While I was on my 2-week stay-cation last September, and on one of the area’s Heritage Open Days, I visited St. Augustine’s Church in Pendlebury, eight miles from home and an easy 20-minute drive heading towards Manchester. I’d never been there before but it had come to my attention the previous day and it sounded interesting so off I went.
Known locally as the ‘Miners’ Cathedral’ because of its vast cathedral-like proportions and its location in the heart of a one-time coal mining community St. Augustine’s came into being thanks to the generosity of one man, Edward Stanley Heywood, one of the family of Heywood Brothers who were influential Manchester bankers. Situated about five miles from the centre of Manchester the church was designed in 1870 by architect George Frederick Bodley (1827-1907) assisted by Thomas Garner, and construction started in 1871 with the foundation stone being laid in September that year. The completed building was consecrated in May 1874 and the total cost including decoration and furnishings was borne by Heywood himself. The church’s first vicar was Heywood’s brother-in-law Dr. Alfred Dewes who devoted his life to St. Augustine’s and remained there until his death in 1911.
George Frederick Bodley served as an apprentice architect for five years then at the age of 23 set up his own practice in 1850, eventually setting up a partnership with Thomas Garner in 1869, and it was during the later years of the 19th century that some of his finest churches were built. In designing St. Augustine’s Bodley had also designed a bell tower which was to be a free-standing structure linked to the church on the south side and standing higher than the main roof, but the ambitious project to build a church of cathedral proportions was extremely expensive and as Heywood considered the bell tower wasn’t essential the plan was abandoned and the money was used to provide a vicarage, school and gatehouse. The church itself was built of red brick, with a clay tiled roof and dressed stone for the windows and doorways, and the building’s dimensions measured 160ft long from east to west, 50ft wide and 80ft 2ins high at the ridge of the roof.
Above the main west doorway three niches contain the statues of St. Augustine flanked by the Angel Gabriel on the left and the Blessed Virgin Mary on the right, and high in the wall below the apex of the roof is a recess housing the single church bell. Above the porch doorway on the south west corner, which was originally the main entrance, are another three niches housing statues, with the centre one being Our Lord with his hand raised to bless those entering the church, and at each side are the carved 1874 date stones.
Below the window in the east wall is a memorial showing the Risen Christ and commemorating the 178 men and boys, the youngest only 13 years old, who lost their lives in a devastating underground explosion at the Clifton Hall Colliery on June 18th 1885; the bodies of the victims were buried in the grounds of several local churches with 64 of them being interred at St. Augustine’s. The churchyard also contains the war graves of twelve service personnel from WW1 and four from WW2 and is a favourite spot for tortoiseshell butterflies who continue to make the grounds their home.
Before opening for public worship it was Bodley’s express wish that St. Augustine’s was provided with chairs for the congregation rather than pews. This was not only from an appearance point of view but also to prevent the system of paid pew rents whereby the wealthy could have exclusive use of a particular pew for themselves, their family and friends. This system in other churches had often discouraged the poor from attending services as they could find themselves having to either stand up or sit on cold bare floors; there are seven rows of pews towards the front of the nave but these were later additions.
At the north west corner of the nave is the octagonal font, standing two steps above floor level. Each of its eight sides has an arched recess containing a shield, with four of the shields bearing the IHS monogram while the others have roses and fleur-de-lys. The font cover is a finely crafted piece of woodcarving and has a traceried lower section with three tiers above and an angel at the top.
High up on eight of the internal buttresses in the nave are a series of elaborately carved and gilded frames containing paintings depicting several saints, and of these eight the front two on each side of the nave have been restored. The four on the north wall are saints Paul, Peter, Gregory and Augustine while those on the south wall are the Venerable Bede and saints Ambrose, Jerome and Augustine of Hippo; unfortunately bright sunlight shining on the paintings of Gregory and Augustine made them difficult to photograph successfully so I only got six out of the eight.
The square pulpit is carved in the 16th century style with ‘linen fold’ panelling on the three sides. A later addition was a shell-shaped ‘sounding board’ suspended above it from an iron bracket, this was to project the speaker’s voice into the nave; in 1929 it was described by a writer (unknown) as “an American contraption – very effective but also very ugly”. Church records show that it was installed during Bodley’s lifetime and it was known that its appearance reduced him to tears; fast forward to 1996 and it was removed after extensive consultations with everyone concerned.
Spaced at intervals along the walls of the nave and continuing into the north and south choir isles are a series of carved wooden plaques, possibly later additions, telling the story of the Crucifiction; I photographed them all but there were far too many to include them all on here so I’ve selected just two.
Dividing the nave from the chancel is the oak rood screen, an elaborately carved design of Bodley’s with a wide central arch and six open sections with delicate tracery, surmounted by the base of the (incomplete) rood loft forming a deep canopy to the screen itself. Just in front and above the screen on the north side of the nave is the organ loft with its richly coloured and gilded organ case, again designed and crafted by Bodley; the organ itself was originally built by Brindley & Foster of Sheffield, later rebuilt with pneumatic action by Ernest Wadsworth & Co of Manchester then rebuilt with a detached console in the mid 1990s.
The doorway to the organ loft is on the opposite side of the nave to the organ and the door itself has large hinges depicting leaves and acorns, another example of Bodley’s meticulous attention to detail. Before the organ was rebuilt in the 1990s access to the console was gained by walking across the top of the rood screen, hazardous enough but made worse with the installation of a bank of heating pipes covering most of the canopy top. Although very effective in combating the cold down-draught they also prevented the use of the safety handrail, making the journey to the console doubly perilous, although a certain Dorothy Morris, St. Augustine’s organist for over 30 years, regularly made the hair-raising journey until she was well into her eighties.
On both sides of the chancel the ends of the rear choir stalls incorporate ten carved creatures, five on each side, and include a cockerel, a dog, and several mythological beasts. In the north choir isle behind the stalls is a small shrine while in the south choir isle is a permanent Lady Chapel with its own altar and seating for eight people, both created in the mid 1990s. The richly painted chancel ceiling was restored and repainted in 1971 but some later damage to the external roof resulted in water ingress which caused the paint to peel in several places, which seemingly hasn’t so far been rectified.
Bordered by gold vine leaf trail and completed with gilded cresting at the top the huge reredos fills the centre of the east wall while at each side the wall is lined with ‘linen fold’ oak panelling. The reredos itself is made up of 19 compartments containing a series of richly coloured paintings; each compartment has a traceried canopy and parts of some of the paintings are in relief. On the shelf at the bottom are six large candlesticks, four of which were dedicated in 1930; made in Milan they are copies of some 300-year old candlesticks situated where St. Peter’s Chair stands in Rome.
The design of the windows was closely supervised by Bodley, with the stained glass being done by Burlison & Grylls, a partnership set up in 1868 with the encouragement of Bodley himself and Thomas Garner. By the 1890s Burlison & Grylls was one of the most highly regarded stained glass firms in the country; thousands of their windows appeared in churches throughout Britain, with their most spectacular being the large rose window installed in 1902 in Poet’s Corner at Westminster Abbey.
Bodley’s opinion was that much of the stained glass of his period was spoiled by having too great a variety of colours so for St. Augustine’s he chose colour schemes to provide each window with just one dominant colour. The windows themselves are set high in the church walls, with their bases some 16 feet above floor level, and being so high it was impossible to get good clear shots of them; apparently the only way to fully appreciate the detail in each window is through binoculars.
Tucked in the south west corner of the nave and near the south porch door is a very small single window depicting the entrance of St. Augustine into Canterbury, and with the addition of a votive candle stand in 1996 this corner has become the Shrine of St. Augustine. Most of Bodley’s original furnishings and adornments remain largely unchanged and any alterations or additions which have been made over the years are very few.
George Frederick Bodley was a remarkable man. Architect, poet, musician and deeply religious he was remembered for his courtesy, his gentle personality and his amazing memory for detail – many years after visiting other churches he could still sit down and accurately draw detailed sketches of them. Pendlebury has changed greatly since 1874 and its generations have changed with it but St. Augustine’s remains in regular use, still standing at the heart of the community and a testament to the most accomplished and refined architect who designed and created it.
My Monday walk this week features a visit to Kirkby Lonsdale during my stay-cation in September. I’d never previously been any farther east along the A683 than Hornby village but I’d seen a couple of pictures of Kirkby Lonsdale somewhere on the internet and it looked like there might be a chance of getting a few nice photos, so a sunny morning saw me heading up the M6 and across the A683 in that direction.
Having previously looked on Google maps I knew there were several places to park in the vicinity of Devil’s Bridge over the River Lune on the fringes of the town, which was where I wanted to be, but in spite of it being a weekday during term time it seemed like the world and his wife were out and there wasn’t an available parking space anywhere so I headed into the village. Driving through the centre I followed a sign for car parks and found three small ones but again they were all full so I ended up in the car park of Booth’s supermarket where there were plenty of spaces and I could stay all day for £3.50.
Unfortunately by the time I’d sorted out the parking situation the sky had clouded over and the sun was playing hide and seek so I decided to have a look round the village first before going down to the river. Down a short narrow alley between an optician’s and a children’s shoe shop I found a small cobbled courtyard with a cottage at the end, then along a nearby narrow lane was an attractive cottage and a quaintly named cobbled square with its old market cross where, centuries ago, pig sellers would sell their livestock. Fast forward to more modern times and both the cobbled courtyard and the square were used as locations in Double Sin, a 1990 episode of the Poirot tv series. Past the square and a double-fronted house with a very pretty garden the lane went steeply downhill and between the buildings on each side I got a view towards the far side of the river.
From there I retraced my steps and just behind the Sun Inn, along the narrow traffic-free and aptly named Church Street, I came to St. Mary’s church. As a Grade l listed building the oldest parts of the church date from Norman times though the oddly-placed clock in the tower is presumed to be a 19th century addition. In the grounds just beyond the building was a stone built octagonal gazebo which had once been in the garden of the vicarage, and just to one side was a peaceful corner with a couple of benches and a very pretty circular flower bed.
Beyond the gazebo and along the path I came to Ruskin’s View, a small pleasant area with three benches set back off the path overlooking the River Lune. The view from there was painted by artist JMW Turner in 1822 and in 1875 the art critic, painter and poet John Ruskin was so impressed with the picture that he described the panorama as ‘one of the loveliest views in England, therefore the world’.
From Ruskin’s View I backtracked through the church grounds and the village to Devil’s Bridge and the river; the clouds had been clearing steadily and the blue sky was increasing so hopefully I would get some of the shots I was looking for. Devil’s Bridge has three spans and dates from around 1370; constructed of fine gritstone ashlar it’s thought to have been built by monks from St. Mary’s Abbey in York.
The roadway across the bridge is only 12ft wide and as vehicle numbers increased over the years it was closed to traffic in 1932 with vehicles being diverted to the newly constructed Stanley bridge 160yds away. The river beneath the bridge is popular with scuba divers due to its deep rock pools and clear visibility, and the bridge itself has long been a popular location for illegal ‘tombstoning’ (bridge diving) which has caused at least one death, that of a 22-year old man in 2012.
A gate near the beginning of the bridge led to a footpath which took me along by the riverside; much of the river itself was obscured by trees but there were a few places where I could get down to the waterside and I got several shots before going back to the path and retracing my steps. At the far end of the bridge was the Devil’s Bridge Snack Bar, a mobile catering trailer; judging by the queue it was a very popular place but there was nowhere to sit so I decided to walk back through the village and search out a dog friendly cafe for some coffee and cake.
Unfortunately my cafe quest proved to be unsuccessful. I found four – one was closed and the other three were small, cramped, and packed with customers, so whether any of them were dog friendly or not I don’t know, I didn’t hang around to find out. Instead I went back to Booth’s supermarket, got an ‘own brand’ Swiss Roll and a carton of Booth’s apple juice – which were a heck of a lot cheaper than coffee and cake in a cafe – and spent half an hour in the comfort of my own van.
After finishing my snack it was still only 3.45pm, too early to think about going home, so hoping I might finally find a parking space near Devil’s Bridge I drove down there with the intention of having another walk by the river. There were no available spaces near the bridge but directly across the A683 and at the end of a short lane there was a parking area with a few vacant spaces so I pulled in there – and ended up going on an unintentional long walk.
Leading from the corner of the parking area was a footpath going uphill through a wooded area so just for curiosity I decided to see where it went. I didn’t go far before the footpath opened out onto a narrow tarmac lane with a pleasant looking static caravan site on the left; still curious I followed the lane for a while with the views over open fields and hills getting better and better. Eventually I came to a tree with an odd looking bulge on one side of its trunk; nearby was a small enclave of cottages which I later learned was the start of the hamlet of High Casterton with cottages strung out here and there for quite a distance along the lane.
I hadn’t a clue where I would end up but the weather was so good and the scenery so nice that I was just enjoying the walk for what it was, however it wasn’t too long before I saw a crossroads up ahead, with another handful of cottages and a signpost which told me that the lane on the left would take me back in the direction of Kirkby Lonsdale.
The lane was only about half a mile long, eventually bringing me out on the A683 by the entrance to Casterton Golf Club – a left turn eventually got me back to the mobile Devil’s Bridge Snack Bar and my last shot was of the National Park sign in the lay-by near the end of the bridge. For some reason I seemed to have walked for miles but when I checked the time I’d only been away from the van for an hour.
Driving back down the M6 in the direction of home I thought back over my day. Apart from the initial difficulty in finding somewhere to park I’d enjoyed myself immensely, and though Kirkby Lonsdale isn’t a big place I know there’s a couple of corners of it I haven’t yet seen so maybe a sunny day sometime next summer will see me making a return visit.
Back in the 19th century two local brothers, Nathaniel and Thomas Greenhalgh who had made a large fortune in the cotton spinning industry, were determined that some of their wealth should go towards improving the spiritual and moral welfare of the people living and working in the industrial sprawl on the outskirts of Bolton. Being fervent members of the evangelical wing of the Church of England they decided to build a school and a church on land they owned off the main road running north from the town centre, and though Nathaniel died in 1877 at the age of 60 Thomas decided to proceed with the scheme in his memory and work started on the school that same year.
In 1878 the architects Paley and Austin of Lancaster were appointed to design the church, with Thomas Greenhalgh’s remit being that the building should be without interior obstructions so that everyone could see and hear the sermon, and there should be no uncomfortable draughts for people to catch colds. Work on the Gothic Revival-style church started that same year though it was entirely without ceremony as Greenhalgh didn’t want the pomp of laying an official foundation stone; the contractors were Cordingley & Stopford of Manchester and the total cost of the build was £20,000, the equivalent of almost £2.4 million at today’s prices. The new church was consecrated by Bishop Fraser of Manchester on June 30th 1881 and the first vicar was the Reverend William Popplewell.
Built of locally made red brick with Longridge stone being used for the external dressings and Stourton stone inside, the church has a north porch and a west door, a small octagonal turret on the north side and a west tower 26ft square. The roofs were covered in Westmorland slate and at one time the tower had a weather vane bearing the date 1881 but unfortunately this was blown off during a storm in 1952 and was never replaced.
Thomas Greenhalgh’s remit that the church interior should be without obstructions produced a large nave 52ft wide and 86ft long with just one central aisle, and a chancel measuring 40ft x 25ft. The high vaulted roof and the panelling of the nave walls were made of pitch pine, as were the original pews which could seat 800 people. The pulpit, lectern, reading desk, choir stalls, altar and communion rails were all designed by Paley and Austin and made of oak.
The church was originally lit by twelve gas pendants then in 1929 electric lighting was introduced, with electric blowers being added to the organ at the same time. The organ itself was built by Abbott of Leeds in 1880 from a specification prepared by S W Pilling of Bolton, with extensive overhauls being carried out in 1959 and again in the 1970s by Peter Wood of Huddersfield. The case, again designed by Paley and Austin, was made of Danzig oak.
The chancel floor is made up of white marble with inlays of Dent black marble, which isn’t true marble but a black crinoidal limestone found in certain areas of Dentdale and quarried during the late 18th century. With its amazing quantity of embedded fossil remains it became known as Dent Marble and was, at one time, very much sought after.
The reredos was designed by John Roddis of Birmingham, sculpted from Mansfield stone and made up of a series of panels containing the Apostles’ Creed, the Decalogue and the Lord’s Prayer, while the large font near the west door was also designed by John Roddis and sculpted from Mansfield stone. In later years an oak font cover was added which was paid for by public subscription in 1930 and dedicated to William Popplewell, the church’s first vicar. The inscription on the plaque reads “To the glory of God and in loving memory of the Rev’d William Popplewell, first vicar of this parish 1879 – 1923”
The eastern windows of the chancel were all made by Clayton & Bell of London and date from the building of the church. Clayton & Bell was one of the most prolific and proficient English stained glass workshops during the late 19th and early 20th centuries, well known for their use of exceptionally bright primary colours. The company was founded in 1855 and continued until 1993 with their windows being found throughout the UK and in America, Canada, Australia and New Zealand. The windows in All Souls were given in memory of Nathaniel Greenhalgh and show scenes from the New Testament including several from The Acts of the Apostles, all with the relevant quotation below them.
Fast forward through the years and what had once been a large congregation gradually dwindled over time and by the time the church celebrated its centenary in 1981 it was becoming obvious that the building had major problems. From the 1940s there had been several outbreaks of dry rot and in later years vandalism was rife – in 1970 the stained glass windows in the tower were removed after being badly damaged. They had been made by Shrigley and Hunt and had depicted the six days of the Creation but they were replaced with plain glass containing a cross in the upper part of the central light.
In 1986 it was stated that over 80% of the area’s population were of Asian origin with most being Muslims and with the small congregation unable to meet the parish’s financial commitments closure of the church was inevitable; the last service was held there on December 28th that same year. To avoid All Souls suffering the same fate as its sister church, which had been in another area of the town and was demolished in 1975, in June 1987 the church was vested in the Redundant Churches Fund, now known as the Churches Conservation Trust. Since then the Trust has undertaken several major repairs to the fabric of the building including eradicating the dry rot and pointing the brickwork.
In 2007 a local resident, Inayat Omarji, who had lived in the area all his life, recognised the church’s potential to be a community, events and business centre and after gathering support and financial backing for its regeneration a rescue plan was developed in partnership with the Churches Conservation Trust. Renovation and restoration work began in September 2013 and was completed in November 2014, with the doors finally reopening to the public on December 6th that year.
Because the inside of the church had been originally designed without pillars or aisles it was very adaptable to its new purpose as an events and community space. The philosophy of the restoration was to preserve the original beauty of the church while incorporating the very best of contemporary design and the interior now features two connected 3-storey ‘pods’ which are independent of the main building and touch neither the sides nor the roof of it. The newly designed interior provides an events space in the main body of the church for heritage and community activity, a ground floor coffee shop, a history wall, office space and five meeting rooms, while the chancel and all its original features remain intact. The building is still consecrated as a church and weddings can still be held there with the permission of the Archbishop of Canterbury.
In spite of All Souls being only a mile from home I’d never actually been in there, either in the past or in more recent years, however I visited a couple of weeks ago on one of the Heritage Open Days – and I have to say that what you see on the inside is definitely not what you would expect to see from the outside.
After spending some time wandering round taking photos and reading various bits of information on the history wall I sat down to listen to a very interesting talk on the history of the church given by Suzanne, one of the community workers, then I had the opportunity to climb the tower steps up onto the roof, stopping a couple of times on the way up to look down into the main body of the church.
The tower is 117ft high with a narrow spiral stone staircase of 180 steps and a ring of eight bells cast in 1880 by J Taylor & Co. of Loughborough. The tenor bell alone weighs over 23cwt (1160kg) with the whole ring of eight weighing a total of 90cwt (4570kg). Going up the staircase was certainly a test of heart and lung capacity, though with no handrail or rope to hold onto coming back down was more a test of nerve and definitely not for the faint-hearted.
The strenuous climb up the tower steps was certainly worth it as I was rewarded with 360 degree views and I could see for miles in all directions; the weather was glorious and I got several good shots looking over the immediate area and beyond, with the high-rises of Manchester city centre on the horizon.
Back at ground level I had another wander round to catch up on anything I’d previously missed – and I still didn’t manage to see or read everything – then it was time to go as it was almost closing time. I’d been there for over two hours and it was certainly time well spent – I’d learnt something of the history of All Souls and it had been interesting to see the modern ‘building within a building’. The church is open every weekday so who knows, I may very well be tempted to pop in sometime when I’m passing to sample their coffee and cake.
My Monday walk this week was done just yesterday and was actually Plan B when Plan A didn’t work out. I started off mid morning at the big car boot sale near the village of St Michael’s on Wyre; normally held every weekend from May bank holiday until the end of September it was the first time this year that it was on and I’d been looking forward to it.
My original intention, once I’d looked round all the stalls twice, was to drive over to Garstang and walk along a section of the Lancaster canal but when I came to take the first couple of photos at the car boot my camera told me that all images would be stored on the internal memory, which I thought was rather odd until I found the media card was missing – I’d transferred it to my card reader a few days previously and forgotten to put it back in the camera.
Not knowing how many photos I could take using the camera’s internal memory – I suspected not very many – and with a lot of grey clouds around anyway there was no point going all the way to Garstang so I decided to have a short walk along a section of the River Wyre instead. Driving into the village I parked near the primary school then walked the hundred yards or so along the main road and over the bridge to the riverside path and the start of the walk; it’s a walk I’m familiar with as I camped a few times at a lovely little site nearby several years ago.
While the river meandered round and doubled back on itself the path carried straight on, first through a tree shaded area close to a small field of sheep then along the high bank of the river itself with a couple of pleasant meadows on my left below the bank. At the next bend there was just one lone person sitting fishing; the river wound back on itself again there, skirting the edge of another meadow and effectively making it a dead end so I knew I would end up retracing my steps.
Continuing to follow the river round the edge of the meadow I came to the junction of a narrow brook and I remembered that on the next bend there should be a small sandy beach. I was right, the beach was still there, so I went down off the bank and let Poppie have a few minutes paddle before I continued round the edge of the meadow. Eventually I could go no farther as my way was blocked by a fence and gate leading to a small development of waterside holiday lodges so I cut diagonally back across the meadow and rejoined the main riverside path along the top of the bank.
Heading back to the road I almost stood on a toad in the middle of the stony path. At first I thought it may be injured but it hopped a couple of paces when I touched it; up ahead I could see a couple coming towards me with a big dog so to save the possibility of the toad being snapped at I picked it up and put it gently in the foliage off the path.
Back at the bridge I crossed the road to the riverbank at the other side with the intention of walking along for a mile or so – another route I’ve done before – but there was a small herd of cows up ahead with a couple of mean looking ones right in the middle of the path. I had no intention of getting into an argument with those two so I gave up on that idea and decided to call it a day and make tracks for home.
Passing St. Michael’s Church I found it was open to visitors for ‘private prayer’ – not that I’m religious – so finding somewhere suitable to leave Poppie for a few minutes I went to take a look and found I was the only person in there. A church has occupied that site from at least the 13th century; the present church was probably built in the 15th century with alterations being made in the 17th century. The chapel at the north of the church dates from 1480, it was repaired in 1797 and restored in 1854. The tower is said to date from 1549 and houses a ring of three bells hung in a timber frame. Inscribed with Gothic script the treble bell was originally cast in 1458 and was given to the church by a French lady; the second bell was cast in 1663 by Geoffrey Scott of Wigan while the third bell dates from 1742 and was cast by Abel Rudhall of Gloucestershire.
The colourful corner in the angle of the church wall was my final shot, the camera’s internal memory was full, so there was nothing else I could do other than return to the van and head for home. My day hadn’t worked out as I’d originally planned but I’d made the best of it, Poppie had a paddle and I actually got more photos than I thought I would so I suppose it was still a success even though it was a minor one.
My Monday walk this week was done just five days ago – June 24th – on what must have been one of the hottest days of the year so far. I don’t usually watch weather forecasts but I’d heard that the weekend was probably going to be very wet so I decided to take advantage of the midweek sunshine and explore a couple of places I hadn’t been to before.
Driving up the M6 I took the turn-off for Lancaster and headed along the A683 which bypassed the city itself and led straight to Heysham port, though on the spur of the moment I took a minor road down to the River Lune to check out a particular spot which – I’d been told by someone ages ago – was quite nice and had good views over the river. I didn’t have to go far before I came to a pleasant looking static caravan site and next to it The Golden Ball Hotel set several feet higher than the road.
According to local history there’s been an inn on that site since the mid 1600s; the main part of the existing inn, known locally as Snatchems, was built in 1710 and an extension was added in 1790. Fast forward to the early 20th century and in 1910 William Mitchell bought the inn and it became a tenanted pub with Mitchells of Lancaster being the landlords. In early 2010 the last tenants left and with no-one to run it the pub was closed and put up for sale by Mitchells, eventually being bought in 2011 by the current owner and further extended.
There are a few stories of how the pub’s nickname Snatchems originated though the most interesting and widely accepted explanation stems from when the River Lune was used as a shipping channel. When any tall ship was about to sail out on the high tide the captain would check how many men were on board and if the numbers were short a boat would be sent over to the inn, where the crew would ‘snatch’ any men who were intoxicated – and by the time they sobered up they would be well on the way to a foreign country!
Parking at the roadside near the pub I had a very short walk in each direction and other than a handful of passing cars I had the place to myself. Round a bend just west of the pub the road went over a deep drainage ditch while a hundred yards or so to the east the grass riverbank widened out to quite a pleasant area. The Golden Ball itself was temporarily closed up, with its entrances at road level surrounded by high steel barriers, and coupled with obviously overgrown gardens the place had a distinct air of abandonment about it.
With my curiosity satisfied I drove back to the main road and headed to my first ‘official’ destination, the Lancashire Wildlife Trust’s Heysham Nature Reserve. At the point where the road led into the docks and the power station a lane on the left took me to the track leading to the reserve; unfortunately there was a barrier across the track with a ‘car park closed’ notice on it but I was able to squeeze the van into a suitable space just off the lane and I set off to see what I could find. The first disappointment came when I got to the far side of the car park and found a notice on the gate saying dogs weren’t allowed in that part of the reserve, however there was no way I could leave Poppie in the van on such a hot day and there was no-one around anyway so I took a chance and went through.
The second disappointment came just a few yards farther on when I found a large part of the reserve completely closed off by a high steel fence and a locked gate with a ‘No Entry’ sign attached to it. That was one area I definitely couldn’t get into so I followed the path down a series of steps and found myself on the road to the power station – this couldn’t be right, there had to be more to the reserve than that. Across the road was a grassy area at the entrance to the large EDF Energy place and at the far side I spotted a rabbit so I snatched a quick long distance photo before it moved then went back up the steps into the reserve.
Not far from the top of the steps I found another path which meandered between hedgerows alive with birdsong, and past a quiet little tree shaded pond I came to a large meadow which, ignoring the constant hum and crackle from the power lines above, was quite a pleasant place in the sunshine. The path eventually brought me out not far from where I’d left the van and across the track was another path with a notice on the gate saying this area was where dogs could be walked and could also be allowed off lead, not that Poppie ever is.
In the shade just inside the gate was a metal box with a lid and a dog bowl at the side – a notice on the fence said ‘Dog water – please refill’ and in the box were several 2-litre milk containers full of fresh water, with a couple of empty ones left at the side. Quite a handy provision for thirsty dogs, presumably supplied by a local member of the Trust, and once Poppie had a quick drink we set off on some further exploration. The path was long and straight, bordered by trees on one side and open grassy areas on the other, and a distance along was a pond with hundreds of fish, possibly chub, swarming about close to the edge.
Eventually the path crossed an access lane to part of the power station and I came to an open picnic area with benches here and there; it was overlooked by the huge Heysham 2 nuclear reactor but plenty of surrounding trees did help to screen the building from view. Heysham 2 seems to dominate the horizon from miles away and from a distance looks quite ugly but close up, with its red, blue and green colours, I thought it looked strangely attractive. At the end of the picnic area the path ran for a short distance past the power station’s perimeter fence with its ‘keep out’ notices at intervals; with the continuous loops of razor wire on top of the fence I felt almost like I was passing the grounds of a prison and I certainly couldn’t imagine anyone trying to get in there.
I finally emerged onto a very rocky shore at Red Nab rocks, an area of Permo-triassic rocks of red and white sandstone. A long concrete promenade ran past the power station perimeter towards the port entrance and halfway along was a closed off short pier with the surface of the sea in a turmoil underneath it, which was presumably something to do with the power station; according to the notice on the fence this was the Heysham Sea Bass Nursery Area managed by the North Western Inshore Fisheries and Conservation Authority and public fishing wasn’t allowed.
A bit farther along were the remains of an old wooden pier and at the end of the promenade was the old south pier lighthouse at the port entrance. Built from cast iron in 1904 and almost 30ft high the base had originally been red and the lantern gallery white, though it now looks sorely in need of a coat of paint. Information tells me that in spite of its derelict looks it’s still active with a 6-second on/1.5-second off green light, though I’m not sure how correct that information is.
The old light house was the one thing I’d wanted to see so once I’d taken a couple of photos I retraced my steps along the promenade. By then the tide had come in and the turmoil of water under the sea bass nursery pier had levelled out, with dozens of seagulls in the channel – presumably at some point there would be a lot of fish in evidence just there. Walking back along the path through the nature reserve I was momentarily surprised when a bird flew out of a tree and landed right in front of me; it could possibly have been a thrush but without seeing the front of it I couldn’t be sure.
Back at the van I gave Poppie a drink even though she had some from her travel bottle while we were walking, then I drove the short distance to the next place on my itinerary, Half Moon Bay which was just at the other side of the port and another place I’d never been to. There was nothing there really, just a large rough-surfaced car park, a beach and a small café, closed of course; ignoring the ever-present power station building it wasn’t a bad little place but I wasn’t sure about the crooked sign attached to a crooked pole.
On the grass just off the end of the short promenade was a sculpture commissioned by the Morecambe Bay Partnership in 2019. It was just called ‘Ship’ and is supposed to reflect the importance of Morecambe Bay’s maritime heritage, with one figure facing ‘the new’ of Heysham’s nuclear power station and the other facing ‘the old’ of the ancient ruins of St. Patrick’s chapel on the cliffs farther along, and though I quite liked it I failed to see the significance of the holes through the figures’ upper bodies.
With nothing else to see at Half Moon Bay I returned to the van and took the road leading into Heysham village; I hadn’t intended going there but I wanted to find a cold drink from somewhere. Across from the village car park the side window of the Curiosity Corner cafe was open for takeaway drinks and snacks so I went to get something from there and was charged £1.20 for a can of Tango – sheesh, these places certainly know how to charge over the odds for something! I was glad that at least I’d taken my own slab of fruit cake as to buy some cake from there would probably have cost an arm and several legs.
Suitably refreshed I took a walk along to the end of the village’s main street and was delighted to find that the church was open to visitors. I’d wanted to go in there when I visited the village last year but it was closed then so I wasn’t going to miss the opportunity this time as I wanted to photograph the carved Viking hogback tombstone which dates from the 10th century. Unfortunately I couldn’t get proper shots of the stained glass windows as much of the church was blocked off but photographing the tombstone was no problem as it was close to the open side door.
Back outside I took a wander round Glebe Garden as due to the palaver of rescuing an injured hedgehog last year I hadn’t seen much of the place at the time. It wasn’t a big garden but it was very pretty and as I walked round I discovered many delightful miniature houses and tiny animals set among the foliage and on cut down tree stumps.
Walking back through the village I shot my last couple of photos and returned to the van; it was still only mid afternoon but I had to go to work later on and it was an hour’s drive back home, plus I wanted to make a brief stop on the way back.
Driving back through Half Moon Bay I reversed the route from there back to the Golden Ball on the River Lune as I wanted to see if the area looked any different now that the tide was in. It certainly did, and far from there being no-one around when I was there earlier there were several cars and trailers parked along the road and a few people out on jet skis, with a couple of families sitting on the grass while their kids and dogs played at the water’s edge.
With my day out finishing exactly where it began I did the journey home with no problems and arrived back with just enough time to get changed before going to work. All in all it had been a good day out, and though I had no wish to return to the nature reserve or Half Moon Bay it had been good to visit them both just to see what they were like – and with the healthy dose of sea air for myself and Poppie we both slept well that night.
This week’s Monday walk, if you can call it that, features a wander round a church about seven miles from home in the next town. The Parish Church of St. Mary the Virgin is situated right on the edge of Bury town centre, just a couple of minutes walk from the interchange and the main shopping centre and not far from the well known open market. Church records suggest that the first church on the site was a wood and thatch structure which was replaced in the late 16th century by a building in the Gothic style ; between 1773 and 1780 the main body of this church was demolished and rebuilt although the spire wasn’t touched.
The spire itself was replaced in 1842 but by 1870 the timbers in the rest of the church had rotted and another new building was needed. The current church was designed on a much grander scale by architect J S Crowther and was built leaving the 1842 spire in place ; construction took five years and the church was finally consecrated on February 2nd 1876. The interior features hammerbeam and tie-beam roof trusses, decorative mosaic flooring by Minton and stained glass windows by Clayton & Bell and Hardman & Company, while the tower houses eight bells, six of which date from 1722.
The nave is 84ft 6ins long, 30ft wide and 76ft 6ins high, with the windows on the north wall depicting Old Testament figures while those on the south wall depict those from the New Testament. Unfortunately most of the windows were so high up that I would have needed to use an exceptionally long step ladder to get good clear shots of them. The west wall rises in four stages to the great rose window and was inspired by Westminster Abbey, while the pulpit was given in memory of Reverend Roger Kay who re-founded Bury Grammar School in 1726 ; it’s believed that he is actually buried beneath the pulpit.
The organ was at one time situated above the west door but it was relocated to its current position when the church was rebuilt in 1876. Originally a tracker action organ electrics were eventually installed and the console was moved to the south side of the chancel where it faced east. The organ was rebuilt in 2007, keeping some of the original pipework and giving it a French sound, and the console was turned to face south.
The church is also the garrison church of the Lancashire Fusiliers. On April 25th 1915 the Lancashire Fusiliers were involved in taking West Beach at Gallipoli, for which the regiment won six VCs, and each year a service is held on the nearest Sunday to that date to commemorate those who took part in Gallipoli and subsequent battles. For anyone interested in regimental history the church has a number of colours hung on display along with memorial tablets, record books and other artefacts, with a dedicated museum in the old Fusiliers building round the corner.
I hadn’t originally intended going into the church as I was in Bury for an entirely different reason, but when I saw the ‘church open’ sign on the outside railings I thought I may as well pop in for a quick look and I’m glad I did. It’s a lovely place with many interesting features, more than I realised at the time, so it would be worth making a return visit the next time I go to Bury – and with a nice little café just across the road I can treat myself to coffee and cake as well.
The Carmelite Church in Dublin, official title the Church of Our Lady of Mount Carmel but usually referred to as Whitefriar Street Church, is a place I discovered more or less by accident while roaming the city’s streets a few weeks ago in search of street art, and with my liking for stained glass windows I decided to go in and take a look – and I have to say that I certainly wasn’t disappointed.
The first Carmelites arrived in Ireland in 1271 and settled in Dublin in 1280 ; they stayed until the Protestant Reformation in the 16th century then later returned and established themselves in the oldest part of the city in the early 17th century. Although there’s been a church in the location of Whitefriar Street since then the current church wasn’t founded and consecrated until 1826/1827.
By 1840 the building had become too small for the congregation so a new nave and north aisle were added, with the existing church becoming the south aisle of the new church ; these additions effectively tripled the size of the existing church and established the building as one of the largest churches in the city. By 1951 the entrances on the narrow Whitefriar Street to the west of the church had become inadequate and indirect as traffic gradually increased, most of it coming from the east end of the building, so a plan was put in place which involved only minor structural alterations. The interior of the church was completely reversed, placing the high altar at the west end, adding on a sacristy and making a direct entrance off the main thoroughfare of Aungier Street.
With its relatively small entrance in the centre of something resembling a large apartment building the church didn’t look much from the outside, but this was very much a case of ‘don’t judge a book by its cover’ as the fairly unassuming façade really belied what’s inside. Through the outer wrought iron gates and double doors I found myself in a pleasant atrium with patterned mosaic tiling on the floor and walls painted in contrasting colours. In the centre was a shrine with an almost-life-size depiction of Calvary, and set back in an alcove on the right was the shrine of St. Albert of Sicily and two brightly coloured stained glass windows.
St. Albert of Sicily was born during the 13th century in Trapani and entered the Carmelite Order as a young man, then after his ordination he was sent to the priory at Messina. He was a man of prayer and penance and a lover of solitude but he was also very active within the church and spent much time studying, being regarded as the patron of Carmelite studies. He spent the last years of his life living in a hermitage near Messina ; he died in 1306 and though he was recognised as a wonder worker during his lifetime miracles and cures continued to be attributed to him after his death.
At the end of the atrium another set of double doors led into the church itself ; everywhere I looked were beautiful stained glass windows and as well as the two shrines out in the atrium there were several shrines within the church, including one to Our Lady of Dublin and the one most popular with couples, the shrine and relics of St.Valentine.
The church’s early pipe organ had been replaced in the 1960s by an electronic instrument but in the early 1980s the then Prior of Whitefriar Street, in consultation with the Carmelite Community, decided to install a new tracker action pipe organ. It was built by the renowned firm of Kenneth Jones & Associates of Bray, Co. Wicklow, and though much of the material was new some historical pipework by noted 19th century Irish organ builders John White and William Telford was sourced.
A tracker action organ is an instrument where all the parts are mechanical rather than electrical. Although electricity is used to power the wind blowing apparatus and the lights at the keyboard all the connections between the pipes and the keys are achieved mechanically. In total the organ contains more than 2,200 pipes ranging from the size of a small pencil to 16ft in height, and it’s one of the finest tracker action organs in Ireland.
St. Therese was born in France in 1873 and at the age of 15 entered the Lisieux Convent with three of her sisters, where she was appointed assistant mistress of novices five years later. While in the convent she wrote a brief autobiography and account of her spiritual teaching and asked one of her sisters to edit her writing wherever was necessary – this was done and in 1898 the convent had 2,000 copies printed. Although some Carmelite convents didn’t like the new book it sold 47,000 copies in twelve years with demand continuing to rise. Unfortunately Therese never got to see what a success the book became as she died of tuberculosis the year before it was published.
With the success of her book the previously unknown Therese was acclaimed as a saint and a great spiritual teacher. She had said that she wanted to spend her time in heaven doing good on earth and it seemed that those who prayed to her for help were finding their prayers were granted – she was beatified in 1923 and canonised in 1924. The Shrine of St. Therese was blessed in 1955 ; the marble statue of the saint is a replica of the statue which stands over the high altar in the crypt of the Basilica in Lisieux and the mosaic background depicts Our Lady of the Smile which was originally designed in 1750 for a church in Paris.
The sculpture in the centre of the shrine to Our Lady of Dublin is a life-size figure in oak and probably dates from the early 16th century. Originally it would have been brightly painted but sometime over the centuries it was whitewashed over ; the removal of the whitewash in 1914 unfortunately also removed the ancient surface underneath but after it was cleaned and restored the shrine of Our Lady of Dublin was formally erected in 1915.
In the early 1800s, during the restoration of a religious site in Rome, the remains of St. Valentine were discovered, along with a few artefacts relating to him. In 1835 a well-known Irish Carmelite preacher was visiting Rome and such was his fame that he was given many tokens of esteem by Catholic Church leaders ; one such token came from Pope Gregory XVll (1831-1846) and were the remains and relics of St. Valentine. They were received into the Whitefriar Street church in 1836 but interest in them died in time and they were put into storage.
During a major renovation of the building in the late 1950s/early 1960s the relics were returned to prominence with an altar and shrine being specially constructed to house them ; the statue was carved by an Irene Broe and depicts Valentine wearing the red robes of a martyr and holding a crocus in his hand. Today the shrine is visited by many couples who come to pray to Valentine and ask him to watch over them in their lives together.
Turning my attention to the colourful stained glass windows I didn’t know which to photograph first as they were everywhere, some nearly 140 years old and all very lovely. Some windows were single ones, some were in twos and others in sets of three or even four. The Immaculate Conception windows were originally crafted in the 1880s by the renowned Franz Mayer & Company of Germany and are fine examples of what’s known as the ‘Munich Style’ of stained glass. Some of the most beautiful windows were the Rosary Windows, crafted in the 1930s by Earley & Company of Dublin ; these and the Immaculate Conception windows were all restored in the 1990s. Also featured in individual windows were the Carmelite Saints, the Irish Saints and the Holy Family – mouse over the bottom of each image for the description, although the first two and the last one aren’t named.
After spending half an hour looking round this lovely church it was time to get back to my original search for street art. On such a brief visit I hadn’t seen or photographed everything that the church had to offer but it was such a lovely place that I’ll certainly make a return visit in the future as I’m sure there’ll be many more wonderful things to discover.
In which I find a nice little park, suffer a disappointment and find some lovely stained glass windows…
The last full day of the holiday arrived dull and grey but not wanting to waste it by staying in Roscrea I decided to take myself off to Adare which was, according to various sources of information (and I quote) ”one of Ireland’s prettiest villages with its main street lined with unique thatched cottages” – even on a dull day it sounded like it was worth a look. To get there I had to change buses at Limerick ; the coach from Roscrea to Limerick passed through Nenagh and as there was a shop there I wanted to go back to I decided to break my journey, get what I wanted then continue to Limerick on the next coach. With two different bus companies running between Roscrea and Limerick, and staggered bus times, planning my journey was like planning military manoeuvres and it would have worked out well if everything had gone to that plan but it didn’t.
The first coach arrived twenty minutes late in Roscrea so I only had just enough time to get what I wanted from the shop in Nenagh before the second coach arrived, however I needn’t have rushed after all as that one turned up forty five minutes late. Of course when I got to Limerick my intended bus to Adare had gone ages before so I had to wait fifty minutes for the next one, however I finally got there albeit quite a lot later than I’d wanted to. As it turned out though, arriving late in Adare didn’t really matter as I didn’t stay as long as I’d expected to.
The bus put me off at the entrance to Adare Town Park, it looked like quite an attractive place so I decided to have a look round there first. With lots of trees and lawned areas, a small stream running along one side, a thatched gazebo and plenty of benches it was a very pleasant place to walk round and would probably be very pretty in spring and summer.
On the way into the village, and just up the road from the park, I’d noticed a row of thatched cottages and as my sources of information had said the main street was lined with them I expected to see many more, but looking down the road all I could see were normal buildings and shop frontages. Across the road from the park was a heritage centre and tourist information place so I went in there to ask, only to be told that the cottages up the road were the ones I was looking for. So much for the main street being ”lined with thatched cottages” – one row and that was it. I felt like saying that whoever produced and printed the information should be prosecuted under the Trades Description Act!
When I went to have a proper look at the cottages I found that most of them had been turned into little businesses ; there was a café, a gift shop, a craft shop, two very small restaurants, a bistro and a couple of holiday cottages. Admittedly they did look quite attractive and no doubt in summer, with gardens full of flowers, would look very pretty, but having expected to see a quaint little village full of them I was rather disappointed to find that those were the only ones.
Next door to the heritage centre was Holy Trinity Abbey Church, the only Trinitarian Abbey in Ireland. There is no record of the exact date of its foundation but it’s believed to have been established between the years 1230 and 1240. Dissolved in the 1560s the church eventually became a ruin but in 1809 the 2nd Earl of Dunraven restored the building and gave it to the Catholic Church. No major structural changes have taken place since 1884 although there have been several modifications and some development in the years since then, and in summer 2010 a programme of critical repairs was undertaken to preserve the church.
From the church a short walk along to the far end of the main street produced just one more thatched cottage set back from the road in a wrap-around garden, then with nothing else to see in the village and the afternoon still dull I decided I may as well get the next bus back to Limerick. I had about half an hour to wait though so I went to look round inside the heritage centre and found a very bright and pleasant looking cafe ; I just had time for coffee and cake so I ordered a slice of Banoffee pie and a latte, and was pleased to see that this time the coffee came in a proper glass mug.
By the time I got back to Limerick the daylight was fading rapidly. The bus from Adare had taken me to the bus station but the coach back to Roscrea left from Arthur’s Quay park, a good walk through the city centre, and as I had an hour to kill I thought I may as well take my time in going there and get a few evening shots en route. Past Arthur’s Quay the front wall of the Hunt Museum was lit with green lights so I got a shot of the horses against the coloured background then walked along to where I could see the illuminated side of the castle ; I even had time to cross the bridge, walk along the riverside at Clancy’s Strand then re-cross the river at the next bridge, where my final shot was one of the illuminated 1916 war memorial.
Relaxing by the fire later that evening I went through the photos I’d taken while I’d been out. It had been an odd sort of a day and I hadn’t been particularly impressed with Adare ; I’d only been there for just over an hour and that had been enough so I doubted I would ever go back there again, however since getting back home I’ve found out about another couple of places there which, on a nice day, may be worth visiting so who knows? – maybe I’ll make a return visit sometime in the spring or summer months.
Well I wasn’t actually looking in but I was on the outside….
A few weeks ago, while walking home from work one evening, I took a shortcut through a small local park close to home. Backing onto one corner of the park is a church and there must have been something going on in there that particular evening as all the lights were on, lighting up the stained glass windows. Most of them looked quite plain but the one which was, presumably, behind the altar looked really lovely and certainly worth taking a photo of, however I didn’t have my camera with me at the time and on the numerous occasions I’ve passed since then the church has always been closed.
That was until earlier this evening. I’d been out for the afternoon taking photos for a future post and noticed the church lights were on as I passed nearby so I did a quick detour to get a shot of the window from the outside, and in the dark of the evening the deep colours of the stained glass really stood out.
I’d love to see the window from the inside but unfortunately the church only seems to be open for normal services and not to visitors so I’ll have to be happy with my shot from the outside.
And talking of churches, I had a lovely few days away in Ireland and visited three churches while I was there – one which I discovered almost by accident – so there’ll be lots of stained glass windows appearing on this blog once I get my photos sorted out and I start writing about my holiday.