INTRODUCTION
The river Lyvennet rises on the
northern side of the range of hills stretching eastwards across
Westmorland from Shap
Fells. It runs through the parishes of Crosby Ravensworth and Morland,
receives the tributary stream of the Leith, and falls into the Eden near
Temple Sowerby. The distance from its source to its outfall is less than
ten miles measured in a straight line; but the little valley is full of
varied interest, to which each age has contributed a share. Half way
down the stream, and out on the west, lies Reagill, and in it, Wyebourne; and
Wyebourne was the home of John Salkeld Bland, who, nearly fifty years
ago [i.e. about 1860], compiled this manuscript history of “The Vale of
Lyvennet.”
John Bland’s grandfather was a yeoman
farming his own land at Reagill. He had a family of two sons, Thomas and
William, between whom he divided it; Thomas, who was an artist and
sculptor of no mean ability, remaining at Reagill, while William
established himself at Wyebourne, a mile away, married, and also had two
children; one being John Bland himself, the other a daughter, now Mrs.
Dufton, to whom the thanks of this Society are due for use of her
brother’s manuscript, and for her kindness in supplying
information about the family.
John Bland was only six months old
when he lost his mother, from whom, perhaps, he inherited a
constitutional delicacy from which he always suffered. He was educated
at the well-known school at Reagill, and afterwards at Croft House,
Brampton. Early in life he began to show a gift for drawing, but he
never received lessons; his aptitude, like that of his uncle, was purely
a natural one.
He also studied botany, geology and
chemistry. Before he was twenty-two he had made a geological map of the
district; this came before the notice of some of the leading
authorities of the day, and received high praise from them; it is
interesting, therefore, as it affords us proof of the high standard of
merit reached by his work. He afterwards went over to America for a
time; an expedition comparatively rare in those days. During the summer
of 1866 he made studies from nature of about a hundred wild flowers,
painted in water colours, and had just finished mounting them before his
death. For his weakness of health had shown itself in attacks of
pneumonia when he took cold; finally consumption set in, and he died on
January 4th, 1867, aged twenty-seven years.
But the work in which we are most
interested is his manuscript “The Vale of Lyvennet.” The book consists
of ninety-one pages about 12 by 10 inches, filled with drawings and
plans, of which there are about two hundred, large and small; with a
written description of each. Infinite pains have been spent upon it. He
has taken each object of local interest in turn, recorded minutely what
is known about it, and accompanied it with at least one drawing. The
work has not been quite completed, as the last three pages, and pages 79
(a beautiful half-page drawing of Flass House), and 82, lack text; there
are a few blanks left for measurements, and several spaces for
pictures. It is, of course, the pictures that give the books its unique
character, for they make everything a reality to the reader. The
drawings
themselves are beautiful; but even apart from them, a better account of
the valley could hardly have been made, either in material or
arrangement. And it is not unworthy to add that the text is written in
the most delicate penmanship, almost as finely executed as the drawings
themselves.
But his studies were not confined to
antiquities or art, nor his reputation to his native valley. Mention has
already been made of his geological work. The map was submitted to the
Manchester Geological Society at a meeting on December 30th, 1862, with
a paper entitled :- “On the Carboniferous Rocks in the neighbourhood of
Shap and Crosby Ravensworth: a section of that series which lies on the
northern and eastern extremities of the Lake District.” He also
submitted a section from Wasdale Crag to the valley of the Eden near
Appleby - distance about ten miles; which, with the paper, was printed
in the Society’s Transactions, vol. iv., p. 44.
Mr. Bland was unable to be present,
and the paper was read by Mr. E.W. Binney, F.R.S. Mr. Binney, who was
one of the most eminent geologists of the day, afterwards made the
following remarks :- “I became acquainted with Mr. Bland last year, in
going over that district to look over some property. He showed me this
map, and it occurred to me that I had not seen any map of a limestone
district so well worked out by a local man. Mr. Bland has devoted many
years to the examination of the becks and gills of his district, and has
formed this section. I think the paper a very valuable one, because it
shows how the limestone begins to be separated by coal measures.”
Mr. Joseph Dickinson, H.M. Inspector
of Mines, President of the Society, added :- “I could have wished for
the map to be published as well. I do not think we could hand over our
funds for a better purpose.” But the expense was a serious matter, and
the map, now preserved at Reagill, does not appear ever to have been
published. The paper is written in a much more matured style than the
present work, possibly because he is writing of matters that can be
ascertained with greater certainty; he expresses himself in the manner
of one who has a complete mastery of his subject.
As to the sources of his information,
Mrs. Dufton says that his account of the manorial disputes was derived
from a collection of old parchments in the possession of Mr. Salkeld of
Meaburn Hill, his great-uncle; representative of a family which had been
resident in the locality since the reign of Elizabeth. To attack
sixteenth century documents for information must have required a great
deal of enthusiasm, especially in one with such a love of outdoor
life; for these documents are dreary things, and, as Mrs. Dufton
observes, they were very hard to read. Another instance of the
thoroughness of his work is shown in the fact that he reproduces the
heading of one of these in the old writing, an undertaking by no means
easy; and an excellent reproduction it is.
He had evidently read a great deal,
and had gone carefully through most books that describe his
neighbourhood, and he collected and stored up what was related to him by
his friends. His industry was extraordinary, and he is said never to
have wasted a moment of time.
He probably owed much to Canon Weston,
then vicar of Crosby Ravensworth, who took a kindly interest in his
work, and used to invite him to the vicarage when he had visitors
interested in science or archaeology. Among those whom he met were Canon
Simpson, first President of the local Archaeological Society, who was
then incumbent of Shap; and Professor Harkness, who once filled the
Chair of Geology at Queen’s College, Cork. He was also appreciated and
helped at Lowther, where he saw the paintings by Lady Mary Lowther (wife
of the famous “Sir Jammy,” the first Earl) some of which he
copied; while no doubt he learned a great deal from his uncle, Thomas
Bland.
The latter, a man of varied talents,
also deserves some notice here. He was famous for his Italian garden at
Reagill, which he laid out and decorated with statues and oil paintings
in the alcoves, all his own work; he was an excellent artist in black
and white, and reputed to be a musical composer of merit.
His nephew tells us of his sculpture
commemorating Charles the Second’s halt at the head of the Lyvennet, and
of the stone he set up to mark the place where the forefathers of the
famous Joseph Addison had their home in days gone by. But there is
another work which can be seen by everyone; a pedestal and pillar
surmounted by a figure of Britannia, executed by him, and erected at his
expense, on the hill facing Shap Wells Hotel, to commemorate the
accession of Queen Victoria. It was placed there in 1842; the railway
close by was opened in December, 1846; so it stands within the view of
all.
Mr. Bland did not attempt to
immortalise himself by putting his own name upon it; it is a pity that
persons visiting it have not been equally modest; for the pedestal,
which bears bas-reliefs and an inscription, has been defaced by idlers
for more than half a century, as their dated scratchings show.
He also celebrated this event each
year by a large entertainment. This is mentioned by Whellan in his
History of Cumberland and Westmorland, written in 1860, who says :- “A
festival of a somewhat unique character is held here (at Reagill)
annually, on the anniversary of Her Majesty’s accession, on the grounds
of Mr. Bland, which are richly ornamented with pictures, statuary,
etc. A band of music is engaged for the occasion, and the day’s
amusements are interspersed with lectures, addresses, music, dancing,
and other recreations.” The gathering was actually held on the Friday
nearest to the anniversary; on some occasions as many as 1,400 guests
were present.
No memoir of Thomas Bland would be
complete without some account of the wonderful garden that he planned
and made. John Bland has preserved one view of it in its old
splendour; it is reproduced at the end of this book. The wall on the
right of the entrance was known as “The Local Gallery,” as paintings of
local scenes, Shap Abbey, Lowther, Brougham and others, were mounted in
alcoves there. Beyond, near the angle of the wall, was the “Shakespeare
Gallery.” Facing the entrance stands Sir Walter Scott; below three
bas-reliefs, that on the right of the spectator representing Rob Roy,
that in the middle Bois-Guilbert fighting on horseback, striking
Athelstan down; the third, Prince Charlie. On the left of the entrance
is a terrace with a statue of Music, holding a lute, emblematic of the
Lyvennet; there are also statues of Addison, Burns, and Hugh Miller the
geologist; for Thomas Bland, like his nephew, was interested in
geology. This terrace stretches away to the left; against it, and facing
the lower lawns beyond was a building for the musicians. The whole
garden was lavishly decorated with paintings and sculptures; the last of
the former were removed from the walls about three years ago. It seems
almost incredible that one man should have accomplished so much
work; but he had a marvellous facility for rapid work and simple
execution. He could finish his work very finely, but seldom did so.
A description of the gardens, and the
statues in particular is contained in Anthony Whitehead’s Westmorland
Legends and other Poems. It would have been pleasant to say something of
Mr. Whitehead, whose memories are so closely connected with the work of
the Blands; but it is a delicate matter to write of a man in his
lifetime; and he is still living, and bearing his ninety-one years very
lightly. Two of his stanzas are quoted in this book, to illustrate the
tale of Crosby Hall.
Thomas Bland worked at art for its own
sake, cared nothing for fame, and would have hated notoriety. He had at
least one excellent chance of becoming known to London art circles, for
David Cox (the younger), who had seen some of his drawings, was
interested, and wished to introduce him to his friends. He gave Mr.
Bland several of his own water-colour paintings, and some correspondence
passed between them; but the introduction fell through. He had, of
course, many visitors, some of whom came to see him only from idle
curiosity. These he could not endure. For their benefit he had a large
oleograph of Garibaldi set up in his studio. If they fell into the trap,
and admired it, they were summarily dealt with, for he could be brusque
to those whom he did not care about. The Garden Beautiful was free to
all: but he would not sacrifice time or convenience to a bore - least
of all, an admiring bore.
There is one story told of a trick
which was played upon him: about 1855 he went to Kendal to hear a
lecture on electricity. He was sceptical of the marvellous powers
claimed for it, and refused to believe that it would be impossible for
him to let go the handles of the battery when the current was turned
on. Having the courage of his disbelief, he went upon the platform to
try, and unsuspectingly put his top hat between his knees. Then the
operator turned the current on strong, and it was only after that top
hat was fairly flattened in his struggles that he was released, amid the
roars of the audience; whereupon he fled from the room and back to
Reagill, a wiser man - with a ruined hat.
He seems to have been credited with a
certain amount of eccentricity, though this may have been due to a
commonplace reading of unusual gifts and vigorous originality; but it is
certainly the case that he was highly esteemed as a man of warm heart
and kindly disposition, which attracted all with whom he came in
contact; and in his own neighbourhood his death was greatly
deplored. He died on September 18th, 1865, in his sixty-seventh year,
unmarried.
But
John Bland’s work, good as it is, has an additional value, because there
was at the time no systematic effort in this field of research. The
Cumberland and Westmorland antiquarian Society held its inaugural
meeting on September 11th, 1866, only four months before he died, and
for some six years not much was done. Thus he was the first to plan the
important stone circle at Gunnerskeld. This, like its neighbour at
Oddendale, belongs to a class, rare in Britain, which consists of
concentric rings of stone. Mr. C.W. Dymond, F.S.A., in publishing a plan
of Gunnerskeld circle, says :- “So far as my researches have extended,
no plan of this megalithic group has ever been published, nor, save in a
local guide book, have I ever seen it mentioned.” The book contains a
drawing, a ground plan and a description of each of these remains.
But he never lapses into
dullness. Indeed, he pokes quiet fun at the antiquary pure and
simple. Certain earthworks, he says, have been supposed by some
antiquaries to be a maze; a dilemma in which antiquarians are sometimes
found. Writing of Crosby Park, he has a gentle thrust at those who deal
of venison and vert, and ancient deer parks and forests :- “These
things,” he says, “are past and gone, except to the dreaming poet and
the prosing antiquary.”
His sketches cover a wide range. He
puts before us each object of which he writes; heraldry, old buildings,
picturesque landscapes, down to the bracelets and rings found in Skellaw
quarry. And each of these pictures is a work of art, for his was a
genius that touches nothing it does not adorn. He had no mean
imagination; there is a vivid picture of man on horseback, rider and
beast recoiling in terror before the vision of the Headless Horseman of
Gaythorn Plains, which is galloping across their track in the
moonlight. He has a humorous picture of a “Ghost seen by Bet Whistle” -
a dead pollard tree, which makes a most menacing apparition, though
probably the ingenuity of the artist has something to do with it. And
over the first page, majestic in flight, soars the Roman eagle.
It has been possible to reproduce only
a limited number of his drawings: in making a selection (no easy task),
some preference has been given to those which represent objects no
longer existing.
In dealing with the text, variations
have been made as seldom as possible, and then where the author might
have wished an alteration, in accordance with later discoveries. Thus,
the account of the settlement at Langdales has been curtailed, as its
great mystery, a bank running from the pre-Roman village across the
Roman Way, has been explained by the recent discovery that the bank is
modern. Part of the account of Harberwain is left out, as he takes Har,
on the authority of a distinguished local antiquary, to be a man’s
name; and reasons accordingly. It really means high. Some of the
quotations from Ossian are left out, as, though
appropriately introduced, they divert attention from Mr. Bland’s own
work. The chapter on the history of Crosby Church, compiled from
Charleton’s History of Whitby Abbey, is omitted, as a recent account of
the church has been published; while in the present book certain limits
of size had to be observed. Incomplete sentences, where details of
measurements are wanting, have generally been deleted.
This brief memoir attempts nothing
more than a record of the life and work of John Salkeld Bland. If he
should be forgotten, we should be the poorer for the loss; and yet his
work was done so unobtrusively that a studied appreciation seems out of
place. The publication of his book may cause his name to be connected in
local literature with that of the Lyvennet. Perhaps this is the most
fitting memorial for him - to be remembered as the character of the
valley he loved so well.
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