Sherborne Times June 2023

DRAWING A CROWD with

Niall Hobhouse & Kendra Matchett of Shatwell Farm

WELCOME

For a change of scenery, I thought I’d write this in the shed. It’s an ordinary sort of shed but stained a deep, dark onyx, which in my mind elevates it to a status of architectural splendour, worthy of an Enki cover feature.

10 miles north of here, across the border, among unassuming silos, stands another dark timber shed, albeit one of genuine architectural significance and no doubt superior structural integrity. Designed by the late James Gowan in the early-mid 1970s, ‘The Gowan Shed’ was finally realised in 2021 by a team of A-Level students as part of the Architectural Summer School course, held each year since 2016 at Shatwell Farm in Yarlington.

Home to Niall Hobhouse and Kendra Matchett, the farm is also their chosen setting for Drawing Matter, ‘an organisation that explores the role of drawing in architectural thought and practice through exhibitions, publications, public events and workshops for students and practitioners’. It’s also the stronghold for Niall’s vast collection of architectural drawings dating from the 16th century to present day. Claire and Katharine meet the couple ahead of this month’s Open Day where the public will be afforded a glimpse behind the scenes of this fascinating project.

Elsewhere on these pages, we try not to distract Elsa Guerreiro, head conservator behind the challenging restoration of The Sherborne’s Thornhill Mural, we find Paul Merrony in the kitchen preparing pots of Fowey mussels then pop over to Bordeaux for a spot of lunch with David Copp. Oh, and Kate Mosse, the internationally bestselling author with sales of more than five million copies in 42 languages, considers the little old ST worthy of sharing an extract from her latest novel Ghost Ship. Kate happens to be in town on the 9th July if you’d like to thank her personally.

Have a great month.

Glen Cheyne, Editor glen@homegrown-media.co.uk @sherbornetimes

Editorial and creative direction

Glen Cheyne

Design

Andy Gerrard

Photography

Katharine Davies

Features writer

Claire Bowman

Editorial assistant

Helen Brown

Social media

Jenny Dickinson Print Stephens & George

Distribution team

Barbara and David Elsmore

Douglas and Heather Fuller

The Jackson Family

David and Susan Joby

Mary and Roger Napper Hayley Parks

Mark and Miranda Pender

Claire Pilley

Joyce Sturgess

Ionas Tsetikas

Lesley Upham

Paul Whybrew

CONTRIBUTORS

Laurence Belbin

Rebecca Beresford Mogers Drewett Solicitors

Elisabeth Bletsoe Sherborne Museum

Richard Bromell ASFAV Charterhouse Auctioneers and Valuers

Mike Burks The Gardens Group

David Burnett The Dovecote Press

Maya Caddick The Gryphon School

Paula Carnell

Cindy Chant & John Drabik

David Copp

Rosie Cunningham

Lydia Ferrari

Lydia’s Willow Weaving

James Flynn Milborne Port Computers

Simon Ford

Elsa Guerreiro International Fine Art Conservation Studios

Craig Hardaker Communifit

PO Box 9701

Sherborne DT9 9EU

07957 496193

@sherbornetimes info@homegrown-media.co.uk sherbornetimes.co.uk

ISSN 2755-3337

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Dawn Hart YogaSherborne

Andy Hastie Yeovil Cinematheque

Alex Hennesey Dorset Wildlife Trust

Sarah Hitch

The Sanctuary Beauty Rooms and The Margaret Balfour Beauty Centre

Rob Holly Yeovil Round Table

Richard Hopton Sherborne Literary Society

Safia Hothi-Bellamy Pure Punjabi

James Hull The Story Pig

Annabelle Hunt Bridport Timber

Elizabeth Kingman Wick Charity Music Festival

Lucy Lewis Dorset Mind

Eleanor Livingstone BVSc MRCVS DBR Friars Moor Livestock Health

Paul Maskell

The Beat and Track

Tom Matkevich

The Green Restaurant

Paul Merrony

Newell French Bistro

Gillian Nash

Paul Newman & Emma Tabor

Mark Newton-Clarke

MA VetMB PhD MRCVS

Newton Clarke Veterinary Surgeons

Jan Pain

Sherborne Scribblers

Lois Pearson Beaminster Festival

Sam Peters Planted

Miroslav Pomichal

Mark Salter CFP

Fort Financial Planning

Steve Shield

Sherborne Town Council

Jonathan Simon

Sacred Heart and St Aldhelm Church

Martin Stepney Sherborne Prep

Val Stones

Hugh Tatham Sherborne School

Joanna Weinberg Teals

Image courtesy of Ian Davenport Studio, photography by Todd White

ARTIST AT WORK

No.55

Miroslav Pomichal Peasants’ Revolt 2, oil on canvas, 100 x 85cm, 2022 £3,400 Peasants’ Revolt 3, oil on canvas, 100 x 85 cm, 2022 £3,400

Isometimes feel like a split personality; with my body in England and my heart in Slovakia (where I am from), or my term-time teaching and then painting and exhibiting in the holidays. But it all makes sense to me and, in actual fact, there is a rightness and balance to this. My usual modus operandi is to disappear to the countryside in Slovakia, having planned large works, and getting on with it in the seclusion and obscurity of the mountains. I go for long walks while I wait for layers of paint to dry. I listen to a lot of music while I work, and catch up on obsolete Czech, Slovak, Polish and Hungarian poetry and prose from the era of the old monarchy and of Communism. This all informs the work I make in Slovakia and there is a certain edge and sharpness to it. I suppose any and every gesture in that region becomes a political one, though I try to consciously avoid it. But recently I have, incrementally, become

comfortable making art in Dorset – on a small scale but infused with something of the English tradition, particularly the legacy of Samuel Palmer, and the languages of the ‘Gothic’. At the moment these practices overlap but are not yet joined in fusion. I am also moving away from large-scale works generally, which often buckle under their own metaphorical weight – if I can make little gems bursting with energy, then I shall be a happy man.

Miroslav Pomichal is currently exhibiting work at OHSH Projects (Peckham Arches London). He will be exhibiting with them again in August; in September will be showing at an institutional group show in the Central Slovakian Gallery in Banska Bystrica; and in December at Bobinska Brownlee New River in London.

@miroslavpomichal

The home of Country House opera in South West England featuring renowned soloists, a full orchestra and a large chorus of emerging young artists

Marquee bar | Picnics | Formal Dining

Jules Massenet

LE ROI DE LAHORE

Sung in French with English surtitles | 24 to 29 July 2023 | dorsetopera.com

Wolfgang Amadeus Mozart

LE NOZZE DI FIGARO

Sung in Italian with English surtitles | 24 to 29 July 2023 | dorsetopera.com

Coade Theatre, Bryanston, Blandford Forum

Box Office: dorsetopera.com

07570 366 186

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Original design by Augusto Ferri for the first Italian production of Le roi de Lahore in 1878

ON FILM

Andy Hastie, Yeovil Cinematheque

Ouentin Dupieux is a French artist specialising in film-making and electronic music. His work is highly surreal and comedic, with plenty of absurdity thrown into the mix for good measure. As an example, his 2009 film Rubber tells the story of a car tyre that comes to life and kills people using psychokinetic powers. It was generally praised while splitting audiences at various film festivals, with the Huffington Post noting that ‘Dupieux succeeds in creating an entertaining, sometimes even tense horror film...It is an uber-cerebral spoof that is at once silly and smart, populist yet high-brow like absurdist theatre’. With this background is it any wonder that we at Cinematheque have chosen Quentin Dupieux’s Deerskin (2019) for our final showing, on 14th June, in our 40th season of films at the Swan Theatre.

Now able to attract bigger-named stars to work with, Quentin Dupieux casts Jean Dujardin as Georges, a man desperate to buy the deerskin jacket of his dreams, and Adele Haenel as an aspiring film editor/barmaid, Denise, he encounters along the way. With his rugged matinee-idol good looks and a string of Best Actor awards to his credit, Dujardin,

who became a world-class player 12 years ago as the lead in the Oscar-winning black and white silent film tribute, The Artist (2011), plays Georges as a clueless buffoon in pathological denial about his desperate plight. Having driven into the countryside to buy the ridiculously overpriced second-hand tasselled jacket, the seller throws a digital camcorder into the deal. With his ex-wife freezing his bank account, Georges checks into a hotel, pretending to the barmaid that he is in town to make a film. This barmaid is Adele Haenel, another multi-award winning French actor, last seen at Cinematheque in the Oscar-winning Portrait of a Lady on Fire (2019), another definite ‘must see’ beautiful film.

The deadpan tone of Deerskin takes a darker turn as Georges hears his new jacket telling him it wants to be the only jacket in the world. He decides to film himself convincing local townspeople to give up their jackets, which he steals and buries in a hole. Denise shows interest in editing the film, lending money to finance it, and encourages Georges to take more extreme and sinister action to fulfil his jacket’s desire. Repeatedly laugh out loud funny and gloriously crazy, much of the

humour comes from watching two great actors playing this ridiculous and quirky film completely straight.

‘Entirely bizarre, uncompromisingly silly and intensely French horror-comedy’ Peter Bradshaw, The Guardian, ‘Wickedly funny’ Little White Lies Magazine, ‘Hilarious and unhinged’ Indiwire Magazine.

Another season completed then as we rebuild significantly after lockdown, thank goodness. Do feel free to come as a guest for £5 to Deerskin, or wait until I can tell you when our new season will start at the Swan Theatre in September and reveal the films to be shown over the coming months. All details will be on the websites below.

cinematheque.org.uk

swan-theatre.co.uk

Wednesday 14th June 7.30pm

Dearskin (2019) 15

Cinematheque, Swan Theatre, 138 Park St, Yeovil BA20 1QT Members £1, guests £5

Dearskin (2019)

CONFESSIONS OF A THEATRE ADDICT

Rosie Cunningham

Operation Mincemeat is on at the Fortune Theatre in London. When a friend suggested that we go, I was ignorant about what it was all about. This is a true story of a covert military operation which took place in 1943 during World War II and which, ultimately, helped to turn the tide against the German onslaught by diverting Nazi attention from a supposed allied invasion of Sicily to Greece. The plan was both preposterous and farcical, dreamt up by intelligence officers who appeared to be running out of ideas. Take a dead body, clothe him in Royal Marine uniform, attach a briefcase to his wrist filled with supposedly important and highly confidential documents and shoot him out of a submarine in Spanish waters so that he washes up for the Germans to find. This is a musical comedy, with five cast members playing all of the characters, three of whom created and wrote the show. The performance is polished and slick, with actors moving pieces of scenery around and off the stage as they change costume and persona. The songs were catchy and clever. The cast was

excellent, however special mention to Christian Andrews who stepped up from understudy and smashed his performance. This is a clever, uplifting piece of theatre and definitely worth a visit. On until 19th August.

I did finally get to see A Streetcar Named Desire starring Paul Mescal, who won best actor at the recent Olivier Awards for his role as the frightening and domineering Stanley. The play was excellent and deserved all the plaudits. For me, it was Patsy Ferran, as an incredibly brittle and fragile Blanche DuBois, who stole the show. She stepped into the role at the last minute and received Best Actress at the Critics’ Circle Theatre Awards. Whilst the show has ended, Patsy Ferran is playing in George Bernard Shaw’s Pygmalion at The Old Vic from 6th September, and I have booked my ticket.

John’s Steinbeck’s Of Mice and Men came to the Theatre Royal Bath. An author famed for his unrelenting downbeat views of life, this story of farm workers in the Great Depression who led punishing lives and squandered their monthly pay-cheque on

Of Mice and Men - Simon Darwen as Slim and Tom McCall as George

gambling, drinking and the cat house, carries very little hope. The main protagonists are two friends who travel together looking for itinerant agricultural jobs. George, able and fast-witted, looks out for Lennie, a gentle giant whose strength and mental impairment get him into trouble, causing them to constantly be on the move. With no money but a shared dream of one day owning a simple house on a small plot of land, gives them the hope to sustain their unrelenting journey. Curly’s Farm, the location of the play’s action, is rendered in sharp, bleak, and unrelenting metal and wood to emphasise the unfriendliness of the environment. The unfolding drama, of hard-bitten men who favour fighting and guns rather than talk, is full of tense emotional standoffs which leave the audience wearied. The production is true to the book and an impressive performance of an endearing but doomed friendship.

thefortunetheatre.com

oldvictheatre.com

Image: Mark Senior

AN ARTIST’S VIEW

Laurence Belbin

Due to my immobility of late, I haven’t manage to get out and about. Therefore the drawings here were done a while ago with the view to using them at some point. Both drawings are quite small as they were done in the little sketch pad I usually take with me wherever I go.

Car boot sales are great places to observe people, both buyers and sellers. The body language itself is an eye-opener – the seller, looking carefully and almost indifferently at the buyer who in turn scrutinises an object intensely trying to find a way of undervaluing it before asking for a drop in price! All great fun! The range of ‘stuff’ to pick over is endless and the material for drawing is also endless if you

have an eye for a picture. There is always a mirror with Elvis on it on someone’s stall. Homemade jams and marmalades along with plant cuttings and baby clothes make up a large portion of the seller’s ware. There seems to be an abundance of hurricane lamps and rusty saws, another time it could be dog crates and fishing tackle! There is an atmosphere at these sales which is very enjoyable. You meet friends and acquaintances and have a chat and a joke. I enjoy drawing at events like these – markets, fetes and farm sales. I often come away with things I’m not sure what to do with but given time I will find some use for one day. I could easily mistake this scene for the inside of one of my sheds, except for the mirror!

I sometimes have people come up behind me and watch me draw. I generally don’t mind this as I have always worked on public view but some of the comments stop me in my tracks. I’d almost finished doing a painting on a Cornish beach when someone asked me what I was painting! I didn’t think it was that bad that it couldn’t be recognised!

Our County town of Dorchester holds a wealth of subjects. After a walk along the river, past the prison, I took a little path between houses leading up to the High Street. I stopped just before I emerged into the hustle and bustle and did this pencil and pen drawing. The backs of houses with all the things which are normally hidden from

the high street walkers’ sight make an interesting subject. What to leave out and what to simplify is the key. You can hint at a lot with just a few lines in the right place. We all know that the row of sheds on the left was once outside toilets – I think a few still are. Their new lease of life is an asset to the small cottages to which they belong – a useful storage place for all the stuff you bought at the boot sale! A lady stopped to chat and admired the drawing. One of the houses was hers and she said she should have tidied up the recycling bins! It would have lost something if she had.

laurencebelbin.com

COUNTER CULTURE

Paul Maskell, The Beat and Track

No. 20 James Maynard Keenan: A Progressive Force in Alternative Music

If there is one name in modern alternative rock that is synonymous with innovation, it is James Maynard Keenan. Best known as the frontman for three of the most influential bands in modern music: Tool, A Perfect Circle, and Puscifer, Keenan has carved out a place for himself as a leading figure in the world of progressive music.

Born on 17th April 1964, in Ravenna, Ohio, Keenan’s musical journey began at a young age when he learned to play the piano. However, it was not until he joined the military and was stationed in Germany that he discovered his true passion for music. In 1988, he moved to Los Angeles to pursue a career in music.

It was not long before Keenan found success. In 1990, he formed the band Tool with guitarist Adam Jones, bassist Paul D’Amour and drummer Danny Carey. Tool quickly gained a reputation for their innovative sound, blending metal, alternative and progressive rock with Keenan’s distinctive vocals.

With the release of their debut album, Undertow in 1993, Tool established themselves as a force to be reckoned with on the alternative music scene. The album’s dark and brooding sound, combined with Keenan’s introspective lyrics, earned the band critical acclaim and a legion of devoted fans.

Tool’s 2001 album, Lateralus solidified their position as one of the most innovative and ambitious rock bands of their time. The album is a sprawling, labyrinthine journey through a variety of musical styles and emotional states, with Maynard James Keenan’s cryptic lyrics providing the perfect complement to the band’s virtuosic instrumental prowess. From the tense, explosive opener The Grudge to the epic, 11-minute title track, Lateralus is an immersive, intense experience that demands repeated listens to fully appreciate.

Over the years, Tool has continued to push the boundaries of alternative music, exploring themes of spirituality, personal growth and social commentary.

Milan Risky/Shutterstock

Their intricate compositions, complex rhythms and Keenan’s evocative vocals have set them apart as one of the most important bands of their generation.

In addition to Tool, Keenan also fronts A Perfect Circle, a band that he formed in 1999 with guitarist Billy Howerdel. A Perfect Circle’s sound is characterised by its use of atmospheric textures and haunting melodies, creating a sense of otherworldliness that sets them apart from their contemporaries.

A Perfect Circle’s first album, Mer de Noms was released in 2000 and quickly became a commercial and critical success. Mer de Noms was a dark, moody album that showcased Keenan’s more melodic, reflective side. The album is anchored by Keenan’s vocals, which range from delicate whispers to powerful, soaring choruses over lush arrangements and complex rhythms. From the haunting Judith to the uplifting 3 Libras, Mer de Noms is a masterclass in atmospheric rock.

Over the years, A Perfect Circle has continued to explore new sounds and themes, blending elements of alternative, rock and electronic music to create a sound that is truly their own.

In 2007, Keenan formed Puscifer, a band that he has described as, ‘the space where my id, ego and anima all come together to exchange cookie recipes.’ Puscifer’s music is characterised by its experimental nature, blending elements of rock, electronic and industrial music to create a sound that is both unique and challenging.

Puscifer’s first album, V is for Vagina, was released in 2007 and was met with critical acclaim. The album’s eclectic sound and Keenan’s quirky lyrics established Puscifer as a band that was unafraid to push the boundaries of alternative music.

Puscifer’s most acclaimed album, Conditions of My Parole, is a testament to Keenan’s ability to disregard the rules, creating a sound that is both innovative and unpredictable. Keenan’s vocals are as emotive as ever but here they are often filtered through layers of effects, creating a sense of detachment and unease. The standout tracks include the hypnotic Telling Ghosts and the catchy, anthemic Man Overboard, but the album is best appreciated as a whole, as it takes the listener on a journey through a surreal, otherworldly landscape.

Over the years, Puscifer has continued to explore new sounds and themes, experimenting with everything from country music to spoken word poetry.

Despite the differences between the three bands that Keenan fronts, they all share a common thread: a

commitment to the pushing of boundaries.. Whether it is Tool’s complex compositions, A Perfect Circle’s haunting melodies or Puscifer’s experimental sound, Keenan’s influence is felt in every note.

Live, Keenan is a purveyor of absolute quality. Tool’s live experience is a truly immersive and unforgettable event. The band is known for their elaborate stage setups, which often include mesmerising visuals, intricate lighting and stunning video projections. The musicianship is unparalleled, with each member displaying incredible technical skill and a deep sense of musical interplay. Maynard James Keenan’s vocals are just as powerful in a live setting as they are on record and his stage presence is commanding and enigmatic. He often performs behind a curtain or in shadow, adding to the mysterious, ethereal vibe of the show. Tool’s concerts are also known for their length and intensity. The band frequently performs epic, extended versions of their songs, sometimes stretching them out to twice their studio length. The result is a sense of cathartic release and emotional transcendence that leaves audiences feeling exhilarated and transformed.

Despite his success, Keenan remains humble and grounded. In interviews, he often speaks of the importance of artistic integrity and staying true to oneself. He has also been open about his struggles with addiction and the importance of seeking help when needed.

Keenan continues to push and challenge himself musically with his three bands and also in recent years through other creative endeavours, including winemaking and acting.

As we look to the future of alternative music, it is clear that James Maynard Keenan’s influence will continue to be felt. His commitment to innovation, artistic integrity and personal growth has earned him a place as one of the most important and respected figures in the genre.

thebeatandtrack.co.uk

Tuesdays 7-8pm

Under the Radar Abbey 104

The Beat and Track’s Paul Maskell often joins presenter Matt Ambrose on his weekly radio show, bringing you the best new sounds from established underground artists and new and rising acts from across the world. Listen live on 104.7FM or online at abbey104.com

Mondays & Thursdays 1.30pm-4pm

Sherborne Indoor Short Mat Bowls

West End Hall, Sherborne 01935 812329. All welcome

Mondays 2pm-5pm & Tuesdays 7pm-10pm

Sherborne Bridge Club

Sherborne FC Clubhouse, Terraces 01963 21063 bridgewebs.com/sherborne

Tuesdays 10am-12pm

Fine Folk Dancing

Charlton Horethorne Village Hall £2.50 per session. Beginners welcome. 01963 220640.

Every 1st & 3rd Thursday 10am-12.30pm

Castleton Probus Club

The Grange, Oborne, DT9 4LA New members welcome. edwardhiscock6@gmail.com

WHAT'S ON

Every 1st Thursday 9.30am

Netwalk for Business

Owners & Entrepreneurs Pageant Gardens. @Netwalksherborne

Thursdays 1.45pm-4.45pm

Rubber Bridge

Sherborne Bowls Clubhouse, Culverhayes car-park 01963 21063

bridgewebs.com/sherborne

Thursdays 7.30pm-9.30pm St Michael’s Scottish Country Dance Club Davis Hall, West Camel £2. Call Elspeth 07972 125617 stmichaelsscdclub.org

Saturday 3rd and Sunday 4th 10am-5pm Plant Fair

Free entry to Makers Yard & Plant Fair. Entry to Sculpture Park £14.50. No children under 14. sculpturebythelakes.co.uk

Sunday 4th 6.30pm

Rosa Torr: Rattus Rattus: The Epic Tail of Man vs Rat The Gaggle of Geese, Buckland Newton. 01300 345249. £5 Recommended 12+ artsreach.co.uk

Monday 5th – Saturday 10th

7.30pm (Saturday 10th 2.30pm)

Amateur Players of Sherborne Whose Life Is It Anyway?

Sherborne Studio Theatre, Marston Rd

£9-£12 07786 070093 aps-sherborne.co.uk

Wednesday 7th 10.45am for 11am

Sherborne Probus Club TalkMy Travels in Vietnam

The Grange, Oborne DT9 4LA probus-sherborne.org.uk

Wednesday 7th 3pm and 7pm

Ludwig van Beethoven –Classical Music’s Greatest Revolutionary Digby Hall, Hound Street Free for members, £7 for non-members theartssocietysherborne.org/

Thursday 8th 7.30pm

Sherborne & District Gardeners’ Association Talk ‘Hardy

Geraniums, a Geranium for Every Location’

Digby Hall, Hound Street All welcome. 01935 389375

Friday 9th - Sunday 11th

Planted Country

Stourhead, near Mere, BA12 6QD

THE FREE WESSEX ARTS AND CULTURE GUIDE

EVOLVER MAGAZINE

Pick up your copy at arts venues, galleries, museums, art shops, cafés, libraries and tourist information centres (etc) throughout Dorset, Somerset, East Devon, West Wiltshire, Bristol and Bath Or subscribe online at: evolver.org.uk

Instagram: evolvermagazine

At Stourhead, Wiltshire

Three days of nature-based sustainable design

Talks, workshops, design, nature, food, market stalls & installations

Book tickets in advance planted-community.co.uk

Environmentally focused workshops, installations and a nine-part talks programme. Non-National Trust members £7 in advance or £12 on the door. planted-community.co.uk

(see page 22)

Saturday 10th 2pm-4pm

Poyntington Village Plant Fair

Plants, produce, tombola, duck racing, teas. Manor House Garden open

Saturday 10th 7.30pm

Friends of the Yeatman

Hospital Fundraising Ceilidh

The Digby Hall (next to the library), Hound Street

£12 in advance sherbornefolkband.org, £16 on the door

Sunday 11th 10am-4pm

Story Pig Open Farm

Lavender Keepers, Great Pitt Lane, Sandford Orcas DT9 4FG

Live music, hog roast, tractor rides, face-painting

Sunday 11th 11am-5pm

Yetminster & Ryme Intrinseca

Charity Open Gardens

£5 to all gardens, under 12s free Refreshments in Jubilee Hall

Saturday 15th 7.30pm

The Wessex Big Band Martock Church TA12 6JL

Tickets: £12 or £10 from Guardianstickets@gmail.com

07547 213992, Martock Gallery, Martock Newsagent

martockonline.co.uk/events

wessexbigband.tripod.com/bandHistory

Saturday 17th 10am-12.30pm (last repair 12.15pm)

Repair Cafe

Cheap Street Church Hall. Bring household items to be repaired & avoid landfill. repaircafesherborne@gmail.com or @repaircafesherborne

Saturday 17th and Sunday 18th 2pm-6pm

Cerne Abbas Charity

Open Gardens

£8 for adults, under 16 free. cerneabbasopengardens.org.uk

Sunday 18th 3pm

Wessex Strings Concert

Cheap Street Church. Tickets £10 from Winstone Books (cash only) or £12 on the door. 18 years and under free.

Wednesday 21st 10.45am for 11am

Sherborne Probus Club TalkProdigal Bikes

The Grange, Oborne DT9 4LA probus-sherborne.org.uk

Friday 23rd

Sunset Cafe Stompers with Enrico Tomasso (trumpet and vocals) Cheap Street Church, Sherborne. £15. Bookings: raymondwood1949@gmail.com

Sunday 25th 2pm-4pm Singing Bowl Soundbath Oborne Village Hall, DT9 4LA £15. Advance bookings 01935 389655

beaminster festival 2023

MUSIC THEATRE ART LITERATURE

or ahiahel@live.com

Friday 30th 7.30pm

Summer Concert HMS Heron Royal Navy Volunteer Band St James Church, Longburton

Tickets £10. 07585 338150

Planning ahead

Saturday 1st July 7pm

Brainfools: Lucky Pigeons

Halstock Village Hall Field 01935 891744. £10, £5 u18s, £25 fam artsreach.co.uk

Saturday 1st July 7.30pm-11pm

Sherborne Douzelage Barn Dance/Ceilidh

Three Inch Fools As You Like It

Talent in the Town Exhibition

Braimah Kanneh-Mason Violin

Sue Stuart-Smith ‘Well Gardened Mind’

Choir of Clare College, Cambridge Choral Concert

Richard Gowers Organ

Stephen Moss ‘Ten Birds that Changed the World’

Timothy Ridout Viola

Ethan Loch Piano

Sacconi String Quartet and Morgan Szymanski Guitar

Ryan Corbett Accordion

Tom Fort ‘Rivets, Trivets and Galvanised Buckets’

Yuanfan Yang Piano

Faith I Branko Serb/Roma/Jazz

Dominic Alldis and Friends Jazz and Cabaret

Alison Weir ‘Henry VIII The Heart and the Crown’

Zoots Sounds of the 60s and 70s/Dance

Orpheus Sinfonia Gala Symphony Concert

JUNE 11 - JULY 2

Information and tickets : www.beaminsterfestival.com

Digby Memorial Hall, Digby Rd

Tickets £15 (includes ploughman’s supper) from Winstone’s or 01963 251255 marydmc38@gmail.com

Sport

Sherborne Cricket Club

The Terrace Playing Fields

Dorchester Road, Sherborne, Dorset DT9 5NS

Men’s 1st XI (1pm KO)

Saturday 3rd

Bere Regis (H)

Saturday 10th

Martinstown (A)

Saturday 17th

Blandford (H)

Saturday 24th

Dorchester (A)

Saturday 3rd

Weymouth (H)

Saturday 10th

Parley (A)

Saturday 17th

Charlton Down (H)

Saturday 24th

Marnhull (A)

Compton House Cricket Club

Over Compton Sherborne, Dorset DT9 4QU

Men’s 1st XI (1pm KO)

To include your event in our FREE listings please email details – date/ time/title/venue/description/price/ contact (max 20 words) – by the 5th of each preceding month to listings@homegrown-media.co.uk

Sunday 9th July

Digby Memorial Hall, 6.30pm for 7pm start

Tickets £7, or £20 with a signed copy of the book.

Tickets available online at www.shop.winstonebooks.co.uk or in store

Fair

3rd and 4th June 2023

Showcasing a range of exhibitors offering a spectacular array of plants and garden must haves, as well as the opportunity to talk to experts and gain helpful advice.

TICKETS

£14.50 PER PERSON

The Summer Festival

28th June - 2nd July 2023

Join us for a spectacular event with artists and makers, live fire cooking plus all things BBQ, and beautiful things for your home and garden.

For more information visit:

A NEW LEAF

Sam Peters, Co-founder, Planted

Iloved my old job as a sportswriter. Who wouldn’t want to be paid to travel the world covering the biggest matches in the largest stadiums in the greatest cities on earth?

For almost two decades, I never imagined doing anything else. But as someone who had always felt happiest in the outdoors, surrounded by nature, the more I learnt about climate change and biodiversity decline, the more uncomfortable I felt jetting around the planet to watch sport. I realised I was part of the problem.

Between 2010 and 2017, my wife Debs ran a business called designjunction. It was the coolest, most talked about design event in London. I was incredibly proud of her for identifying a gap in the market and developing the event into a thriving business.

But while designjunction looked amazing and presented the best British and international design in raw industrial venues, environmentally there was a problem: waste. And lots of it. Tonnes of rubbish was bagged up post-event and sent to landfill.

When our daughter Ella was born in 2017 and I was set to fly to New Zealand to cover the British & Irish Lions tour, Debs and I decided it was time for a change.

We had suffered a devastating family tragedy three years previously, losing our three-month-old nephew Edward to sudden infant death syndrome, and if Debs and I knew one thing, it was that we needed to be together as a family early in Ella’s life.

I quit my job as rugby correspondent at the Mail on Sunday, Debs sold designjunction and between us, we embarked on a new life as unemployed but present parents of a much-loved little girl.

In the months after Edward died, I’d sought solace in the beautiful woodlands in the Nadder Valley near Tisbury, where my parents had a tiny two-bedroom cottage which Debs and I had been lucky enough to escape to from London before Ella was born.

Through that dark time, I also found a sense of peace when caring for and nurturing the gardens of that special little cottage. I’d spend hours lost in birdsong, hands in the soil, tending the plants. In the evenings I’d run up to Groveley Wood, breathe in the woodland smells, observe the trees, calm my soul.

Nature saved me during that time.

So when Debs and I, new parents working out what we were going to do next with our lives, were introduced

Images: Ellis Reed

to biophilic design through our friend Stewart Dodd, chief exec at River Cottage, we had our Eureka moment.

Biophilia simply means the love of nature. And biophilic design works on the principles, rooted in science, that human beings are happier, healthier and more productive when connected to the natural world.

That calming effect following Edward’s death was real. It’s a scientific fact that humans have better mental and physical health outcomes when connected to nature, while patients in hospitals with views of nature recover faster.

Through meeting Stewart’s friend Oliver Heath, one of the world’s leading experts on biophilic design – or nature-based design as we prefer – we began to imagine a business combining our twin passions of nature and design, which we would promote using our events and media expertise. We began to imagine Planted.

At the height of the pandemic, we began to build a platform which not only tackled the most pressing issue facing humanity, namely climate change and the mass species extinction, but also positively impacted the wasteful events industry by showing another way.

We committed to sending zero waste to landfill with all stands and installations at Planted events being reused or repurposed. We publish all our metrics around consumption, run all our talks from renewable energy and diesel generators are an absolute no.

We launched in 2021 at King’s Cross London where we struck up a great conversation with the National Trust, agreeing to bring Planted Country to Stourhead in May 2022.

Almost 6,000 people attended across three days. We filmed a series of ‘Save our Soil’ talks in front of our mobile off-grid cabin, while our Botanical Market and Natural Living sections showcased businesses that place nature at their heart.

And I’m delighted to say we are back again this year,

running from 9th-11th June with the nine-part talks programme ‘Cool Design, Sustainable Futures’ sitting alongside nature-based workshops, local, seasonal food offerings, Botanical Market and Natural Living sections showcasing the very best sustainably made furniture, design and lifestyle brands.

We are building a unique event promoting some of the most progressive thinkers in the worlds of architecture, nature, food and design. All with a common goal; finding solutions to climate change and biodiversity loss.

We want to inspire and educate people about the value of nature and are incredibly excited about the amazing line-up of speakers, including authors Siddarth Shrikanth (The Case for Nature), Jennifer Bell (The Uncommoners), Charles Dowding (No Dig Gardening), Tim Smedley (The Last Drop), environmental campaigners including Brontie Ansell, co-founder (Lawyers for Nature) and Julia Davies (We Have the Power).

We will also be hosting some of the leading thinkers in regenerative farming including Paul Cherry from Groundswell Agriculture and Martin Lines (Nature Friendly Farmers Network) in what is set to be another glorious three days at Stourhead.

@planted_community

Planted are offering Sherborne Times readers the chance to win an overnight stay in the Planted Cabin. To enter, visit planted-community.co.uk and subscribe to their newsletter.

Friday 9th - Sunday 11th June

Planted

National Trust Stourhead, near Mere, Wiltshire, BA12 6QD Tickets £10 via planted-community.co.uk

Celebrating performing and creative arts, music, cinema and theatre

Hanford School NGS Open Gardens, Sunday 25 June

Plus Teas, Cake, Magic Show and Live Band

Hanford School, Child Okeford, Blandford, DT11 8HN

Image: Steve Tarrant

Image: Len Copland

AFWM CLASSIC AND SUPERCARS SHOW 2023

Rob Holly, Yeovil Round Table

Regarded as one of the premier classics and supercar shows in the South of England, in 2022 we celebrated the 17th edition of the show and had upwards of 2,000 cars on display, from veterans to the latest supercars.

The 2022 show was the first run by the new organising team compromising of Rotary, Lions, Round Table and non-affiliated members and was praised as a great success despite the sweltering weather. The show committee had the pleasure of distributing over £60,000 to 13 southwest-based charities within a 30mile radius of the show site at Sherborne Castle.

The main beneficiary of the 2022 show was Children’s Hospice Southwest, which was awarded £20,000. Other beneficiaries included Yeovil Opportunity Group, Freewheelers, PromiseWorks, Sherborne Area Youth & Community Centre, The Children’s Air Ambulance, Family Counselling Trust, Somerset & Wessex Eating Disorders Association, The Balsam Centre, Water Survival Box, The Rendezvous Sherborne, Somerset Sight and Sherborne Good Neighbours. Each beneficiary had applied online, nominating a specific project for which they were requesting funding.

Request for the 2023 show are now closed but we are delighted to announce that the main beneficiary of this year’s show will be Ronald McDonald House Bristol, a charity which provides support and accommodation to families with children receiving treatment at Bristol Children’s Hospital. The charity provides free ‘home away from home’ accommodation so that families have a warm and comfortable place to rest, eat and relax just moments away from their child’s hospital ward.

Following on from celebrating 100 years of Jaguar at the 2022 show, we are proud to announce that the marque feature of the 2023 show is Triumph

Motor Company. Triumph celebrates its centenary anniversary this year and looks to bring a selection of cars from its long list of iconic models. Loved by car enthusiasts for their charm and charisma, Triumph cars have been featured in many films and TV shows, including Dr No, Thunderball, Diamonds are Forever and Starsky and Hutch.

This year’s show will continue from the success of the skills area with increased hands-on activities for all the family to get involved with or watch. This will feature many professionals at work demonstrating engine rebuilding, upholstery restoration, car detailing and more. Along with the skills area, there will be our usual craft stalls, trade stands and charity stalls.

A major part of the show is the excitement of the various parades that will run down the main strip in front of the historic castle itself. Filled with supercars, classic cars and rare exotic cars this is the place to be during the day but if you are in need of refreshments or rest from the excitement, our catering village will provide a wide range of interesting food and a place to relax and listen to the local music acts.

There are still a limited number of spaces available for you to bring along your cherished cars to display for visitors to view. If your car would be suitable, please book your entry via our website – we can’t wait to see what you all bring.

classic-supercars.co.uk

Sunday 16th July 10am-4.30pm

AFWM Classic and Supercar Show

Sherborne Castle. Tickets: Adult £17 (advance) £20 (on the gate). Child (accompanied under 16 yrs) FREE. Advance tickets available online at classic-supercars.co.uk Price includes 1 x show guide. Parking FREE. Dogs on leads welcome.

WICK CHARITY MUSIC FESTIVAL

Elizabeth Kingman

It was just another day on his Charlton Horethorne farm for Chris Sprake. May 2020 and Chris was happily going about his duties when he had a horrific accident on his quad bike. His son Will called 999 and soon the Dorset and Somerset Air Ambulance had landed, stabilised Chris and rushed him to Southmead Hospital in Bristol. The speed of transition to the hospital was crucial to his survival. Chris then spent four weeks in hospital with a serious brain injury before being transferred to The Poole Brain Injury Unit for a further four weeks of rehabilitation. With the support of his wife Sarah and his children Will, Tom, Charlie and Katherine and the wonderful staff at The Brain Injury Unit, Chris fought his way back to health.

Today, 3 years on, Chris is able to lead a nearnormal life working on the farm, driving and running his shoot during the winter. Most importantly of all, he is still the husband and dad sitting at the head of the table – there for his family, supporting them in life. His recovery is nothing short of a miracle.

The desire to raise funds for the charities that helped Chris – Dorset and Somerset Air Ambulance, The Poole Brain Injury Unit and Headway – along with a desperate need to have some fun postlockdown, last year inspired myself and a group of local women, led by Sarah, to create the Wick Charity Music Festival. With no experience in event management, our determined group soon discovered the huge costs involved in staging a music festival. We were lucky to receive wonderful support and sponsorship from businesses and individuals and the event went ahead. It was a success, a lot of fun and we raised £12,000 – a staggering amount for a first attempt, which was split between the three charities.

Building on last year’s event, we are delighted to announce that the Wick Charity Music Festival is returning for 2023. We are again supporting the

Dorset and Somerset Air Ambulance and also this year, The Eve Appeal, which raises funds for research for women’s gynaecological cancers. Each day 58 women will be diagnosed with a gynaecological cancer and 21 will die. The Eve Appeal are determined to realise a future where gynae cancers are diseases of the past. The Dorset and Somerset Air Ambulance need no introduction. The service they provide, particularly in rural areas like ours is crucial. Two weeks ago they were called to the Sprake family again when Katherine fell off her horse in a remote field and was air-lifted to Dorset County Hospital. Luckily only her ankle was broken and she is doing well!

This year’s festival takes place on Saturday 8th July in a beautiful rural location between Charlton Horethorne and Sherborne (see below for details). The energetic children’s entertainer Pinkie starts at 5pm followed by music from Flick Kerl – a renowned local artist – rock band Raizing Steam and Bristolbased cover band Hancock, plus a local DJ. There are a variety of food stalls, a bar and cocktails from Floral Shaker and a raffle. Camping is available too so bring a tent and save yourself a taxi home.

Saturday 8th July gates open 4.30pm

Wick Charity Music Festival

Off the B3145 between Charlton Horethorne and Sherborne (what3words location: memory.recruiter.knots). Over 18s £20, 13-18 £10, under 12s free. Tickets are available through Eventbrite (Wick Charity Fest 2023) or from Sarah Sprake: 07526 259146 and Elizabeth Kingman: stowellfarm@btconnect.com Camping available. Pitch fee £10 payable on the night.

If festivals aren’t your thing but you would like to support these amazing charities with sponsorship or with raffle prizes, please contact Sarah Sprake on the above number or e-mail.

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BEAMINSTER FESTIVAL 2023

Lois Pearson, Artistic Director

With a glittering line-up of performers, the Beaminster Festival celebrates its 26th year of high-quality music, theatre, art and literature, from 11th June to 2nd July.

Beaminster has traditionally championed young musicians and has been proud to include Nicola Benedetti, Benjamin Grosvenor, Sheku KannehMason and Jess Gillam amongst the many BBC Young Musicians it has invited. Few could forget the astonishing performance of Ethan Loch, piano, in the finals of the 2022 BBC Young Musician. Ethan was born blind and has to learn everything by ear. He consequently has the ability to hear and produce the most subtle and magical tone colours, brought to the fore in his programme of music by Bach, Debussy and Chopin.

Timothy Ridout is one of the most sought-after violists of his generation, really bringing the instrument into the limelight. Tim is a BBC New Generation Artist, Borletti-Buitoni Trust Fellow and winner of the RPO

Young Artist Award. He is usually to be found in the celebrated concert halls of the world so his lyrical and romantic programme of Schumann (Robert and Clara) and Franck at St Mary’s Beaminster is not to be missed. Another instrument recently finding its way into the concert hall is the classical accordion and it is at last recognised as an instrument as capable of wonderful renditions of J.S. Bach as of exciting original compositions. Ryan Corbett is taking the musical world by storm, having won the ROSL Gold Medal and being the first accordionist to become a BBC New Generation Artist. Ryan plays with amazing musicality and virtuosity and is mesmerising to watch.

The Festival always includes an organ recital and we are thrilled to welcome Richard Gowers, Director of Music St George’s, Hanover Square. Richard now has an international career as an organist, pianist and conductor and offers a programme of amazing virtuosity including music by Demessieux, Bach,

Tim Ridout

Ryan Corbett Morgan Szymanski

Image: Tania Esquivel

Vaughan Williams, Racquet and Sowerby.

Our friend and resident guitarist Morgan Szymanski is joined by the Sacconi Quartet for an unusual evening of guitar quintets including the famous ‘Fandango’ quintet by Boccherini, but also a movement from Alec Roth’s quintet written especially for these musicians. With arrangements such as the Vivaldi Lute Concerto and Piazzolla’s L’Histoire du Tango the evening will have a distinctly sunny flavour.

The Choir of Clare College, Cambridge, with conductor Graham Ross is returning with a wonderful concert, Sumer is icumen in, both sacred and secular music. This is a great opportunity to hear this internationally renowned choir.

The musical events are crowned by the Gala Symphony Concert given by the Orpheus Sinfonia conducted by Thomas Carroll, with Mozart’s Overture, The Marriage of Figaro, Symphony No. 40, and Haydn’s Cello Concerto.

Literary events include a fascinating talk by Sue Stuart-Smith, psychiatrist and psychotherapist and wife of the garden designer Tom Stuart-Smith, in conversation with Simon Tiffin, local journalist and avid gardener. Sue has written The Well Gardened Mind

exploring the relationship between gardening and mental well-being.

Alison Weir, Sunday Times bestselling author, is a brilliant speaker and introduces her new book Henry VIII, The Heart and the Crown, imagining Harry, second son, telling the story of his life as he sees it. Sounds familiar?

Starting the whole Festival off with plenty of energy, the Three Inch Fools bring their fast-paced and musically driven performance of Shakespeare’s As You Like It to the beautiful grounds of Beaminster Manor with kind permission of Mrs Christine Wood.

All the concerts and literary events take place in the beautiful church of St Mary’s, Beaminster. There should be leaflets available in Sherborne but the fullest information and tickets are to be found on our website.

beaminsterfestival.com

Sunday 11th June – Sunday 2nd July

Beaminster Festival 2023

See website for programme, venue and ticket details. Coffee concerts and literary events £12. Evening concerts £22/£19. Final gala concert £25/£20. beaminsterfestival.com

Ethan Loch Image: Dan Prince Sacconi Quartet

Image: Alejandro Tamagno

MARKET KNOWLEDGE

LYDIA FERRARI, LYDIA’S WILLOW WEAVING

Welcome to Sherborne Market!

What brings you here?

I’ve always loved coming to the market as a customer and realised I could actually sell my own work here.

Where have you travelled from?

All the way from Witham Friary, a little village just outside of Bruton.

Tell us about what you’re selling

I weave willow baskets. All my baskets are made with local Somerset willow. I like to bring current styles into my work while using traditional and modern techniques.

Where and when did it all begin?

When I was 17 years old I did my first basket-making workshop on the Somerset Levels. In the years after, I gradually developed confidence in a whole range of different styles and using different varieties of willow.

When Covid arrived and we were all locked down I found myself with time to practise. And Lydia’s Willow Weaving started to become something even better than I had ever hoped for.

What do you enjoy most about selling at markets?

Meeting so many wonderful people and new friends since I started doing markets in spring 2022. When I’m making in my workshop it can get lonely so markets for me become a very social experience!

If you get the chance, which fellow stallholders here at Sherborne would you like to visit?

Elly Harvey and SOZO Silver - they are utterly fabulous.

Where can people find you on market day?

I’ll be by the Conduit, at the bottom of Cheap Street.

lydiaswillowweaving.co.uk

Hand picked artisan TRADERS

featuring local producers, suppliers, amazing food, arts and crafts.

June 18th

2023 dates

July 16th

Aug 20TH

Sept 17th

Oct 8th

Nov 19th

Dec 17th

Flying the flag for local

WORK OF ART

The restoration of Sir James Thornhill’s mural at The Sherborne is a very important project. He painted the dome in St Paul’s Cathedral, The Painted Hall at The Royal Naval College in Greenwich and was the first British artist to be knighted – so, it is a critical commission and a privilege to work on such renowned work. You must show the utmost respect for historic artwork, trying your best to preserve what is there and applying your professional principles to stabilise the original paint so that it doesn’t deteriorate further in the future.

I worked on the initial restoration in 2012 as an employee at IFACS (International Fine Art Conservation Studios Ltd) and this time round I am running the project. When we got the call, we were delighted – we have a great relationship with the Friends of Sherborne House and were keen to continue working on bringing back its beauty, so everyone can appreciate both the mural and the quality of Thornhill’s work as much as possible.

It takes many years of training to become proficient in this specialism. I’m originally from Portugal and my background is in the conservation of paintings. I did my art foundation and conservation of historic heritage BA at a university in Portugal, before coming to England. When I arrived here, I specialised in the conservation

of easel paintings at Northumbria University, and I was fortunate to travel to Holland for an internship at the Limburg Conservation Institute (SRAL).

I’ve been with IFACS for many years now. We take commissions for easel and wall painting conservation and historic interiors – the latter brings in different specialisms. To be successful in our industry, you need to build up varied knowledge from art history and historic painting techniques to science, particularly chemistry – we need to know about the properties both of the materials employed by artists and modern conservation techniques. The work we carry out must ensure that chemical compatibility and stability with the original is there – and also reversibility and/or retreatability. Ideally, you must be able to totally reverse what you carry out without damaging the original. It’s a specialist profession.

With the Thornhill mural, we started by examining the surface to understand what the original materials were, how they degraded over time and what contributed to its deterioration. Sir James Thornhill painted in what is known as a (fresco) secco technique i.e. oil on dry plaster. As we removed some sections of the old wainscot panelling, we’ve been able to uncover the fabric and paint layering process. It’s fascinating that in certain areas, which have become more translucent due to age, you can

Elsa Guerreiro, Director & Head Conservator, IFACS

Images: IFACS

see the underdrawings beneath too.

So, the very first step is to fully understand the artist’s technique. Then, you try to identify how the artwork has degraded and why that has happened. For instance, from a structural point of view, we can see that the north wall has suffered a drop (1.5cm) at some point. This is due to a couple of reasons – building settlement movements and perhaps a constant leak in the northeast corner occurring over the years amongst other theories. The building being empty would have contributed to wide fluctuations in environment but the fact that it has been used as a functional space also contributed to wear and tear and physical alterations.

Then, the repair and retouching of paint loss and damage begins. We removed an old, discoloured varnish layer that was not part of the original. To remove it, we had to test different solvents and mixtures so we could safely lift the varnish without damaging the paint layers. We used an organic solvent mixture tailored for this purpose.

Mostly, the mural has lasted fairly well, apart from extensive condensation marks on the ceiling and south wall as a result of the building being empty. There are wall cracks that are currently under investigation to see what can be done in liaison with different specialists.

We are also taking up the contract of preserving the wooden panelling of the staircase, which is mostly oak.

It has decorative elements – carved lime foliage and marquetry panels. At some point, the oak panelling was covered over in white paint (we think in the late 18th – early 19th century) and we found evidence through paint analysis that there were two subsequent layers of faux wood graining, reflecting a change in fashion possibly around the first half of the 19th century. At some later point, all these layers were stripped back to expose the oak. So, we are carrying out a programme of cleaning, repairing and then refinishing all the timber.

The staircase commission combines different specialist trades – wall painting and wood conservators, wood carvers and specialist decorators. The Thornhill Staircase is the most important part of the House.

We’ve undertaken very big projects in the past at IFACS. We did the whole ceiling of the Sheldonian Theatre in Oxford and we also did all the heraldry shields in St. George’s Hall at Windsor Castle, after it burned in the great fire, but we are really enjoying working in a small intimate space at Sherborne House. Although, in terms of scale, it is a smaller project, the fact we are getting to work on Sir James Thornhill’s work makes it absolutely thrilling.

ifacs.co.uk

thesherborne.uk

REDUCING SHERBORNE’S CARBON FOOTPRINT

2022 was the year that the temperature in England topped 40°C and plummeted to minus 11°C – evidence that extremes of weather are increasingly common as the climate emergency bites.

It was also the year that Sherborne Town Council’s plans for de-carbonising the heating and lighting at the Gainsborough Pavilion came to fruition. This was despite difficulties caused by the Covid pandemic and Brexit induced supply chain issues. When the Gainsborough Pavilion, home to changing rooms and the Sherborne Town Band practice room was built, fluorescent lighting and a diesel boiler were installed. The lights have now been replaced with LEDs giving better light from less energy and the oil boiler has been replaced by air-source heat pumps. These pumps take heat from the outside and use it to heat the water and buildings.

The town band has an air-source heat pump and additional radiators to heat the band practice room. Four more air-source heat pumps warm the changing rooms and three, 1,000-litre tanks, hold hot water for showers. Since the end of November the heat pumps have provided three and a half times more heat energy than they have used in electrical energy. They work best when it is warm outside but will work well even when the temperature outside is 5°C. A heat pump takes your freezer down to minus 20°C. There is an immersion heater as a back-up.

You can see the 42 solar PV panels on the roof. It’s a nominal 17kW system to produce 14,700 units of electrical energy each year, 14,700-kilowatt hours (kWh) or 14.7 megawatt hours (MWh). This energy will provide light and heat with the excess energy going to the Grid.

On short, cold days, we will import energy from the Grid. Low Carbon Dorset provided part of the funding towards these energy measures.

A display monitor, installed on an exterior wall near the entrance of the site, shows the electrical energy currently being generated, the total energy generated and the total carbon dioxide saved from the start of the project.

During the short dark days of November, December and January, almost one tonne (1T) of carbon dioxide was saved. Over recent months nearly four tonnes have been saved in total. No doubt more carbon dioxide will be saved during the coming summer months.

Additional work has also been undertaken on the existing showers and basins to save water and increase service reliability. A new scale inhibitor has also been installed to reduce the amount of limescale formed in hard water areas.

For information on the carbon footprint for Sherborne – and other places - go to impact-tool.org.uk ‘impact’ is a community carbon calculator.

The external lighting on the Abbey frontage has now been changed to LED multicolour changing bulbs, saving energy and maintenance costs moving forward. This new lighting will provide an opportunity to light up the Abbey with a host of themed colours moving forward. The new lighting was completed just before King Charles III Coronation and looked magnificent in red, white and blue.

sherborne-tc.gov.uk

SherborneTownCl

sherbornetowncouncil

Steve Shield PSLCC, Town Clerk, Sherborne Town Council Image: Jane Wood

Respecting the past, embracing the future

In the 231 years since we were established, The Abbey Pharmacy has seen many changes in our society. We continue to evolve and are now, more than ever, committed to meeting the changing needs of our customers.

Our vision for the transformation of The Abbey Pharmacy invests not only in the health of our community but also our high street – we need your support in making this a reality.

To find out more about our exciting plans and to register your support, please visit www.theabbeypharmacytransformation.com

Jack Wills and Hector Kennerley both aged 17, Sherborne School

Jack and Hector, are vital members of the Sherborne School’s Robotics Club. Hector (left) is a talented programmer who spends considerable time crafting chess programs and solving complex problems typically reserved for professional programmers and university students. Concurrently, he is an accomplished musician and a member of the school choir. Hector’s persistence is one of his most notable traits, never backing down from difficult challenges.

Jack (right) took on the responsibility of managing the design, development and construction of the robot entered into the National Student Robotics competition. Jack’s ability to manage people, articulate design principles, oversee construction, and coordinate hardware and software integration mirrored processes typically found in large-scale industrial projects. Involving students in such activities at school offers a rare opportunity to help them appreciate the skills required for similar real-world tasks. Jack’s exemplary leadership and work ethic inspired the team and motivated other members to contribute.

This year, Sherborne participated as a newcomer in the 37-schoolstrong contest. The objective? To create a robot capable of recognising blocks (objects), navigating to them, capturing them, and returning them to a base. It was an incredibly challenging task! Despite strict competition rules, the boys managed to produce a remarkable design. Nervously, they participated in the two-day competition at Southampton University and triumphantly secured the Rookie Award – the highest-ranked robot among the 37 schools entering for the first time, finishing 6th overall.

Through their dedication, persistence and capacity to inspire others, both Jack and Hector demonstrated the trademarks of future leaders.Without a doubt, these two young men are well on their way to making a significant impact in the years to come.

sherborne.org

info@katharinedaviesphotography.co.uk

Children’s Book Review

by Alice Brickley, aged 7, Leweston School

I am Oliver the Otter by Pam Ayres, illustrated by Nicola O'Byrne

(Macmillan Children’s Books) £12.99 hardcover Sherborne Times reader offer of £10.99 from Winstone’s Books

The whole book was fantastic, from start to end. It made me care about nature even more than I already did.

I loved the quality of the pictures. It made me happy to spot the kingfisher and other animals in the pictures. I enjoyed the beautiful colours. The pictures were clear and not at all smudged. The detail was wonderful, for example, I noticed and loved the water droplets sparkling on the otters’ beautiful whiskers.

I enjoyed reading the whole story with my dad since it was realistic but still there was a magical imagination at work in the words. I learnt so much about mustelids, especially otters. I also learnt that adorable baby otters are called kits. The only thing that made me sad was that the rivers are getting more polluted and the otters are struggling. Overall I want to let you know that the book was really good and if you wish to read this book, I would strongly recommend it.

MY TEN TORS EXPERIENCE

During my time at the Gryphon School, I have completed both the 35- and 45-mile Ten Tors Challenges, trekking across Dartmoor in the annual event organised by the Army. Both of these experiences have provided me with a range of life skills such as teamwork and perseverance, while also allowing me to form lifelong friendships and make memories that I will look back on fondly.

Having signed up for the 35-mile distance last year in Year 10, our leader, Mr Cooke’s, intense physical training before school was the first challenge we all faced. After two years of rigorous training, I still can’t think of a better way to describe it than running back and forth incessantly while being shouted at (encouragingly) by a man drinking coffee - but it’s an experience all the same! Next came the kit checks and when Mr Cooke deemed us and our kit ready, we were sent on our first practice walk. This was our initial introduction to the world of Dartmoor, where we quickly began to appreciate its beauty and unforgiving nature. Throughout my practice walks and expeditions on Dartmoor, it has rained, snowed, hailed, been gloriously sunny and absolutely everything in between. And maybe I’m strange but I have genuinely loved

every single second of it - whether I was wrapping my hands around my boil-in-the-bag meal because I couldn’t feel my fingers or fighting to find shade in the vast openness of the moor.

After two individual day walks, accompanied by Mr Cooke’s army of dad-joke-providing leaders (who are some of the most brilliant and knowledgeable people I’ve ever met) we moved on to our first overnight expedition, which finally made lugging those tents around Dartmoor worthwhile! These overnight expeditions were the first time we were let loose on the moor without the assistance of the leaders. We set off eager and excited, often returning to camp at Teignhead Farm battered and bruised – but smiling nonetheless!

On our practice expeditions for 45 miles, we navigated through the dark and through the fog using techniques we had learnt during ‘night nav’ training with Mr Cooke on a practice expedition the year before. This specific training was at midnight on a freezing March evening, during which we slogged through marshland in the dark, only to be rewarded with strange beef jerky and yet more dad jokes.

Our second practice expedition for 35 miles was perhaps one of the most memorable - purely because

Maya Caddick, Year 11, The Gryphon School

Images: Nigel White, Gryphon School

we got *slightly* lost - and Mr Cooke has not let it go since! After going a few miles out of our way, we made it to within one kilometre of our designated camping spot (Teignhead Farm), where we set up camp and went to bed. That Saturday was the coldest night we have ever faced on Dartmoor with temperatures dropping to -10, which meant it was too cold for the jet-boils (and for us) to function in the morning. Despite the freezing cold, not making it to camp, the lack of a hot breakfast for the first part of the morning, and the worry that we would be shouted at when we did return (oh, and the fact that it was my birthday), we all thoroughly enjoyed our final weekend of training and felt ready and excited for the actual event. And when it did finally roll around, it was so much fun! From the Army engagement village on the Friday night, to the bacon and sausage baps that we were essentially force-fed at 5 in the morning on Saturday, to standing and waiting in anticipation for the canon fire to signal the start of the event, to the memories and stories that we talked about for weeks afterwards, it was an absolutely unforgettable experience. And it must’ve been good because I came back again this year to do 45 miles - and what an experience that has been!

The 45-mile training was not a huge change - the main difference being the team I was in. As two members of my 35-mile team didn’t carry on this year (one wasn’t old enough to do 45 with us and another was put in a different team), the people and experiences from this year have been extremely different. For me, captaining these two greatly varied teams has been an incredible experience that I know I have been extremely lucky to have had the opportunity to do. I have learnt so much about every person on both teams, including myself (and including some things that quite frankly, I didn’t want to know). But on a serious note, Ten Tors has genuinely brought people together, made us all closer and created friendships that will last a lifetime.

For many of us, crossing the finish line and completing the 45-mile challenge is, I think, a fitting ending to our journeys at The Gryphon School - with the feeling of completion filling our minds and the ups and downs of school life mirrored in Dartmoor’s uneven landscape. And for everyone staying at The Gryphon and taking part in the 55-mile challenge next year – I wish you all the best of luck. I’ll see you in Okehampton!

gryphon.dorset.sch.uk

THE MASTERY OF MATHS

Martin Stepney, Head of Mathematics, Sherborne Prep School

Images: Katharine Davies

Imagine being able to solve complex math problems with ease, impress your teachers and classmates, and develop a deep appreciation for the beauty of mathematics. It’s all possible and it starts with changing the way we think about and approach this important subject in school.

I firmly believe that the key to unlocking a child’s potential in maths is by making the subject relevant, engaging and collaborative. Maths is a subject that, at times, may intimidate children (and adults), causing them to feel anxious, but it doesn’t have to be that way. By teaching maths in a way that is both enjoyable and challenging, we can help children to develop a lifelong love of maths and competency in dealing with numbers; something we all find a need for at times.

I believe that it is crucial for our children to achieve mastery level in maths, which means that they not only understand the concepts but also can apply them in a range of different contexts. Teaching maths in greater depth helps to develop our children’s mathematical thinking and reasoning skills and helps them to become confident problem-solvers.

Making the lessons engaging and sharing pedagogy helps to keep our children absorbed whilst using games, puzzles and real-life examples. We encourage our children to work collaboratively, which helps them to develop their communication and teamwork skills, as well as their mathematical abilities. Perhaps once a quiet environment, a maths classroom is no longer such as the excited chatter about the next challenge, ripples through the corridors!

From a child’s experience in the Early Years through to their transition to Senior School, it is important to challenge children and to provide them with opportunities to excel. By setting high expectations, we help them to push themselves and to achieve more than they ever thought possible. Supporting children to approach challenges with a growth mindset encourages resilience and promotes a love for learning.

Delivering high-quality maths lessons consistently, both in terms of content and pedagogy helps our children build a strong foundation of knowledge and skills and progress confidently through the curriculum at a suitable pace.

Regular feedback on the children’s progress and clearly set learning objectives help children to understand what they need to do to achieve mastery in the subject. Assessments and evaluations have a place, allowing students’ progress to be tracked and areas identified where they may need additional individualised support.

In summary, maths underpins so many everyday tasks and the importance of thinking and reasoning skills are ever more important in today’s modern and changing world.

Helping our children to think deeply about simple things and providing them with opportunities to apply their knowledge in different contexts, helps them to become confident and capable learners who are well-prepared for the future, wherever their journey takes them.

sherborneprep.org

THE RUTH STRAUSS FOUNDATION CRICKET WEEK

In 2018, Andrew Strauss seemed to have the cricket world at his feet. As one of only three men to captain England to victory in the Ashes both home and away, he was now England’s Director of Cricket just a year away from the 2019 World Cup in England, for which the hosts were the hot favourites.

Although England went on to win that pulsating World Cup final against New Zealand and hoist the trophy, by the time they did so, Strauss was no longer in charge. On 29th December 2018, his wife of fifteen years, Ruth, died after a battle with a rare form of lung cancer, leaving Strauss to bring up their two sons (then

Hugh Tatham, MiC Cricket, Sherborne School

Images: Josie Sturgess Mills

aged just 10 and 13) alone. The two boys are among 41,000 children who are affected by the death of a parent every year in the UK. Ruth herself was one of some 23,600 parents with dependent children who die each year.

Out of this tragedy has grown the Ruth Strauss Foundation, a charity dedicated to supporting families facing the death of a parent and driving the need for more research into non-smoking lung cancers. The charity supports parents who receive a terminal diagnosis, offering them support and guidance to prepare for grief, death and dying: to ‘do death well’ in Ruth’s own words. Central to this is encouraging families to maintain an open and honest dialogue, so that the children will be able to make the most of the time left with the dying parent. Meanwhile, the number of people diagnosed with non-smoking lung cancers is on the rise in the UK, of whom only one in twenty of those diagnosed survive beyond ten years, so the Foundation’s second key mission is research into these diseases. This summer, Sherborne School is delighted to be supporting this marvellous charity as we hold our first-ever Ruth Strauss Foundation Cricket Week in the final days of June.

The week will involve a total of nine matches just before the end of the Trinity Term, starting on Monday 26th and concluding on Thursday 29th June. On Monday, Tuesday and Wednesday, the focus will be on the Under 14 team, as boys in their first year at the school play a round-robin series of matches against Cheltenham College, Haileybury and Stowe. On Monday and Tuesday, these matches will introduce the boys to the 50-over format of the World Cup, which they will also play when they enter their various schools’ 1st XIs. Wednesday’s matches will be shorter T20 matches in coloured kit. Wednesday will also see Sherborne’s 1st XI take on St Peter’s, Adelaide, who are on tour in the UK, so we will have our own private ‘Ashes battle’ that day. The evening before, it will have been the turn of the staff as the Bow House XI takes on Cerne Valley CC in an evening T20 contest. This game, incidentally, will be the last playing outing at Sherborne for Andy Nurton (an Old Shirburnian and formerly Master in Charge of Cricket) and Matt Pardoe (Director of Cricket Coaching) before they head off for pastures new.

The culmination of the week will be Thursday’s 1st XI match against the MCC, which also coincides with ‘Red for Ruth Day’ at the Lord’s Test Match against Australia. To mark this special game, the players from both teams will wear commemorative red caps, rather than their teams’ traditional colours – a unique

occurrence – whilst the school will also be holding a fundraising ‘mufti day’, on which the pupils will be invited to make a donation in order to wear their own (red) clothes instead of uniform. Throughout the week, the stumps on The Upper will be red, and there will be souvenir programmes on sale at The Upper and on Carey’s, as well as plenty of opportunities to donate to this wonderful cause at the grounds.

We often hear the term ‘the spirit of cricket’ –sometimes in a pejorative tone regarding its absence, in reference to gamesmanship and the behaviour of players on the pitch, and to less savoury elements of the game such as sledging, not walking when dismissed and ‘Mankads’. However, the true spirit of cricket is embedded in the game and in this week; cricket is a game which for hundreds of years has allowed sportsmen the opportunity to show character, decency and resilience. All of these are characteristics of Andrew Strauss and his family, facing the most awful of situations and now helping others to do the same. It is this spirit of cricket which Sherborne School is demonstrating as our school year draws to an end and we are delighted to invite you to join us as we do so. The sun will be shining (we hope!), there will be some excellent contests and, most importantly of all, our cricketers will be doing what they can to raise funds so that other young people, just like them, can suffer just a little bit less. That really is the spirit of cricket – so please do come and experience it for yourselves at the Ruth Strauss Foundation Cricket Week at Sherborne School.

ruthstraussfoundation.com sherborne.org

Monday 26th - Thursday 29th June

The Ruth Strauss Foundation Cricket Week

The Upper, Horsecastles and Carey's, Ottery Lane

Visit sherborne.org/cricket for details

"Out of tragedy has grown the Ruth Strauss Foundation, a charity dedicated to supporting families facing the death of a parent and driving the need for more research into nonsmoking lung cancers."

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DRAWN TO THE LIGHT

We are so fortunate to have this stunning night flying moth grace our gardens in its short flight season of June and July. On warm early summer nights, we may see this relatively common species by torchlight as it feeds on nectar with a strong hovering flight around highly scented shrubs and flowers. Its varied habitat includes hedgerows, woodland, gardens, coastal undisturbed areas and downland, preferring calcareous soils.

The adult moth’s forewings are rich chocolate-brown combined with subtle shades of fawn. It can sometimes be found by day on branches or the trunks of trees in its elegant resting pose. Long wings are held close along the length of its spectacularly pink and black striped abdomen and hindwings, revealed only in flight or if disturbed. Predators may well be deterred by such a dazzling and unexpected sight.

Privet, lilac, forsythia, Viburnum tinus, holly and

young ash are among plants selected on which eggs are laid, with the resulting young found from July to September. When fully fed the spectacular bright green larva sports white and purple diagonal stripes along its sides with a harmless curved ‘horn’ at the last segment of its large body. When ready to pupate the larvae burrow to a depth of up to 30cm, remaining underground for up to two winters.

With a wingspan of up to 120mm, it is the largest of our nine resident hawk-moths and one of the most frequently encountered in the southern half of the UK. It has however suffered a decline in recent years in common with many moths and other insects. Including larval food plants in our garden planting schemes could help provide safe havens for Privet Hawk-moths and many other species. In turn, we may be rewarded by the sight of this eye-catching and beautiful moth as we assist in the completion of its life cycle.

Privet Hawk-Moth Spinx ligustri Gillian Nash

ZsuzsannaBird/Shutterstock

Sitting out in a garden or park on a warm summer’s evening, you may witness the unmistakable sight of bats flitting and swooping as they hunt for their night’s meal. Bats eat insects, most often caught and eaten in flight, which in turn uses energy – so it’s important they can access plenty of food.

Bats are famously elusive and maybe roosting closer to your home than you’d imagine. Our gardens and green spaces are a vital source of food, water and refuge and there are steps you can take to make your outdoor space more attractive to bats.

Like you and me, bats need food, water and shelter to thrive. To add more food for bats to your garden, you need to start by attracting insects. Moths and midges form a large part of a bat’s diet, being among the invertebrates most active at night when bats hunt. To attract moths, first look at planting night-scented flowers, such as honeysuckle, evening primrose, common jasmine and night-scented stocks.

The next step is to plant or encourage the growth of food plants for moth caterpillars, to encourage moths to breed and feed on your patch. Moth food plants include common hawthorn, hazel, holly and English oak trees, as well as ivy, stinging nettles and currant plants.

Water is a great addition to any space for wildlife and bats can take advantage of ponds and other water sources already in your garden by swooping down to sip water while in flight.

If you’re keen to provide shelter for bats too, purpose-made bat boxes can be installed, however once in place, a bat box can only be opened by a licensed bat worker. Bat boxes should be placed as high as possible, at least 4 metres above the ground, and face different directions in a warm, sunny location. They are best placed near a food source used regularly by bats.

Find out more about bat species and gardening for wildlife at dorsetwildlifetrust.org.uk

BAT FACTS

• In the winter months, many bats will enter a state of torpor. During this time, the bat’s body temperature is reduced and their metabolism slows to conserve as much energy as possible. A bat’s heart rate can drop to four beats per minute in torpor, compared to around 1,000 beats per minute when in flight.

• Bats are the only mammals able to truly fly. Their wings are in fact ‘hands’ which have adapted to flight.

• Holes in trees created by woodpeckers are adopted as homes for some species of bat when roosting.

Image: Tom Marshall

GRASSLAND

Ienjoy walking to high vantage points and looking down on the patchwork of fields and hedges, interspersed with copses and small farms and villages. Sometimes you can see a tractor ploughing a field or a car making its way down a windy lane and in the winter, plumes of smoke rising from a cottage chimney.

We are lucky to have some beautiful places to survey the vista, from the beacon on The Terraces and Holway nature reserve to the Dorset Downs. Bulbarrow, Eggardon Hill, Hambledon and Hod Hill or above the Cerne Giant are some particularly lovely spots to visit.

We of course get even more of a bird’s-eye view of the landscape from an aeroplane and it is something which is so distinctive, particularly if returning from a summer holiday in the Mediterranean or somewhere warm. Instead of brown, parched land, we see our ‘green and pleasant land’.

Sadly, things are not quite as they seem. The vivid dark green that is so distinctive in many of our

grasslands, is no more natural than a striped lawn or a bowling green. It is the result of copious amounts of chemical fertiliser and particularly phosphates and nitrates. These are applied to enhance grass growth for livestock and in some cases to allow multiple cuts of silage, to feed cattle in the winter months.

One of my jobs is to survey sites for wildlife and to produce species lists and biological surveys. It is quite possible to look at a farm from a distance, or even from an aerial photograph, to know where to focus my time as well as to identify areas which are going to be of very low wildlife value. The general rule of thumb is the darker the grass, the least diverse it will be.

Just like the bowling green in Culverhayes car park, these fields will be almost a monoculture of vigorous grasses, such as ryegrass. There may be a couple of spikes of spear thistle and a patch of nettles which have managed to survive, but to all intents and purposes, this is a desert for not only flowers but also insects, birds and animals.

Simon Ford, Land and Nature Adviser

Before the last war and the promotion of a multitude of fertilisers and pesticides by multinational agri-chemical companies, our meadows and grassland would have been home to a wonderful array of wildflowers. These would range from orchids and cowslips to knapweed, yellow rattle, wild carrot and scabious. In turn, they would buzz with bees and insects and butterflies would feast on nectar. To see what we have lost, visit some of the last remaining ‘herb-rich’ wildflower meadows at places such as Kingcombe Farm near Maiden Newton, Shedbush Farm at Golden Cap, Ryewater at Corscombe, Hilfield Friary at Batcombe or the chalk ridge at Cerne Abbas and Sydling St Nicholas. These sadly make up less than 1% of what we had 70 years ago.

Once destroyed by fertiliser and weedkillers (herbicides) or the plough, it is very difficult to replace it, but efforts are being made by conservation charities such as Dorset Wildlife Trust, The National Trust and Plantlife as well as some enlightened farmers and

landowners to start the slow process of re-creating wildflower meadows. Seeds are often collected from nearby ‘donor sites’ and carefully distributed after the ground has been prepared. Landowners can sometimes get grants to help them protect and restore grassland.

Gardeners are also doing their bit by creating mini wildflower meadows, not only for wildlife but also because they look incredibly beautiful.

I am sure many readers will have seen David Attenborough’s stunning Wild Isles series on BBC1, some of it filmed on Dorset grasslands. I would highly recommend looking on BBC iPlayer, where there is a 6th programme narrated by David, which looks at what farmers, conservationists and children are doing to address the terrible loss of biodiversity in Britain.

When you are next out on a high place, look down on those fields and focus on ones which are a paler shade of green, perhaps bounded by a tall thick hedge and notice the amount of wildlife, compared to the emerald nitrate-soaked leys.

Joe Dunckley/Shutterstock

HAYFEVER

Pollen and flowers are fabulous for most of us to enjoy, however, for around a quarter of the population, they cause misery, with streaming eyes, runny noses, sneezing as well as many other unpleasant symptoms. Bees and hayfever have had a close bond for many years and I notice more and more people asking me for ‘local honey’ to help ease their hayfever symptoms. I too took local honey which I am certain eased my hayfever symptoms, to the point that I barely suffer so much as a sniffle these days.

When I first would speak on stage sharing my health recovery from Ehlers-Danlos syndrome due to the natural elements, hayfever and local honey would often come up. I regularly shared that indeed local honey had helped me and I would definitely recommend sufferers try it.

Then, I began to have ‘hecklers’ interrupting me saying that ‘the science’ says taking honey doesn’t make any difference at all to hayfever. I have known for a long

time that there is an objection to the fundamentals of homoeopathy within conventional medicine and some may argue that as honey contains trace amounts of pollen, by taking it we support our immune systems to the point that hayfever symptoms improve.

In the UK, a large number of people find that grass pollen triggers their symptoms and as bees don’t collect grass pollen or make honey from grass, this theory doesn’t stand up. Despite this, many, including myself, certainly noticed a reduction in hayfever by taking local honey. I went on a mission then to uncover ‘the science’ that so hotly disputed what I had felt was true.

The University of Connecticut Health Centre’s Lowell P Weicker General Clinical Research Centre studied 36 people in the early 1990s in three groups. The first group took locally produced unfiltered or pasteurised honey, the second had nationally collected filtered and pasteurised honey, and the third took a sugar syrup. The overall results found that all the groups

Paula Carnell, Beekeeping Consultant, Writer and Speaker

Revilo Lessen/Shutterstock

taking a teaspoon of their ‘honey’ each day, only saw a 10 % reduction in symptoms, matching an expected placebo result. Critics of the study claim that not all the participants suffered from hayfever completed the course and the amount of honey wasn’t regulated or standardised, or taken until March. This was the leading research of the time and, as with many research papers, the abstract and results are often worded to show the desired result. It’s only when looking closely at the methods and details of the results that we can see how they can be interpreted in a wider sense.

In 2008 a Japanese study on pollen collected by bees (complete with the enzymes bees add when collecting grains and packing them into their pollen sacs) was shown to have anti-allergenic effects.

I was delighted when further delving into the wider web, I came across a Finnish study from 2011. In Finland around 25% of the population suffers from birch tree hayfever. This has quite an impact on the country’s economy and so the government took an interest in researching possible treatments. Because birch tree pollen and nectar are collected by bees, it was possible to run a trial using the local birch tree honey. 44 participants were divided into two groups and given either birch tree honey or a regional honey not made from birch tree collected nectar. A further 17 hayfever sufferers were a control group. Honey was taken daily from November 2008 through to March 2009. The results showed that the control group showed the expected 10% reduction in symptoms, the birch tree honey group had a staggering 46% reduction and, what I find most fascinating, was that the other honey group experienced a 39% reduction in symptoms. This shows that, yes, if you can find honey made from whichever pollen source triggers your symptoms then that is ideal, however, any other pure honey will also support your

immune system and give you health benefits!

I often say when people come to me asking for local honey that any honey is beneficial and the benefits are relative to the environment from which the honey comes. A ‘local’ honey from an environment where many chemicals are used in agriculture, with polluted air and from where beekeepers have used antibiotics to treat their bees is clearly not going to be as beneficial as honey that has come from a pristine environment.

We have a collective notion that local honey is best and yet here in the UK bees work so hard with limited resources to collect nectar to provide a large enough surplus of honey to feed themselves through the winter months. In other parts of the world, bees benefit from an abundance of nectar and in the tropics the bees don’t even have to manage a winter so they always have an abundance of honey. Harvesting from those bees is far more sustainable and less damaging for the bees.

We wouldn’t question eating overseas bananas and chocolate and drinking tea and coffee, none of which are local to us. Let us start thinking more of a global community of ‘locals’ and together we can share our resources. Every pound we spend supporting beekeepers in Africa, Madagascar or even more abundant and ‘cleaner’ parts of Europe, we are contributing to more trees saved and more wildflower meadows, as well as raising the opportunities for the children of beekeepers, enabling schools to be built and improving general living conditions. When the seasons allow, by all means, let’s buy British and support our beekeepers, mindful that to have healthy bees, they need to reap the benefits of their own honey before they can share with us.

As all the studies showed, eating sugar syrup does nothing for treating hayfever symptoms, for us or bees!

paulacarnell.com

Welcome to Symondsbury Estate, set in the beautiful Dorset countryside just a stone’s throw from the Jurassic Coast. Join us for lunch. Browse our shops. Visit the gallery. Explore our fabulous walks and bike trails. Relax and unwind in our holiday accommodation. Celebrate your wedding day...

Upcoming Events & Workshops

Willow Sheep Workshop with Jo Sadler – Thursday 20th July Summer Fête – Wednesday 26th July

+44 (0)1308 424116 symondsburyestate.co.uk Symondsbury Estate, Bridport, Dorset DT6 6HG

SHIPTON GORGE, SHIPTON HILL AND THE RIVER BRIDE

Emma Tabor and Paul Newman

Distance: 4 3/4 miles

Time: Approx. 3 hours

Park: By the phone box on Brook Street where the path comes down from St Martin’s Church

Walk Features: From the village of Shipton Gorge, Shipton Hill is approached with a short, steep climb to the summit followed by a couple of smaller climbs on the route. The walk follows a series of lanes and field crossings, heading towards the coast before returning along the pleasantly wooded River Bride. It’s a fairly gentle route, muddy in places and although there is not much in the way of buildings or other points of interest, the views are fine and most of the walk is in sight of the Channel.

Refreshments: The Seaside Boarding House, Burton Bradstock >

Each month we devise a walk for you to try with your family and friends (including four-legged members) pointing out a few interesting things along the way, be it flora, fauna, architecture, history, the unusual and sometimes the unfamiliar. Bridport is surrounded by several small peaked or capped hills, including the well-known landmark of Colmer’s Hill. This walk visits the characteristically outlined Shipton Hill, which can be seen from many directions around the area. The higher chalk downland around Eggardon Hill gives way to a series of hills topped with Greensand and chert including Shipton Hill, The Knoll, Thorncombe Beacon and Golden Cap, with other hills such as Allington Hill and Watton Hill topped with Inferior Oolite. This landscape gives Bridport and the surrounding area a distinctive feel and this walk sets out to explore one of these hills and take in the surrounding undulating terrain.

Dorothy Wordsworth commented on her time in West Dorset: ’We have hills, which, seen from a distance, almost take on the character of mountains, some cultivated almost to their summits, others in their wild state, covered with furze and broom. These delight me the most, as they remind me of our native wilds.’

Directions

Start: SY 498 915

1 Park responsibly by the village notice board on Brook Street near the old telephone box.

2 Head east along Brook Street until you come to a staggered crossroads. Turn left here signed to Loders and Bridport, in front of Lynch Cottage. Keep along Smacombe Lane for just over 200 yards until you come to a footpath sign on your right,

Bonhole Lane. Take this and walk up the stony path until you reach a stile and footpath sign. Go over the stile and into a field to walk across the middle and to the far hedge, to cross over another stile into the next field. Go straight across the middle of this field over the brow of a little hill to another stile in a hedge by a small copse.

3 Walk through the copse and then go over the stile at the far end of the copse, now walking more steeply uphill, following the hedge on your left, then through a large metal gate onto Shipton Hill. There are great views from here. Keep along the small well-worn path to take you up and over the middle of the hill. On a clear day, from the summit, you can see Colmer’s Hill, Lambert’s and Coney’s Castles, Pilsdon Pen and Lewesdon Hill, and around to Eggardon Hill.

4 Continue across the ridge, you soon come to a stile; go over this and follow the footpath as you then start to drop down on the eastern flank of the hill. You will soon come to a stile to the left of a large metal gate- go over the stile into a field and keep following the hedge on your right. Keep going for 250 yards until you come to a large metal gate in the hedge on the right which leads out onto the road, Icen Lane.

5 Turn left and walk for 350 yards until you come to farm buildings (St Luke’s Farm) on your right, on a bend. In front of the farm, and on the right of the bend, go through the left-hand side gate with a footpath sign. Walk down the track and then through a large metal gate into a field. Head straight down towards the far left corner, keeping the hedge on your left. Go through a metal gate and keep heading down with the hedge still on your left. In 150 yards, you will

see a stile in the hedge on your left. Here, turn right to cross the field towards two gateways. Go through the left-hand gate, across another field towards a large wood, Hammiton Wood.

6 Walk along the left field edge with the wood on your left and Shipton Hill now over on your right. As a hedge goes off at a right angle, keep following the field edge heading down into the left-hand corner still on the edge of the wood. Go through a metal gate with a footpath sign and continue along the woodland edge. The field funnels into a corner with a small wooden gate onto the road. Turn left onto the road and walk for a few yards to the entrance to Hammiton Farm and bridleway; turn left off the road and walk up the drive towards the farm.

7 After 175 yards, the drive splits; take the right track, up through a large wooden gate with a footpath sign. After 200 yards, passing the farm buildings, reach a metal gateway with a ‘Private Land’ sign and go right into a field, through the right-hand gateway. Now walk along the hedgerow and fence on your left, then over a stile with a gate; keep straight on across this field over a narrow worn track to the far corner where the field narrows by Eight Acre Wood.

8 Go through a small metal gate into another field and go straight across the field keeping the hedge on your right walking along the top of a long field, with a limekiln partially covered by scrub. After 200 yards pass through a large metal gate with footpath signs. Keep on the track with the hedge still on your right and soon come to another large metal gate on your right. Go through this to then head diagonally down and across the middle of this field. Look for the stile on the right-hand edge of a small copse which bisects this field, as you aim for the junction

Ford Cottage

where Bredy Lane meets Annings Lane. This is accessed via a stile which leaves the field just before the junction.

9 Cross Bredy Lane and start to walk down Annings Lane towards Graston Farm. Opposite the farm entrance, turn right off the lane following a footpath sign by the side of Brook Cottage. Walk up the track to a large metal gate. Follow the fence line to another large metal gate and then onto a lovely grassy track. Keep going, along the wooded River Bride and soon turn left into a field, keeping the river now on your left and a copse on your right. This is a really gorgeous part of the walk. After 350 yards, cross a wooden footbridge and through a metal gate into another field. Turn right and keep the copse on your right, after 175 yards to then come to a stile on your right and go over this into a small wooded glade with the river running through it. Go over another stile and a concrete and wooden footbridge and out into a field.

10 Running parallel with Markets Lane, head across this field to go through a gateway in a hedge into another field and then head slightly left across to the far side, aiming for the church. Go over a stile and into the far left corner of the field then over another stile onto a grassy lane bordering the field. Cross the lane and over a metal gate/stile with footpath signs into another field. Follow the edge of the field with the river on your left until you come to a hidden bridge over the river. Cross the bridge, over a stile and into a field to then walk up towards St Martin’s Church. Come to a gate to the right of the church to follow the footpath by the church wall. Cross a couple of stone stiles then pass the community orchard after the church, down into the village, and back to the start of the walk.

LOST DORSET NO. 35 BEAMINSTER

David Burnett, The Dovecote Press

Writing this on the day after the Coronation of Charles III I am reminded of other earlier coronations and of how they were celebrated in Dorset. This triumphal arch outside the Knapp Inn in Clay Lane on the road to Broadwindsor was erected for the coronation of George V on 22nd June 1911. Much changed, the inn is still open, though the neighbouring cottages have been replaced. As elsewhere, the ‘ joyous event ’ was celebrated with a procession headed by the Beaminster Brass Band, athletics, a tea party, dancing and a bonfire on Storridge Hill, ‘forming a link in the long chain of fires which blazed throughout the land.’ As with the recent Coronation, that of King Charles’s great-grandfather was marred by heavy rain on the actual day, delaying many Dorset celebrations until the following week.

dovecotepress.com

The Dovecote Press has been publishing books about Dorset since 1974, many of which are available locally from Winstone’s Books or directly from the publishers. This photograph is taken from Lost Dorset: The Towns.

OBJECT OF THE MONTH THE GOFFERING IRON

Elisabeth Bletsoe, Curator, Sherborne Museum

This strange-looking artefact often features prominently when we are conducting ‘Guess the Mystery Object’ sessions in the museum. It consists of a circular cast iron base and a wrought iron s-shaped stem on top of which is fixed a hollow tube or ‘barrel’. Inserted into this is a bar like a poker; it tapers slightly, the far end is rounded, and the protruding end is pinched as if for a thumb and finger hold. It is nineteenth century, and was generously gifted by Mrs Middle of Bradford Abbas, the item having belonged to her grandmother.

It is, in fact, a goffering iron, also known as an Italian or tally iron, and it developed from the need, in the sixteenth and seventeenth centuries, to create waves of ruffles and flounces without flattening them. The Renaissance ruff was also known as a ‘goffered frill’, which refers to a piece of lace being pressed into pleats by heated irons, after being starched. The material used was usually cambric or lawn and was frequently edged in lace or ‘cutwork’, a decorative design. Later versions, from around 1570, were made entirely from lace. The starch used was most commonly white, though at times blue dye was used as it helped to emphasise the pale complexion that was fashionable at the time. The shape of the ruff was maintained by small sticks of bone, ivory or wood. From the 1570s onwards narrow metal ‘poking sticks’ were employed, heated from the stove or hearth. The launderess-gofferer, however, would also require a stand to support the ruff while she styled.

When first introduced, ruffs had been attached to the shirt (for men) or the smock (for women), but by the 1570s they were separate garments, tied with tassels. They could then be laundered separately. Initially, ruffs had fairly modest dimensions. The introduction of starch to England from the Continent

after 1564, however, facilitated an expansion in size. From 1580 to 1610, the ‘cartwheel’ ruff was spectacularly displayed as a sign of social status, comprising up to six yards of material, starched into up to six hundred pleats, and extending eight inches from the neck. However, the more traditional, smaller versions continued to be worn, particularly by men, and around 1600, these underwent a surge in popularity. The goffered frill was overtaken by the ‘falling ruff’ which had been part of male fashion since the 1540s but was only adopted by women from around 1615. This style would remain ‘on point’ until the 1630s.

Victorians also took pride in a display of expertlyironed ruffles and the well-dressed baby often wore a bonnet trimmed with ‘Italian-ironed double frills’, as described by Charlotte Bronte in 1849. The design of the goffering-iron – utilitarian and simple – did not change much; the inner rod was no different from the hot poking stick of earlier centuries, except that it was used to heat the barrel from the inside, around which the pleats from cuffs and collars and other trimmings such as ribbons, could be curled. The museum has a couple of variations on the basic design; one even has its own portable heater made from brass.

One can only imagine how much work, time and accidental burns it took to make, for example, six rows of ruffles at the bottom of a dress. It should cause us to reflect with gratitude the relative ease we experience in caring for contemporary clothes.

sherbornemuseum.com

The museum is open from Tuesday - Saturday 10.30am to 4.40pm. Admission is free, though donations are welcome.

SMUGGLING IN DORSET

Cindy Chant & John Drabik

Five and twenty ponies, Trotting through the darkBrandy for the Parson, ‘Baccy for the Clerk, Laces for a lady, letters for a spy, Watch the wall my darling, while the Gentlemen go by!… Rudyard Kipling

As far back as Saxon times, King Ethelred imposed an import duty on foreign wine arriving at Billingsgate. By the end of the 13th century when wool was in demand on the continent, needing extra income, Edward I introduced a custom on wool exports with officers appointed to collect these taxes. Soon the first smugglers appeared. But it wasn’t until after the civil war, when Parliament needed to finance Britain’s expanding empire, it imposed taxes which led to a rise in serious smuggling. During the period 1700-1850, smuggling became widespread along the coasts of Britain, particularly the south coast which was within easy reach of the continent.

Edd Mitchell/Shutterstock

It was a time of much poverty and taxes were levied on a wide range of items, so temptation was great. Smugglers were opportunists and a fortune could be made with a willing captain and a fast ship. In certain areas everybody was involved in smuggling – fisherman used their boats, labourers carried the goods, local land owners lent horses, and merchants and publicans obtained cheap supplies. Even the Parson took advantage of cheap tea and wine. Coastal pubs, such as The Ilchester Arms in Abbotsbury, became the centre of operations where smuggling escapades were hatched and discussed. Communication was by word of mouth and groups of men were assigned various tasks. Goods were hauled up cliffs and passed to waiting men to be carried by horse and cart, or strapped to their backs, for inland journeys and distribution. St Catherine’s hilltop chapel provided an excellent navigational marker and cliff-top fires were used to alert incoming ships of the presence of patrolling Customs Officers. This became such a serious offence that it carried the death penalty. For some, smuggling became a full-time occupation and the profits were huge. One night’s smuggling could earn a labourer as much as he could earn in a week working in the fields.

The Customs Officers experienced difficulty keeping up with the high rate of smuggling, and there were numerous incidents between smugglers, coastguards and revenue men. Inevitably there were many drownings and gun fights, the evidence of which can be seen in some of the graveyards of our coastal chapels and churches. However, there were some amusing incidents. Once a raft of barrels became loose and floated freely on the sea leading to a race between the revenue and the smugglers to see who could reach the contraband first. After raising their sails the smugglers managed to surge ahead, and as they passed the revenue ship, the helmsman cheekily dropped his trousers, displaying his bare bottom to the downcast revenue men. Isaac Gulliver was one of the most famous Dorset smugglers and was known as the ‘Gentle Smuggler’ as he never once killed a man. On one occasion he feigned his own death to avoid capture. His wife covered his face with white chalk, as he lay in an open coffin, exposed to the embarrassed customs men. He purchased a farm near Eggardon Hill, and planted a copse of trees as a landmark for his ships – these can still be seen today.

The Dorset coast had great advantages as parts were covered in heath and woodland which provided cover for the smugglers and problems for the customs men. Weymouth was particularly suitable because of Chesil Beach and the fleet with its lagoon. Smugglers landing on the beach in the dead of night were able to assess their position by gauging the size of pebbles – the larger stones being closer to Portland and becoming progressively smaller the further west. Even the lagoon was used to hide the contraband for later collection. Due to these smuggling activities, the village behind the fleet developed a thriving trade in spirits, tea, tobacco and lace. Nearby, there is a small and atmospheric chapel which survived the huge tidal wave crashing over Chesil Beach in 1824, which was made famous in J. Mead Falkner’s novel, Moonfleet. Although fictional, this story has its roots steeped in the history of smuggling in this area and the places mentioned can still be visited today.

Despite the Napoleonic wars making smuggling difficult, as the coast was well-defended, smuggling reached a peak during this time. However, after the defeat of Napoleon in 1815, the Navy, now with less to do, took over the Customs Service and the Coastguard was established. Soon after, excise duty was removed from many imported goods - the romantic days of smuggling were now numbered. Nowadays, some people continue to enjoy the thrill of smuggling and beating the system, as when holidaying, they sometimes bring back a little more than allowed. And sadly, the seedier trade of narcotics and people smuggling still continues.

The Joinery Works, Alweston

Sherborne, Dorset DT9 5HS

Tel: 01963 23219

Fax: 01963 23053

Email: info@fcuffandsons.co.uk

www.fcuffandsons.co.uk

DESIGNERS AND MAKERS OF BEAUTIFUL FINE BESPOKE JOINERY SINCE 1897

ONE LOCAL OWNER

Richard Bromell ASFAV, Charterhouse Auctioneers

You know you are starting to age when cars you remember driving around in as a young person are now highly sought-after classic cars. This dawned on me recently when I received a phone call from a chap about his father’s 1986 Ford Fiesta. Not that his father was a boy racer, but he did own a legendary XR2 hot hatch model.

He bought this XR2 new from Ford main dealers Abbey Garage in Street. Painted in Rosso red, I remember the XR2 well when new. At the time I was working for a firm of auctioneers in South Devon and my daily transport was a (rather tired) 1962 Triumph Herald 1200. Needless to say, driving from Torquay to Sherborne to visit friends and family was always an adventure with progress made at a sedate pace. The thought of a Fiesta XR2 with a 0-60 mph time of 8.7 seconds (against the Herald 0-60 mph time measured in minutes) and with a top speed of 112 mph (clearly unachievable in the Herald) was quite appealing to a young me, with the only real issue being the Fiesta cost about £8,400 new against my trusty Herald which cost me £8,100 less!

However, what is perhaps unusual about this Fiesta XR2 is the fact it never really went anywhere out of its Somerset home county.

After working in Torquay for a few years I moved north out of the West Country. Well, that is what my father said, as I moved to Cheltenham. At the time, my father told me, ‘They have bad weather up north in Cheltenham – best to carry a shovel, a blanket and a bottle of whisky in the car during the winter months.’ After another five years I moved to work for a firm of auctioneers in North Yorkshire, which pretty much left my father speechless.

Then, like many other people, the West Country lured me back and I found myself returning to Sherborne with a young family, working at Charterhouse. This seems to be the polar opposite of the XR2’s journey as the owner only ever lived in Somerset and worked at Westlands.

With a short work commute, his Fiesta XR2 covered just under 3,000 a year from 1986 until he bought a new VW Golf diesel in 2005 and the Ford was taken off the road. This was for no other reason than it had little value in 2005 and he simply did not get around to selling it.

Moving forward to 2023, 1980s and 1990s hot hatches are very much flavour of the month. If you then combine this desirability with just one owner and super low miles, the bidders start to queue up. The Ford collectors know their Fords inside out, but we need not worry as this car still sports the original Abbey Garage number plates front and rear and has the plastic body mouldings attached with the correct pop rivets rather than being screwed on after repairs were made.

All in all, this is pretty much a holy grail Ford Fiesta Mk II XR2 which will go under the gavel in our classic car auction being held at Haynes International Motor Museum on Thursday 8th June.

Being offered for sale without reserve it will be interesting to see how much it sells for. charterhouse-auction.com

At Bill Butters Windows Ltd we offer total window, door and conservatory solutions. Based in Sherborne we design, manufacture, supply and install high quality aluminium and uPVC products using market leading suppliers to service both the retail and commercial sectors.

For more information visit our website or come down to the showroom.

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SHATWELL FARM

Words Claire Bowman

Photography Katharine Davies

It takes a special sort of person to create an archive of thousands of architectural drawings and house it on an ancient dairy farm in rural Somerset, but Niall Hobhouse is no ordinary collector and Shatwell is no ordinary farm.

An art collector, dealer and writer, Niall has spent the past 25 years assembling an ever-growing collection of architectural drawings, entitled Drawing Matter, which spans the Renaissance to the present day and includes architects from John Nash and Le Corbusier to Mies van der Rohe and Frank Lloyd Wright. As well as an Honorary Fellow of the RIBA, Niall curates exhibitions, writes about buildings, landscapes and museums, and has served on the boards of the London School of Economics, Sir John Soane Museum and Canadian Centre for Architecture. He is also a thoroughly pleasant man to boot. >

Reflecting on his earlier days as a dealer, Niall tells me that it was the fact that museums, ‘never seemed to be really doing the right thing,’ with architectural drawings that spurred on his burgeoning collection. ‘At a certain point, it just proved simpler to go on and buy them for myself rather than try to explain too energetically what I thought the museums should be doing. Although what wasn’t clear in the beginning was whether I was just another selfish collector,’ Niall recalls. ‘Then when the collection got too big we moved it down to Shatwell Farm, realising that actually the key was finding a way to give people access to the archive and the discussions you could have around the drawings, rather than just about the drawings. That led to a book publication programme, which led to online activity, which is now a

huge part of the way we work.’

Although not normally open to the public, this month members of the public will be able to go behind the scenes at Shatwell Farm when it hosts its annual Open Day. The programme of events and exhibitions has been organised by Niall’s long-term partner, Kendra Matchett, whose keen curatorial eye has been honed over many years, conceiving and mounting exhibitions at Shatwell and beyond. As well as a participatory live performance in the orchard by the artist Leonora Oppenheim, with an accompanying installation by Jackie Brooks, there will be an exhibition in the Haybarn by the Scottish photographer Fraser Stables from his Remembering Architecture series, and refreshments in the newly >

launched Comins x Shatwell Tea House in the Atcost barn. And, of course, there will be a chance to view the Drawing Matter collection in its timber home, designed by the architect Hugh Strange – a rare glimpse at an archive that attracts thousands of architectural scholars and students each year.

Niall is keen to point out that it is the shapes and scribbles of an architect’s emerging vision that excites him. ‘I’m less interested in big, finished drawings than the sequence of drawings that you see in a sketchbook,’ he explains, gently opening the doors of a huge cupboard to reveal row upon row of pristinely bound notebooks containing hundreds of sketches.

‘The dream is that we get the one project that made them as an architect and that doesn’t always mean the earliest project,’ he continues. ‘I’ve always been teased that I go around the world talking to old architects who want to give me what they did last year but, in the case of the Portuguese architect Alvaro Siza, we have three social housing projects that he did during the Portuguese Revolution when he was already 40. But they were what put him on the map internationally. That’s the moment when the critics descended from America and said, “Here is a great new voice.”’

Niall and Kendra pull out one architectural delight after another from a series of huge plan chests with their alphabetised drawers. First up is a set of interior drawings of the Supreme Court in Washington with its highly ornate ceiling decorations. ‘They are by a not particularly well-known architect who was working for the government at the time but it’s an incredible piece of representation,’ says Niall, slipping the drawing out of its transparent protective sleeve for closer inspection. ‘I’m interested in why representation drawing of this quality was required. Was it actually to present to the Supreme Court of Justices to say, “This is where you are going to sit under the ceiling”?’

As well as drawings by Richard Rogers for an air terminal at Geneva Airport, the collection includes a project in Seoul sketched on a napkin by Frank Gehry; a drawing by Hitler of an entrance to the proposed German Pavilion (having previously rejected Mies van der Rohe’s entry for the Brussels Expo of 1935, this was his attempt to show his architect Albert Speer how it should be done); and presentation drawings of Marie Antoinette’s weekend retreat at Versailles – a topic, it seems, of fierce debate in scholarly circles. ‘We have had two French scholars who have made their careers studying this building arguing about whether they were

shown to Louis XIV on 15th December or 4th January,’ says Niall, with a smile.

While it’s easy to treat the archive as the star of the show, the many activities that revolve around it are just as important, from the academic collaborations and exhibitions to architectural summer schools, talks, evening events and workshops – a joint effort between Niall and Kendra, but one that is led by Kendra when the farm opens its doors to the public each year. ‘My day-to-day isn’t so much in the archive, although that is part of my life, as curating the activities that run alongside it with Niall. It is very much a partnership of minds. And Shatwell is very much a working site, not a folly,’ says Kendra, pointing out that not only are there cows to be milked but that various businesses – Mount Collective, the Timber Frame Co. and Sally Strachey Historic Conservation – have their homes on the farm too. ‘It’s always very, very busy!’

You only have to browse the website to understand why – students sketching in one of the barns as part of the annual summer school; a staging of Purcell’s Dido & Aeneas in the cowshed turned opera house; PechaKucha evenings in the grain silo. The creative energy is palpable. And that’s before you’ve even had a chance to take in the architecture around the farm.

From the three yellow concrete columns by Álvaro Siza, which once graced the courtyard of the Royal Academy and now command the entrance to the farm, to the Palladian-style cowshed designed by Stephen Taylor, it is an architect’s playground. Alison and Peter Simpson’s Obelisk constructed in oak by The Timber Frame Co. stands tall and proud in the orchard, while shipping containers have been masterfully transformed into a mirrored library and accommodation for visiting scholars. There is barely a patch of this old farm that doesn’t have a story attached to it and a very liberal sprinkling of architectural intrigue. Come the Open Day on 17th June, you will be able to see for yourself what makes this corner of the Somerset countryside so compelling.

drawingmatter.org

Saturday 17th June 11am-7pm

Shatwell Farm Open Day

Shatwell Lane, Yarlington, Wincanton BA9 8DL

An opportunity to visit the farm, its buildings and view the enviable collection of architectural drawings, plus exhibitions and a live performance. Tickets £5 available via eventbrite.co.uk

Colour for summer

As outdoor spaces continue to burst into colour, now is the time to make the most of the garden’s summer show.

Bedding plants, such as Begonias, Nemesia, Geraniums, Fuchsias and Petunias, can bring scent and colour to flower beds and borders, while pots and hanging baskets can add vibrancy to your patio or decking area. Make sure to feed with Boost and water regularly to bring out the best in each plant. You can pick up your seeds, plants and pots 7 days a week:

Monday to Saturday: 9am – 6pm

Sunday: 10am – 4:30pm

01935 814633

castle@thegardensgroup.co.uk

WATERWISE

With the rain lashing down outside once more as I write, it seems odd to be talking about the need to water. However, I think that will be a regular feature of our weather – that we get spells of very warm weather which will often be when there is very little rain and so it’s worth thinking about how we make sure that our gardens can cope with this.

This starts with getting it right at planting time. Digging in plenty of good quality soil improver or planting compost will help the soil’s ability to hold onto water. When planting out anything new use a product called Rootgrow around the plant’s roots. This contains a naturally occurring beneficial fungus that attaches itself to plant roots and helps the plant obtain water and nutrients. It can also protect the plant against soilborne diseases such as Honey Fungus.

Mulching on top of the soil with materials such as chipped or composted bark and Bloomin’ Amazing (a byproduct of a biogas plant near Poundbury) will help keep moisture in the soil by stopping evaporation and by trapping what moisture is there. It will also

reduce weed growth and when it breaks down it will further improve your soil. When we do get rain a layer of mulch will also make sure that your soil doesn’t get damaged and then washed away by the monsoon-like rain which is increasingly common.

To keep any plant in good health it needs the right amount of water. The amount that each plant needs will depend on, amongst other things, the type of plant, the time of year, where it’s planted, the soil type and the weather conditions. Water is a finite and precious resource so it’s also important to use it wisely.

Saving your own water is an excellent idea. Rainwater collected from most roofs is excellent quality and better for plants than the stuff in the tap. For extra volume, water butts can be connected and, although the pressure won’t be great, hose pipes and/or seep hoses can be connected to the tap.

Seep hoses are a great way to water efficiently. Laid on the soil preferably under a mulch, the water gently seeps out of the pipe and finds its way into the soil. It’s great for the vegetable garden or a new border as it can be moved and connects easily to an ordinary hosepipe.

Mike Burks, Managing Director, The Gardens Group

Also available are mini-irrigation systems. These involve a supply pipe usually half an inch in diameter which is laid around the garden. From this main pipe ‘spaghetti’ tubes are attached on the end, of which can be fixed drip nozzles which are placed in pots, hanging baskets or grow bags and can even be dotted through the border. At the tap end of the system a timer is positioned so that watering takes place at a specific time of the day for a specific period. Again, this is a very efficient way of watering and as such, is not covered by hose pipe bans.

The timing of when to water is often discussed and when we get to this stage of the spring and summer it’s best to water in the early morning or in the evening. This means that less water is lost to evaporation and any that gets onto plant leaves is less likely to scorch on a hot, bright, sunny day. A huge amount of water splashed around in the heat of the day just won’t get to the plant so it is wasted.

At this time of year, plants in pots and hanging baskets will need watering every day, even if we’ve had rain as most of the downpour will have been deflected

away from the compost in the pot by the foliage. The retention of water can be helped with the use of a moisture-retentive gel that can be added to the compost but even then this is only a small help and won’t stop the need for a good soaking. With peat-free composts use a fertiliser called Boost which is designed for such compost. It also contains a wetting agent which means that the compost is much better able to hold onto the water when it’s applied.

New plantings really need a good soak 3 or 4 times a week until they establish. Whereas it’s easier to do this with a hosepipe, it actually just makes everything look wet and the plants get very little of the water. My suggestion is to give each plant half a large watering can full, and, if you still want to use your hosepipe, time how long it takes to fill up half a watering can and then spend this amount of time with the hosepipe on each plant.

Watering plants well in their first season will help them establish so they are better able to look after themselves from then onwards.

thegardensgroup.co.uk

Nowra Photography/shutterstock

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DRENCHED IN COLOUR

Annabelle Hunt, Bridport Timber, Colour Consultant

Historical style is constantly being reinterpreted through a contemporary lens. Take for example a period film, perhaps Far from the Madding Crowd. Both versions were filmed locally, but the relatively recent 2015 remake feels fresh and authentic whilst, from a distance of over fifty years, the much-loved 1960’s classic feels a little outdated. Whilst Julie Christie and Terence Stamp are iconic, both films are very much of their own time. Just as with fashion or popular culture, architecture and interior design take design cues from a multitude of historical styles. Whilst it is easy to recognise classical Georgian or Victorian references, even the most contemporary of homes owe elements of their design to early 20th-century modernist architecture.

Just as architectural references create a recognisable style, the use of colour can be cleverly used to evoke a particular atmosphere, and the paint finish we choose also has a part to play in the success of the overall result. As very few of us live in Grade 1 listed properties that demand specialist finishes and faithful recreations of the original style, we are free to reinterpret our homes so that they can change and evolve as we do. I’m often asked how to update a space so that it feels sympathetic to the style of the property yet feels refreshed and relevant to those that live in it.

Although it feels very cool and contemporary, colour drenching is in fact a reworking of a decorating style which can be traced back to the Georgian period. In the 18th century, ‘flatted lead’ paint gave a highly coveted look which was difficult and extremely expensive to apply, as it required a team of skilled craftsmen house painters to achieve the smooth matt finish. There was a revival of interest in this decorating style during the interwar years of the 1930s, with bold colour combinations combined with the use of a flat, matt paint finish becoming popular once again. Farrow & Ball have long offered a Dead Flat paint, but now, after more than five years in development,

they have launched All New Dead Flat.

As a multi-surface finish, it can be brushed, rolled, or sprayed onto interior walls, wood, and metal, transforming skirting boards, radiators, and ceilings, with the same beautiful matt finish. Achieving a stunning, full-room transformation has never been easier. Minimal light reflection means that less light bounces off the surface of the paint and colours look richer and deeper than ever before. Formulated to deal with the rigours of modern life, it is tough and scuff-resistant, harder than Estate Eggshell and as scrubbable as Farrow & Ball’s Modern Emulsion, so suitable for even the busiest areas of your home.

Country cottage style has been enjoying a resurgence in popularity and recently I was asked to update a traditional-style property surrounded on all sides by a lovely garden. It had not been redecorated since it was built in the 1980s, and whilst it was immaculate, it was like walking into a 1980’s time warp with saccharine pastels, thick creamy glosspainted woodwork, and overly co-ordinated chintz. The current cottage-style trend, or ‘cottagecore’, is a more pared-back nostalgic nod to the countryside based around a natural colour palette of neutrals and warm tones, with natural decorative elements and vintage china. The understated subtlety of Dead Flat’s beautiful finish is perfect for this style and by choosing a scheme of quiet neutrals we allowed the house to connect with the garden around it and the spaces within to flow effortlessly from one to another.

The beauty of using just one paint product across all surfaces means that redecorating projects can be completed more quickly, without the need for taping or masking off areas or any fiddly cutting in. And as with all of Farrow & Ball’s paints, Dead Flat is water-based with only trace VOCs, so clean-up is quick and easy.

bridporttimber.co.uk

Dark Blue - Hague Blue No. 30 Dead Flat

Deep Green - Beverly No. 310 Dead Flat

Lighter

Blue - Selvedge No. 306 Dead Flat

Pale Green - Eddy No. 301 Dead Flat

PROFITEROLES WITH LEMON MOUSSE AND MEADOWSWEET SYRUP

Tom Matkevich, The Green

Afresh and light take on a classic dessert – perfect for summer. The choux may seem challenging at first but is very satisfying to make and of course, eat! Meadowsweet is a cream-coloured, fragrant wildflower with a flavour somewhat reminiscent of vanilla. It can be foraged from verges and hedgerows across the South West during the early summer months and when infused into a simple syrup, pairs wonderfully with this dessert.

Ingredients Serves 6

For the syrup

100g sugar

150ml water

20ml lemon juice

15g meadowsweet flowers

For the mousse

200ml whipping cream

40g yoghurt

Zest of one lemon

70ml lemon juice

1 gelatine leaf

50g sugar

For the pâte à choux

110g flour

80g butter

3 eggs + 1 beaten egg to glaze

160ml water

1 tsp salt

Method

1 To make the syrup, add the sugar and water to a medium-sized saucepan on a medium heat and stir until dissolved. Once the mixture begins to simmer, remove from the heat and add the meadowsweet flowers and lemon juice, cover, and set aside for around 1 hour to infuse.

2 Then, strain the syrup through a fine mesh sieve and set aside.

3 For the mousse filling, add the lemon juice and gelatine to a small bowl and set it above a pan of simmering water until the gelatine has dissolved. Remove and let cool.

4 Combine the sugar, yoghurt and lemon zest in a large bowl. Add the lemon juice/gelatine and mix well.

5 Whip the cream in another large bowl until very soft peaks form. Take care not to over-whip here –the cream should not be too stiff.

6 Add the whipped cream to the yoghurt mixture and fold in gently until well combined. Add the mousse to a piping bag and refrigerate.

7 For the pâte à choux, preheat the oven to 200˚C. Melt the butter with the salt and water on a medium heat in a large saucepan. When it begins to simmer, add the flour to the pan and beat the mixture with a spatula or wooden spoon until combined. Continue to mix vigorously until a cohesive, stiff dough has formed.

8 Remove from the heat and allow the mixture to cool for around 1 minute. Then, beat in each egg one at a time until combined into a smooth, thick paste.

9 Add the pâte à choux to another piping bag and let cool in the fridge.

10 To cook the profiteroles, line a baking tray with parchment paper. Pipe the choux pastry onto the tray in round blobs around 5cm in diameter and 2.5cm in height. Brush with the beaten egg and bake for 8-10 minutes or until golden brown. Avoid opening the oven during cooking as the steam contained within is key to the puffy appearance and texture.

11 When cooked, remove and add to a cooling rack. Pierce the base of each profiterole with a sharp knife to create a small hole. Let cool completely.

12 When cool, pipe the mousse into the profiteroles through the whole in the base until full. Serve 1 profiterole per person, garnished with the meadowsweet syrup.

greenrestaurant.co.uk

CELEBRATING SOMERSET GOODNESS, TEALS OFFERS RESPONSIBLY SOURCED GOODS FROM FANTASTIC LOCAL PRODUCERS.

It features a restaurant, food market, butcher, bakery, cheese counter, bottle shop selling wine local cider, and beer, a gift shop with independent-label gifts and healthy food to go. A healthy kitchen will serve nourishing plates from across the region.

We can’t wait to welcome you, through our doors to sample the local produce and enjoy the orchard.

If you fancy a trip out with a friend or an alternative to shopping in the supermarkets this is a great destination worth exploring. We have also added an Aspiga pop-up for the summer, so come and explore the new store within our store upstairs above gifts.

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GENERAL ENQUIRIES

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Food Market/Gifting/Food To Go: 8am-6pm 7 days a week

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Lunch: 12-3pm 7 days a week

MUSSELS

Paul Merrony, Newell French Bistro

We all know that Sherborne has many wonderful attributes, however, the cultivation of mussels (Mytilus edulis) is not an amenity that springs to mind. Fortunately, we’re lucky that in the South West, we have access to the plump, orange-fleshed Fowey mussels, courtesy of Westcountry Mussels Limited.

Fowey mussels are farmed offshore in St Austell Bay in the rich, warm gulf stream that wraps around the Cornish coast, bringing its abundant nutrients and clean water.

Mussels have always had a place on our menu. We serve them in a variety of ways; with cauliflower puree, with crab soup or with a rich, gently simmered tomato sauce that is finished with butter and fresh herbs – occasionally we add fresh pasta as well.

As a rule of thumb, when cooking mussels, the bottom of the pot you choose should be loosely covered with them so that they may open quickly, releasing their juices to mingle with the additions you choose to add. I would describe the heat that the pot should be placed on as ‘fierce’.

It’s generally accepted that mussels are cooked when the two valves open – for this, they need a little room to spread while cooking so that the flesh can cook evenly. If you overcook mussels, they become wizened and taste a little leathery – the best way to avoid this is to have the right quantity for the pot’s size. The best way to describe a perfectly cooked mussel is that the shell will be open and that the flesh ‘set’.

In order to get the yummiest out of mussels, it’s better to cook smaller amounts often, as opposed to trying to cook them all at once.

Recipe

Given that the number of mussels you use will depend on the size of your pot, I have given proportions, as well as specific amounts.

If you have scales that can be tared, you can measure directly into the pot sitting on the scales – mussels are a true one-pot dish.

Ingredients

250g (10 parts) of ‘debearded’ mussels – it’s rare to find mussels for sale nowadays that aren’t cleaned 75g (3 parts) tomato sugo from the pasta sauce section 50g (2 parts) unsalted butter

25g (1 part) of a liquid – for example, wine, water or stock or broth.

Chopped parsley and chives are also a nice addition.

Method

(If you wanted to add some cooked pasta now is the time to do it.)

1 Once all the items have been corralled, place the pot on a vibrant heat and bring quickly to a bubble – lid the pot so that the heat and steam are contained.

2 Remove the lid and swirl the mussels, turning them over to ensure an even cook. Any stubborn, unopened mussels may need an encouraging nudge with a spoon - if they aren’t playing ball discard them.

3 Once they’ve all opened (the whole process should take 4 or 5 minutes) pour into a bowl and eat. It’s prudent to salt mussels at the table, as they rarely need salt given where they are grown.

If, after having eaten the mussels, you don’t want to eat the ‘soup’ you can use this to moisten the next batch.

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INDIAN DAILY BREAD

Punjab ‘the bread basket of India’, is a major food-producing region, with grains, pulses and vegetables comprising the majority of harvested goods. The daily bread - roti - is so integral to the Punjabi diet that the word ‘roti’ not only means ‘flatbread’ but also ‘food’ in general (instead of asking ‘Would you like dinner?’ we would say ‘Would you like roti?’).

Much like a French baguette, roti is made fresh each day and do not contain any preservatives so become hard the following day. Indian flatbreads are often made ‘to order’ just before eating your meal. Once cooked, a piece of the flatbread is torn off and used as a spoon to scoop up the main dish (which is nearly always dhal/ pulses or saabji/vegetables).

Wholewheat roti is the most well-known bread across the Asian subcontinent, however, there are many, many different types that can be made. The flour used can also include cornmeal, millet, water chestnut, amaranth, and gram flour to name a few.

Each flatbread is made using flour and water (the water will either be room temperature or sometimes boiling depending on the type of flour). As most recipes with simple ingredients go, it is quite tricky to make roti (of any kind) successfully. The time-consuming process of learning to make roti could be compared to learning to drive – each stage depending on the success of the preceding one, all the while questioning how you will master it – until you eventually do and are able to carry out the skill on a daily basis, often without giving its complexity a second thought!

When making roti in India, much like pancakes here, the first one can be tricky to get right, as the heat of the pan adjusts, and so the first roti is normally put on the window sill. Many families own cows and much like domestic cats here, they are free to explore their local neighbourhood. As they roam, they wander up to people’s houses where they are treated from the window sill to the first imperfect roti (it is every bit as lovely to

Safia Hothi-Bellamy, Pure Punjabi

see as it sounds).

In England, we know roti as ‘chapattis’. They are made from a wheat flour, called ‘atta’ (pronounced ‘utta’). This flour can vary depending on how much of the fibre (or meal) is removed - the lower meal content produces a ‘light atta’. We use a ‘medium atta’ as this gives a nice balance of a wholemeal taste with a texture that is not too dense. This dough is never normally made to any sort of weight or measurements, so please note that the quantities given below are a guideline – should you need a fraction more or a fraction less, that is ok.

Ingredients

180g medium atta (chapatti flour)

120-150ml tap water

Small amount of butter (for lightly buttering the hot rotis)

Method

1 Pour the roti flour into a large bowl and slowly pour in approximately 120ml of tepid water, mixing loosely with your fingers to form a crumble-like mixture. Add the water a little at a time as you may not need all of it. Making roti is by ‘feel’ so does need practice.

2 Start to work the dough together and then knead it until smooth and leave for 10 minutes. The dough should have a medium resistance and feel firm yet a bit sticky. *Note - slightly firmer than bread dough. If too hard, wet your knuckles and knead in more water. If too soft, flour your knuckles and knead in until firmer.

3 After resting the dough, knead again for a few minutes. The dough will now feel slightly softer than bread dough – it will feel springier and not so sticky. Tear off one piece of dough at a time,

about the size of a satsuma – try to make the ball a consistent size every time. Roll into a small smooth round dough ball, dip into some flour, shake off the excess and form a flattened circle by hand, about the size of a large cookie.

4 Pre-heat a hot plate (tava), griddle or flat-bottomed frying pan to a medium-high heat.

5 Using a rolling pin, roll out the flattened disc of dough to roughly the size of a side plate, ensuring that you turn the flattened disc often and apply even pressure when rolling to give a round shape. If the roti is sticking, dip both sides in the flour as you roll out, but you must shake off the excess flour. You need just enough flour to prevent sticking or your cooked roti will be dry.

6 Carefully place the roti onto the tava or hotplate, by ‘slapping’ it on with the flat of your hand. Ensure that it lies completely flat on the tava and that there are no air bubbles. Be careful not to catch it with your nails or pierce it while cooking or it will not rise. *Tip - You can use a flat smooth-edged spatula to help turn the roti if you are not accustomed to touching the hotplate with your fingers!

7 Cook the first side of the chapatti for only about 5-6 seconds or when you see the raw dough start to change colour. Turn over as soon as you see the colour start to change then cook the other side for about 10-15 seconds or until brown spots appear.

8 Place the first side that was cooked so that it faces direct heat, either upwards under direct heat (a grill) or facing downwards with the use of a roti puffer, over direct heat or flame (gas hob) until it puffs up. Be careful of the hot steam! Serve lightly buttered.

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THE CAKE WHISPERER

Val Stones

CHEESY NUGGETS

I’ve been travelling to America for over 20 years and during this time I have tasted many kinds of food, confectionery and baked goods. I come home to see if I can replicate the recipes with ingredients that suit my family’s taste. Cheesy balls or nuggets as they are called are served as quick snacks.

These cheesy nuggets are full of flavour and rich in calcium, protein and vitamins. Mozzarella is high in calcium and protein whilst being lower in fat than many kinds of cheese. Parmesan cheese is low in fat and rich in vitamins A, B6, B12, phosphorous, zinc and copper and I’ve used Cheddar for added flavour. The cream cheese is sufficient simply to bind the other cheeses together as it is high in fat. A pinch of nutmeg, paprika, garlic powder, a little red onion, parsley and the addition of mustard lifts the flavour of the cheese. The crunchy coating is in contrast to the soft cheese middle. Baking these flavoursome nuggets rather than frying them adds yet another healthy twist.

What you will need

Cheese grater, bowls for mixing and a baking sheet.

Preparation time 15 minutes, chilling time 1 hour, baking time 15-20 minutes

Ingredients Serves 4

100g mozzarella broken into small pieces

60g Parmesan, grated

150g Cheddar cheese, grated

25g cream cheese

28g red onion, finely chopped

1 teaspoon chives, finely chopped

1teaspoon parsley, finely chopped

Pinch of grated nutmeg

Pinch of smoked paprika

Pinch of garlic salt

1 teaspoon English mustard powder

4 twists of black pepper

For the coating

50g plain flour

2 eggs, lightly beaten

100g Panko bread crumbs

Pinch garlic powder

Pinch smoked paprika

Image: Katharine Davies

Method

1 Grate the Parmesan and Cheddar cheeses, break the mozzarella into 1/2 inch pieces and then place in a bowl.

2 Add the cream cheese and remaining ingredients, combine well and form into balls the size of a golf ball, about 2-inch diameter, and put on a baking sheet then open-freeze for 1 hour.

3 Preheat the oven to 190C Fan, 200C, gas mark 6.

4 Lightly beat the eggs in a shallow bowl.

5 Place the flour in another shallow bowl.

6 Combine the panko crumbs, garlic powder and smoked paprika in a third bowl.

7 Dip the cheese balls first in the flour, then the egg, then coat well in the panko bread crumb mix. (At this stage the nuggets can be open-frozen and packed into an airtight container to be baked later when needed.*)

8 Place the nuggets on the baking sheet leaving a little space between each and bake for 12-15 minutes until golden and crisp.

9 Take out of the oven and place on a piece of kitchen roll to stand for 3 minutes before serving.

10 Serve with a green salad of rocket and other dark green leaves.

• Before baking, place on a baking sheet to defrost slightly for 30 minutes bakerval.com

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A Dorset cafe with a difference, we champion homegrown and celebrate nature. Meet our Tamworth pigs, feast on our artisan produce, and enjoy our idyllic views.

SUMMERDOWN

The Colman family have always had a taste for strong flavours – for generations, it was mustard, the most English kind, hot and strong. When I was growing up, my father would carefully mix the bright yellow powder into a paste with a tiny spoon at the beginning of almost every meal. These days, another, clear bright flavour has captured the family’s hearts - peppermint.

When we were establishing Teals there was a particularly joyful period in the run-up to opening when we got to explore an extraordinary range of delicious, beautiful produce from farmers, makers, and craftspeople around us. We know and love the story of almost every item on our shelves. At one particularly memorable tasting session we were blown away by something completely unexpected – Summerdown peppermint tea.

When you think of herbal teas (or at least, when I do), they tend to be undramatic: pleasant and soothing, something you might drink when you’ve hit your caffeine limit for the day. Summerdown peppermint is something

else entirely. It is clean and bright and invigorating, the most essentially pepperminty flavour you could dream of – the peppermint that Willy Wonka would choose.

It was on a trip to America 30 years ago that Sir Michael Colman became entranced by Black Mitcham peppermint, a variety which had been native to the UK a hundred years before, but was no longer to be found here. Curious, and filled with the desire to bring the flavour of real peppermint back home, he took a few cuttings of the notoriously tricky-to-cultivate herb to have a go on his farm in Hampshire, where he first established a plot the size of a tennis court. Skip forwards to today and you’ll find over 100 acres of it, which will be transformed into the world’s finest peppermint oil, along with other herbs with magical properties such as lavender and chamomile.

Summerdown’s crops are truly exceptional. They are turned into teas and chocolates as well as essential oils which form the basis of a variety of beautiful things for the home and bathroom. But there is another element to the Summerdown story that we fell in love

Joanna Weinberg, Teals

Images: Summerdown Mint

with completely and that was the farming style and practice they have followed since the day the mint and other herbs were established. Today, environmental watchwords such as ‘regenerative’, ‘biodiversity’, ‘soil health’ are all around us as we try to move forwards to a more hopeful future. But before these words became familiar, these practices and principles were embedded into Summerdown’s farming values. ‘We’ve always believed that in diversity lies good health - whether that’s soil health or for the broader wildlife,’ says Jo Colman, who has now taken up the family mantle.

‘Throughout the year there’s so much life on the farm: it is full of colour and teeming with wildlife. Right now we have a huge variety of wildflowers which attract an astonishing array of insect life and the birds who feed on them. Into autumn and winter, the wildflowers go to seed and you’ll see amazing murmurations that flock over them, searching for food.’

You can now delight in the wildflower meadows and experience the rhythms of nature first-hand by staying in one of their beautiful shepherd’s huts. ‘It’s been a

long-running dream to be able to connect people who love the peppermint with the farm itself,’ says Colman. ‘We think of them as little boxes of luxury, both childand dog-free (to protect wildlife) – a place to come and luxuriate in the balance of nature and truly unwind.’ Each hut has its own kitchen with a fully stocked gift basket, wooden furniture crafted from the estate’s own larch and a wood-fired hot tub.

‘We want to be part of the magical moments in life, from the everyday to the significant,’ says Jo. ‘That might be through a perfect cup of tea, a box of chocolates shared after dinner with friends, or a stay with us.’ Whichever you might choose, all will point to the same thing: sustainable excellence in craft, a passion for the land and giving back to nature. It is in this patchwork of passion projects that the balance of our environmental future sits, and we love being able to play a small part in their story.

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A MONTH ON THE PIG FARM

James Hull, The Story Pig

As has been the way lately, the skies are leaden and full of rain. Thunder and lightning are echoing around the valley, Blue is pushing against my leg and shaking with fear. He hates thunder and probably so would I if I didn’t know what makes the rumbling coming from the sky. I have spent most of the day trying to dig out a rotted-off gatepost at the top of our entrance, broken off at ground level and surrounded by concrete. I have chipped away, with tiny little crumbs breaking off as I strike the concrete with an iron bar, time after time until my hands are sore and throbbing. We are not at the bottom yet and the clouds have finally unleashed a deluge of rain that had been threatening for most of the day.

At this time of year being driven inside early is not something I relish – with all the rain we have been having, the garden is romping away from me. I have been spending all my spare time digging a new huge border –as is everything here, it is a labour of love. One day in the not-too-distant future it will be finished but at the moment I still have more than half to dig, bending with nearly every forkful to pull out tiny bits of couch grass that if ignored and turned down will come back with a vengeance to haunt me and make me wish I had done better.

Our lovely lavenders have mostly greened up into beautiful soft balls of froth – the hard winter cold took its toll on ours as it did on many others. We lost two whole rows of lavender to the extreme cold – varieties that we won’t be replanting but will soon be replacing with new tiny balls of hope. Some I have had to cut back hard in the hope that they will shoot from lower down. I have decided that there is nowhere I prefer to spend my time than in the lavender field, gently clipping and shaping my charges, waiting and watching them spring forward with such beauty and elegance.

Many of you will have watched as I slowly transformed our field kitchen into a fully kitted-out area where Charlotte can perform her culinary delights and be nearer the action in the cafe. Clad in materials I had lying around the farm, we are both so pleased

with the transformation to a much more usable space. During the summer we will be cooking and serving our pizzas from here too. We both love making our pizzas – Charlotte makes them and I cook them. We love seeing a packed garden with customers enjoying them with a glass of our local beer or Prosecco as the sun sets. Although I talk of rain, I must say our pizza evenings have all been beautiful evenings.

Out in the fields, the pigs are happy as the spring weather washes over them. They, like us, are up early to inspect their paddocks. Feeding is a pleasure during these coming months. It’s light however early I get up and my head torch will remain unused for the next few months. The mud has almost disappeared and the paddocks are beginning to green up. I have been levelling out all the winter ruts which is a big job that takes a while to complete. We seem to have lots of piglets all over the place at the moment – brown ones, black ones, spotty

ones and stripy ones – all enjoying the spring warmth. This is the absolute best time of year to be an outdoor pig farmer – it’s still not too hot for them or us! Anyway, the rain has eased and I so am going to nip out and check my onions!

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If you’d like to volunteer to help with the weeding at The Story Pig James would love to hear from you. It’s a tough job, but in an idyllic setting and with plenty of cake!

Image: Katharine Davies

SUNDAY LUNCH IN ST JULIEN

David Copp

We had good reason to visit an old winemaking friend who has recovered from a stroke and he took us to his favourite restaurant in St Julien, the smallest of the four great communes that make up the Medoc region of Bordeaux, arguably producing some of the world’s very greatest red wines.

Le Saint Julien is a friendly, family restaurant owned and run by chef Claude Brossard and his wife Gloria who have earned a reputation for producing exceptional food and wine.

My particular interest was in enjoying pink Pauillac lamb in its own ‘backyard’ because it is a perfect pairing for the great clarets the region produces.

St Julien is perhaps less well known than some of its near neighbours in Margaux and Pauillac - such First Growths as Lafite, Latour, Mouton Rothschild and Margaux. However, it does include several fine second and third growths notably Leoville Las Cases, Beychevelle, Talbot and Langoa Barton.

I asked Claude about the raising methods of Pauillac lamb which have been protected by EU GI

certification since 2003. The lamb must be born and raised by their mothers in the Gironde for at least sixty days, consuming only their mother’s milk. Categorised as ‘suckling lamb’ they remain in a sheep pen for their entire life while their mothers go out to graze in meadows from April to November. The mothers are well looked after, being fed on grains and forage and their lambs are usually slaughtered at about 12 weeks old.

The meat they give is pale pink, very tender, with firm white fat giving a wonderful taste when paired with the great wines of the region. In my student days the sheep were sent out to graze in the salt marshes of the region and rendered a service by providing natural manure fertiliser. Claude is convinced that this is what makes the lamb so tasty.

Walking near the Garonne one quickly becomes aware of the alluvial deposits of early quaternary gravel brought down from the Alps and the Pyrenees by the great rivers that empty into the Atlantic Ocean. Alternating layers of marl, clay, sand and limestone encourage vine roots to dig deep in search of the minerals and water they need to flourish.

The whole region was drained by Dutch engineers in order to increase wheat production before it was realised that the land was also perfect for vines. So good in fact that potential investors came out from Bordeaux looking for gravel mounds. Most of the greatest Bordeaux wines still come from gravel mounds.

The English philosopher and wine enthusiast John Locke, writing about his visit to Chateau Haut Brion c 1667 described the vineyard as a ‘rise of ground with… gravel…scare fit to grow anything.’

His visit to Bordeaux had been prompted by Samuel Pepys’ diary entry for 10th April 1663. Pepys recorded that in the Royal Oak Tavern in Lombard Street, he had tasted ‘a sort of French wine called Ho-Bryan...that hath as good a taste as I ever met with.’

Pepys’ assessment of Ho-Bryan is notable because he also established that the wine came from the property of the President of the Bordeaux Parlement, who was wealthy enough to lavish care and attention on his vines ‘in order to produce better wines than any other vineyard.’

The search for excellence continues today. The great Bordeaux wines are still in demand from wealthy people around the world – with or without pink Pauillac lamb.

Sunday lunch in St Julien is very possible these days. We flew from Bristol to Bordeaux in an hour and a half and rented a car to drive 45 minutes to the restaurant.

Chateau Gruaud-Larose, Saint Julien

"My particular interest was in enjoying pink Pauillac lamb in its own ‘backyard’ because it is a perfect pairing for the great clarets the region produces."

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‘ERE, EAR

Mark Newton-Clarke MAVetMB PhD MRCVS, Newton Clarke Veterinary Surgeons

This spring has been a bit of a stop-start affair with the sun trying to warm us up despite cold winds pushing down from the north for much of April. Hopefully by June we will be basking in southern breezes and the songbirds won’t have to take nightly refuge from winter-like temperatures. It always amazes me that they survive at all and have the strength to sing in the early mornings – maybe their way of celebrating life as much as claiming territory and finding a mate.

One morning, as I prepared to cycle into the Sherborne surgery, I paused to listen to the song of a tiny bird perched up in a cherry tree, so small it was hidden by a bunch of blossom. The sound was

so complex it entranced me for several minutes and afterwards, I started thinking about the special sense that allowed me the experience.

Our ability to hear, like vision, is often taken for granted until it begins to fail. At least as humans, we can boost our abilities with high-tech hearing aids and glasses. Not so for our pets as in veterinary medicine, we can only address medical conditions of the outer ear that may cause deafness as we have yet to invent a canine hearing aid or cochlea implant.

It’s not uncommon for pet owners to tell me they think their dog has become deaf. Similar to vision, hearing depends on a linked system of sound transmission from the outer ear through to the auditory

Mary Swift/Shutterstock

cortex of the brain. On the way, the sound waves have to be converted into nerve impulses that are sent up the auditory nerve. The connections on the way to the cortex are complex, involving cross-overs to the other side of the brain and switch-backs so both sides receive impulses from each ear. In the middle of this is our old friend the reticular formation, responsible for waking us up when the alarm clock rings. As with the visual cortex, links with areas of the brain that govern our emotions give further meaning to what we hear. Hence my pleasure at the sound of the dawn chorus and the wag of a dog’s tail in response to a friendly voice.

So, what causes deafness in dogs and cats? Again, a parallel with vision exists in that anything that upsets message transmission from the outside to the sensory part of the brain can cause hearing impairment. In older dogs and cats, degenerative changes in the inner ear and brain can lead to ‘selective’ deafness. My (dear departed) Border terrier, Trilby, seemed as deaf as a post in later years but he responded to the rustle of a crisp packet at 50 yards. Of course, it is entirely possible to lose the ability to hear certain frequencies and retain others, although it’s funny that the human voice is one of the first to go, in both man and animals! This may be due to the structure of the cochlea, the snail-like organ in our inner ear that acts as the transducer, turning sound waves into nerve impulses. Its coiled shape saves space, a bit like a spiral staircase, and different frequencies are detected at different locations by specialised pigmented cells. If parts of the staircase lose their treads, gaps appear in our hearing.

For many dog and cat breeds, lack of skin pigmentation is associated with deafness, present at birth. A white coat and blue eyes have been associated with deafness for many years, particularly in Persian cats but Turkish Vans and many other pure- and outbred cats can be affected. Lack of, or complex, coat pigmentation is also associated with inherited deafness in dogs, particularly white boxers and bull terriers, dalmatians, English setters, Border collies, dachshunds and old English sheepdogs, to name a few.

Inherited deafness is obviously a concern to owners and breeders, particularly of those breeds primarily affected. The ear canals of puppies open at about 2 weeks old so responses to sound start after that, although it’s difficult to recognise deafness as behaviour is similar to normal pups. There is, however, a test for hearing in dogs and cats that can be performed from 5 weeks old, called the Brainstem Auditory

Evoked Response (BAER) test. Picking up signals in the nerve pathways, it can detect hearing in each ear independently using a series of clicks to stimulate responses in the auditory system. Similar to an ECG, electrodes pick up the signals and display them for the audiologist to interpret. The BAER test can also be performed in older dogs, although sedation may be needed. This is not usually necessary in young puppies as they sleep between feeds and so remain quiet for the duration of the test, which takes 10-15 minutes. There are a number of testing centres in the UK, none very close (Cheltenham and Worcester are closest) but The Mobile BAER Testing Clinic visits the South West and has a Facebook page and website that describes their service and booking information (07912 027332).

Unfortunately, congenitally deaf puppies and kittens cannot have their hearing restored but breeding can be planned to limit the spread of the defective genes responsible. Essentially, only animals with hearing in both ears should be bred from but due to the complexity of the genes involved, deaf offspring are still possible.

Deafness in older dogs and cats is commonly associated with chronic ear and skin conditions, causing problems like eardrum rupture, thickening of the external ear canal to the point of complete occlusion and wax buildup with recurrent infections. Caught early, medication can arrest progression but in some cases, surgery to remove chronically affected tissue is necessary. Although this in itself can adversely affect hearing, it allows the patient to have a pain- and infection-free life.

As you might expect, there is plenty of information about deafness in dogs on the internet. As always, be careful what you read but the social effects of deafness on canine behaviour is described well by the Association of Pet Behaviour Counsellors (APBC).

newtonclarkevet.com

"My Border terrier, Trilby, seemed as deaf as a post in later years but he responded to the rustle of a crisp packet at 50 yards."

A DAY IN THE LIFE OF A VET

Eleanor Livingstone BVSc MRCVS DBR, Friars

Livestock Health

The day in the life of a vet is a great balance between routine and variety. Each morning many of us largely start our days with routine fertility work on dairy farms. Each of our dairy clients will have two vets assigned to them as their first point of contact. Depending on the number of cows or the seasonality of their calving these visits occur weekly, fortnightly or monthly. At these visits we pregnancy scan cows using ultrasound scanners. We can see the foetus from 28 days and are able to see a heartbeat to ensure a viable pregnancy, ascertain whether there are twins and ensure the farmers’ records match what we see on our screen to aid them in the management of the cow later in their pregnancy. The ultrasound

scanners that we use are portable, usually worn in a pouch around our waists, with the screen being a set of goggles, worn on our head where the image is displayed in the glass eyepieces – think virtual reality headset with an old-fashioned black and white image! At these visits we have the opportunity to discuss with farmers what is going well and not so well, and to work together as a team to try and improve health and performance for the coming months.

These initial visits are largely on dairy farms where milking time is the ideal opportunity to draft out the cows that we see as vets and it ensures the cows don’t wait for too long until they are able to return to their usual routine. These mornings do mean that often our

Moor

farmers are late having breakfast though because we are with them delaying their breakfast time!

Later in the morning and into the afternoon is typically when we see our non-dairy clients; beef, sheep, goats, pigs and alpacas. We undertake routine flock and herd health planning with these clients too, working towards healthier and more efficient production systems.

Throughout the day we always have TB testing and more interestingly we always have a vet available for emergencies. Obstetrics will likely always be one of the most exciting parts of our job. It is a privilege to be involved each step of the way, from the confirmation of pregnancy by ultrasound, to

discussions surrounding the management of the pregnant mother, and whilst hopefully for the farmers the process of giving birth is a smooth one, when needed we all enjoy playing midwife, whether for a ‘natural birth’ or possibly a caesarean. I love that within our jobs we undertake the role of paramedic, GP, midwife, anaesthetist, surgeon, nurse, nutritionist and hopefully a friend to the farmer!

Education is a vitally important part of our large animal vet role as we work with farmers to adhere to strict health and welfare needs. British food is some of the very safest in the world. Looking for the familiar red tractor label on food packaging means that you can be assured that the farm producing that food has complied with food safety and animal welfare regulations and you are eating some of the best quality produce available globally.

We run training courses for farmers on a multitude of topics from calving and lambing courses, foot trimming, AI (artificial insemination), the safe use of medicines and much more. Public speaking doesn’t necessarily come naturally to many vets but practice certainly helps! I am very grateful for my days as a Dorset Young Farmer in helping prepare me for public speaking and more broadly for increasing my exposure to the farming world where not directly from a farming family myself. Nobody could have sat me down and taught me what I learnt through immersion of farming chatter at Young Farmers!

One of the greatest pleasures of each day is the characters that we meet – catching up with those farmers we see regularly, both in terms of their animals and also what’s going on in the rest of their lives. We all anticipate the agricultural show season eagerly, giving us an opportunity to socialise with those in a more relaxed way than on the farm!

Hopefully each week the evenings and weekends provide some opportunity for hobbies and life outside of work – something I feel is really important in maintaining a healthy balance but also generating interesting conversations with clients and enjoying shared hobbies. We are spoilt in Dorset with the countryside and the coast. Many of our large animal team are keen outdoor enthusiasts enjoying our countryside by foot, bike or sea! Please do say hello if you see any of us out and about.

friarsmoorlivestockhealth.co.uk

friarsmoorvets.co.uk

Hair Cutting

Colouring

Hair Botox

Hair Filler

Hair Extensions

Beauty

Lash Extension & Brows

Manicure & Pedicure

Permanent Makeup

Tattoo Removal

Aesthetics

Facials

Chemical Peel

Microneedling

Skin Revitalisation

Botox Treatments

Dermal Fillers

PDO Thread Treatment

Plasma Pen Fibroblast

Fat Dissolving

Laser Hair Removal

Intravenous Vitamin Delivery

Natalia Polina Victoria Sylvia

A SPOT OF BOTHER

Sarah Hitch, The Sanctuary Beauty Rooms and The Margaret Balfour Beauty Centre

Spot, breakout, whitehead – whatever you call the pesky blighters on your skin, they can be a bother. Making an appearance usually when you are going to an event or have someone special to meet. When excess sebum mixes with dead skin cells it blocks the follicle.

A spot is caused by bacteria sitting behind the blockage in the sebaceous gland within a hair follicle. It’s important not to squeeze a spot without proper preparation to avoid pushing the infection back into the skin and spreading it. If you really must deal with a rumbling Vesuvius on your skin, warm the area first to soften the skin and open the pores. With clean hands and sanitised skin, pierce the very centre with a clean pin or needle. Then gently using the pads of your fingers gently rock and press around the swollen spot until the infected matter is removed. Wipe the area clean with an anti-bacterial cleaner. Then allow the eased blemish to heal unless further infection erupts in which case repeat the process.

To avoid these blockages it is important to clean your skin thoroughly and remove dead skin cells that can inhibit the natural flow of sweat and sebum out of our pores. Cleaning off the day every evening removes the build-up of oils, daily grime, make-up and SPF products and helps to break down potential skin blockages. For the most thorough clean use a cleansing oil first followed by a cream or wash-off cleanser. Cleansing oils are suitable for all skin types, even oily, because oil attracts oil and they are capable of breaking

down even long-wear makeup and SPFs.

Once you have clean skin, exfoliate to remove dead skin cells a couple of times a week as this further inhibits potential breakout-causing blockages. However, do not exfoliate overactive blemishes or those that are on the mend because you could potentially disturb the healing.

If you feel a breakout is looming there are many topical products to apply onto the skin to kill bacteria, reduce swelling and speed up healing. Targeted treatments often contain salicylic acid or benzoyl peroxide. Apply to individual spots and allow to dry in before applying other serums or moisturisers so that the ingredients can get to work fully.

For problematic regular breakouts apply a salicylic acid product daily to encourage cell turnover and clear pores. There are also skin supplements that can be taken to clarify the skin and support the liver to detoxify and clear breakout-inducing hormones. Vitamin C will also support healing from within so increase levels in your diet. Try to keep blemishes that are healing out of strong sunlight as sometimes it can trigger pigmentation scarring which takes a long time to go away. There are products on the market to specifically help with fading marks caused by post-inflammatory pigmentation. Scarring after a breakout is often the hardest part to overcome so remember to be very gentle with your spots to avoid creating another problem.

thesanctuarysherborne.co.uk margaretbalfour.co.uk

Koldunov/Shutterstock

white gold ring, set with 0.78ct of diamonds £3850

Through my personal and professional experience with mental health, I have developed routines and habits to support my wellbeing. There are hundreds of techniques available to manage mental health. Through trial and error, I was able to find some behaviours that work for me.

Getting off the thought train Acceptance and Commitment Therapy (ACT) uses the metaphor of a train to illustrate how we

EMOTIONAL WELLBEING SUPPORT

Lucy Lewis, Dorset Mind Ambassador

can separate ourselves from distressing thoughts. A person can be standing on a train platform, watching the trains enter and leave the station, without getting on every train.

Our minds have thousands of thoughts (the trains) every day, but we can learn to choose which thought trains we board. If I have boarded an unhelpful thought train (i.e. lost in unhelpful anxious thoughts), I can notice this, and get off the train at the next platform.

I try to be mindful of my thoughts and consider whether they are productive or unhelpful, before automatically believing and acting on them, as I may have done in the past. There are various techniques that can be used to get distance from your thoughts so that they have less power over your mood.

Sleep

It is common knowledge that the amount of sleep we get can have a strong influence on our mood.

However, despite knowing this, we can often neglect to prioritise sleep when we have other demands or temptations. For example, if I have had a long day of working and/or studying, it can be hard to choose sleep over downtime. So, I try to remind myself of how much it will affect tomorrow if I don’t sleep enough today and strike a balance between downtime (which is also important) and getting enough rest.

Music

I use music playlists to regulate my mood. When I am feeling very anxious or stressed, I will play my calm playlist which is full of songs that make me feel calmer. I have an energetic playlist for when I need to be productive and a feel-good playlist of songs that make me feel happy. The more I have utilised playlists, the more effective they’ve become in shifting my mood as my mind gets used to the routine.

Being my own best friend

We all tend to be harsher to ourselves than we would ever be to a loved one. After making a mistake, we might berate ourselves when we would comfort and reassure a friend if they had done the same thing. When I notice my thoughts are being overly harsh or judgemental of myself, I consider what I would say to a best friend in the same situation, and then reassure myself with the same words.

Similarly, I try to look after myself as I would a child under my care. It is easy for me to fall into bad habits of not looking after my nutrition, self-care, or life, as these decisions only affect me. However, when I am looking after a child, I always ensure they are fed, washed and have fun things planned, so I try to take this same perspective with myself and prioritise self-care. This also includes finding little things that make me happy or relaxed and trying to put as many of them into my routine or plans as possible.

The journey of managing our mental health is personal to an individual and can take time. Therapy can be an excellent tool for learning coping strategies and understanding yourself better.

Visit dorsetmind.uk to find out about 1-2-1 and group mental health support available for adults and young people in Dorset.

Need advice? Speak to your GP as a first point of contact. In addition, you can call Samaritans 24/7 talking service which provides emotional support on 116 123.

X10/Shutterstock

OUTDOOR EXERCISE

Craig Hardaker BSc (Hons), Communifit

June is the month when we start to move as many of our exercise classes as possible outdoors. Despite all the good work achieved over winter indoors, it is undeniably wonderful to have this shift of scenery from four walls to open playing fields with all the advantages, particularly in relation to mental health, that this brings. Communifit, for well-documented reasons, introduced outdoor exercise during Covid. Initially forced upon us by the Government, and seen as a negative at the time, it has been such a blessing to our services, being the catalyst for the creation of our everpopular boot camps. Some original participants were regular gym-goers but with closures during the height of Covid, they came to boot camp to give outdoor training a try. Initial feedback was extremely positive and in fact, some haven’t returned to the gym! There are many benefits to exercising outdoors – let’s consider some of them.

Vitamin D intake

Most of us work or spend the majority of the day indoors. This will of course limit our vitamin D intake. Vitamin D is needed to help maintain healthy bones and muscles – very important when it comes to fitness. The NHS recommend healthy exposure of skin to sunshine to help get our vitamin D fix. We must however be wary not to burn our skin, as exposure time varies from person to person. It is also worth pointing out that we mustn’t be lured into a sense of false security in thinking that the sun’s rays aren’t strong in the early evening and therefore we needn’t apply sunscreen. Indeed for the more strenuous exercise classes we may need to be aware of a possible need to re-apply in the same way it is important to rehydrate as appropriate.

Alleviate boredom

If you are starting to feel bored of training indoors and beginning to lose motivation, exercising outdoors could well be the answer. With no four walls, the scenery will

change week by week as the seasons develop and help to keep you interested. The ‘outside exercise experience’ will not only be enhanced by taking in beautiful west country views, but also through challenging the body with new and exciting exercises, those that can only be attempted in a larger space.

Fresh air

Do you spend enough time outdoors? Fresh air not only clears your lungs, it can also boost your mood, lower your heart rate, increase energy levels and even improve digestion. When you are outside, the fresh air can help raise oxygen levels in your brain, which in turn increases serotonin levels. Serotonin is the neurotransmitter that helps alter your mood. Getting some fresh air is a simple way to help improve your mood. Try going for a walk next time you feel stressed or anxious – it really does work!

Exercise for longer

Moving outside is a great motivator and can impact our commitment to exercise. Exercising in natural environments is likely to be more enjoyable than exercising indoors, which can help to increase motivation for physical activity and therefore allow you to exercise for longer.

So there we have it, some benefits to exercising outdoors. Just being outdoors can have so many benefits in relation to your mental as well as physical health, add to that the undeniable general benefits of exercise and you create a very positive combination.

When the weather is suitable, train outdoors. If you’ve yet to exercise outdoors, we strongly recommend it – so give it a go… and hopefully, by the time you read this, you won’t need quite so many layers!

Wishing you all a happy and healthy fresh-air June.

communifit.co.uk

MINDFUL HANDS

In April’s edition I shared a visualisation that can help you to focus and bring stillness to a busy mind. Sometimes though we need something more tangible. We can actually use any of our senses to create an anchor - a steady point that we can return to when our mind drifts off or becomes distracted. We use sound, sight and occasionally taste in our relaxation and meditation classes. But this time I’m focusing on touch and a little movement, which may help you if staying perfectly still is a challenge!

This exercise appears simple and it is – it even has the added bonus of re-energising tired hands. The challenge comes in noticing when your mind has wandered off and then gently returning it to the part of the finger you are holding.

(You may want to remove rings for this exercise)

• Sit comfortably with your back supported if you need to. Allow your shoulders to relax and rest your hands on your legs or a cushion/towel/blanket. You want to be able to rest your hands and not be holding them up in the air or your arms and shoulders will become tired and a distraction.

• Close your eyes and bring your attention to your hands.

• Notice the temperature of the air on your skin, feel the weight of your hands on your legs, feel the material of your clothes.

• Between the thumb and first fingers of one hand hold your little finger of the other hand at the base where it meets your palm.

• With your eyes closed begin to gently massage up the finger pausing at each knuckle. Take your time to feel the sensations as you ease out muscles, feel the skin, the connections up through the finger and finally the shape and texture of your nail and the skin surrounding it.

• When one finger is finished begin again at the base of the next one and so on until you finish the hand.

• When the first hand is finished rest both hands for a few moments notice any changes, perhaps differences in the sensations between the hands.

• Now repeat with the other hand.

• Once complete take a few moments to again rest both hands on your legs and notice how you feel.

You could do this exercise in a couple of minutes and still gain benefit from those minutes of focus. However it’s worth trying a few times and slowing it down more each time, noticing what you sense and how you feel at the end compared to when you started. I’d love to hear how you get on.

yogasherborne.co.uk

@yogasherborne

Dawn Hart, YogaSherborne

Pero Studio/Shutterstock

Take

A lifetime mortgage is a form of equity release that allows you to take a portion of the cash tied up in your home. The amount you can borrow depends on your age and the value of your property.

Unlike a regular mortgage, you are not required to make any repayments before the end of the plan. Instead, each year, interest is added to the loan. The loan and the interest are repaid in full, usually from the sale of your property, when you die or have to go into long-term care.

Can we both thank you for dealing with our equity release. We are both over the moon with your service to us and will recommend you and your company to any friends who ask.

There are all sorts of reasons you may wish to release cash from your home including but not limited to: home improvements, supplementing your retirement income, purchasing an investment property, gifting to a loved one or making special purchases.

Independent financial advice should always be sought before considering any form of equity release as it is vital that you are fully informed of the risks and costs.

WHERE THERE’S A WILL

Almost 50% of millennials and Gen X plan to leave a charitable legacy in their will. Since the pandemic, there has been a sharp rise in awareness among younger people about planning for the future and, in particular, putting a will in place. A recent YouGov survey* found that 44% of people born between 1967 and 1996 are planning to leave a gift to charity in their will. Most of those surveyed, however, have not yet made a choice about which charity they intend to support as 87% of millennials and 70% of Gen X have not yet written their will.

Making a will is easier than you think

Depending on your circumstances, starting to make your will could simply be a matter of listing what you own along with instructions as to which of your loved ones you would like to receive them. It is important to remember that anyone over the age of 18 can make a will and it is never too soon.

Tax benefits of leaving a charitable gift

Aside from the fact that you are going to make a big difference to your chosen charity, when it comes to tax planning for your own estate, leaving a charitable legacy

in your will can also offer many benefits.

Charitable donations pass free of inheritance tax and so reduce the value of your estate chargeable to inheritance tax, and (if the necessary criteria are met) can also reduce the rate of any inheritance tax payable on assets passing to non-exempt beneficiaries (such as friends and families) from 40% to 36%.

Make it personal

Many individuals choose to nominate a specific purpose for the legacy or a wish as to how the monies should be used. Although stipulating a use for the legacy is possible, care should be taken when drafting such a condition. It is important to ensure that this is not too restrictive on the charity but that the funds will still be used in accordance with your wishes.

Making a will gives you peace of mind, safe in the knowledge that your legacy will support the work of charities you most wish to benefit.

mogersdrewett.com

*YouGov surveyed 250 millennials (people aged 26-40) and 250 Gen X (people aged 41-55) May 2022.

Rebecca Beresford, Private Client Partner, Mogers Drewett

FINANCIAL WELLBEING

Mark Salter, Certified and Chartered Financial Planner, Fort Financial Planning

In last month’s article, I spoke about the benefits of budgeting and how it can have a huge impact on our mental and physical health and not just as an effective way of managing our money.

There is a great deal of research which suggests that money itself does not make us happy but it is how we use it that matters. For example, a Harvard study on happiness highlighted that the largest contributor to our wellbeing is the quality of our social relationships. Therefore, financial wellbeing is about how we use our money to support the other areas of our wellbeing and what is important to us.

In their book Wellbeing, Tom Rath and James K. Harter explore the five elements to wellbeing. These elements are the currency of a life that matters. They do not include every nuance of what’s important in life but they do represent five broad categories that are essential to most people.

• Social – the quality (not quantity) of our social relationships

• Career – how we occupy our time or simply liking what we do every day

• Financial – our relationship with our money

• Physical – having good health and enough energy to get things done on a daily basis

• Community – the sense of engagement we have with the area in which we live

A key point is that wellbeing comes from having these five areas in balance. Too much focus on accumulating money at the expense of spending time with one’s family, for example, will reduce wellbeing, not increase it. The role of financial wellbeing, therefore is to deploy money in the best way to achieve this balance.

A good financial planner will concentrate on all of the following areas – they will explore what motivates a client and help them understand themselves better so that they can make financial decisions that are more aligned with their own wellbeing.

A clear path to identifiable objectives – creating a path to financial planning looking for achievable intrinsic motivations e.g. what motivates you to feel happy and what you want from life.

Control over daily finances – budgeting and managing debt – knowing what we need for our basic lifestyle and any income above this can be spent on our wellbeing.

Ability to cope with a financial shock – knowing that we are able to cope if something goes wrong – this includes some of the basics of financial planning such as life assurance and income protection but it also includes big shifts in investment markets.

Financial options – wealth does bring options, however, if you do not make choices from those options that are aligned with your own wellbeing then the wealth will not make you happier.

Clarity and security for those we leave behind – this might be helping a client with their Wills or it might be having an ongoing relationship with a client’s children.

Financial planning has so much more impact when it is purposeful and financial wellbeing gives financial planning so much more purpose than simply increasing financial wealth. Become happier not just wealthier! ffp.org.uk

Here we go again – once more unto the breach. There’s no hiding that times are tough but fret not, we’ve been here before and together, we can find ways to protect your finances and look to the future. Let’s hatch a plan.

In the world of computing, screen resolution plays a crucial role in determining the visual quality and clarity of digital content. Whether you’re using a laptop or a desktop computer, understanding screen resolutions is essential for optimising your viewing experience. Some people don’t worry about this and it is sometimes hard to notice the difference until you put 2 different computers next to each other.

Screen resolution refers to the number of pixels displayed on a screen, both horizontally and vertically. It is typically represented as two numbers, such as 1920x1080, where the first number represents the width in pixels and the second number represents the height. A higher screen resolution means more pixels are packed into the display area, resulting in a sharper and more detailed image.

When selecting the laptops that we sell or recommend, we normally consider the resolution. Screens come in various resolutions, with the most common ones being:

1366x768 (HD): This resolution, also known as HD or 720p, is widely used in entry-level laptops. While it provides a decent viewing experience, it lacks the crispness and clarity of higher resolutions. We generally would not sell a laptop with this resolution as it just isn’t good enough in our opinion.

1920x1080 (Full HD): Full HD is the most popular screen resolution for laptops today. It offers excellent visual quality and is suitable for a wide range of tasks, including web browsing, multimedia consumption and productivity work.

2560x1440 (Quad HD or 2K): Quad HD provides even sharper visuals compared to Full HD. It is often found on high-end laptops designed for professional use, offering enhanced detail and clarity. We only sell a couple

SCREEN RESOLUTION

James Flynn, Milborne Port Computers

of laptops a year with this resolution due to it bumping the price up and most of our customers do not require it.

3840x2160 (4K Ultra HD): 4K Ultra HD is the highest resolution available on laptops and the most expensive. It delivers exceptional detail and is commonly used in laptops for tasks such as video editing, graphic design and gaming. However, due to its high pixel density, it may require scaling settings to make text and UI elements readable. Hardly any Windows-based laptops come with this screen resolution but most MacBooks do come with this which is a big bonus but also why they are so expensive.

Desktop computers generally offer a wider range of screen resolutions as they have more flexibility in terms of display options. The graphics adaptor inside the computer and the monitor it is plugged into will determine your resolution. But for much higher spec’d desktop computers and iMacs, they can go to 5K resolution.

5120x2880 (5K): For those who demand the ultimate in visual fidelity, there are monitors with resolutions such as 5K. These ultra-high-resolution displays are primarily used in specialised industries like graphic design, video production and scientific visualisation.

Selecting the appropriate screen resolution depends on several factors, including personal preference, the nature of your work and budget constraints. For everyday tasks like web browsing, document editing and media consumption, Full HD or Quad HD resolutions are typically sufficient. On the other hand, professionals dealing with intricate visual details or gaming enthusiasts may opt for higher resolutions like 4K Ultra HD or even beyond.

computing-mp.co.uk

THREE MEN: THREE HATS

Jan Pain, Sherborne Scribblers

Ishould insist that my three specially chosen guests arrive early for the fantasy dinner party, hanging their hats on the bentwood stand in the hall so that when the others appear at the appointed hour they can play a guessing game.

Thomas Hardy, my literary hero, favoured a homburg, seen in photographs taken in the 1920s. The acclaimed novelist and poet, from humble origins, rose to fame and fortune when the odds seemed stacked against him. I wonder if he would think it amiss if I quizzed him about the part his mother played in his upbringing? A tiger mum, by all accounts, realising that education was the key to success.

His well-read dinner companions would be fascinated to hear how he was inspired to weave into his novels local characters from his beloved Wessex, who expose human frailty, class distinction and a grassroots rusticity. There is a timelessness in his descriptive prose and poetry.

However, my guests would soon realise that although I’m a great admirer of his literary talents, I’m not enamoured of his character. I should be tempted to enquire why he behaved so shamefully towards his first love and wife, Emma, neglecting her as he came to public attention and being filled with remorse to the point of obsession after her death. With his shortcomings exposed, I have the feeling I should be rebuffed. Would he appear strong-willed, difficult and humourless? He may only prove an affable dinner companion if he is the centre of attention, so I should sit beside him and let him do the talking.

How different is my second choice, whose geniality is still part of his persona at the ripe old age of 96. After hanging up his safari pith helmet, I should take pride in introducing our greatest living environmentalist and natural history expert, Sir David Attenborough.

My guests would be spellbound as he recounted first-hand his travels and legendary documentaries, reliving his famous 1980’s encounter with the photogenic Poppy, a member of the gorilla colony in the Rwandan Virunga Mountains. He still describes the incident as the most memorable of his entire life. An endangered species owing to loss of habitat, Attenborough, through education, funding and appeals rescued these beleaguered creatures from extinction with numbers today exceeding one thousand, as well as winning the respect of the indigenous population, who also thrive forty years on.

Here is a man who would always engage with an audience and I think could even captivate my first taciturn guest who appreciated the unspoilt beauty of Victorian Wessex, not then

threatened by carbon emissions. I suspect a mutual admiration might ensue when Thomas hears of David’s recent address at COP27 and his stark warnings for the future.

Thirdly, I would bring in my wild card – a 6’4” lumbering, black-haired Welsh comedian and (purposely failed) magician. I could guarantee a theatrical entrance and a great reluctance to hang up his trademark red fez with the dangling tassel. His huge laugh and joviality would eclipse the room and were the more dour or stuffy fellow guests unresponsive, he’d soon be sure to counter their indifference. You’ve guessed, it would be the indefatigable, incorrigible, Tommy Cooper.

Part of his act is to do magic badly. With his engaging self-deprecating demeanour, he is the master of rescuing a seemingly spoiled conjuring trick and making it appear plausible.

When in comic mode, he likes to emphasise the importance of his story by repeating the first line of a gag:

‘I went to the doctor the other day. I went to the doctor the other day. The doctor enquired, “What’s the problem?”

I told him.

It’s my mental health. I think I’m a pair of curtains!

“Don’t be ridiculous,” he said. Pull yourself together!”’

This would be followed by his signature guffaw.

Surely, he’d win the diners over and Sir David would hunch his shoulders with laughter. I suspect though, the enigmatic Mr Hardy would not be amused by such silliness. I should, however, have a little something up my sleeve, imploring the poet to recite his verses from The Ruined Maid, the sauciness of which would make me think there is, after all, a twinkle in his eye. I hope Tommy would oblige him with another guffaw, spreading the palms of his hands and uttering, his catchphrase, ‘Just like that!’

EXTRACT

THE GHOST SHIP, BY KATE MOSSE

(Pan Macmillan)

Las Palmas de Gran Canaria

Friday, 8 October 1621

Today I am sentenced to swing. Before the sun rises, I will be taken from here to a place of execution and there, hanged by the neck until I am dead.

My pretty white neck.

Friends, I am innocent of the charge set against me. My other crimes, I do not deny. My actions were measured, they were just. I can still feel the slip of blood between my fingers, still smell the fear. Later, the hate down below deck and the stench of men confined at sea for month upon month. Their disbelief, too, that a woman could be so cruel. So, yes, I confess I have killed, but only ever in self-defence or to protect those I love. Never for gain. Never without due cause.

Those were the words I spoke at my trial, but the men of the Spanish court did not listen. The judges – hypocrites all – gasping for details. They could not believe a woman capable of such devilry, yet they pronounced me guilty all the same.

Outside my window, the sky is growing white, giving shape back to the scaffold and to my cell: the rough bunk affixed to the floor; a blanket lousy with fleas; my trencher and tankard; a night pot. I have scratched my initials upon the bricks so future prisoners will know that, for nigh on six weeks in the year of Our Lord 1621, a woman was here confined: LRJ, captain and commander, innocent of the crime for which she was condemned.

I can hear the bells of the cathedral of Santa Ana marking the start of another day. At the port, the fishermen will be mending their nets, their wives gutting the morning’s catch and their children curing seaweed with smoke on the sand. In the harbour, the wind will be whispering in the shrouds and snapping at the rigging of the tall ships as they prepare to journey south to the Cape of Good Hope where two oceans meet.

How I miss the lilt and sway of the waves beneath my feet, the buck and the tilt. The solitude of the night-watch and the black sky scattered silver with stars. The endless, treacherous, beautiful shifting water.

Such freedom, such liberty.

In the Casas Consistoriales, the Town Hall, scribes will be preparing their paper and ink. The priest will be sharpening his prayers and preparing to hear my confession, expecting repentance and a desire for absolution. I shall not give him that satisfaction.

Friends, it was my grandmother who taught me the importance of telling one’s own story, of not allowing the words of others to stand for us. Lies that snare and trap. So, in these last moments, I have a final question to put before you, a question I find I still cannot answer for myself.

Is a murderer born, or is she made?

The Bible says that God put his mark on Cain and condemned him to be a restless wanderer. Do I have such a mark? Is there such a thing as bad blood?

Some are born to evil. That is what the prosecutor said as he pronounced sentence. And how could I – the daughter of a murderer, the granddaughter of a murderer – refute that? Were the seeds already sown in my childhood spent among the wooden masts of the fluyts and flatbottomed barges of Amsterdam? In that boarding house in Kalverstraat when I became what I am? In La Rochelle sailing with the Old Moon into harbour on that late October tide one year ago? Or the instant I realised I was in love, and so had everything to lose?

Even at this eleventh hour, I still believe my lover will save me. After everything we have seen, all we have been to one another, I have faith.

The sky is now the palest of blues. I believed myself composed, but I see how my hand is shaking as I write these final words. I have paid the guard well to smuggle away these papers, and I have to pray that he will be honest.

It is quiet in the gaol. I’m told it is always so on a day of execution. Can you hear it, the silence? No banging on the bars, no shouting or pleas for clemency, tobacco or water, no imagined malady come on during the hours of darkness. Even the rats are still. There is only the clink of keys and boots as the gaoler makes his way, flanked by four soldiers, for they think I am wild.

Outside the prison walls, it is different. I can hear the growing roar and clamour of the populace gathering at the gate. Armed with their needlework and their lace, flasks full of Canarian wine and parasols to shelter them from the rising sun. Until today, this has been the hottest autumn on record.

It is nearly time.

I have rejected the hood. I want to see the burguesía and the common people alike, all who have come on this dull morning in October to witness the execution of the hellion, the notorious she-captain of the seas. I will give them a spectacle, make no mistake. They will get their entertainment, even though they have dressed me in women’s weeds and I can barely breathe. I petitioned to be allowed my own clothes, but they forced on me this last indignation of petticoats and stays. I came into this world as a woman, and I am condemned to leave it as one.

I have heard the guards say that it will be the largest crowd ever for a hanging and that, I admit, also pleases me. They have seen corsairs swing before, at this meeting point of the Atlantic Ocean and the Barbary Coast where piracy is a fact of life, but it is only right that I should be such a draw. I am, indeed, notorious, feared over sea and land. I am the one they did not believe could exist.

I am the commander of the Ghost Ship.

Sunday 9th July 6.30pm for 7pm start

Kate Mosse Talk and Book Signing

Digby Memorial Church Hall, Digby Road DT9 3NL

Kate Mosse will be discussing her new book The Ghost Ship and interviewed by her author husband Greg Mosse. Tickets £7 (ticket only), £20 (ticket and book) from shop.winstonebooks.co.uk or in store. Includes complimentary refreshments.

Muntanya is an independent trekking and outdoors shop offering clothing and equipment from major suppliers.

7 Cheap St, Sherborne, Dorset DT9 3PT 01935 389484 • 07875 465218 muntanya.co.uk

david@muntanya.co.uk

Suppliers of both new and pre-loved vinyl, official t-shirts, merchandise and memorabilia. Come visit and “Try before you buy”. The Beat & Track, The Old Shambles, South Street, Sherborne, DT9 3LN 07730 356719

thebeatandtrack@icloud.com www.thebeatandtrack.co.uk

ACROSS

1. Taxonomic group (8)

5. Neat in appearance (4)

9. Dog leashes (5)

10. Quantities (7)

11. Approve or support (7)

12. Certain to end in failure (2-3)

13. Arbiters (6)

14. Walk very quietly (6)

17. Tribe (anag) (5)

19. Slight earthquakes (7)

20. Vocabulary list (7)

21. Capital of Japan (5)

22. Engrave with acid (4)

23. Remote; cut off (8)

DOWN

1. 25th anniversary celebration (6,7)

2. Got on a ship (7)

3. Minimum purchase cost at auction (7,5)

4. Avoided (6)

6. Rejuvenate (5)

7. Misinterpreted (13)

8. Occurring at the same time (12)

15. Box of useful equipment (7)

16. Causes a sharp pain (6)

18. Poisonous (5)

MAY SOLUTIONS

LITERARY REVIEW

Richard Hopton, Sherborne Literary Society

Rivets, Trivets & Galvanised Buckets: Life in a village

hardware shop by Tom Fort (Headline, £22, hardcover) Sherborne Times reader offer price of £20 from Winstone’s Books

On the face of it, Tom Fort’s latest book is about the renaissance of a hardware shop in the village of Sonning Common, near Reading in the Thames Valley. In October 2018, Shro, Fort’s daughterin-law, took over Heath & Watkins, a business established in the village in the 1930s but by then in serious decline. The book tells the story of the resurrection of the shop and how it thrived despite the trauma of lockdown; in this respect, it is a parable for our times. Its heroine is Shro, who is clearly a woman of energy, ingenuity, geniality and considerable commercial savoir-faire.

Fort makes the case for the importance of the hardware shop - what my grandparents’ generation would have referred to as an ironmonger and what the French onomatopoeically call a quincaillerie - in British life. Indeed, he imbues it with almost mystical social and historical significance: ‘It is a rock to hold on to in a sea of threatening currents,’ he writes. ‘The hardware shop stands for familiar and reassuring values – reliability, competence, trustworthiness, usefulness, time for others, maintaining things so that they last.’ It also plays a part in promoting and preserving a sense of community in villages and small towns.

As a slice of social history, Rivets, Trivets & Galvanised Buckets has charm and certainly, Fort’s prose moves along easily, like a well-oiled piece of old-fashioned, British-made garden machinery. But the majority of the book revolves around the items sold in the hardware shop - the ironmongery of the title and much else besides - and, as tools are essentially

functional objects, it quickly descends into a consideration of their usefulness at which point it becomes little more than a history of DIY. Now, I accept that DIY is widely practised with varying degrees of success and enthusiasm but, in my opinion, it should remain a private preoccupation, best kept to oneself.

Fort sketches the early story of DIY and the concomitant rise of the specialist publications - Practical Householder and Do It Yourself were early market leaders in Britain - in both the United States and here. Gradually, the book’s focus narrows: by page 102, Fort has reached the point at which he feels that ‘it is time to confront the state of my toolbox.’ He came upon Jim Tolpin’s The Toolbox Book (1995) while ‘searching online for exemplars of toolbox management.’ A few pages later, Fort declares that the ‘story of woodscrews is emblematic.’

From here we move through the rivets, trivets, and galvanised buckets of the title via the technicalities of locks and safes to the raw excitements of sandpaper, masking tape and Rawlplugs before feasting on the finer points of plungers and hammers. Fort discusses ‘the place of the hammer in philosophy’ before returning to more earthly concerns: Kilner jars, WD-40, and Swarfega.

This may not be to everyone’s taste but consider the case of Dana Sovel’s Longitude which despite its arcane subject matter became one of the biggest best sellers of the 1990s. Who’s to say that Fort’s book may not follow suit?

sherborneliterarysociety.com

PAUSE FOR THOUGHT

Jonathan Simon, Church of the Sacred Heart and St Aldhelm

Yesterday I went to a funeral, the day before I went to a birthday party. Actually, in this last year I seem to have attended a lot of celebrations of many kinds – wedding anniversaries, birthdays and funerals. Funerals of course are not quite the same as other celebrations, but praying for our deceased friends and relations, thanking God for the time they spent with us and the love we shared, is always something of a celebration even though we are sad that they have left us.

The most important aspect of all these occasions is the reality that we are with friends and relations, with people that we love and who love us.

All over the world, human beings gather to celebrate with those they love and we recognise that sharing time with those we love is what matters. Yes, we often try to provide special food and drink, good music or some other special aspect to our gathering, but it is the people we share the occasion with who make it enjoyable and really memorable.

Everyone knows this, don’t they?

So why is it, that when it comes to government, to public policy, people so often seem to come last? Why is it that spending money on those in need is so often looked at as ‘a drain on the economy’? Why is productivity in terms of money the measure of a successful economy?

If we understand the nation as being the people of the country (and I can’t actually see what else ‘the nation’ could be understood to mean), surely we should consider that good and effective government means looking after the welfare of all of the people in the nation.

Of course, the financial health of the economy is important to all of us but the economy - the growing of food, the manufacture of items, the trading and distribution of goods, etc. – exists for people, for the servicing of our human needs for physical and mental health, for food and shelter and social contact.

We all know that the people we know and love are the most important people in our lives, so it’s pretty obvious that the people who others know and love are just as important.

How can we re-focus ourselves, our ideas, our national and international thinking, to really put people first?