Where art and religion meet – the Berwick Church murals

Posted on by Platypus Man

Once upon a time, the interior of the typical English church was a riot of colour. In the Middle Ages churchgoers were greeted by vibrant images on just about every available surface; images featuring great biblical events and stories from the gospels. At a time when most of the population were illiterate, wall paintings were an important teaching aid, communicating key messages of Christianity to the masses. And then the Reformation came along, and put a stop to all of that.

St Michael and All Angels Church, Berwick, dates from the Middle Ages, but the paintings are several hundred years younger.

The Protestants who found themselves empowered by the Reformation in the 16th century regarded painted murals as just one more example of Roman Catholic frivolity, a distraction from the deadly serious business of religion. Convinced that God was on their side, the Protestants ordered the whitewashing of church murals. Soon, church interiors were uniformly white. Boring!

The exterior of the church gives no hint of the artistic treasures that lie within.

Although some murals survived, hidden for centuries beneath successive layers of whitewash, most were destroyed when the whitewashed plaster was eventually hacked off prior to resurfacing. The newly applied plaster was equally white, and equally boring. But in just a few places, enlightened individuals speculated that the return of wall paintings would not provoke the wrath of God, but instead might serve to celebrate the glory of His creation. One such place was the village of Berwick, in the southern English county of East Sussex.

The chancel arch, depicting Christ in Glory, was painted by Duncan Grant – one of the Bloomsbury Group – in 1941.

The murals that now adorn St Michael and All Angels Church, Berwick, were the brainchild of Bishop George Bell of Chichester, in whose diocese the church is to be found. The Bishop had a personal interest in Modernist art, and was keen to forge links between the church and the arts. With his encouragement the project was undertaken at the height of World War II: it was commissioned in 1941, and a service of dedication to mark the completion of the murals was held in October 1943.

These paintings at the bottom of the chancel screen depict the Four Seasons. They were painted by Duncan Grant in 1944.

The Berwick murals were painted by renowned artists Duncan Grant, Vanessa Bell and Quentin Bell, who all happened to be living just a few miles away at the time. They were all part of the Bloomsbury Group, an informal circle of English writers, intellectuals, philosophers and artists active in the first half of the 20th century. Members of the Group also included Virginia Woolf, John Maynard Keynes, E. M. Forster and Lytton Strachey.

The reredos screen (behind the altar) was painted by Julian Bell in 2020. He is the grandson of Vanessa Bell.

Those associated with the Bloomsbury Group were regarded as unorthodox in terms of attitudes to aesthetics, fashion, gender, politics, sex and war, and it’s therefore no surprise that what the artists came up with at Berwick is unlike anything else to be found in an English church.

“The Supper at Emmaus” by Quentin Bell

Although the subject matter of the Berwick murals is religious, they have a distinctly modern feel. For example, the landscapes that form the background to the paintings are representations of the local South Downs area of Sussex, while many of the figures represented in them are based on local farmworkers, their families and children.

The three servicemen depicted here, to the left of the chancel arch, were from Berwick village. They are a reminder that the country was at war when the church’s murals were painted.

Given that the country was at war with Adolf Hitler and his henchmen, the murals celebrate a way of life that was then under threat. One of them, Christ in Glory, depicts three servicemen, representative of the countless soldiers, sailors and airmen who put their lives at risk to keep the people of Berwick, and all their compatriots, safe from the Nazi hordes.

The pulpit was originally painted by Vanessa Bell. It was vandalised in 1962. As she had died the previous year Duncan Grant repainted them to designs by her daughter Angelica Garnett (Bell), a painter and writer in her own right.

The aim of the artists was clearly to make Christianity more accessible and relevant to the local community. Bishop Bell (who, incidentally, was unrelated to either of the artists who shared his surname) put it this way:

“The pictures will bring home to you the real truth of the Bible story …help the pages of the New Testament speak to you – not as sacred personages living in a far-off land and time, but as human beings …with the same kind of human troubles, and faults, and goodness, and dangers, that we know in Sussex today.“

I’m not a religious man, nor do I have any artistic tendencies or abilities, but I have to say that I found Berwick Church to be extraordinary, quite unlike any other that I’ve visited before. Sir Nicholas Serota, Chair of Arts Council England since 2017, summed it up perfectly when he said:

“…the remarkable decorative scheme in Berwick church is of national and even international importance. It is, critically, the only example in the country of the complete decoration of the interior of an ancient rural parish church by twentieth century artists of repute.”

I can’t help thinking, however, that the Protestant zealots who whitewashed the walls of parish churches up and down the land in the 16th century wouldn’t have been nearly as impressed as either me or the estimable Mr Serota!

Left: The Annunciation, by Vanessa Bell (1941). Top Right: The Nativity, by Vanessa Bell (1941). Bottom Right: Christ in Glory, by Duncan Bell (1941).

Well Dressing – a quaint Derbyshire tradition

Posted on by Platypus Man

Water, in the right quantity, is essential for the survival and well-being of our species. Too much or too little and we’re in big trouble. But rainfall is, of course, totally outside of human control, so our ancestors decided that, just to be on the safe side, it would be prudent to keep on the right side of the water gods. And thus was born the quaint Derbyshire tradition of well dressing.

Well dressing in the Derbyshire village of Taddington in 2022

Well dressing is the art of decorating wells, springs and other water sources with natural objects – particularly flower petals, leaves and seeds – to create vibrant pictures and designs. Its origins are uncertain. Some people assert that the practice was introduced by the Romans around 2,000 years ago, but others believe it to be even older. According to this theory, Celtic tribes that pre-dated the arrival of the Romans decorated sources of fresh water to give thanks for past supplies, and to encourage these supplies to carry on flowing in the future.

The tradition of well dressing is almost entirely confined to my home county of Derbyshire and surrounding areas of the Peak District. Why this is so remains uncertain. Clearly, reliable supplies of drinking water are essential everywhere, and so practices giving thanks for it can also reasonably be expected to happen in every corner of the country.

One of Belper’s well dressings in 2023.

There are suggestions that the ancient Celtic practice had indeed died out everywhere, but was revived in Tissington in the mid-14th century when the Derbyshire village was reportedly spared the ravages of the plague by the purity of its spring water. Alternatively, it is proposed that Tissington was saved from the great drought of 1615 by the reliability of its springs, and the villagers sought to give thanks by reviving the tradition of well dressing.

Either, or both, of these theories could be true, but ultimately this is of little importance. The fact is that the tradition is flourishing, with around 80 towns and villages in Derbyshire and the Peak District now having annual well dressings. Some of these don’t even have a proper well or spring, but such is the enthusiasm to participate in a traditional, community-focused activity that another local landmark is chosen to show off their floral creations.

Two well dressings from 2023 in the village of Wingerworth. Above – in situ. Below – in more detail. Note that one has a religious theme and the other a more naturalistic (spiritual?) theme.

Well-dressing begins with the construction – close to the well, spring or other chosen location – of a large wooden frame upon which the image will be created. Clay is then collected from the local environment, and strenuously worked until it’s soft and malleable. The worked clay is packed into the wooden frame, and smoothed out until it has produced a totally flat surface upon which the image can be created. To allow several teams to work on different parts of the well dressing at the same time the frame may comprise several separate panels, which are brought together only when they have been decorated.

A sketch of the proposed design of the Chadkirk well dressing, to help guide the team working on its creation.

An outline of the intended image is sketched on to a large sheet of paper. The design is applied to the smooth surface of the clay by pricking through with a sharp instrument and the paper is removed.

Working on an abstract part of the design. The colours are not shown on the sketch.

Now the real fun begins! Teams of makers from the local community “paint” the design onto the clay surface, using natural materials to create a stunning, colourful mosaic. The can take up to a week to complete, and the picture thus created lasts only a few days until the clay starts to dry and crack.

This part of the design is more naturalistic.

Writing nearly 30 years ago, a prominent local historian noted that well dressings are invariably blessed in a religious service, and suggested that around 75% of well dressings have a religious theme. However, my own observations lead me to believe that images are increasingly focused on the natural world rather than Christianity, reflecting perhaps a more modern approach to spirituality.

The watercolour taped to the wall towards the top of the left hand image shows what the volunteers were working towards. Still lots to do at this stage!

Some communities make arrangements for visitors to watch their well dressings being created. Mrs P and I did just that last year when we visited the little village of Chadkirk, which lies on the edge of the Peak District, within the neighbouring county of Cheshire. It was fascinating to watch the painstaking efforts of the volunteers working on various panels, where nature rather than religion was at the forefront of the design.

Sadly we never got to see the finished well dressing, which was not ready until several days after our visit, But Mrs P’s photos of the work in progress are a good indication of what the final result must have looked like. Chadkirk’s well dressing, and dozens of others scattered through towns and villages of Derbyshire and the Peak District, celebrate a tradition that is deeply embedded within our local culture. Long may it continue!

My surprising discovery about Tufted Ducks

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Tufted Ducks are a familiar sight at wetland habitats in our part of the UK. Although less plentiful than Mallards and Canada Geese, they are nevertheless a bird that I would expect to see whenever we visit local reservoirs, lakes and ponds. For me they are a fixture in our birding landscape. But, as I recently discovered to my surprise, that’s not quite true: Tufted Ducks, or “Tufties” as Mrs P and I prefer to call them, first arrived in this country less than 200 years ago.

Records suggest that Tufties started to colonise the UK in 1849. A few decades earlier the Zebra Mussel Dreissena polymorpha had been accidentally introduced into the country, and as this invasive species began to thrive Tufted Ducks followed in pursuit of a much-favoured source of food.

The number of resident Tufted Ducks in the UK grew steadily until at least the early 2000s, and it now breeds in most of England, as well as parts of lowland Scotland and localised areas of Wales and Ireland. The breeding population is around 18,000 pairs. In winter, numbers swell with the arrival of around 100,000 migrant birds from as far away as central Russia.

Male
Female

Male Tufties are handsome black-and-white birds, with a characteristic tuft and bright yellow eyes – totally memorable. Although the females also sport a tuft and yellow eyes, their drab buff-brown plumage renders them somewhat forgettable. Scouring Mrs P’s vast photographic archive, I discovered that nearly every photo that she’s ever taken of this species features the male. That, I think, tells you all you need to know about the differing visual appeal of male and female Tufted Ducks!

Tufties are fun to watch, busy little ducks that paddle swiftly across open stretches of water, before diving in pursuit of aquatic invertebrates and bivalve molluscs. It seems like they belong in this landscape and must therefore have been here forever, which makes it difficult to believe that British nature lovers at the start of Queen Victoria’s reign would have been denied the pleasure of their company.

The lesson to draw from this, I guess, is to remember that what we see today is just a snapshot in time. Species come and species go; it’s a natural process, although human activity speeds it up and can cause major instability. I wonder which birds species are entirely absent from the UK today, but will be taken for granted by British birders in the 22nd century?

A taste of Scotland by the sea – St Monans

Posted on by Platypus Man

We’ll soon be heading north to Scotland on our annual pilgrimage. The Scottish landscape and natural scenery are fabulous, but some of the little fishing villages are quaintly picturesque too. To me, born in London and resident for nearly 50 years in landlocked Derbyshire, the seaside seems like another world, so it’s always a treat whenever we go there.

The picturesque harbour at St Monans

One of the fishing villages that caught our eye during our last trip to Scotland was St Monans in the county of Fife. The village is named for the eponymous 6th century saint who came from Ireland to Scotland to spread the teachings of Christianity.  At its heart is the harbour, overlooked by traditional fishermen’s cottages, some with white walls, others colourfully painted. They date predominantly from the 18th and 19th centuries, and although most have since been significantly altered, their origins are clear if you know how to read the signs.

More harbour views…seems like another world born in London and resident for nearly 50 years in landlocked Derbyshire!

Many of the cottages are roofed with distinctive red pantiles. This style, which is found widely in villages on the east coast of Scotland, originated across the North Sea in the Low Countries (the Netherlands and Belgium). The pantiles were used as ballast on trading ships returning from mainland Europe, and were then adopted as roofing materials when the ships were unloaded at St Monans.

Pantiles can be seen on several of these cottages. Note also, on some of the roofs, the “crow-stepped” gables that are believed to have been developed to break up the airflow and protect the tiles from being blown off in a gale.

To my eyes, the most striking feature of some of these cottages is the forestairs, an outdoor staircase leading to a door on the first floor. Fewer than ten examples survive today, but in the past they would have been much more common. They hark back to the heydays of the fishing industry, when living accommodation would often have been on the first floor, above a boat store, workshop and sail store on the ground floor.

The outdoor staircases (forestairs) leading to doors on the first floor are an echo of the time when the residents of these cottages were fishermen.

Although it is the historic residential buildings that give St Monans its character, the church is also worthy of comment. It dates from 1369, and was originally founded by King David II of Scotland in gratitude for his having survived a shipwreck on the coast nearby. Originally built as a small house of Dominican friars, it was restored in the early 19th century and now serves as the local parish church. When viewed from most angles the church has the sea as its background. It is widely claimed to be the nearest to the sea of any church in Scotland.

Photo credit: By Jim Bain, CC BY-SA 2.0, https://commons.wikimedia.org/w/index.php?curid=9222537

A little further outside St Monans is the last remaining windmill in Fife, a relic of the salt industry. Large scale salt production began here in the late 18th century, and the windmill was used to pump seawater into the saltpans where it would be evaporated to reveal the finished product. The industry lasted only a few decades before closing down in 1825. The remains of the saltpans are unimpressive, little more than a few grassy mounds and depressions close to the shoreline. The windmill, however, has been restored and acts as a reminder of an industry that is unknown to most people today.

The (reconstructed) windmill, and the (barely visible) humps and bumps in the grass between it and the sea, are all that remains of a salt production industry that closed down 200 years ago.

By no stretch of the imagination could St Monans be described as spectacular. But there’s lots to admire there, including glimpses of a world and a lifestyle that is a total mystery to those of us who live our lives a very long way from the sea. Definitely worth a visit, if you’re ever in that part of Scotland.

Getting back on track, courtesy of a Peak Rail steam train

Posted on by Platypus Man

Foul weather was our constant companion from the start of 2024. It wore us down, the sombre grey sky, the biting wind, the constant rain. There was no pleasure to be had in going out, so we stayed at home, and as grim weeks ganged up to become relentlessly miserable months we started to go stir-crazy. So when, at last, conditions began to improve we quickly decided we deserved a treat, courtesy of our local heritage railway.

This is Peak Rail at its best…the sight, and the sounds and the smells of a gleaming, steaming locomotive! This loco was built in 1955.

We live in Derbyshire, on the edge of the Peak District. Famed for the natural beauty of its limestone hills and verdant dales, in 1951 the Peak District became the UK’s first national park. The railway that crossed it, running between Derby and Manchester, was a triumph of nineteenth century civil engineering. It was claimed by many to be Britain’s most scenic railway line.

Sadly I never got to find out in person if this claim was true. Much of the line was closed down in the 1960s, the victim of an efficiency drive shaped by the infamous “Beeching Report” of 1962. Accountants, politicians and British Rail bosses doubtless allowed themselves a glass of champagne to celebrate this “victory” for cost-effectiveness, but railway enthusiasts were dismayed. Their response was to band together to form the “Peak Railway Society” – later “Peak Rail Operations – with the aim of restoring the line for recreational and community use.

This is the little steam locomotive that pulled our restaurant car. It dates from 1946.

Half a century later, the dream lives on. Peak Rail has succeeded in re-opening around 4 miles (6.5 km) of track, between Rowsley South Station and Matlock, over which it operates a service featuring heritage steam and diesel locomotives. Here’s how Peak Rail describes its offer:

Whether it’s simply a nostalgic journey back to a bygone age or a discovery of the sights and sounds…of a steam or diesel locomotive[,] Peak Rail welcomes you to experience the thrill of our preserved railway whilst travelling through the delightful Derbyshire countryside…As well as our normal train journeys, there is something for everyone to enjoy, luxury dining is available on our Palatine Restaurant Car which offers Afternoon Teas and operates on various days during the year. [Source: Peak rail website, retrieved 14 May, 2024]

Views from the train hint at the picturesque charms of Derbyshire’s rural landscape

The reality, it must be said, proved to be more modest than the marketing hype. The part of Derbyshire through which the train travels is pleasant, but not exceptional (it’s on the edge of the national park rather than within it), and given that the line is just 4 miles long there’s not a huge amount to see. The locomotive that powered our train gleamed brightly in the welcome afternoon sunshine, but wasn’t by any stretch of the imagination remarkable in the context of other UK heritage steam trains. And the Afternoon Tea, while thoroughly enjoyable, didn’t align with my understanding of the words “luxury dining!”

But it’s important to remember that this is an organisation run by volunteers, and a service delivered almost entirely by volunteers. It’s not a commercial operation, so you have to adjust your expectations accordingly.

Not the best Afternoon Tea we’ve ever had, but the setting makes it a memorable treat

Peak Rail offers an opportunity to escape the rigours of the 21st century for a couple of hours, and to wallow in nostalgia. Back in the 1970s, dear old British Rail – the late, unlamented provider of the UK’s national rail network at the time – ran a series of commercials that sought to persuade motorists to abandon their cars in favour of rail travel. Its strapline was “let the train take the strain,” and that’s just what we did for a couple of hours, courtesy of Peak Rail.

Thanks to Peak Rail we were finally able to get back on track, after many months of meteorological misery. I’m pleased to report that a fine time was had by all

One of the good guys – Robert Owen at New Lanark

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For most British people, the early decades of the Industrial Revolution were a grim time to be alive. Conditions were horrendous. Workers routinely had to labour for 12 to 14 hours per day in harshly managed and often dangerous factories, for which they received a pittance in pay that was barely enough to cover basic necessities. And when they got home from their workplaces things got no better, as these workers usually lived in cramped, cold and insanitary accommodation provided by bosses who were motivated solely by the pursuit of profit.

Mill 3 replaced an earlier mill destroyed by fire in 1819. It now houses the site’s main exhibitions, including working mill machinery.

Let’s be honest, some early captains of industry were monsters who cared nothing for the welfare of the men, women and children upon whose lives they impacted. But not all of them. New Lanark in Scotland was proof that there were workable alternatives to rampant, exploitative capitalism.

The “new buildings” were constructed by David Dale as millworker’s housing in 1798. Robert Owen enlarged them as the village size increased.

Founded in 1785, New Lanark is a village in southern Scotland clustered around several cotton mills that harnessed the power of the River Clyde. Under the direction of joint founder David Dale (1739 – 1806), this was an entirely new settlement, built as accommodation for the millworkers and their families. New Lanark thrived. Within a decade of its foundation the village was home to one of the largest and most important cotton mill complexes of its period, employing around 1,500 people.

Prior to his involvement with the New Lanark project, Dale was a prosperous Glasgow-based cloth merchant. He was also a man with a conscience, someone whose philanthropic tendencies tempered, to some degree, his capitalist instincts. This was evidenced by his treatment of the orphan apprentices who worked at his mills – Dale ensured they were taught to read and write, were well fed, and were provided with clothing and decent accommodation.

Although the accommodation it provided was decent by the standards of the day, in the early years of New Lanark whole families lived in a single room.

In 1799 Dale’s daughter Caroline married Robert Owen (1771 – 1858), a Welsh-born industrialist and social reformer. Soon after, David Dale sold New Lanark to his new son-in-law, who formally took over as mill manager in 1800. Owen was committed to continuing the philanthropic approach to industrial working that Dale had initiated, and under his management New Lanark became a model community, emphasizing social welfare and improved living conditions for workers.

Robert Owen was a Utopian social reformer, who aimed to create a perfect, harmonious society in which poverty and unemployment were eliminated. Owen’s abilities as a business manager were central to the success of his social experiment, for it was the profitability of the cotton mills that provided the cash needed to finance schemes designed to improve the lives of his workforce. A vibrant and resilient community was central to his thinking.

Robert Owen’s School for Children was completed in about 1818, providing spacious classrooms for its students. Punishment was not allowed, with strategies of encouragement and kindness being adopted instead.

Owen’s intentions can be discerned from the creation of the Institute for the Formation of Character. Opening in 1817, it was intended to provide educational and recreational facilities for the whole community. Amongst these were a library and reading room, classrooms and halls for concerts and dancing. It also accommodated what is thought to be the world’s first nursery school.

These two photos offer a glimpse the types of mill machinery in use at New Lanark.

About a year after the opening of the Institute, work was completed on Robert Owen’s School for Children. Here’s what the New Lanark Trust has to say about this visionary initiative:

Owen spared no expense in building and equipping his school, and the curriculum included music, dancing and singing, as well as art, natural history, geography and world history. Punishment was not allowed. Instead, kindness, encouragement, and the fostering of children’s natural curiosity were deemed to be much more effective. [Source: New Lanark Heritage Trail – A guide to New Lanark’s Historic Buildings, 2008]

Owen’s idealism is also apparent from the way he set up his Village Store, which was completed in 1813. It effectively had a retail monopoly in the village, and many other industrialists used such arrangements to their financial advantage by providing poor quality goods at inflated prices. In contrast, Owen put the community’s welfare first, buying good quality food and household goods in bulk, and selling these to his workers at close to cost price. Any profits made were re-invested in the village, being put towards the running costs of the School.

Another view of Mill 3.

Robert Owen was clearly one of the good guys, and his enlightened methods attracted international attention. In 1824 he sold the New Lanark mills and moved to the USA, where where he planned to establish a Utopian Community or “Village of Unity and Mutual Cooperation” based upon the principles that had helped shape his grand Scottish project. However this experiment, based at the settlement of New Harmony in Indiana, proved largely unsuccessful and in 1828 he returned to the UK, financially much poorer but still optimistic that one day the rest of the world would come round to his way of thinking.

Owen’s legacy is now preserved by The New Lanark Trust, which was formed in 1974, six years after the final closure of the cotton mills. The village was one of the earliest examples of a planned settlement, where layout, housing design, and green spaces were carefully considered. Its architecture showcased a blend of practicality and aesthetics, emphasizing functionality while maintaining a pleasant environment. All of this can be enjoyed by visitors, who also have an opportunity to get up close to some of the machinery that drove the success of New Lanark’s cotton mills. Tourists can even visit Owen’s modest house, as well as examples of workers’ accommodation.

Although larger and grander than the homes of his workers, Robert Owen’s house is refreshingly modest for the owner of such a large and successful mill complex.

The Trust’s aim has been to restore the village as a living, working community, but one which also offers visitors tantalising glimpses of a lost world shaped by a remarkable man. A measure of its success was evident in 2001, when New Lanark was listed as a UNESCO World Heritage Site. The village and its cotton mills are now a major tourist attraction, and deserve to be visited by anyone with an interest in industrial history.

Monkey business at Yorkshire Wildlife Park

Posted on by Platypus Man

Yorkshire Wildlife Park opened in 2009 on the site of a former riding school and petting zoo, and has grown steadily ever since. We aim to visit several times each year, to check up on old friends and to look out for new kids on the block. And I’m delighted to report that thanks to a couple of old friends getting it together there is indeed a new kid on the block, in the form of Carlos, a beautiful young Venezuelan Red Howler Monkey.

Carlos was born on 29 April 2023. He was exactly 5 months old when this photo was taken.

This species of howler monkey is native to the western Amazon basin, in parts of Venezuela, Colombia, Ecuador, Peru and Brazil, where they live in the tree canopy. Their diet consists largely of leaves, supplemented with a mixture of nuts, fruits, seeds, flowers and small animals. Howlers are named for the ear-splitting guttural roar that males produce to mark their territory and warn off potential intruders.

Venezuelan Red Howlers can live up to 20 years in the wild, but have become increasingly rare due to hunting and habitat destruction. Collections in zoos and conservation centres are therefore an important insurance policy helping to support the long-term future of the species. Yorkshire Wildlife Park is home to England’s only Venezuelan Red Howlers, and the good news is that the adult monkeys who live there have been doing their bit to boost numbers.

Carlos was born at the end of April 2023, the second child of mum Tila and dad Geronimo. Their first offspring was born in October 2021, and Yorkshire Wildlife Park was understandably proud that this ground-breaking birth of a Venezuelan Red Howler Monkey had taken place on their turf. Within a few days the Park was sharing Tila and Geronimo’s news with the world, telling anyone who cared to listen that their son was to be named Pablo.

Interestingly, Pablo is now called Pabla and is referred to as Carlos’s big sister. Oops! Media releases in the days following the birth of baby Carlos were quick to point out that “It’s still too early to tell the sex of the baby”, implying that keepers may have been a bit too eager to do just that when the first youngster was born. It wasn’t until nearly three months after his birth that Carlos’s gender and name were revealed on Facebook, accompanied by a piece of video footage clearly showing him to be a very well endowed young man – no mistakes this time!

The top left and middle left photos were taken on 6 July 2023, when Carlos was just 68 days old! He was almost 12 months old when he was pictured hanging upside down (top right). In the remaining two photos he is 5 months old.

The name Carlos was apparently chosen to reflect the monkey’s Hispanic heritage, while at the same time marking the fact he was born just a few days before the UK’s new king was crowned. But whether King Charles III is amused to have a red-haired, prehensile-tailed, ballsy baby monkey named after him must forever remain a mystery.

Mrs P and I first encountered Carlos in early July 2023, just a few days before his gender and name were announced to the world. Although he clearly wanted to remain close to his mum most of the time, he was already demonstrating an adventurous spirit when he set off to explore the trees growing in his enclosure. His agility was plain to see, as was his burgeoning manhood – check it out by following the link to my short video on YouTube.

When we visited Yorkshire Wildlife Park again two weeks ago Carlos had clearly grown in both size and confidence. As my video shows, he strutted arrogantly about the place like a teenager of our own species, fearlessly challenging himself to scuttle along – and dangle precariously from – ropes that are strung across the Red Howlers’ enclosure. What a great guy he’s become.

Watching Carlos’s performance, as well as the antics of his parents and sister, is a real joy. I wonder what new monkey business they’ll be up to when we next pay them a visit?

Waddesdon Manor – opulent, ostentatious and over the top

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I have often written on this blog about our visits to some of the UK’s grand houses, houses that are hundreds of years old and oozing with history. You might assume that all our great domestic properties have a pedigree dating back many centuries, but you’d be mistaken. Some of them are much younger; Waddesdon Manor, at less than 150 years old, is one of the new kids on the block. Despite that – or maybe because of it – Waddesdon is one of the most opulent and ostentatious of them all. But it’s a bit over the top, in my humble opinion.

Rear view of Waddesdon Manor. The bedding plants on the parterre are changed each spring and summer.

Waddesdon Manor is located in the Buckinghamshire village of Waddesdon (no surprises there, I guess!), around 50 miles (80 km) north-west of London. It was constructed between 1874 and 1889 at the behest of Baron Ferdinand de Rothschild (1839-1898), a member of the enormously wealthy Austrian banking family.

The fountain at the centre of the parterre was originally made for an Italian palace in Colorno.

In 1874, Rothschild – known as “Ferdy” to his sister and close friends – bought the Waddesdon agricultural estate from the Duke of Marlborough, with money he’d inherited from his father. He’d come across it when fox-hunting in the area, and clearly saw its potential. The estate had no house, park or garden at that time, and therefore offered Rothschild a blank canvas upon which to impose his will.

Front elevation of Waddesdon Manor (sadly in shadow, but at least the more attractive rear view – including the parterre – was well lit!)

Said to be as much at home in Paris as in London, Ferdy was an ardent Francophile. His vision for Waddesdon was to build a magnificent mansion in the neo-Renaissance style, copying features from several of his favourite French chateaux. And he was also keen on giving Waddesdon an unforgettable garden, including a parterre (a symmetrical, formal garden design with intricate patterns), a colourful and fragrant rose garden, a serene water garden and an aviary of epic proportions.

Ferdy was very fond of birds. This cast iron aviary was erected in 1889 to house his collection.

Given his wealth, it is to be expected that Ferdy would spare no expense in fulfilling his dreams at Waddesdon Manor. More surprising, perhaps, is the fact that he never intended to live there permanently. His plan was to use Waddesdon simply as a summer weekend retreat, a place where he could entertain high-society guests and show off his vast, priceless collection of art and antiquities.

The Grey Drawing Room, to which lady guests retired after dinner!

Baron Rothschild was clearly an intelligent, well-educated man, and must have been familiar with concepts such as modesty, moderation and self-restraint. Plainly, however, he thought they shouldn’t apply to him!

Ferdy’s “Renaissance Museum” was once housed in this corner room

The great and the good – as they no doubt liked to think of themselves – were Ferdy’s guests at Waddesdon. Even Queen Victoria and the future king Edward VII spent time there, thus reassuring a man of Austrian heritage and born in France that he’d made the grade as a fully fledged English gentleman.

The Organ Clock is Dutch, and dates from c1775

After Ferdy’s death in 1898, Waddesdon passed through the hands of two other members of the Rothschild family before, in 1957, it was bequeathed to the National Trust. At last, some 83 years after the project was born, ordinary members of the public were able to visit the property, to view the stunning art collection, and to witness at first hand how the other half lives!

Left: The Red Drawing Room. Centre: The East Gallery. Right: The Baron’s Room.

Unusually, unlike most National Trust properties, at Waddesdon the donor’s family continues to manage the house and to invest in it through the Rothschild Foundation. And it was through the financial support of the family that the stunning Wedding Cake art installation by Portuguese artist extraordinaire Joana Vasconcelos – which I wrote about in an earlier post – found its way to Waddesdon.

The dining room seats 24, just enough for one of Ferdy’s famous house parties

Waddesdon is extraordinary. The “three Os” sum it up perfectly – Opulent, Ostentatious and Over-the-top. I’m pleased we finally got around to visiting it last year. On the one hand it’s a truly magnificent creation, breath-taking, almost surreal. Definitely worth the entrance fee.

Automaton elephant clock, made in London in 1770

But on the other hand, Waddesdon is just a bit too much. It’s reminds me of being back at school, of that annoying kid sitting at the front of the classroom, the kid who was always waving their hand furiously in the air to attract teacher, making it abundantly clear that he (or she) was much, much better than the rest of us. You remember that kid, don’t you? Well, Waddesdon’s a bit like that, full of itself, boastful in the extreme, bling on steroids!

Hever Castle – Anne Boleyn was here too!

Posted on by Platypus Man

Last week I wrote about a visit to Pashley Manor, the estate where Anne Boleyn – the tragic, second wife of King Henry VIII – spent time as a child. However, she grew up primarily at Hever Castle, which is some 30 miles (48km) from Pashley. While Pashley Manor is quaintly picturesque, Hever Castle is altogether grander, as befitting the social status of Anne’s family.

Hever Castle’s origins lie in the 13th century, when it was simply a country house with a number of outbuildings. Its rebirth as a castle began in 1271 when the owner was granted a license to crenelate it, in other words to erect battlements in the style of a castle. In the 14th century the transformation continued with the construction of the walls, towers, a moat and a grand gatehouse.

The Boleyn family took possession of Hever in 1462, and in the decades that followed “modernised” it in accordance with the fashions of the age. Anne lived here from about 1500. However her family were ambitious for her, and so in 1513 they sent her abroad to the court of Archduchess Margaret in the Netherlands to learn the skills required by a successful royal courtier.

Upon her return Anne soon caught the eye of Henry VIII, who was notoriously randy and had a roving eye to match. Their courtship is thought to have taken place partly at Hever, where the King may even have stayed on occasions while chasing his dream. Eventually – inevitably, I suppose, given his royal status- Henry got his girl.

The courtyard

But, as history tells us, things did not work out as either party had hoped, and in 1536 Henry had Anne executed on what one strongly suspects were trumped-up charges. She was accused of satisfying her “frail and carnal appetites” by having sexual relationships with no fewer than five courtiers, including her brother, George Boleyn and the king’s good friend Sir Henry Norris . Anne was also accused of plotting with her lovers to have Henry killed.

“The Astor Wing” dates from the early 20th century, but was built to look much older

Anne’s father, Thomas Boleyn, continued to live at Hever until his death in 1539. His brother inherited the castle, but sold it to Henry VIII the following year. The King in turn gave it to Anne of Cleves – his fourth wife! – as part of her divorce settlement.

Some grand rooms, but not at all Tudor (William Waldorf Astor was here!)

In the centuries that followed Hever passed through many hands until, in 1903, it was bought by William Waldorf Astor, reputedly the USA’s wealthiest man. By this time Hever Castle had fallen into disrepair, so Astor commissioned a major restoration project as well as the creation of new pleasure gardens. It was a huge, costly undertaking, employing 748 men to work on the castle itself, and a further 800 men to excavate a 38 acre (15ha) lake. The results were spectacular, creating the Hever that visitors see today.

IMAGE CREDIT: English school, Public domain, via Wikimedia Commons (The painting dates from 1550)

The Anne Boleyn connection is a key part of Hever Castle’s tourist offer to visitors, but would she even recognise the place? Although the moat and external views of the gatehouse and a couple of other buildings might look familiar, I suspect that on closer inspection she would feel like a stranger in a strange land. Hever is an amalgam of styles and fashions, its Tudor past sanitised and largely buried by Astor’s efforts and those of countless other owners.

Astor was here too! The Italian Garden that visitors enjoy at Hever today was commissioned by him.

Does this really matter? No, I guess not. Hever is a fascinating place in its own right, but is of limited help to history students seeking insights into the life and times of Anne Boleyn. Visitors should enjoy Hever for what it is, without falling into the trap of believing that it throws much light on the realities of life in Tudor England. It doesn’t!

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Note for regular readers of this blog: Summer is fast approaching, although as I listen to the rain pummelling down outside it’s a bit difficult to believe right now! We already have two big trips to Scotland, planned for summer / early autumn, and no doubt we’ll think of a few other places to visit too. All this will provide me with lots more material to write about, while at the same time eating into the time I set aside for writing. So, for the next few months, my schedule will be to blog once every two weeks. I will aim to publish on alternate Wednesdays. Weekly posts should resume in November.

Pashley Manor Gardens and the ghost of Anne Boleyn

Posted on by Platypus Man

On its website, Pashley Manor Gardens in East Sussex claims to be “one of the finest gardens in England”. That may or may not be a bit of an exaggeration – I’m no expert on things horticultural! – but when we visited last autumn it seemed like a pleasant place to while away an afternoon. The flowers were colourful and the manor house was a picture of Tudor charm, but for my taste what raised Pashley to another level was the mix of modern sculptures scattered throughout the gardens. The most compelling of these depicts the tragic figure of Anne Boleyn.

“To the Show” by Helen Sinclair. The flower towering above her is Brugmansia or Angel’s Trumpets, a member of the nightshade family.

The current manor, which is not open to visitors, dates from 1550 and retains its classic Tudor half-timbered frontage. But this is not the estate’s original house, as prior to its construction there was a hunting lodge on another part of the grounds.

Pashley Manor House dates from 1550

The hunting lodge was owned by the Boleyn family, and it is believed that Anne Boleyn – King Henry VIII’s second wife, who was executed in 1536 – spent part of her childhood here. Appropriately, there is a sculpture of Anne near the spot where the hunting lodge once stood. This haunting work by local sculptor Philip Jackson is a moving tribute to a woman who married for love, and later died on the orders of her paranoid, brutal husband. The gardens that we see today bear little if any resemblance to what Anne would have witnessed 500 years ago, but clearly her ghost still walks the land.

Anne Boleyn by Philip Jackson

Following Anne’s execution, the fortunes of the entire Boleyn family went into freefall, and in 1540 the estate was sold to Sir Thomas May, who set about building the house that still stands today. In the centuries that followed the Pashley estate passed through the hands of several more families, who further developed it in accordance with the fashions of their age.

The manor house was unoccupied during the period 1922-45, and fell into disrepair. When the current owners, Mr and Mrs James Sellick, bought the property in 1981 the gardens had been long neglected, but the Sellicks were determined to restore them to their former glory. They opened Pashley Manor Gardens to the public for the first time in 1992. Just five years later the gardens won the Historic Houses Association / Christie’s Garden of the Year award, and in the decades since then work has continued to develop them further.

“The Sky Turned Upside Down” by Helen Sinclair
“St Francis” by Mary Cox
“Pan” by Mary Cox
“Amelia” by Yvonne Wildi
Sadly, the title and attribution of this one are unknown

The Sellicks clearly spotted the growing popularity of sculpture parks and gardens, and calculated that a scattering of sculptures would enhance the Pashley offer. No doubt these sculptures, which range “from abstract to engagingly figurative” also generate a bit of extra income, as most of the pieces on display are for sale. The works on show are not as imposing or spectacular as those at, say, the Leonardslee Gardens and Sculpture Park, but the best of them are good fun.

Left: “Dancing Dog” by Mary Cox; Centre: “Dancer” by Mary Cox”; Right: “il Marchese” by Philip Jackson.

Pashley Manor Gardens were definitely worth a visit. When we’re next in that part of the country I’d be pleased to call in again – perhaps earlier in the season, when a different range of flowers will be in bloom – to see how the Sellicks’ project is developing, and to spot some new sculptures. Hopefully the ghost of Anne Boleyn will still be in attendance.