The recently-opened Dalemain Loop is a 5 mile (8 km) circular route connecting with the Ullswater Way at Pooley Bridge. It leads the walker along the banks of the River Eamont, through open pasturelands, to the imposing Dalemain mansion and on to the historic village of Dacre before returning to Pooley Bridge around the base of Dunmallard Hill.
The Dalemain loop provides walkers with an opportunity to explore these historic pasturelands and parklands and imagine the lives of those who have lived and worked here over hundreds of years. Be sure to allow time to linger at Dalemain and visit the house, which is mainly Elizabethan but has a beautiful Georgian facade. Stroll through the gardens and taste the wonderful home cooking served in the Medieval Hall. In February you may be lucky enough to coincide with the World Marmalade Festival which takes place at Dalemain each year.
As you approach the village of Dacre pause for a while to admire the imposing 14th century Dacre Castle.
Be sure to visit Dacre’s church, with its four stone bears in the churchyard, and perhaps call in for refreshment at the Horse & Farrier Inn.
Some may wish to begin the route at Dalemain, arriving at Pooley Bridge in time for a cruise on the Ullswater Steamers before continuing the loop back to Dalemain.
The route is clearly signposted and you can download a Map of the Dalemain Loop from the Lake District National Park website.
The Dalemain Loop is included in the Ullswater Way Official Guide, available for £4.99 at local retail outlets. £1 from each sale helps the National Park keep the Ullswater Way in good repair.
During this year’s Ullswater Outdoor Fest, the Friends of the Ullswater Way organised a series of five talks on the history and heritage of the valley. The third was by Geoff Cowell on the Formation of the Lake District Landscape. Geoff is a Voluntary Ranger for the National Park. He leads Guided Walks, many in the Ullswater Valley, and is involved with the Archaeology Network.
Have you ever thought how the Lake District Landscape came to be as we know it today? How were the mountains, lakes and valleys formed? When did humans first settle in Cumbria and how has Homo sapiens changed the landscape? Geoff Cowell’s fascinating talk took us on a journey through time, from volcanic eruptions 500 million years ago to ice sheets and glaciers 20,000 years ago and finally to our Neolithic ancestors who began to change the Lake District landscape 6000 years ago, clearing the forests for agriculture, using the green rock of the Langdales to craft axeheads, and constructing stone circles and other structures that we can still see today. After Geoff’s inspiring talk I for one will be looking at our landscape through much more curious eyes – looking beyond its beauty for clues about its past.
A land carved from rock
Our journey began 500 million years ago with the first big surprise. A map of the time shows England and Wales close to the South Pole on the landmass of Avalonia and nowhere near Scotland and Northern Ireland. These were part of Laurentia and lay close to the equator. However, in the next 100 million years all this was to change as movements in the earth’s tectonic plates brought the landmasses together to form the supercontinent Pangea. The Iapetus Ocean became narrower and narrower as the plates came together, volcanoes erupted as one plate pushed under the other and rocks near the plate boundaries were folded and uplifted to form mountains.
The geological history of the Lake District is written in the rocks below our feet. Rocks formed 500 million years ago came from muddy seafloor sediments compacted and then uplifted as the landmasses collided. They form the Skiddaw Slates. Volcanic rocks were formed from the ash and lava produced as volcanoes erupted. These are very hard and resistant to erosion and have given rise to some of our highest craggiest mountains, for example Helvellyn. The Lake District also has limestone rocks originating from the sediments of the tropical Iapetus Ocean and sandstone formed about 250 million years ago when Cumbria was situated where the Sahara is today. Later earth movements have shifted, folded and uplifted all these different rocks to form the mountainous landscape we know today. Ice sheets and melt waters have then eroded and sculpted it further.
A land sculpted by water
For the last 2.6 million years the Earth’s climate has fluctuated between hot and cold periods. In cold periods ice sheets and glaciers have covered the Lake District, spreading out in a radial drainage pattern that has given rise to the pattern of lakes we see today. They seem to form the spokes of a wheel with the hub more or less at Dunmail Raise.
The most recent glaciation lasted from 26,000 to 10,000 years ago. As the glaciers slowly retreated they carved the valleys and created the lakes, tarns and other landscape features we see today.
Geoff went on to explain how some familiar landscape features are created. Corries, horseshoe in shape, are found near mountain summits where glaciers begin. Snow collects in a hollow, and as more and more falls it is compressed into glacier ice. As the glacier begins to move it erodes the hollow making it bigger and deeper. Rocks plucked from the back wall of the corrie are deposited on its edge to form a lip so when the ice melts a circular lake is often formed. Red Tarn on Helvellyn is an example.
Knife edge ridges such as Helvellyn’s Striding Edge are also glacial features. They are called arêtes and are formed when 2 neighbouring corries run back to back. As the glaciers on either side each erode their side of the ridge, the edge becomes steeper and the ridge narrower.
The valley floors are also sculpted by the retreating glaciers. Glaciers cut U-shaped valleys with a flat floor and steep sides. Soft rocks are eroded more readily than hard ones, cutting deeper troughs that become ribbon lakes once the glacier has retreated. Ullswater is just one of the Lake District’s ribbon lakes.
If a glacier hits an outcrop of very hard rock it will flow over and around it, leaving a rock mount smoothed by abrasion from the glacier and often with a jagged face on the lee side due to ‘plucking’. These are called roches moutonnée.
As glaciers move, they gather debris from the floor and sides of the valley and as they melt they drop this debris to form moraines. Lateral moraines are at the side of the valley and terminal moraines, sometimes called drumlins are at the end.
Just like rivers, glaciers often have tributaries – smaller glaciers that join the main one. As the main glacier erodes deeper into the valley, the tributary is left higher up the steep sides of the glacier and, as the ice melts its U-shaped valley is left ‘hanging’ above the main one, often with a waterfall tumbling over its edge. Glencoyne is an example of such a hanging valley, caused by a glacier along Ullswater cutting across the one coming down Glencoyne.
A landscape modified by humans
In the third part of his talk, Geoff introduced Homo sapiens. The first evidence of humans in Cumbria is from Kirkhead Hill above Morecombe Bay where Palaeolithic flints, estimated to be 11,000 yrs old, have been found.
In the Mesolithic, the climate became warmer and wetter and, as a result, by 6,000 years ago the Cumbrian landscape was covered in deciduous forest, home to deer, elk, auric and smaller mammals. Because of the dense forest inland, our Mesolithic hunter-gatherer ancestors probably kept mainly to the coast, near estuaries where rivers provided a constant supply of fresh water. Flint-chipping sites have been found at Eskmeals and at Walney and evidence of wooden raft-like structures suggest semi-permanent or permanent settlements. There is also evidence of charcoal burning and small-scale forest clearance. This is the first evidence of humans changing the appearance of the landscape.
It is from the Neolithic, 6,500 – 4,350 years ago, that we have more visible evidence of human activity in the form of stone circles, cairns and axes. The axe factory on Pike O Stickle in the Langdales is the most significant Neolithic find in Cumbria. Axeheads fashioned from its green volcanic rock can be found all over Britain and it seems they were used not only as weapons but also for ritualistic purposes.
At this time henges and stone circles, such as Cockpit on Moor Divock, were created across Cumbria. We find the first evidence of agriculture – seeds of emmer and einkhorn wheats and also of barley. We also find querns, stones on which the grain was ground into flour, and marks made by the ard, a type of plough. As agriculture increased people settled more permanently but, without fertilisers, the yields fell over time and they were forced to move on, clearing more areas of forest. Their sharp polished stone axes felled trees faster than flint and the surrounding undergrowth was burnt. Their grazing animals prevented the forest from regenerating on the old fields so the forests began to disappear.
The Bronze Age was centred on Crete and the trade expanded across continental Europe to reach Britain about 4,000 years ago. At this time warmer climates meant that people could settle on higher ground. Agriculture meant there was more food available and, once manure was used as fertiliser and fields were left fallow to recover, longer-term settlements were possible. At this time we see the first evidence of permanent boundaries marking land holdings.
By the Iron Age, 2,800 years ago, human impact on the landscape was increasing still further. The landscape was more open and probably more organised, with woodlands managed and a lot of forest cleared to create fields and provide wood for construction. The harvest was stored to use throughout the year. There was mining for iron ore but probably on a very small scale. There are signs at Hartsop of a settlement that is Iron Age to Roman.
So, by the time we reach the Iron Age, humans have already had a significant impact on the landscape through forest clearance and by creating enclosures, settlements and monuments.
Inspired by Geoff, when I next walk the Ullswater Way I will try to imagine the valley at different times in its history – when glaciers were carving out the valleys, or when, as the climate warmed and rainfall increased, the area was covered in dense forest. I will try to imagine how life might have been during Neolithic or Iron Age times.
During this year’s Ullswater Outdoor Fest, the Friends of the Ullswater Way organised a series of five talks on the history and heritage of the valley. The second was by Kate Sharpe from Durham University on prehistoric Rock Art in the Lake District.
Twenty years ago almost nothing was known about rock art in the Lake District fells but, as Kate Sharpe’s talk revealed, it seems that the more we look the more we find. Carved into stones and boulders, we find mysterious circular hollows known as ‘cups’, perhaps together with rings, grooves and other shapes. So when were these designs created? By whom? And for what purpose? Kate’s talk, illustrated by stunning images of rock art throughout the area, guided us step by step towards an understanding of what we know so far about Rock Art in the Lake District and highlighted the big questions that she and others are still striving to answer.
Kate first gave an overview of what we currently know about British Rock Art, using a map to illustrate that the majority of Britain’s 7000 known rock art sites are in Scotland and northern England. However, she emphasized that only a few areas have been thoroughly documented, an example being Northumberland and Durham where local communities have been in involved in the recording process. She also explained the different types of rock art, distinguishing for example between designs found on bedrock and boulders, those found on megalithic structures such as standing stones, and those on portable stones, such as cup-marked cobbles. All this rock art has been dated to the Neolithic and Bronze Ages, from about 4000 to 1500 BC.
When Kate began working on Cumbrian Rock Art, about 20 years ago, the markings on Long Meg and the Standing Stones of Shap were well known but almost nothing had been recorded from the central Lake District. However, not soon after, a local resident of Patterdale who had seen cup marks whilst on holiday in Italy, realized that there were similar designs on the rocks in his garden. Subsequently similar marks were found in other locations in Patterdale and beyond.
The more people have looked for rock art, the more has been found – at Loweswater, Buttermere, Langdale, Grasmere, Grange in Borrowdale, Thirlmere, Rydal, Ambleside – 35 sites to date. As Kate plotted these sites on a map, she began to see a pattern emerging which might help explain the purpose behind the enigmatic designs.
Kate realized that all the Lake District rock art sites are close to the head or tail of lakes, on or just above the valley floor of valleys linking the lowlands to the mountains. Perhaps our Neolithic and Bronze Age ancestors moved seasonally in and out of valleys or between valleys, following their herds, or making regular journeys to key sites such as the axe factory known to have existed in Langdale. Perhaps the valleys provided useful site-lines, perhaps lake margins were easier to move along than the higher fells, perhaps cargo and people were moved by boats on the lakes.
So were the cup-marked stones used for way-marking? Or did they perhaps mark a meeting place? Or maybe they had a commemorative or ritual purpose – a place, for example, where the solstice could be observed. If you would like read more about Kate’s work please see the attached article. You can also follow the unfolding story of Britain’s Rock Art on http://archaeologydataservice.ac.uk/era/ and as you are out and about in the fells please keep your eyes peeled for new discoveries.
During this year’s Ullswater Outdoor Fest, the Friends of the Ullswater Way organised a series of five talks on the history and heritage of the valley. The first was by Nick Smith entitled “A Short History of the Ullswater Steamers.”
Nick began with a fascinating account of how he came to be a skipper on the Ullswater Steamers. Born in South Devon Nick arrived in Cumbria via Africa, Canada and various parts of Europe. He worked on ferries, fished for oysters and owned his own trawler before coming to work for the Ullswater Steamers when his wife took up a post with the Cumbria Constabulary. As a master boat handler, it took just 5 weeks intensive training before Nick’s first solo voyage as skipper of Raven.
From his own story, Nick turned to the history of the Ullswater Steamers, taking us back to 1855 when the Ullswater Steam Navigation Company was formed. In those days, before the road was completed around the base of ‘falling rocks’, the Steamers were a lifeline, transporting goods, people and mail from one end of the lake to the other. The Society’s first boat, bought in 1859, was a paddle steamer but it was soon replaced by Lady of the Lake, purchased in 1877 and Nick’s firm favourite. Lady of the Lake was built by T.B. Seath & Co. at Rutherglen near Glasgow and was transported in sections to Waterside where she was reassembled and winched into the lake. This year she is 140 years old and is thought to be the oldest working passenger vessel in the world.
However, it has not been all plane sailing for Lady of the Lake. In 1881 she sank at her moorings, in 1958 she sank again when swamped by a gale and 7 years later she caught fire on the slipway and lay idle until 1978. Today all this is behind her and she is a simply majestic site as she plies the Lake.
It was not long after the purchase of Lady of the Lake that Thomas Cook, the agency bringing tourists to the Lakes, suggested that a bigger boat was needed. Raven was built by the same company as Lady of the Lake and was launched in 1889. In 1912 she briefly became a royal yacht when the 5th Earl of Lonsdale entertained the German Kaiser Wilhelm II. The Earl’s personal colour was yellow so Raven’s decks were painted yellow for the occasion.
Both Lady of the Lake and Raven were converted from steam to diesel in the 1930s but they are still lovingly called Steamers.
In recent years Lady Dorothy, Lady Wakefield and the Western Belle have been added to the fleet. Pier houses have been built at both Glenridding and Pooley Bridge and a new jetty has been installed at Aira Force.
Western Belle at Pooley Bridge Pier. Credit Jane Firth.
Lady Wakefield at Glenridding Pier. Credit Jane Firth.
Ullswater Steamers continues to break records, with visitor numbers up to 300,000 last year.
On 1st June two art installations, both designed by Tirril sculptor Jimmy Reynolds, were inaugurated by Derek Cockell, Secretary of the Wainwright Society, Friends of the Ullswater Way’s Patron, Lord Richard Inglewood, and Chairman, Miles MacInnes as well as members of the FOUW and the five parishes surrounding the lake.
Wainwright Sitting Stone, below Arthur’s Pike on the upper route from Pooley Bridge to Howtown
Wainwright Plaque at Patterdale Post Office
The afternoon’s events kicked off outside Patterdale Post Office where a special plaque has been dedicated to AW. Derek Cockell explained how AW wrote in 1959 that : ‘I have a soft spot for the Post Office, this shop being the first to offer to sell copies of my first Guidebook to the Fells : an order for 6 was repeated within a week, a cause of much inward rejoicing.’
By an extraordinary coincidence – serendipity – Swedish fell runner Niklas Holmstrōm was passing by at the time of the ceremony, and was one of the first to take a Selfie in front of the plaque. He set off on Sunday 4th June from the Moot Hall, Keswick to attempt to do all 214 Wainwrights in 10 days, inspired by Stephen Birkenshaw’s amazing 6 day 13 hour record. He is supported by Stuart Smith from Patterdale Mountain Rescue.
From Patterdale Post Office, the celebration group moved to the Wainwright Sitting Stone, taking the Ullswater Steamer’s Lady of the Lake, from Glenridding to Howtown, then up the Ullswater Way to an idyllic spot (GR 4619 2148), beloved by AW, beneath Arthurs Pike. Jimmy Reynolds’ stunning slate sculpture looks out over Ullswater. Two seats are carved into the slate to allow passing walkers to take-in the spectacular views of what AW described as ‘that loveliest of lakes, curving gracefully into the far distance.’
These inaugurations are the fourth and fifth in a series of art installations supported by the Friends of the Ullswater Way on the Ullswater Way Heritage Trail (the first, the Roman Seat on Barton Fell opened in June 2016, the second, the Dorothy Gate at Aira Force in April 2017, and the third the Thomas Clarkson plaque at Eusmere, Pooley Bridge, on 21st May).
Full details on the work of The Friends of the Ullswater Way can be found on their website (http://www.ullswaterway.co.uk). The FOUW was founded on 30th March 2016 , and involves all 5 parishes around Ullswater. It has raised almost £ 20,000 during the last year to finance art and heritage installations on the Ullswater Way Heritage Trail. Particular thanks go to those who financed these installations:the Lake District Communities Fund, the Wainwright Society, the Ullswater Preservation Society, and Joe Faulkners’ NAV4Adventure.
The next inauguration will be the unveiling of Poetry Stones in Hallinhag wood, Martindale on Saturday 24th June at 16.00.
Recent additions to the heritage installations along the Ullswater Way are the third Poetry Stone in Hallinhag Wood, the Clarkson Memorial in Pooley Bridge, and two installations with Wainwright connections.
At Patterdale Post Office a plaque reminds us that the PO was the first place to sell Alfred Wainwright’s first Guide “The Eastern Fells”. Carved by local sculptor, Jimmy Reynolds, it even uses the distinctive form of ‘w’ used by A.W.
On the high path from Pooley Bridge to Howtown, a beautiful Sitting Stone invites us to reflect on Wainwright’s thoughts on Ullswater, “that loveliest of lakes, curving gracefully into the far distance.” This installation is also the work of Jimmy Reynolds. The Sitting Stone is located on the section of path below Arthur’s Pike and commands one of the finest views of the lake.
There will be an Opening Ceremony for the two Wainwright installations on Thursday June 1st – 2.15pm at Patterdale Post Office and 5pm at the Sitting Stone. For more information contact email@example.com.
The Poetry Stones in Hallinhag Wood, between Howtown and Sandwick, celebrate the work of poet Kathleen Raine, who lived in Martindale in the 1940s. She had a profound sense of the beauty and spirit of the natural world and wrote some of her finest poems whilst enjoying the peace and seclusion of the valley.
The artist Pip Hall has worked in situ to create the three Poetry Stones, carefully selecting appropriate stones, and carving Kathleen Raine’s words to complement the natural form of the stones. A small finger post on the side of the path invites those who pass to search for the stones. They are about 20m above the path.
The Poetry Stones will be inaugurated in a small ceremony at 4pm on Saturday 24th June.
The Clarkson Memorial remembers leading anti-slavery campaigner Thomas Clarkson who lived for 10 years at Eusemere in Pooley Bridge. In 1787 he helped establish the Society for the Abolition of the Slave Trade. The Society’s emblem was a kneeling slave in chains, surrounded by the words “Am I not a man and a brother”. It is this emblem that is reproduced on the Clarkson Memorial by sculptor Jimmy Reynolds.
Members of the Clarkson family will attend the opening ceremony for the Clarkson Memorial on Sunday May 21st at 3pm.
In total there are now 7 installations in place along the Ullswater Way Heritage Trail and another 2, possibly 3, are coming soon. Search the Heritage Trail pages of the website to find out more about each installation. We hope you enjoy them and that they encourage you to delve deeper into the history and culture of the Ullswater Valley.
Photocredits: Poetry Stones – Jane Penman. Clarkson Memorial – Janet Wedgwood. Wainwright plaque and Sitting Stone – Anne Clarke.
Our second Heritage Trail installation can be found in a small clearing in the magical setting of Hallinhag Wood. It can be reached by walking a short distance north-east along the Ullswater Way from Sandwick Bay, or in the other direction south-west from Howtown pier.
The lines inscribed on three rocks in this dell are from two poems by Kathleen Raine, who lived in Martindale during the 1940s. Raine was a visionary poet and admirer of William Blake, with a profound sense of the beauty and spirit of the natural world. She regarded Martindale as an idyllic world apart and wrote some of her finest poems in the valley’s peace and seclusion. These include ‘Night in Martindale’ and ‘On Leaving Ullswater’.
The design and lettering is by Pip Hall, a stone carver from south Cumbria whose other work includes the Poetry Path at Kirkby Stephen and The Stanza Stones in the southern Pennines.
To select the stones Pip visited the site with local residents Jane Penman and Berry Patel.
She then made sketches for each of the three stones before returning to carve them in situ.
So far two of the three poetry stones are complete thanks to the Lake District Community Fund and we have just heard that The Hadfield Trust will provide funding for the third stone. We look forward to Pip carving the third stone this spring.
The poems from which the lines for the poetry stones are taken are Night in Martindale and On Leaving Ullswater.
Kathleen Raine 1908-2003
Kathleen Raine was a poet and scholar who wrote in the mystical, visionary tradition of valuing above all things nature and the power of the imagination. She knew from childhood that her vocation was poetry and her parents shared and encouraged her love of it. Born in Essex, she spent several years of her youth with her aunt Peggy Black in Northumberland, a place she remembered as an idyllic world. In the 1920s she studied Natural Sciences at Cambridge but turned away from the prevailing emphasis on rational thought to “the sacred springs of life, which are imagination and the heart.”
After Cambridge she married, but soon eloped with Charles Madge, with whom she had two children. This relationship did not last either. On the outbreak of WW2 she came with her children from London to live in Martindale Vicarage, where she became a friend of Winifred Nicholson and the wealthy art patron Helen Sutherland who lived at Cockley Moor, near Dockray. Locally, Raine was known and remembered as ‘Mrs Madge’. The peaceful seclusion of Martindale enabled her to write some of her finest poetry and in 1943 the volume called ‘Stone and Flower’ was published, with illustrations by Barbara Hepworth. Raine’s Martindale poems perfectly express a theophanic immersion in the natural world.
Her poetry had already achieved much critical acclaim when she met Gavin Maxwell, the love of her life, who was a fond companion but did not, to her distress, reciprocate her love. The title of his book ‘Ring of Bright Water’ is taken from one of her poems. In the 1950s Raine was made a research fellow at Cambridge, where her scholarly writing included her masterwork on William Blake and later on W.B. Yeats. She received numerous literary awards and honours, including the Queen’s Medal for poetry, and inspired many kindred thinkers, including the Prince of Wales. Kathleen Raine died in 2003, aged 95.