Tag Archives: Great Carrs

Away from the Numbers

Grey Friar, Great Carrs, & Dow Crag from Seathwaite

It was to be my 100th Wainwright. Not quite halfway, but a minor milestone nevertheless. The day begins inauspiciously with a series of farcical calamities worthy of Basil Fawlty, but en route to the Seathwaite reservoir, the disarming beauty of the Duddon valley works its magic. After a splendid ridge walk, I celebrate in the rural charm of the Newfield Inn—the scene of a violent riot, 114 years ago, which ended in the fatal shooting of a navvy. Hard to believe these days, but I’m on my best behaviour just in case.

It’s not as if I was expecting fanfares, a red carpet and a Champagne breakfast on the terrace. That would be ridiculous—we haven’t got a terrace. But on a morning that marked a minor milestone in my fell walking career, I did, at least, want things to go smoothly.

It wasn’t to be. I awoke to find the cat had thrown up over the sofa cushions. He’d even managed to hit a car rug perched over the arm. The scatter pattern suggested he’d been projectile vomiting while spinning like a whirling dervish. Was he violently ill or possessed by a legion of demons? It didn’t look like it.

I’ve seen enough episodes of CSI to know how to work a crime scene, and here I found grass and a sizeable clump of matted fur (quite possibly not his own). Cat lovers will know that grass is an emetic which cats imbibe deliberately to shift fur balls. The ensuing upchuck is relatively controlled, so this extravagant distribution was clearly a matter of choice. The proud perpetrator was now standing by his bowl, demanding his breakfast.

After half an hour of intensive fabric cleaning, I stuffed Wainwright’s Pictorial Guide to the Southern Fells into my rucksack and set off for Seathwaite.

I’ve lived in Cumbria for twenty years and I’d never been into the heart of the Duddon valley. I’ve gazed down on it many times from the tops of the Coniston fells, ever struck by its lonely beauty. In autumn, the Seathwaite reservoir had shone like a sapphire on a baize of burnished gold. Today, the fields and trees are a swatch of fresh June green, licked into life by the early morning sun. I could easily lose myself in carefree reverie, but I need to concentrate because I’m not entirely sure where I’m going.

The Duddon valley
The Duddon valley
Herdwick lamb in the Duddon valley
Herdwick lamb in the Duddon valley

After Seathwaite, the map shows a fork in the road, with the right-hand prong giving way to the old quarry track that leads up to the Walna Scar Pass and on to Coniston. The reservoir track starts from the same point. Sure enough, the road forks where expected and there is even a sign saying “Coniston, unfit for cars”. But as the winding single-track road narrows to no more than my car width, I start to question why it is I think there is off-road parking at the end of it.

The road ends abruptly in a gate—with no parking space anywhere to be seen. A farmer on a quad bike is approaching from the other side. He clearly wants to come this way. I recall a distinct lack of passing places and the road is too narrow for a three-point turn. There’s nothing for it but to reverse back to the farm I passed quarter of a mile back.

Parking sensors are wonderful things, but they don’t know the difference between dry stone walls and cow parsley. Given the abundance of foliage overhanging the verges, my dashboard is lit up like a Christmas tree and my ears are ringing from the continuous high-pitched beep. I reach the farm, but I’m too close to the opposite wall to back in. I effect a painfully faffing five-point manoeuvre, while trying to avoid the eye of the farmer, who I sense is laughing heartily. Eventually, I manage to let him past. He gives a cheery wave and speeds off down the lane, no doubt dying to get home and tell his wife all about his encounter with Mr Bean.

I follow him back to the Seathwaite road. On the edge of the village, there are four parking spaces. One is still free. Perhaps my luck is changing.

It’s a rash hope. I open the hatchback to find the top isn’t properly on one of my water bottles and it’s emptied itself entirely into one of my boots—the one I’d put my socks in. I pour 500ml of water out of the boot and wring out the socks as best I can, then I squelch one and a half miles back up the road to the gate. I go through and just on the other side, I find the parking spaces.

Then, I step in a cowpat.

As I tramp up the reservoir track, I feel every bit like Basil Fawlty scouting around for a branch with which to give the day a damn good thrashing… But subconsciously, I start to change gear. There’s a song going around in my head. It’s The Waterboys’ Don’t Bang the Drum—it was playing on the radio on the way here:

“Here we are in a fabulous place
What are you gonna dream here?
We are standing in this fabulous place
What are you gonna play here?
I know you love the high life, you love to leap around
You love to beat your chest and make your sound
But not here man – this is sacred ground
With a Power flowing through
And if know you you’ll bang the drum
Like monkeys do”

The song warns of being so pumped up with our own self-importance, or perhaps with peeved indignance at the banana skins life leaves littered in our path, that we can stand in the most astounding of places and fail to realise.

I stop to apply sun cream, and I wake up to where I am. The epiphany strikes like an earthquake. A minute ago, the Duddon valley was a place of cowpats, frustratingly hidden car parks and wet feet. Now it’s a place of astonishing power and disarming beauty.

Across the valley, a conspiracy of sun and shadow renders the Scafells as an Art Deco railway poster—broad, flat, angular and stylised.

The Scafells from the Duddon valley
The Scafells from the Duddon valley

To the east, the sheer green slopes of Brim Fell, Dow Crag and Walna Scar form a colossal rampart to rend the valleys of the Duddon and Coniston. And straight ahead, rising over rippling foot hills, is the grassy dome of Grey Friar—the only Coniston fell I’ve yet to set foot on. Except, it isn’t really a Coniston fell at all. As Wainwright points put, Grey Friar belongs entirely to the Duddon.

Grey Friar from the Seathwaite reservoir track
Grey Friar from the Seathwaite reservoir track

Ticking off all the Wainwrights hadn’t been a goal. I was more interested in getting to know my favourites well—experiencing all their ascents and ridge walks. However, some gentle hectoring from my neighbours, Paul and Jeanette, convinced me that tackling the full 214 is a great incentive to explore new ground. They’re right, and since committing to the challenge, my knowledge of the peaks has grown exponentially.

I’ve climbed all the other mountains in this range at least twice and some (like The Old Man) as many as eight times. But Grey Friar, I’ve been saving. It will be my 100th Wainwright.

The OS map shows no path, but Wainwright sketches two that wend in parallel up the south western ridge. The first, a grass rake, is clearly visible from the track, but the intervening ground is marshy. AW suggests continuing to the reservoir and starting from just beyond the outtake channel. His second path is more direct and starts from the same place.

After a mile or so, I crest the hill and the long buttressed curve of the dam wall appears at the foot of dark shadowy slopes. As I reach the walkway that traverses the top, the sun slips behind a cloud, so now over the parapet, the dark waters stretch out—a long black placid pool, cool and inscrutable.

Seathwaite reservoir
Seathwaite reservoir

The reservoir’s tranquillity belies the violence in its construction. The ancient tarn was dammed in 1904, to extend its capacity as a water supply. The summer was a scorcher; the work was hard, and tempers were frayed. In such a small and remote community as Seathwaite, tensions were strained between locals and the labourers drafted in to sweat and toil. It would only take a spark to ignite the tinder.

In the event, alcohol proved the accelerant. According to Dick Sullivan’s book, Navvyman (Coracle Press, 1983), Owen Cavanagh had been drinking heavily since 9am. By noon, the landlord of the Newfield Hotel (now the Newfield Inn) judged he’d had enough. As Cavanagh’s rowdiness threatened to get out of hand, the landlord demanded he and his mates leave the premises. The men refused. They smashed up the pub and stole bottles of whisky, then they spilled into the street where they pelted the church and the vicarage with rocks. The publican, a barman and an engineer confronted the rioters with firearms. Shots were fired wounding three—fatally in Cavanagh’s case. The gunmen were arrested but later acquitted on the grounds their actions were legally justified in protecting property.

A primeval peace pervades now. The ghosts of rampaging navvies don’t haunt the fruits of their labours. I follow the walkway along the top of the dam and cross the footbridge over the main and auxiliary tarn outlets.

Seathwaite reservoir from the walkway
Seathwaite reservoir from the walkway

Between the crags of Great and Little Blake Rigg, Grey Friar’s slopes are more forgiving—grassy terraces peppered with rocky outcrops. Where Wainwright shows the start of his direct route, the tiniest of cairns hints at a faint path. I augment the cairn with a couple more stones—now you’ll have to blink a fraction longer to miss it.

Great Blake Rigg
Great Blake Rigg

In places, you have to rely on instinct and common sense to determine the line of the path. In others, it’s more pronounced, but nowhere is there any difficulty. A moderate pull up grassy slopes attains the ridge, and I make for the summit. Two cairns, a little way apart, stake equally convincing claims. Wainwright judges the north-eastern contender to be the true summit but concedes the south-western has the better views. He’s right, I pull myself up a rocky step and hunker down beside it to gaze across at Harter Fell and the Scafells.

Seathwaite reservoir from Grey Friar
Seathwaite reservoir from Grey Friar
Summit cairns, Grey Friar
Summit cairns, Grey Friar
South-western summit Cairn, Grey Friar
South-western summit Cairn, Grey Friar

A blue haze, like a sea mist, transforms the peaks into a mythical realm, where black spires, full of menace and foreboding, rise above dappled flanks, pretty and beguiling, and dark hollows harbour mysteries, old as the hills themselves.

One hundred Wainwrights under my belt is still seven short of halfway. Even so, it’s a ton, a nicely rounded sum, and it feels like an accomplishment. Grey Friars was a fine choice. It’s an underrated mountain, but away from the numbers, these are the kind that can reward the most. It’ll be a different story across on Scafell Pike. At this time of year, walkers will be arriving by the coach load. The Let’s Walk the Lakes Facebook group are tackling that today. Three weeks ago, I climbed Skiddaw with them. It was my first outing with the group, and a nicer bunch of like-minded people you couldn’t hope to meet. I wave in their direction and look forward to our next hike together. Then I set off for Great Carrs.

Just shy of the summit is a memorial cairn to the wreck of a Halifax bomber that crashed here in 1944. I’ve written about that at length in Ghost of Canadian Airmen, so I won’t repeat myself here, but the cairn with its cross and its plaque, together with the little wooden crosses people plant among the stones to commemorate their own departed loved ones, never fail to move me.

Memorial Cairn on Great Carrs
Memorial Cairn on Great Carrs

I don’t know how this looked in Wainwright’s day. It’s been rebuilt, so perhaps its appearance is more poignant now, but I find AW’s casual dismissal of it as a pile of aeroplane wreckage a tad perplexing. I’ve always suspected his curmudgeonly character was a slightly tongue-in-cheek persona: the bonhomie and humour in his writing suggests someone a little better disposed to people than is commonly supposed. But this throwaway line in the Grey Friar chapter does seem to reveal a more damaged individual, either lacking empathy, or perhaps, so used to burying his feelings he found them awkward to deal with when they surfaced.

I cross the shoulder of Swirl How and head over Brim Fell. The sky darkens, and it spots with rain. The hills are now a solemn grey, the Seathwaite reservoir a sombre sheen. But the dark clouds above Dow Crag are clearing and the ones overhead are insubstantial. They lack the ammunition for a proper downpour. Halfway to Dow Crag’s summit, the sun breaks through in triumph. By the time I reach the top, it’s glorious.

Brim Fell from Swirl How
Brim Fell from Swirl How

I read a number of walking blogs, and I enjoy Tessa Park’s, not only because it’s called Mountains and Malbec (which scores double points in my book), but because she champions the use of the ARSE CRAMPON. The concept is not entirely new, Wainwright remarks on the usefulness of the posterior, particularly in descent, but Tessa coined the phrase and she deserves a shout-out as I make liberal use of this piece of equipment in scrambling off the summit rocks.

Dow Crag’s buttresses and gullies are some of most dramatic features to be found anywhere in Lakeland. Its top is peppered with plunging vistas of heart-stopping beauty. Intrepid climbers perch on precarious outcrops high above the blue glimmer of Goat Water.

Dow Crag
Dow Crag
Climbers on Dow Crag
Climbers on Dow Crag
Goat Water from Dow Crag
Goat Water from Dow Crag
Dow Crag
Dow Crag

On the way down over Buck Pike and Brown Pike, Coniston Water is a hazy aquamarine wash to the east, while to the west, a band of barley forms a golden heart in the Lincoln green of the Duddon Valley. On reaching the Walna Scar Road, I turn right and descend past the old quarry into the pastoral perfection of Dunnerdale. Harter Fell looms ahead and Tarn Beck burbles over rocks as I meander lazily back to Seathwaite.

The Duddon valley from the Walna Scar track
The Duddon valley from the Walna Scar track
Tarn Beck, Duddon valley
Tarn Beck, Duddon valley

The Newfield Inn is the epitome of a charming rural pub. I sit in its pretty beer garden, enjoying the warm sunshine and a cool hoppy pint of Mosaic from the nearby Foxfield brewery. It’s impossible to imagine this was the scene of a violent riot and fatal shootings one hundred and fourteen years ago.

I’m quite sure the landlord doesn’t keep a loaded firearm behind the bar anymore, but just in case, I return the glass, thank him kindly and take extra care not to break anything on the way out.

Foxfield Mosaic at the New Field Inn
Foxfield Mosaic at the New Field Inn


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    Ghosts of Canadian Airmen

    Wetherlam, Swirl How & Great Carrs via Steel Edge

    An Andy Goldsworthy sheepfold and the wreck of a wartime bomber bookend a thought-provoking walk over the Coniston fells, ascending Wetherlam by a route that evaded Wainwright.

    Sheep Folds

    Good art transforms a space. It introduces something new, often forged from foreign materials like canvas, paint, bronze or stone and worked into a form that redefines and enriches its setting. It can bring the outdoors in, or life to a sterile cityscape.

    But placing artworks in natural settings can be problematic. The Countryside Code compels us to leave no trace of our presence, so the notion of introducing something man-made is counter-intuitive. Even given an artist’s skill in complementing their surroundings, it seems somehow arrogant to assume we can improve on nature.

    And yet we do this all the time. Agriculture and horticulture are both attempts to instil an artificial order on the natural world, editing out the bits we don’t want and cultivating the bits we do. Why should a well-tended flower bed be somehow less of an aberration than a sculpture made from concrete and steel? Perhaps because the garden showcases our stewardship of nature while the sculpture is an attempt to impose something alien upon it. A wheat field and a quarry are both examples of harvesting natural resources, yet one appeals to our sense of aesthetics while the other offends it. For all their artifice, the garden and the wheat field are part of nature; born of the wild, their order is ephemeral – if left untended, they will quickly revert.

    We may embrace art in the landscape, but we often find it less controversial when in the ordered environment of a garden or sculpture park; or perhaps, like Gormley’s figures on Formby beach, where we expect human activity.

    Placing artworks in wilder settings takes a special skill and sensitivity. It’s these qualities that have enabled Andy Goldsworthy to succeed. Goldsworthy seldom imposes foreign objects on the landscape. Instead he works with materials that are already there, like pebbles, petals, twigs and ice. His sculptures are designed to be washed away by waves, melted by sunlight, scattered by the wind. He simply reorganises parts of the environment so they assume a fleeting new identity then lets the natural order reassert itself. Usually, the only enduring evidence is photographic.

    Some of his works persist a little longer however. In 1987, he was commissioned by Grizedale Forest to produce “Taking a wall for a walk”, a dry-stone wall that snakes in and out of the trees as if the pull of nature had compelled it to abandon its straight, utilitarian function and revert to a more organic form.

    Andy Goldsworthy Touchstone Fold, Tilberthwaite
    Andy Goldsworthy Touchstone Fold, Tilberthwaite

    Goldsworthy’s initial thought was to source the stone from a quarry but as he started to work with wallers he learned that, where possible, they try to reuse existing stones. The significance of this was not lost on Andy, “Originally I felt that I shouldn’t even touch a mossy old wall, but then this idea of an old wall becoming a new one is very important to the nature of the way walls are made… What looks like randomly placed stone has been selected, touched, worked, and when one waller touches a stone worked by another waller he knows that. There’s a wonderful connection there.”

    Again, it was intended that slowly the work should be reclaimed by nature – clad in moss, dislodged by wind, toppled by the spreading roots of trees – until it returned to the tumble-down disarray in which it started. Ironically, its popularity is such that it has been repaired several times.

    1996 was The Year of The Visual Arts and Goldsworthy was commissioned to create an ambitious series of works in Cumbria. His proposal was to rebuild a large number of old sheepfolds turning each into a sculpture or using it to enclose a sculpture.

    Goldsworthy Sheepfold, Tilberthwaite
    Goldsworthy Sheepfold, Tilberthwaite

    In some cases, the only evidence of the original sheepfold was its mark on an old map, but by the end of the project in 2003, Goldsworthy and his team had restored and transformed nearly fifty of them. Some enclose perfectly formed stone cones; others surround boulders carefully selected for their shape and form.

    Before the emergence of the railways Cumbria was a major highway for the movement of sheep and cattle from Scotland to Yorkshire and Lancashire. Using old maps, Goldsworthy carefully traced these old “drove” routes and constructed sixteen sheepfolds as way markers, temporarily enhancing each in turn with a small red sandstone arch that he transported all along this ancient thoroughfare, assembling and dismantling it at every stage.

    Elsewhere Goldsworthy worked in other features that define the landscape. A striking example is the large square Touchstone fold at Tilberthwaite.  The four stone walls are inset with rectangles of local slate. Each rectangle encloses a circle. The slates in each circle are set at a unique angle, so each deflects light differently and collectively they suggest the cycles of the sun and the seasons.

    Andy Goldsworthy Sheepfold, Tilberthwaite
    Andy Goldsworthy Sheepfold, Tilberthwaite

    Goldsworthy has a fascination with slate and its inherent layering. He describes it as “an extraordinary book of stone… as you lift one piece off another, you’re looking back in time really”.

    As an artwork, The Touchstone Fold possesses the perfect geometric beauty of a Barbara Hepworth, while the way the sloping slate plays with sunlight makes your eyes dance in the way a Bridget Riley painting does. But Goldsworthy’s work has an even stronger sense of place. Tilberthwaite and Wetherlam (the mountain above) have been quarried for slate for centuries. In Thomas West’s 1779 Guide to The Lakes, he wrote of the Coniston houses, “all are neatly covered with blue slate, the product of the mountains”. Goldsworthy conceived his sheepfolds as a monument to agriculture, but The Touchstone Fold is much more than that. It is monument to the industry wrought from these slopes; indeed; a monument to the mountain itself.

    Touchstone Fold. Tilberthwaite
    Touchstone Fold. Tilberthwaite
    Steel Edge

    Steps lead up from the parking area opposite the sheepfold to a path that skirts the south-eastern bank of Tilberthwaite Gill. The first thing you encounter is a disused quarry. It’s easy to imagine quarries as ugly grey scars, but here rivers of colour run through the mineral rich rock; veins of red, yellow, green, blue and purple marbling its milky face.

    Disused quarry, Tilberthwaite
    Disused quarry, Tilberthwaite

    From Elizabethan times, deep levels were driven into the sides of Tilberthwaite Gill to extract copper. Cheaper imports eventually killed the domestic industry, but the Victorians, who had just begun to revere the Lakeland landscape as a place of beauty, re-purposed the remaining wooden bridges as platforms for viewing the waterfalls. Along the path, the sound of the falls is ever present but sightings are confined to an occasional sparkle through the foliage.

    The path crosses the head of the gill and fords Crook Beck. A little further along I come to a wooden footbridge. Crossing here would join the route that leads over Birk Fell to Wetherlam Edge. This is the ascent that Wainwright describes from Tilberthwaite, but I’m going to leave that for the way down. Up to my left lies a route that evaded Wainwright – the short, steep ridge of Steel Edge.

    Steel Edge is named on the OS map but there is no indication of a path. A sketchy semblance of one does exist, however, and climbs beside an old mine level to the crest of the ridge.

    Here rocky outcrops give way to a grass ramp. The ground drops steeply on either side but the back is broad, so doesn’t feel overly exposed. It’s a glorious May morning and the wintry landscapes of past months have transformed into a palette of new growth: the olive and umber of the lower fell side giving the way to the vibrant green of the lowland fields, dappled with darker clusters of forest as they roll east to Coniston Water. To the north, beneath a clear blue sky, blankets of cloud smother the hill tops like snow.

    View from Steel Edge
    View from Steel Edge
    Steel Edge, Wetherlam
    Steel Edge, Wetherlam

    After a short while, the grassy slope terminates in a tower of rock and an easy but exhilarating scramble ensues. I climb through a gully of white stone, streaked with rust and patterned with intricate black lines like a Jackson Pollock painting. A rudimentary lesson in local geology at Coniston’s Ruskin museum suggests this might be Paddy End rhyolite, a glassy rock formed when fine particles of ash fused together in the intense cauldron of volcanic eruption some 450 million years ago.

    Rhyolite, Steel Edge
    Rhyolite, Steel Edge

    Steel Edge delivers me to the largest of three tarns that skirt the Lad Stones route up from Coniston. I turn right to cover the remaining ground to the summit, pausing more than once to admire the magnificent views across Levers Water to The Old Man. On reaching the top, a jaw-dropping vista opens over Great Langdale to the Pike O’ Stickle. Wetherlam Edge drops away to Tilberthwaite below, but the day is young and I’m not done with the peaks just yet. I decide to press on over Swirl How to Great Carrs in search of a mountain top memorial to a tragic misjudgement.

    Tarn at the top of Steel Edge
    Tarn at the top of Steel Edge
    Pike O'Stickle from Wetherlam
    Pike O’Stickle from Wetherlam
    LL505 S for Sugar

    At 02:05 pm on October 22nd, 1944, Halifax bomber LL505, named “S for Sugar”, left RAF Topcliffe in Yorkshire on a navigational exercise. With the exception of one Scotsman, the crew were all Canadian. At 33 years old, navigator Francis Bell was by some stretch the eldest. Pilot John Johnson was 27 and the rest were aged between 19 and 21. By 6pm they had become disoriented in fog. Topcliffe dispatched a Mosquito, equipped with the latest night navigation gear, to guide the bomber home, but unaware of its proximity, Johnson took a fateful gamble. He decided to descend so Bell could get a visual fix on the ground. The Mosquito arrived just in time to see “S for Sugar” crash into the top of Great Carrs.

    Cross for the Crashed Bomber
    Cross for the Crashed Bomber

    Locals rallied to reach survivors. It was an effort that would lead in time to the formation of Coniston Mountain Rescue Team. Sadly, on this occasion it ended in failure – all the crew had been killed.

    The RAF posted sentries to guard the wreck until the munitions could be recovered. It was impractical to remove the plane itself, so it was broken into pieces and pushed down the steep cliff into Broad Slack where bits of it remain. Some items have since been salvaged and one of the Merlin engines is now on display at the museum in Coniston.

    The undercarriage still lies on top of the mountain where a large cairn has been constructed and topped with a wooden cross as a memorial. A stone plaque bears the names the dead.

    LL2505 Memorial, Great Carrs
    LL2505 Memorial, Great Carrs
    Memorial to the Crew, Great Carrs
    Memorial to the Crew

    I descend to Levers Hawse and climb the steep path of the Prison Band to Swirl How. From here a sickle shaped ridge curves round to the right over the plunging crags of Broad Slack to the top of Great Carrs. A little shy of the summit, the wreckage comes into view.

    The cross stands proud against a dramatic skyline of Sca Fell and Scafell Pike. As I approach, a patch of red catches my eye. People have laid wreaths of poppies and placed little wooden crosses in amongst the stones. Some of the crosses have words scratched into them – people’s personal messages to their own departed loved ones: “Pete – gone but not forgotten”, “Dad, love Mick”. Others have photographs attached. It’s incredibly moving. I read the names and tender ages of the airmen and wonder if their families know this simple mountain memorial has become a shrine where strangers come to share their loss.

    Mountain Top Memorial, Great Carrs
    Mountain Top Memorial
    Haunted

    John “Jack” Johnson’s widow probably did, thanks to a curious tale involving a retired electrical engineer from Bath. Ken Hill was described as “level headed” and not hitherto someone likely to have given much truck to the supernatural, but after visiting the Great Carrs memorial and pocketing a small fragment of metal as a memento, he became convinced he was being stalked by the ghost of the dead pilot.

    On the journey home, Ken felt a distinct presence in the car with him. Over time, the impression faded. Then on the day the Merlin engine was recovered from the fell side, Ken’s bedside radio started switching itself on and off at random. Hill was convinced that it was Johnson making his presence felt. Later the airman appeared, clear as day, leaving Ken with the conviction he was supposed to contact the pilot’s family. It wasn’t an easy task but after some years of trying, Hill finally tracked down Johnson’s widow, Nita, in Canada.

    What Nita made of it, I don’t know. But whether or not you believe in the supernatural, love and loss are the deepest and rawest of human emotions and here, beside this hill top shrine, the strength of feeling is palpable.

    Monuments

    As I retrace my steps over Swirl How and Wetherlam the sun catches the slopes of Bow Fell and the Langdale Pikes, bathing them in a haunting light, and I think (with apologies to Rupert Brook) that if there must be a corner of a foreign fell that is forever Canada, there can be no finer spot.

    Bow Fell from Swirl How
    Bow Fell from Swirl How
    Levers Water from Swirl Hawse
    Levers Water from Swirl Hawse

    Like many scrambles, Wetherlam Edge is probably easier to ascend than descend. I spend time weighing options, lowering myself gingerly down rock steps and scouting around for the path. Things improve as I near Birk Fell from where an obvious route leads down to Dry Cove Bottom (named with irony) and along the near side of Tilberthwaite Gill.

    Back at the start, the shifting sun has affected a subtle transformation in the sheepfold, lighting slates that lay in shadow before. I recall Goldsworthy’s words about looking back in time – I’ve been doing that all day. It’s been a poignant, thought-provoking journey, punctuated by two monuments: one to a way of life; one to life extinguished; and both inextricably bound to the mountain.

    For a route map and directions for this ascent and descent of Wetherlam, visit Walk Lakes. Please note, these directions do not include the detour over Swirl How to Great Carrs.


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