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Elberry Cove - marine curiosity

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In the previous post I mentioned a peculiarity of Elberry Cove, between Brixham and Paignton, South Devon; its freshwater springs rising from the sandy sea bed a little offshore. I've found more references, one connecting to a largely unsung 19th century naturalist.

I first ran into this detail in Torbay Coast Path, the 1972 official booklet written by AS Kingdon for the County Borough of Torbay, and there are particulars in a later diving guide:
Freshwater Springs. These are to be found 100yds off the beach at Elberry Cove and about 400yds west of Churston Point. The springs bubble up through the sandy bottom and can be spotted by the saucer-shaped indentations in the sand. The freshwater mixing with sea water produces a shimmering optical effect.
- Dive South Devon: a diver guide, Kendall McDonald, Derek Cockbill. 1990

There is, however, a far more detailed account in Octavian Blewitt's 1832 The Panorama of Torquay:
Beyond Goodrington are Broad Sands, beyond which the land is broken into a few small coves, the first of which is Elberry. It will extend our walk too much to visit it by land, and the principal object of attraction can be examined only in a boat. It. must therefore be made a water-excursion, although we have introduced it in this place:—Elberry Cove is a small inlet lying open to the east; on the north it is protected by a ledge called from its appearance the "Honeycomb Rocks," and in the south angle is the Bathing-House of J. B. Y. Buller, Esq. of Lupton. At a short distance from the beach, the surface of the water presents a curious phenomenon. A fresh-water spring, rising of course in some part of the chain of hills above the cove, makes it exit from the sandy bottom, about eight or ten feet below the surface of the sea at low water mark. There is a report that a spring loses itself in the hills above, but we have not been able to prove its accuracy. It ascends perpendicularly with considerable force and forms a smooth circle, four or five feet in diameter, on the surface of, the sea. Two of these circles are occasionally seen, in consequence, perhaps, of the accumulation of sand ; and their size, depth, and distance from each other vary at different times, according as they are influenced by the swell or weather. They are of course best seen at low tide and when the sea is smooth. In April of the present year, we made some experiments in conjunction with Mrs. Griffiths, in order to ascertain the character of the water ejected by this spring. The result was satisfactory, and proved that it was a body of fresh water pouring out of an aperture of large size, and with such strength that the

We beg also to express our acknowledgments for the obliging assistance of Miss Amelia Griffiths on this occasion.

sand disturbed was forced by its power to the surface. The appearances within the circle resembled the effect of oil poured on the water, nor were they much affected by the ripple, which was playing on the waves around it. The temperature could not be accurately determined, but it did not seem to be higher than that of the sea. The volume of fresh water must be considerable as the salt taste of the sea perceptibly diminishes in the neighbourhood of the spring. This phenomenon will be visited by the natural philosopher with much pleasure, and independently of the interest excited by it, Elberry Cove has the honor of being the habitat of Rhodomenia Teedii.
- pp103-104, The Panorama of Torquay (a descriptive and historical sketch of the district comprised between the Dart and Teign), Octavian Blewitt, pub. Simkin, Torquay, 1832 (Internet Archive panoramaoftorqua00blew).
Despite it being very calm and low tide, I couldn't see anything from the shore; but then I didn't have any idea of the location until I Googled it afterward. Does any reader have any photos?



A bit on the people mentioned in the Blewitt account: JBY Buller is John Buller-Yarde-Buller (1799-1871), and the same person as the Lord Churston mentioned previously as owner of the bath house. He was raised to the peerage as Baron Churston in 1858, and not surprisingly changed the family name to just Yarde-Buller in 1860.

Mrs Griffiths is Amelia Warren Griffiths (1768–1858), a Torquay-based amateur phycologist who made many important collections of algae specimens in this area, including species from Elberry Cove. Generally referred to in the literature as "Mrs Griffiths of Torquay" (her vicar husband William Griffiths had died in 1802), she collaborated with Mary Wyatt, also of Torquay, in producing a multi-volume book of pressed and named seaweeds, Algæ Danmoniensis, published under Wyatt's name (Mrs Griffiths published nothing under her own name). There's a good article in The Phycologist, No 73 Autumn 2007 - "The Princess of Seaweeds" - giving an insight into their circumstances and collaboration. Amelia Griffiths' reputation was such that the Swedish botanist Carl Agardh named a genus of red seaweeds Griffithsia in her honour; and the botanist William Henry Harvey dedicated his 1849 A Manual of the British Marine Algæ (Internet Archive manualofbritishm00harv) to her.

 TO
MRS. GRIFFITHS,
OF
TORQUAY, DEVON,
A LADY WHOSE LONG-CONTINUED RESEARCHES HAVE, MORE THAN
THOSE OF ANY OTHER OBSERVER IN BRITAIN, CONTRIBUTED TO
THE PRESENT ADVANCED STATE OF
MARINE BOTANY,
AND WHOSE NUMEROUS DISCOVERIES, COMMEMORATED IN THE GENUS
GRIFFITHSIA,
ENTITLE HER TO THE LASTING GRATITUDE OF HER
FELLOW-STUDENTS.
THIS VOLUME,
WHICH OWES MUCH OF WHATEVER VALUE IT MAY POSSESS TO HER
LIBERAL DONATIONS OF RARE SPECIMENS, AND HER ACCURATE
OBSERVATIONS UPON THEM,IS RESPECTFULLY INSCRIBED,
BY HER FAITHFUL AND OBLIGED FRIEND,
THE AUTHOR. 

Some of the Algæ Danmoniensis volumes are in the RAMM Exeter museum collection. The associated web page - Amelia Warren Griffiths (1768-1858) - contains the intriguing detail that the Reverend Griffiths "died in rather mysterious circumstances". A footnote to Polwhele's History of Cornwall explains those circumstances:
That the recent death of Mr. Griffiths, was caused either by "love or madness," I will not presume to say. From the Orthodox Churchman's Magazine for August, 1802. "The Rev. William Griffiths, vicar of St. Issey, near St. Columb, on Saturday morning the 31st ult. took his horse, and said that he intended to go to Lanherne (a seat of Lord Arundell, ahout two miles from St. Columb) to see the nuns, and that if he did not return to St. Issey to dinner, he should dine at St. Columb, and retnrn home in the evening. On his not returning to St. Issey as expected, Mrs. Griffiths grew very uneasy, and sent several persons in search of him on Saturday night, but in vain; and on Sunday morning his horse was found in a field near the cliff at Mawgan, and his whip was stuck up near the cliff. As he had been seen there riding to and fro several times on Saturday afternoon, it was immediately conjectured that he had fallen over the cliff into the sea. On searching the cliff, his body was discovered under water, and was drawn up by ropes; but though the cliff was very high and rugged, he did not appear to be much bruised by the fall; his spurs were found one in each pocket of his coat, and a gold ring in his coat pocket. The coroner, (Mr. Hamlcy of Bodmin) was sent for immediately, and the jury brought in their verdict "accidental death." He is generally lamented by his parishioners, as well as by every person who knew him in the neighbourhood, and has left a widow and five children to mourn the loss of an affectionate husband and a tender father.
The History of Cornwall, Richard Polwhele, 1816
- Ray

Topsham from the air

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The Summer 2014 issue of EX magazine has a very nice feature on some photography commissioned by the local estate agents Wilkinson Grant, using a drone camera to take aerial videos and 'tilt-shift' stills of Topsham, Lympstone and Woodbury.


The work was done by the specialist commercial photographers Benjamin Graham and David Leyland of iVistaphotography, and required Civil Aviation Authority permissions. The three films are on YouTube:







Image from EX, Summer 2014 - low-resolution copy
reproduced as fair use for review purposes
Tilt-shift photography is a novelty effect using selective mid-range focus to give the look of a miniature model of a scene. There are three such aerial photos of Topsham in the article (EX, Summer 2014, pp76-77)and higher-resolution ones in the aerial stills gallery at iVistaphotography.

Read the EX article at ISSUU.

- Ray

Route 2: Countess Wear to Starcross

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The current heat wave continues, so I took myself for a walk along the National Route 2 cycle/foot track down the west side of the Exe estuary from Countess Wear to Starcross. I've walked sections before - see Route 2: Topsham Lock to Powderham - but this time put it all together (a decision partly forced by the Topsham ferry being closed on Tuesdays).

It's a slightly peculiar feeling, after nearly 50 years, to be still breaking away from tenets of childhood. I guess my parents can't be blamed for believing the standard wisdom of their era, but some of this wisdom has definitely dated. I was brought up with the idea that you must wear walking boots for walks, and generally dress in anticipation of the worst possible scenario - with the result that my family used to clump around public beaches and promenades in full hill-walking gear. with cagoules packed whatever the weather forecast. I've long since realised that you can be too cautious, and as long as the ground is undemanding, I'm most comfortable walking in deck shoes with a thick insole; for more rugged terrain, I carry light boots and change as required. Another piece of daft folklore was the idea that it was bad to drink liquids during heavy exercise, because it would give you stomach cramps. That tale led to many grumpy and parched summer walks. Now, it's known that stomach cramping is only an issue if you drink large amounts in one go; steady rehydration has become the norm, with electrolyte replacement if you're sweating a lot. On that basis, I felt free to wear shorts and daps, pack a 1.5L bottle of water and two packets of crisps against the heat (it was around 25°C), and get started.


View Larger Map

It's a pleasant circular trip: bus from Topsham to Countess Wear; cross the Exe and Exeter Canal and join the former tow-path on the west side of the river; head downriver for six miles or so to Starcross; then catch the hourly ferry to Exmouth, and take the bus back to Topsham. The walk section is straightish and level, and took about three hours, with brief stops - the Turf Lock pub is a very handy half-way point - and the only crucial connection is catching the ferry, which from May to September finishes at 5.10 (if you miss it, you can get a train back from Starcross). The first segment is noisy and can be smelly - you're between a main road and motorway, and there's a sewage treatment works on the island between the canal and Exe. But it rapidly improves as you leave the motorway behind. See Sustrans Map.

Click any image to enlarge.

Crossing the Exe

The swing bridge ...
... which as the plaque explains was the scene of D-Day rehearsals
for the glider-borne attack on the Pegasus and Horsa bridges
in Normandy: Operation Deadstick.
On to the tow-path
The canal shortly widens out in deep-water basins ...
... after which you see this rather dilapidated boat, which apparently is a
'Nuoli' class Finnish motor gunboat (see BMPT forum).
Under the motorway ...
.... and the path divides. Take the cycle-free option to the left.
The Retreat - now-subdivided for residental use, this was the villa
of the Hamiltons, the local gentry of Topsham in the 19th century
Topsham comes into view ...
... and the Lock Cottage. This, accessible across a bridge, is open as a cafe
from 28th June to 25th August (not Mons/Tues). A ferry also crosses to
Topsham here - but again, not on a Tuesday. I picked the wrong day!
And the path goes on ...
... until you reach the yacht basin at the seaward end of the canal ...
... and you can take a break at the Turf Locks. First three miles done.
Turf Locks lawn - the view ahead
Turf Lock, where the Exeter Canal exits to the estuary
And the path continues along the sea wall
The construction of the linking section of the Route 2 cycle path between
the Turf Lock and Powderham Church is well under way.
Zoomed image: the The Belvedere Tower (Powderham Castle Folly),
built in 1733. See English Heritage page.
St Clement's church, Powderham ...
.... not open to the public except for an hour after Sunday service,
or by prior arrangement. See powderhamchurch.org.
The next section of Route 2 follows a road between the railway and
the deer park of Powderham Castle estate.
Deer are generally visible, but not close to the road.

Occasional beach access points over the railway give good
views over the widening estuary to Lympstone ...
... and to the Point at Exmouth
In Starcross, the Starcross Fishing and Cruising Club
building is housed in the old pumping station for
Brunel's Atmospheric Railway.
It's directly opposite the jetty for the Exmouth Ferry.


Crossing the Exe ...
... the channel follows the sand spit of Dawlish Warren ...
... which is directly accessible by water taxi from Exmouth Docks.
Arriving at Exmouth Docks.
- Ray

Dean Spanley

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A recommendation for a gem of a film: Dean Spanley (aka My Talks with Dean Spanley, 2008), which turned up on afternoon BBC2 yesterday. The film is a joint New Zealand and British production, directed by Toa Fraser and adapted by Alan Sharp from a 1936 Lord Dunsany novella, My Talks with Dean Spanley.


It's a rather quirky story. A man called Henslowe Fisk makes the acquaintance of a clergyman, Dean Stanley, at a talk on reincarnation. Fisk is interested in the Dean's views and invites him to dinner, but can only get him to attend by saying he has a bottle of the Dean's favourite wine, the rare and ruinously expensive Hungarian Imperial Tokaji. This he obtains at great difficulty, and is surprised at the effect on the Dean; after one glass, he goes into a reverie, recounting a previous life as a dog. Fisk is intrigued, and with the help of a 'fixer' friend, finds more bottles of Tokaji to repeat the experiment. The better the vintage, the more specific the Dean's recollections become, and furthermore, they indicate that in his previous life, he was a Welsh spaniel called Wag that had belonged to Henslowe's irascible father Horatio. (The Dean's initials are even W.A.G.). Henslowe brings his father along to the next Tokaji-fuelled gathering, and the Dean's recollections are the key to releasing the old man's long-repressed grief about the unexplained disappearance of his spaniel, and about the death of his other son in the Second Boer War.


If I'd seen even the bare bones of the plot, I quite probably wouldn't have watched it. From my synopsis, it may seem pretty ludicrous. But it was a delightful film. The original Dunsany novella very much played it for comedy, but Sharp's script is more wry than comic, and plays the story straight. There's a real sense of wonder to the Dean's descriptions of dog perception, as in his description of his adoration of "the Masters" whose presence makes the light "brighter ... and louder", and his description of a dog's disappointment at barking at the moon, because it doesn't react with the smell of fear. Add pleasant period setting - MR James without the horror - and strong performances from Sam Neill (as the amiable but weird Dean), Peter O'Toole (as the brittle and repressed Horatio Finch) and all the supporting cast, and you have a gentle but highly moving film that readily suspends any disbelief at the unlikeliness of the scenario.

I've not read the Dunsany book, but its original cover (right) gives the general flavour. It devotes far more of the narrative to the Dean's recollections (the true name of the spaniel, called Wag by humans, is revealed to be Moon-Chaser), and reviews at LibraryThing say the characters in the framing story are rather lacklustre. Trevor Johnston's review at The Script Factory (archived here) praises Sharp's adaptation as a reinvention that fills in character, conflict and motivation, opening out a majorly unfilmable drawing-room conceit. A couple of contemporary reviews:
Dean Spanley, a dog ("the hell of a dog") in a former incarnation, under the influence of Tokay indulges in reminiscence and discloses the character of a canine Tartarin. A waggish, affectionate interpretation of dog behaviour from the dog-patron's point of view, with some good mock-serious passages.
- The London Mercury - Volume 35 - Page 254, 1936

A whimsical book about dogs which ought to rank high among the classics of its kind. It is a rare little joke of a book, a delightful treasure, and a bewitching fable.
- The Reader's Digest - Volumes 30-31, 1937
The book was long out of print before the film, but HarperCollins brought out an associated 2009 reprint (left) with the Dunsany novella, the screenplay and various production notes: Dean Spanley (ISBN 9780007321001). It looks of interest, but from a skim of the Google Books preview, I'm inclined to think the film a far better incarnation of the story than the original.

The film is on BBC iPlayer - Dean Spanley - for the next five days.

- Ray

Invasion Exmouth, 189—

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I just ran into an episode set in Exmouth, in Fred T Jane's 1895 future-war novel Blake of the "Rattlesnake": Or, The Man who Saved England : a Story of Torpedo Warfare in 189—., which imagines Britain in ocean-going conflict with a French-Russian alliance.

Posing as Russians to hide their preparations for a counter-attack, the hero's forces come ashore to Exmouth and a tense situation:
Lying in shore all day, and getting provisions and water, — which we took without asking, for the people had all fled from the town, — we left as night came on; and daybreak next morning found us inside Exmouth bar, where a couple of ancient forts had been reduced to ruins by a hostile cruiser a few days before. It was a thick, heavy night coming round, and we saw nothing of the ironclads supposed to be beleaguering Plymouth, beyond a stray ship that nearly ran down No. 45, and got torpedoed in return. The Solent was our objective, and Blake did not wish to risk an alarm reaching there for the sake of destroying a few ships off Plymouth that could very well wait till we came back again.

At Exmouth, where we still posed as Russians, Blake and many others of us went ashore, to get such newspapers as were obtainable. As an English-speaking Russian, our commodore interviewed some of the principal residents under a flag of truce ; and, getting hold of one who appeared to be trustworthy, revealed his true identity to him. The latter, who was taken completely by surprise, on his part told Blake that he had sent a messenger to Lympstone, the nearest telegraph office, with instructions to wire to Exeter for troops that must already be on their way. This was an awkward contretemps : we did not wish to shoot down our own countrymen; but, on the other hand, if they once got to hear that we were an English force, the news might reach the enemy, and our great attack prove a failure. Finally, Blake decided to stay where we were under the flag of truce, and when the military arrived, — a company of the Devonshire Regiment Militia and a half battalion of volunteers, — they seemed disposed to go for our small force right away, and were with difficulty restrained. Of course, when Blake explained matters in confidence to Colonel Toppe-Higgins, the officer in command, the latter withdrew his troops, who were given to understand that an armistice was arranged till the evening ; and they spent the rest of the day in putting. up entrenchments on the hill around the church. I do not know how it was that none of them recognised our uniforms, unless it was that all naval uniforms are very similar to each other, and they could hardly be expected to be familiar with the details of the Russian one. Anyway, everybody seemed satisfied as to our foreign origin, and we were congratulating ourselves on a day in harbour without further trouble, when an incident occurred that nearly wrecked all our plans.

The residents, on learning that no fighting was likely to take place for several hours, got over their first terror; and soon we were surrounded by quite a crowd of people, curious to behold the dreaded foe. We, I should explain, were on the beach ; the townsfolk promenaded on the sea-wall to gaze at us; and it was while idly watching the procession that my eye lighted on a figure that seemed familiar to me, a lady dressed in deep mourning. She, or the people she was with, had just stopped to look at the supposed Russians, when she came almost face to face with Blake. For a moment they faced each other in silent astonishment, then, with a cry, ''Edward, my darling — my love ! you are not dead after all ! " she rushed down the steps, and Blake held her in his arms.

He would have been more than human to have been able to keep up the Russian disguise, and a moment later we were known to be English. Cheers rent the air, an enthusiastic crowd fell about us ; we were welcomed as the saviours of a nation. The news spread like wildfire; our carefully-kept secret was ours no longer; it was the property of a thousand tongues.

Then it was that Garron of the Hornet saved us. Realising that, unless immediate measures were taken, the news would soon spread beyond the limits of Exmouth, he hastened to the soldiers and persuaded the colonel to form a cordon round the town. Recognising the importance of this precaution, that officer at once posted his men, with instructions to shoot anyone attempting to force a passage through; nor was he a moment too soon, for several people were captured, some of them after a lengthy chase, who had started for the nearest telegraph office to flash the good news about the country.
- Blake of the "Rattlesnake" (Fred T Jane, Tower Publishing Company, London, 1895, Internet Archive blakerattlesnak00janegoog).

The background is rather interesting; Fred T Jane (John Fredrick Thomas Jane, 1865-1916) is of course the founding editor of the classic reference Jane's Fighting Ships. I knew he illustrated books on warship topics, but not that he wrote fiction. He knew his warships, and was an avid miniature wargamer, which no doubt contributed to making this an extremely geeky book; not only has it general illustrations of sea battle scenes, but also a deck plan of the Rattlesnake and diagrams of the engagements.

Torpedo attack on the HMS Nelson
The book's motive seems mixed. Jane expresses in the preface some sympathies for the cause of Admiralty reform, and the story contains many polemical elements: an indictment of the government hampering the Admiralty's decision-making in its own area of expertise, as well as digs at various English attitudes, such as lack of patriotism. In that, the novel is in tune with the "future war" genre of the era, which was a paranoid (or justified - it's hard to say in hindsight) projection of the dire consequences of England being under-armed and psychologically under-prepared for a European War. But Blake of the "Rattlesnake" is in many ways more of a "what if", in that it doesn't portray a realistic enemy - for one thing, the French were not a threat in 1895 (the real worry was, increasingly, Germany). Jane seems equally interested, as a wargamer, in just seeing how ocean warfare might play out when fast torpedo boats were pitted against traditional ironclad warships. In that light, it's quite readable, even if he does wax romantic about it:
I have not sought or attempted in this story to settle any vexed questions of theories or tactics; such matters are no concern of mine. I have tried instead to work into story-form some of the romance that clings thick around the torpedo service, to set forth  some of the poetry latent in torpedo craft. ...
I venture to hope that this attempt to depict modern warfare from the Service point of view will convince the present and the rising generation that scientific advance has not yet eliminated the romance that, let peace-faddists say what they will, clings, and ever has clung around war; and that man — the vir— is not yet supplanted by man — the homo.
- Ray

Deck plan of the HMS Rattlesnake

Two Devon romances

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Just skimming through some regional notes, I found bookmarks to two Devon-based romances - with somewhat similar themes but very different mood - by authors better known for other works and other locations, Thomas Hardy and John Galsworthy.


"The attitude bespoke anguish" - from The Graphic (Summer 1883): 19.
Scanned image and text Philip V. Allingham, The Victorian Web

The Romantic Adventures of a Milkmaid (Thomas Hardy, 1883), despite its lightweight title,  is a tight psychological novella concerning the consequences of a Devon dairymaid inadvertently saving a mysterious aristocrat from suicide. Margery Tucker, taking a short cut across the grounds of a country house, encounters the Baron von Xanten sitting on the grass with a pistol. At her approach he puts the gun away, and they talk until the postman arrives, bringing a letter with good news. The Baron says "My guardian child—my good friend—you have saved me!".

The Baron, in gratitude, offers to grant her a wish, and Margery chooses to go to a ball in nearby Exonbury (Exeter). This the Baron arranges, in Cinderella style providing her with transport, a ball gown and other necessary clothing to pass as a lady. Afterward, when she has changed back to her own clothing, he burns the gown etc. - on the grounds that this was the strict letter of the agreement (that the only thing she wished for was to go to the ball) - and considers the deal done.

Margery, however, is attracted to the Baron, even obsessed, despite her awareness of their class difference. He acts the perfect gentleman, and doesn't take advantage of her. But the fact of her attraction disrupts Margery's existing engagement to the master lime-burner Jim Hayward, and the Baron, aware of this, bankrolls Jim's courtship of Margery, and organises a complicated bit of theatre to get the two married by pretending that it's his dying wish - though Margery insists that it be kept secret and that she and Jim should live apart. They eventually end up contentedly married on a normal basis, though Margery's fascination with the Baron von Xanten isn't fully dispelled even on his death (by reputed suicide) years later.

The story is set in Hardy's Wessex mythos, and largely takes place at Silverthorn, Lower Wessex, which has been identified by various Hardy commentators as Silverton, about 8 miles north of Exeter, traditionally a dairy farming district.
It was half-past four o'clock (by the testimony of the land-surveyor, my authority for the particulars of this story, a gentleman with the faintest curve of humour on his lips); it was half-past four o'clock on a May morning in the eighteen forties. A dense white fog hung over the Valley of the Exe, ending against the hills on either side.

But though nothing in the vale could be seen from higher ground, notes of differing kinds gave pretty clear indications that bustling life was going on there. This audible presence and visual absence of an active scene had a peculiar effect above the fog level. Nature had laid a white hand over the creatures ensconced within the vale, as a hand might be laid over a nest of chirping birds.
The story went through various drafts, Margery originally living at 'Stickleford Dairy-House' near Casterbridge (Dorchester), so the whole story has been transplanted from Dorset. FB Pinion's Thomas Hardy, art and thought (1977) comments that
It would be a wild goose chase to search for any of the background in or near the Exe valley. Some of the original topography is interesting. The yacht which carries the Baron away to sea had waited in a cove which must be Lulworth, from 'the miniature Pillars of Hercules' which form its mouth'. Jim's chase of the Baron and Margery began at the review which was held on a hill outside Casterbridge. This must be Poundbury or 'Pummery' (outside Dorchester).
This change of location explains the geological peculiarity of Jim's lime-kiln being sited on a small outcrop of limestone, of which there is no such thing in the Culm Valley adjacent to Silverton.

It's a rather strange story, mixing realism with fable-like allusions; there's a detailed synopsis and critique in Andrew Maunder's The Facts on File Companion to the British Short Story (pp 360-361), which notes that contemporary reviewers criticised its improbabilities, and that it has been dismissed as a "mere potboiler" by later critics. It was, nevertheless, popular with readers. The Victorian Web has an analysis of its format - Thomas Hardy's Novella The Romantic Adventures of a Milkmaid -- Short Story, Novel, or Novella? - and its reception by American readers on its serialisation in Harper's Weekly: Re-creating an American Reading of Thomas Hardy's Novella The Romantic Adventures of a Milkmaid (1883).

The Romantic Adventures of a Milkmaid (Project Gutenberg #2996).



Still from A Summer Story

The Apple Tree (John Galsworthy, 1916) appears in the 1918 collection Five Tales, and has a very different flavour: a story of a man realising the consequences of a secret episode from his youth.

On the day of their silver wedding anniversary, Frank and Stella Ashurst - a very erudite couple (he's carrying in his pocket "Murray's translation of the Hippolytus") - are driving across Dartmoor to Torquay, where they met 26 years previously. At a stop, they spot a grave at a crossroads, and suddenly Frank is struck by the scene:
Surely there was something familiar about this view, this bit of common, that ribbon of road, the old wall behind him. While they were driving he had not been taking notice—never did; thinking of far things or of nothing—but now he saw! Twenty-six years ago, just at this time of year, from the farmhouse within half a mile of this very spot he had started for that day in Torquay whence it might be said he had never returned. And a sudden ache beset his heart; he had stumbled on just one of those past moments in his life, whose beauty and rapture he had failed to arrest, whose wings had fluttered away into the unknown; he had stumbled on a buried memory, a wild sweet time, swiftly choked and ended. And, turning on his face, he rested his chin on his hands, and stared at the short grass where the little blue milkwort was growing....

And this is what he remembered
This framing device introduces the story of how Frank, after finishing at Oxford University, is on a walking holiday with a friend; he asks for temporary lodgings at a farmhouse because his "football knee had given out". His friend returns to London, and Ashurst rapidly falls into a secret affair with the 17-year-old Megan David, a Welsh farm girl. At one of their meetings by an apple tree, she tells him she loves him, and he promises to take her away:
"To-morrow I'll go to Torquay and get some money, and get you some clothes that won't be noticed, and then we'll steal away. And when we get to London, soon perhaps, if you love me well enough, we'll be married."
Once in Torquay, however, he finds he has to wait for his London bank to authorise the money, and then he runs into an old school friend, Phil Halliday, who is staying there with his sisters who are convalescing from measles. In this congenial company - and particularly that of Stella, Halliday's artistic and intelligent eldest sister - he increasingly finds reasons not to return for Megan, and after a few days of Devon excursions, goes back to London with the Hallidays. A year later, he marries Stella. Finally we come out of the framing device, and Ashurst meets an elderly labourer who tells him the story behind the grave, and the consequences of his desertion are revealed.

It's a powerful and tragic story that has been adapted several times: two radio adaptations, including one by Orson Welles, and as an excellent 1988 film drama, A Summer Story, starring James Wilby, Imogen Stubbs and Susannah York. The film slightly embellishes the story and alters the timing; it has Ashurst - renamed Ashton - meeting Megan in 1904 and revisiting the scene in 1922, and his return is no accident, but a deliberate visit to find out what happened to her. Owing to the considerable changes to Torquay since 1904, other locations such as Dartmouth and Sidmouth fill in. See YouTube for the full film.

The segment filmed on Sidmouth sea front, with Peak Hill beyond
The location of the grave in The Apple Tree is fairly precise ...
They had walked that day from Brent, intending to make Chagford, but Ashurst's football knee had given out, and according to their map they had still some seven miles to go.
... and this matches the known background of the story, which is based on Jay's Grave, a roadside grave of uncertain origin near Manaton, at the south-east of Dartmoor. A great deal of Galsworthy's earlier work was written at Wingstone, a farmhouse in Manaton where he stayed with the then-married Ada Nemesis Pearson Cooper, who became his wife in 1905. Wingstone was their second home from 1908 to 1923, when the lease expired (ref: pp 323-324, The Literary Guide & Companion to Southern England, Ohio University Press, 1998).

The Apple Tree (in Five Tales, Project Gutenberg #2684).

- Ray

On a spaniel's monument

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A rather poignant exhibit from Brixham Heritage Museum: the 1826 gravestone of "Var, lapdog of the Right Hon. Lady Farnham", which was originally installed on a rock on the now-overbuilt fields of Parkham Hill, Brixham. Its details connect to a complicated genealogy, and a forgotten railway disaster.



Var's gravestone, Brixham Heritage Museum - photo by permission
I found a little background on this:
A Reminiscence of the Rev. H. F. Lyte.— A correspondent sends us the following : — Being at Brixham lately, we took a walk over some fields on the Parkham estate, on the high level above the Bolton hotel, where my attention was called to a tablet fixed in a cavity on the face of a bold jutting rock, about five feet from the ground, on which was inscribed the following : —

Here lies VAR. lapdog of the Right Hon. Lady Farnham.
Breathe gentle spring, breathe on this grassy mound.
And sing ye birds and bloom ye flowers around,
Ye suns and dews make green the resting place
Of honest VAR, the noblest of his race.
Gentle, yet fearless, active, fond, and true,
He reads, proud man, a lesson here to you.
And bids you (happy might you hear) to be
Guiltless in life and calm in death as he.
Go, and as faithful to YOUR master prove,
As firm in duty and as strong in love.
You will not find this moment here mis-spent
In musing o'er a SPANIEL'S monument.
May, 1826.

It is difficult to conceive why so secluded a spot should have been chosen for fixing so poetic a memorial to a faithful friend. S.S.

Referring to the lines on "Honest Var," which appeared in our paper on Thursday last, we have received from a correspondent the following interesting particulars :— Lady Farnham, to whom "Var" belonged, was the aunt of Mrs. Hogg, of Berry Head house, whose father, the Rev. H. F. Lyte, vicar of Lower Brixham at the time, and author of that well-known hymn "Abide with me,"&c., wrote the poetic epitaph inscribed to "Var's" memory. Lady Farnham and her son, Lord Farnham and his wife, were burned to death in the memorable Abergele railway accident some years ago. She once lived at Burton house, Brixham, which accounts for the memorial being erected where it is — so says our correspondent. Western Times Extract, December l0th, 1888.
- The Western Antiquary; or Devon and Cornwall Note-Book, ed. WHK Wright (Vol. VIII, Jul 1888 - June 1889, page 121, Internet Archive westernantiquar01wriggoog).
It should be noted straight away that the correspondent quoted in The Western Antiquary got the family relationships confused (which is understandable, because they are complicated).

A little Google Books and news archive searching finds that the Lord and Lady Farnham who were killed in a railway accident were Henry Maxwell, 7th Baron Farnham, and his wife Anna (née Stapleton). However, the spaniel-owning Lady Farnham, friend and patron of the Reverend HF Lyte, was the previous Lady Farnham: Anne (née Butler), wife of the 7th Baron's father Henry Maxwell, 6th Baron Farnham. She wasn't in the rail accident, having died in 1831, as noted in the dedication to Lyte's 1833 Poems: Chiefly Religious (Internet Archive poemschieflyrel00lytegoog). Neither of the Lady Farnhams was the aunt of "Mrs Hogg" (the married name of Lyte's daughter Anna Maria); Lyte's wife Anna, while related to the Anglo-Irish Maxwells, wasn't directly connected to the Baronetcy and furthermore had no siblings.

The "memorable Abergele railway accident" refers to the disastrous crash in August 1868, when the Irish Mail Euston-Holyhead express train collided with some runaway petroleum wagons released on to the line by mismanaged shunting operations. Lord and Lady Farnham were among the many passengers killed either in the collision or the fire that immediately engulfed the four lead carriages.  (The circumstances suggest there must have been something like a fuel-air explosion - the petroleum, which was in wooden barrels, rapidly dispersed by the force of the collision, then igniting). It was at its time the worst British railway accident to date; 33 passengers died, with so little recognisable (all but three were unidentifiable after the hour-long fire) that they were buried in a mass grave at Abergele. See Wikipedia: Abergele rail disaster. There are various contemporary news accounts online, such as the Sydney Morning Herald's Appalling accident to the Irish mail train (28 October 1868, p2).

The Rev. Henry Francis Lyte, you may recall from a recent post, was one of the early investigators of Ash Hole Cavern in Brixham: see Bones beneath Brixham. While the Brixham museum display says there's no certainty that Lyte wrote the epitaph, it does appear as Inscription on a monument in Brixham on page 85 of the 1907 collection of Lyte's verse, The Poetical Works of the Rev. H. F. Lyte, M.A. (ed. Rev. John Appleyard, pub, Eliot Stock, London, Internet Archive poeticalworksre00unkngoog). An article by Percival HW Almy - In the footsteps of the author of "Abide with Me" - in The Sunday at Home, Volume 42, 1895 also says
These lines are Mr. Lyte's own composition, and, as far as I am aware, have never appeared in print before.
... adding
I had some difficulty in deciphering them. This genuine relic of a great man is in a sad state of decay.
I can't find on a map an identified original location of the monument to Var, but it would have been in the vicinity of what's now Burton Place. The Poetical Works of the Rev. H. F. Lyte, M.A. says of it:
During his early ministry at Brixham Mr. Lyte resided at Burton House, behind which, in the fields, may be seen a large rock, which forms a picturesque object on a sloping bank, in which there is fixed a tablet bearing a poetical inscription which he wrote in memory of a much-loved dog which belonged to Lady Farnham, with whom the Lyte family were intimately associated.
The section following is worth quoting for its sheer irony:
He had a deep love for animals and birds. At Burton House he kept an eagle, which was generally to be seen chained to a tree.
Addendum, 31st July
"Var" is rather an odd name for a dog. It occurred to me, however, that as the Farnham Maxwells were of Irish stock, it might be an Irish name. This is pure speculation, but I wonder if it might be a shortened form of "Conchobar" (Old Irish pronunciation: [ˈkonxovar]), the name of various Irish kings of history and legend. It would be a suitably noble name for a spaniel described as "the noblest of his race", and it furthermore means "lover of hounds". Are there any Irish readers who could comment on the feasibility of this?

- Ray

Legend Land: another Barham

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I just ran into a couple of pleasant books: the two-volume Legend Land ("Being a collection of some of the Old Tales told in those Western Parts of Britain served by The Great Western Railway"). They're compilations of GWR pamphlets, The Lines to Legend Land series - in which the pseudonymous "Lyonesse" retells folklore of Wales and the Westcountry.

I came across it via volume 2, which contains a retelling of a local story, the not-very-old Parson and Clerk legend (see Parsons unknown, 21 July 2010), with an illustration by "Cooper".


The Parson and the Clerk

All real old stories of long ago should begin with "Once upon a time," and so, once upon a time there was a Bishop of Exeter who lay very ill at Dawlish, on the South Devon coast, and among those who visited him frequently was the parson of an inland parish who was ambitious enough to hope that, should the good bishop die, he would be chosen to fill his place.

This parson was a man of violent temper, and his continued visits to the sick man did not improve this, for his journey was a long and dreary one, and the bishop, he thought, took an unconscionable time in dying. But he had to maintain his reputation for piety, and so it happened that on a winter night he was riding towards Dawlish through the rain, guided, as was his custom, by his parish clerk.

That particular night the clerk had lost his way, and, long after he and his master should have been in comfortable quarters at Dawlish, they were wandering about on the high rough ground of Haldon, some distance from the village. At last, in anger, the parson turned upon his clerk and rebuked him violently. "You are useless," he said; "I would rather have the devil for a guide than you." The clerk mumbled some excuse, and presently the two came upon a peasant, mounted upon a moor pony, to whom they explained their plight.

The stranger at once offered to guide them, and very soon all three had reached the outskirts of the little coast town. Both parson and clerk were wet through, and when their guide, stopping by an old, tumble-down house, invited them to enter and take some refreshment, both eagerly agreed. They entered the house and found there a large company of wild-looking men engaged in drinking from heavy black-jacks, and singing loud choruses. The parson and his servant made their way to a quiet corner and enjoyed a good meal, then, feeling better, agreed to stay for a while and join their boisterous companions.

But they stayed for a very long while. The drink flowed freely and both grew uproarious, the parson singing songs with the best of the company and shouting the choruses louder than any. In this manner they spent the whole night, and it was not until dawn broke that the priest suggested moving onward. So none too soberly he called for the horses.

At this moment the news arrived that the bishop was dead. This excited the parson, who wished at once to get to work to further his ambitious designs, so he pushed the clerk into the saddle and hastily mounted himself. But the horses would not move. The parson, in a passion, cried, "I believe the devil is in the horses!"

"I believe he is," said the clerk thickly, and with that a roar of unearthly laughter broke out all around them. Then the now terrified men observed that their boisterous friends were dancing about in glee and each had turned into a leering demon. The house in which they had passed the night had completely disappeared, and the road in which they stood was transformed into the sea-shore, upon which huge waves were breaking, some already submerging the clerk.

With a wild cry of terror the parson lashed once more at his horse, but without avail. He felt himself growing stiff and dizzy—and then consciousness passed from him.

Neither he nor his clerk ever returned to their parish, but that morning the people of Dawlish saw two strange red rocks standing off the cliffs, and later, learning this story, they realised that the demons had changed the evil priest and his man into these forms.

Time and weather have wrought many changes in the Parson and Clerk Rocks, not the least curious being to carve upon the Parson Rock the semblance of the two revellers. From certain positions you may see to-day the profiles of both men, the parson as it were in his pulpit, and the clerk at his desk beneath him.

The red cliffs around Dawlish make the place peculiarly attractive at first sight, and the attraction is not lessened by familiarity with the town. It enjoys the best of the famous South Devon climate; warm in winter and ever cooled by the sea breeze in summer, it is an excellent holiday centre. Historic Exeter is close at hand and Dartmoor within afternoon excursion distance.
A couple of pieces of key dialogue - such as "the devil is in the horses" - identify this as a close retelling, with local hype appended, of the version in Robert Hunt’s 1865 Popular Romances of the West of England; Or, the Drolls, Traditions, and Superstitions of Old Cornwall, Volume 1 (see the 1908 reprint at the Internet Archive: popularromanceso00huntuoft).

The writer behind these GWR pamphlets, “Lyonesse”, was a George Basil Barham (ref: Roger Burdett Wilson’s 1970 Go Great Western: A History of GWR Publicity). My immediate thought was that he must be a relative of either Richard Harris Barham, author of The Ingoldsby Legends, or his son Richard Harris Dalton Barham, who lived in Dawlish from 1863-1886 (see RHD Barham and Dawlish). He may well be, but a skim of census details doesn't find any ready connection.

His 1912 The Development of the Incandescent Electric Lamp credits him as "G. Basil Barham, A.M.I.E.E." (that is, Associate Member of the Institution of Electrical Engineers). A brief obituary in The Electrical Review, Volume 132, p. 389, 1943, says:
We regret to learn of the recent death of Mr. G. Basil Barham, who was editor of the Contract Journal from 1924 to 1941. In his earlier days he was an electrical engineer and was associated with the Edison & Swan Electric Light Co.
There's more about his work in the 1927 edition of Who's Who in Literature (Internet Archive whoswhoinliterat027238mbp), which identifies him as an editor and contract journalist:
BARHAM, G. Basil, C.E. Ed. Contract Jl. Special Commissioner for important overseas jls., etc. Au. of The Girl of the Friary; Hist, of the Electric Lamp; The Oldest Road; Legend Land of Lyonesse; Blue Stone Roads; Heart of the Midlands. C. Times, Dy. Teleg., Morn. Post, Dy. Mail, M/c Guard., New York Sun., Sydney Her., etc, TAPPINGTON, 3. PERRYN ROAD, EAST ACTON, W.3.

Returning to Legend Land, the stories included are:
The Mermaid of Zennor
The Stone Men of St. Cleer
How St. Piran Came to Cornwall
The Lost Child of St. Allen
The Giants who Built the Mount
The Tasks of Tregeagle
The Lady of Llyn-y-Fan Fach
St. David and His Mother
The Vengeance of the Fairies
The Old Woman who Fooled the Devil
The Women Soldiers of Fishguard
How Bala Lake Began
The Furry Day Song (Supplement)

The Church the Devil Stole
The Parson and the Clerk
The Weaver of Dean Combe
The Demon Who Helped Drake
The Samson of Tavistock
The Midnight Hunter of the Moor
The Lost Land of Lyonesse
The Piskie's Funeral
The Spectre Coach
St. Neot, the Pigmy Saint
The Old Man of Cury
The Hooting Carn
The Padstow May Day Songs (Supplement)
(I spot at least one familiar name: Tregeagle, the "ropes of sand" man: see Ropes of sand: a Teignmouth penance).


- Ray

Tree of Life

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A belated post (I wanted to confirm permission to blog about a non-public location): after my last chemotherapy at the end of June, I got feverish and needed a precautionary couple of days in hospital on antibiotics. But on the plus side, I wouldn't otherwise have seen Tree of Life, a beautiful mosaic mural in the courtyard garden off the Yeo oncology ward at Exeter's RD&E hospital.

One of a number of projects led by Exeter Health Care Arts, which oversees the many art installations in the RD&E, Tree of Life was designed by artists Lucy Rockliffe and Jess Carvill (aka artstormproject). Before being transferred to the courtyard wall, it was assembled in Exeter's Guildhall Shopping Centre in collaborative workshop sessions involving patients and nurses. See Devon Life witnesses the creation of a beautiful new mosaic for the RD&E (Devon Life, 14th Nov 2012) and Mosaic Mural for Hospital Courtyard (PR Works); the artstormproject site has photos of the mosaic's creation: #60-#68.

I feel rather guilty, because I had the garden to myself for two very hot days; it's not on a general thoroughfare, but off the family room where I was put in splendid isolation. So the least I can do is give this lovely work some exposure - as I said, it's not open to the public - and thank Yeo Ward for their superb standard of care, on this and previous occasions. Thanks also to Stephen Pettet-Smith of EHCA for pursuing the permission request.

 click any image to enlarge


Some of the tesserae are lustre-glazed, so that at certain angles of light, they have a rainbow iridescence. Many are also invidually crafted, with patterns embossed from shells, ammonites and plants, and some are marked with the participants' names.

This horse is strongly based on the Bronze Age Uffington White Horse

If you like mosaics, see also Exeter: Elaine Goodwin mosaic.

- Ray

Mapping Topsham

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Topsham Museum has made a major departure from the worthy-but-dull with Mapping Topsham, its current exhibition of creative and beautiful artworks interpreting the theme of Topsham maps, from the conventional to the highly stylised.


The exhibition is an ongoing project running from 2nd August to 30th October 2014, and it's still open to new entries. See the Topsham Museum page - Mapping Topsham - for details. Here are some of the current exhibits. Click to enlarge any image.

Strand in 1988
Kevin Jones
A photograph of a painted ceiling designed for a Strand house.

Topsham Streets 1
Hannah Mumby
"Dip pen and ink showing Topsham streets."
"Topsham map by Caroline Oboussier commissioned for Fulfords
Estate Agents, and updated in 2000 for Topsham's Millennium Year."

Which Way Today?
Jan Syers
"My fifth quilted map showing some
options for getting out and about in
Topsham on foot, bike, bus or train.
Hand and machine stitched, hand-dyed
cotton fabrics."

Topsham Tube
Keith Simpson
"Gouache and pencil schematic map of
Topsham showing streets and landmarks
connected by historic and modern
representation."

Plan of Topsham
"Topsham in 1960s, probably produced by
Exeter Tourist Information Office."

Topsham Overground
Chris Hartrick
"Map of Topsham using mixed media and
household items to portray our lovely
town and heritage."

Close to Home
Jane Syers
"My first quilted map started at a workshop
with Alicia Merrett to represent the streets
around my home in Topsham. Hand and
machine stitched, hand-dyed cotton fabrics."

Blue over Topsham
Christopher Lambert
"Prints from my sketch book."
- Ray

Undercliff - there and back again: 3D

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I mentioned before that the landscape of the Lyme Regis Undercliff is surprisingly difficult to photograph; images don't convey the depth of the wooded vistas of what I've seen described as the nearest thing England has to a jungle. However, a while back I came round to the view that 3D is an effective medium for handling this, and I took a few stereopairs during a return visit yesterday.

I'd planned to walk from Lyme to Seaton, but the Undercliff coast path is currently broken by a landslip near the Seaton end. Still, it's normally about a four-hour walk, so I walked for two hours from the Lyme end, had lunch in a clearing, and walked back.

These pictures are crossed-eye stereopairs (i.e. slightly cross your eyes, and the two images will fuse into a third in 3D between them). The process was very cheap and cheerful; I just took two photos from viewpoints about a metre apart, taking care to target some central feature; some worked better than others. They're probably easier to view if you click to enlarge.















- Ray

Chimney Rock

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In highly unstable landslip terrains, you nevertheless find the occasional long-standing feature. Chimney Rock, just to the west of Lyme Regis, is an example: one that has been in the guidebooks for nearly two centuries.


Ware Cliffs is at the eastern end of the Lyme-Axmouth landslip, and here there are several paths - signposted "Chimney Rock" - that lead off the Coast Path and steeply up the escarpment backing the Undercliff toward Ware Farm. Just below the summit is a crag of the form so familiar for the Chert Beds that top the Cretaceous cliffs of the south coast (compare Weston Plats, Hadfield's Lookout and Pulpit Rock).  There are some nice historical descriptions findable, including in George Roberts's heavily-recycled The History of Lyme-Regis:
Ware Cliffs are a short distance west of the town. Chimney Rock (which takes its name from a near resemblance to a house with a chimney on it) appears to the right, projecting from the cliff, and is covered with ivy and mistletoe of the most luxuriant growth. Parties, in their rambles, frequently call in at the dairy-house to take syllabubs, &c.
- The History of Lyme-Regis, Dorset, from the Earliest Periods to the Present Day, George Roberts, Langdon and Harker, 1823, p143.
The syllabub, in pre-refrigeration days, I could happily leave. George Frederick Munford waxes more lyrical:
Walking along some lovely fertile surfaces of pasturage, with rocks and mounds on either side of you, another favourite eminence presents itself, and the several beaten tracks leading up to it from the undercliff, through green bushes and bowers of clematis, afford unmistakable evidence that the Chimney Rock, a ponderous crag jutting out from the cliff, arouses the curiosity of visitors. Looking at it from a distance, it resembles a weather-beaten old castle—the abode of wicked giants, perhaps, before Jack, the hero of our nursery tales, was sent into the world to climb up his beanstalk and slay them. Ivy and other trailing plants cling affectionately around its grey solid walls, and the grounds around the "castle" seem to give you the idea that the giants at one time had splendid gardens there—gardens which are now overgrown with luxurious thickets, in which, during the gladsome spring, the "wakeful nightingale" descants her amorous song in a delirium of delight. The view from this eminence is particularly delightful. The true character of the great undercliff presents itself at a glance—its chaotic mass of mounds and boulders, of steep banks and crags, and of pretty woodland scenes of untiring variety. The deep blue sea, with white-winged craft floating gracefully upon its bosom, is sparkling in the sunshine, and in the distance can be seen the undulating hills of Dorset, rolling up towards those rocky barriers.
- Seaton, Beer, and neighbourhood: Across the landslip and out of the gates of Devon. The valley of the Axe, with brief allusions to Axmouth, Colyton, Shute, Musbury, and Ford Abbey. George Frederick Munford, The Western Gazette &c. Co., Beer, 1890.
Nothing has greatly changed, except that at this time of year, there isn't much view from Chimney Rock due to the extensive foliage. There are, however, very pleasant views from the Coast Path below; from the clifftop pastures near Ware; and of Ware House, the mansion that featured in the film of The French Lieutenant's Woman as the home of Charles Smithson's fiancé Ernestina.





Ware House
I hadn't realised until checking on the map that this is actually a Devon topic. Despite its popular association with Dorset and Lyme Regis - undoubtedly fostered by John Fowles and The French Lieutenant's Woman - virtually all the Lyme-Axmouth Undercliff is in Devon (the county boundary is just to the west of Lyme).


View Larger Map

- Ray

Lyme antiquariana

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I forgot to mention in the Chimney Rock post that I was almost at the location, Ware Cliff at the western end of Lyme Regis, of the 1685 landing for the Duke of Monmouth's failed attempt to become King of England. A quick search for sources converged on a 19th century Lyme antiquary, George Roberts - I should have looked out for him at Lyme Regis Museum.

Roberts (c. 1804-1860 - see Dictionary of National Biography, 1885-1900, Volume 48) was born in Lyme and spent most of his life there, becoming a schoolmaster and twice mayor of the town. He also produced a number of books, largely on local topics, of meticulous and still-respected scholarship. Wikipedia has a list, but I thought I'd improve on it by collating online versions:
  • The History of Lyme Regis, Langdon and Harker, Sherborne, 1823, Internet Archive historylymeregi00robegoog.
  • A Guide descriptive of the Beauties of Lyme Regis, with a Description of the Great Storm [of 23 Nov.] 1824, already published in the Sherborne Mercury, and issued separately, 1830, Google Books ID pJ5YAAAAcAAJ.
  • History and Antiquities of the Borough of Lyme Regis and Charmouth, S. Bagster and W. Pickering, Charmouth, 1834, Google Books ID T_kVAAAAYAAJ. "Two editions were issued, one of them with a tract on The Municipal Government of Lyme Regis and an Account of the Corporation, which was also issued separately".
  • Etymological and Explanatory Dictionary of the Terms and Language of Geology, Longman, London, 1839, Internet Archive anetymologicala00robegoog.
  • Account of the Mighty Landslip at Dowlands and Bindon, near Lyme Regis, on 25 Dec. 1839, Daniel Dunster, Lyme, 1840. British Library, System number 014796344."This tract went through five editions that year".
  • Terms and Language of Trade and Commerce, Longman, London, 1841, Internet Archive termsandlanguag00robegoog.
  • Life, Progresses, and Rebellion of James, Duke of Monmouth, with a full Account of the Bloody Assize, 1844, 2 vols. Volume 1: Internet Archive lifeprogressesre01robeuoft / Volume 2: Internet Archive lifeprogressesre02robeuoft
  • Diary of Walter Yonge, (editor), Camden Society, 1848, Internet Archive diaryofwalteryon00yongrich.
  • The Social History of the People of the Southern Counties of England in Past Centuries,’ Longman, London, 1856, Internet Archive socialhistoryofp00robeuoft - "dedicated to Macaulay, and mainly based on the archives of Lyme Regis and Weymouth, the proceedings of the Dorset County Sessions, 1625–37, and the proceedings before the Dorchester magistrates, 1654–1661".
I was especially pleased to find Account of the Mighty Landslip online - the British Library is providing an increasingly good range of digital holdings, and it and the Bodleian Library are very worth trying if you can't find something in Google Books, the Internet Archive, or the Hathi Trust.

Lyme Regis Museum
© Copyright Chris Talbot, licensed for reuse
under this Creative Commons Licence.
I used this one because I couldn't get a
clear shot without someone pithering about
to park a car, and I didn't have all day.
On the subject of landslips, on Saturday I finally visited Lyme Regis Museum. I was particularly interested in its displays on the Undercliff and 1839 Bindon Landslip, but it's altogether worth visiting: a pleasantly idiosyncratic custom-built building of three storeys around a spiral stairwell. Geology, fossils and Mary Anning are central themes, but Lyme has plenty more history, including the Monmouth Rebellion and English Civil War; curiosities such as the history of Coade Stone; the "Lymiad"; a Jane Austen connection (Persuasion is partly set in Lyme), lesser-known locals such as Thomas Coram and John Gould, and modern writers such as John Fowles (a great writer but totally obnoxious person, who nevertheless Lyme has to thank for helping put it on the map) and Tracy Chevalier.

But being an Undercliff geek, I found the section on this strange landscape the highlight. Apart from models and the well-known prints from the time of the landslip, it pushes the history back even earlier to Regency times, when locals and visitors celebrated the scenery of "Pinny" (now Pinhay) and its spectacular "Umble Rock" for walks and picnics:
... and, above all, Pinny, with its green chasms between romantic rocks, where the scattered forest trees and orchards of luxuriant growth, declare that many a generation must have passed away since the first partial falling of the cliff prepared the ground for such a state, where a scene so wonderful and so lovely is exhibited, as may more than equal any of the resembling scenes of the far-famed Isle of Wight: these places must be visited, and visited again, to make the worth of Lyme understood.
- Jane Austen, Persuasion
"The Umble Rock near Lyme Regis" - Coplestone Warre Bampfylde
See V&A record for better image.
Another author, Theodore Hands Mogridge, enthused (and fantasised):
It may be said that here a struggle seems to take place between the genius of the mountain, and that of the vale.—Here is met with fertility,—there the rugged cliff,—there the majestically towering White Chapel rocks, bidding proud defiance,—here gently swelling hills, studded with trees of luxuriant growth :— a happy combination of Alpine scenery, and Italian landscape.
...
Under the cliffs, another path leads to some detached rocks, venerably mantled with ivy and moss, which are the building places for thousandsof Daws, that are frequently disturbed by the hilarity of Pic nic, and Gipsying Parties;—a deviation from the path, in order to obtain different points of view, exposes one to irregularities of a fatiguing character; but what! if the fair Gipsy (like a lamb rushing through a thicket) should leave a tribute of her dress on the surrounding briars? What! if her garments be soiled and torn? What! though her path be through brambles, her feet pierced by thorns? What! 'though she lose her way, and wander, twilight approaching, farther, and still further from her pic nic camp? Is not every step on romantic ground? Do not new embellishments, features, and combinations continually rise into view, causing a rapture that renders one insensible to pain or fatigue?
- A Descriptive Sketch of Sidmouth, Theodore Hands Mogridge, J. Harvey, 1838, p138
And then there's the Bindon Landslip itself, which is amply documented not merely in the geology and geography, but also in the social consequences. It was a cataclysm that, since it caused no loss of life, had no impediments to overt exploitation: a "Grand Holyday at the Land-Slip" where you could reap and buy wheat from the slipped fields; dinner parties in the "Great Chasm"; and even the publication of dance music, The Landslip Quadrille. Roberts's Account of the Mighty Landslip says that
Steamers bring parties from Weymouth, Torquay and other western watering-places. Two Ashantee princes, and many distinguished persons, have visited the spot. A thousand tickets were issued in one day in August. Persons coming from Torquay paid five shillings for the trip there and back.
You can't blame people; nowadays, the Landslip is undoubtedly impressive, but it's obscured by mature woodland cover. It must have been an awe-inspiring spectacle when it first happened. But as the Lyme Museum display notes, the commercialisation was distinctly naff, and Roberts commented that the 1840 junket was inspired by "Plutus, the god of riches". I took a few more photos:

Contemporary poster for the fete at the slip site
(photographed at Lyme Museum)
William Dawson's classic 1841 Undercliff Model - see Lyme Regis Museum paper by Thea Hawksworth

William Dawson's View of the Great Chasm of the Axmouth Landslip



Title page of Ricardo Linter's The Landslip Quadrille
The History of the Study of Landforms: Quaternary and recent processes and forms (1890-1965) and the mid-century revolutions comments that this is "the only geomorphological event, other than the Noachian Deluge, or Flood, to be celebrated by a piece of music".
Further reading: the Lyme Regis Museum website has a link for Conybeare and Dawson's Memoir and Views of Landslips on the Coast of East Devon &c. 1840.

A few general views of Lyme and the Cobb:




Golden Cap






- Ray

Topsham along the river Exe: UAV movie

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Neil Ewins just sent me a link to his stunning UAV (Unmanned Aerial Vehicle) movie, Topsham along the river Exe: a flypast of Topsham's river frontage from the Quay upriver to the Sailing Club and back, taking in what must be a unique overhead view of the hulks on the opposite bank.

 

Topsham along the river Exe from neil ewins on Vimeo.

I recommend clicking through to the full-size view on Vimeo. Neil's other videos are: Teignmouth Back Beach; Budleigh Salterton; Poltimore, Broadclyst and Exmouth; St Ives Bay; Exeter Canal; Teignmouth Canoe Club; and Exmouth Beach. See Neilewins.com and his commercial page Ewins Aerial for further background on the technology.

- Ray

The Freemasons' Hall, Brent Lodge, Topsham

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For me, the highlight of the current Town Fayre Week was today's open day - the first, as far as I know - of Topsham's Freemasons' Hall, home of Brent Lodge No.1284. As I'd never seen inside a Masonic Hall, and my knowledge of freemasonry came largely from popular stereotype and Kipling's The Man Who Would Be King, it was an altogether interesting experience.

Brent Lodge No. 1284 takes its name from its founder, Colonel Robert Brent, previously Master of The Lodge of Union No. 650 in Starcross. Consecrated in May 1870, the Brent Lodge originally met in Globe Hall, premises at the rear of the Globe Hotel. But following disputes with the landlord in the early 20th century, the Lodge bought its current premises, a former Presbyterian Unitarian chapel (ref) on Victoria Road, and has operated there since 15th March 1930.

General view of hall, looking toward Worshipful Master's Chair and canopy
The central object is the altar, which stands on a chequered mosaic carpet,
whose white and black squares represent the goods and evils of life
The Freemasons' Magazine has an account of the consecration of the Brent Lodge at its original premises, which describes some of the fixtures inherited by the present Hall:
DEVONSHIRE.
Topsham.
Provincial Grand Lodge And Consecration Of Brent Lodge (no. 1,284).
The consecration of this lodge was fixed and took place on Tuesday, the 31st ult., Bro. Col. Brent, of Woodbury, being the W.M. Designate.
A somewhat novel feature in the establishing of a new lodge was here introduced, the ceremony of consecration taking place simultaneously with the dedication of a new hall, or lodge-room, which stands on a plot of ground adjoining the Globe Hotel. Its position in connection with the adjacent buildings is such that no attempt has been made to give the structure an imposing appearance on the outside, but it has a tasteful, beautiful, and costly interior. The hall is 50 feet long by 25 feet wide, and 20 feet high. At the east or upper end of the room are the W.M.'s chair, dais, and canopy. The chair and canopy is a handsome piece of work, said to have cost £50. The back is finely curved, and adorned with a representation of "the All-Seeing Eye," and the usual Masonic emblems. The seat is of crimson leather. The canopy is supported on square fluted columns in white and gold, with Corinthian capitals, and over the canopy, on a crimson panel, are placed the Brent Arms, with the motto, "Metuenda corolla draconis." At the west end of the room is the S.W.'s seat, and on the south side is that of the J.W., each fronted with a small triangular table representing white marble, and standing on a pedestal of three steps covered with chequered cloth to correspond with the carpet. On the north side of the room is a handsome chimney-piece of Beer stone, finely carved, surmounted by the Brent Arms. The room is well lighted by brilliant gilt gas burners, suspended from tasteful bosses on the panels of the ceiling, while corresponding bosses
Globe Hall (left), the original
venue for Brent Lodge
adorn the line of cornice round the spring of the roof. The windows, which are Roman shaped, are partly filled with crimson, purple, and violet glass. The "tracing-boards," representing some of the inner and outer scenes of a Masonic lodge, are considered to be among the finest in Devonshire. There are ante rooms and an entrance hall fitted up with equal regard to appearance and taste. The architect of this building is Mr Harbottle; to whom also the credit is due for much of the admirable decoration; the builder is Mr. John Moass, of Exeter, who also supplied the seats and other moveables. The Grand Master's chair and canopy were designed and carved by Mr Sendell, of Castle-streot, Exeter, who has also executed all the wood-carving of the ceiling, and supplies the oak chairs provided for the S.W., J.W., P.M., Secretary, and Treasurer, as well as the table; a prettily-toned harmonium with which the room is. furnished was supplied by Mr Godolphin. The warrant frame has been made by the Messrs. Rowden from an old piece of oak, taken from the destroyed tower of St. Mary Major's Church, Exeter.
-The Freemasons' Magazine and Masonic Mirror, June 4, 1870, page 453
Worshipful Master's Chair and canopy

The heraldic emblems relate to Robert Brent, founder of the Lodge. The arms and crest check out in various heraldic sources as that of the Brent family ...
"Arms: Gules a wyvern argent. Crest: A wyvern's head between two wings expanded argent"
- Virginia Heraldica, 1908
... but the motto (Metuenda corolla draconis—The dragon's crest/collar is to be feared) is a bit of a mystery; the Secretary told me that its relation to Brent is so far inexplicable. Brent seems to have borrowed it from someone else, as peerages list it as the motto of the Marquess of Londonderry.

Worshipful Master's Chair (detail) - the All-Seeing Eye at centre.

Worshipful Master's Chair, warrant frame behind


As the Freemasons' Magazine account explains, the general layout of a Masonic temple is geographical (at least symbolically): the Worshipful Master's chair is at the east end; the Senior Warden's at the west; the Junior Warden's to the south; and the north unoccupied. Though I can't pretend to understand the fine detail, the overall metaphor and symbolism strongly focus on the tools of the stonemason's craft. But I think it's fair to say that the founder Robert Brent also wanted to put some of his personal stamp on the Lodge, both in its name and the heraldic decor.

Brent obviously had no hand in the design of the current hall, as he died soon after the establishment of the Brent Lodge at its original site. His obituary in Trewman's Exeter Flying Post (March 6, 1872) gives his dates as March 1 1819 - Feb 26 1872. A surgeon by profession, he lived in Woodbury, and acquired the military rank - Lieutenant-Colonel - as commandant of the 1st Administrative Brigade of Devonshire Artillery Volunteers, one of the 'Home Guard' regiments of the Palmerston era, when there was a national fear of French invasion (ref: The London Gazette, and "Funeral of Colonel Brent", Trewman's Exeter Flying Post or Plymouth and Cornish Advertiser, Exeter, England, Wednesday, March 6, 1872; Issue 5597).

Symbolic stonemasonry tools

Senior Warden's chair: the suspended stone in the tripod is
held by a Lewis, which is symbolic as well as practical

Colonel Robert Brent - "This portrait was presented to Brent Lodge 1284 by
Mrs Brent Spencer in memory of her husband Colonel Robert Brent, one of the
founders and first Worshipful Master of the Lodge, September 1902"
(The portrait is distinctly glamourised: Brent headed an administrative brigade).

Two pillars topped with globes flank the symbolic west end of the hall. The pillars
represent those of Solomon's Temple; the globes are a historical embellishment
whose origin and meaning are unclear (see Ars Quatuor Coronatorum).


Junior Warden's chair

The north side: Masonic symbolism mingled with Brent heraldry.
This appears to be the carved chimney-piece of Beer stone
from the original premises at Globe Hall.
Regalia

Regalia


See The Masonic Province of Devonshire site for further information about current freemasonry in Devon.

Many thanks to Tony Jordan, Lodge Secretary, for answering my questions and giving permission for photography.

- Ray

The Cricklewood Greats

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This is a repost: but this evening BBC4 just repeated its wonderful spoof documentary The Cricklewood Greats ...
Peter Capaldi embarks upon a personal journey to discover the shocking history of the stars of north London's famous film studios. Including clips from rarely seen films and interviews with Marcia Warren and Terry Gilliam.
... a graphically and textually brilliant pastiche, written by Peter Capaldi and Tony Roche, telling the century-long history of a small London studio.

In 45 minutes, it takes us from the early days with Arthur Sim's Méliès-style The Flying Pie and his stock comic character "The Little Drunk"; the strange life of Florrie Fontaine, a Gracie Fields clone and Forces sweetheart who fell from grace by becoming a friend of the Nazi High Command; the King of Horror, the classically-trained Lionel Crisp, and his role in the Quatermass-like Dr Worm (in which he undergoes a horrific transformation after being bitten by a radioactive earthworm), and his long career in Hammer-style horror; Jenny Driscoll, a glamour actress who appeared in the Carry On style "Thumbs Up" comedies that culminated in the SF-themed Thumbs Up Uranus; and the final demise of the studio, brought down by disastrous financial losses during the filming of Terry Gilliam's lost Professor Hypochondria's Magical Odyssey.

The Cricklewood Greats is a gem of intelligent comic television of a kind we seldom see. I strongly suspect BBC4 have repeated it now because of the current hype of Peter Capaldi as the new Dr Who. Nevertheless, it's highly worth watching.

If you're in a region where it's available, it's currently available on BBC iPlayer for the coming week: The Cricklewood Greats.

- Ray

St Margaret's Church: 3D

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Following the experiments in 3D photos in woodland vistas - see Undercliff - there and back again: 3D - I took a few stereopairs in St Margaret's Church, Topsham.


Crossed-eye stereopairs: click to enlarge (at least with my eyesight, these work best at full-screen size, viewed from about 60cm).





- Ray

Weston House: a ruined Devon villa

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Yesterday I took a closer look at the remains of Weston House, which is a few minutes' walk from the Donkey Sanctuary at Weston, near Sidmouth, East Devon. Given general trends either to demolish or to renovate derelict buildings, it's unusual to see the extant remains of a house ruined in a fire nearly two centuries ago.



The Sidmouth diarist and artist Peter Orlando Hutchinson recalled the circumstances, if not the exact date, of the destruction:
It is necessary for a carriage to go round the head of the valley by Slade, in order to reach Weston House, the ruins of which are seen at a distance. This mansion, when the property of Stuckey Bartlett, Esq., was consumed by fire, and has never been rebuilt. The author went over with some school-fellows the next day, and burnt the soles of his shoes among the still smouldering ruins. He brought back a mass of lead, which had run off the roof in a moulten state, and had formed itself into a heap on the ground, where the drops had cooled as they fell. The marble mantel pieces, burnt into lime, could be easily broken with the hands, like a biscuit.
p.89, A new guide to Sidmouth and the neighbourhood, Peter Orlando Hutchinson, 1857

The house was a villa built by John Stuckey, a magistrate and major landowner in the parish of Branscombe. He died aged 91, in 1810, the then oldest magistrate in Devon; there's a glowing memorial inscription in Branscombe Church:
Sacred to the Memory of / John Stuckey of Weston Esqr - / the only surviving issue of Robert Stuckey Esqr - and Mary his excellent wife / the sole daughter and heiress of William Bartlett of Hole in this Parish Gent. / His Superior Talents, elegant accomplishments / and many estimable Qualities, amply fitted him for the most refined Society, and his knowledge in the Laws of his Country ; highly qualified him for the very important Duties of a Magistrate, which he discharged / with the greatest independence and integrity, and with consummate Ability, and though advanced Years / and their Infirmities, occasioned his retirement from the World / yet he preserved to the last, those active Powers of Mind and Memory, for which he had been so eminently / conspicuous through Life. / He died unmarried on the 26 th day of January 1810, aged 91 years. /

This Monument was erected by Barnaby John Stuckey Bartlett his Relation and sole executor, / In Testimony of the most grateful and affectionate Regard for his Memory. /
But the parish register has this rather snarky entry:
He died possessed of vast worldly property which, after he had long possessed without enjoying and without using, he was at length constrained to leave to others. Buried 3 February.
- Thomas Puddicombe, Brancombe parish burials register, quoted in A Guide to the Church of Saint Winifred, Branscombe, Ronald Branscombe, 1996 
However, the objectivity of this is uncertain, as it seems there was no love lost between the Rev Puddicombe and John Stuckey:
In a letter written in 1801, by John Stuckey, of Weston, to his cousin, Thomas Langdon, my great grandfather, he is then spoken of, "Our Methodist raving, ranting preacher, Puddicombe, is become the most intolerable scoundrel that ever a parish was cursed with”
- FEW Langdon, Devon Notes & Queries, Vol. II, Jan 1902 - Oct 1903, page 37
Popular or not, Stuckey was astonshingly rich, and left a large portion of his estate, including Weston House, to the abovementioned Barnaby John Bartlett (possibly a cousin):
John Stuckey, esq. 95. He has left the bulk of his fortune, above 6000l. per annual, to his relative, B. Bartlett, esq. of the General Post-office, nephew to Mr. Palmer, of Bath. Mr. Stuckey has likewise left 3000l. per annum to Vincent Stuckey, esq. of the Treasury … Mr. Latouch and Mr. Stuckey, of Weston house, near Sidmouth, who died on the same day, are said to have possessed property to the amount of nearly a million sterling.
- The Monthly Magazine, Apr 1, 1810
Pursuant to John Stuckey's will [ref], Bartlett took the additional surname Stuckey - becoming Barnaby John Stuckey Bartlett - and in 1810 was granted a Royal license "to take the surname and arms of Stuckey, and to bear the arms of Stuckey quarterly" (ref: Visitation of England and Wales Notes: Volume 2 1897, page 84). He died aged 79 on March 17 1847 at Milton, near Gravesend. The Gentleman’s Magazine records “By his death various valuable estates in Devon and Somerset devolve on JC Langdon, esq. of Chard, one of the firm of Stuckey’s banking company (GM, May 1847).


It's not known precisely when Weston House burnt down. As mentioned in a dramatised talk by Barbara Farquharson and John Torrance, Visitors to Branscombe, the Branscombe historian Elijah Chick wrote that the fire was around 1810, the house "said to have been destroyed by a natural son of the Stuckey just then dead, in his rage on discovering that he could not inherit the property". Chick's chronology doesn't wash, however, matching neither Hutchinson's account of visiting the day after as a schoolboy (he was born in 1810) nor other references to the house's later existence (for instance, a list of charity subscribers in Trewman's Exeter Flying Post for June 24, 1824 refers to B.J. Stuckey Bartlett, Esq. Weston-house, Branscombe). Mid-1820s seems reasonable; it was well before the 1838 accounts of Stirling and Mogridge:
Mr. Stuckey built a handsome Grecian villa; but being destroyed by fire, many years ago, and never renewed, it now exhibits a solitary ruin.
- The Beauties of the Shore; Or, A Guide to the Watering-places on the South-east Coast of Devon, DM Stirling, Roberts, 1838, pages 105-106
... and ...
J. Stuckey, Esq. erected a handsome mansion, in the Grecian style, which was bequeathed to the present possessor, J. Bartlett Stuckey; a few years since it was completely gutted by fire, and nought save the bare walls remain, which yet appear in a good state of preservation. Desolation seems to reign over the place, the court-yard is overgrown with weeds; altogether it forcibly reminds one of the beautiful and pathetic lines of Ossian.
“I have seen the walls of Balclutha; but they are
“desolate.—The fire hath resounded within the walls,
“and the voice of the people is now heard no more.—
“ The stream of Clutha is removed from its place by the
“fall of the walls—The fox looked out of the window;
“the rank grass waved round his head. Desolate is the
“dwelling of Moina; silence is in the house of her
“fathers.”
- A Descriptive Sketch of Sidmouth, Theodore Hands Mogridge, J. Harvey, 1838, page 130
The Spectator mentioned the villa in 1905:
In the next combe is a monument of past ambition in the burnt ruins of Weston House, which if it had remained Weston Farm would doubtless have been rebuilt and flourishing. In that remote spot the owner, some two centuries ago, rebuilt his ancient home in the strictest form of Italian art, though on a modest scale (for large houses did not form part of the ambition of the old knights of Devon). He added a mansion to his farm, in a place so remote that he alone and his household could have enjoyed the sight of it on most days of the year. It now stands roofless and burnt, its fine piers without gates, and its Grecian mouldings injured.
- Seaside Farms, The Spectator, 28 January, 1905 
There are signs of the villa's shell having been adapted for storage, and one side currently has a lean-to for a tractor. A closer look shows traces of its former splendour in the fluted frieze and the nice little Ionic columns adjoining the side door and windows.



The ruin is visible from Grammar Lane, the road from the Donkey Sanctuary toward Branscombe, where it passes through the hamlet of Weston. Note that it is on private land - Lower Weston Farm - so don't go rummaging around the site.


View Larger Map

- Ray

It ain't that kind: two years on

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A brief progress report: as regular readers will be aware, two years ago I was diagnosed with metastatic cancer of unknown primary (CUP), which is generally bad news. However, due to a good response to palliative treatment and, it seems, a fairly unaggressive flavour of CUP, things have so far gone far better than we dared hope for.



So ... it's now been two years since I was diagnosed with cancer of unknown primary (CUP), a quite common - but little-publicised - form of cancer that has no findable primary tumour, and jumps straight to metastatic stage (in my case, to various chest and neck lymph nodes). It's not curable, and generally has a very poor prognosis: median survival rate is 3-4 months after diagnosis.

However, some patterns of it are less aggressive than others, and I seem to have one that's been fairly indolent in its progression. I had a good response to palliative chemotherapy - both to a first-line cisplatin-docetaxel combination (which gave nearly a year's remission) and to a recent second-line GemCarbo combination - and can't fault the treatment and general ambience of the RD&E oncology unit. The next option is, I gather, "spot-welding" radiotherapy, but that's not an immediate concern.

At present I'm signed off for three months, after which I get another CT scan, and am still extremely well in general (8-mile-cliff-walk well - I feel quite fraudulent at times). I have to admit that I also feel very much at a loose end. The prospect of having potentially only months to live kicked me into a "work hard, play hard" mode, enough to get the Maxwell Gray biography finished. That done, and with no clear prognosis at the moment, I don't quite know what to do with myself. But I'm sure a project will come to mind.

You'll find previous updates at It ain't that kind #1 (23 Sep 2012) and It ain't that kind: 18 months on (20 March 2014).

- Ray

Littlecombe Shoot: down among the plats

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View Donkey Sanctuary to Beer in a larger map

I felt energetic on Friday, and repeated - with some side explorations - the Sidmouth to Beer 'lite' walk of almost exactly a year ago. In part I wanted a closer look at the ruins of Weston House as described in the previous post; in part I wanted to explore the unique landscape of the plats at Littlecombe Shoot.


Looking east over Littlecombe Shoot

Coast Path signpost looking west - Coxe's Cliff beyond

Littlecombe Shoot West Path

As is pretty well known on the East Devon historical circuit, the south-facing cliffs around Branscombe were historically farmed in small fields called 'plats', occupying the bench of Triassic rocks below the Cretaceous cliffs. This use, exploiting the microclimate to produce early flowers and vegetables, declined around the end of World War 2. As this use died out, many of the plats acquired a new use as the site of holiday chalets. East of Branscombe this is very obvious; the land has been completely cleared for a chalet park with car access. But west of Branscombe, it's very different; the cliffside is highly overgrown, yet it's nevertheless a warren of chalets accessible only by a network of difficult undercliff paths.


"The Eyrie"
Gate between slipped blocks - taken a year ago

View back to Sidmouth
The access points at each end of this undercliff are at Littlecombe Shoot itself - the Littlecombe Shoot West Path below the clifftop signpost - and at the other side of Berry Camp, where the Coast Path enters woods. I wasn't sure if there was a through route between them, but by good luck I ran into one of the owners going to their chalet, and they gave me directions. Basically you just take the left turning after the first descent, rather than the dogleg right that leads down to the beach at Littlecombe Shoot, and keep left thereafter, avoiding any descending routes.





Some of the chalets - which have names like "The Eyrie" and "Cliffhanger" - are quite folksy, building on linhays (agricultural buildings) while others are very modern in style. The logistics of running a building in such a location must be fairly complicated. While chalets without mains services aren't unknown, supplies don't normally need carting down a cliff. The nearest vehicular access is the field above, and it looks serious work carrying liquid gas cannisters up and down the narrow and slippery paths. Some of the chalets have wind generators for electricity, but I don't know how they manage water and toilets. Neither does moving garden equipment - many have neatly-trimmed lawns - look much fun.


Possibly Ivy Hall Rocks
This isn't really a scenic walk; it's hard to see the 'big picture' from ground level, as the chalets are well-hidden by irregular terrain, which has large slipped blocks in places, sheer drops, and general foliage that obscures the view overall. However, there's the odd glimpse to seaward, and upward to the quaintly-named crags: Donkey Linhay Rocks and Ivy Hall Rocks. There are even stranger names hereabouts - I don't know what feature Abel's Hole is, nor Duck's Bill, and who was the Neddy Purse that Neddy Purse's House on the 1889 OS map was named after? (Actually, I can answer that one; he was probably either Edward Purse or Edwin Purse, who were mentioned on the 1851 census).

Once up out of the undercliff, the wooded Coast Path toward Branscombe Mouth has occasional breaks to seaward, and a climb to the top reveals the strange hummocky landscape that's the result of former extensive lime quarrying.

Looking west, ascending from the undercliff

Looking west from former quarried land above Church Coppice

Looking west from former quarried land above Church Coppice

Looking E. over Branscombe Mouth to Hooken landslip: more chalets on old plats
- Ray
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