In my exploration of the perimeter of Cliffe Castle Park I’ve arrived at the Beechcliffe Enclosure. In part 3 I wandered about the Garden of Life on the terrace where Beechcliffe House once stood, and now I’ve been meandering through the lower part of this area, working my way north towards Utley and the corner of the park near the UAK school (the University Academy Keighley).
I thought I knew this area quite well as it’s the part of the park that’s closest to my home, but it’s turning out to be packed full of things I didn’t know about, and I discover more and more every time I go there . (In fact I’m coming to realise that this would be true of any small part of a given location that I chose to concentrate on, and that fact in itself was worth discovering).
So to start where I was at the end of the last post – if you walk through the circle of standing stones in the Garden of Life there’s a faint path continuing through the trees where the ground slopes down to a lower terrace which is now a small wood. This area was obviously planned and planted with trees of different varieties, perhaps shortly after the buildings that stood here were taken down – this must have been where the coach house and stables for Beechcliffe House once stood. At the edge amongst other trees is a very large ash, and going further in there’s a double line of ornamental cherries mixed with sycamore, maple, oak, and here and there some elder and young self-seeded horse chestnut saplings. Then as you come closer to the steep bank that forms the edge of the terrace there’s a beautiful tall blue conifer (I want to say blue spruce, but I haven’t definitively identified it) and at the bottom of the bank, standing clear of all the other trees, out in the field, a large silver birch. I stood at the bottom of the field looking up towards these trees to do the sketch at the top of this post* (and that odd looking square object in the distance is a tree stump, by the way).
At the back of this wood and running the whole length of the Enclosure (explaining the name) is an old drystone wall, the continuation of the wall retaining the raised bank that runs the full length of Dark Lane, which starts over by the bandstand near the Holly Lodge entrance. All along the top of this bank is a line of beautiful tall mature trees – mostly beech and lime – some of which have affected the structure of the wall over time. In some places the roots have pushed out stones and in one place the wall has toppled completely so that it’s possible to scramble up and stand on top of the bank looking down, which I did – and from this vantage point you can learn a lot about how a drystone wall is made, which is fascinating.
Drystone walls are impressive structures and when skillfully built they’re immensely strong and durable. I didn’t appreciate until I started reading up about them quite how amazingly strong they can be (this – http://www.merchantandmakers.com/history-of-dry-stone-walls – is a really good read if you’re interested) – but the roots of trees can be their undoing. What’s exciting about this bit of tumbled down wall is that you can clearly see one of the through-stones, the large pieces that are inserted periodically to pin the structure together – as well as the infill of small bits and pieces, and the wedge shape of the coping stones at the top. It’s like a text-book illustration of a cross section of drystone wall, except for the fact that it’s overgrown with moss and a bit obscured by mud and fallen leaves.
If I wrote about everything I’ve discovered in this section of the park it would turn into a whole project in itself, so for a shorter version – if you cut across the field from here (which is a lovely stretch of grass often frequented by rabbits) and head towards the perimeter wall, there’s more to explore along the edge of the park.
About half way along the wall next to the Skipton Road is a green wooden gate, now nailed permanently shut. I wonder if this would have been a secondary or trade entrance to the property, leading to the stables and the coach house and cottage – it doesn’t seem quite grand enough for the main access to Beechcliffe House and the entrance further up near the boundary with the Sports Field seems more fitting as a proper gateway. There are two rustic benches here, one on each side of the gate, rather beautifully made from rough hewn timber. They blend in with their surroundings in an unassuming and natural way that I really like; I don’t know when they were put here but it was before I arrived in Keighley 12 years ago, and they look like they’ll be here for many years to come.
Turn left and walk along the path beside the wall and you’re once again passing through a small wooded area. The path here is well used by students from the school, but most of them seem to pass through it quite quickly without lingering. As I stood doing the drawing above I was facing away from the school looking back in the direction of Keighley at about 3.30 in the afternoon, and while I was sketching a stream of noise and clamour made its way up behind me as dozens of school pupils swarmed out of school and into the park. Most of them passed without stopping and only made a few loud and unanswerable comments (unanswerable because often I couldn’t catch what they said) but after a while I became aware that someone was quietly looking over my shoulder. When I glanced up a shy boy with red hair said solemnly ‘it’s a good drawing’. And that was answerable only with a smile.
dearest; I try to tell you something using the google translator … I hope it translates what I want to tell you: I’m so happy to read your articles! I love them more than any other. Your drawings are beautiful and so are your descriptions but what amazes me the most is the same wavelength in which we move. Mine is the land of dry stone walls, entire areas of the coast are made so to make small areas of land to the sea; if you’ve never seen it I think Liguria would like you a lot, if I can I could send you something informative, maybe it could inspire you and make you want to go around here …
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Oh oh oh! Another way in which we are telepathically on the same wavelength! I will look up Liguria on Google Maps and look for your drystone walls! (have you sketched them?) There is nothing more in the world that I would love to do but travel to your wonderful part of the world. Unfortunately my health is not good these days and it prevents me from getting out much, except to my beloved Cliffe Castle which is so close to home. And congratulations, and bravo Google Translator! I’m not clever or brave enough to try to translate into Italian. (I do speak Spanish by the way, though not well, and this is proba ly no help at all). Thank you so very, very much – I absolutely love the way we are in touch like this. XXXXXX Deborah
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nice, eh? really amazing! I will try to look for something on our dry walls and I will send it to you. I’m sorry for your health, if you can not come I’ll send you something on Liguria, but I do not speak a word of Spanish even though in my neighborhood there are many South American immigrants. All my best, Deborah!
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I would love to see whatever you can send me. I Googled Liguria, but haven’t found anything very helpful…. thank you again!
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Gods teeth – any park/project manager would be frothing at the mouth about the quality of this stuff you’re producing. Lovely lovely LOVELY K XXXXXXXXXX
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Well goodness, don’t know what to say about that! Except a great deal of thanks to the Suffolk Mammals for such an endorsement – you’re too kind. 🐾🐍🐀 (can’t seem to find an otter)
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It has been delightful imagining all the flora and fauna that you have seen on your walk and your illustrations are beautiful.Many times when I was small I spent time in gardens that had once been very grand and had become overgrown,it was always exciting imagining how it all was.
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These drawings are absolutely delicious! I am fascinated by your skillful use of greens. How do you achieve the various greens? Are you able to share your colour mixing secrets publically?!
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Ah, greens! Everyone seems to feel challwnged by them – not least me I have to say! Honestly there’s no magic answer other than doing lots and lots of colour mixing sample charts using the pigments that you have. The mixes I’m using at the moment mostly involve transparent yellow, new Gamboge, phthalo turquoise, ultramarine blue, and burnt sienna. I also use burnt umber and paynes grey for very dark tones like tree trunk silhouettes.
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Sorry I meant watercolour sketches, slip of the keypad!!
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And sorry – my reply leapt off before I meant to let it go – wanted to thank you for asking about this and of course I’m happy to share. Maybe I should devote a whole post to the subject? What do you think?
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Thank you for sharing the colours you use. One thing I need to get my head around is transparent and opaque colours. I have made a colour chart of my own with different blues and yellows but I find it difficult to achieve a good dark green. More experimentation required…
I would be glad of a post on the subject of colour mixing and I suspect a number of other artists who post on here might be too!
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OK! I’ll see what I can do. Short answer to transparent and opaque pigments is to look at a manufacturer’s printed colour chart, which gives details of each pigment’s properties. T for transparent, ST for semi transparent and O for opaque – and lots of other things too. Winsor and Newton do a chart that you can print from the screen, which won’t give a very accurate representation of colour but will provide the information. That’s a good place to start! I’ll see what I can do. 🤔🎨😊
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The contrasts between light and dark are striking in the watercolors….and your use of dark colors is brave and powerful. I’d be very, very happy to have a sketch like the first one in a frame on my wall.
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