ANOTHER LANDSCAPE: ROSEDALE HEAD

Howard Selina – Artist

FRAGMENTS OF THE OLD IRONSTONE RAILWAY TRACK,
FROM ROSEDALE EAST MINE TO OVEREND FARM.

NORTH YORK MOORS
10 SEPTEMBER 2020

[NB: ALL IMAGES ARE COPYRIGHT PROTECTED]

I first began to document local walks, using a sequence of 12 images, fairly early on in 2020; and it was idea that emerged from two different sources.

In 2019 I made a 12 image photo-piece to illustrate a poem by R S Thomas; extracting individual words, in sequence, from the poem, and linking them to 12 small, almost abstract, images. And in the previous winter I had photographed various collections of twigs on the freshly ‘snow-covered-towpath’ of my local canal.

So, when lock-down descended on us all in late March 2020, I suddenly found myself retracing local track-ways and paths, that were to become increasingly familiar. And in that repeated retracing, I became increasingly aware that there was another landscape beneath my feet; one that reflected, in many ways, the landscape around me, but that also carried a story and a beauty of its own.

And so the first work, in what was to become an on-going series of works, was born. ‘Still Traces:1’, used 12 images, with words, to document a walk from canal-bridge 56, quite near where I live in Marsden, to the banks of the infant river Colne, a little way up the valley.

But the year moved on; and by September, when the travel restrictions that had affected all of us began to relax, the faithful, old, converted-VW-van – imaginatively christened Van Rouge on account of the colour! – could once again be pointed at a semi-distant landscape for exploring.

Having been born in Leeds – and having been lucky enough to possess a bicycle at a time when roads could be enjoyably cycled on – the coast of Yorkshire was always a favourite destination. And as anyone who has cycled from almost anywhere to Whitby will testify – the North York Moors are quite difficult to ignore!

But if one looks beyond their obvious, and formidable, ‘physical presence’, they also represent an incredible diversity of both natural and human history; and it was my discovery – mainly through gazing intently at Ordnance Survey maps and wondering, it has to be said – of the now vanished industries that once flourished on the moors, that has triggered numerous visits to the area over the years; be it to the old limekilns above Rosedale, or the, slightly mind-boggling in scale, Ingleby Incline.

However, the track-bed of the old railway in Rosedale had always fascinated me – especially the distinct ‘horse-shoe’ loop at Rosedale Head – and so, one morning in September 2020, Van Rouge was fired into action and we headed for the moors.

After parking on Daleside Road, and climbing the track on the western edge of Swine Stye Hill, I think the first thing that will hit any first-time visitor to this section of track-bed is the sheer scale of the workings at the old East Mines – a cross between, for me at least, some ancient Egyptian monument, and a colossal mausoleum. But whatever one might make of it, the scale of the industrial operation that took place around the area is quite astonishing to contemplate.

The 12 images, and the words, are just one small ‘response’, to a truly magical landscape…

The photographs were taken in the sequence presented, starting just before East Mines and ending on the farm track leading back to Daleside Road – the only one that might cause ‘puzzlement’ I would guess being the rabbit: An image for which I can offer no explanation. That is was dead, and very recently, was obvious. But why it had died, remains a mystery.

‘Rosedale Head’ and other works in the ‘Another Landscape’ series can be found at:

www.howardselina.uk

Along with other artwork – both documented and physical – dating back to 1972.

A to Z: a variety of Us and Vs

U, V

Underwood

Underwood is a term for trees within historically managed woodland (Silva minuta in the Domesday Book) – the ones grown and managed for common usage such as wattle for buildings, stakes for fencing, and firewood and charcoal for fuel i.e. not for building timber. A managed woodland often included underwood as well as timber trees left to grow big and straight. Underwood is made up of the trees that were coppiced and pollarded over and over again – from early history on to the post medieval period.

The underwood was managed frequently so trees stayed smallish, and their crop of wood was productively harvested much more often than from the timber trees and so the underwood could be worth more than the timber. What is left of the historic underwood can sometimes still be seen within semi natural ancient woodland – look for idiosyncratic-shaped overgrown veteran trees. Because the trees were managed and encouraged to rejuvenate they have lived a lot longer than single timber trees which were felled. They are as much cultural heritage as natural heritage. 

Whereas oak and beech might be more likely to have been left to become timber trees, the quicker growing underwood species were often more of a mix such as crab apple, holly, service, ash, sallow, hazel, maple, thorn, wych elm, birch. Careful rotation would be needed to give the different species the best chance to flourish and to ensure there was always wood available to the people who had the rights to collect it. The species mix were what came naturally in different parts of the country and what thrived in local conditions.

From the 18th century onwards, as demand altered, the products from underwood became less valuable and timber trees became more so, and therefore the management and species proportions of woodlands changed. During the 20th century predominantly conifer planted woodland for timber prevailed.

Urra

Urra Moor, part of the Cleveland Hills, contains the highest point on the North York Moors – 454 metres above sea level, at Round Hill. There is a lot of prehistoric archaeology in the area – cairns, lithic scatters and a flint arrow head find. Being at the highest point for miles around is always going to be useful for humans as well as significant.

There is some disagreement over where the unusual name Urra comes from. Most simply it might mean hill from the Norse haugr, or it could imply a more impressionistic idea of the darkness and gloom of such a wild barren area and be from the Old English word for dirty – horheht/horhig/horuweg. Try speaking the words without pronouncing most of the consonants.

Obviously it’s not the time to explore Urra Moor, due to the Covid-19 situation. Please do not travel into or around the North York Moors National Park unless this is absolutely essential (essential travel does not include travel for exercise or to second homes and holiday accommodation). The National Park will be here waiting for you to enjoy when it is safe to do so.

Urtica dioica

The European stinging nettle (Urtica dioica) is found where there are high amounts of nutrients in the soil and so is usually associated with habitation and other types of development. It is often frowned upon as a ‘pernicious weed’ because it is such a successful perennial that spreads through its rhizomes and runners, out competing other plants. At least it wont be suffocating many wildflowers however as many of those don’t appreciate nutrient rich soils.

Urtica dioica has serrated edged leaves and small grouped flowers. The leaves and stem are covered in hairs the tips of which can deliver a biochemical sting into your skin if touched (Urtica comes from the latin word for burn). This active element may be one of the reasons some people think it has medical efficacy. The plant can be usefully added to compost, and it (as a young plant only) can be used as an ingredient in food and drink, the immediate danger being in the collection rather than the eventual digestion. N.B. Don’t partake of any wild plant unless you are absolutely sure you know what it is and whether it really is edible or not. 

From a biodiversity point of view the nettle is particularly useful as a living plant because it acts as a host for the eggs and then provides vital food for the caterpillar stage for a multitude of butterfly and moth species – including Comma (Polygonia c-album), Peacock (Aglais io), Red Admiral (Vanessa atalanta), Small Tortoiseshell (Aglais urticae), Angle Shades (Phlogophora meticulosa), Buff Ermine (Spilosoma luteum), Burnished Brass (Diachrysia chrysitis), Dot Moth (Melanchra persicariae), Ghost Moth (Hepialus humuli humuli), Mother of Pearl (Pleuroptya ruralis), Setaceous Hebrew Character (Xestia c-nigrum), Snout (Hypena proboscidalis), Spectacle (Abrostola tripartita), White Ermine (Spilosoma lubricipeda).

Verjuice

Verjuice (Verjus) is the liquor that comes from pressing unripe fruit. The word means ‘green juice’ – ‘green’ conveying the tart un-ripeness of the fruit. The fruit used depended on what was available in the region. In and around the North York Moors that would have largely been crab apples, and maybe gooseberries. The fruit would have been pressed/crushed to abstract the liquor. The remaining mush could be fed to animals like pigs. The liquor could be used to flavour food with sourness – it is very acidic, like lemon juice before lemons were widely available, like a mild vinegar or a bad wine – and as medicine or tonic. The Crab apple tree (Malus sylvestris) is native to Britain and the trees were mostly wild in the past, although sometimes used in fencing (i.e. manipulating woody species to create enclosure hedges). In the 19th/early 20th century foraged crab apples were collected along with orchard fruit from the North York Moors to be sent off to jam factories; crab apples have a particularly high level of pectin to help the jam set.

There are a couple of records of parts of Verjuice presses included in the North York Moors Historic Environment Record (HER 840 and HER 19525). There is also at least one ‘crab mill’ which would have been driven by a horse, conserved as a feature in village of Sutton under Whitestonecliffe on the edge of the Moors. Crab apple trees are much less common than they were, both in the wild and in the hedgerows.

Vernacular

Vernacular buildings were domestic and functional. They were ordinary in their time – built out of local materials (what was to hand) using traditional techniques. The vernacular buildings in each area might look similar, but are very rarely identical. It is this local distinctiveness that makes these buildings particularly important nowadays and therefore the best examples are worthy of being listed.  From the 19th century onwards materials became more easily transported around, house building was done on a more uniform and larger scale, architectural techniques and fashions were reiterated across the country – so the term vernacular is mainly used only for pre 19th century buildings..

Vernacular buildings have been described as a component of the landscape and not just because they’re built from materials hoved out of the local geology. The buildings needed an appropriate toughness to withstand the weather.  They are patched up over time to stay useful sometimes these phases of building add to the character sometimes they might deflect. But vernacular buildings,  whether they’re listed or not, always have a connection back to the people who built them, lived in them, drank in them, kept their animals in them. 

In the North York Moors vernacular buildings that still stand are mainly from the 17th and 18th centuries. The most typical are built from sandstone and clay pantiles. Around Whitby cut ashlar blocks and quoins (corner stones) are common instead, and along the south edge of the Moors buildings are often built out of mixed rubble and quoins or sometimes gritstones/limestone. Materials were often re-used; after the Dissolution (mid 16th century) new or repaired buildings around some of the dissolved Abbeys and Priories of the North York Moors ended up a characterful mix of the vernacular and the spectacular.

Whereas it can be easy to see why stately homes, churches and castles are listed (protected for the nation), it can be more difficult to identify which of the many vernacular buildings of England should be listed too. Historic England have a series of Listing Selection Guides.

Previously on the North York Moors A to Z … A, B, C, D, E, F, G, H, I, J, K, L, M, N, O, P, Q, R, S, T

A to Z: a troupe of Ts

T

TEMPLARS

Most people have probably heard of the Knights Templar, mediaeval military monks best known for their Order being forcefully suppressed.

The sole purpose of the Order was to protect pilgrims, and that meant supporting knights in the Holy Land which required money. Along with many monastic orders the Knights Templar were good at making and managing money to fund themselves and their work. Nobles were particularly happy to endow military orders with gifts and property as a way to win favour with God, because they shared a common interest in the noble art of fighting. A mix of Papal and Regal authority granted the Templars immunity to local jurisdiction and taxation, putting them beyond the law.

The Templars were pan European and had a network of estates in England. One of these holdings was the Manor of Westerdale in the north west of the North York Moors, which was gifted to the Knights Templar in 1203 by Guy de Bonaincurt. There are also records of additional gifts from other landowners in the wider area, at Kildale, Ingleby Arncliffe, Pinchinthope, and Broughton. At Westerdale a preceptory was founded – a preceptory is a military order’s equivalent of a monastery – and the land put to good use producing income. It’s not known where the buildings and granges were, suggestions include Westerdale Hall and there are earthworks at two sites towards the head of the dale. 

The Knights Templar Order consisted of Knight Brothers (you had to already be a knight), Sergeants/Serving Brothers, and Chaplains. Then there were the lay servants to do most of the work. There wouldn’t have been knights at Westerdale, but there would no doubt have been servants farming the land. When the Order was surpressed the Manor was recorded as being 1,182 acres and producing £37 of annual income.

The Order didn’t long survive the end of the Crusades in the Holy Land. Pope Clement V issued a bull in 1307 telling all Christian monarchs in Europe to arrest Templars and seize their assets. The dissolution in England was drawn out and non-violent. The Manor of Westerdale was taken by the crown in 1311 or 1312 and then held until it was either given or sold to the Knight Hospitallers (the other major military order) in 1338. Two hundred years later it went back to the crown during the Reformation..

TEMPLE MOORE (1856 – 1920)

The fantastically named Temple Lushington Moore was a celebrated Victorian/Edwardian architect, particularly renowned for his ecclesiastical commissions both inside and out. He conceived new churches* and restored/rebuilt churches**, many of which are now listed. He also designed decorative church fixtures such as screens, windows, reredos, lecterns, and pulpits.

Moore’s style was Late Gothic Revival with its focus on the mediaeval: for example pointed arches, buttresses, vaulted ceilings, ornamentation and decoration.

There was a lot of new building/rebuilding of Anglican churches at this time; to serve the growing urban populations and to rival the pull of the evangelical low church congregations. The Gothic Revival style linked directly with the high church tractarian movement at the end of the 19^th century. The exaggerated style presented an idealised medieval past in reaction to mechanisation and industrialisation. The enthusiasm for the style itself could sometimes result in the destruction or diminishing of original mediaeval elements of the buildings being ‘restored’.

Temple Moore worked on a number of commissions in and around the North York Moors and elsewhere in Yorkshire which earned the appellation for his work of ‘gothic with a Yorkshire accent’.

*New Churches in/around the North York Moors
St Aiden, Carlton
St Botolph, Carlton in Cleveland
St John the Evangelist, Bilsdale Midcable
St James the Greater, Lealholm
St Mary Magdalene, East Moors

**Restored/rebuilt Churches in/around the North York Moors
St Chad, Sproxton
St Augustine, Kirkby
St Oswald, Newton upon Roseberry
St Hilda, Danby
St Nicholas, Guisborough
St Gregory’s Minster, Kirkdale
St Mary, Church Houses, Farndale
St Mary Magdalene, Faceby
St Mary, Rievaulx

TREE PRESERVATION ORDERS

The North York Moors has a statutory claim to fame, because one of the first Tree Preservation Orders in England was served in the village of Sinnington. It was served to protect an area of woodland known as The Stripe to the north of the village. It was an ‘interim’ TPO made under the Town and Country Planning (Interim Development) Act of 1943.

This Act was followed up a few years later by the Town and Country Planning Act 1947. This legislation looked to build a new country, depending on receiving permission. It aimed to control development and protect the best elements such as buildings with special architectural or historic interest as well as trees and woodland, the natural equivalent of the buildings. Where trees or woodland might be under threat and those trees or woodland had an identified amenity value – that is they mattered to local people and the wider landscape – a Tree Preservation Order could be served. Also in 1947 came the Hobhouse Report which recommended the creation of National Parks; however the thing about Tree Preservation Orders is they can be used anywhere not just in protected landscapes, because any tree can be special.

Tree Preservation Orders are still a useful part of planning legislation, most recently reiterated in the Town and Country Planning (Amendment) Act 2012.

TREE SPARROWS

Many people would recognise the House Sparrow (Passer domesticus), a common visitor to garden bird tables and feeders. Less often seen is the smaller Tree Sparrow (Passer montanus), a shyer bird that can be distinguished by its chestnut brown cap and black cheek spots.

The Tree Sparrow has suffered a substantial decline in recent decades with a 93% population decrease between 1970-2008. They are therefore on the Red List for conservation concern.

Tree Sparrows make use of cavities in trees and old buildings to nest in. They will also build their own nests within thick hedges. During the 1970s and 80s many elm trees were lost to Dutch elm disease which reduced the availability of nesting holes for this and other species. Alternatively, they will make use of nest boxes – projects aiming to expand Tree Sparrow populations place several nest boxes close together as the birds like to live in colonies.

A good habitat for Tree Sparrows is mixed farmland where small woodlands, scrubby hedgerows, cereal crops and dead trees can be found together. Aquatic invertebrates are a good food source for their young so farmland ponds are also valuable features. Young chicks are fed on insects to provide them with the minerals they need to develop their bones. Seeds and cereals, such as wheat and barley, are also part of the Tree Sparrow diet.

The southern edge of the North York Moors is a good area for Tree Sparrows, villages such as Hackness, Staintondale, Newton-upon-Rawcliffe and Lockton all have Tree Sparrow populations.

TWAYBLADES

There are two types of Twayblades: Common Twayblade (Neottia ovata) and Lesser Twayblade (Neottia cordata). These are orchids, not the blousy bright orchids but much more subtle and discreet.  Both have one upright stalk with small clusters of flowers at the top. The Common Twayblade has tiny yellow/green flowers and can grow up to 60 cm tall, the Lesser Twayblade has tiny reddish flowers and grows up to 20 cm. The name Twayblade comes from Old English words for two leaves, because Twayblades have one pair of leaves except sometimes they don’t, sometimes there is a third leaf. Common Twayblade are much more adaptable than Lesser Twayblades, growing in neutral/calcareous grassland and woodland. Lesser Twayblades favour acid soil so are found in wet Ancient Woodland and on wet heath. They’re pollinated by tiny insects e.g. flies for Common Twayblade, even smaller gnats for Lesser Twayblade. They both smell, however whereas the Common Twayblade has a gentle sweetish smell, the Lesser Twayblade produces a smell like rotting flesh which humans find unpleasant but gnats like. Both plants produce tiny seeds like dust, but they can also spread through rhizomes from their roots. As well as diminishing habitat, one of the other reasons for Twayblades being relatively rare is because they take such a long time to grow up, it can take a Common Twayblade 15 years to mature enough to flower.

Previously on the North York Moors A to Z … A, B, C, D, E, F, G, H, I, J, K, L, M, N, O , P, Q, R, S 

Last year’s top 10 posts

So looking back at last year, these were our most viewed posts:

1.Tales over Tea – upcoming Land of Iron events

This one won by a mile. But there was also 5. Warren Moor Mine: Part Two – the excavation and 6. Making Pictures and 7. Warren Moor Mine: Part One – the Lime Mortar task. The Land of Iron Landscape Partnership Scheme grabbed most of our top spots.

These posts reflect the wealth of outreach activities delivered during 2018, as well as the skills of our summer interns. You might also have noticed that 2018 saw the name change – from ‘This Exploited Land of Iron’ to the shorter and friendlier ‘Land of Iron’.

2019 will see major consolidation works taking place on the main historic structures associated with the ironstone industry in this part of the world, as well as a significant roll out of new interpretation. Sign up to stay in touch with what’s coming up this year.

2. Jambs, lintels, sills and grants

3. Why why why the Rye?

Following 18 months of consultations, taster events, and project developments the Stage 2 application to the Heritage Lottery Fund (HLF) to support the Ryevitalise Landscape Partnership Scheme has at last been submitted. There are 19 individual projects included which focus on the river environment, water quality and engagement.

The Landscape Conservation Action Plan which is the main bid document, is really the Partnership’s manifesto and it lays out why the upper and mid Rye catchment is such a special and valuable area for people, wildlife and their habitats, and why it needs support to secure its future.

The application will be assessed by HLF during March 2019. We’ll let you know what happens. If we get a successful outcome recruitment of the delivery team is anticipated to start early summer. We’re still keen to hear from you if you have ideas and views about this particular catchment, and so we will continue to involve as many people as possible throughout the four years of delivery and beyond into a legacy phase. 

4. Autumn delights

For 5. 6. and 7. see 1. above

8. Beneath another pile of stones

We’re now well into our new Historic England funded Monuments for the Future project which is looking to ensure a sustainable future for the conservation of monuments in the North York Moors. We’ll have regular posts on the historic environment during 2019 starting with a look at hillforts in the next couple of weeks.

9. What might have been

We’re already looking forward to spring and that includes the blooming of the surviving populations of native wild daffodils that can be seen in Farndale and other dales in the North York Moors.

10. Bad news

What you can do to help … always follow biosecurity guidelines and advice.

Sworn defenders of the Historic Environment

Nick Mason – Archaeology Officer

You might have seem our recent post on the beginning of our new Monuments for the Future project, caring for the Scheduled Monuments in the North York Moors. Over the nine previous years of the Historic England funded Monument Management Scheme we were able to reduce the ‘At  Risk’ status of 212 of our monuments. We are wanting to build on that success and move forward with Monuments for the Future which is being supported by another generous grant from Historic England.

Since July this year we’ve already had a fantastic response from our dedicated Historic Environment volunteers. With volunteers and staff working together, we’re confident that over the next few years we can monitor and maintain the 842 Scheduled Monuments that we have within our boundary, and continue to reduce their ‘At Risk’ statuses, or else remove them from the Heritage at Risk Register altogether.

From coastal industrial sites threatened by erosion and climate change, to grand prehistoric earthworks under attack by flora and fauna, there is a huge range of archaeology at risk. Our scheduled sites represent almost the whole of the human story in Britain, and the list is ever growing with a possible monastic grange site currently being considered for designation. We’re working to protect our historic assets and to tell everyone we can about our wonderful heritage.

Over the coming months, we’ll be posting themed blogs focusing on the types of monuments found in the North York Moors, the reasons they are considered nationally important, and why some are currently in trouble.

This month we thought we should start by introducing some of the National Park Authority’s Historic Environment staff and get them to explain themselves in their own words.

Mags Waughman, Head of Historic Environment
After nearly twelve years working for the Authority, first as Archaeological Conservation Officer and later as the Monument Management Scheme Officer, I was very pleased to become Head of Historic Environment at the beginning of the summer. This is an exciting time for the National Park’s Historic Environment work – with new funding to support our work with Scheduled Monuments, new archaeological staff and a new Building Conservation team we are in a very good position to develop our work and look for new directions and projects.

Emma and Jo focus on Monuments for the Future and Nick and I will be working with them on the project, as well as looking after the Park’s undesignated heritage. Suzanne Lilley works with Maria as a second Building Conservation Officer and one day a week they are joined by Clair Shields who has worked in the Building Conservation team for a number of years. Part of my role is to liaise with Maria, Suzanne and Clair to make sure the whole historic environment is cared for equally. I also liaise with the Land of Iron team where Maria has a second role as Cultural Heritage Officer, assisted by Kim Devereux-West. Behind the scenes, one day each week the team still has the benefit of the many years of experience of Graham Lee, a previous Senior Archaeological Conservation Officer. I’m really looking forward to working with the new teams, seeing our plans take shape and watching the different projects make new discoveries or have a positive effect on our fantastic cultural heritage.

Emma Trevarthen, Monuments for the Future Project Officer
I’m an archaeologist with a background in aerial survey and Historic Environment Record (HER) management. My role with the National Park is to look at the threats and vulnerabilities of some of the Scheduled Monuments which have been on the Heritage at Risk Register for some time, and to try to find ways to improve their condition and sustain those improvements in the long term. I’ve already had a really good, positive response from landowners and I look forward to seeing more monuments in the North York Moors removed from the ‘At Risk’ Register over the next three years.

Jo Collins, Monuments for the Future Volunteers and Community Officer
My role is Volunteers and Community Officer for Monuments for the Future. I coordinate a group of volunteers who survey the condition of Scheduled Monuments, monitor walkers’ cairns on Scheduled Monuments and carry out practical conservation tasks. In the near future I’ll also be focussing on helping community groups to care for their local heritage. I’m looking forward to seeing the difference volunteers and community groups can make as Monuments for the Future progresses.

Maria-Elena Calderon, Building Conservation and Land of Iron Cultural Heritage Officer
I have worked in in archaeology for almost ten years, specifically in Built Heritage since 2013 when I was awarded a training bursary by the Chartered Institute for Archaeologists hosted by ASWYAS in Leeds. My work has taken me as far afield as Qatar but the majority has been spent in the UK from Orkney to Pontypridd and Cambridge. I have worked for the National Park for nearly two years and I relish the opportunity it provides me to help protect, improve and impart knowledge of the historic environment to residents, tourists and fellow National Park staff. I work as a Building Conservation Officer which involves assessing Listed Building and Conservation Area consent applications. I am fairly new to this role but I enjoy it immensely and receive great support from my fellow officers. We work with homeowners, planners and developers to insure that any development is conducted in a manner that is sympathetic to the heritage assets. As an Authority we also offer grants for the above where the development will result in an enhancement which our team administers. In addition to that we regularly offer advice in regard to traditional buildings either subject to planning proposals or other project based work within the National Park. We also work with volunteers undertaking surveys of listed building as part of the nationwide ‘Buildings at Risk’ scheme.

Nick Mason, Archaeology Officer
I’ve only been with the National Park now for 3 months, but what a time it’s been so far. I have been lucky enough to be an archaeologist all my professional life, but having responsibility for the sheer breadth of archaeology in one place is a new, and very exciting, experience. My role as archaeology officer means that I am interested in protecting all the heritage assets of the North York Moors, including unscheduled archaeology, ancient plough marks, and even possible structures marked on old OS maps. Sometimes development means that these must be affected, and we find ways to mitigate the effect, learning as much as we can as we go. Scheduled Monuments often represent a massive potential for undiscovered archaeology, and their setting in the landscape, the possible finds within, and the stories they can tell mean it’s worth doing all we can to look after them for the future.

If you’d like to be out and about more in the North York Moors and might be interested in volunteering opportunities at the same time, we’d love to hear from you. There are a range of tasks which need doing, from carrying out surveys and reporting on monuments to clearing patches of damaging bracken on wild moorlands.

Similarly, if you think you know of some material heritage currently under threat please don’t hesitate to get in touch, so we can see what can be done.

Making Pictures

Nicola White – Land of Iron Film Maker Intern

I’ve spent the past 12 weeks clambering over the North York Moors with my camera, capturing the elements that form the Land of Iron Landscape Partnership Scheme. This adventure has been challenging, hilarious and hot (given the summer we’ve had).

I began with the Combs Wood excavation, bugging the volunteers each morning by crouching on the ground to get the best shot as they dodged their wheelbarrows around me. It was incredible to see them constantly uncovering something new and seeing just how much had been hidden by the nature that surrounded us. See Combs Wood Part 1 – Volunteering, Combs Wood Part 2, and Combs Wood Part 3.

I also got involved with the Warren Moor Mine conservation work this summer. The details of the huge chimney still on site really are incredible. My video focuses on the lime mortar work that the team have completed on the engine beds, as well as all the previous clearing that has taken place during the project in order to preserve the features. It’s impressive to view the impact that Land of Iron has had on this area, and for that reason it’s recorded in my video. See Warren Moor – The Movie

I didn’t just concentrate on the impressive industrial building sights; I’ve also created a video showing the environmental conservation work undergone. From fences and walk ways at Fen Bog to forest work and tree planting across Rosedale, my video illustrates how this work is restoring habitats and encouraging rare species. See what I saw…

The final video of my creation sets out to capture the entire essence of the Land of Iron. Focusing on the three main aspects – history, people, environment – this video uses interviews with the core team and footage that I’ve recorded throughout my summer with them, to explain what the programme is all about. See the whole picture …

This summer has been an incredible opportunity to learn and create. The people surrounding and supporting the Land of Iron scheme should receive a medal for all the work they do; constantly typing away on their keyboards in the office or covered in mud down a one-meter deep hole. It’s been a pleasure to dig in the mud with them for such a short time, and I hope I spend all my future summers in a similar way.

Something else … The Land of Iron Landscape Partnership Scheme is approaching its halfway point with building conservation works starting on site and teams of volunteers across the North York Moors helping us care for our fascinating industrial heritage. We’re currently undertaking an EVALUATION SURVEY – this is a really important way to check the scheme is heading in the right direction and achieving what it wants to. Please give us a few minutes of your time to tell us what you think. Your feedback will help shape the next stage of the programme. 

Warren Moor Mine: Part Two – the excavation

Eleanor Lees – Land of Iron Community Archaeology Intern

We were back at Warren Moor Mine within weeks of completing the lime mortaring of the winding engine bed, but this time to carry out an archaeological excavation. Five Land of Iron volunteers and two members of staff investigated two trenches dug across the ditch on the site. One trench was between the winding engine bed and the downcast shaft, and the other further upstream, close to the boiler house and chimney. The purpose of the excavation was to build upon the information left to us by those who built and operated the mine site, and the knowledge gained by John Owen and his team from their 1970s investigations.

A very short history recap

Warren Moor Mine was only in use for a grand total of nine years, on and off, between 1857 and 1874. The land was first mined by a John Watson from 1865 to 1868 as part of the Warren Moor Mine Company Ltd. After being taken back by the Kildale Estate (land owners), in 1872 – once the price of iron had risen – a new company, the Leven Vale Company Ltd took out the lease. They further invested in the mine, even building a row of stone workers cottages. However, in 1874 the Leven Vale Company Ltd also failed. These short periods of tenancy at Warren Moor Mine were likely due to the poor quality of ironstone which made deep mining unviable.

105 years later John Owen, an enthusiastic industrial archaeologist, and his team undertook an excavation of the site. They not only investigated the standing buildings, but also explored the upcast and downcast shafts and the pumping engine, providing us with detailed diagrams of the interiors of the structures and how they may have worked (Owen’s report can be found here).

What we got up to this time

This excavation was on a much smaller scale than that carried out recently at Combs Wood, with only two trenches around 1 metre wide and 2 metres long to start with. One purpose was to investigate the bank that ran along one side of the river (Leven). It is thought that the bank had been built up by Owen to change the course of the watercourse in order to reduce the damage being caused to the structures. Another purpose was to investigate the retaining wall around the winding engine bed, to discover its thickness and materials used in its construction, and whether there was a direct relationship to the downcast shaft.

Most of the findings from the trenches were in line with Owen’s previous excavations. In the first trench next to the engine winding bed we uncovered the extent of the retaining wall. There was also a lot of evidence of burning with large lumps of slag (metal waste) and a compacted surface layer. We made the decision to extend this trench after we uncovered the corner of a large worked stone. This stone sat just below the topsoil and appeared to be a block from the winding engine bed. This raised a few questions for us – what was this stone doing here on the other side of the retaining wall? had it been placed here purposefully or just discarded?  We also dug two sondages (test pits) to get a full profile of the layers in this trench.

The second trench, up near the standing chimney, was extended far beyond its original dimensions. The aim of this trench was to explore the embankment. Upon removal of the topsoil we found the embankment to be a roughly piled brick feature. However, the more we revealed of the brick work the more we saw a structural pattern emerge. Then, unexpectedly, one of the volunteers revealed two stone door jamb bases, proving without a doubt that there was a previously unknown building! Unfortunately, this was all discovered on the last day, so we weren’t able to explore it any further at this time. This trench also contained the same burnt compacted layer and slag deposits that were in the first trench.

So what happens next?

Another excavation has been scheduled to establish the dimensions and purpose of the newly discovered building!

The volunteers group will continue to maintain the site. In addition, contractors will be working on site into next year to carry out conservation works and make the site safe for public access and enjoyment.

Warren Moor Mine: Part One – the Lime Mortar task

Eleanor Lees – Land of Iron Community Archaeology Intern

For five days back in August a group of very determined Land of Iron volunteers and staff, along with one local lime mortar expert descended on Warren Moor Mine in Little Kildale to begin conservation work on the winding engine bed. During the 144 years since the mine closure tree roots, vegetation, insects and the weather have slowly eroded the site of Warren Moor Mine which includes a winding engine bed. The stonework had very little remaining mortar, and so we took on the task to re-point in order to help protect this historic structure.

Follow this link for a 360 view of the site.

A (Very) Short History of Warren Moor Mine – the story of Warren Moor Mine starts in 1857 when the Bell Brothers of Middlesbrough surveyed the nature of the ironstone in this dale, once isolated but now connected by the new railway. Investigations on the main seam revealed that it was 5-6 ft. deep but split by a band of shale and also had low iron content; only just averaging out at 26% when other parts of the Cleveland area averaged at 30%. The Bell Brothers Ltd declined the mining lease offered by the Kildale estate (landowners) and for eight years Warren Moor remained undisturbed.

Then, despite the results of previous surveys, in 1865, under John Watson and his southern investors, work began on open drift mines into the top ‘dogger’ seam. Drift mining means digging into an edge from the side, horizontally, and is much easier and therefore cheaper than digging downwards. A year later Watson took out a 42 year lease and the ‘Warren Moor Mine’ (Company Ltd) was formed. Letters suggest that the first year of the lease resulted in profit. The ironstone extracted was calcined (roasted to remove impurities) on site and then transported by rail to the blast furnaces. Work began to sink two shafts to intercept the main seam at 220 ft., along with the construction of a steam boiler house and corresponding chimney, a winding engine and a steam powered pumping engine, all to enable deep mining. By 1868, most of the structures had been completed with the exception of the downcast shaft which had only been completed to a depth of 150 ft. but by that time the Warren Moor Mine Company Ltd were in financial trouble no doubt partly due to the poor quality of ironstone leaving the Warren Moor Mines. Kildale estate reclaimed the site and all its equipment.

Four years later in 1872, the Leven Vale Company Ltd took out a lease on the site, not put off by the previous company’s failure to make the site commercial. A row of stone cottages were built to house miners and their families, these cottages appear on historic maps labelled Leven Vale Cottages – in 1972 the cottages were demolished by volunteers from Kildale village and the stone was used in the Village Hall. Regardless of the initial investment into the site by the Leven Vale Company no progress was made with completing either the downcast shaft nor any other parts of the non working downcast mine. The company continued to use the drift mines to mine the top seam but in 1874 became insolvent just like its predecessor.

So after only nine years of operation the mines were abandoned for the next 105 years until 1979 when the archaeologist John Owen and his team excavated the site providing detailed diagrams and explanations for many of the mines remaining features (Owen’s report can be found here)…

…And then along we came!

Of course we weren’t the first group to set foot on the site since then, but being in such a remote location it sometimes feels that way. Our task in August was to conserve and protect what was left of the winding engine bed and that involved re-mortaring. We started with a day of training and demonstration at Kildale Village Hall (built with the stones from the Leven Vale Cottages). Our expert, Nigel Copesy, explained the benefits of using a hot lime mortar mix over natural hydraulic limes (NHLs) or other cementitious materials, as well as explaining the science behind the mixing process and why that resulted in better effective porosity enabling buildings to shed water quicker resulting in less damp and decay. He also showed us different ways of creating a mix and some of the more extreme reactions of slaking quick lime.

Over the next four days we undertook the actual task of re-pointing the engine bed. I think we were all surprised at the amount of mortar you could put into a joint before you would feel any resistance! We used three different types of mortar on the different areas of the engine bed in order to provide the best level of protection that we could.

The first mix that we made was used to point the sides of the stonework; it consisted of two different types of sand, brick dust, quick lime, a clay based pozzolanic additive and water. This created an exothermic reaction, where a decent amount of heat was given off but quickly cooled to useable temperatures.

The second mix is appropriately named an earth lime mortar and was used to fill the larger gaps on the top of the engine bed packed with some loose stones. To make this mix a slightly different technique was used. Using some excess soil from a previous archaeological test pit, we soaked it for a few hours before adding some quicklime to give it form. This soil contained high amounts of clay which is known to work well with quick lime. Earth mortars are more common than people realise. Many traditional buildings in the North York Moors and elsewhere have earth mortars at the core of the wall. They allow the building to breathe which can help prevent damp and create a healthy living space.

Our third and final mix was used on top of the earth lime mortar and had a very high pozzolanic value, making it more durable and less permeable. As the top of the engine bed will be most exposed to weathering, the mortar used had to almost repel any rain water. Although this type of mortar would not have been used in this location traditionally; it was thought necessary to adapt the mortar on this occasion to help protect this historic monument into the future, which is now far more exposed to the elements than it was when originally built.

The result of all five days of hard work is a winding engine bed that is infinitely more protected than it was at the beginning of the week. Conserving our industrial heritage is hugely important, especially with a site like Warren Moor which still provides a snapshot in time. The Land of Iron team would once again like to thank the amazing efforts of our volunteers, Kildale estate, and also Nigel Copsey for sharing his knowledge.

A New Kiln for Rosedale: a poetic perspective – Part 2

David Mennear – Land of Iron Administration Assistant

A Brief Historic Note

The second and final part of this anonymous but momentous poem, transcribed by the local historian Malcolm Bisby, describes the inherent industrial appeal of ironstone production in the North York Moors and the bustling economy that it brought.  Picking up where Part 1 finished, two years have passed since the collapse and the kilns which have replaced the experimental kiln at Rosedale burn brightly in a never-ending production cycle. They roast (calcine) the ironstone, mined close by, which is then sent on its way to Teesside via the railway.

The physical remains of the kilns today, at Bank Top and at Rosedale East, are tangible reminders of the way populations alter the landscape. Although the remains are quiet today, they once thronged with working people (including children) each with their job of work to do as this poem so clearly reminds the modern reader.

The poem ends on an eerily prophetic note as the poet notes that, as long as the furnaces burn, there will be an industry present along with ‘peace and plenty’. The ironstone industry within the North York Moors burned fiercely but briefly, largely coming to the end of ironstone mining and calcining processing by 1929.

After the poem we provide a unique insight into the industrial design of the experimental kilns, and those that replaced it, provided by Malcolm himself.

 ‘Discussion between two friends on the New Kiln while building, noting a few of its’ misfortunes, 1865’

Transcribed by Malcolm Bisby

43. And if this plan at first they’d tried,
T’would saved them much expense.
For two full years have passed away
Since first it did commence.

44. But part of her is burning now,
By day as well as night,
And men and boys are there engaged
To keep this kiln alright.

45. There’s men to tip, and boys to spray,
And coolers there likewise,
There’s red and black men I do see,
And men of every size.

46.There’s horses, and their drivers too
Are ready at a call –
A oft I hear the drivers say
Their wages are too small.

47. The calcine men work down below,
They’re men that look so funny,
And there’s no doubt but all those men
Work very hard for their money.

48. And far under the ground they are,
Beneath this rugged hill,
The miners – and if not for them,
The works would soon stand still.

49. The miners from all men are known,
In the Beer House they talk louder,
And while at work they have to use
Both iron steel and powder.

50. And many think that mining is
A very easy trade
But for their work the miners are
Not much more than half paid.

51. And deputies there are also
To see that all is right,
To prop and timber is their work
The mines to keep alright.

52. With axe and saw they pop about
To see who wants a balk,
And so they hear all kinds of news –
They love a bit of talk.

53. And platelayers there are at work,
Laying inroads and points.
They go round with hammer and nails
To straighten all foul joints.

54. If the platelayers go away,
There soon is something up.
“A wagon’s off the road,” they shout,
“Come, bring t’big bar and sup”

55. We have a furnace in the mines
Which burns both night and day,
For the good of miners when at work
To draw powder smoke away.

56. And two old men attend the fire –
We call them both “Old Dads,”
I wish you like wise for to know
We have some small trap lads.

57. We likewise have two noble men,
In the mines to see fair play,
To see that all men get their rights
There’s one there night and day.

58. Dog Whippers they are called by trade,
The Horse Drivers well they know
They are to tell them what to do,
And where they have to go.

59. The manager comes round to see
That all things do keep right,
I’m sure that he’s got much to do,
In keeping all things straight.

60. So now you’ve heard what there’s to do
Beneath the rugged hill,
But if I was to mention all,
I many a page could fill

61. To bring my story to a close
On the works no longer dwell,
The weighmen I must mention now
Before I bid farewell.

62. Those are the men we have to trust,
Masters on them depend,
And if they’ll do what’s right and just
They’ll never want a friend.

63. I took a walk the other day
Once more this kiln to see,
And to find this kiln completed,
Delight it was to me.

64. I long have wished to hear the news,
That I have heard today,
The men say she is finished,
The boys they shout, “Hooray.”

65. Great Praise is due to the workmen,
For workmanship and skill
For everyone that see her say
She is a noble kiln.

66. All praise unto the gentlemen,
Who the money had to pay,
Some said that she would beggar them
But they have won the day.

67. For now she’s burning briskly,
Some hundred tons a day,
‘Midst all the expense there has been,
She’s sure to pay her way.

68. And long may she keep burning on,
Our gentlemen to cheer,
And while she’s doing well for them
The workmen need not fear.

69. Our prospect’s bright for future years,
There’s work for young and old.
When you’ve heard all I’ve got to say,
There’s still one half untold.

70. And long may peace and plenty reign,
Within this lovely dale,
When the Poet’s tongue lies silent,
In death’s cold chilling vale.

Malcolm Bisby’s historical commentary

This fascinating poem clearly gives some useful clues as to the construction date and design changes relating to the so called “New Kilns” (or ‘Iron Kilns’). The term ‘New’ used in this case could also mean ‘of different design’ – for these kilns appear to have been a unique, one-off experiment – doubtless hoping for a more efficient calcining process in terms of fuel cost, through put rate of more uniform heat distribution.

However, this very crude system was doomed to be phased out by the gradual development of the Gjers design of calcining kiln (development of this design of kiln began around 1865) – compromising a large upright cylinder: constructed of wrought iron plating, internally lined with a refractory brick lining.

This design of kiln was by far more efficient and easier to operate and was usually sited adjacent to the blast furnaces that they were supplying. The claimed coal to ‘raw’ ironstone ratio was one ton coal to 25 tonnes of raw ironstone.

Malcolm will be presenting the final part of his lecture series (‘Tales over Tea‘) on the Rosedale Ironstone Industry at 2pm, Wednesday 18 July at Danby Village Hall.

A New Kiln for Rosedale: a poetic perspective from 1865 – Part 1

David Mennear – Land of Iron Administration Assistant

A Brief Historical Note

The ironstone industrial sites of the North York Moors and the Cleveland Hills were of great national economic importance in their time (Historic England Listing – Rosedale East Mines calcining kilns and iron mines) and utilised a considerable workforce for this most gruelling of industries in the 19th and early 20th centuries. The massive structures, the sense of progress, the nobility of endeavour, inspired emotional and artistic responses.

A unique contemporary insight into the industrial expansion in Rosedale comes from this wonderfully evocative anonymously-written narrative poem about the New Kiln’s design trialled here – as transcribed by the noted local historian Malcolm Bisby.

The kiln, built as an experiment in 1865 alongside the more traditional designs of the age, provided work for skilled individuals from across the region. Rosedale was productive in both mining quality ironstone and being able to calcine (or roast) it on site, before it was carried away by locomotives along the specially-constructed railways, which extended into the Durham and Tees areas from the heart of the North York Moors. As the poet recalls, the kilns roasted ‘by day as well as night’, a glow which lit the landscape in a way we can only imagine today in the peaceful and tranquil setting of Rosedale . . .

 ‘Discussion between two friends on the New Kiln while building, noting a few of its’ misfortunes, 1865’

 Transcribed by Malcolm Bisby

1. I long have looked for you,
‘Midst all I’ve had to do,
And many changes there has been
Since last I talked with you.

2. I’m glad once more your face to see –
Don’t think that I am joking,
While some say I am far too fast
My lines are provoking.

3. You long have wish’d to know
Our doings in this place,
And I am going to tell you
Although ‘tis a sad disgrace.

4. ‘Tis two full years at least
Since first I came this way,
Come listen and you soon will hear
What I have got to say.

5. At first I shall remind you
When here we sat alone,
And watch’d the men lay down
The first foundation stone.

6. We wondered what all this could mean
Until we saw that man
He said “They’re going to build a kiln
But ten to one she’ll stand.”

7. We did not take much notice then
To see them first begin,
But before they reach’d half the top,
Our fears they did begin,

8. Then people soon began to talk
As shortly you shall hear
Some of them spied a crack or two
And they began to fear.

9. The news soon spread from place to place
In country and in town,
And those who live to see the day
She’ll surely tumble down.

10. The mason work look’d strong and good
For which I shall allow
The master of them all you know
He came from Lastingham town.

11. The fitter came with screws and bolts
To finish and adorn,
It would be better perhaps for me.
To let these men alone.

12. Their work I’m sure it was admired
By all that came this way,
But sad to think as well as say
It shortly all gave way.

13. Then all the skill of man was tried
The kiln for to keep up
But they like all the rest you see
Had nothing but bad luck.

14. Up spoke a workman of this place –
A wild and wicked wretch
“This kiln will fall and that you’ll see,
And kill poor old Frank Petch.”

15. Up spoke another and he said
“Thou wants this kiln to fall,
But if she does thou may depend
It’s a bad job for us all.”

16. “Thou need not start to grunt and growl
About t’bad job, thou’ll see.
There’ll always be plenty of work
For either thee or me.”

17. “Thou doesn’t care for t’masters
When thou thy wage has got,
If’t kiln do fall in spite of us
And beggar all t’job lot.

18. “I don’t think it would beggar them
If she was down today,
Our gentlemen are very rich
As I’ve heard people say.”

19. “They’re very rich I must agree
But they’ve had heavy losses,
She has so many times given way
It’s sure to tax their purses.”

20. Some hundreds of pounds was paid –
Nay, thousand I may say,
But in spite of all that they could do
Part of this kiln gave way.

21. The workmen for awhile stood still
And looked sore amaz’d
And if we’d had the masters here
They might have gone quite craz’d..

22. It was a pity for to see
This noble kiln diminish’d
And worst of all she fell you know
Before she was quite finished.

23. The bricklayers too I’ve got to mention
Likewise their noble work,
I could not learn what were their names
They said they came from York.

24. And those were men of noble skill
They show’d their work was good
But it would have looked better
If only it had stood.

25. I wish you had been there to hear
The rumours on that day
Go where you will, you hear the cry
The kiln is giving way.

26. You that this kiln have never seen
You may believe my words
She was tied back you soon shall hear
With some large iron rods.

27. The rods began to crack and break
The workmen cried “Begum –
To the Blacksmith’s shop you must away
Tell Carter he’s to come.

28. “And while you thus to Carter go,
The Blacksmith for to tell,
Somebody else must run away,
And fetch Mr. Fell.”

29. And something else I now shall state
As clear as ever I can
And when you hear my story out
I think you’ll know the man.

30. It is not very long ago
They played the man a trick
I shall not state what is his name,
I’ll only say “Old Mick”.

31. This man was tired – There is no doubt
And he’d gone home to bed,
No doubt but this noble kiln
Was running in his head

32. But some one to his door came,
And in a haste did say,
“You must arise, a bad job’s up
The kiln is giving way.”

33. “And will she fall?” the inmate cried
“Yes that she will and soon,
You must be quick and come away
Or before you’re there she’s down”.

34. So without any more enquiring
This man did go to see
And the kiln was standing then alright,
How simple man must be!

35. But tricks like these are far too bad,
To either friend or foe
But what can you expect from those
Which do not better know?

36. I would have them for the future try
To do the best they can
And in their minds to always bear
That manners take the man,

37. But on this point I must not dwell
For they are leading the kiln away
And with the stones they’re mending t’road
I saw the other day.

38. And every body came to see
This kiln when she fell down
T’was such a crash! The news soon spread
In country and in town.

39. T’will be remembered there’s no doubt
As long as we’re alive,
And we’ll tell what passed in Rosedale
In eighteen sixty five.

40. And generations yet to come,
Will remember what I’ve said,
When the noble workmen of this kiln
Lie numbered with the dead

41. But a different plan they’ve tried at last,
And not a better one can be.
Instead of having her all in one,
They’ve made her into three

42. It’s thought she’ll stand and not disgrace
The last inventor’s plan,
But stone to calcine she will burn
Three times the age of man . . .

We’re only half way through – the finale of this fascinating poem will follow shortly, with a unique commentary by Malcolm Bisby.