Iam unequivocally at odds with what would compel someone to stand up on stage in front of a room full of people. My experiences as a teen musician (a term I use loosely to the point of trip hazard) left me in no doubt that my strengths lie behind the scenes or better yet, out of the scene altogether. Subsequent demands of stage appearances, be it speeches, awards or simply needing to plug something in, have left me shuddering for days. Not for the Amateur Players of Sherborne are the cement shoes of social anxiety. Since 1934, through thick, thin and two world wars, the group have presented over 180 shows, garnering accolades aplenty along the way. This month, our own star performers, Claire Bowman and Katharine Davies, visit The Players’ tin tabernacle home on Marston Road and catch a sneak peek of the cast and crew in rehearsals for their forthcoming production of The Importance of Being Earnest. I’ll be joining the happy throng admiring from the stalls come December. Just don’t ask me to plug anything in.
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CONTRIBUTORS
Lauren Attwood Oxley Sports Centre
Elisabeth Bletsoe Sherborne Museum
Richard Bromell ASFAV Charterhouse Auctioneers and Valuers
Mike Burks The Gardens Group
Paula Carnell
Harriet Cleverly Cleverly Wrapped
Rosie Cunningham
Anne Dearle
Barbara Elsmore
James Flynn Milborne Port Computers
Simon Ford
Jenny Gibson BVMSci MRCVS Kingston Vets
Ellice Hahne Sherborne Women RFC
Andy Hastie Yeovil Cinematheque
Giles Henschel Olives Et Al
Denise Hepburn Rotary Club of Sherborne Castles
Chris Holbrook & Ed Waldron Orris Leather
Richard Hopton Sherborne Literary Society
Jules Horrell Horrell & Horrell
James Hull The Story Pig
Lucy Lewis Dorset Mind
Tom Matkevich The Green Restaurant
Sean McDonough Mogers Drewett Solicitors
Sandra Miller BSc, MSc, BCNH Dip, FDN-P Wholistic Health
Gillian Nash
Paul Newman Dorset Visual Arts & The Sherborne
Mark Newton-Clarke MA VetMB PhD MRCVS Newton Clarke Veterinary Surgeons
Jan Pain Sherborne Scribblers
Hilary Phillips Hanford School
Nin Rawlings The Homemover Specialist
Emma Rhys Thomas Art of Confidence
Alex Rich Round Chimneys Farm
Will Rowe Protein Studios
Suzy Rushbrook Arts in Hospital
Mark Salter CFP Fort Financial Planning
Val Stones
Stephanie Tabor Set Interiors
Louise Troup Sherborne Girls
Fernando Velázquez
James Wedge
Joanna Weinberg Teals
Phil Wield Sherborne Quakers
ARTIST AT WORK
in association with
No. 72: The Winter Storm by James Wedge Oil on Canvas, 100cm x 80cm, £1,800
My creative commitment to art was founded at the Royal College of Art. For twenty years in London, I worked as a fashion photographer and became fascinated by the human form, movement and light.
I relocated to Dorset about thirty years ago where I embraced painting. Now, as a figurative artist that fascination continues. Trying to capture the human figure in motion is an ongoing challenge that has motivated a lot of my work.
I have an idea for a painting and usually do a number of sketches before I start, however, the work rarely finishes in the way I conceived it. During the process I allow myself to accept the direction that chance and accidents take me. The paint often seems to have a mind of its own which I freely accept and can push the painting towards abstraction.
The inspiration for a painting may come from anywhere and for this particular work The Winter Storm, I was inspired by a video of a dress show by the French couture house Balenciaga. Modern fashion shows in France and Italy are often exciting and provocative theatrical productions. I have produced three or four works influenced by these performances. In this painting, I have tried to capture a sense of movement with expressive and gestural mark-making. The cold atmosphere is aided by a limited pallet.
I wanted the two women to be timeless during a winter season in an abstract landscape. I have not tried to paint a story – the narrative is in the figures.
jameswedge.com dorsetvisualarts.org
CHRISTMAS MARKET
Friday 6th December, 12pm - 6pm
Saturday 7th December, 10am - 6pm
Sunday 8th December, 10am - 4pm
ON FILM
Andy Hastie, Cinematheque
The November offering coming up at Cinematheque is a real treat from one of our members’ most popular directors, who has never failed to satisfy and delight our audiences over the years. Hirokazu Kore-eda is a Japanese film director, producer, screenwriter and editor whose latest film Monster (2023), will be shown on 6th November. We were first introduced to his prodigious talent with Still Walking in 2008, apparently based on his own family, where the Yokoyama family come together for twenty-four hours every year, to commemorate the anniversary of the accidental death of the eldest son, who drowned saving the life of a boy. The boy, now a young man, is persuaded by the parents to join them each year for an uncomfortable meeting. As he is now rather overweight, lazy and aimless, they believe that he should have died instead of their talented son and need to have someone to blame for the death. The three generations of the family exchange low-key gossip, grievances and resentments without major drama in a truthful and delicate film full of warmth, humour and humanity.
Monster (2023)
Over the years, we have shown I Wish in 2011, Like Father, Like Son in 2013, Our Little Sister in 2015, After the Storm in 2016, whilst our last Kore-eda showing was Shoplifters in 2018. This has been his most successful film so far, winning the Palme D’or prize at Cannes and the Best Foreign Language Film at the Academy Awards.
Shoplifters is a portrait of a poor makeshift but loving ‘family’ who stay afloat by shoplifting sprees, and on one such outing rescue a young girl in the freezing cold, taking her home with them. She thrives in this loving environment but an unexpected incident eventually splits the group up and she is returned to her neglectful parents. Kore-eda wrote the screenplay contemplating what makes a family, a recurring theme throughout all his films. His socially conscious, humanist screenplays are often compared to those of the greatest Japanese director Yasujiro Ozu (of Tokyo Story (1953) fame) but he states that Ken Loach is more of an influence. One cinematic quirk he does share with Ozu, however, is that trains or train journeys appear frequently in his films, symbolising his characters moving through life.
And so to Monster, Kore-eda’s deeply moving, coming-of-age tale of childhood friendship. When her young son Minato starts to behave strangely, single mother Saori knows that something is wrong. Fearing that one of his teachers might be responsible, she storms into the school demanding answers. As the story unfolds through the eyes of mother, teacher and child, the truth begins to emerge as the perspective of each unfolds, together revealing more of the complete story. This is a clever, mysterious film with a big heart.
Cinematheque, Swan Theatre, 138 Park St, Yeovil BA20 1QT
Members £1, guests £5
EM_ST.qxp_Layout 1 16/10/2024 15:58 Page 1
CONFESSIONS OF A THEATRE ADDICT
Rosie Cunningham
Waiting for Godot, Samuel Beckett’s funny, absurd, sometimes profound play, directed by the hugely talented James Macdonald, is on at the Theatre Royal Haymarket and stars Ben Whishaw and Lucian Msamati. Whishaw plays Vladimir, whose every movement is nuanced, from nervous glances to planned hesitations to long silences, which demonstrate his feeling of confusion and tension. Msamati’s Estragon, sits quietly slumped, weighed down by the world. They wait for Godot,
whom they don’t know or when he might arrive but, like Groundhog Day, they continue to wait for something different to happen. Beckett’s iconic play, written at the end of WWII, suggests a fruitless search for meaning and purpose in a meaningless world, a reflection on the absurdity of existence. The barren tree symbolises a conflicted, stultified world however, the subsequent growth of a few leaves allows for a hair’s breadth of hope. Mesmerising, perplexing but strangely fulfilling, James Macdonald’s production
Lucian Msamati and Ben Whishaw in Waiting for Godot
Image: Marc Brenner
is a beautifully paced double act which will keep you riveted. On until 14th December.
I saw A Face in the Crowd at the Young Vic and absolutely adored this new musical, written by Elvis Costello. The critics, however, did not. I felt that the audience was entertained and invested in the songs, the actors, the costumes and the set design and that this well-received production would be a winner. The stars of the show, Broadway superstar Ramin Karimloo and Anoushka Lucas fresh from Oklahoma!, have magnificent voices which blend beautifully together in wondrous harmonies. This is a story about Lonesome Rhodes, a hard-drinking, guitar-playing, frequent jailhouse resident, who has amounted to nothing until a local journalist takes a chance and puts him on her radio show. The subsequent fame and the grandeur and trappings of fame go to his head and eventually destroy everything that he built up, putting him right back where he started from. On until 9th November and worth a visit if you love musicals with an edge.
Jason Donovan took on the icon role of Dr Frank’n’Furter in The Rocky Horror Show at the Dominion Theatre. It didn’t really matter what the production was like because the audience was always going to have fun dancing to the Time Warp, singing Sweet Transvestite, waving phone torches in the air and shouting out hackneyed phrases. Donovan’s voice lacked power and he appeared at odds with his platform shoes and fishnet stockings, but he did seem to enjoy himself. This rock’n’roll musical production is touring the UK until the middle of next year, albeit with Donovan only on selected dates. It is a wonderful dose of nostalgia, celebrating a play that first opened in London in 1973 and which has been performed worldwide in more than 30 countries. Donovan himself returns to the role of Frank after a gap of over 25 years.
Finally, I saw the neatest production of A Game called Malice, a new murder mystery by the Scottish crime writer Ian Rankin, starring Gray O’Brien as Inspector John Rebus, his iconic detective. Everything came together beautifully: the actors, the fabulous set and the twist in the tale. The production is on tour. Try and see it in Poole if you can – you will not be disappointed.
trh.co.uk
youngvic.org
rockyhorror.co.uk
ianrankin.net
My Road To Sandford Orcas
By LAURENCE BELBIN
A Selection of Words and Paintings
“A beguiling record of the artist Laurence Belbin’s 40-year-long journey along a single road, from his home in Sherborne to the neighbouring village of Sandford Orcas. This book of paintings and previously unseen sketches offers a unique and privileged glimpse into the musings and meanderings of one of our town’s best-loved artists. Spend even a short time in Laurence’s company and you will, quite literally, never see the world in the same way again.” Glen Cheyne, Sherborne Times.
Copies available (priced £10) from Laurence’s studio at Westbury Hall, Westbury, Sherborne DT9 3EN and Sherborne Antiques Market, 71 Cheap Street, Sherborne DT9 3BA
Copies can also be ordered for delivery by post. Please contact threepigeonspress@gmail.com www.laurencebelbin.com
My Road To Sandford Orcas
LAURENCE BELBIN A Select on of Words and Pa ntings
GLAD TIDINGS
Anne Dearle
At 7pm on 13th December in Cheap Street Church, Continuum will return to Sherborne to perform their annual Christmas concert. The programme will feature Christmas music from across Europe alongside traditional British carols and arrangements of popular Christmas songs such as Jingle Bells.
The concert includes Christmas classics such as The Three Kings, Away in a Manger and Ding Dong Merrily on High, alongside beautiful seasonal carols by contemporary composers Kerensa Briggs, Lucy Walker, Ivo Antognini and Joanna Marsh. The concert will feature the first performances of music by Alexander Hopkins and a new arrangement of Silent Night by George Herbert, both alumni of the Choir of St John’s
College, Cambridge.
Director of Continuum, Harry Guthrie says ‘I am delighted to be returning to Sherborne for the third year running to perform our Christmas programme at Cheap Street Church. It is wonderful to form connections with particular places. All the more so, as we have always been so warmly hosted in Sherborne.
I am particularly pleased to again be supporting Sherborne’s primary schools and this concert will have a retiring collection in aid of their work.’
Continuum was founded by Harry at the age of nineteen in 2018. The choir prides itself in offering original and dynamic interpretations of firmly established choral music alongside sharing new pieces of music with audiences. Covering repertoire from the
Renaissance to the present, Continuum’s singers are drawn from some of the finest choral institutions in the UK, with many having met at University whilst singing in the Choirs of Trinity and St John’s College in Cambridge. Many of the singers have performed with leading professional ensembles, including Polyphony, Tenebrae, The Sixteen and The Monteverdi Choir, and have gone to be members of leading vocal groups Voces8 and The Gesualdo Six. The choir typically comprises eighteen singers.
After reading Music at Trinity College, Cambridge, where he held a Choral Scholarship, Harry Guthrie is now a choral conductor and teacher based in London. In addition to his work with Continuum, he is Director of Music at St Barnabas’ Church, Ealing, Head of
Choral Music at Notting Hill and Ealing High School GDST and the Musical Director of Fulham Camerata. He has previously directed the Rodolfus Choir, the University of Cambridge Chamber Choir and the choir of Ely Cathedral.
continuumchoir.co.uk
Friday 13th December 7pm
Continuum Choir Christmas Concert Cheap Street Church. Tickets available online from Eventbrite, on the door or in advance from Winstone’s Books Cheap Street (cash only). Adult £20/student £10/children under 16 free.
Image: Jason Elberts
Chaldicott Barns
ADVENT FAIR
A DAY OF CHRISTMAS SHOPPING, MULLED WINE, MINCE PIES AND PLENTY OF FESTIVE FUN FOR THE FAMILY SATURDAY 30TH NOVEMBER 10AM - 3PM
Niwaki, Another Country, Bramley, Pink House, Compton McRae, Africa Odyssey, Issy Granger plus more than 40 market stalls
Chaldicott Barns . Semley . SP7 9AW
chaldicott-barns.co.uk
THE RETURN OF MAKING DORSET
Paul Newman, Creative Director, Dorset Visual Arts & Visual Arts Lead, The Sherborne
Building on the county’s rich tradition of craft, design and making, Dorset Visual Arts announces the return of its Making Dorset project group in a major exhibition at The Sherborne. Making Dorset will present the very best ceramic, furniture, silversmithing, print, glass and textile work produced in the county, providing an important showcase for many skilled practitioners.
Dorset is home to many maker’s studios, often secluded sites of individual enquiry, reflection and effort, bound by a shared sense of narrative and place, form and function, tradition and experimentation.
Making Dorset explores the intrinsic dialogue between environment, heritage, and creative practice in the county. It establishes Sherborne as a new home for design and making in the region and puts Sherborne on the map as the county’s craft town.
This new exhibition, featuring over 30 makers, forms part of the evolving cultural programme at
this emerging destination for the arts in southwest England. Making Dorset celebrates the county’s best contemporary craft, design and making. The initiative features a vast array of works with a variety of approaches, responses and use of materials, including award-winning international furniture makers such as John Makepeace OBE, Simon Thomas Pirie and Petter Southall.
Amanda Notarianni and Charlie Macpherson (Notarianni Glass) have been working together to make award-winning contemporary glass for 25 years. They have a passion for design excellence and an exceptional commitment to creating unique works of art.
Ceramicist Victoria Jardine is a selected member of the Professional Craft Potters’ Association. She has taught Museum Studies at London Metropolitan University, examining how objects’ meanings can change as we move them through different environments, from home to museum or studio to gallery. >
John Makepeace
Karina Gill
Charlie Macpherson
Petter Southall
Tiffany Scull
Kathryn Arbon
Yo Thom
Each piece of Karina Gill’s silver is designed and handmade from her workshop in Dorset. Her work captures the transformation of hard metal into brilliant organic forms that mirror the geometry of nature. She has established a unique voice through the crafting of exquisite contemporary pieces that demonstrate her characteristic experimental approach.
Making Dorset also features other unique forms, including work by Jane Atkinson, whose practice in contemporary lace encompasses pieces designed at scale to examine aspects of the climate crisis and explorations into pattern and design to lead her lacemaking into wearable art and domestic ornament. It is an art that talks and works hard for its living.
The initiative’s relaunch also welcomes guest makers ahead of a call for new and emerging makers in early 2025.
At its inception, Making Dorset was open to professionally and/or academically trained designers and makers who had established their practice in
Dorset, including trained or apprenticed emergent designers and makers. The group sought to share ideas and experiences and undertake critical reviews to explore the content and processes associated with each individual’s practice.
‘Once they get to Dorset (or return) place holds them fast. The work, whatever the medium, sings of Dorset’s holloways, chalk and faltering edges, whimbreled cloudscapes and its brilled and dabbled seas.’ Professor Simon Olding, Foreword to Fifty Dorset Makers, 2017
thesherborne.uk dorsetvisualarts.org
Until Sunday 12th January 2025
Making Dorset
The Sherborne, Newland, Sherborne DT9 3JG
Free admission.
Jenni Cadman
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THE ART OF RECOVERY
Suzy Rushbrook, Arts in Hospital
Creative Health’ is a relatively new term being heard in cultural hubs and on hospital corridors alike. It focuses on the fact that art and art therapies can enhance wellbeing and support recovery. This is by no means new intelligence – Florence Nightingale herself believed that form, colour and light had a physical effect on the human body and could actually aid recovery.
Arts in Hospital is the Creative Health programme based at Dorset County Hospital. Founded in 1987 by volunteers, it is one of the longest-running hospital-based arts programmes in the country. Those living in Dorset are particularly fortunate as only 1 in 3 hospital trusts in the UK have an art programme or a dedicated arts manager and it is pure chance if you find yourself in one of the few that do. As the Arts Manager at Dorset County Hospital, I plan to tell you a little about what we do and why we do it. Our programme has three focus areas: Curation, Design + Environment and Participation.
We curate a permanent collection and a temporary exhibition programme, that changes four times a year.
Our collection consists of over 750 pieces of 2D and 3D artworks, the most famous being the Frink Dog.
Local artist Elisabeth Frink took an interest in the early stages of the art programme’s development and very kindly donated this fabulous bronze sculpture – a piece to rival Charing Cross Hospital’s Henry Moore! One of our most treasured assets and an intrinsic presence in our hospital, he is a friendly, familiar face.
Ours is one of the largest modern and contemporary art collections in Dorset and is an important cultural asset for the county. The collection mostly relates to our local environment, the surrounding landscape, the coastline and the hospital itself, making it particularly relevant to the community it serves.
We assist with the interior design elements of the hospital’s new builds and refurbishments. This supports and enhances the creation of a high-quality healthcare environment and can include the commissioning of new artwork. We also help to ease the navigation around the hospital site with what we call ‘wayfinding’, a means of finding your way via the use of colours,
The Dog, Elisabeth Frink
symbols and images. Art commissions continue to stand as landmarks within the hospital for many years – they are important tools for wayfinding as well as providing a reassuring, constant presence.
We encourage active participation, supporting patients and staff via therapeutic art projects. We are tackling wellbeing at the root, decreasing recovery time and increasing positive health outcomes. Current activity on elderly care and dementia wards can see patients smelling herbs and reminiscing on meals or their own gardens, then printing or painting the leaves to create a little keepsake to sit by their bedside. It might be making paper planes, cutting out and sticking Olympic rings or drawing detailed flowers but these activities increase dexterity, grip, control, observation skills and problem-solving. These all contribute to improved independent routine actions, such as getting dressed or using a knife and fork. Patients are encouraged to make choices and design decisions in a situation where much decisionmaking has been taken out of their hands. This can
all result in feeling proud, increased self-esteem and significant cognitive improvement.
We are also partnering with the Bournemouth Symphony Orchestra on a programme of musical activity. The aim is for preventative as well as reactive care and improved health and wellbeing through connections and relationships with listening to and making music – the power of music and lyrics to prompt the memory is incredible. This project will not just happen at Dorset County Hospital but follow patient pathways into the community hospitals, starting with the Yeatman in Sherborne.
Why does the NHS spend money on art? Well, the short answer is that it does not. Participatory projects and art commissions are paid for through additional funding, often from trusts and foundations. However, it is now considered normal for a small percentage of capital funds for any new build or refurbishment to go towards interior decoration. The benefits from these projects are invaluable and return-on-investment figures demonstrate the real monetary value of investing in creative health. >
BSO musicians performing on the Children's Ward
Better wayfinding equals reduced stress while waiting for appointments, fewer avoided appointments and reduced aggressive behaviours. Reduced recovery time and use of painkillers equals drug costs reduced and beds vacated faster. Up to 40% of the burden on the NHS is thought to be avoidable, through effective management of long-term health conditions via creative endeavours equating to reduced GP attendance and reduced repeat admissions to acute hospital sites.
We are currently looking to the future and the next phase of our hospital’s build, where we will commission work for the new Emergency Department and Critical Care Unit, expanding our public art offer further. This £2.5m Capital Appeal will support patient care and staff wellbeing. It will fund a range of enhancements and equipment, including relatives’ overnight accommodation, a child and adolescent mental health suite, patient garden, staff rest and quiet areas and uplifting art and design elements. There are a range of fundraising events and opportunities happening.
One that will focus specifically on art and design is an Instagram Art Auction, supported by Sarah Sclater of ‘Art at Home’. A piece of artwork, kindly donated by a local artist, will be auctioned every Friday from 18th
October – 22nd November. Follow @artsinhospital to participate or just watch the fun!
You can find out more about the collection and our activity on our website, dchartsinhospital.org.uk, follow us on Instagram @artsinhospital, or by contacting me, suzy.rushbrook@dchft.nhs.uk You can find out more about Dorset County Hospital Charity and fundraising opportunities by contacting charity@dchft,nhs.uk or go to dchcharity.org.uk
Every Friday until 22nd November Instagram Art Auction
In support of Dorset County Hospital Emergency and Critical Care Appeal. @artsinhospital
Until Wednesday 8th January 2025 8am-8pm
Jeremy Speck
Fine art printmaker specialising in linocut and screenprints
Jonathan Alden
3D multi-media collages
North Wing Level 1 (corridor to restaurant) Dorset County Hospital, William Avenue, Dorchester, Dorset, DT1 2JY. 01305 253424 dchartsinhospital.org.uk
Summer in the City, Jeremy Speck
LETTERS TO THE MASTERS
NO.2: REMBRANDT
Fernando Velázquez, Artist and Teacher
Dear Rembrandt,
I am a Spanish painter living in England, writing to you from the future. I wish to express my gratitude for your work and tell you that your reputation as a great master is secured in Art History. I am particularly impressed by your psychologically penetrating portraits conveying the emotional truth of humankind, as relevant today as four hundred
years ago. Looking at your self-portraits I find a man travelling through the ups and downs of life, always aware and dignified. I wonder how exactly life affected your work and how your supreme technical ability grew as you developed as a painter.
I absolutely love your masterpiece the Night Watch with Captain Cocq, today exhibited permanently in the Rijks museum in Amsterdam. I travelled there several times to stand in front of the
Self-Portrait with Beret and Turned-Up Collar, 1659
massive canvas and absorb its unique atmosphere with its darkness and lights, the rhythms of the composition and the mystery of every figure. I wonder how you felt when you completed it.
I should like to know more about your extremely original piece Anatomy Lesson of Professor Tulp, a striking painting of such direct and powerful reality. It makes me think about Caravaggio and his chiaroscuro, which prompts me to ask why you never went to Italy, an unusual decision for a great artist of your time.
I have visited your Amsterdam house in Jodenbreestraat, which is now a museum visited by thousands of people every year. I was particularly moved standing in your studio and intrigued by the many objects you collected.
I have much to say in relation to you and today’s art but for now I restrain myself to saying how your paintings continue to inspire new generations whilst prompting new questions about the mysteries of your talent.
Respectfully, Fernando Velázquez.
Dear Mr Velázquez,
I must admit that I am disinclined to write to a Spaniard, as your country inflicted much pain in the Northern provinces of the great Dutch Republic. Just the 1576 four-month siege of my hometown of Leiden left behind much death and devastation. However, I do appreciate your words and accept leaving all that aside and concentrating on your questions about my art and life.
My Anatomy Lesson! Yes, painted in 1632, it was my first important public commission, which I purposely used to set myself apart from other artists. To include many figures in the composition was economically sound since each sitter paid to be painted but it also afforded more dynamism; more drama. Perhaps it is not an accurate depiction of anatomical dissection, as surgeons would not do arms first: I did want to impress, not horrify! You might also be interested to know that the poor body in the picture belonged to Adrian Adriaansz, a criminal from my home town, Leiden.
I understand why you named the great Caravaggio in relation to this painting but I feel it owes more to my master Lastman, an important influence in my early work. He, as many others, travelled to Italy – not me, I was too busy in thriving Amsterdam.
Thanks to my ability to capture the sitter’s character beyond mere likeness, I made my name quite young. I was always interested in individuals, their stories carved on their faces, like maps that reveal the truth and passions of the soul. My reputation grew quickly and my portraits sold at 1oo florins a piece, much more than those of my competitors.
You mention The Night Watch with Captain Cocq as another of my paintings but I must correct you. The title of the large canvas you seem to refer to is The Militia Company of Captain Banning Cocq, which I painted in 1642. This militia was created precisely to defend Dutch cities from your Spanish countrymen. Ah, what an important painting this was for me. I worked hard on a traditional theme I knew Amsterdam would embrace. I cannot comprehend your comment about darkness: it is a daylight scene! Perhaps it became dirty over time.
My career certainly had ups and downs as you say; this, I feel, has to do with life itself, not at all with any fluctuation in the quality of my work. As things took a turn for the worse personally, my worldview changed and I sought solace in religious themes. My portraits were not selling and my own pupils’ paintings appealed more to the public than my textured faces.
You visited my house in Breestraat?! I moved to this part of the city with my dearest wife Saskia when I bought it in 1639. We were happy there until illness took her away from me, a devastating blow. I soon lost four of my children too and in 1656 I had to sell the property to pay creditors, another blow to my spirit and finances. I am pleased though that it is now a museum. What a surprise to hear that artefacts I collected are now displayed, as my precious collection was decimated to keep me afloat – I had to sell a Raphael, a Giorgione, a Van Eyck ...
There is much more to tell but, forgive me, you are a Spaniard and that can’t but make me a little uneasy.
Yours sincerely, Rembrandt
fernandovelazquez.co.uk
fernandovelazquez.art
Mondays 1.30pm-3.30pm
Craft and Chat Group
Sherborne Library, Hound Street
Bring along your current project and meet others.
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, Terrace Playing Fields. 01963 210409 bridgewebs.com/sherborne
Tuesdays 10am-12pm
Fine Folk Dancing
Charlton Horethorne Village Hall £3 per session. Beginners welcome. 01963 220640.
Every Wednesday 6pm–10pm DJ Sessions
Roth Bar, Bruton BA10 0NL. An evening of chilled tunes by local DJs. Free.
Every 1st Thursday 9.30am Netwalk for Business
WHAT'S ON
Owners & Entrepreneurs
Pageant Gardens. @Netwalksherborne
Every 1st Thursday 11am-12pm Poetry Writing Group
Sherborne Library, Hound Street. Share your poetry, hear what others have been working on and have friendly discussions.
Every 2nd & 4th Thursday
10am-12.30pm Castleton Probus Club
The Grange, Oborne, DT9 4LA New members welcome. edwardhiscock6@gmail.com
Thursdays 2pm-4pm & Fridays 11am-1pm
Digital Champions Sessions
Sherborne Library, Hound Street
Bookable sessions for help with basic skills using your own device or a library computer. sherbornelibrary@dorsetcouncil.gov.uk
St Michael‘s Scottish Country Dance Club Davis Hall, West Camel. £2. 07972 125617 stmichaelsscdclub.org
6th November The Power of Photography: Photographs have the ability to stop time, to provide a freeze-frame of a moment in time and space. This lecture examines some of the most important images and photographs of the past century.
Fridays 3.30pm-5pm
Children’s Board Games Club
Sherborne Library, Hound Street
Drop-in for children age 5 and over. Play board games, including chess or bring one of your own.
A chilled afternoon with live jazz or folk music. Free.
Every Friday until 22nd
Instagram Art Auction
In support of Dorset County Hospital
Emergency and Critical Care Appeal @artsinhospital
Until Wednesday 8th January
2025 8am-8pm
Jeremy Speck
Fine art printmaker specialising in linocut and screenprints
Jonathan Alden
3D multi-media collages
North Wing Level 1 (corridor to
restaurant) Dorset County Hospital, William Avenue, Dorchester, Dorset, DT1 2JY. 01305 253424 dchartsinhospital.org.uk
Friday 1st 7pm
Sherborne Museum’s
Big Fat Autumn Quiz
Digby Memorial Church Hall, Digby Road, DT9 3NL. BYO drink and glasses. Teams of up to 6. Tickets £5 in advance from Sherborne Museum, from 1st October. sherbornemuseum.com
Saturday 2nd 2pm-4pm
Dean Carter – Wheel of the Year
Launch 2: Samhain/Hallowe’en
The Beat & Track, South St DT9 3LN
Saturday 2nd 7.30pm
Mousehole Male Voice Choir
The Merritt Centre, Sherborne Girls, Bradford Road DT93QN. In aid of RNLI. £17.50 trybooking.com/uk/DIOY. events@sherborne.com
Tuesday 5th 8pm
Talk - The Significance and Impact of the Hampton Court Conference of 1604
Digby Hall, Hound Street Members free, visitors £5 sherbornehistoricalsociety.co.uk
Wednesday 6th 10.15am-12.30pm (2pm with lunch)
Probus Club of Sherborne Talk: Final Flight of Bomber PB848 with Speaker James Porter
The Grange Oborne DT9 4LA
Wednesday 6th 3pm and 7pm
Lecture - The Power of Photography
Digby Hall, Hound Street
Free for members, £10 for non-members theartssocietysherborne.org
Saturday 9th 10am-5.30pm
Kore Pilates Studio Open Day
Meet the team, see the studio & Reformer equipment and book a free 30 min taster class. korepilates.org/openday
Tuesday 12th 9pm-10.30pm
Singing Bowl Soundbath
Digby Memorial Hall, DT9 3LN Sonic deep-tissue massage and detox. £16 01935 389655 ahiahel@live.com
Demonstration and workshop - £5. All materials, flowers, refreshments provided. Sherborneflowerclub@gmail.com 07752 786219
Saturday 16th 7pm
Talk - Jamie Hull
Digby Hall, Hound Street. Former British Army Reservist, adventurer, motivational speaker and plane crash survivor. Tickets £10. Contact: admin2@ friendsoftheyeatman.org.uk.
Sunday 17th 10am-3pm The Sherborne Market
MAKERS MARKET
Local producers, suppliers, food, art & crafts. thesherbornemarket.com
Sunday 17th 1.30pm-4.30pm
Sherborne Folk Band
Digby Memorial Hall. All abilities welcome sherbornefolkband.org
Sunday 17th 3pm
Wessex Strings Concert
Cheap Street Church. £10 from Winstone Books (cash only) or £12 on the door. 18 years and under free.
Tuesday 19th 8pm
Talk - Waterloo Remembered: Celebration, Commemoration & Commercialisation Since 1815
Digby Hall, Hound Street Members free, visitors £5 sherbornehistoricalsociety.co.uk
Wednesday 20th 10.15am12.30pm (2pm with lunch)
Probus Club of Sherborne Talk: NSPCC with Speaker, Henry Street
The Grange Oborne DT9 4LA
Friday 22nd - 1st December,
Monday - Saturday 10am-6pm, Sunday 10am-4pm
Art and Antiques
WHAT'S ON
Christmas Open Week
Old Yarn Mills, Sherborne. Free parking
Friday 22nd 4pm-8pm and Saturday 23rd 11am-6pm
Makers Market
Studio Sherborne, Old Yarn Mills, Sherborne. Illustrations, bakery, vinyl, textiles and ceramics Studiosherborne.uk or @studiosherborne
Saturday 23rd 1.30pm–6.30pm
Advent Come and
Sing Afternoon
Gransden Hall, Sherborne Girls
£25 including tea and cake. Registration at sherbornefestivalchorus.org.uk
Sunday 24th 2pm-4pm
Singing Bowl Soundbath
Digby Memorial Hall, DT9 3LN
Sonic deep-tissue massage and detox. £16 01935 389655 ahiahel@live.com
Saturday 30th to Saturday 7th
December 10am-5pm
The Sherborne Churches
Together Christmas Tree Festival
Cheap Street Church. 33 Christmas trees sponsored by local societies and charities, local choirs, a jazz concert and carol service at 5pm on Saturday 7th Dec.
ART COURSES AND WORKSHOPS
ALL LEVELS OF ABILITY - STUDIO-BASED COMPTON STUDIOS, SHERBORNE
Sherborne Abbey. Tickets priced £8-£22, available from sherbornechamberchoir.org.uk
Saturday 30th 7.45pm-10.15pm
Ballroom, Latin and Sequence Dancing
Digby Hall, Hound Street. £5 (pay on the door). dancingduo.co.uk 01803 325905
Planning ahead
Sunday 1st December 10am-4pm
Beginners Workshops Acrylic Oil
Watercolour Printing Drawing Embroidery
South West Art Courses Compton Court Coldharbour
Sherborne DT9 4AG 07549357138 / 07917190309
admin@southwestartcourses.co.uk
southwestartcourses.co.uk
Sherborne Festive
Shopping Day
Cheap Street, Abbey Road, Half Moon Street and Digby Road. Stalls, food and drink, free entertainment. Lights switch on at 4pm
Sport
Sherborne RFC
The Terraces, Sherborne, Dorset DT9 5NS
Men’s 1st XV. 3pm KO
Saturday 9th
Corsham (H)
Saturday 16th
Combe Down (A)
NOVEMBER 2024
Saturday 30th
Melksham (H)
Sherborne Women RFC
The Terraces, Sherborne, Dorset DT9 5NS 2pm KO
Sunday 10th
Westbury Ladies (H)
Sherborne Football Club
The Terraces, Sherborne, Dorset DT9 5NS
Men’s 1st XI.
3pm KO unless otherwise stated
Saturday 2nd
Hamworthy (A)
Wednesday 6th (7.45pm KO)
Shaftesbury (H)
Saturday 9th
Cowes (A)
Saturday 16th
Fareham (H)
Saturday 23rd
Andover New Street (A)
Saturday 30th
Hamble Club (H)
To include your event in our FREE listings please email details by the 5th of each preceding month to listings@homegrown-media.co.uk
CHRISTMA S ORATORIO BACH
MARKET KNOWLEDGE
CHRIS HOLBROOK & ED WALDRON, ORRIS
LEATHER
Welcome to The Sherborne Market!
What brings you here?
We love the setting of this historic and beautiful town and feel our products fit in well! We started selling at the Sherborne Market back in June 2022 and have been a regular stall-holder ever since.
Where have you travelled from?
Not far at all! We were both brought up in the Dorchester area and now live in nearby Stratton.
Tell us about what you’re selling. We make all of our leather products entirely by hand and sell a range of belts, dog collars, wallets, bags and other small leather goods.
Where and when did it all begin?
I come from a family of shoe repairers and work in the family shop in Dorchester so am used to dealing with leather repairs. Ed came with a keen interest in embroidery and so was very adept at using a needle and thread. We both value traditional crafts and knew that if we went ahead with making leather goods, they would have to be the best that was on the market. We decided to give the business a try after making ourselves so many wallets and belts and we knew we
had to see if other people wanted them!
What do you enjoy most about selling at markets?
There’s a real value in bringing our products for people to see, feel and smell! Leather is a material that people really need to experience before they buy. It isn’t lifeless like plastic or other materials. It has been an integral part of our culture for thousands of years. You also build up a real community with other sellers and it’s great being able to share ideas with each other.
If you get the chance, which fellow stallholders here at Sherborne would you like to visit?
We frequently harass Elly Harvey Silver with her lovely shiny things. Kate Ashton Prints has some beautiful tree art and we love her energy no matter rain or shine! Lydia’s Willow Weaving is another fantastic traditional craft that she is bringing back to life and she makes some fantastic baskets, a few of which live in our home.
Where can people find you on market day?
We are often about halfway up on Cheap Street.
orrisleather.co.uk @orrisleather
Hand picked & selected artisan market
Flying the flag for local featuring local producers, suppliers, amazing food, arts and crafts.
Markets held between 10am - 3pm on the dates below.
10am - 3pm Nov 17th Dec 15th
PEOPLE OF ACTION
Denise Hepburn, Rotary Club of Sherborne Castles
The Rotary Club in Great Britain and Ireland (RGBI) is a leading service organisation addressing various social issues and fostering goodwill through charitable activities. Part of a global network of Rotary International, which was founded in 1905, RGBI plays a significant role in promoting peace, fighting disease, supporting education and improving local communities.
Rotary members, known as Rotarians, are united by a common commitment to the Rotary motto: ‘Service Above Self’. This ethos drives the organisation’s mission to tackle challenges at both local and international levels. The Rotary Club’s activities are diverse, encompassing efforts to eradicate diseases like polio, support disaster relief, promote literacy and provide clean water. It also engages in youth development programmes, scholarships and vocational training, aiming to empower the next generation of leaders.
One of the unique aspects of Rotary is its focus on friendship and networking among its members. Regular meetings, get-togethers and collaborative projects create opportunities for Rotarians to build lasting relationships while making a difference in their communities. This blend of service and camaraderie is a hallmark of Rotary Clubs across the region.
The Rotary Club of Sherborne Castles is based in the historic town of Sherborne in Dorset and is known for its active involvement in both local and international initiatives. The club is named after the famous castles in Sherborne, reflecting the deep connection to the local heritage and community. Rotarians meet twice a month on a Monday evening. Annual social fundraising
events organised and supported by the members include the Sherborne International Film Festival, Classic and Supercars Show, Historic Vehicle Rally, Charity Golf Day, and the Sturminster Newton Cheese Festival.
The club engages in various projects that address the needs of the community. These include supporting local charities in and around Sherborne and running projects that benefit schools, youth groups and those in need. A significant focus is on youth services, where the club sponsors programmes like Rotary Youth Leadership Awards (RYLA), youth exchanges and competitions that encourage young people to develop leadership skills and cultural awareness.
In addition to doing good, Rotarians also like to have fun! Social events such as meals out, trips to cider and other farms, the coast, skittles competitions, beer and wine tastings, interesting guest speakers and holidays abroad are just a few of the activities Rotarians enjoy.
Looking to the future, the club is eager to welcome new members of all ages who can bring fresh perspectives and ideas. Whilst the club values the experience and dedication of its long-standing members, it also recognises the importance of engaging a younger generation to keep the organisation vibrant and forward-thinking.
rcsc.org.uk
To find out more, please contact Denise Hepburn, Membership Secretary on 07712 527221 or by email at hepburndenise@gmail.com
These items are in addition to the basic food & essentials we deliver to those in need Gluten Free/Dairy Free/Vegetarian/Vegan products are always welcome
Donation points can be found near the check-outs at
Do you have time to help young people in the Sherborne/Yeovil area?
We are looking for volunteers on an ad hoc or regular basis to help deliver our Learning Programme, work behind the scenes or assist our fundraising activities
Please contact us now. We would love to hear from you
Tutoring
Maths & English*
Administration
Design
*No teaching experience necessary but regular time commitment essential
Find out more www.therendezvous.org.uk/get-involved
CHANNELLING OUR INNER WARRIOR
This rugby season, the Sherborne women’s rugby team has joined the Allianz Inner Warrior League so be prepared to see more women’s rugby in Sherborne than you have ever seen before! Our team only started off last year and we are delighted that our numbers have grown enough to join the Inner Warrior Series.
For many of us, this season will be the first one playing rugby so it’s all about discovering the sport together and growing as a team. The Inner Warrior’s main focus is not on competition but rather on player development, getting to play rugby and the social aspect too. Just recently, we played against the Wellington Vixens, who then promised to come to support us at our next game and invited us for a return game in January. It’s great to see teams supporting each other like this!
The advantage of the Inner Warrior is that it offers much more flexibility than the National Challenge Leagues. If one team doesn’t have enough players, we can play with 10 or 7 players instead. We can also choose to go uncontested on scrums or play quarters instead of halves – anything to keep the game going! For us, as a young team with lots of players that have
either never played before or played a long time ago, it is the perfect opportunity to grow our confidence and find our footing as a team.
Our first game this season was a friendly game against the Wellington Vixens and it was great to have a crowd of people watching us! We are really grateful to be getting the same amount of support as the men do. It makes such a difference when people are shouting from the sidelines, not to mention all the local businesses that have sponsored our players (they are listed below)!
For our first game organised through the Inner Warrior Series (and 2nd game of the season), we played against Taunton, a game which the Wellington Vixens kindly offered to host. It was a rainy, windy day and would have been altogether miserable if it had not been for the incredible spirit of the Inner Warrior, which meant that when some of our players had to come off the pitch, the other team did not hesitate to drop some players to match us, and ensured the game could continue. 12 minutes before the end of the game, the wind was blowing the rain into our faces at 47mph and the coaches and referee asked both teams if they wanted to call the game. The response was a resounding ‘NO!’ I feel like this game embodied all the values
Ellice Hahne, Sherborne Women RFC
the Inner Warrior Series wants to promote: playing rugby, building relationships, growing as a team and a community and being resilient.
We will be meeting four teams in the Inner Warrior league this season: Taunton, Yeovil Mixed Ability, Westbury and Exmouth. How exciting that on top of the women’s teams that have already joined a National Challenge league, there are so many young teams eager to grow and promote women’s rugby! I am really grateful for the Inner Warrior Series as it has made it easier for us to find teams that we can play against and are at a similar level to us.
As the season goes on, we genuinely hope that we will inspire other women to join the team. For me personally, joining the rugby team means I finally feel like I have arrived in Sherborne after moving here 2 years ago and I know that every one of my teammates could tell a similar story about having fallen in love with the sport and the team.
The Inner Warrior Series this season will hopefully give us the opportunity to hone our skills and grow enough as a team to be an attractive choice for any Sherborne girl rugby players to move up into our team and who knows, we may even go into a higher league
next year? Anything is possible.
For now, we are looking forward to a season of fair, fun rugby games, allowing us all to grow together as a team on and off the pitch and channelling that inner warrior that makes us feel like anything is achievable!
If you are reading this and wondering if rugby could be for you, give it a go! We train Wednesdays 7pm8.30pm and Sundays 2.30pm-4.30pm at the Terraces. No prior experience needed.
Our next home game will be on the 10th November against Westbury – come and watch!
A BIG thank you to our sponsors this season: For our kit: Shaun Whittaker Carpets, Pearce Seeds, The Farm Consultancy Group
The Twelve Trucks of Christmas, by Evie Day, illustrated by Dean Gray (Orchard Books 2024, £7.99 paperback)
Sherborne Times reader offer price of £6.99 from Winstone’s Books
The Twelve Trucks of Christmas is a book written like a Christmas song and is all about Christmas, trucks and diggers. I really liked it when they said the little cranes were candy canes, especially as I like eating them! I also liked the part with the dashing diggers, which went really fast, and the little snowglobes in the trucks.
I enjoyed this book a lot and read it with my mummy. I would like to read it again with my little brother as I know he would enjoy it too. This book is a great story for Christmas time especially as Father Christmas was in the book. It has made me really excited for Christmas!
Celebrating 10 Years as Sherborne’s Independent Bookseller 2012-2022
Tunatura/Shutterstock
11 - 15 NOVEMBER Preparing your child for the journey ahead
PREP SCHOOL
SENIOR SCHOOL
18 - 22 NOVEMBER Book a personalised tour during our visit weeks and find out more about an education at Leweston.
UNEARTHED
Fleur Smith Aged 12, Hanford School
The Shetland Pony Grand National run races all over the UK, at all the big shows such as Royal Windsor Horse Show, advanced event meetings; Badminton, Burghley and Blenheim as well as some flat races on race courses like Sandown and Cheltenham.
At the Moreton and Marsh Show in September Fleur won her heat and then went on to win the final. She was awarded ‘Ride of the Day’ by the organisers who give the accolade for each day of racing, not usually to the winner!
Fleur rides for a team of ponies called Cherhill Shetlands. She is very lucky to be able to ride in the
Embiricos family’s colours who owned the famous Aldaniti. Aldaniti and Bob Champion won the 1981 Grand National after battling back from cancer and in 1983 set up his charity The Bob Champion Cancer Trust. The film Champions, starring John Hurt, is based on their story and is a must-see!
The Bob Champion Cancer Trust has raised over £15million towards cancer research and is The Shetland Pony Grand National’s nominated charity for 2024.
Independent boarding and day school for girls aged 7 to 13
“Offers the most magical upbringing a little girl can dream of” The Carfax Education School Index
BUILDING ON STRONG FOUNDATIONS
SHERBORNE GIRLS CELEBRATES 125 YEARS
Louise Troup (Wingfield 1982-1987, Head of English 2017-2024), Sherborne Girls
When it was founded in 1899, Sherborne School for Girls had only fourteen pupils, of which, bizarrely, six were little boys. Based at Ransome House at the top of Greenhill, the fledgling school would appear to have little in common with today’s celebrated institution. However, the vision of the founders still echoes in today’s honeyed stone walls. The formidable and brilliant first Headmistress, Beatrice Mulliner, sought not to produce scholars, but ‘rounded human beings’ who could thrive in a world opening up to women. Her very modern approach focused on educating the ‘whole person’. She wanted to produce courageous, curious and compassionate women, who could make
a positive impact on the world, as so many Sherborne Girls have, and continue to do.
In 1902, Miss Mulliner went further at the stonelaying ceremony in Bradford Road. Now with seventy girls under her care, she outlined her core principles: to awaken the mind with culture, art and science; to develop a sense of loyalty and public service and to foster trust and honour.
In terms of awakening the mind, she would be surely proud to meet those studying STEM subjects at top universities, to read and hear the thoughtprovoking poetry written annually for the Philippa Lawrence Poetry Prize, or to listen to the beautiful music made by our singers and instrumentalists whilst
The boarders, summer term 1903
admiring the art exhibitions in the Merritt Centre.
Trust, honour and loyalty have always been at the very heart of this happy school, ensuring that the girls have the moral resilience they need in an unstable and challenging world. The commitment to public service she sought to encourage was demonstrated in my day (1980s) by our weekly visits to the elderly in their homes and care homes. This tradition endures, reminding the girls of the importance of giving back. However, in practical terms, much has changed. Let’s start with the uniform. Edwardian pupils wore a range of high-necked long-sleeved blouses and long skirts, with only a striped tie in common. There was no PE kit, hence the charming pictures of girls in their cumbersome daywear wielding a tennis racket. Between 1900 and 1930, the colonial-sounding ‘djibba’ was adopted, as well as an unpopular brown tweed suit, but hemlines did go up in line with fashion. In the post-war period, the dreaded cloak came into being as well as the green meridian knickers for ‘Games’. Ties – in house colours – remained. Today’s comfortable white blouse, navy jumper and tartan skirt are definitely an improvement in terms of practicality and aesthetics, and trousers are now of course an option.
To sporting life at Sherborne Girls. In the early 20th century girls played only hockey, tennis and cricket. Later were introduced Dancing, ‘La Crosse’ and ‘Swedish Drills’. The latter is worth dwelling on. It became ‘Massed Gym’ in the 1930s and there were even displays at Commem. Needless to say, these group exercise demonstrations were very unpopular and were phased out in the 1960s. Today’s only ‘mass’ exercise is the wonderful Castle Challenge, where the whole school runs, jogs or walks 5k together. Cheering on your friends, wearing face paint and a tutu, or even dressing up as a purple rhino are evidence of a more relaxed and individualised approach to group exercise. And it will not surprise you to hear that there is a much wider range of sport on offer, including football, sailing and skiing.
The relationship with Sherborne School has also changed dramatically. Until World War II all contact was discouraged. The girls would literally cross the street to avoid proximity to the boys. In May of 1945, there was a watershed moment when Sixth Form boys were invited to a Victory Dance. Interestingly, the Sherborne Boys’ thank you letters dwelt more on the food than the girls they met. A second watershed
came in the 1970s, when General Studies was introduced. Today, fifty years on, joint CCF, Duke of Edinburgh, Debating and a host of other social, sporting, musical, dramatic and leadership activities bring the pupils together outside of lessons at all age levels.
One aspect of the school that has changed remarkably little is life in ‘House’. Gone is the ‘Posture Trophy’ and ‘Gardening Challenge House Cup’ but the family house structure, where girls across year groups eat together in their boarding houses and have shared spaces that feel like home is still treasured. Although you no longer need to wear your best dress for ‘Drawing Room’ and sew while being read to, ‘Drawing Room’ still exists: a time where the houseparent invites a small group of girls in for a warm and relaxed evening chat, in which the girls’ voices and ideas can also be heard.
Beatrice Mulliner’s vision is perhaps best encapsulated in her own words. In 1920 a Dun Holme pupil suggested using the Ancient Greek image of a burning torch for the school badge. This was an excellent choice, thought Miss Mulliner: ‘the light borne on through the darkness to the goal, speaks so strongly of co-operation, of the sinking of the individual in the grand aims of a Community…we could not have a badge with deeper significance’.
And today that badge has been adopted as the emblem of the school’s Candlelight Bursary Fund. The idea of passing on the torch – the light of a brilliant education – to your less fortunate peers lives on.
Miss Mulliner would have approved.
sherborne.com
Image: Josie Sturgess-Mills
THE IMPORTANCE OF LEARNING TO SWIM
Learning to swim is a fun, engaging and rewarding activity that also imparts vital lifesaving skills upon those taking part. A study by the RLSS UK found that 35 children died due to preventable cases of drowning in 2022, a shocking 46% above average. Accidental death by drowning is still one of the most common contributors to child mortality rates in the UK, highlighting the importance of teaching children how to save themselves and others if they get into trouble in water.
Whilst many children appear extremely confident in the water and are very happy to splash about in fun sessions, it is important to remember that they may not be competent swimmers and can panic when in difficult situations. During swimming lessons, children are taught an array of lifesaving techniques, from learning how to float on their backs to performing reach rescues and treading water. In this way, swimmers learn simple yet effective techniques which could save their lives and the lives of others. Many swim schools across the country also get involved with Drowning Prevention Week in June, an RLSS initiative to reduce preventable cases of drowning during the summer holidays.
Learning to swim also provides a lot more benefits than just water safety, however. Swimming lessons engage the brain, involving aspects of problem-solving,
coordination and balance. Exercises in the lessons keep your child’s heart and lungs healthy, improve strength and flexibility, increase stamina and can even help improve posture. Swimming can be enjoyed by children of any age or ability and it is more accessible for children with additional needs than almost any other sport.
There is a very important social need that swimming lessons fulfil as well, by providing plenty of opportunities to grow in confidence and make new friends. They will also have a sense of accomplishment by facing and overcoming various challenges throughout their time in lessons.
Spending time in the pool is a fun experience for people of all ages, whether it’s as a member of a swim school, taking part in a competition or just catching up with friends. Swimming is a unique skill that extends far beyond the pool. Much has been written about the life affirming joy and benefits of open water and wild swimming. It is also a skill that once learned is never forgotten – there are participants over 100 years old attending swimming events! – and it’s never too late to start.
Oxley Sports Centre offer swimming lessons for 48 weeks of the year, from the age of two-and-a-half through to adult. Visit oxleysc.com/swimming-lessons
Lauren Attwood, Swim School Coordinator, Oxley Sports Centre
A TALE OF THE UNEXPECTED
Hilary Phillips, Head, Hanford School
While I was sitting in my study at school, mulling over this month’s article, there was suddenly a huge bang, seemingly right outside my window. By the time I had started to react, our Director of Operations had already jumped into action, realised that there could be a danger to the school and hit the fire alarm. She knew this would send the girls to the opposite side of the building from where we had heard the explosion.
We discovered that an electrical transformer on a telegraph pole just off the school grounds had caught fire. The fire brigade arrived and the situation was quickly under control, so at this point, we started to relax a little as it was clear there was no danger to the girls, staff or school property. This didn’t last long, however, as we realised we had a full school with no electricity for the foreseeable future, aside from the emergency batteries supplying our fire and security systems. So we had no lights, phones, Wi-Fi or ability to charge staff mobile devices that we might need for communication. No tech for any lessons - although we keep that to a manageable amount anyway - no lighting for when it got darker, no way to make a cup of tea,
gulp, and no way to finish cooking the cottage pie and crumble (apple and blackberry from our gardens, if you are interested) for lunch!
As in any school, we had an emergency plan and everyone leapt into action. Sandwiches appeared for lunch, teachers adapted lessons, the sun shone so we didn’t need the lights anyway and the day continued without a lot of disruption. In the background though, we knew we might need to put the second part of the plan into action, which would be to evacuate the school should electricity not be restored by the evening. As we have boarders, we couldn’t just close our doors.
Hanford is now part of the Sherborne Schools Group. We had let them know what had happened earlier in the day and they too had leapt into action. We ended up having a very jolly sleepover at Sherborne Girls with a delicious supper and breakfast thrown in.
The girls took this all in their stride. They had been worried and scared earlier in the day but by the time we decamped for the evening, they were mostly excited. Of course, this wasn’t a terribly dangerous situation but the children didn’t necessarily know that. Their understanding of danger is still in the developmental
stage, and to them, the flames enveloping the telegraph pole were threatening and scary.
The main thing, whenever anything dramatic or potentially traumatic happens, is to try to keep calm – not always easy but children react the way we react and we have it in our power to dial down the drama. If they see that we are upset, then they too will start to worry that the situation is out of control. Of course, it is right to show your own feelings and to be prepared to discuss them but by giving the issue the attention it deserves and no more, we show that there isn’t anything to worry about. It’s not a great idea to try and shield a child from what has happened, as this can lead to them feeling more fearful. Of course, we must protect them but they need to know that we have acknowledged the problem.
It is important to allow children to talk about things concerning them. Their feelings should be acknowledged and valued but they also need to see that there is a time to go over whatever happened and then a time to move on. Going over and over a situation gives them leave to feel there is still something to worry about. Show them you have moved on and this will
help them to do the same.
We all know that children view the world differently from adults but it’s easy to underestimate just how differently. As adults, we are good at using different senses to understand what is going on around us. The younger the child, the less able they are to do this. Interestingly, this also means that children can, in fact, be better than adults at understanding some concepts. While children are still developing, the brain must determine the relationships between different kinds of sensory information to know which kinds go together and how. Children therefore can keep information separate so they literally do see the world differently from adults.
I had such a clear example of this the other day. A friend was getting ready to give her child some cough medicine. The child asked if they could try to open the bottle. They weren’t able to and asked why they couldn’t get the top off but the grown-up could. ‘It’s a childproof top,’ my friend replied.
For novelty interest the striking Crimson Speckled should perhaps be included in any collection of moths, however unlikely a sighting may be here in the UK.
A rare immigrant species, nonetheless there are occasional sightings in years of good migrant activity, most often in southern counties and especially around coastal areas. In southern Europe, it is a very common visiting migrant species from its native Africa and the Mediterranean, where the larval diet high in alkaloids accumulates as toxins in its body, making it distasteful to predators. These chemicals remain throughout its next life stage as a pupa and are subsequently still present in the emerging adult moth, as in some other conspicuously marked species displaying warning colour and markings.
Long narrow wings of vividly contrasting and
variable black and deepest red lines of dots and dashes on white ground colour, make this an easy species to identify. The hindwings are usually plain white and bordered black. It may fly by day or night but the British climate does not enable it to breed here.
Belonging to the ‘footman’ group of moths, the alternative name of Crimson Speckled Flunkey also refers to its resemblance to livery as worn by footmen in times past and still today for ceremonial or royal occasions.
Official records for Dorset date back to the 1870s and mainly very sporadic encounters have been noted to the present day. The autumn of 2022 saw unusual numbers when sightings were reported in southern counties, including Dorset. Perhaps this will be one of the enigmatic little moths that will take advantage of climate change and become more commonly seen here as in southern Europe.
Crimson Speckled Utetheisa pulchella
Gillian Nash
Esin Deniz/iStock
CHANGING TIMES
Simon Ford, Ecologist
We have recently returned from a lovely trip to the north-west of Spain and Portugal, travelling through the mountains and plains of Iberia. I always pack some bird and flower books to help identify those species I need help with. Although you can get some clever apps such as iNaturalist and Merlin Bird Spotter, I find that there is nothing like a proper book with detailed pictures, descriptions and maps of where a certain species is found.
There is always a risk of thinking you have worked out what the species you are looking at is, only to find it is only found in Malta or North Africa! Of course, you could have been very lucky and found something which has been blown off course and is a rare migrant, or even better, found a new record for the country! However, it is usually a misidentification.
I brought a copy of the Collins, Birds of Britain and Europe with me, which I bought when I was studying at university, quite a number of years ago! This book has clear drawings of each bird (male, female and juvenile), a thorough description and a map showing where it is found and whether it is a summer or winter visitor.
With my trusty binoculars, I spent the time on the boat from Portsmouth to Santander, scanning the sea for gannets, Mediterranean gulls, shearwaters, fulmars, shags and great black-backed gulls. Interestingly, members of the charity Orca (which campaigns for sea mammals such as whales and dolphins) were on board, looking for cetaceans. We were lucky enough to see several pods of common dolphins riding the wake of the Brittany Ferries, Salamanca.
When we arrived in the Spanish harbour, I was pleased to see a number of little egrets, as well as the graceful great white egret. However, checking my dependable Collins bird guide, I saw that neither of these birds were recorded from either northern Spain or Britain. I then started to look for other species and saw that they also were only recorded from further south or east, yet I was pretty sure I had the right identification. I then checked when the book was published and it was in the 1970s!
I remember my excitement when I saw my first little egret on the muddy Cornish estuaries in the late 1990s and then heard of the first ones breeding in Britain on Brownsea Island around 2002. Now little egret are found across much of southern England and are considered a relatively ubiquitous part of the UK fauna. You can now visit the Somerset Levels and watch the great white egret.
Looking on top of an ancient church in Salamanca, we saw distinct nests built on stone pinnacles and then, in an arable field, we saw a group of storks feeding in the stubble. Storks have now returned to Britain at the amazing, pioneering rewilding project at Knepp Castle in Sussex for the first time in 600 years! The spectacularly colourful
Juvenile stork at Knepp Castle, Sussex
bee-eater (a species of hot southern Europe) was bred in a quarry in Durham last year. Sea horses have been found in Studland Bay. There are a number of similar records where species are naturally moving northwards, which excites us naturalists. There are in addition, re-introductions of species that were once native to Britain but became extinct due to human persecution. This includes the crane, great bustard, red kite, beaver, wild boar and large blue butterfly. In addition, we occasionally see rare migrants, which have been blown in from far away, such as the monarch, Camberwell beauty and long-tailed blue butterfly, the green darner dragonfly and a myriad of continental and North American birds, which get twitchers twitching! It is tempting to think of this as a ‘good news
story’, although, in reality, it is being caused by climate change, which is forcing species to move as their habitat becomes unviable. Marshes dry up, grassland becomes tinder dry, fires destroy forests and heath, the deserts are ever expanding and the sea and rivers become too warm. Some species of birds and insects are able to fly northwards but if you are a wild land mammal, a reptile or a plant, it is much more difficult. Alpine and mountain species in Scotland have nowhere to go once they reach Caithness and Sutherland.
In a relatively short amount of time, we are seeing dramatic changes to our wildlife and sadly, mostly declines. It shows the need to look after those sites we already have and to create new habitats to protect species that move to our shores.
LAWS OF ATTRACTION
Paula Carnell, Beekeeping Consultant, Writer and Speaker
We have no honey bees, anywhere!’My latest consultancy client, in the UK has a large family estate which they are regenerating to protect what wildlife is left. Although much of the land has tenant farmers, gradually land is being returned to wildflower meadows and woodland as the industrially grown acres of cereal crops are reduced. My team in Somerset are visiting the area in a couple of weeks’ time to start a bee audit. Like many landowners
when regenerating land, among their first thoughts are how to attract bees. Few understand that ‘attracting bees’ is often the last thing they should do. With over 275 species of native bees in the UK, the first thing is to check which of those are already present. Through looking for bees, it’s surprising how many can be found, or at least their habitat, like cavities in old walls and entrances on muddy or sandy soil banks. With a particularly large area, if with no gardens, it can
appear that there are no bees. Any wild colonies will be foraging in the hedgerows, surviving from tree blossoms or visiting any neighbouring gardens desperate for any nectar source. It is very rare indeed for any part of Britain to actually have no bees.
During our meetings (online as I’m still enjoying the tropical sunshine of Cocos Keeling) I enquired about their bee habitats – what they already have growing? How old are the oak trees? Are there any lime trees? I also did some research on neighbouring beekeepers. I found a few so I know that as honey bees travel in a 5-mile radius of their hives, there would definitely be some visiting their estate. Should they want bees, they simply have to place a bait hive in a suitable location and next spring, a swarm will most likely move in. The history of this estate is fascinating and as they still have all the records, I asked them to check if a previous owner/ancestor had kept bees. After a bit of digging in ancient documents I received a very excited message; ‘Yes, my ancestor had five colonies of bees – they were listed as assets in the doomsday records.’
I LOVE this kind of project! We can see how bees have been an integral part of the history of the area and how we can ‘invite’ them to return without upsetting the natural balance of native bees.
It is also why beginning with a bee audit is vital. The landowners have to learn for themselves about the biodiversity they already have and come to love all bees, instead of giving all the attention to the honey-makers!
If you’ve been listening to my podcast or are in my membership, you’ll know that the energy of the island where we’re setting up this bee project has been transformed dramatically and my two colonies here are now thriving. Although locals are interested in the honey and the bees, the property has had such a traumatic associated past that they have been reluctant to ‘drop in’ and see the bees. One lady is very keen and would like her own colony nearby on her small farm yard (400sq metres as opposed to the 6,000 acres of my UK client). I am placing an empty hive there for her and baiting it so one of my two will find it when they are ready to swarm. If they are ready before that, I will artificially split them.
I have begun the apitherapy research which has been very excitedly received. I have requested ten volunteers to spend 30 minutes each week sitting by the hive (in a bee suit) and protected by a screen my husband Greg is building. Before and after each session, they complete a questionnaire to measure their levels of
"Few landowners understand that attracting bees is often the last thing they should do"
anxiety and stress, and we can measure if spending ‘bee time’ is of benefit to their wellbeing. This is similar to research that Yanki Tandrcioglu in Turkey undertook and shared in episode 83 of my podcast, ‘Creating a Buzz about Health’. This is what I really enjoy – seeing how simply being with bees affects people in such a positive way. We all have to overcome fears with bees, even when you’ve spent as much time as I have with them. Courage is the frequency of 150-250 Hz and when we rise and expand through that, we reach the same frequency as the bees, 250HZ which is neutrality or peace, becoming more present. The higher vibrations are more powerful, raising the lower frequencies around them, and so spending time with anyone or any being that resonates higher will raise our own frequency, and the higher the vibrations, the healthier we become. Being present sounds so simple, yet is rarely experienced by so many – thoughts of the past, or fears of the future keep us all resonating at around 70-100 Hz, which is not healthy at all. This island has suffered much trauma in the past and has a very uncertain future with the rising ocean (we’re 1.5 metres above sea level) and the planned military upgrade of the airport and all the possible implications of that. There’s also been much sickness and death, including some major influential figures in the community, which has brought even more uncertainty. If we were to also watch the news and see how awful events are around the world, we would all lose hope. The beautiful colours of the lagoon and ocean, the clear blue skies and lush greenery help keep us present, the wind and rain prevent wifi access to the rest of the world, while ferries and freight planes keep us all focussed; ‘Are there eggs on the islands this week?’ Meanwhile, the bees are happy in the moment with an abundance of nectar and sharing their honey. We are blessed to live another day.
paulacarnell.com
LAMBING TIME
Alec Rich, Round Chimneys Farm
Image: Ed Rich
I’m writing this at what feels like a time of seasonal transition. The days seem to have shortened dramatically and winter is upon us. We have come off the back of a few sporadic days of heavy rain – the ground is starting to soften but is still just about firm enough that we can keep all of our cows out in the fields. We normally hope to hold out until mid to late October before we begin the process of bringing our cattle in for the winter. Our farm is situated on quite heavy soil, meaning that as soon as the weather becomes cooler and wetter in the autumn, the ground softens up quite quickly and the cows fast create a muddy mess. As you can imagine, they are never very happy living like this, so are always glad to be housed in barns and yards through the winter months, with plenty of fresh bedding and an abundance of silage to munch on.
Late November spells the start of lambing time for us. We have a relatively small flock of just over 100 Dorset cross mule ewes, which were introduced to three lovely Charolais rams in July. The rams thoroughly enjoyed their six weeks with the flock and as we are rapidly approaching the end of the 21-week gestation period, we’ll soon find out quite how well the boys have done!
You may be wondering why our ewes are lambing in the depths of winter and not in the spring like the vast majority of flocks. Lambing at this time fits well with the beef side of our farm – we have barn space in the early part of winter, allowing us to lamb the ewes inside and out of the harsh elements. Lambing nice and early also means we can take advantage of better prices for the lambs when the first of them are ready to be sold in the spring, catching the Easter market. The Dorset breed enables this as it is one of the few which can lamb ‘out of season’ and breed at almost any point in the year.
Just before the rams enter the flock in the summer we fit them with a harness attached with a coloured crayon, meaning that when they are getting friendly and ‘serving’ a ewe they leave a mark on their back. It’s a way for us to see how things are going and gives us a rough idea of when we can expect the births. Changing the colour of the crayon at the 3-week mark means we know which ewes should be lambing earlier than the others. The rams were particularly active at the end of July, meaning that all of the signs are pointing towards a very busy Christmas week! Last year I was late for Christmas dinner as a ewe needed help delivering her
lambs - festivities and lambing go hand in hand here!
We’ve honed the set-up in the barn over the years, with a nice open space for the ewes and two bays of pens at one side of the building. Once a ewe has given birth, we’ll transfer her and her offspring into one of these pens. This means we can keep a close eye on them during the crucial first few days, ensuring that mothers and lambs are happy and healthy before they make the move to another barn. For the most part, the ewes will quite happily deliver their lambs unaided, particularly if it’s not their first lambing. We keep a close eye on them all but the first-time mothers in particular. If a ewe looks to be struggling and unable to deliver the lamb herself, we will intervene and give her a helping hand.
There’s a variety of reasons why they might need assistance but commonly, it will be because a lamb is breech (arriving backwards, rather than front legs and head first) or they are coming forward but their legs have been tucked back and they are not presenting quite right! Occasionally, it might be as simple as having an extra-large lamb that the ewe doesn’t have the strength or energy to deliver herself. We’ll be on duty day and night to ensure everything is running smoothly and, whilst there are more than a few sleepless nights over the six weeks, it’s a really rewarding time.
In the second barn, we split things into singles and twins, ensuring the mothers of the twins (and occasional triplets) get plenty of extra food to help them feed multiple hungry lambs. The singles don’t have to fight a sibling for access to mum’s milk so they become stronger and grow much faster, meaning we can turn this group out to the fields a bit quicker, provided the weather isn’t too dreadful in January! The twins will then follow out into the field once we’re happy that they are strong enough to withstand the chilly nights and a bit of rain.
This year we will again be running our ‘Lambing Live’ sessions giving the public a chance to pop in and see the newborn lambs and their mothers first-hand. We really enjoy sharing the experience with so many people and it’s a great chance for young and old alike to ask any burning questions they might have - there is plenty of detail I haven’t managed to squeeze into this article! So if this has piqued your interest, we’d love to welcome you into the lambing shed. Be sure to check our website for more details!
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TOBJECT OF THE MONTH
THE MINIATURE DINNER SERVICE
Elisabeth Bletsoe, Curator, Sherborne Museum
his delightful little soup tureen measures 8.2 cm x 10.7 cm x 6 cm. It has scallop handles, a slightly flared foot and a cover with scroll knop and recess for the matching 9.5 cm ladle. It is part of a 36-piece miniature dinner service which was ‘rediscovered’ during a recent review of the Toys and Games collection. The service was possibly not originally intended to be played with but may have been a conveniently portable demonstration piece.
The set is made of blue transfer pearlware, featuring a pattern known as ‘The Queen of Sheba’ which was produced between 1815-1830. Although this pattern, sometimes referred to as ‘The Indian Queen’, is well documented, the identity of its manufacturer, however, has been the subject of debate. Doris Lechler, in English Toy China (1989), attributes the pattern to Spode, whereas The Transferware Collectors’ Club maintain it originated with Minton.
In the tableau, the Queen of Sheba sallies forth to meet Solomon with her small child-like attendants scurrying behind her keeping her cloak from dragging on the ground, while a black servant holds a sunshade above her head. Close examination of the background reveals three different styles of architecture; the road behind the queen leads to a Gothic-inspired enclosure, while an exotic Eastern temple appears to the right and, at the top, a Classical structure looms over the island.
The taste for chinoiserie reached its height around the mid to late C18th; a European interpretation and imitation of Chinese artistic traditions which were seen as epitomising luxury and exoticism. The fanciful style relied more on the designers’ imagination rather than an accurate portrayal of Oriental motifs. East Asian products were blended under the umbrella term of ‘Indian’ and key themes were recycled constantly: the blue and white palette, scenes of a royal court living a
life of leisure, and unusual flora and fauna.
With this type of ceramic, the number of impressions which could successfully be drawn from a copper plate engraving was limited to about one hundred. In consequence, the engravers produced a constant supply of plates, varying the design details to suit their own whims and to conform to public taste.
Chinoiserie was not universally popular; some critics believed the designs to be illogical and incoherent, while others thought it a mockery of genuine Chinese art. The style declined during the First Opium War of 1839-1842 between Britain and China, after which the latter nation closed its doors to imports and exports and, for many, chinoiserie became a fashion of the past.
So how did the dinner service come to arrive at the museum? Early records revealed that it was the plaything of two little girls, Dora Louise Gervis (1862-1943) and Lucy Mabel Gervis (1867-1916). Further research supported by entries in the donor’s memoirs showed them to be the ‘docile daughters’ of Dr. Henry Gervis (1837-1924), a successful Harley Street obstetrician, and Phoebe Louisa Pollard (1836-1918). They were also the aunts of the donor’s late husband Henry Shorland Gervis (1897-1968), an assistant master in natural science at Sherborne School. When he died, his widow, Ruth (Streatfield), a talented children’s book illustrator, joined the museum team where she could ‘be useful’ and she loved it so much among ‘steady friends’, that she remained for over twenty years. During this time, she gave several significant and lovely things for our collections, of which this dinner service is an example.
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Sherborne Museum is open Tuesday-Saturday 10.30am4.30pm. Admission is free but donations are much appreciated.
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HALL OF MEMORY
Barbara Elsmore
Rawson Hall, in Westbury, Sherborne, is a melancholy sight today but it wasn’t always so.
In 1885 a corrugated iron gymnasium, measuring 30 feet by 70 feet and costing £320, was built at Sherborne School and the following year John Newman Taylor was appointed chief instructor of gymnastics and boxing. Sergeant-Instructor Taylor was an inspiring figure with a luxuriant moustache and, in surviving photographs of him, he is invariably standing ramrod straight with arms folded across his chest.
In November 1902, the recently formed Sherborne Company of the Church Lads’ Brigade (CLB) took up residence in the drill hall in Gravel Pits, Westbury, donated to them by the Rev Arthur Field. Could it be that the design of what later became known as Rawson Hall was based on the original school gymnasium?
What were the aims of the CLB? Initially to give the boys of the town some of the advantages offered to the boys of Sherborne School. They would be instructed by Sergeant-Instructor Taylor in gymnastics and boxing and they would have the use of the school rifle range. They would be drilled in the same way as the cadet force at the school and they would learn how to work as a team and to take responsibility for themselves and for others in the way they conducted their daily lives. In addition to all this ‘training’ they also had fun – playing football and cricket, putting on their own entertainments, camping at Bridport or Lyme Regis and more besides.
Why was it called Rawson Hall when it was given by the Rev Field? In 1901 Philip Rawson was living with his wife Lillie and their two children at Brand Hall, a large country estate in Shropshire. By 1904 the family had moved to Brecon House in Long Street, Sherborne, where their daughter Barbara enrolled at Sherborne Girls School. Philip Rawson settled quickly into the life of the town, taking an interest in the CLB from the very start.
On 15th June 1915, Philip and Lillie Rawson’s only son Philip Colin (known as Colin), who, like his father, was educated at Eton College, joined the Royal Berkshire Regiment as a 2nd Lieutenant. It was customary for boys from public schools to go directly into the officer class, which turned out to be the most
dangerous place of all in the field of battle as it was up to them to lead from the front. Colin was reported missing on 28th September 1915 following one of the early battles at Loos in France. The family back home in Sherborne would have to wait until January 1917 before the awful news of his death was confirmed. One can only imagine what a terrible toll this would have taken on them.
Philip Rawson died in April 1917, aged 53, and according to his obituary he had ‘sustained a severe blow with the death of his only son who had been reported missing for many months and was only declared dead earlier this year’. A month later, a ceremony took place when Captain C B Brett of the CLB spoke of the great sadness that the news of Philip Rawson’s death had brought to the town: ‘Mr Rawson had controlled the Brigade for some ten years and had taken a keen interest in the individual welfare of the lads and it would be impossible to adequately replace him. His death was nothing less than a calamity. His sad demise had struck a note of personal loss to all who knew him but there was no organisation in Sherborne who would more deeply mourn him, and who would hold his memory in greater reverence than that of the Brigade. One of his last kindnesses had been to purchase the C.L.B. Hall for the benefit of the Brigade and that there could be no more suitable monument to his memory than to name the hall ‘Rawson Hall’.’
Many of the ‘lads’ of the CLB would join up when the First World War broke out and inevitably, some like Philip Rawson’s own son, would lose their lives. Sergeant-Instructor Taylor lost two of his three sons, all of whom had passed through the CLB: 2nd Lieutenant Sidney Taylor died in France on 4th April 1917 and Staff Sergeant Percy Taylor also died in France on 3rd July 1918. The names of both young men and of Colin Rawson are remembered on the town war memorial, where a total of 173 men of the town have their names inscribed.
Barbara Rawson never married, devoting her life to public service in Sherborne and in 1934 was sworn in as a Dorset County magistrate. She also continued her father’s legacy, playing an active role with the CLB and was their treasurer for many years.
HISTORY IN MY HAND
Richard Bromell ASFAV, Charterhouse Auctioneers
Many of the items we see are tactile. Every day, we see and handle a broad range of items, as discussed here before, a fair amount of the good, some of the bad, and a bit of the ugly. However, every once in a while, we get to handle items loaded with history.
As collectors, we are only custodians of the items we own. Recently, I was asked to see a widow near Bournemouth whose husband passed away earlier this year. He had been a Charterhouse client for many years. Whilst he bought the occasional medal from our auctions over the decades, I was unaware of just how large his collection was.
As he had passed away, the widow, who has little interest in medal and militaria collecting, asked me to visit her to give some help and advice. The house is a modest detached home from the early 1970s. In business, her husband worked for an international company. He travelled extensively on business and I assumed incorrectly that he bought the medals and militaria on his travels, but he did not.
In addition to attending Charterhouse and other auctions, he would also visit specialist medal dealers, attend militaria fairs and pop into antique shops constantly on the lookout for medals. He certainly had a good eye and an understanding wife – on more expensive medal purchases, he would always make sure with her it was okay to spend the money.
His medal collection is extensive and we will be holding an auction on Wednesday 27th November to sell his entire collection, estimated at £200,000, to the next custodians. The medals span 167 years of
military history. The earliest medal in the collection is a Waterloo medal from 1815 and the most recent medal is from the South Atlantic campaign, more commonly known as the Falklands War.
It is always difficult to choose just one medal as they are all fantastic, but there is a Victorian Naval General Service medal which caught my eye. The medal was instituted in 1847 and issued to surviving claimants in 1848. It was originally intended to cover naval engagements of the French Revolutionary and Napoleonic Wars (1793-1815) but was almost immediately extended to cover all naval actions of a more recent date, down to the expedition to Syria in 1840. It was issued with no fewer than 230 different clasps for major battles and minor engagements.
However, for me, out of all the clasps (or bars) issued throughout naval history, one with real stand out is, of course, the 1805 Battle of Trafalgar. This is arguably the most sought-after clasp and naturally, there is one being sold in the collection.
This medal was awarded to William Miles who served on HMS Leviathan. He clearly went on to have, at least in 19th-century terms, a long life – to receive the medal 43 years after the action was an achievement as this was the annual life expectancy in 1850!
This NGSM with Trafalgar clasp, although being sold without reserve, is still estimated at £5,000-8,000, and unlike the collector whose wife sanctioned his purchases, I’m pretty sure if I ask Mrs B it will be a flat no!
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FORM AND FLOW
ACHIEVING HARMONY IN AN OPEN-PLAN SPACE
Stephanie Tabor, Interior Designer & Home Stylist
Many modern homes or recently renovated interiors have open-plan kitchen and living spaces. These are great for allowing the flow of people through a space, providing more opportunities for socialising and helping the parents of young children keep an eye on them whilst they are cooking and the little ones are playing.
However, many struggle with how to decorate this space. People are often frozen by the sheer size of the room they’ve created and the variety of choices available decoratively that they stick with brilliant white to be safe. It happens more often than you might think, especially following an extension, barn conversion or when moving into a new build home.
If this is you, here are a few guiding points to keep in mind:
Create a space plan
Using a floor plan, whether you draw your own or scribble on one from your architect or estate agent,
mark out where you want your different areas to belike dining, lounging and working. Consider the access to the garden, natural light and proximity to the kitchen when you’re thinking this through. Layer on here commonly ‘walked’ routes to make sure, where possible, the shortest routes are between the closest related areas, e.g. the kitchen and the dining area.
This will not only help you to plan your furniture and lighting but will also help you to identify where curved edges might be more useful (e.g. on a kitchen island) than rectangular, to help facilitate movement.
Define and soften spaces with a rug…
Use furniture arrangement, rugs, lighting and different textures to create invisible boundaries. For example, a large rug under your sofa and accent chairs will anchor the living area and pull together a conversational seating arrangement without the need for walls. The key here is to ensure the rug you choose is large enough to fit under at least the two front legs of each chair in your
Image: SET Interiors Studio
seating arrangement.
Similarly, you can place a rug (choose a hardwearing, washable one) under your dining table. This combined with a statement light fitting over the table will define your dining area. Just ensure that your rug is big enough to fit under the table and each chair when it is pulled out from under the table. This will prevent seats from wobbling on the edge of the rug when people are sitting in them.
… and furniture
Likewise, a strategically placed bookshelf or a console table can act as a divider between the dining and lounging areas without obstructing the view. This also helps to make the back of a sofa more visually appealing, if for example, it is one of the first things you see when entering the room.
Use cohesive colour schemes
A unified colour palette is essential for tying the space together. To help you add personality to the space whilst maintaining flow, consider using different tones of the same colours or a selection of complementary colours (paint sites such as Lick and Little Greene are great in putting colour palettes together for you).
Vary the textures and materials
Playing with different textures and materials is an excellent way to add depth and interest to an open-plan layout. This can be taken onto the walls and even ceiling too, as well as obvious places like sofa fabric, cushions and throws. Limewash is a fantastic, sustainable option for adding texture and interest to a wall (and is particularly great for period homes where walls need to breathe), as is panelling.
Use art and fabric to your advantage
In open-plan interiors, creating focal points helps to ground the design and guide the eye across the space. Artwork and/or the fabric of a statement accent chair can also help guide your colour palette. Pulling out a couple of colours from these pieces, which you may already own, will help you create a scheme for which that chair, or art, becomes the perfect accent to tie the space together. Larger-scale artwork is also useful to draw the eye up in rooms with high or vaulted ceilings.
Maintain flow with flooring
Flooring plays a critical role in how open-plan spaces
feel and function. Using the same type of flooring throughout the space, such as wood or polished concrete, maintains visual continuity and flow. However, rugs or subtle floor transitions such as different finishes or inlays can help distinguish spaces like the kitchen or dining area while still feeling integrated.
Balance proportion and scale
Open spaces can quickly feel overwhelming or underwhelming if the proportions of the furniture are off. In large, airy spaces, use large-scale furniture like sectional sofas, oversized dining tables or statement lighting fixtures to anchor the room and prevent it from feeling too sparse. Conversely, in smaller open-plan areas, opting for sleek, minimalist pieces will prevent the space from feeling crowded. The key is to balance the size of furniture in relation to the entire space.
Leverage lighting to enhance flow
Lighting can be used both to define spaces and to ensure they work together. For instance, pendant lights can draw attention to a dining area, while a floor lamp can anchor the living room. An important element to remember here is to ensure that the lighting for each area or ‘zone’ operates on a different circuit and that each light within that area is dimmable. This means that when you’re having a cosy movie night or hosting a dinner party, you can turn off the lights in the unused spaces and set the ambience for the space you are in - a way to metaphorically ‘close the door’ with your lighting.
Incorporate flexibility
One of the advantages of an open-plan layout is its inherent flexibility. Consider versatile furniture pieces like modular sofas, movable partitions or foldable dining tables that allow you to adapt the space to different needs. Flexibility ensures that your space remains functional for different activities or occasions without sacrificing form. For example, a movable room divider or a curtain can provide extra privacy in a home office area without being a permanent fixture. Achieving form and flow in an open-plan interior is all about balance. Whether it’s through thoughtful furniture arrangement, smart lighting choices or the careful use of colour and texture, your open-plan space should feel like a harmonious blend of form and flow.
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Tempted to move to a totally new area? Well, there’s lots to consider when thinking about moving home but even more so if you’re looking to take the plunge and discover somewhere new. Setting up your home in a new neighbourhood always comes with its share of anxieties. If you want to move to a new home close to where you already live, there is little to decide. But if you want to move to a different part of town or across the country or if you are considering buying a second home, then how to decide where to live is more difficult. It can take time to get to know an area well enough to know whether you would like to live there and many of the issues will not be apparent from just visiting. It’s not just about finding a home that fits your budget; you also need to assess the neighbourhood, amenities, lifestyle and long-term prospects for the area.
One of the first things you need to assess when choosing an area is affordability. While home prices are important, don’t overlook the broader cost of living – you will need to know about council tax, parking availability and the cost of everyday amenities. It is definitely worth spending a day out in the new area to see how much you might be looking at spending to eat out, at the pub and in the local shop to buy essentials.
It’s also a good idea to research your local GPs, the nearest hospital and childcare providers. Being near hospitals and emergency services provides peace of mind, which is crucial if you have ongoing health issues or older relatives.
Before choosing your location for the move, you need to be aware of the transport links. If a daily commute on public transport is part of your life, you need to know
Yau Ming Low/Shutterstock
about buses and trains that get you there. Properties near reliable public transport usually keep or increase their value. For drivers, road connections are key. Close access to major roads can save time and reduce stress whether you’re heading to work, running errands or planning trips.
The quality and location of primary and secondary schools matter if you have children or plan to. Living near top schools boosts your child’s education prospects and saves time on school runs. Local councils will generally tell you the precise catchment areas of their schools in recent years – vital to know if you want to make sure your children get into it. As we know from living in Sherborne, areas near schools often have vibrant communities with many amenities, making them attractive places to live.
It’s also helpful to investigate the crime rates and safety of the area. A low-crime neighbourhood offers peace of mind and a safer environment for your family. I remember when we were looking to move into Sherborne - the police station was still open at that time and a policewoman, in uniform, was on a kneeler outside the station weeding the flower beds. I thought that was quite a good sign that we weren’t moving to a crime hotspot!
One aspect that often gets overlooked is researching any major developments planned for the area, such as new roads, commerical centres or solar farms. These can impact future property values, traffic and your quality of life. It’s also worth checking on gov.uk if the area is prone to flooding. Living in such areas can endanger your property and can lead to high insurance costs.
Finding the right home goes beyond the property itself; it’s about ensuring the area enhances your lifestyle. Each area has its unique vibe and culture, and it’s essential to find a place where you feel comfortable and welcomed. Do you want to be in a happening place, with lots of life, or do you prefer somewhere more rural? Do you relish a laid-back lifestyle or will you get bored? Is being able to walk to the shops important or are you happy jumping in the car to fetch a pint of milk? What does the local paper tell you about the place? Spend some time wandering the area you are interested in. You will probably spend years there and it is really worth investing time to make sure you are happy where you end up.
Happy house hunting and may you find a place that truly feels like home!
thehomemover.co.uk
between Sherborne and Wincanton Tel: 01963 361303 Mobile: 07855 898452
on 07817 132527 or 01935 815449
ROOM WITH A VIEW
Will Rowe, Protein Studios
I’m writing this from my desk at Protein Studios – our rural coworking space on the outskirts of Tisbury – where I can see a twisted red metal sculpture by Albert Parely, the magnificent 13th-century tithe barn of Messums and sheep grazing in the fields beyond. It all feels very bucolic and a long way from Bahrain, where I was born, and Cairo, where I grew up. Having spent most of my childhood overseas, I never had any gravitational pull ‘home’. However, my wife is from Bath so that’s what drew us to the West Country four years ago with our three young daughters. Like many DFLs (Down From Londoners), we debated
the country move for several years before finally taking the plunge during lockdown.
Covid also enabled me to reconsider how I work and where to run my company from. I’m very fortunate to only have to travel once a week to Shoreditch – the location of Protein’s other coworking space – and home to our brand consultancy that builds cultural communities for brands like Nike, Chanel and Diageo. I am also an advisor and investor, in a chain of coffee shops OAT, environmentally focused media and events company Planted, as well as a design community called Grafik.
Images: Felix Walton
There is a noticeable increase in people starting and running their own businesses which I love to see and which was one of the motivations for launching a rural coworking space. In the age of remote work postCovid, the concept of coworking has rapidly evolved, transitioning from urban centres to more serene rural environments with flexible places to work that are near home, not at home.
This new way of working not only provides communal space to work but also offers an array of health and wellness benefits that are often overlooked. With their proximity to nature, cultural attractions and a vibrant community, it is widely recognised coworking spaces can enhance productivity while fostering a more balanced lifestyle. This sense of community is crucial for mental health, as it combats feelings of isolation and loneliness that remote working at home can sometimes foster.
Our members at Tisbury are somewhat spoiled with options to get active. There are numerous dog walks or runs on our doorstep, a short stroll into town for lunch or to soak up some culture in the gallery and sculpture garden at Messums next door. We are also walking distance from Tisbury station which is on the London to Exeter line.
I’ve always loved bringing people together and building communities around shared goals. I’m proud to say my business Protein is a B-Corp and I’m a B-Leader, so on a mission to ensure we are part of the solution, not the problem, and to set a positive example to my kids. Being surrounded by nature is a constant reminder of how precious and important this is.
Protein Studios are offering prospective members a free taster day. Sign-up here: proteinstudios.com/taster
We are excited to announce that after 18 years in Sherborne we will soon be tripling the size of our showroom, offering you an even larger range of quality bathroom and bedroom products. Over the years we have built an exceptional reputation for product knowledge, customer service and quality workmanship
AMATEUR PLAYERS OF SHERBORNE
Words Claire Bowman
Photography Katharine Davies
It is 7pm on a late September evening and one by one the cast and production team trickle into the Studio Theatre for their pre-rehearsal read-through of The Importance of Being Earnest. Picking up copies of the script and pulling off coats, they take their seats in a circle by the stage. It has been a while since I’ve seen the play – even longer since I studied it at school – but it’s fun trying to guess the casting… young Cecily, Algernon, Jack, Miss Prism, Gwendolen, Merriman and Lane the butlers and, of course, the redoubtable Lady Bracknell, famous for the most outraged line in theatre history: ‘A handbag?!’ >
‘I told everyone who auditioned for the part of Lady Bracknell to get rid of the image of Edith Evans and think about what the part means to them,’ says theatre director John Crabtree, who started off his career as a studio manager at the BBC and has worked in broadcasting and television. ‘Every actress has approached the part in a different way. I saw the late Maggie Smith do it but she did it in Maggie Smith’s way. Penelope Keith said the handbag line was like having a monkey on your shoulder. Apparently, when Judi Dench played Lady Bracknell at The National, she sort of whispered it. I will offer up some suggestions but I’m leaving it up to Tanya how she wants to play it. What I’m looking for from my actors is stage presence. It’s not just a matter of learning the lines and repeating them – they have to be able to create a character.’
Opening next month, The Importance of Being Earnest is the latest in a long list of productions to be performed by the Amateur Players of Sherborne (known to friends and members as APS or The Players) since it was founded in 1934. Attracting audiences to its home in the little corrugated ‘Tin Tabernacle’ on the Marston Road, the APS has performed no fewer than 180 plays in its long and illustrious history, frequently
entering them for adjudication by the National Operatic and Dramatic Association (NODA) and the Rose Bowl, and scooping numerous awards along the way.
This might be amateur dramatics but you only have to look at the walls of this intimate 52-seater venue –row upon row of framed posters from The Wind in the Willows to The Merry Wives of Windsor – and the fact that they put on four productions a year to know that these folk mean business. Undaunted by lockdown, for example, they managed to rehearse and stage Waiting for Godot and Shakespeare in (and out of) Love in true ‘the show must go on’ fashion in Paddock Garden. And standards are just as high when it comes to the theatre itself: imaginative stage sets, plush red seating, professional stage lighting and a newly refurbished bar for those all-important interval G&Ts.
‘We’ve got a pretty high standard – people know we put on a good show,’ smiles John, when I ask if the good people of Sherborne appreciate just what a cracking little theatre they have on their doorstep. ‘When we opened the Studio Theatre here in 2018 there would be empty seats but now people realise that the moment booking opens, they can’t hang around.’ >
Rather fittingly, November marks the 90th birthday of Amateur Players of Sherborne – a milestone they plan to celebrate with a special ‘radio’ adaptation of Tons of Money, the first play they ever staged in 1934 and a roaring success by all accounts (1,850 people came to see it and £101 was raised for the Yeatman Hospital; £5,500 in today’s money). In the meantime, there are costumes to hire, props to source, sets to paint, posters to print and, of course, quite a few Wildean one-liners to learn.
‘This is a play with a lot of business in it, so it has to be played slickly,’ explains John, who is not only responsible for directing but designing the set too, complete with rose garden and wisteria. ‘The language of the play is so distilled; there isn’t a word out of place. I suspect if anybody has a problem and dries on stage, it’s going to be murder trying to ad-lib your way around it because every word has to be right.’
Twice-weekly rehearsals, rapid-fire lines to learn and day jobs to hold down might be a commitment too far for most people but it’s clear that the members of APS are here for the sheer, unadulterated joy of it – getting up on stage, giving it their all, being part of a vibrant theatre community with everyone working towards a common goal.
Rightfully proud of what they’ve achieved over the years is APS president Mark Lambert – sound engineer, website co-ordinator, set builder and keeper of the archive, with an encyclopaedic knowledge of every home they’ve ever had, from a hall in George Street, the former Eldridge Pope brewery at the top of Cheap Street, the Crown Inn (now the Newell French Bistro) in Greenhill, Sherborne House, Digby Hall and now the Tin Tabernacle.
A member since 1992, on the way up an unnervingly steep set of stairs to the sound and lighting gallery
above, he tells me, ‘I’ve done the sound now for every play since 1999. I got the acting buzz and played a few roles including Stephano in The Tempest, but I eventually came to realise I was probably better suited to other things.’
Never one to miss out on the opportunity to browse through a clothes rail, I pause for a moment in the wardrobe department to see what gems are gathering dust up there in the eaves. A nurse’s uniform from Whose Life is it Anyway?; an ornate men’s doublet from a production of Shakespeare; a 1940s butler’s uniform which I suspect will be earmarked for Merriman – it’s like peering into The Players’ theatrical past.
Meanwhile, downstairs the cast and crew are finally beginning to assemble for the 7.30pm read-through, with John first going through prop requirements and some technical matters of stagecraft. ‘Some scenes are going to have to be choreographed with plates of sandwiches, bread and butter and cakes going backwards and forwards,’ he says, pausing with a chuckle to enquire if anyone has a cucumber allergy.
‘Even the silver tray that the maid brings in will have to be laid out in a certain way so that Merriman can put them on to the table in the right order or so that Cecily can get to the teapot, sugar and cake without having to stretch. This is a play that is very heavy on props and, just like the lines, they have to be slick. They have to be handled well.’
If past performances are anything to go by, something tells me that won’t be a problem.
The Importance of Being Earnest runs from Monday 2nd December to Saturday 7th December, with a matinée on Saturday 7th. Tickets are available from 4th November through the APS website aps-sherborne.co.uk
Open Monday-Saturday 9.00am-6.00pm, Sunday 10.00am-4.30pm (tills open at 10.30am) Castle Gardens, New Road, Sherborne, Dorset DT9 5NR www.thegardensgroup.co.uk @thegardensgroup
As winter approaches, November remains a busy time in the garden. Some tender plants will be in need of protection and there are still plenty of opportunities to plant now for an improved outdoor space next year.
With much of the garden lying dormant over the cooler months, now is an excellent time to plant bare-rooted hedging plants, while many trees and shrubs will also benefit from a head start over winter.
These newly planted additions will require a little protection from the wind and cold, while your containers will be pleased of some insulation too. Wildlife can always do with a helping hand at this time of year, and you can easily encourage winter visitors with a little bird food.
You can pick up your hedging plants, trees and shrubs 7 days a week:
For a free quote contact us at: 01935 478564 | 07976 850 720 colinsmithgardening@outlook.com www.csgardening.uk
garden & planting design | wildflower meadows gardening with nature
Contact Stephen & Claire: 01963 441454 | hello@manyberries.co.uk manyberries.co.uk
Email: juliesandhurst1@gmail.com
www.sandhurstgardendesign.co.uk
Yenstone Walling Ltd
Dry Stone Walling and Landscaping
All types of stone walling undertaken
Patrick Houchen
DSWA member CIS registered
www.yenstonewalling.co.uk
A FROSTY RECEPTION
Mike Burks, Managing Director, The Gardens Group
Irecently attended the AGM of the Horticultural Trades Association at the ICC in Birmingham. It was followed by the annual dinner of the association, which was a busy affair with growers, landscapers, garden designers, DEFRA officials and garden centre operators. The guest speaker was Peter Gibbs, the former BBC weatherman and, of course, the current chair of Radio 4’s Gardener’s Question Time.
Peter gave a fascinating talk about climate change which of course affects us all but particularly impacts
our industry. We are also an industry that can be a big part of the solution to climate change with gardening, if carried out in the right way, being a positive way to protect the environment and a place where carbon can be soaked up.
He came up with some fascinating statistics and some were very striking including a study undertaken every year since 1950 by environmentalist and phenologist Jean Combes. Her study of the date on which oak trees burst their buds each spring. Of course,
this varies every year but trends over time begin to form and her studies have shown that budburst in 1950 was in early May whereas in 2024 it is now early April – almost a month’s difference!
Peter also noted that we now have 25% fewer frosts than we used to but most of these have disappeared from November and December rather than in the spring. He also warned that extreme cold events are still occurring and that the possibility of frost in the spring could still catch gardeners out.
The lack of a frost in the winter will and is already causing issues with some plants that don’t go into dormancy properly and get caught out by winter weather, such as waterlogging, as a result. It also impacts on the germination of some seeds which need a cold treatment of the winter in order to know to germinate once the weather warms in the spring.
With average temperatures increasing and with the top 10 warmest (recorded) years all occurring since the year 2000, Peter also revealed that the miserable summer we have just experienced was, in fact, warmer than any of the summers of the 1960s and would have been the second warmest summer of the 1970s. This just shows how we are now used to the higher average temperatures.
The current rainfall as I write also was commented on with the explanation that warmer air temperatures allow more moisture to be held in the atmosphere so when it does fall as rain there is a whole lot more of it to come down. Our rainwater harvesting tanks are certainly almost full at the end of September which is weeks earlier than usual.
Whereas the presentation was fascinating it was also sobering and Peter expressed his opinion that surely, we had to take action and get on with it. The good news is that many people are taking action and I have been encouraged by the activities of a number of local organisations including the Climate Café in Sherborne.
One of the barriers that some raise with climate change is how can the actions of one person or group make a difference. But if everyone did what they could, the collective impact would be huge and this is certainly what we believe. Small improvements from where you currently are will make a difference.
In our business, we have been measuring our carbon footprint with the help of an organisation called Planet Mark. They review all of our business activities and give us a report each year of the tonnes of carbon dioxide equivalent that we produce and challenge us to reduce these each year. We now have four years of results and so will soon be in a position to set a Net Zero target date. Of course, we have dealt with the low-hanging fruit in the early years and it will get tougher but with the whole team committed and involved in the process, we are confident that we will make this happen.
I really enjoyed hearing Peter Gibbs speak but the message was tough and I’m sure he’s right that we need to get on with it.
thegardensgroup.co.uk
Maxim Khytra/Shutterstock
FRIDAY 22ND + SATURDAY 23RD
NOVEMBER
9-5PM
OPENING TIMES
We have invited a selection of small independent stalls selling unique and quality products to join us in the Arc at TEALS for one weekend only. This is a great opportunity to get all your Christmas shopping done in one place, under one roof.
A raffle will be held for a luxury TEALS hamper, or two!
Supporting Somerset Charity: Help For Homeless
T o be added to our mailing list please email with your detailshello@teals.co.uk
1 Orchard Lane, South Cadbury, Yeovil, BA22 7FS
WHOLE ROAST DUCK COOKED WITH QUINCE STUFFING
Tom Matkevich, The Green Restaurant
Now’s the time for ripe golden quinces. They add a wonderful flavour to the duck when cooked together. Remember to reserve the juices left behind after cooking to make the most amazing gravy. It works well served with simple garnishes like creamy mash and sautéed greens as a great alternative to a traditional roast dinner
Ingredients:
1 whole duck
4 quinces, peeled, cored and diced into roughly 1-inch chunks
1 large onion, chopped
1 garlic clove, minced
2 bay leaves
3 tbsp runny honey
Olive oil
Salt and white pepper
Method
1 To prepare the stuffing, gently sweat the onion in a medium pan and a little olive oil until softened. Transfer to a mixing bowl and let cool.
2 Combine the diced quince, bay leaves and garlic with the onion and season well. Place the duck on a large baking tray, stuff the mixture into the duck cavity until very full and seal the cavity using cocktail sticks through the skin. Coat the duck in the honey and a generous amount of seasoning.
3 Place in the oven at 180C for 45 minutes per kg (most ducks take 2-2¾ hours). Baste the duck with the juices from the tray every 30 minutes. Once the skin is golden and the meat cooked, remove it from the oven and rest it for at least 30 minutes before serving. Remember to reserve the remaining juices to make your sauce.
greenrestaurant.co.uk
Uliana Petrosian/iStock
MockupMonster/Shutterstock
THE CAKE WHISPERER
TIRAMISU
This is a recipe I first made as a newlywed. It was a recipe from Delia Smith’s cookery book – she used bought sponge fingers (known as ladyfingers or savolardi biscuits). I needed to make a gluten-free version as a member of my family is coeliac and coeliac products were few and far between. These days you can buy gluten-free ladyfingers.
We love coffee in our house so I also found some coffee chocolate for grating between layers and on top but plain dark chocolate works just as well. Serves 6-8
For the Ladyfingers
What you will need - Either a stand or hand mixer, a round 1/2 inch nozzle and a large piping bag, 2 baking sheets and if you have them 2 silicon mats, an offset palette knife and a silicon spatula and a shallow dish. A square or rectangular dish for serving.
Ingredients
1 teaspoon vanilla paste
4 large eggs, room temperature, separated
Pinch of salt
190g caster sugar
190g plain flour sifted, use gluten-free if required
25g cornflour
Extra caster sugar and icing sugar for dusting
Method
1 Heat the oven to 180C Fan, 200c, 390F.
2 Line 2 baking sheets or use silicone mats.
3 Beat the egg whites with the salt, gradually adding the sugar one dessert spoon at a time until the mixture forms stiff peaks.
4 Beat the egg yolks and vanilla paste then fold into the egg white mixture.
5 Sift the flour and cornflour together then fold into
Image: Katharine Davies
Val Stones
the egg mixture with a spatula a third at a time until all combined.
6 Transfer the mixture to the piping bag and pipe the mixture into 3-inch lines, spaced well apart as they spread.
7 Sprinkle with a little caster and icing sugar, bake for 8 minutes. If when lightly pressed they are firm and golden then remove them from the oven or bake for a further 2 minutes, let them cool and with a palette knife lift them off and place them in an airtight container if not using straight away.
For the Tiramisu
Ingredients
1 cup of strong coffee made with 8 teaspoons of instant coffee
50g caster sugar
150ml coffee liqueur
400ml double cream
250g mascarpone
1/2 teaspoon vanilla extract
Sponge fingers either using my recipe or bought 100g of dark chocolate or coffee chocolate
To decorate: 1 dessert spoon of cocoa powder, half a cupful of chocolate-covered coffee beans (optional).
Method
8 Place the coffee into a cup and top up with just boiled water, add the caster sugar, stir well and allow to cool. Once cool, pour into a shallow bowl and add the coffee liqueur.
9 Whisk the cream and mascarpone together and add 2 tablespoons of the coffee liqueur mixture to ‘slacken’ the cream mixture, fold in the vanilla extract.
10 Dip sponge fingers into the coffee mixture until soft but not for too long as they easily disintegrate, arrange across the bottom of the shallow serving dish then add a layer of the coffee cream mixture. Scatter a tablespoon of the grated chocolate on the layer of cream then make a second layer, finish with a third layer. Sift this top layer with the cocoa then scatter a final layer of grated chocolate.
11 Place in the fridge for at least 4 hours before serving and overnight if you can. Before serving scatter with the chocolate-covered coffee beans if liked.
bakerval.com
CIDER COUNTRY
Joanna Weinberg, Teals
Pigs Nose (Snout), Fillbarrel, Hangdown, Poor Mans Profit, Sheeps Nose (Bell), Somerset Redstreak, Stable Jersey, Ten Commandments, Tom Putt, Warrior, Woodbine... These are just some of the magically named old apple varieties that Burrow Hill is currently re-introducing at their cider orchards in Kingsbury Episcopi, Somerset.
The three areas considered the best for cider in the UK are all found across the county line in Somerset. Of these, Kingsbury Episcopi is the finest. You sense the age of the land here: characterful, craggy hills and vales,
hedgerows and everywhere, apple trees of all shapes and sizes. Many are huge, growing up to 30 feet in height and some over 100 years old yet still producing apples.
‘We grow 105 varieties of cider apple,’ says Matilda Temperley, CEO of Burrow Hill and guardian of Somerset’s largest and – at over 300 years old – oldest standard cider orchard. ‘Growing and re-establishing ancient varieties of cider apples is an important part of our work. The more varieties we grow, the more we can learn and that is how we can keep this part of our culture not just alive but thriving in a changing climate.’
"The Temperley family have been cider-makers at Burrow Hill for some 50 years and have been at the forefront of the independent cider movement ever since"
The Temperley family have been cider-makers and farmers at Burrow Hill for some 50 years. They - first Julian and now his daughter Matilda - have been at the forefront of the independent cider movement ever since. Their cider is made only from pressed juice of their trees which are traditionally grown in standard orchards (orchards of trees laid out in a well-spaced planting style that allows trees to reach full maturity, as opposed to a more modern planting that adapts trees to a smaller style for easier picking).
‘Right now, we are in the thick of the harvesting season,’ says Temperley, for whom the recent birth of her second child seems as natural a part of the cycle of the seasons. ‘We have been harvesting since the middle of September and will continue to do so until early December. It's always a race to get the apples in at their peak ripeness which is a combination of peak aromas (which create a complex character) and peak sugars (which give the highest alcohol). The high sugars are important to make the cider strong enough to be naturally stable and able to keep well. Every day we have to calculate what and when to pick, and every minute of sun matters.' Then it is a race to get the juice into barrels as quickly as possible so the ageing process can begin.
Cider has been made in these parts for millennia - the Celts were making a crude form of it from crab apples from certainly as far back as 3rd century BCE, the Romans fell in love with it when they conquered the UK in the 1st century BCE and the Normans did the same in the 11th century, returning to France with it and establishing their own, still thriving, tradition there. Global cooling in the 16th century meant that the hardier apple tree replaced vines in many parts of the world as a more reliable crop than grapes.
‘On the British Isles, there was always cider on the table, whether it was made from grapes or apples,’ says Temperley, using her words carefully. Many people class cider alongside beer, but in fact, the skills required to make it are those of a winemaker.
The story of cider has gone in two different directions. There is the mass-market version which is made from concentrated apple juice usually imported at a wildly cheaper price from somewhere in the world from China to Chile. These ciders are often flavoured and, whilst marketed with a traditional country style, are in fact closer to alcopops - carbonated apple juice with added alcohol.
Somewhere in the middle sits the classic agricultural >
Burrow Hill, Kingsbury Episcopi
product, farmhouse cider, traditionally still, made in small batches directly from local apples for centuries and historically used as part-payment for farm labour.
At the other end of the scale is the tiny - but growing - world of fine cider, often made from singlevariety pressings, recognised for both the integrity of the drink itself as well as the skills required to make it. The makers spearheading the revolution are pushing back new boundaries all the time and events such as Cider Salon are bringing it to the notice of the sophisticated hospitality community.
On our own shelves, there are several notable brands. Pilton Cider, makers of keeved cider (a slowfermenting method favoured by French makers that results in a natural sweetness with no added sugar), are experimenting with different fruits to explore the flavour possibilities in cider. One of their special editions is a ‘skin contact’ cider that uses grape skin in its ageing process to produce a drink that is nudging towards wine in its complexity; another uses plums alongside apples and ages the juice in Islay barrels to add an oak flavour note. Another player in this field is Wilding Cider, whose single variety ciders have sparked interest and whose commitment to regenerative farming practices has resulted in collaborations with restaurants such as zero waste leader Silo in London and Old Pharmacy in Bruton.
Burrow Hill is one of the very few cider makers that produce true champagne-style cider by méthode traditionelle. This results in a cider of great clarity with small champagne-style bubbles. ‘It’s a bit like the difference between Prosecco and Champagne,’ explains Temperley. ‘Traditional cider’s fizz - like Proseccogenerally comes through carbonation, whereas with bottle-fermented, you get something much closer to Champagne. It’s a classier product altogether - even though you pay more for it. You are getting 6+ years of work and skill from each bottle.’
‘Our more extreme climate is changing the opportunities for cider,’ she says. ‘For example, the bright sunshine of 2022 meant the early season cider apples had high sugars and perfect ripeness. Some varieties such as the Kingston Black had an exceptional year with brilliantly developed flavours, very floral and crisp. We’ve just launched a Burrow Hill Limited Edition of 1,000 bottles of single variety Kingston Black in 75cl wine bottles from that season which we think is particularly special.’
These days, you may start to see serious cider tastings and cider-matching special dinners at restaurants across the West Country and sparkling fine ciders being offered instead of sparkling wines at drinks parties. Perhaps the time for fine cider has finally arrived?
teals.co.uk
Images: Matilda Temperley
Diana Temperley in the family’s 300 year old orchard
Christmas Parties at The Queens Arms
We look forward to welcoming you, your friends and work colleagues over the festive period. Host your Christmas Party with us and celebrate in style*
Gift Vouchers
Looking for an original gift to give? Our vouchers make ideal presents and can be used for rooms, food or drink.
To discuss your requirements and festive menu options, please call us on 01963 200317 *Available to groups of 8-30 guests Open 7 days a week www.thequeensarms.com | info@thequeensarms.com
BEAUTIFUL SEASONAL PLATES FOR ALL OCCASIONS
Dinner parties & celebrations
Intimate weddings
Airbnb & in-house holiday chef Business gatherings & more
Our next Live Lounge lands on Friday 15th Novemberunwind at the end of a long week with a signature Clockspire cocktail and our DJ’s chilled Ibiza vibes.
If you prefer a more mellow evening, our Jazz nights fall on the last Thursday of each month and are enormously popular - come and see for yourself on Thursday 28th November!
Join our mailing list to stay up to date with the latest events - visit our website.
Time for celebrations
Join us at The Clockspire as we ring in the season – it’s our favourite time of year!
Perfect for groups and parties, or simply to enjoy – our festive menu is filled with tempting flavours of the season. Start your celebrations with a bang.
2 courses £39 // 3 courses £45
Our Festive Set Menu will be served Wednesday – Friday at lunch and Wednesday – Thursday at dinner, from 27th November.
Open lunch and dinner Wednesday to Saturday, and Sunday lunch
Veal T Bone
THE KITCHEN GARDEN
NOVEMBER
Jules Horrell, Horrell & Horrell
As part of our ongoing renovation of the barn, we have had the roof repainted. After much research, we used a traditional oxide red barn paint – the 30-metre-long roof is now glowing in the late autumn sun. Internally, we have also extended the seating area into the old tractor barn, which enables us to accommodate an additional ten guests, taking our long table to 40 seats.
Outside, Steve has extended all our kitchen garden beds. We now have double the growing space, ready to expand our cut flower offer next year, to not only table flowers but also posies and bouquets, hand-picked to order.
Another addition to the garden is a small flock of
laying hens. The wonderful team at Flyte so Fancy delivered a rather majestic chicken coop and run, which has pride of place next to our greenhouse. With Steve and the children having named our other pets, the hen names were down to me, so we have Ophelia, Gloria, Miranda, Gertrude, Barbara and Margo – the latter two a homage to my favourite childhood sitcom, The Good Life. The hens all have their own characters and enjoy scratching about. We make them bunches of chard and brassicas from the garden, which we hang in the run and they go mad for! Eggs are now plentiful, and with deep golden yolks, they are perfect for our cakes and bakes.
A task that has taken several hours over the last
Images: Dave Watts
month is gathering our apples. When we first moved to Sparkford, the garden and land were bare, so we hurriedly planted lots of trees. We now have over 20 apple trees, along with other edible tree varieties including quince, plum, fig and medlar. As we pick, Hazel from The Jam Shed collects our bounty in crates and turns it into jams, chutneys and jellies, all of which are used for our dinners.
We also save enough apples to make our family favourite, apple cake. This, or crumble, have been our our puddings in recent weeks, both served with a fig leaf custard. Here is the recipe in case you want to try it at home.
Ingredients
115g cold unsalted butter, cubed
225g self-raising flour
2 tsp ground cinnamon
115g light brown sugar
1 large egg, beaten
6-8 tbsp milk
225g apples, peeled, cored and diced (we use all our varieties!)
2 tbsp demerara sugar
Method
1 Heat the oven to 180C/160C fan/gas 4.
2 Butter and line a 20cm cake tin with parchment.
3 Mix the flour and cinnamon together in a large bowl.
4 Add the butter and rub into the flour using your fingers until it looks like breadcrumbs.
5 Stir in the light brown sugar.
6 Beat in the egg, then add the milk and stip until you have a smooth, thick batter.
7 Add the apples and mix to combine.
8 Scrape the batter into the prepared tin and give it a shake to level it out.
9 Sprinkle over the demerara sugar and bake for 30-40 mins or until golden and a skewer inserted into the middle comes out clean.
10 Allow to cool in the tin for 10 mins and then turn out onto a cooling rack.
11 We serve warm with a good glug of fig leaf custard. We steep the washed fig leaves in milk before using it to make a custard – the fig infuses a coconut flavour into the custard which is utterly delicious!
horrellandhorrell.co.uk
‘A visit to Horrell & Horrell is like going to a friend for dinner, where you bring a bottle, relax, enjoy the food, and let conversation flow –whilst we take care of everything else’
Open every Friday and Saturday evening for dinner, and on Sunday’s for lunch
To reserve a space at a dining experience or to chat about private hire of the barn, please visit
www.horrellandhorrell.co.uk
Sparkford, Somerset
FERMENTING THE RIGHT CULTURE
Giles Henschel, Co-Founder, Olives Et Al
Apart from everything else Covid did to us all, it also delivered a massive rise in the interest in all things sourdough. The lack of yeast and reliable deliveries of fresh bread drove many to try their hand at the ancient art of perfecting a sourdough starter culture and using it to create something resembling a loaf or two.
Starter cultures are amazing things – mix some flour and water, leave it to stand a while and await the arrival of natural yeasts opportunistically harvested or grabbed from the atmosphere around them, and, before you know it, alchemy has happened. It’s merrily bubbling away and is ready to be added as the raising agent to
make your dough rise and create the perfect loaf –complete with a crusty oven break and deliciously nut brown exterior.
Annie and I have been chatting about this for the last thousand miles or so as we head south and west on our continued research project – this time around Spain and Portugal – to find out first-hand about the effects of the changing climate patterns on the harvest of olives and other crops on which we depend.
We’ve been baking sourdough, on and off, for almost as long as Olives Et Al has been going and our original starter culture is still the one we use today – obviously not exactly the same as it gets fed and used most days
– but some of that very original yeast and bacteria that got it all going to start off with is still in there and forms part of its character. Over the years, many hands have been involved in shaping it, using it, feeding it, handling it and nurturing it from one day to the next. Almost 11,000 days have passed since we first made it and every single hand that has ever been in it, in some small way, remains part of it – a rich and diverse amalgam of all that have gone before and all that are still with us. Every hand leaves a little of itself – adding to the overall mix and helping the culture mature, refine and continue – sometimes a little more sour than we’d like but everything balances after a while.
Whenever we go away, either in the UK or overseas, we always try to seek out a proper sourdough loaf made by a local baker with an old starter that has seen more than a summer or two. If we are lucky enough to find one, we enjoy it in its natural habitat to the point of overindulging – slathered with oil from local trees or salty butter with richly fragrant blossom honey, pungent sheep cheese or just even more butter – so thick you leave teeth marks - but always saving a little to bring back home – a crust or slice or two, which we feed into our own starter. This adds even more richness and heritage to our loaves. It’s a fact that besides the many Olives Et Al folk that have left a part of themselves in our starter, there are also the ancient strains and cultures of some Greeks, Italians, Croatians, French, Spanish, Syrians, Israeli, Palestinians and many (many, many, many) others to include here.
That culture didn’t happen overnight – it is something that has been developed and nurtured over some significant years. In essence, a sourdough starter culture is something that has been fermented over time that, with the right encouragement, can create something truly wonderful, long-lasting, uplifting, satisfying, harmonious and enriching.
And that got us thinking.
Olives are (when treated in a time-honoured way) a fermented food just like sauerkraut, kimchi, kombucha and others. To ferment an olive is to recognise its innate need to do so and give it the time and conditions to allow it to develop into the wondrous fruit it can be. If rushed, it can be bleached, boiled, oxidised, cooked, sterilised and canned into something a far cry from what it was once destined to be.
It’s the rush that does the harm. In much the same way, the culture within a business finds its own versions of natural yeasts and develops a style, flavour and
"Almost 11,000 days have passed since we made our original sourdough starter and every single hand that has ever been in it, in some small way, remains part of it"
character all of its own that can never be replicated or copied – sometimes for the good, and sometimes, maybe not.
It is more than 32 years since Annie and I set out on a yearlong journey that would lead to the creation of Olives Et Al. A journey that forged the beliefs that we hold dear to this day – the true values and real societal importance of hospitality, generosity, warmth, inclusivity and literal companionship – that ability to break bread with a stranger and share what little you both have to find common ground, mutual understanding and respect.
Those feelings and emotions were uppermost in our minds when we first started Olives Et Al and they have remained undimmed ever since. We have employed over 800 folks over the years – some have stayed for many years, others not. All who have moved on have gone on to other things – some to enhanced careers or to start businesses of their own – some with the knowledge and inspiration of what they learnt with us to create something genuinely new and exciting, some by taking what they had learnt to create rival businesses.
All have left a little something of themselves with us and we are the greater for it – our culture is strengthened by both the positive and the negative of all who have come before and all who will come after. Culture is a matter of time, temperature, circumstances and luck – the right yeasts drift with you for a while and the culture blooms – the dough rises, the crust breaks, the colour browns – things ferment.
People come and go. Culture takes time. No one can ever replicate your exact culture or hope to create the feelings and emotions that, working together, over time, ferments into something only true alchemy can deliver. That’s what great food can do.
Go seek some and tell us what you found.
Annie and Giles are on the second leg of their journey as we speak. Follow their progress at olivesetal.co.uk
A MONTH ON THE FARM
James Hull, The Story Pig
Well, I nearly didn’t get my article into print this month as the deadline coincided with us having to take down the tipis and move our cafe into the barn for the winter period. I knew I was going to be late. I’m always a bit late writing it anyway but this time there was no time. My normal early morning writing times were taken up by feeding the pigs in the dark and then, by head-torch, getting ahead setting up the inside cafe.
You see, we moved the cafe tipi, as we call it, on Wednesday morning – by ten o’clock, we had it down on the ground. The hardest bit is to get the cover over the highest point on the top. There was absolute relief when, after an incredible amount of heaving and grunting, we managed to get it past the point of
no return, and it sailed gracefully to the ground. I am trying to think of the noise it makes as it gently comes to a halt in a huge heap. I need Christopher Robin and Winnie The Pooh’s help with the sound effects! And then, as if by magic, the three of us had it back up and the canvas back over the top by lunchtime on day one of our move. That, you might well think, is job done but actually that’s only the beginning of three days. There’s the huge long counter that we have to manhandle and roll on scaffold tubes until we can get it on the tractor and lift it skywards high into the air over our field kitchen and then rather gracefully slide it through the door into its new position inside. Then there’s the fridge and freezer to move, and the lights to put up. There’s the bunting to hang and the hessian to
drape over wires (actually one of the hardest jobs) then there are tables to move and fairy lights to hang up. And then, when all this is done, it all needs cleaning. The huge floor needs brushing several times to get it dust-free and everything needs to be polished and buffed – a proper spring clean is needed.
Eventually, after a real team effort three days later, we all stand back and admire the transformation of a huge high barn into a cosy, warm, twinkling winter cafe. We have done it again! I sometimes have a wry smile about our winter cafe because it’s completely hidden behind our grey door. When people come for pizza night on a Friday, approaching in the dark down our farm drive and then parking up by a big barn (granted, there’s a fire pit burning away and maybe you can hear the gentle burbling of music) then as they open the door they are greeted by light, heat, noise and people. It sort of reminds me of a moonshine den – hidden away is our little gem!
Outside life for the plants starts to slow. We have started to trim the lavenders, giving them their yearly haircut. Ideally, this would all be done by now, but as is our way, I am behind again. The thing is, we could cut
them quickly and leave them messy and unloved, but we want them shaped and sculptured and that takes time. This year, it is having to fit around me looking after the pigs, which actually at the moment are being very well behaved and mostly doing their own thing, and us building a huge new wildlife pond and moving thousands of tonnes of soil, one trailer-load at a time to create a new wedding venue. This is interspersed with copious amounts of new fencing and three new gardens that are in the mix – it has been a busy time. Finally, the pond is finished and we just need the winter rains to fill it, which, if the last few weeks are anything to go by, it won’t take long! It’s already half full as I write. We can’t wait for it to take on a life of its own, to become the very centrepiece of our little wildlife haven. What will come to live there over the next twelve months we can only imagine, but I am sure by this time next year, it will be teeming with life.
And there, I have managed to write a reasonably optimistic article for the very worst month of the year, November… yuck!
thestorypig.co.uk
PIZZA NIGHTS AT THE STORY PIG EVERY FRIDAY 5-8PM
Please pre-order
Saturday–Sunday 10am–3pm Friday pizza night 5pm-8pm
Lavender Keepers
Sandford Orcas
Sherborne DT9 4FG thestorypig.co.uk
Get in touch with James or Charlotte 07802 443 905
info@thestorypig.co.uk
THE BRAIN DRAIN
Mark Newton-Clarke MAVetMB PhD MRCVS, Newton Clarke Veterinary Surgeons
The British Veterinary Association (BVA) which represents 19,000 vets in the UK, has run canine health schemes with the Kennel Club (KC) for years. All dog breeders should know about hip and elbow scores and the eye test that have been used to inform decisions over breeding, hoping to reduce the severity of osteoarthritis and blindness. The results of these screening tests are recorded on the dog’s pedigree certificate, indicating suitability for breeding (or not) with the aim of producing healthier puppies. These schemes are open to all dogs, not just pedigree animals, and we would encourage anybody who plans to have puppies to have the tests done on both dam and sire. There are other screening tests for dogs that are
available through the various breed societies, for example, the detection of heart defects in Boxers and Cavalier King Charles Spaniels using ultrasound (echocardiography) and DNA testing. The KC and the various breed societies have detailed information for potential breeders on their websites and I would really encourage a look at these before breeding. Of course, many dogs are now a mixture of breeds and, although this may dilute ‘bad genes’, it could also introduce unexpected health problems. Inherited conditions of any pure breed can be found in their crosses so even more homework is needed. We all want to see happy, healthy puppies and after generations of genetic selection, we must now use the new technologies of DNA testing and
advanced imaging to detect and then reverse some of the undesirable results of this process.
Recently a new scheme has been launched by the BVA and KC, aimed at an under-recognised complaint with a tricky name: Chiari Malformation/ Syringomyelia (CM/SM). All sounds a bit Greek (which is a coincidence as I am writing this overlooking a magnificent Greek seascape on the island of Kalymnos!) but CM/SM is a brain and spinal cord disorder. CM is characterised by a mismatch in size between the brain (too big) and the skull (too small). A potential consequence of this is a partial obstruction of the opening at the back of the skull where the spinal cord starts (the foramen magnum…’the big hole’). This
in turn prevents the normal drainage of cerebrospinal fluid (CSF) out to the spinal cord, resulting in the development of fluid-filled cavities within the cord, which is called syringomyelia (see-ringo-my-eelia). CM/SM is an inherited condition, although the exact mechanism of the inheritance is not yet fully understood.
So how does this new scheme work? An MRI is taken of the brain and upper neck to look at the detailed anatomy of the area. A scoring system grades the severity of any signs of CM/SM along with the dog’s age. Once a dog is skeletally mature (after a year old) the CM score will not change but the SM score might. This is because SM is progressive as it results from the anatomical abnormality of CM and so will get worse over time, depending on the severity of the CM.
What breeds are affected? Essentially pedigree toy breeds, particularly the Cavalier King Charles Spaniel and the King Charles Spaniel, along with Maltese, Yorkshire terriers, Chihuahuas and Papillons, amongst others.
All this sounds a bit theoretical but in fact, CM/ SM can cause intense pain around the head, neck and shoulders and strangely, the sternum. Severe cases may display attempts to scratch at the neck and ears but not actually make contact (‘air-scratch’) and may have neurological signs of incoordination and weakness. Dogs with mild CM/SM may seem completely normal and so their abnormality may be hidden, allowing them to be used for breeding, perpetuating the problem in the next generation. In fact, at the present time, nearly all Cavalier King Charles Spaniels have evidence of CM to some degree, highlighting the need for action.
The whole point of a health scheme is to guide breeding so that the condition under investigation is reduced or eliminated in the population. Breeding dogs who have been scored under the CM/SM scheme will be included in the KC’s Mate Select programme – an online tool that could revolutionise the choice of mate for each dog, maximising genetic diversity and hence healthier puppies. People buying puppies from CM/SM screened parents (and other schemes) can be reassured that the breeders of these puppies are performing all the recommended tests to control inherited diseases and are using the suggested breeding protocols.
For more information, visit bva.co.uk/chs and click on Canine Health Schemes. For more details on SM and its management, go to veterinary-neurologist.co.uk and follow the link to syringomyelia.
newtonclarkevet.com
Fotyma/Shutterstock
WHAT IS BLUETONGUE?
Jenny Gibson BVMSci MRCVS, Kingston Vets
Anew variant of the virus bluetongue serotype 3 has been circulating in Europe since last year with the first cases of 2024 being reported in the UK last month. Keepers of cattle, sheep, deer, goats, camelids and other ruminants are urged to keep vigilant to try to control the spread of this notifiable disease.
Bluetongue (BTV) is an insect-borne virus, transmitted by midges, affecting all species of ruminants. Although sheep are the most severely affected, cattle are the main reservoir of the virus and
are very important in the epidemiology of the disease. Bluetongue does not spread to humans or affect food safety; however, outbreaks can result in prolonged animal movement and trade restrictions, which can have a significant economic impact in terms of on-farm losses due to death and reduced productivity.
Spread
The virus spreads when midges bite an infected animal and become infected themselves. The midge will then
carry the virus for its whole lifespan. When carried by the wind, midges can cover large distances and when an infected midge bites a susceptible animal, the virus will be transferred. How far and wide the midges go will depend on the climate, with wind speed and temperature having a significant influence. Temperature also affects the activity and survivability of the midge population, with more activity in late summer and early autumn, with a hard frost killing most of the population. Even though the virus is unable to develop at temperatures below 15°C, it can ‘overwinter’ in utero and be evident in viraemic offspring.
Symptoms
If you keep livestock, it is important to keep a close watch for and report any suspicion of bluetongue in your animals. It can, however, be difficult to spot –adult animals may show little clinical signs and some can be similar to other diseases. This can lead to silent spread by midges feeding on infected animals. Farmers and vets need to be vigilant.
Clinical signs in sheep include:
• Lethargy, reluctance to move
• Crusty erosions around the nostrils and on the muzzle
• Discharge of mucus and drooling from mouth and nose
• Swelling of the muzzle, face and above the hoof
• Reddening of the skin above the hoof
• Redness of the mouth, eyes, nose
• Breathing problems
• Erosions on the teats
Lambs can become infected before birth if the dam is infected whilst pregnant and signs can include:
• Lambs born small, weak, deformed or blind
• Death within a few days of birth
• Stillbirths
Clinical signs in cattle include:
• Crusty erosions around the nostrils and muzzle
• Redness of the mouth, eyes, nose
• Reddening of the skin above the hoof
• Nasal discharge
• Reddening and erosions on the teats
• Conjunctivitis, oedema of the eyelids/eyes and ocular discharge
• Lethargy
• Milk drop
• Inappetence
"Animals may show little clinical signs and some can be similar to other diseases"
Calves can also become infected before birth if the mother is infected whilst pregnant. Signs of infection include:
• Calves are born small, weak, deformed or blind
• Death within a few days of birth
• Abortions
• Livestock keepers and vets should consider bluetongue as a possible cause for calves and lambs showing these signs.
Control and prevention
Control is very difficult because of the large number of midges and virus serotypes. Keeping susceptible animals away from midges is not always practical. Movement restrictions can help prevent the spread of bluetongue with farmers and livestock keepers being urged to responsibly source animals and remain vigilant to the signs of disease.
Early detection through vigilance, good biosecurity and prompt reporting are important aspects of getting the disease under control.
Vaccination
The current strain of bluetongue is serotype 3 (BTV-3) and there is no licensed vaccine for this strain in the UK. However, Defra’s Secretary of State has permitted emergency use of three BTV3 vaccines within the UK, subject to license. These vaccines are suppressive, not preventative, meaning they will not prevent an animal from being infected or infectious but could reduce the clinical signs. There may still be movement controls and restrictions on vaccinated animals. It is recommended that animal keepers discuss with the vets to determine if BTV-3 vaccination is right for their animals.
kingstonvets.co.uk
As bluetongue is a notifiable disease – any farmers, animal keepers or vets with concerns about any animal or carcass must report it as soon as possible to Defra Rural Services Helpline on 03000 200 301.
Festive afternoon tea at The Eastbury
Join us this December for a festive twist on our Indulgent Afternoon Tea. You can savour seasonal finger sandwiches, fruit scones, and exquisite cakes and pastries to reflect the festive theme.
Festive Afternoon Teas are available throughout December be-tween 12noon and 4pm £28.00 per person
Pre-booking is essential and full prepayment is require at the time of booking
Christmas Wreath Workshops
Enjoy an evening of Festive flowers and mulled wine with your friends!
Come and enjoy one of our wreath making events to bring you leaping and bounding into the festive season!
Join us between 6-9pm on Thursday 28th November or Thursday 5th December and create your very own stunning Christmas wreath guaranteed to dazzle your friends and family.
£65.00 per person
Pre-booking is essential
Santa's coming to The Eastbury!
Saturday 30th November
Join us for a fun filled family day from 12pm and get a chance to meet Santa! Enjoy festive treats, party games, balloon modelling, magic show, mini disco and best of all meet Santa in our Santa's Grotto! Take a picture with Santa and pick out an exciting gift available for each child!
£19.50 per child including all activities and a festive lunch box. Free entry for adults!
For an extra special treat book our Festive afternoon tea! This must be booked when purchasing your tickets
WHY ACCESSORIES MAKE THE BEST GIFTS
Harriet Cleverly, Cleverly Wrapped
Many of you will have already drawn up your Christmas lists and may even have ticked off a few names. However, there will be many, like my husband, who will leave it all last minute. Whichever camp you fall into, festive gift buying is a complex conundrum and one we can all relate to!
For the women on your list - be they wives, mothers, sisters or daughters – what better way to spread the joy than by treating them to a stylish accessory? Whether it’s a cosy beanie, beautiful scarf or luxurious bed socks – accessories are the perfect approach to stress-free gifting. Fashionable, functional
and fun, they can be tailored to suit someone’s personality and lifestyle, making them a considered and thoughtful choice.
They also come in a wide range of prices, from budget-friendly to luxurious, allowing for endless options and flexibility. So, whether you’re looking for a Secret Santa or really special gift, it shouldn’t be difficult to find the perfect present.
Best of all, unlike clothing, where sizing can be tricky, most accessories are one-size-fits-all, so the margin for error is practically zero.
Finally, from a practical perspective, their compact
size makes them easy to wrap, light to post and more often than not, letterbox friendly. Even the most inexperienced gift wrapper (my husband again!) can fold a scarf, wrap it in tissue, add a ribbon and a handwritten tag.
Read on for inspiration and start ticking off names on your list.
Phone bags
‘Of all the wondrous accessories, none has left me feeling as liberated from clutter as my phone case.’
Lisa Armstrong , The Telegraph Travelling light is so freeing and even easier now that it’s possible to carry your life in your smartphone. A crossbody mini bag is perfect for days when you only need the absolute essentials - mobile, credit cards and keys. Also, by having your phone within easy reach, you can whip it out quickly to answer calls, take photos or make a payment. Available in a multitude of colours, fabrics and styles, the options are endless.
Statement socks
Once an afterthought, socks are stepping into the spotlight. Take a look at the feet of friends, fellow commuters and those in the coffee shop queue, and you’re guaranteed to spot a statement pair. These aren’t Secret Santa novelty socks, bought in a lastminute present-buying panic. These are socks that are intentional and thought out - the fabric, decoration and colour much-mused over. Particularly special is the glittered variety which will add a touch of sparkle to any look.
Snoods
The historic snood has evolved, through the centuries, into a versatile and popular neck warmer, designed to protect the face, neck and ears from harsh weather. It can also be pulled up higher onto the head and used as a hood.
The luxurious-looking faux-fur variety will add a touch of elegance to any outfit, day or night.
Knitted accessories
A cosy knitted accessory combines warmth with style and is a great way to inject a cheery pop of colour into a cold-weather wardrobe. Particularly charming are beautifully crafted, British-made scarves, gloves and beanies. For that extra special recipient, treat them to matching items. Who doesn’t love a co-ord!
Wraps
The epitome of luxury, the real beauty of a wrap is its versatility: the best ones can either be spread out and worn like a shawl or effortlessly draped. Fine gauge cashmere or wool works best, thanks to the knit’s smooth, soft and supple qualities. Admittedly this will be an investment purchase, but something the giftee can enjoy throughout the year.
Fedoras
For the more discerning giftee, why not consider a chic and stylish wool Fedora? Renowned for its timeless elegance, this sartorial headpiece has transcended its early 20th century origins, to become a modern-day style icon that will add instant panache to any outfit.
Bed socks
The ultimate indulgence, who wouldn’t be delighted to receive a pair of luxurious cashmere bed socks! Gloriously soft and three times warmer than those made from sheep’s wool, a pair of these would be hugely appreciated by those with perpetually cold feet eg. me!
And finally to scarves…
An oversized scarf is an essential winter companion and will be the one item worn every day from October through to March. Whether it’s pulled on with a parka for dog walking or teamed with a smart coat on an evening out, there are so many to choose from –plain, colourful, decorative, fringed, tasseled, quirky or classic. The skill is to match the scarf to the recipient so consider their colouring, personality and lifestyle.
If cared for well, a quality scarf can be worn again and again, season after season. It doesn’t endure the wear and tear of other accessories, such as shoes or handbags – and it doesn’t need washing as often as clothing. They really are the gift that keeps on giving.
A beautiful new scarf can also be thrown on the moment it is unwrapped – there and then, on the spot. It will instantly update any look and give the gifter the satisfaction of seeing their present in immediate use!
I hope the above helps you in your search for the perfect present, but for those who prove really hard to buy for, there are always gift vouchers!
cleverlywrapped.com
@cleverlywrapped
BIG BEAUTY GIFT
MEN’S MENTAL HEALTH
HOW THE PATRIARCHY HURTS ALL OF US
Lucy Lewis, Assistant Psychologist and Dorset Mind Ambassador
When conversations about sexism arise, we often focus on the ways in which women are oppressed by patriarchal systems. While I would argue that they experience the brunt of the consequences, it’s crucial to recognise that the same structures that harm women also hurt men – especially when it comes to mental health.
The societal pressures on men to conform to narrow definitions of masculinity leave many struggling in silence. Patriarchal norms, which equate masculinity
with stoicism, emotional suppression and physical strength, are deeply harmful to men’s emotional wellbeing. Of course, I will say the obligatory ‘not all men’ conform to these pressures, which is wonderful, but I argue that toxic masculinity is still a prominent societal issue worthy of discussion.
Emotions – and men
As November is Men’s Mental Health Awareness month, I am taking the opportunity to discuss the
differences in how men are ‘allowed’ to express emotions and the toll this can take on all of us.
From an early age, boys are taught that vulnerability is a sign of weakness. Whether through phrases like ‘man up,’ ‘boys don’t cry,’ or ‘be tough,’ they learn to suppress their emotions, often equating emotional expression with femininity and weakness. Oddly, it appears that being very angry or aggressive is often not equated to being ‘emotional’ but as being ‘masculine’.
But when societal messaging teaches young boys that anger is the only acceptable outlet, where does that lead us? Boys grow up into men who struggle to express anything outside of frustration or anger, who are more likely to internalise pain and who are far less likely to seek help when they need it most.
Suffering in silence
In fact, research shows that men are significantly less likely to seek mental health support compared to women. This reluctance stems from the fear that admitting to emotional struggles will undermine their masculinity or make them appear ‘weak’. As a result, men often suffer in silence, turning to harmful coping mechanisms like substance abuse, overwork or aggression.
Tragically, this emotional isolation contributes to men having significantly higher rates of suicide compared to women. According to the World Health Organization, men are nearly three times more likely to die by suicide – a clear indication that societal pressures on men to suppress their emotions can have deadly consequences.
One of the most damaging aspects of this dynamic is that it leaves men with few tools to navigate the full range of their emotions. The expectation that men should ‘toughen up’ prevents them from learning healthy emotional regulation.
How emotional pain can manifest
When sadness, fear or insecurity are buried for too long, they don’t disappear; instead, they fester and often explode in destructive ways. We see this in the rise of anger-related issues, strained relationships and a deep sense of disconnection from one’s own emotions. Without healthy outlets, men are trapped in a cycle of repression, isolation and, all too often, shame. In some cases, this can also lead to emotional pain being externalised and projected on the people around them. This contributes to the disproportionate levels of violence against women.
So, how do we begin to dismantle these harmful norms?
The first step is recognising that boys and men must be allowed to express a full spectrum of emotions without their masculinity being called into question. Crying, asking for help or acknowledging vulnerability shouldn’t be seen as a betrayal of manhood but as natural human experiences.
We need to foster environments, both in homes and schools, which encourage boys to express their feelings openly.
Targeted support for men
In addition, we need more mental health interventions aimed specifically at men. Many men may not be ready or comfortable with traditional therapy, which relies heavily on verbal emotional expression. Innovative approaches, such as group activities, art therapy or physical movement, can provide alternative ways for men to explore their emotions without feeling pressured to immediately articulate them. Mental health services should also consider incorporating activities that challenge outdated views of masculinity, helping men understand that being emotionally honest does not equate to weakness but rather is a sign of strength. Ultimately, shifting these deeply entrenched societal beliefs will take time but it’s essential work. By challenging harmful stereotypes and expanding what it means to be a man, we can create a healthier, more inclusive society where men feel empowered to express their emotions openly.
In doing so, we offer them a path toward greater emotional freedom and, in turn, better mental health. Let’s create a world where vulnerability is seen as a strength and where men are free to cry, ask for help and be human without shame.
Support for men
• Visit dorsetmind.uk for local mental health support and ways to keep mentally healthy
• The Samaritans are there to listen 24/7 –call them for free on 116 123
• Call Dorset’s NHS mental health helpline for support on 111, option 2
• Call CALM (Campaign Against Living Miserably) on 0800 585858, 5pm - midnight
• Or text SHOUT to 85258 to get confidential support from trained volunteers
LIQUID GOLD
Sandra Miller BSc, MSc, BCNH Dip, FDN-P, Wholistic Health fcafotodigital/iStock
I’ve just eaten homemade mayonnaise with my lunch and it was delicious! I’m a lazy cook and I like my food prep to take mere moments where possible so if that appeals to you, read on for the recipe…
However, before I delve into the ‘how’, I’m going to address the contentious issue of ‘what’. That is to say, what ingredients and especially what oil, I used for my marvellous mayo. Over the last couple of decades, I’ve come across many people making rather extreme claims about the dangers of seed oils. Some actually seem quite reasonable. Bringing back memories of my year one Physiology and Pharmacology degree, we do know that omega-3 fats are the precursors to lots of anti-inflammatory compounds while the body can turn omega-6 fats into certain pro-inflammatory molecules. For this reason, it has been recommended by many that we should limit our intake of oils and foods that contain omega-6 fats as compared with omega-3 fats. What has been overlooked is how this plays out in real life. Studies show that this omega-3 to omega-6 ratio is not important in the ways that we supposed and does not negatively impact a person’s inflammatory status. This is not what might be logically expected but there we are. I’m aware we should keep up to speed with
further research about this and be prepared to adjust our thinking again with new evidence but it is perfectly valid to say that we do not need to be concerned in the way many would have us believe. The inclusion of the essential omega-3 fatty acids (the clues in the name) is really important for combating inflammation but we can merrily add omega-6 fats from things like nuts and seeds alongside them. If like me, you don’t like oily fish or you want to bring your omega-3 intake up to therapeutic levels to help with something like cognitive function or mental health, there are some excellent fish or algae-based supplements that can help.
The processing of seed oils has been called into question a lot too. It does seem reasonable to think that highly processed oils must be bad for us. Here again, we lean on the actual research to inform our thinking. Trans-fats are a by-product of some forms of oil processing. The great news is that they have proved themselves so harmful to health that they have been banned. The ways in which seed oils might be processed do reduce some of their health benefits due to the loss of polyphenols but present-day legislation ensures that nothing harmful is actually introduced into the oil during processing. There are industrial processes that
can render a seed oil toxic – think the first forms of margarine that were available for example - but the food industry is no longer allowed to use them. Additionally, one would have to work very hard heating, re-heating and exposing an oil to the light and air to replicate those conditions at home. Your oil would become unpalatable before it became harmful to your health.
It is true that there is a correlation between the intake of foods containing seed oils and poor health. However, now that trans-fats are no longer an issue, this is because of other ingredients that they contain such as emulsifiers (such as those found in modern-day margarine and so much else) and other additives used in ultra-processed foods.
So, what oil did I choose to turn into mayonnaise?!
An organic, cold-pressed sunflower oil. In theory, I’d be happy to use an extra virgin olive oil. Loads of studies show that this is a super oil to include in a healthy diet, and I use it frequently but, in my opinion, it tastes too strong for mayonnaise. Unrefined sunflower oil still retains a naturally slightly nutty flavour (and therefore lots of polyphenols too) but I don’t find its flavour overwhelming, which makes it a great choice for me. If this is still too strongly flavoured for you then try a refined sunflower oil instead. Since studies show this polyunsaturated oil is good for cardiovascular health, I’m really happy to have found this way of using it to cheer up a salad.
And now to reveal how I made my mayonnaise… Please be aware you’ll need to feel comfortable about safely eating raw eggs to enjoy this recipe. I crack a whole egg into a jar. I find a large jar of about 500ml capacity works great. I add some unrefined salt and a dash of apple cider vinegar. Next, I gently pour in my oil, leaving a couple of centimetres’ space at the top. Now I very slowly put a stick blender into the jar, being sure to introduce minimal disturbance to the ingredients. With the blender resting at the bottom of the jar and without moving the blender, I start blending at the lowest setting. Very quickly, this will start turning the ingredients into mayonnaise at the bottom of the jar. After a minute or so, once I can no longer see any new mayonnaise being made, I slowly start lifting the blender within the jar but still under the surface of the oil until all the oil is incorporated into the mayonnaise. And there you have it! Fresh mayonnaise made directly in the jar in which you’ll be storing it.
“ ese little bottles have made a huge impact on my life”
Diet and lifestyle coaching: a powerful path to healing and weight management Scan to contact me or find out more www.wholistichealth.co.uk
Sandra Miller BSc, MSc, BCNH Dip, FDN-P Functional Medicine Practitioner
AS THE DAYS SHORTEN
Emma Rhys Thomas, Instructor, Art of Confidence
As the days shorten the temperature drops. We get up in the dark and feel the damp and cold creep into our bones - it’s the obligatory journey deep into autumn and winter! Some may love it, changing summer Ts and flip-flops for thermals and chunky knit footsies. Either way, we are a little less inclined to move, losing some of our vigour. Some people will experience Seasonal Affective Disorder, fatigue and/or pain, making the
effort required to keep up a daily dose of exercise even harder. Come the jolly festive season (or not so jolly for some) and everyone finds reasons to pass on prioritising their physical performance.
Staying connected with your body and your movement practice becomes even more important during the season of ‘cover up and hibernate!’ Exercise has been proven to be a considerable asset to beating
the winter blues and is especially helpful for people with arthritis and niggling pain. But more than that, believing we have discrete components of the one being that is the self (prioritising the mind and ignoring the body’s need to move altogether) only feeds into negativity. Conversely…
• ‘When I move I feel better.’
• ‘When I move I have more energy.’
• ‘When I move I can do more.’
• ‘When I move I feel like myself again – once I’m out and about, that is!’
• ‘When I move I absolutely love it and I feel so much better for it.’
Pilates does a good job of finding a focus for both body and mind and is easily accessible. It comes in many forms: mat work, standing, chair etc.
Working on the larger equipment with moving platforms, springs and pulleys, with a range of smaller equipment thrown in for extra support, is particularly effective. Endlessly adaptable, this resistance training is low impact and connects you to your body from front to back, from top to toe. It improves balance, range of movement and flexibility and creates a feeling of space within. As a bonus, especially for this time of year, it is not weather-dependent!
The intention of Pilates is to connect deeply, allowing you to move with strength, flow, precision and purposefully in its practice and in everyday life. Pilates builds a good understanding of biomechanical function, the patterns of movement inform the whole body, all of which are important when living with pain and fatigue. It is possible to dissolve fear and safely discover the extent of one’s own movement sphere with confidence.
If dealing with issues of pain, including struggling with state of mind, Pilates, with all its versatility and modifications can be especially helpful. When presenting with physical pain, identifying a pain threshold associated with a movement pattern with carefully considered, controlled movements and engaging areas which support such mobility, bridges awareness and possibility. Effective strategies connect with a discomfort, not shy away from it. Relief comes from embracing the discomfort and using the difficulty to discover adjustments that can alleviate the pain. That same bridging of awareness and possibility is what also helps the mind state. Feelings of anger, sadness, anxiety or fear can be eased by identifying markers in the body which hold on to those feelings and deal with them as
if they were physical pains.
One such strategy is the isometric hold, followed by a slow ramping-up of effort and an eccentric controlled release. This identifies the pain threshold, pain tolerance and point of fatigue. An example would be using the stability chair for ankle and Achilles tendon strengthening exercises, or footwork that helps with plantar fasciitis, issues of balance and more. Another strategy is to adjust a starting position. It serves no purpose to start an exercise in pain and discomfort, the body and mind will only be focused on maladapting its way out of it. Transferring an exercise with a particular goal in mind from one piece of equipment to another is useful for this or simply raising a hip on a block when sitting in ‘mermaid’ (an uncomfortable position for many).
Breathing techniques are utilised to ease pain, correct maladaptive movement patterns and strengthen the little trio of synergists which are the pelvic floor, transverse abdominis and adductors. A consciously directed breath to this area helps with that deep stabilisation of one structure of the body to allow movement of another. When pain takes hold, the breath often becomes short and shallow, the shoulders elevate and we tend to hold onto tension. An unconscious breath hold can be a sign of pain and discomforteffective breathing helps to release tension. Changing breath patterns changes how an exercise is performed and felt in the body.
Holding onto and working into an uncomfortable feeling, pausing and taking time to expand, extend and lengthen throughout the body can bring a feeling of easement in an affected area. And finally, for now, consistency is key. Just showing up may make all the difference to your day or your week or even get you back on your way to healing – and not just physically. Don’t let a small thing like pain stop you from getting to your Pilates session, within reason, of course. If you are affected by serious issues of pain or Seasonal Affected Disorder and are wondering whether taking part in Pilates exercise classes is right for you, please seek professional clinical advice beforehand.
If pain is darkness, heavy and wearisome then Pilates is the light-bringer. As for this coming season of darker days, heavy weather and low spirits, when the desire to curl up on a sofa is overwhelming, try Pilates for a lightness of foot and an escape of the doldrums.
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Art of Confidence
Movement Practices and Wellness Be your body and mind’s best by attending to posture
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groups and abilities
PREPARING FOR RETIREMENT
Mark Salter CFP, Chartered FCSI, Fort Financial Planning
Retirement is a significant milestone that marks the transition from a career-focused life to one of leisure and personal fulfilment. However, preparing for retirement involves more than just financial planning; it also requires emotional readiness. I’ve seen firsthand how a holistic approach can make this transition smoother and more enjoyable. Here are some top tips to help you prepare for retirement both emotionally and financially.
Start Early and Save Consistently
The earlier you start saving for retirement, the more time your investments have to grow. Consistent contributions to workplace pensions, personal pensions and ISAs, can significantly enhance your financial security. Take advantage of employer matching contributions if available.
Diversify Your Investments
Diversification is key to managing risk. Spread your investments across various asset classes, such as stocks, bonds and property, to protect against market volatility. Ensure you’re taking a level of risk you’re comfortable with but also one that gives you the best chance of achieving your retirement plans based on your timeframe and without the unnecessary risk of de-railing your plans to retire.
Create a Retirement Budget
Estimate your retirement expenses, including housing, utilities, food, travel and leisure activities. Compare these expenses to your expected income from pensions and investments. A detailed budget helps ensure you can maintain your desired lifestyle.
Check your State Pension
Visit gov.uk or apply for a state pension forecast to check when you’ll be entitled to receive your state pension and whether you’ve got the full pension or you need to make additional National Insurance contributions to increase it.
Review and Adjust Your Plan Regularly
Life circumstances and financial markets change. Regularly review your retirement plan with your
financial planner to make necessary adjustments. This ensures your plan remains aligned with your goals and current financial situation.
Visualise Your Retirement Lifestyle
Think about how you want to spend your retirement years. Whether it’s travelling, pursuing hobbies or spending time with family, having a clear vision helps you set realistic goals and stay motivated.
Stay Active and Engaged
Retirement can sometimes lead to feelings of isolation or boredom. Stay active by engaging in physical activities, volunteering or joining clubs. Staying socially connected and physically active contributes to overall well-being.
Develop New Hobbies and Interests
Retirement is an excellent time to explore new hobbies or interests that you didn’t have time for during your working years. Whether it’s learning a new skill, gardening or painting, finding new passions can bring joy and fulfilment.
Maintain a Routine
While retirement offers more freedom, maintaining a routine can provide structure and purpose. Establishing a daily schedule that includes exercise, social activities and personal projects can help you stay productive and satisfied.
Seek Support and Guidance
Transitioning to retirement can be challenging. Don’t hesitate to seek support from friends, family or professionals. Sharing your experiences and concerns can help you navigate this new phase of life more smoothly.
Preparing for retirement is a multifaceted process that requires both financial foresight and emotional readiness. I encourage you to take a holistic approach to retirement planning, embracing both the financial and emotional aspects to achieve a well-rounded and satisfying retirement.
ffp.org.uk
We live in a complex world. At FFP we aim to remove complexity, replacing it with simplicity and clarity so that our clients can enjoy their lives without worry
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ANTI-HARASSMENT
LEGISLATION
AN EMPLOYERS DUTY
Sean McDonough, Managing Partner and Employment Lead, Mogers Drewett Solicitors and Financial Planners
At the end of October, we saw the latest evolution of anti-harassment employment legislation coming into force. There will now be a positive duty for employers to take reasonable steps to prevent sexual harassment of their employees in the course of their employment, a duty underlined by enhanced tribunal remedies for failure to do so.
Hopefully, your environment is such that you will feel that it is unnecessary to say what is and isn’t acceptable. Ensuring that stays the case is achieved by keeping clear on what you will and will not tolerate and sharing that with the people around you so they all know where they stand.
As an employer, you will need to consider your team members in the broadest context of their employment. Who are they encountering and in what contexts? You will need to have regard for colleagues, customers and clients and your supply chain. Who are the people involved, what are their interactions, how might they unfold?
Do your customers and business contacts know what you consider inappropriate? Do you know how you will
respond to that behaviour from them? Do your team know your view and how you will deal with a problem arising? It’s an uncomfortable topic to be talking about when you don’t feel it is necessary. But the hope of the legislation is that by talking early and often, you make conversations simpler (if not necessarily easier) when they become necessary.
Training is going to be critical. Reviewing that and evidencing both that you do it and you check whether it is working and how you’ve adjusted it as needed, will go a long way to giving your business comfort.
Do you have reporting and support mechanisms visibly in place for all and the structures in place to ensure that you show that you are continuing to learn and refine your response and preventative measures?
Importantly, while you can leave HR to be the ‘fun police’ it is crucial that everybody knows, understands and plays their part in making work a safe place to be and perform at their best.
mogersdrewett.com
Black Friday is one of the biggest shopping events of the year, originally held annually on the day after Thanksgiving in the United States, it has now crossed the pond to the UK in a big way, and this year is on Friday 29th November 2024. It is famous for offering huge discounts on a wide range of products, especially electronics like computers, laptops and smartphones. Many people look forward to this day to grab tech deals but not all discounts are as good as they seem.
So how does Black Friday work? Retailers offer attractive deals on tech products during Black Friday to boost sales, both online and in stores. Some common strategies include slashing prices on older models, bundling products together for better value or offering temporary price drops that only last for a few hours. Big tech brands like Apple, Microsoft and Dell, as well as electronics retailers like Argos and Amazon, usually participate.
Why are some prices higher than expected? Despite the hype, Black Friday deals aren’t always as good as they seem or some items just aren’t on offer. Several factors can lead to higher-than-expected prices of computers and electronics.
In recent years, global supply chain problems have caused an increase in the cost of electronic components. Chip shortages and shipping delays can limit the number of devices available, pushing prices up. This can affect even Black Friday sales, as retailers can’t afford to discount items as heavily as they used to.
Price manipulation is one of the big factors as some stores increase prices in the weeks leading up to Black Friday and then ‘discount’ them during the sale. While it looks like you’re getting a huge deal, the price may
BLACK FRIDAY
COMPUTER AND ELECTRONICS DEALS EXPLAINED
James Flynn, Milborne Port Computers
not be much lower than what you would pay during non-sale periods. It’s always a good idea to track the prices of the items you want ahead of time to see if the Black Friday discount is truly worth it.
Often, the most attractive deals are for last year’s models, not the latest releases. For instance, laptops with older processors or TVs without the latest features may be discounted heavily but if you’re looking for cuttingedge tech, you may not find the deep discounts you’re hoping for. Retailers often use Black Friday as a way to clear out old stock. Many of the steepest discounts are ‘doorbuster’ deals that are in extremely limited quantities. They’re designed to get people into stores or online as quickly as possible. Once those limited items sell out, consumers might have to settle for items with smaller discounts or even full-priced products.
So how can you get the best deals on Black Friday? Research, research, research. Start looking at prices weeks in advance so you know what a good deal looks like when Black Friday arrives. Double-check model numbers of products to ensure you’re getting the version you want, not an older one. Start early on the day, a lot of websites (not all) will go live at 00:01 on Black Friday with their sale and if they have limited stock, they will sell out before most get out of bed.
There are now things called price trackers which are websites and apps like CamelCamelCamel, which allow you to monitor prices on Amazon and other major retailers, helping you determine if a sale is truly a bargain. Sometimes the best deal is not to buy at all… I’ve been sucked in before to sales, thinking I need things when really I don’t.
TICKLING THE IVORIES
Jan Pain, Sherborne Scribblers
Frank and Arlene Barker lived in a terraced house in Luton with their adopted son, Sam, who came to them as a baby and was informed of his special relationship once he could comprehend that his mum and dad had been very privileged to be able to choose him. There was no reason why the lad should have doubted this assertion. Theirs was a stable and loving home with the added advantage (as is the case in many working-class districts) of the extended family living within a few streets of one another. Sam grew up with adoring aunts, uncles and cousins and, most particularly, a resilient grandmother who, at the age of 93, had all her marbles, a Zimmer frame and an unclaimed treasure of a daughter with whom she lived.
The Barkers were hard-working and there was little time or money for expensive recreation. Frank manufactured components in the local car factory and Arlene worked as a check-out girl (her job description something of a misnomer at the age of 47) at Tesco’s. Indulgences were few but Frank’s prize possession was an old jukebox he had rescued from a skip. The shininess of its chrome had dulled and it wasn’t in working order but as a man skilled in metalwork, Frank had restored it to its former glory. On the insertion of a coin, it blasted out old-time favourites from the corner of the cramped sitting room where it had pride of place. From an early age Sam, foot-tapping and excited, sang along with it. His father noticed he had a clear, tuneful voice and retained both the melodies and lyrics when entertaining his grandmother on her frequent visits.
On Sam’s sixth birthday, his parents saved up enough money to buy him a basic little keyboard, which they squeezed between the jukebox and a sagging armchair. Tentatively Sam inspected the keys, pressing them down singly and appreciating each note, then cautiously shifting his fingers in a magical fashion to produce a melody. His face lit up with joy as his father, with a tear
in the corner of his eye, exclaimed, ‘Cor blimey, Arlene, ‘es playin’ by ear! Who’s this then, the new Liberace?’
Sam enjoyed his solitary musical experiences in the front room until he went to secondary school when he put his name down to join the orchestra. The conductor was dismissive because Sam could not read music and, try as he might, could never master tackling a score.
Dispirited by this rejection, he made sorties to the retail mall in town on Saturday mornings, gazing longingly at the window of the music shop and occasionally wandering inside to admire the array of instruments and the drawers of incomprehensible sheet music. Then, one week, the shop manager, Kevin, placed a small, inexpensive white piano outside the frontage, inviting passersby to ‘Have a go!’ He was treated to the not-unexpected medley of ‘chopsticks’ and discordant thumps on the keys from unrestrained youngsters and was thinking of abandoning the exercise when the piano stool became free and determinedly, Sam sat down and started to play. Gradually, a crowd gathered and Kevin stood in the shop doorway, marvelling at the boy ’s virtuosity. After twenty minutes, he stood up to a massive ovation and took an embarrassed bow.
‘ Well, me lad,’ Kevin exclaimed, ‘ where’s that talent come from? Like making music, do you? Perhaps you’d enjoy a spell in ‘ere in the ‘olidays and mebbe the odd Saturday? It’d give you a chance to have lots of practice.’
Thrilled beyond measure and with the conscientious work ethic of his parents, Sam helped out at the music store; sometimes salesman, often stock-taking and all the while absorbing the atmosphere that he hoped would become part of his future. Inevitably, young people came into the shop and Sam was invited to join a group, well able to play the latest hits and experimenting with composition for both piano and guitar, always in his head.
He chatted to Kevin about the fact he was adopted and that he hoped one day to make it in the music scene by earning enough so that his mother could give up her tedious job.
‘ You puzzle me, son, you really do,’ said Kevin. ‘Don’t know yer roots, do yer? I’d be mad keen if it was me, wanting to find me real mum and dad.’ Such observations set Sam thinking and he fantasised about the TV programme, Who do you think you are? Determined to follow it through but ever-conscious of upsetting his adored parents, he eventually grasped the nettle and asked them if they would object to his quest. It was with great relief when they gave him their blessing and after some months, contact had been established with Sam’s birth mother.
Not without trepidation, he turned up at her imposing house to be greeted by a woman who bore a strong resemblance to Barbra Streisand.
‘Samuel,’ she cried, ‘I’m Leah, your real mother. It ’ s just fantastic you found me. Come in, do make yourself comfortable in the sitting room and I’ ll serve tea.’
The furnishings were sumptuous and at one end of
the enormous room on acres of cream carpet stood a Bechstein grand. Sam couldn’t believe his eyes.
‘I play a bit,’ said Leah, waving in the direction of the piano as she eyed him keenly but this is a legacy of my great-grandmother who was a concert pianist, escaping Russia just before the Revolution. Jewish, of course, but I expect you know that?’
Sam shook his head and his eyes widened. ‘I heard you call me Samuel but otherwise I know nothing about my past except you gave me up for adoption with the most wonderful mum and dad in the world. ‘By the way,’ he continued, ‘I play a bit, too,’ and with that he unselfconsciously took his seat on the antique piano stool, rendering a sensitive performance of a Chopin nocturne.
Tears coursed down Leah’s cheeks as she observed this prodigy, her son, fill the room with his musicality. As he finished, she rose, stood behind him at the piano and gently stroked his fine dark curls. A smile of appreciation or perhaps more likely of love reborn, flickered across her face as she intoned,
‘Play it again, Sam.’
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LITERARY SOCIETY PREVIEW
Richard Hopton, Sherborne Literary Society
SCARCELY
ENGLISH: AN A-Z OF ASSAULTS UPON OUR LANGUAGE
Simon Heffer
English is under attack: it’s being swamped by Americanisms, by the linguistic and grammatical laziness encouraged by spurof-moment digital communication, by an everincreasing ignorance of the rules within which the language of Waugh and Greene developed’. So say the traditionalists. Their opponents prefer the idea that, linguistically, ‘anything goes’, that it is perfectly acceptable, for example, to use the words ‘flout’ and ‘flaunt’ synonymously.
Scarcely English is Simon Heffer’s third blast of
the trumpet in defence of Standard British English following his Strictly English (2011) and Simply English (2014). ‘I am not,’ he writes, ‘remotely against change in the language, nor do I deny that it happens: I should have to be exceptionally obtuse to take any other view’. As we all know, it happens constantly. Indeed, many would say that English’s adaptability is its greatest strength and one of the reasons for the global dominance it now enjoys. Heffer sets out his stall on the book’s first page: ‘The purpose of speaking and writing correctly is not just in order to be understood … but
so that those with whom one speaks, or who read what one has written, should treat the speaker or writer as an intelligent and thoughtful person as opposed to an ignorant one’. Who would argue with that?
English is now used across the globe and has developed definite variations in, for example, America, Australia, India and Africa and, as Heffer writes, ‘the idea of the English language flourishes by such distinctions’. The opposite, ‘a conformity produced by digesting the latest, often illogical and unintelligible, fashions can only dilute the strength of the existing standard, and rob it of its distinctiveness and richness’. Correct usage is not the enemy of linguistic adaptation and evolution. Heffer will be discussing his new book and, no doubt, the state of English when he talks to the Sherborne Literary Society on Tuesday 26th November.
There is much to enjoy in Scarcely English. Anyone with the slightest interest in the language will find themselves nodding in agreement with Heffer on almost every page. One of his complaints concerns the practice of converting nouns into verbs where a perfectly serviceable alternative already exists: for example, an athlete who runs into a place - first, second or third - in a race is now often said to have ‘medalled’ or ‘podiumed’ where, a few years ago, the simple verb ‘placed’ would have sufficed. The reverse process is also in action. Consider the use of the phrase ‘the big reveal’ at the climax of, say, an interior decoration television show. ‘Reveal’ is a verb pressed into service as a noun where one already exists, ‘revelation’.
Heffer identifies this tendency as an ‘American trait’ in which category he also includes, among other corrosions of Standard British English, the practice of avoiding pronouns. Not long ago, we ‘used to protest in favour of something, or against something, or about something: now one simply protests something, and to hell with the preposition or prepositional phrase’. Consider also in this context the use of the word ‘debate’ without its usual prepositions. The American usage ‘I debated John’ suggests to British ears that John was the subject of the discussion rather than a party to it, in which case ‘I debated with John’ would be much clearer.
‘Corporate speak’, much of which originates in the United States, is an especial object of Heffer’s ire. ‘It is a jargon,’ he writes, ‘often unintelligible to those outside, but it enables those who speak it fluently to pretend they are accomplishing something useful, and to appear impressive to underlings who have developed
insufficient reserves of cynicism.’ One of the funniest entries in Scarcely English is the paragraph dealing with what Heffer calls ‘Fast foodspeak’. ‘There is,’ he writes, ‘a whole new language, its origins apparently entirely in demotic American English, that one is expected to use in order to communicate comprehensibly when buying fast food’. Examples include ‘to go’ (‘take away’) and ‘hold’ (that is, ‘I don’t want’). The phrase ‘can I get’ is especially absurd because of ‘the suggestion it makes that the enquirer is seeking permission to go into the kitchen either to collect his selection of cholesterol or, possibly, even to cook it himself’. Heffer speculates that, in time, this trend may construct a link between poor diet and language abuse.
There are some matters about which Heffer, to this reviewer at least, is surprisingly relaxed. One of these is ‘alright’. It wasn’t long ago that the editor of Fowler’s Modern English Usage felt moved to write that ‘The use of all right, or inability to see that there is anything wrong with alright, reveals one’s background, upbringing, education, etc., perhaps as much as any word in the language’. Scarcely English, almost calmly, regrets its passing as a ‘largely forgotten form.’ Likewise, he is surprisingly emollient about the confusing modern usage of the pronoun ‘they’ to denote a single individual. Even reputable newspapers nowadays condone this grammatical solecism but as Heffer notes, ‘it is increasingly clear that ease of communication will not be allowed to impede what has now become a political question’.
Scarcely English is an enjoyable book which demonstrates that Standard British English is worth preserving ‘as an act of cultural necessity’. It should sit on the desk of anyone who cares about our wonderful language.
sherborneliterarysociety.com
Tuesday 26th November 4pm
Simon Heffer - Scarcely English
The Digby Memorial Church Hall, Digby Road, Sherborne DT9 3NL. Talk and book signing with journalist, historian, biographer and political commentator, Simon Heffer. Tickets £10 (members), £12 (non-members) available from Winstone’s Bookshop and online via sherborneliterarysociety.com
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
Our Evenings by Alan Hollinghurst (Picador 2024, £22 hardcover)
Sherborne Times reader offer price of £20 from Winstone’s Books
Iremember yesterday in detail, and fifty years ago with renewed and unexpected clarity, but a small mental floater blurs and half obscures last week’. So reflects David Win towards the end of his life thinking about events long before, now resurfacing at the news of the death of a mentor, Mark Hadlow. Win, a gay, mixed-race, Anglo-Burmese, actor is the protagonist of Alan Hollinghurst’s seventh novel. Our Evenings traces Win’s life from his time as a scholarship boy at a Berkshire public school in the early 1960s to the twilight of his acting career in 2020.
It’s principally a story about prejudice, about how people, consciously and unconsciously, judge others’ race, sexuality and class. If that makes the novel sound preachy or woke, it really isn’t. Some of the scenes – for example, where a celebrated actress at a first-night party mistakes Win’s black actor boyfriend for the cloakroom attendant – are immediate and shocking but others are more subtle, more insidious but equally telling. Such is Hollinghurst’s narrative skill and literary touch that these scenes blend seamlessly into the story, making their point in an unforced way. Our Evenings is a wholly enjoyable, acutely observed and emotionally profound novel yet, despite its subject matter, in parts very funny. Not for nothing is Hollinghurst renowned for his ability to turn an elegant sentence; his prose flows smoothly along, balanced and rhythmic.
The story begins with Win – ‘Dave’ for much of his life – at his boarding school, before following him to Oxford and on to London. Here, in the late 1960s, he
Celebrating 10 Years as Sherborne’s Independent Bookseller 2012-2022
embarks on his acting career with Terra, an experimental theatre company while exploring the widening horizons opening to gay men following the 1967 Act. The habits and affectations of the theatre and actors, as well as the joy and pain of the business of acting, are important elements of the novel, lending it a decidedly thespian atmosphere.
Running in tandem with Win’s own life is the story of his mother, Avril, a dressmaker living in a small market town in Berkshire. She, too, adopts an unconventional – for the time – lifestyle and suffers the cold shoulder of largely unspoken provincial prejudice.
Casting its shadow, both benign and threatening, over the whole story is the Hadlow family. The parents, Mark and Cara, are wealthy, artistic and philanthropic while their son Giles embodies a radically different set of values, personifications of two opposing aspects of the British character. Their influence has a profound influence on Win’s life, for better and for worse, although there is no doubt where the author’s sympathies lie.
Local readers may be intrigued by the fact that Our Evenings contains the only known – to this reviewer, at any rate – reference to Gillingham in modern English literary fiction. Win travels to ‘the surprising topmost little corner of Dorset’ to visit an admirer. ‘You’ll need to get a train from Waterloo to Gillingham, with a hard G’, he advises. ‘For Christ’s sake don’t go to the soft-G one’.
sherborneliterarysociety.com
PAUSE FOR THOUGHT
Phil Wield, Sherborne Quakers
My wife and I lived in Denver, Colorado, for a few years. It’s famously called the ‘Mile High City’ because it is indeed exactly one mile above sea level. (They have special baking recipe books because food behaves differently in ovens due to the altitude.) Denver sits at the foot of the Rocky Mountains and in the winter, crowds drive up to the many ski resorts, the most well-known being Aspen – a holiday destination for the rich and famous.
A few miles from Aspen is St Benedict’s Monastery, Snowmass. We went on retreat there a couple of times. The monastery sits alone in a valley and we would stand outside, looking out over a blanket of snow, listening to the sheer silence. We agreed it was the most beautifully quiet place we had ever been to.
Silence. In our busy, noisy, distracted culture, it is quite unusual. The communal minutes of silence, on Remembrance Day or at a football match are occasional exceptions. It’s a word that provokes different reactions in people. To some, it is a relief from the stress and pressures of modern life, to others, it is unwelcome. It can leave us alone with our thoughts and the empty space can soon be invaded by the worries and voices of our internal soundtrack, or it can feel like punishment if significant people have given us ‘the silent treatment’ in the past.
In recent years, there has been a renewal of interest in silent prayer and mindfulness meditation in the West. It has always been a key feature of ‘Eastern’ religions and is central to Buddhism, but the monks at St Benedict’s would tell you that the contemplative life was also a fundamental part of Christianity for a thousand years, from the 4th century, when the faith became respectable.
In reaction to this, the Desert Mothers and Fathers headed off into the wilderness and started teaching about how to meditate in order to know both God and self better; for, as John Calvin put it, ‘the knowledge of God and of ourselves [are] mutually connected.’ Helpful modern teachers of the practice are the Augustinian, Martin Laird and, from a secular point of view, Jon Kabat-Zinn*.
Physiologists will tell you about the benefits of cultivating silence, from reduced blood pressure and cortisol levels to better sleep patterns. The aim of meditation, spiritually or psychologically, is not to empty the mind but rather to train it to focus on the present moment so that when God or life is communicating with us we are better able to notice and benefit from it.
In Sherborne, groups practising silence together are Sherborne Quakers (Sundays, 10.30am, Digby Memorial Hall) and The Julian Meetings (2nd Wednesday in the month, 4pm, Sherborne Abbey).
*Martin Laird, Into the Silent Land Jon Kabat-Zinn, Coming to our Senses
