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, 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 book 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
archæology. Among those whom he met were Canon Simpson, first President
of the local Archæological 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 days 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 dulness. 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 a 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 chronicler of the valley he loved so well.