This should have been the summer of the new normal, when we finally put the pandemic behind us, got on with life and had some fun (ah yes, fun, I remember that…I had some once!) Only it hasn’t worked out like that. Describing the last few weeks as “the lost summer” may sound melodramatic, but although there have been a few highlights – the Burning Man sculpture trail, for example, and our visit to Pensthorpe Natural Park – overall I’m left with a nagging sense of regret for what might have been.
Wardrobe woes last for weeks
The project to replace our bulky freestanding wardrobe and sundry other old, tired pieces of furniture with a suite of new fitted units in a splendidly redecorated bedroom should have taken just five or six days. In the event it ended up taking five weeks. Five miserable weeks during which we camped out in the spare bedroom with our clothes and various other possessions scattered chaotically throughout the rest of the house! Five tedious weeks when we waited at home expectantly, day after day, hoping something would happen, only to find nothing ever did.
Don’t get me wrong. Now that the job is complete we’re pleased with our new bedroom. It looks great, and we’re pleased we had it done. But although the destination has proved agreeable, the journey was an unmitigated nightmare. Never again!
Hot! Hot! Hot! Temperature records tumble
Once the bedroom project was done we were determined to get out and about, to escape into the local countryside and relax a bit. But it didn’t turn out that way, courtesy of climate change. There are those who claim climate change is fake news, the invention of mad scientists or duplicitous politicians. Now, some scientists may be mad and many politicians are clearly duplicitous, but here’s the thing guys: climate change is real, as we were reminded to our cost a few weeks ago.
Pretty much immediately after the bedroom was finally fixed, climate change flexed its muscles and the UK was hit by an unprecedented heatwave. Records tumbled like the walls of Jericho, and we spent our days indoors, hiding from the sun and emerging only late in the evening to water the tomatoes and the beans. Mrs P and I are not built for hot weather, and having fun was out of the question. Our ambitions extended no further than desperately trying to stay cool.
What a waste, but on the other hand what was the alternative?
The final straw – Covid catches up with us at last!
All things must pass, and so it was that eventually the torrid temperatures gave way to something less unbearable. At last, an opportunity to escape the house! Just a few days after the heatwave broke, Mrs P spent a morning at a craft workshop, indulging in a hobby that has been an important part of her retirement. Unfortunately, one of her fellow crafters must have been suffering from Covid, and a couple of days later so was Mrs P. And just 48 hours after, I was showing all the symptoms too!
Ever since the pandemic started we’d been cautious, behaved responsibly and avoided unnecessary risks. Mr and Mrs Platypus are also known as Mr and Mrs Sensible. Boring we may be, but the aim was always to stay healthy and enjoy the benefits that good health brings.
Of course it could have been worse, much worse. We have lived to tell the tale, after all. And, thankfully, we’ve now tested clear and are feeling quite a lot better. Although we’re not yet firing on all cylinders, there’s no indication so far that “long Covid” has got its claws into us. But it was bad enough while it lasted, which was nearly two weeks. Two weeks of wearying, aching, cough-crazy self-isolation, confined to Platypus Towers when we should have been out enjoying ourselves.
Worst of all, probably, was the impact on our sense of taste and smell. It wasn’t that we were unable to taste anything at all, but rather that everything tasted wrong and a lot of it tasted horrible. Mrs P and I both enjoy cooking, and during our two weeks with Covid we had plenty of time to devote to culinary endeavours. But what would have been the point, given that everything we prepared tasted like an unfortunate accident in a badly-run food warehouse?
Realistically, I suppose it was inevitable Covid would catch up with us in the end. That, after all, is the nature of a pandemic – the disease is everywhere and one day your luck runs out, however careful you may be. And I suppose we should be grateful: in the two years since Covid first hit the variants of the virus have become less serious, and the vaccinations we have had may also have helped reduce the severity of our symptoms.
The good news is that, finally, Covid is behind us. We’re doing our best to make up for lost time, but the last few months still feel like the lost summer.
* * * * *
Postscript, 10 August: I drafted this post a few days ago in a spirit of hope and expectation, immediately after we tested clear of Covid. Since then, however, a second horrible heatwave has descended upon this sizzling nation, and once again we are stuck indoors, hiding from the sun.
And we both continue, in our different ways, to feel below par, not seriously sick but definitely a trifle unwell. Maybe it’s the heat, or maybe it’s the after-effects of Covid. Or a combination of the two? Who knows? But whatever the cause, I’d like to put on record here that I’ve had enough. Roll on, winter!
Update, 16 August: Well, at least the heatwave is beginning to lose its venom, but an official drought has been declared in this – and many other – parts of the country. Our rivers and reservoirs are running dry, and the measly amount of rain that’s fallen in the past 24 hours won’t even begin to sort out the problem. This is a summer I’d dearly like to forget, but sadly I don’t think that will happen any time soon. Woe is me!
The local arts and culture brigade got very excited recently, after news broke that we were to be treated to a Burning Man Sculpture Trail on parkland surrounding Chatsworth House in our home county of Derbyshire. The sense of anticipation was understandable: Burning Man is a huge annual event in the Nevada desert, and has never previously been seen in the UK.
Burning Man started on a California beach in 1986, when artists set light to an 8 feet (2.4 m) tall wooden man. This act of “radical self-expression” caught the imagination of the local artistic community to such an extent that the burning was repeated the following year, when the effigy had almost doubled in size. By 1988 it was twice as tall again, reaching a height of 30 feet (9.1 m).
In 1990 the event moved to a location in the Nevada desert, and began to grow rapidly. In 2019, the last year before the Covid pandemic, participants in the Burning Man event numbered nearly 79,000 and the effigy had grown to 61 feet (19m) in height.
The stated mission of the Burning Man Project is:
“to produce the annual event known as Burning Man and to guide, nurture and protect the more permanent community created by its culture. Our intention is to generate society that connects each individual to his or her creative powers, to participation in community, to the larger realm of civic life, and to the even greater world of nature that exists beyond society.”
Chatsworth House, built in the late 17th and early 18th centuries, is the ancestral home of the Dukes of Devonshire. In 1981 the house, many of its contents and 737 hectares (1,822 acres) of the surrounding landscape were leased to the Chatsworth House Trust, and the family now pays rent to the Trust for the apartment they occupy. The current (12th) Duke and Duchess work with the charity and others to welcome visitors to Chatsworth.
Be in no doubt, Chatsworth House is a big business. According to its 2018 annual review, in 2017/18 the house and gardens welcomed a little over 600,000 visitors, generated income of almost £15m and employed 366 people, including 114 full-time posts.
Covid hit Chatsworth hard, so there’s ground to make up. In that context, securing an exhibition linked to Burning Man, a brand with a global reputation, was a real coup. Although access to the sculpture trail itself is free, parking at Chatsworth certainly isn’t, so the Trust is doubtless laughing all the way to the bank. But that’s OK, they deserve credit and a bit of profit too, for having the vision to host Radical Horizons: The Art of Burning Man.
Wings of Glory, by Adrian Landon
The first sculpture we spotted after parking our car was Wings of Glory, inspired by the Pegasus myth and sculptor Adrian Landon’s fascination with horses. Fashioned from metal and standing around 20 feet high, the sculpture is appropriately located close to Chatsworth’s former stable block. Every hour, with a painful clanking and grinding sound of metal-on-metal, it languorously flaps its wings and puts on a show. The giant Pegasus appeared at Burning Man in Nevada in 2019.
Mum, by Mr & Mrs Ferguson
Perhaps because we have enjoyed seeing bears in the wild on several occasions in North America, Mum resonates deeply with us and is one of our favourite sculptures on the Radical Horizons trail. A bear cub climbing on its mother’s back can’t help being cute, but look closer and you can see that the bears’ coats are fashioned from around 55,000 US and Canadian pennies embedded into a polystyrene and concrete body. Mother and cub were born in California, where they were created exclusively for the Burning Man at Chatsworth exhibition.
Coralee, by Dana Albany et al
The ethos of the Burning Man is underpinned by 10 Principles. Two of these, “Communal Effort” and “Participation”, seek to encourage everyone to get involved in the production and appreciation of works of art. These Principles are reflected in Coralee, which was created by artist Dana Albany working with children from Spire School in the nearby town of Chesterfield.
Coralee, which for artist Dana Albany symbolises female strength and good luck, depicts a mermaid and is based on a local Derbyshire legend. On the face of it this is a bit crazy, given that this landlocked county is many miles from the sea, and therefore not an obvious haunt for mermaids! However there is a small lake in Derbyshire’s Peak District that was popular in ancient Celtic water-worship rituals. It’s known as the Mermaid’s Pool.
The waters of the Mermaid’s Pool are believed to offer healing qualities to those mad enough to bathe in them. At Easter, in the dead of night, a mermaid is said to appear in the pool. If she likes the look of you she will grant you immortality. But if you don’t take her fancy she will pull you beneath the icy water, where you will inevitably drown. It is, I have to say, one of the most unexpected and bizarre Derbyshire legends I have ever encountered, and it’s good to see it given a new lease of life in this piece of contemporary sculpture.
And what a wonderful, uplifting piece of artwork it is. The body is fashioned in part out of recycled metal artefacts including spoons, springs, sprockets, hinges, bicycle chains and assorted pieces of wire, while the mermaid’s tail features fish scales made from recycled glass. The focus on recycling reflects a concern for the environment that is implicit in Burning Man’s Principles of “Civic Responsibility” and “Leave No Trace”.
Coralee is without doubt my favourite of all the pieces that make up the Radical Horizons sculpture trail. I do hope that it lives on somewhere, whether that be at Chatsworth or elsewhere, once Radical Horizons comes to an end in September.
Elysian Spires, by “Shrine”
Artist “Shrine” worked with children from the Derbyshire Virtual School to produce Elysian Spires. The School seeks to “enhance the life opportunities for Derbyshire children [living in the care of the County Council] by supporting and promoting the importance of their education, and enabling them to achieve the best they can be.” Created with the participation of this community of young people, and celebrating the turning of non-precious objects – in this case hundreds of donated glass bottles – into treasure, Elysian Spires is clearly in line with the guiding Principles that also underpin Coralee.
Flybrary, by Christina Sporrong
Flybrary dominates the view as you drive to the Chatsworth car park. Books fly from the 20 foot high rusty metal head, books which for artist Christina Sporrong represent a flurry of ideas. She invites viewers of her sculpture to let their imaginations run wild, and asks “what’s on your mind?” And isn’t that the point of the whole Radical Horizons exhibition, that it stimulates the imagination and encourages unfettered thinking. Great stuff!
Lodestar, by Randy Polumbo
Lodestar features the shiny fuselage of a World War II jet plane that went by the same name. Its nose touches the ground, while a flower blooms from its tail. Away from the world of aeronautics, the word “lodestar” is a star (especially the Pole Star) that is used to guide the course of a ship, and this prominent, eye-catching sculpture certainly acts as a marker for anyone seeking to navigate their way around the Radical Horizons exhibition.
Transmutation, by Arturo Gonzales and Maru Izaguirrre
Transmutation is inspired by the brightly coloured Mexican folk art sculptures of fantastical creatures known as alebrije. In this case, a colourful sabre-toothed cat sporting both antlers and wings takes to the air above Chatsworth, and encourages the viewer to wonder “what if…?”.
Wings of Wind by Bryan Tedrick
Wings of Wind is another sculpture that is made in part from reclaimed materials. It is moveable and rotates slowly in the wind, or when pushed by eager visitors who are also allowed (encouraged, even) to clamber over it. As it spins, different parts of the landscape are framed by the steel hoop upon which the two wings are hung. In this photograph, it frames a distant view of Chatsworth House.
Murder Inc., by Charles Gadeken
Murder Inc. is unlike any of the other sculptures in Radical Horizons. The rest are monumental in scale, but with Murder Inc. it is not size but quantity that counts. This work comprises exactly one hundred separate pieces, and as artist Charles Gadeken is keen for us to know, each one is different.
The crows of Murder Inc. are life-sized and life-coloured (black!), and show the birds going about their normal daily business. At a glance, and before you clock that they aren’t moving or making any noise, it’s easy to believe that this is a flock or living, breathing birds.
Crows feature heavily in folklore, both in the UK and in many other parts of the world. Often regarded as symbols of death, the collective name for crows is “a murder” which is clearly the inspiration for the title of Charles Gadeken’s work.
Q: When is art not art? A: When it’s a horse jump!
Our morning spent viewing the Radical Horizons exhibition at Chatsworth was inspiring, demonstrating clearly that in the 21st century art comes in all shapes and sizes. In fact it’s sometimes difficult to know just where art ends and real life begins.
As we were wandering through Chatsworth’s parkland, seeking out the various sculptures that make up Radical Horizons, we came across the impressive piece of work shown in the photograph above. It was pleasing to the eye and sat comfortably in the surrounding landscape. Anxious to know more we checked out the trail guide, but were puzzled to find it wasn’t listed.
Not to be defeated, we searched high and low around the work to find an information board that might tell us about the artist and the title of his sculpture. Still no joy. And then, suddenly, we twigged, finally understanding what was going on. This isn’t part of the Radical Horizons Sculpture Trail at all. Rather, it is simply an elegant horse jump, one of many scattered about the Chatsworth parkland.
But who is to say that the horse jump doesn’t also constitute a work of art? Art really does come in all shapes and sizes!
I have been in reflective mood this week, looking back on a road-trip around Newfoundland, Canada exactly five years ago. We were there a month, covering the length and breadth of what the locals fondly refer to simply as “The Island,” driving around 6,500 km (4,000 miles) in the process.
I wish I could tell you it was the best holiday we’ve ever had, but sadly it wasn’t. Although the icebergs were impressive and most of the people were friendly, many of the roads were cratered with pot-holes that wouldn’t have looked out of place on the moon. The food was largely uninspiring, and while there were some undeniable scenic highlights, we had to drive past one hell of a lot of tedious fir trees to find them. And, to make matters worse, I got a spectacular (positively Vesuvian!) dose of food poisoning.
There’s a lot about our visit to Newfoundland that I’d rather forget, but reading back over my blog of the trip there was plenty of good stuff too, much of it quirky and some of it pretty damned memorable. So today I thought I’d share some of the better moments with you, the readers of Now I’m 64.
Quirky Newfoundland (1): Bilbo Baggins and the Warhol Prophecy
Andy Warhol famously suggested that in the future everyone will be famous for 15 minutes. By extension it might be argued that everywhere will be famous too, that each and every place under the sun will become known for something, albeit most probably something rather insignificant.
A case in point is Huntsville, Alabama. Passing through the city a few years ago we were surprised to discover that Huntsville is, according to the people who decide these things, the Watercress Capital of the World. Now, pleasant enough as watercress may be in a mixed-leaf salad, it seems rather desperate of the city elders to fly their colours from this particular mast, not least because the same city boasts an outstanding space museum, including a genuine Saturn 5 rocket.
Huntsville’s dubious claim to fame came to mind again yesterday when we drove into the small town of Elliston, which, as signage at the side of the road indicates, styles itself as the Root Cellar Capital of the World.
For the uninitiated, and I guess that’s just about everyone other than the good burghers of Elliston, a root cellar is an underground vault in the garden in which you can keep your root vegetables, and other produce, cool and fresh. The British aristocracy had their ice houses and, not to be outdone, Elliston folk built rutabaga (turnip) larders that work on a broadly similar principle. It is a must-have garden accessory around these parts; every home should have one and indeed, in days gone by, most of them did.
There were hundreds of root cellars in this area of Newfoundland at one time, and although most have fallen into disrepair some are lovingly maintained. The best look as if they’ve come straight off the set of a Lord of the Rings movie, giving the impression that at any moment the door will open and a hobbit will emerge, puffing contentedly on his pipe. ‘Hello’, he says, ‘my name’s Bilbo Baggins, pleased to meet you I’m sure.’
‘Well, hi there,’ replies Andy Warhol, ‘that’s a fine root cellar you have there. I’m pleased to tell you, Mr Baggins, that one day you’re going to be famous. But only for 15 minutes.’
Quirky Newfoundland (2): When did you last see a vegetable?
You’ll be familiar with the painting. A small boy dressed in blue stands in the centre of the picture facing to the right, where his inquisitors are seated at a table. His family look on, anxiously. The canvas depicts an imaginary scene from the English Civil War, and was painted by British artist W. F. Yeames in 1878. Its title is “When did you last see your father?”
Skip to Newfoundland, July 2017, where a new interpretation of the painting has been commissioned. The venerable Platypus Man stands in the centre of the picture, facing his inquisitors. His head is bowed, his shoulders hunched. Tears flow from sunken eyes, cascading down his deathly-pale cheeks. Mrs P watches, her face contorted with pain and suffering. The title of the painting is “When did you last see a vegetable?”
You see, vegetables are in short supply around here. To be fair, we’ve eaten up-market two or three times during the trip, and on these occasions veggies have been available. Although at those prices I should bloody well think so.
Mostly, however, we’ve eaten “cheap and cheerful.” Until yesterday this meant that just about the only vegetables we’ve eaten have been potatoes of the chipped persuasion. Newfies apparently feel the same about healthy eating as Roman Catholic bishops feel about contraception – they’re vaguely aware of the concept, but have decided it’s not for them.
Yesterday, however, we experienced a bona fide miracle. We ate “cheap and cheerful” again, and got both broccoli and carrots. Now you have to understand that I’m not a big fan of broccoli. I once heard a comedian on television refer to it as Satan’s Fart-weed, but didn’t even crack a smile – I mean, what’s funny about the patently obvious? But yesterday, so grateful was I for something – anything – green, that I ignored the ghastly intestinal consequences and wolfed it down ravenously.
And as for carrots (also not my favourite veggies, on the grounds of being too orange to be taken seriously … a bit like Chris Evans and Ed Sheeran, I suppose), Peter Rabbit himself couldn’t have made quicker work of them.
However, we’ve discovered in northern Newfoundland over the last couple of days that some locals have seen the light and taken matters into their own hands. They’ve fenced off areas of land by the side of the road, miles from the nearest town or village, and planted veggies there.
Around here settlements are invariably on the coast, where neither climate nor soil are conducive to the growing of vegetables. But by moving inland along the main roads, conditions for horticulture are improved. Every weekend the “owners” drive out to tend their little allotments, lavishing love and care on them that would put celebrity gardener Alan Titchmarsh to shame.
Apparently anyone living here can, quite legally, drive a few miles out of town, put up a bit of fencing to keep out the moose, and claim a parcel of land to set up a vegetable patch. Ownership of the roadside gardens is respected – no Newfie would dream of nicking his neighbour’s carrots – and nobody pays rent or tax on the land that has been thus acquired.
This all sounds wonderfully progressive, and could work well in the UK. I think I’ll drop Keir Starmer an email and suggest it for inclusion in the Labour Party’s next election manifesto. I have my eye on a nice patch of ground next to the A38, slightly north of Derby, that’s just crying out to have vegetables grown on it. I won’t even have to worry about the moose.
I will, however, definitely give broccoli a miss when sowing my crop. After all, a man should follow his gut instinct.
Quirky Newfoundland (3): Ticklish names and monstrous squid
With apologies to Lewis Carroll ("The Walrus and the Carpenter")
Today we ventured to the coastal village of Leading Tickles. Yes, that really is a place, not a dubious seduction technique that I once employed in my pursuit of Mrs P! In these parts a tickle is a narrow strait, so narrow in fact that it tickles the sides of your boat as you sail along it. There are plenty of other tickles to be had in this neck of the woods, including Dark Tickle and Thimble Tickle. Boringly, the latter is now known as Glover’s Harbour. Less boringly, it’s a place of world renown…if cephalopods are your thing, that is.
In 1878, the world’s biggest known squid, weighing in at two tons, 17m (55 feet) in length and with an eye that had a diameter of nearly 41cm (16 inches), was washed up here. It has received the official stamp of approval from the Guinness Book of Records, so we can be sure it’s kosher. Given that there is absolutely nothing else that a tiny, isolated place like Glover’s Harbour is going to become known for, the locals have latched on to it. The squid has achieved celebrity status; there is a decent interpretation centre, and a life size model which really does bring home what a monster it was. Although, sadly, climbing on it is strictly forbidden!
On the way to visit Squiddly Diddly we took time out to visit the Grand Fall Salmon Interpretation Centre, and view the salmon ladder. Historically, salmon were unable to progress upstream beyond the 30m (100 feet) high waterfall located here, meaning that less than 10% of the entire watershed was available for breeding. However a fish ladder comprising 35 steps has now been constructed, enabling them to by-pass the falls and continue their journey upstream to the spawning grounds.
Watching the fish leap up the steps was mesmerising; some got it right first time, others failed multiple times before finally perfecting their technique and progressing to the next level. We were also able to watch from a glass-walled underwater viewing deck, enabling us to see them from side-on at very close quarters. Some carried flesh wounds caused by mishaps on their journey upstream, though others were unblemished and beautifully marked.
While some of the salmon were modest in size, others were huge. These have probably done the journey multiple times before. Unlike Pacific Salmon, the Atlantic Salmon does not die after breeding, so most of the fish we saw today will return to the sea after mating, and will hopefully make the same intrepid journey again next year. Here’s wishing them a safe journey.
Memorable Newfoundland: Picturesque places, beautiful birds and wonderful whales
For the past week we’ve been in the far west of Newfoundland, but this evening at 4.30pm, we’re booked on a whale watching trip departing from the town of Bay Bulls on the east coast. We therefore have a hard day’s driving ahead of us, hundreds of mind-numbing kilometres in which to contemplate the majesty of the fir trees lining our route. We can hardly contain our excitement [overseas readers please note that the English are famed for their ironic sense of humour! A man can see too many fir trees, and today this man will.]
At least it’s no hardship to leave our current accommodation. We suspect the innkeepers received their training from the Basil Fawlty school of hotel management, from which they were evidently expelled for failing to meet the required standard. They don’t say goodbye when we leave, but this isn’t really a surprise as they didn’t say hello when we arrived either (although they did get their assistant to collect our money pretty damned quick).
As soon as breakfast is eaten we’re on our way, whistling the theme tune from The Great Escape as we drive out of the car park. Within a couple of minutes we’re on the Trans Canada Highway (TCH), Newfoundland’s equivalent of the M1. Joy of joys, just like our own M1, the TCH is being widened and chaos is therefore in the air, which doesn’t improve my mood. It’s a nightmare, but after much misery we finally leave the mayhem behind us. I slip the car into cruise, settle back and prepare to watch the kilometres sail past.
A couple of hours later I’m going stir crazy. We decide to leave the TCH for an impromptu side-trip to the coastal village of Salvage. It’s an inspired decision. Salvage turns out to be one of the most picturesque places we’ve visited all trip. The fishing shacks and associated paraphernalia are particularly fine, hinting at a way of life that it is completely alien to us. Mrs P loves photographing them, and snaps away happily until it’s time to hit the road again.
Suitably refreshed by our unscheduled visit to Salvage I put my foot down, and we reach Bay Bulls in good time for our whale watching trip. The boat takes us first to a small offshore island where seabirds nest in their thousands. The skipper brings us in close to the shore, giving us great views of the birds on the cliffs and rocky outcrops. Gull Island boasts a colony of handsome guillemots. There are also some puffins to be seen on the island, while others swim past our boat or fly overhead with beaks full of little fish with which to feed their chicks.
Bird watching over, we move on to Witless Bay, reputedly the best place in Newfoundland to get up close and personal with humpback whales. For once the hype is fully justified, and within a few minutes we find ourselves surrounded by a group of between 15 and 20 humpbacks, all gorging themselves on fish that congregate here to breed.
The skipper kills the engine and we sit still in the water, mesmerised by the whales all around us. The humpbacks patrol the bay, breaking the surface as they swim sedately along, then diving suddenly in pursuit of their quarry, then surfacing again with a loud “blow” of exhaled air and water-droplets.
A couple of times we see them lunge-feeding, exploding from the deep with huge gaping mouths that have, in this single manoeuvre, made short work of thousands of tiny fish. Occasionally we spot one spy-hopping, raising his head slightly above the water’s surface to watch what we’re up to. They approach within metres of the boat, sometimes lying motionless at the surface like floating logs, as if winded by the sheer volume of fish they’ve just swallowed. Encrustations of barnacles are clearly visible on their skin. The humpbacks are compelling, awesome creatures, and time seems to stand still as we revel in their majesty.
Today could have been a pretty miserable day, but it turns out to be one of the best we’ve had in Newfoundland. Yet this is a strange place, and Newfies march to the beat of a different drum. After the whale watching is over we retire to a nearby restaurant that specialises in fish. The waitress welcomes us warmly, says we can sit anywhere we like and have anything on the menu…except fish. Unsurprisingly perhaps, in a part of Canada where Basil Fawlty sets standards that some locals find unattainable, it appears that the fish restaurant has completely run out of fish.
* * * * *
POSTSCRIPT: If you’ve enjoyed these random memories of our trip around Newfoundland, why not check out my 2017 blog of our holiday. There are a few laughs, plenty of surprises and loads more excellent photos by Mrs P, like this one of picturesque Quidi Vidi harbour.
Although we’ve been to Norfolk many times we normally go in early spring, before azaleas and rhododendrons come into bloom. This year, however, we delayed our visit by a few weeks and were rewarded with a riot of colour at Stody Lodge and Sheringham Park, two sites famed for their azalea and rhododendron collections.
Over 1,000 species of rhododendrons and azaleas occur naturally across the globe. Most come from eastern Asia and the Himalayan region, but smaller numbers occur elsewhere in North America, Australia and Europe. None are native to the UK.
The first rhododendron to be introduced to Britain was from the Swiss Alps, and is believed to have been brought to England by Huguenot refugees in the 16th century. Other species were introduced from America and Europe in the 18th and 19th centuries, while many Himalayan varieties found their way here courtesy of the botanist Sir Joseph Hooker’s expedition to the region between 1847 and 1851.
Today, most of the species seen here in collections at Sheringham, Stody and similar gardens across the country are hybrids, the creations of man rather than nature. And perhaps because they are the work of humans rather than natural evolution, subtlety is not the name of the game. To be blunt, I think we’re talking gaudy. Sheringham Park, for example, showcases an eye-watering array of bushes clustered amongst the trees and lining the paths, all sporting vividly coloured blossoms that seem to shout “look at me, look at me!”
Sheringham Park is a landscape park and garden surrounding a Hall that bears the same name. While the Hall is privately owned, the Park, which dates from the early 19th century, is run on behalf of us all by the National Trust. A variety of attractive plants can be seen in the grounds , but the undoubted star of the show is the large collection of rhododendrons and azaleas.
As well as horticultural types, Sheringham Park attracts dog walkers, fun runners and lovers of the countryside. It’s open every day from dawn until dusk, and was busy with visitors when we were there. Stody Lodge Garden was even busier, unsurprising given that it’s open just a few days every year, at the height of the rhododendron and azalea season. The people running Stody have identified their main asset, and are exploiting it vigorously.
Stody Lodge Garden has been home to a stunning collection of rhododendrons and azaleas since at least the late 19th century. It belonged to Daily Mail magnate and controversial press baron Harold Sidney Harmsworth(1st Viscount Rothermere, 1868-1940), for most of the 1930s, but unlike Sheringham, it remains in private ownership to this day. We discovered Stody to be a great place to visit during the flowering season, but do remember to take your sunglasses: an explosion in a paint factory would be less colourful!
However, all things must pass, so by the time you read this the rhododendron and azalea flowering season will be over, the riot of colours simply a distant memory. No worries, though, they’ll be back next year, as bright, bold and riotous as ever.
Finally, after more than two years confined to barracks by the pandemic, we’re back on the road again. Not overseas: the timing still doesn’t seem right, and in any case the burning desire to visit far off foreign parts has cooled a bit. Maybe the passion will return in due course, maybe not, but unless and until our outlook changes there’s plenty to keep us occupied here in the UK.
The county of Norfolk is one of our favourite English destinations, and it was the obvious place for us to take our first proper UK holiday (that’s “vacation” to you guys in North America!) since summer 2019. And every time we visit Norfolk we make a point of spending a day at the wonderful Pensthorpe Natural Park.
Pensthorpe started out as a large gravel extraction enterprise, with over 1 million tonnes being dug out and carted off to who-knows-where. But instead of becoming a permanent scar on the landscape the site has been sensitively transformed into something of real value to the local community, and to visitors from further afield like Mrs P and I. Today it’s a bit of an oddball mixture, part old-fashioned waterfowl exhibit, part nature reserve, part conservation hub, part sculpture park, part kids’ activity centre. There’s something for just about everyone at Pensthorpe Natural Park.
The Park is run as a business, which in principle sits a little uncomfortably with me. In practice, however, the owners – Bill and Deb Jordan, top dogs in a family-owned breakfast cereal company – appear genuinely committed to the restoration and protection of the natural world. There’s nothing to suggest they put profit ahead of sound conservation practice, and I’m therefore relaxed in saying that they get my vote.
Bill and Deb win further brownie points from me for setting up a charitable trust, the Pensthorpe Conservation Trust, to work with their commercial operation. Established in 2003, the Trust aims “to establish a centre of excellence, habitat management and restoration alongside conservation of wetland and farmland bird species through captive breeding programmes in national conservation partnerships.” Corncrakes, cranes, red squirrels and turtle doves are amongst the species currently benefitting from the Trust’s activities.
Our return visit to Pensthorpe last month did not disappoint, even though the management has yet to erect a commemorative plaque at the spot where I broke my ankle in a fall on a snowy winter’s day in 2013! The lakes and woods teemed with wildlife, and although there was nothing exceptionally rare to be seen on this occasion it was great to get back into natural world after the miseries of Covid.
It was also great to bump into a former work colleague, albeit totally unexpected given that we were around 120 miles (nearly 200 km) from the office and had not seen each other since she moved on some eight or nine years ago! Amanda is a lovely lady, passionate about sport, physical fitness and wellbeing, and – as I now discovered – birdwatching too.
Amanda explained that she is currently working on the government’s Green Social Prescribing project. The initiative enables doctors to help improve mental health outcomes and reduce health inequalities amongst suitable patients by prescribing “nature-based interventions and activities, such as local walking for health schemes, community gardening and food-growing projects.”
I was previously only vaguely aware of Green Social Prescribing. But hearing Amanda talk about the initiative as we sat together in a bird hide, gazing out over a tranquil lake where ducks, geese, and swans were going about their daily business and squadrons of swallows whizzed happily overhead, it now made perfect sense.
I felt more at peace on our day at Pensthorpe, and during the visits we made the same week to several other Norfolk nature reserves, than at any time since Covid hit. For me there is no doubt that getting back to nature – close to wildlife and wild places, distant from the stresses and strains of 21st century urban life – revives the spirit and nurtures the soul.
Before our visit last month it had been around three years since our last trip to Pensthorpe. But guess what – we’ll be going back real soon!
So, follow our example and get back to nature, guys. You know it makes sense!
Last month was Local and Community History Month here in the UK, which aims to celebrate and increase awareness of local history. And why not? After all, history is all around us if we only know where to look, or, to be more precise, if we can only understand just what it is we are looking at. Take, for example, those small, round, pyramidal-roofed buildings that are dotted here and there around our neighbouring county of Leicestershire. Their former role in community life is fascinating, but far from obvious at first glance. Read on to find out more…
The buildings in question are lock-ups, in effect holding pens where drunks and suspected criminals were held for a day or two until the civil authorities were ready to determine their fate. They would then be taken before a Justice of the Peace (aka J.P. or magistrate), whose job it was to decide what should be done with them.
Some would be fined or sent to prison. The most serious offenders would be sent to face trial before a jury, while those deemed to have suffered sufficient punishment through their incarceration in the lock-up would be released to return, shame-faced and chastened, to their local community.
There must have been thousands of these lock-ups in 19th century Britain. They came in all shapes and sizes. Several hundred still remain, scattered across the length and breadth of the country, including several fine examples in Derbyshire and Leicestershire (for overseas readers unfamiliar with the idiosyncrasies of English place names and their spellings, that’s pronounced Lester-shire!)
Smisby lock-up looked picturesque when we visited a few weeks ago, a small, round brick-built structure (well, octagonal if we’re being strictly accurate) just a stones-throw from the village church, its tiled, pyramidal roof partly clothed by a climbing plant bearing a mass of handsome blossom. It’s been there since the early 18th century when it was used to lock up drunks and minor lawbreakers while they sobered up, or until they could be taken to court at Derby. It was also used to temporarily confine paupers and vagrants.
Spare a thought, if you will, for the poor souls who spent time there, perhaps guilty only of enjoying rather more ale than was good for them. The space in which they were confined was tiny. It had no windows, light being admitted only through a few holes drilled into the sturdy wooden door – it’s no surprise, therefore, that lock-ups were popularly known as “Blind Houses.”
And let’s not dwell too long on how the men, women and children detained there managed when they had bodily functions to perform! It must have been a wretched, stinking hovel, freezing in winter and like an oven in the height of summer. Quaint and quirky though it looks today, Smisby lock-up was a grim place in which to spend time.
Built to the same basic design, although fashioned out of local stone, Breedon-on-the Hill lock-up was a similarly miserable place of confinement. It was built in about 1793, and remained in use until 1885.
Worthington lock-up also dates from the 18th century. It sports an unexpected slit window, which is believed to have been inserted during World War 2 when the building was earmarked as a potential defensive pillbox for use in the event of a successful invasion by Hitler’s Nazis.
Most of the lock-ups I’ve featured so far are to be found on the border of or in our neighbouring county of Leicestershire. But I wouldn’t wish you to think that Derbyshire folk were all so well-behaved that similar provision wasn’t needed here. Indeed the nearby town of Alfreton boasts an unusually large lock-up, perhaps reflecting the locals’ unusually large appetite for strong ale! It dates from around 1843 and contains multiple cells, evidence that bad boys abounded in Alfreton town in the mid-19th century.
Derbyshire’s Sandiacre lock-up dates from 1660, although it was substantially rebuilt in the 18th century. Above the door is a plaque bearing the words “Erected as a village lock-up and pound for the imprisonment of stray animals about the year 1660 AD”, which I guess tells us all we need to know about how drunkards, rogues and ne’er-do-wells were regarded when buildings like this were in use.
Finally in this round-up of local lock-ups, consider Jaggers Keep in the Derbyshire village of Curbar. This substantial two storey, single room building dates from the 18th century and boasts a conical roof and stone chimney pot. It was apparently used to temporarily detain drunken and miscreant miners who were on their way to Derby jail, and is conclusive proof – if ever it were needed – that folk in my home county knew how to party!
Architects have a frustrating life, don’t they, forever constrained by the briefs and the budgets of their paymasters, always wondering how much more they could achieve if their clients would only interfere a bit less and pay a bit more. But just occasionally, when the stars are in alignment and the gods smile benevolently upon him, an architect is given a free hand to express himself.
Augustus Pugin was one such architect, and when the chains were removed he built his masterpiece, St Giles church in the Staffordshire town of Cheadle. Otherwise known as Pugin’s Gem, St Giles is a Grade I listed Roman Catholic church built in the Gothic Revival style. With a spire standing 61m (200ft) high, it is by some way Cheadle’s tallest building, and is – in my humble opinion anyway – absolutely spectacular.
If you’re not from the UK you almost certainly have never heard of Cheadle. I’m guessing most Brits aren’t familiar with it either. This is a humble West Midlands market town of around 11,000 people. For hundreds of years the main industry in the Cheadle area was coal mining, but the mines have all closed now and the town’s main employer (JCB) makes mechanical diggers and excavators. It’s a remarkably unremarkable little place, and would be instantly forgettable were it not for the efforts of Mr Pugin.
Augustus Welby Northmore Pugin (1812-1852), the son of a French draughtsman and designer, was a prodigiously talented and prolific architect whose output included the interior designs for the Palace of Westminster, and over one hundred churches and cathedrals. He also managed to find time to pen eight books on architecture and design before dying at the age of just 40, succumbing – it is believed – to the effects of syphilis that he first contracted in his late teens.
Pugin’s patron in the building of St Giles was John Talbot, the 16th Earl of Shrewsbury (1791-1852). In 1829, two years after Talbot succeeded to the title, Parliament passed the Catholic Relief Act, better known as the Catholic Emancipation Act, 1829. This important piece of legislation allowed Roman Catholics to become Members of Parliament and to occupy all but a handful of public offices at a stroke, overturning restrictions that had been in place for hundreds of years.
Shrewsbury’s principal residence was at Alton Abbey – which he renamed Alton Towers – just 6 miles (9km) from Cheadle. The Earl took a keen interest in the spiritual welfare of Catholics in the town, and, emboldened by the Catholic Emancipation Act, he engaged Pugin to build a church there. Pugin, himself a Catholic, had previously undertaken an architectural commission for Shrewsbury at Alton Towers, and had impressed the Earl with his contention that Christian (or gothic) art and architecture could be a powerful weapon in the re-conversion of England to the Catholic faith.
It was a marriage seemingly made in heaven. The Earl had the money, Pugin had the creative talent and the pair of them shared a passionate commitment to the Roman Catholic faith. Cheadle’s Catholic population was modest in size, but Pugin’s design was the opposite: extravagant, exuberant and extraordinary.
When St Giles was consecrated in 1846, the service was attended by Bishops, Archbishops and overseas statesmen, as well as the great and the good from the world of architecture and design. Cheadle had never seen anything like it before, and probably never will again.
When we visited St Giles last year, I didn’t know quite what to expect, but insofar as I had expectations, Pugin’s Gem exceeded them one hundred fold. It is a breath-taking creation, all the more so for being located in this small and otherwise insignificant Staffordshire town. To describe it as totally over the top does not adequately describe its impact on the visitor, but you probably get the general idea!
I can’t agree with Pugin that architecture alone is capable of inducing religious conversion: in the 21st century such views are either wishful thinking or a dangerous delusion, depending on your point of view. My own spiritual beliefs were utterly untroubled by his masterpiece, but St Giles church remains clear in my memory, monumental and magnificent, a vivid testament to what can be achieved by an architect unchained.
It’s easy to underestimate the impact canals had on the early part of the Industrial Revolution. Today, if they are not drained of water or choked by vegetation, they’re mostly used for leisure purposes only. It is hard to believe that, 200 years ago, they were central to the industrial miracle that transformed society beyond all recognition.
The Caldon Canal is a mere 18 miles (29km) long, and runs from Froghall in Staffordshire to Etruria in Stoke-on-Trent, where it joins the much larger Trent and Mersey Canal. Completed in 1779 it was built primarily to transport limestone, so it comes as no surprise that abandoned limekilns can still be found along its route.
The kilns at Consall Forge, which stand 10m high and 50m long, are now clothed in vegetation. Back in the day, however, the view would have been very different. Raw limestone, quarried nearby, would be loaded at the top of the limekilns. Furnaces heated the rock and converted it into quicklime, an essential resource in the steelmaking process. The quicklime would then be removed at the bottom of the kiln and loaded onto barges for onward transportation to where it would be used.
The remains of more limekilns can still be seen at Froghall Wharf, and here too the serene surroundings make it difficult to fully appreciate how the place must have bustled with activity in its heyday. Froghall also boasts a handsome 19th century warehouse. This has been tastefully repurposed as a café catering for 21st century visitors who like nothing more than to replenish the calories they’ve burned off during their canal-side strolls with a hot drink and an enormous slab of cake!
One of the undoubted highlights of the Caldon Canal, and perhaps more unexpected, is the Cheddleton Flint Mill Museum. There was a watermill on the site in 1253, and by the 1500s there were two, one to wash woollen cloth in a process known as fulling, and one to mill corn. When the canal was driven past the mills in late 18th century it opened up the possibility of new uses.
The Caldon Canal passes through Etruria, which was – from 1769 – the home of Josiah Wedgwood’s ground-breaking pottery business. One of his highly successful products was “creamware”, which used ground, calcined flint to help achieve its distinctive light-coloured appearance. The mills at Cheddleton were converted to grind the flint Wedgwood needed, and the canal enabled its easy transportation to the potter’s Etruria factory.
Now owned and run by the Cheddleton Flint Mill Preservation Trust, the site offers fascinating insights into a flint milling process that I was completely unaware of before our visit. It also preserves the miller’s cottage, which dates from the 1800s, shining light on a lifestyle so very different from our own.
The cottage is dressed as a piece of living history. Recently washed laundry (sparkling white!) hangs drying in front of the range, which serves both as the cottage’s source of heat and a stove for cooking meals. Along the walls two dressers display cherished pieces of tableware, and the table in the middle of the room is laid ready for tea. The exhibit is totally convincing, and it’s easy to believe that the miller and his wife have just popped put for a few minutes, and will soon be back to carry on with their lives.
Cheddleton Flint Mill is just one of many fascinating points of interest along the 18 miles of the Caldon Canal which, although clearly short on length, is undoubtedly big on history. A visit (or two, or maybe even three) can be strongly recommended if you’re ever in the area!
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.
* * * * *
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!
* * * * *
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.
Mrs P’s father has set himself the challenge of photographing every Anglican church in our home county of Derbyshire. It’s a big ask – there are several hundred places of worship that meet his criteria – so we’re helping out when we can by snapping churches we come across during our travels.
Derbyshire churches come in all shapes and sizes, the good, the bad and the ugly. But the exterior view of any church is always improved by an interesting churchyard. When we drove up to the church of St Peter and St Paul, Old Brampton in the north of the county a few weeks ago the daffodils were in full bloom. The earliest parts of the church date from the 12th century, although the current vista owes much to a major restoration carried out in 1868. With the churchyard paths lined with daffs, it looked full of character.
Some of Derbyshire’s churches might be described as being located “in the middle of nowhere”. All Saints church, Ballidon, for example, sits in a field several hundred metres from the tiny village whose name it bears, a village way too small to support a church of its size. Once the rural population here must have been much larger. Records of the church date back to the year 1205, when it was described as a chapel-of-ease (in other words, an outlier) of a church at Bradbourne, some four kilometres (2.5 miles) distant from Ballidon. The church is much altered from its 13th century form, having been restored in 1822 and again in 1882.
Today, although still consecrated, Ballidon church is no longer used on a regular basis. It is owned and managed by the charitable organisation Friends of Friendless Churches. The churchyard is a little overgrown, but the church itself appears in good condition, and is a dignified presence within the wider agricultural landscape.
Another place of worship to have been substantially remodelled in the latter half of the 19th century is Holy Trinity church, Ashford in the Water, which has its origins back in the 12th century. Ashford is a famously pretty, “chocolate box village” in the heart of an area of Derbyshire known as the White Peak, and is visited by many thousands of tourists every year. Although the Grade II Listed church is not the major attraction, the building and its ample churchyard definitely add to the village’s visual appeal.
Derbyshire’s most famous village, however, is Eyam, which is known the world over for the sacrifices its residents made to protect surrounding areas from the Great Plague of 1665/66. I summarised the main events of that tumultuous period in this post, written when our very own Covid pandemic was in its infancy.
When plague erupted within the village the local clergyman, William Mompesson, was instrumental in convincing his flock that they should isolate themselves from the outside world and confine the disease within its boundaries. To further suppress the spread of the infection Mompesson also abandoned religious services within the church, holding them instead in the open air.
Today the church of St Lawrence, Eyam is a bit of an architectural jumble, boasting a Saxon font, Norman pillars, a nave built around 1350, a 17th century tower and sundry additions and changes made during the 19th century. But it’s not unattractive – quite pretty, in fact – and the churchyard setting oozes tranquillity. It’s therefore difficult to imagine the fear and despair that must have gripped the congregation when the plague was at its height.
However, look closely in the churchyard and the clues are all around, in a series of “plague graves” dating from the terrible 17th century epidemic, when death stalked an otherwise green and pleasant land. Amongst the graves dating from this era is that of Catherine Mompesson. Neither her husband’s devotion to God nor his instinctive understanding of epidemiology were enough to save her, and she sadly succumbed to the plague in August 1666.
Another churchyard boasting a monument that tourists flock to see can be found in the north of Derbyshire. The church of St Michael and All Angels, Hathersage dates principally from the 14th and 15th centuries, and like so many Derbyshire churches was substantially restored in the mid-19th century.
St Michael and All Angels is not without architectural merit, which is reflected in its Grade I listing. However its main claim to fame is to be found in the churchyard, in the form of the alleged grave of Robin Hood’s ironically named sidekick Little John.
The evidence is somewhat scanty: in 1780 one James Shuttleworth claimed to have unearthed in the graveyard a thigh bone measuring 72.39 centimetres (28.50 inches). This would have made its former owner nearly 2.5 metres (8 feet) tall, and as Hathersage lies fairly close to Sherwood Forest – the fabled hangout of Hood and his merry men – Shuttleworth concluded the giant outlaw’s mortal remains were buried here.
As theories go it sounds to me like utter rubbish – or, as the brilliant writer Douglas Adams would have put it, a load of dingo’s kidneys – but why let the truth get in the way of a good story? And anyway, the grave is planted with lots of colourful flowers and does a good job of brightening up the churchyard, so maybe just this once we can all forgive a little bit of fake news!
Although views of the churches I’ve so far featured in this post are generally enhanced by the churchyards in which they sit, the buildings themselves have significant merit in their own right. The same cannot be said of St James the Apostle, Temple Normanton. However glorious its setting (and let’s be blunt, that’s nothing special either) the church building at Temple Normanton will always be an architectural eyesore.
It wasn’t always so. The current building is the fourth church on this site. The first originated in the 12th century, but was rebuilt in 1623. However this replacement was undermined by subsidence due to coal mining and was in turn replaced by a wooden church in 1922. Sadly, this incarnation was wrecked by severe winds in the 1980s, and this time – out of desperation, or maybe penury – Anglican decision makers opted in 1986 to erect a cheap and cheerless utilitarian fibre-glass monstrosity.
I can safely say I’ve never see another church like the one at Temple Normanton, and I rather hope I never do so again. Having said that, Mrs P likes it and spluttered indignantly when she proof-read the draft of this post, demonstrating once again that beauty is truly in the eyes of the beholder!
* * * * *
And finally, while we’re on the subject of country churchyards, I invite you to listen to Chris de Burgh singing about that very subject. Chris de Burgh (b 1948) is a British-Irish singer-songwriter who found fame internationally with his 1986 #1 chart hit Lady in Red. However Mrs P and I have seen him perform live several times and know him to be a good deal more talented than might be suggested by that one song, which was much beloved by the late Princess Diana and the Duchess of York and much-derided by popular music critics of the day. In a Country Churchyard is a gentle, thoughtful love song that shows de Burgh’s talents as a lyricist at their best. Listen and enjoy!
Let your love shine on,
For we are the stars in the sky,
Let your love shine strong,
Until the day you fly...fly away ...