Hilaire Belloc bought King's Land (in Shipley, Sussex), 5 acres and a working windmill for £1000 in 1907 and it was his home for the rest of his life. Belloc loved Sussex as few other writers have loved her: he lived there for most of his 83 years, he tramped the length and breadth of the county, slept under her hedgerows, drank in her inns, sailed her coast and her rivers and wrote several incomparable books about her. "He does not die that can bequeath Some influence to the land he knows, Or dares, persistent, interwreath Love permanent with the wild hedgerows; He does not die, but still remains Substantiate with his darling plains."

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Thursday, 19 March 2015

Celebration of Northwood Sculpture Project – Friday 20th March 2015...





Venue: Slindon Parish Church, Church Hill, Slindon, Friday 20th March

Dear Singers,

Please be at the church by 18.30 to give plenty of time for us to settle into the choir stalls, remember your surplices! No really, dress optional but anything green or blue would be an extra.

Parking is possible outside but the road is narrow, so I for one am going to the top of the hill, turn left at the junction, and park alongside the Slindon College wall on the left.

We have a loosely timed clear ‘running order’ with cues for the various songs on the night as below.

After an introduction to the evening, perhaps 5-7 minutes in:

• The Life of a Man

Then about 7-10 minutes later after a reading about the circumstances in which Belloc wrote the song:

Ha’nacker Mill

Then just before the interval (to raise the energy before a drink):

• Twanky Dillo
• West Sussex Drinking Song

In the second half...

About 10 minutes in, after a reading:

• Rosebuds in June

To end, again after a reading:

• On Sussex Hills

If you have not volunteered to sing to date and want to come, please email me so that I can identify you on the door.

Regards,

John C.

Editor’s notes:
1. The time being advertised by the organisers for this event is 7.30 to 9.30pm, further details here.
2. On the spelling of “Halnaker”: various spellings have been used over the years, with the modern-day spelling of course being “Halnaker”. If you search the internet for the lyrics to the song, invariably the spelling used is “Ha’nacker” and I must presume that this is the spelling that Belloc chose to use.

Tuesday, 17 March 2015

Belloc on Saint Patrick...



''There was once--twenty or thirty years ago--a whole school of dunderheads who wondered whether St. Patrick ever existed, because the mass of legends surrounding his name troubled them. How on earth (one wonders) do such scholars consider their fellow-beings! Have they ever seen a crowd cheering a popular hero, or noticed the expression upon men's faces when they spoke of some friend of striking power recently dead? A great growth of legends around a man is the very best proof you could have not only of his existence but of the fact that he was an origin and a beginning, and that things sprang from his will or his vision. There were some who seemed to think it a kind of favour done to the indestructible body of Irish Catholicism when Mr. Bury wrote his learned Protestant book upon St. Patrick. It was a critical and very careful bit of work, and was deservedly praised; but the favour done us I could not see! It is all to the advantage of non-Catholic history that it should be sane, and that a great Protestant historian should make true history out of a great historical figure was a very good sign. It was a long step back towards common sense compared with the German absurdities which had left their victims doubting almost all the solid foundation of the European story; but as for us Catholics, we had no need to be told it. Not only was there a St. Patrick in history, but there is a St. Patrick on the shores of his eastern sea and throughout all Ireland to-day. It is a presence that stares you in the face, and physically almost haunts you. Let a man sail along the Leinster coast on such a day as renders the Wicklow Mountains clear up-weather behind him, and the Mourne Mountains perhaps in storm, lifted clearly above the sea down the wind. He is taking some such course as that on which St. Patrick sailed, and if he will land from time to time from his little boat at the end of each day's sailing, and hear Mass in the morning before he sails further northward, he will know in what way St. Patrick inhabits the soil which he rendered sacred.''


An extract from Hilaire Belloc's essay: 'Saint Patrick'.

Thursday, 12 March 2015

The ‘Secret Shore’ project...





The traditional songs, folklore and history of the coastal region of the South Downs are being brought to life in this exciting project.

The ‘Secret Shore’ project, which has received a grant of £50,600 from HLF (Heritage Lottery Fund) along with the £10,000 contribution from the South Downs Society, is now recruiting volunteers over a two year period to learn the folk songs once popular in the harbour and coastal towns of the region. There will also be workshops in which participants can learn about and research the folklore and superstitions that once played such an important role in the lives of everyday people.

‘Secret Shore’ will conduct a survey of modern superstitions in the coastal towns and see how present-day beliefs compare with the ones recorded in Victorian times. Volunteers will also be trained to conduct oral history interviews so that the lives and stories of fisherman and other local people can be recorded for posterity.

The project is focusing its efforts in the towns of Littlehampton, Worthing, and Shoreham, including some of the most socially deprived wards in the South-East.

Half-day workshops on local History and Folklore will be held in Worthing in the spring, followed later in the year with Songs Workshops in Littlehampton and Shoreham.

The ‘Secret Shore’ project is based in offices in Worthing.

For more information about the History and Folklore workshops or the Songs workshops click on the following links:

History and Folklore Workshops

Songs Workshops




Tuesday, 24 February 2015

Unlocking the secrets of the high woods...




''It sounds like an apt name for the next instalment of Harry Potter. But, The Secrets of the High Woods, is far removed from fantastical fiction. Rather it is a fact-finding exercise by archaeologists to finally reveal the hidden history of woodland across the South Downs. The dense woodland at places such as Queen Elizabeth Country Park near Clanfield and Stansted Forest near Rowlands Castle looks to have been there for eternity.

But all is not as it seems.Two thousand years ago and further back in time, experts believe areas such as this were heavily farmed and probably hosted populations of native Britons.The secrets lie beneath the tree trunks and ferns, so some fairly sophisticated technology was needed to map a wide area.Archaeologists have turned to an airborne laser scan a technique traditionally used by engineers to survey for roads and pylons to get the answers they need. A plane flew over the South Downs and used a laser that could penetrate beneath the tree canopy. This created a 3D map showing all the lumps and bumps under the forest. The same technology was recently used to uncover the remains of a huge city at Angkor Wat in Cambodia. The large area being investigated stretches from the A3 at Waterlooville and across to the River Arun at Arundel in West Sussex. The result of the laser scan produced a 3D model which reveals an intricate field system across the landscape a sight to behold for any archaeologist worth their salt.This map is now being used as a basis for experts and volunteers to go out and explore these topographical features.

I join one group at Queen Elizabeth Country Park as they carry out more research. I meet the enthusiastic Dr Rebecca Bennett, who manages the project for the South Downs National Park Authority. She explains: 

‘Although the laser survey gives us lots of new information about the ground surface below the trees, it’s not intelligent. It doesn’t tell us what those features are. So bringing volunteers out on the ground is really important to our understanding.’

This is the second year of the three-year project, which is funded by a £661,800 grant from the Heritage Lottery Fund. At the moment teams are concentrating on fieldwork to look for any signs of human interaction with the landscape.

Dr Bennett spreads out a huge map on a picnic table that shows a lattice of lines across the downs – evidence of agriculture. Many of the lines are lynchets banks of earth that build up at the edge of a field ploughed over a long period of time. I am shown one of these lynchets, which is now crossed by a footpath used by walkers. To an untrained eye you would walk over it without blinking an eyelid, but the significance of this jigsaw of fields cannot be underestimated. ‘It’s outstanding,’ says Dr Bennett, who is 30 and lives in Petersfield. We had a suspicion there was an awful lot more than we already knew. But when we got the results we were really astonished there’s a heck of a lot going on here. The quantity of information we have collected is unprecedented for this area. That’s why we need two years and all these people helping us.This is giving us a completely different perspective on this landscape through the application of new digital technology. It’s quite hard for people to envisage this area as anything other than woodland. But we can show this land was used very differently.’

One question that springs to mind is why would people want to farm up on the downs? Dr Bennett explains: ‘It looks like much of this landscape was previously open farmland around the turn of BC to AD. For the most part, it’s been heavily used for agriculture.We were at a slight climatic optimum. Areas that were high up that we wouldn’t consider to be suitable for farmland today were suitable in those days. A good example is the Dartmoor Reaves within Dartmoor National Park – a really extensive field system in areas of moorland that, even with modern farming techniques, we can’t farm. We are talking about the late prehistoric/Roman period and we had higher populations than we had ever had in this country since the last Ice Age. So there was a boom in population and societal structure. It was basically exploitation of a resource. The Romans didn’t come here for the women or the weather  they came here because there were resources. Here the agricultural land was valuable to them and creating an agricultural economy. We know that grain for the troops was really important, but we can’t be certain they were doing that here.’

The project is not restricted to ancient times. ‘In this area there’s lots of evidence of military activity, such as practice trenches,’ says Dr Bennett.‘We go right the way through from field systems in prehistoric times, to Bronze Age barrows, right through to evidence of military activity in World War One and Two.’

Dr Bennett believes that the farming people lived on the downs, but where they lived is still an unanswered question. What is clear is they were the ordinary folk and not Roman nobles or aristocrats who lived in more glamorous locations like Fishbourne Roman Palace near the coast.

Dr Bennett explains that the name ‘high woods’ was in fact derived from a poem by Sussex poet Hilaire Belloc, who extolled the joys of walking in the downland countryside ‘in the high woods’ [my emphasis].

Rather than digging for clues as one normally imagines archaeology, this project hopes to shed light on our history from the surface. What’s exciting is it’s an unwritten book – currently with sketchy details – that may one day be a compendium of information about the history of the South Downs. And who knows what they might find if they do dig down beneath the surface?

‘It’s a different perspective,’ adds Dr Bennett. ‘And actually this is how most archaeology projects start – with a broader landscape view.''


Re-printed from The Portsmouth News: 'Unlocking the secrets of the high woods' (22nd January 2015).

To learn more about the 'Secrets of the High Woods' project click here





Tuesday, 3 February 2015

A bust of Belloc...



Sculptor Jon Edgar recently investigated an extant bust of Belloc, with a view to seeing whether there was ‘room’ for a posthumous bust or sculpture which tried to convey the emotive power obvious in some of the photographic imagery of the writer. At present we have precious little in the public domain, other than the decorative addition to the Horsham sundial. Jon's research (trawling through the archives of the Royal Academy and the National Portrait Gallery) also revealed a bust of Madame Belloc (the writer and feminist Bessie Parkes) and that the sculptor of both works was important in her own right. More here.

Jon Edgar’s Slindon Journal is regularly ploughing up old Belloc material for new audiences. In January, he remembered Eleanor Jebb’s testimony to her father Hilaire Belloc. She recollects how he made them fresh ash whistles whilst at Courtfield Farm. This is something he had learnt as a boy in Slindon:

"With some secret grasp he worked off the young rind from spring saplings some 3/4 inch thick and 6-8 inches long, having shaped the mouthpiece first at the wider end and cut out the notches for the notes at intervals of about 1/2 inch. This took a long time to execute, so great was our impatience to start making piercing and intolerable noises! I wonder if there is any man or boy left in Sussex who can still make these local whistles in season?"

That was written in 1956 so we can forgive gender discrimination. Jon offers a small prize for the first whistle received. Please pass this on to anyone you think might be a candidate and contact him through the Sculptor’s Journal.

Saturday, 10 January 2015

Epiphany poem...












When Jesus Christ was four years old,
The angels brought Him toys of gold, 
Which no man ever had bought or sold.

And yet with these He would not play. 
He made Him small fowl out of clay, 
And blessed them till they flew away. 

Tu creasti, Domine. 
Jesus Christ, Thou child so wise, 
Bless mine hands and fill mine eyes, 
And bring my soul to Paradise.


Set to music by Benjamin Britten.

From: Verses "The birds", published 1910.


Sunday, 21 December 2014

'How Far is it to Bethlehem?'...





This will be my final post before Xmas. This year I thought that my Festive contribution should be something a little bit more uplifting than Grizzlebeard's earnest wish that all his enemies might go to hell!

Frances Chesterton (1875-1938) was the wife of GK. She wrote a charming piece called 'How Far is it to Bethlehem', which has become a much loved Christmas Carol. It was originally written in 1917 and printed on Gilbert and Frances’ Christmas card to family and friends that year. It was then set to traditional English music and published by Novello & Co. in 1922. It's probably her most lasting legacy:


How far is it to Bethlehem?
    Not very far.
Shall we find the stable room
    Lit by a star?


Can we see the little child,
    Is he within?
If we lift the wooden latch
    May we go in?


May we stroke the creatures there,
    Ox, ass, or sheep?
May we peep like them and see
    Jesus asleep?


If we touch his tiny hand
    Will he awake?
Will he know we've come so far
    Just for his sake?


Great kings have precious gifts,
    And we have naught,
Little smiles and little tears
    Are all we brought.


For all weary children
    Mary must weep.
Here, on his bed of straw
    Sleep, children, sleep.



God in his mother's arms,
    Babes in the byre,
Sleep, as they sleep who find
    Their heart's desire.


Here it is sung by the Choir of Saint Patrick's Cathedral in Dublin.