity that would be our reason for visiting this spot in the first place. But maybe this year, with Covid-19 wreaking havoc in the travel sector, we’ll get the place to ourselves?
Ilam Hall, illustration from Morris’s ”Country Seats,” 1880. Public domain via Wikimedia Commons
We park up at Ilam Hall, which is just over the border in Staffordshire, before heading off into Derbyshire to view the iconic Dovedale stepping stones.
“Ilam Hall” sounds grand, doesn’t it, but it’s a mere shadow of its former self. Although there’s been a hall on the site since Elizabethan times, the current building and adjacent Italianate garden date from the early 19th century. The mansion was built in the Gothic Revival style, and was a statement of wealth and power by the man who commissioned it, social-climber Jesse Watts-Russell.
The Italianate garden and the remains of Ilam Hall date from the 1820s
Ilam Hall was so highly thought of in its day that in 1880 it was featured in Volume 1 of the Rev. F.A.O Morris’ series County Seats of the Noblemen and Gentlemen of Great Britain and Ireland, an ambitious multi-volume tome describing what were reckoned to be the finest country houses of the time.
However, by the 1930s the mansion had become derelict and was sold for demolition. But at the last moment a philanthropist – the flour magnate Sir Robert McDougal – stepped in.
Holy Cross church to the right, and the remains of Ilam Hall in the distance
McDougal purchased what was left of the house (the Great Hall, service wing, hall, and entrance porch) and gave it to the National Trust, on the understanding that it would be used as a Youth Hostel.
Close by the Hall is Holy Cross church, a Victorian rebuilding of a medieval church. The very first church on the site was built in Saxon times, and grew up around the shrine of St Bertram, a 6th-century hermit who took up a solitary life after his wife and child were killed by wolves, packs of which once roamed the local forests.
St Bertram’s Bridge
Just 100 metres from the church is the stone built, single span St Bertram’s Bridge, an impressive scheduled monument dating from no later than the eighteenth century.
But none of this is the reason for our visit today, and so we set off towards nearby Dovedale. On our way, we pass through the tiny estate village of Ilam, built in its present form by Jesse Watts-Russell.
Part of the Ilam estate village, designed by Sir George Gilbert Scott
Watts-Russell had originally been attracted to the area because it reminded him of the Swiss Alps. Really? – the man was clearly deluded! Whatever. Having bought the estate and commissioned a new Hall, he decided to indulge his Swiss fantasy by commissioning famous architect Sir George Gilbert Scott to design a new Ilam village in an Alpine-style. The scheme was designed around 1839, and still looks splendid today.
Leaving the village behind us we take a well-worn path across the hillside, and stroll for around 45 minutes before we reach the lower section of Dovedale. We know we’re in the right place because it’s chaos, cars piling into the car park and platoons of pedestrians marching gallantly towards the famous stepping stones. So much for having the place to ourselves!
Dovedale by Moonlight, c 1785. Joseph Wright of Derby, Public domain, via Wikimedia Commons
Long appreciated by poets and artists, Dovedale first became a significant tourist destination in the nineteenth century when the industrial revolution gave rise to a middle class with both the time and resources to take leisure breaks away from home.
The opening of a railway station at nearby Thorpe Cloud in 1899 made it more readily accessible, and visitor numbers increased. The station and the railway have long since been withdrawn from service, but the visitors keep on coming!
Thorpe Cloud, an instantly recognisable landmark
Dovedale lies in the White Peak, a limestone plateau that forms the central and southern part of the Derbyshire Peak District, and is the name given to the section of the Dove river valley between Milldale and Thorpe Cloud. It contains some of the most spectacular limestone gorge scenery to be found in the UK.
Today we’re not planning to explore the Milldale section, possibly the most scenic part of Dovedale. Instead we’ll walk upstream, in the shadow of Thorpe Cloud – the highest hill in these parts, and an instantly recognisable landmark – until we reach the the iconic stepping stones. Every man and his dog will want to cross the Dove here, and we’ll join them, before returning to our starting point on the opposite side of the river. That should be more than enough excitement for one day.
The stepping stones date from around 1890. It was then that some enterprising locals – who had presumably worked out that increasing the number of visitors to Dovedale would also improve their own chances of making a fast buck – decided to make it easier for casual walkers to cross the river.
A bridge was ruled out, perhaps because of the cost, but just as likely because stepping stones seemed a lot more romantic. If that was their thinking then they were absolutely right. Today everyone who visits Dovedale wants to cross the river via the 16 large flat rocks put there for just that purpose.
For over a century, many thousands of visitors made use of the stepping stones each year. Everyone had a good time, and very few of them fell in.
And even those who did take the plunge suffered little more more than wet shoes and a momentary loss of dignity, given that the river’s wide and very shallow at this point.
However in 2010 the local council decided that the stones were a potential hazard, and placed limestone caps on all but one of them. Health and Safety was – and is – alive and well in the fair county of Derbyshire.
Our visit today passes without wet feet or any other unwelcome incident. We simply have to queue for a while, waiting for countless day-trippers and the occasional dog to make the crossing before, finally, it’s our turn. A grand time is had by one and all.
It’s easy to see why this simple activity, undertaken in such a scenic location, captures the imagination of visitors from near and far. We all need a few simple pleasures in our lives, and crossing the Dovedale stepping stones is one of them.
Sadly, Dovedale’s future doesn’t look rosy. The historic woodlands that flank the lush, green valley are being ravaged by Ash Dieback, a fungal disease that originated in Asia. It probably arrived here thanks to the global trade in plants, and is wrecking ash woodland throughout the UK.
Note how the original stepping stones have been capped with limestone slabs. Health and Safety gone mad!
Conservationists at the National Trust, which manages Dovedale, say 80% of its ash trees are at risk of being wiped out. And four out of five of all the trees in Dovedale are ash.
Ash Dieback Disease is a disaster for such a well-loved Derbyshire landscape. The National Trust’s planned response is
to increase the diversity of tree species in the areas hit hardest by ash dieback, by planting native tree species and allowing areas with other species already present to set seed themselves
Plainly, as Ash Dieback takes hold, Dovedale will never be quite the same again. But all landscapes change over time, and the National Trust should have the expertise at its disposal to ensure that this very special Derbyshire place remains special. Let’s hope so.
Environmentalists are big fans of national parks, areas of land protected by governments for their beautiful countryside, rich wildlife and cultural heritage. All civilised countries have them, wearing them like badges of honour to demonstrate their commitment to conservation.
The word “park” conjures up the idea of great size, implying huge tracts of land stretching as far as the eye can see. But the Isle of Man is tiny, less than a quarter of the area of the Lake District, England’s foremost national park. A Manx national park is out of the question, but not to be outdone the island’s government has opted for National Glens instead.
A glen is a narrow valley, the word being derived from the Gaelic language, and there’s no doubt the glens are amongst the Isle of Man’s best natural features. They are heavily wooded, featuring rushing streams, tumbling waterfalls, fizzing cascades, deep rock pools and lush vegetation. Scattered here and there along them are the remains of watermills, echoes of a bygone age.
I don’t think you’d describe the National Glens as spectacular – the scale is wrong, too small – but definitely attractive and serene. They’re a perfect getaway from the hurly-burly of 21st century living.
The Manx government has designated no fewer than 18 mountain and coastal National Glens. These are preserved and maintained in a semi-natural state by its Forestry, Amenity and Lands Division, and are freely accessible to locals and tourists alike.
Pocket-sized though they are, the National Glens are a real asset to a little island in the middle of the Irish Sea. These compact and picturesque gems give the Isle of Man an unexpected but distinctive charm. Small really is beautiful.
In my book, few things in the natural world beat the sight and sound of running water amid the myriad greens of a secluded, verdant valley. Take a look at my YouTube video for a sense of the peaceful atmosphere in Silverdale Glen, Glen Maye, Ballaglass Glen and Glen Dhoon:
Now I'm 64 