A SOLITARY CHIMNEY stands in the middle of East Harptree Woods in the Mendip Hills of Somerset, not far from Bristol and Bath. This tall, not quite vertical, chimney and the surrounding uneven landscape is all that remains of the local tin and zinc mining activities in the area. Known as Smitham Chimney, this was built in the 19th century and was the exhaust for the toxic fumes created by the furnaces smelting lead-bearing materials. The unevenness of the surrounding area, now richly populated with a variety of trees, was caused by the pits and spoil heaps created during the era of mining activity. The chimney was built in 1867 and by 1870, the East Harptree Lead Works Co Ltd were producing about 1000 tons of lead per year (https://en.wikipedia.org/wiki/Smitham_Chimney,_East_Harptree).
Today, the chimney stands amongst a fine collection of trees including conifers and birches, all growing in a sea of ferns and other bushes. Much of the woodland is mossy. Maintained by Forestry England, the Mendip Society, and Somerset County Council, the woodland has good, fairly level paths, easy on the feet. The place and its industrial archaeological feature make for a pleasant and interesting short excursion.
THE NAME BOSTON is often associated with a revolutionary tea party in a former British possession. Some might also associate it with a town in Lincolnshire. And Londoners might connect it with a tube station on the Piccadilly Line of the London Underground. The station, which is a stop on the line to Heathrow Airport is Boston Manor, a place which I first visited in April of this year (2021).
In the case of Boston Manor, the name Boston is derived from an older name ‘Bordeston’, which comes from the word ‘borde’, meaning ‘boundary’. Another etymology of the name, which is unrelated to that of the Boston in Lincolnshire, is that it derives from the name of a Saxon farmer named ‘Bord’. Whatever the origin of the name, Boston Manor, the house and its lovely gardens, stand on the border between Hanwell and Brentford.
Until the Priory of St Helens in Bishopsgate was suppressed in 1538 (https://en.wikipedia.org/wiki/St_Helen%27s_Church,_Bishopsgate), the Manor of Bordeston was owned by it. King Edward VI granted it to Edward, Duke of Somerset (1500-1552), Lord Protector of England during the earlier part of Edward VI’s reign, and later it reverted to the Crown. In 1552, Queen Elizabeth I gave the manor to the Earl of Leicester, who immediately sold it to the merchant and financier Sir Thomas Gresham (c1519-1579). After several changes of ownership, the property was sold in 1670 to the City merchant James Clitherow (1618-1681; www.bhsproject.co.uk/families_clitherow.shtml). James demolished the existing manor house. He modified and enlarged Boston House, originally built by Lady Reade in 1622 in the Jacobean style. This house with three gables still stands but is closed as it is undergoing extensive repairs. It looks out onto grounds planted with fine trees, many of them cedars of Lebanon. The grounds that include a small lake slope down towards the River Brent. The house and grounds, Boston Manor Park, remained in the possession on of the Clitherow family until 1923, when Colonel John Bourchier Stracey-Clitherow (1853-1931) sold the house and what was left of the estate (after some of it had been sold to property developers) to the then local authority, Brentford Urban District Council. During his military career, this gentleman was taken prisoner during the ill-fated Jameson Raid in South Africa, a prelude to the Second Anglo-Boer War.
Before the Clitherows began selling off their land at Boston manor, there was a house in the grounds called ‘Little Boston’. It stood until the early 1920s when it was sold to a developer named Jackman, who demolished it to build houses now standing on Windmill Road (https://littleealinghistory.org.uk/node/6). John Quincy Adams (1767-1848), who became the sixth president of the USA in 1825, resided in Little Boston house between 1815 and 1817 whilst he was American minister to Britain during that period. Adams was born in Massachusetts. So, it seems fitting that he lived in a house and an estate both bearing the name of an important city in that American state.
On our way to see our friend who took us to see Boston Manor House and Park, we drove along a road named in memory of the Clitherow family. Sadly, what with the building works and covid19 restrictions, we were unable to view the fine interior of Boston Manor House. However, the garden and its lake, where we spotted its resident tortoise sunning itself on a log, proved to be a lovely surprise, well worth visiting … and you need not cross the Atlantic to get there from London.
DRIVING ALONG THE NORTH Circular Road, I noticed a long wall over the top of which I could see what looked like the pinnacles of a Gothic revival garden folly. We were driving past Gunnersbury Park in West London and did not have time to stop. So, the next day, we drove back to the park and spent some time exploring it. What we found was a fascinating estate consisting of beautiful park land and a series of architectural delights. This is hardly far from where we live, but it was the first time that we had visited it. Had I not noticed what I did when on the North Circular Road, I am not sure that we would not have considered making a trip to find out what lies behind the wall next to which queues of slow moving traffic can often be seen.
The first impression one gets on entering Gunnersbury Park with its wealth of trees including many Cedars of Lebanon is that you are inside the grounds of a great house such as you can find at, for example, Ham House and Osterley Park. That impression is justified because Gunnersbury Park is basically what is left of the grounds of a mansion built in the Palladian style for the lawyer and politician Sir John Maynard (1604-1690) between 1658 and 1663. It was designed by the architect John Webb (1611-1672). Maynard died at Gunnersbury Park.
Between 1762 and 1786, Gunnersbury Park was used as a summer residence by Princess Amelia (1711-1786), who was King George III’s aunt (https://historicengland.org.uk/listing/the-list/list-entry/1000808). In 1761, she had bought the estate from George Furness (after 1688-1756). His father had been a ‘factor’ in the East India Company. George was a British merchant and politician as well as being an art collector. He was a Member of Parliament between 1720 and 1756 and had bought the property in 1739 from John Hobart (1693-1756), 1st Earl of Buckinghamshire, a British politician. Furness improved the grounds by employing the famous gardener William Kent (1685-1748). I am not sure how much of his original design has survived the passage of time.
Princess Amelia, the second daughter of King George II, did much to improve the grounds, by landscaping, arranging planting, and by adding ornamental buildings, which still add to the charm of the place. These buildings include the bath house and a neo-classical temple, which overlooks a circular pond.
The princess held fabulous parties at Gunnersbury. In “Handbook to The Environs of London” by James Thorne, which was published in 1876, the politician and intellectual Horace Walpole (1717-1797), author of the Gothick novel “The Castle of Otranto”, who attended some of these parties, is quoted thus:
“Ever since the late king’s death, I have made Princess Amelia’s parties once or twice a week … I was sent for again to dine at Gunnersbury on Friday, and forced to send to town for a dress-coat and a sword. There were the Prince of Wales, the Prince of Mecklenburg, the Duke of Portland, Lord Clanbrassil … The Princess, Lady Barrymore, and the rest of us, played three pools at Commerce till ten … While we were at the Dairy, the Princess insisted on my making some verses on Gunnersbury. I pleaded being superannuated. She would not excuse me. I promised she should have an Ode on her next birthday, which diverted the Prince; but all would not do.”
The next morning, Walpole composed three verses for the Princess. One of them (quoted in a letter from Walpole to HS Conway dated 18th of June 1786) reads as follows:
“Oh! Why is Flaccus not alive,
Your favourite scene to sing?
To Gunnersbury’s charms could give
His lyre immortal spring.”
Walpole admitted in his letter to Conway that his poem was not one of his best. He wrote:
“If they are but poor verses, consider I am sixty-nine, and was half asleep, and made them ex-tempore – and by command!”
Following the death of the Princess, the Palladian mansion was demolished in 1801. Its contents were sold by auction and the 205 acres of its grounds were divided into lots and sold at the same time. Most of their area was bought by Alexander Copland (1774-1834), who built a new house, which forms the basis for the present building, which now houses a museum, which is currently closed because of the covid19 pandemic. Copland, a builder and business partner of the architect Henry Holland (1745-1806), was a son of Alexander Copland and his wife Barbara (née Smirke). The Alexander, who bought Gunnersbury was a cousin of the architect Robert Smirke (1780-1867), whose brother, also an architect, Sydney Smirke (1797-1877) designed the Orangery, which was built at Gunnersbury Park in 1836, and has been restored beautifully.
Copland built The Large Mansion (now the museum). Either Stephen Cosser or Major Alexander Morrison, a retired East India Company officer who bought the plot from him, built the so-called ‘Small Mansion’ to the east of the Large Mansion, which is currently in a poor state of repair. A gardener explained to us that it was supposed to be cared for by one London borough whereas the Large Mansion was under the care of another. In 1828, the part of the estate with the Small Mansion was bought by Thomas Farmer, who lived there as Copland’s neighbour until 1835.
In 1835, Copland’s Large Mansion was bought by the banker Nathan Mayer Rothschild (1777-1836). After his death a year later, his widow Hannah (née Barent-Cohen; 1783-1850) used Gunnersbury Park as her second home and employed the architect Sidney Smirke to make alterations to it (https://family.rothschildarchive.org/estates/37-gunnersbury). Following Hannah’s death, her oldest son Lionel Rothschild (1808-1879), the first ever practising Jew to become a Member of Parliament, took over the property and enlarged its park as well as improving the house’s facilities. After his death and that of his widow Charlotte, the estate moved into the possession of their youngest son Leopold de Rothschild (1845-1917).
In 1889, Leopold purchased the Small Mansion and thereby reunited the two parts of the original Gunnersbury estate. Under the ownership of the Rothschild family, many improvements were made to the grounds, some of which I will mention soon. After Leopold died in 1917, the estate was broken up and parts were sold off. In 1925, both mansions and about 185 acres of attached grounds were purchased for public use by the then Boroughs of Acton and Ealing. Now, the park and its mansions are maintained by the boroughs of Ealing and Hounslow.
The Large Mansion is elegant but not as attractive as the one which was demolished long ago and can be seen in old drawings. Nearby, the temple that overlooks a pond is delightful and reminded me of some of the garden architecture at Stourhead (in Wiltshire). Wandering around the garden, you will come across the Gothic revival architectural features I saw when driving past Gunnersbury Park on the North Circular Road. These are built around ‘Princess Amelia’s Bath House’, a garden folly built in the 1780s. Not far from this, there are very picturesque ‘Gothick’ ruins near to the estate’s farm buildings. These might be the remains of the dairy mentioned above in the quote from Horace Walpole or possibly later additions to the grounds constructed by an owner who bought the Princess’s estate. One source (https://brentfordandchiswicklhs.org.uk/publications/the-journal/journal-10-2000/princess-amelias-bath-house/) suggests that what is now called the ‘Bath House’ might have been the dairy in Amelia’s time at Gunnersbury. Whatever its history, lovers of romantic Gothic revival ruins will get great pleasure from what can be seen at Gunnersbury Park.
The Orangery stands next to a large pond. This structure was built whilst the Rothschilds owned the estate. It was constructed in 1836, designed by Sidney Smirke. The family were responsible for another water feature on their estate. It has a name that intrigued us: the Potomac Pond. This almost circular water body is surrounded by a fence and almost hidden by the trees and other vegetation growing around its perimeter. It is only accessible to members of a local angling club. The Rothschilds had purchased a former clay pit and converted it into the pond. One of the claypit’s kilns was rebuilt to create a Gothic revival tower on its shore. This lovely folly, which would look at home in a painting by the German Caspar David Friedrich (1774-1840), might have once been used as a boathouse.
I have described a few of the features that make it well worthwhile to visit Gunnersbury Park, whose history is not exactly simple. The place is so near to London and the M4 motorway, yet it feels so far away. If it were not the background roar of the traffic and the low flying aeroplanes descending towards Heathrow Airport, fewer than usual these days, it would be hard to believe you were not deep in the countryside.
THE BUILDING MATERIALS COMPANY TARMAC is not a company that you might immediately associate with leisure activities. Yet, today, our good friends in Hertfordshire, Gareth and Moyna, took us with their two dogs to a park that has largely been created by Tarmac. Panshanger Park is owned by Tarmac Holdings, who extract sand and gravel from the area. After taking what they need, they restore the ground they have dug to render it attractive to humans, wildlife, and cattle.
William Cowper (c1665-1723), First Earl Cowper and once the Lord High Chancellor of Great Britain, acquired the Cole Green Estate, which includes the land on which Panshanger Park is situated, in about 1700. His descendant the Fifth Earl Cowper commissioned the architects Samuel Wyatt (1737-1807) and then later William Atkinson (c1774-1839) to design a house to replace the existing one. It was designed in the ‘Regency-Gothic’ (Gothic Revival) style and its construction commenced in 1806. The grounds of the new house were landscaped by Humphry Repton (1752-1818), who also landscaped the grounds at London’s Kenwood House. Seeing the grounds at Panshanger reminded me of those at Kenwood. Sadly, the house was demolished in the early 1950s. All that remains of it is a grassy mound and the roofless ruins of the extensive orangery, whose supporting pillars and lintels remain. The lintels bear a bas-relief of floral wreaths, crumbling in parts. The ground in front of the mound sweeps down towards a lake, just as is the case with the lawns in front of the still extant Kenwood House.
A path leads from the remains of the orangery through woods towards an enormous oak tree circled by protective cast-iron railings. This huge oak tree is said to be the largest maiden oak in the country. It is defined as ‘maiden’ because it has never been subjected to pollarding (artificial control of growth by trimming selected branches). One of the tree’s long branches has grown towards the ground and, unusually for oaks, set down new roots, rather like what is commonly found in banyan trees. This tree is said to have been planted by Queen Elizabeth I (reigned 1558-1603). Whether she planted an acorn or a sapling, we cannot say. My uneducated guess is that planting a sapling rather than random acorn would have been a more reliable way to be sure that the tree would thrive. The tree trunk’s circumference is at present 75 feet (www.chilternsaonb.org/ccbmaps/489/137/panshanger-great-oak.html) and increasing because the tree looks remarkably healthy.
Saplings taken from this royal oak have been used to grow the Prince Consort Oak in the Forest of Dean, and another in the same forest planted (as an acorn) by Queen Elizabeth II, as well as another tree planted by Sir Winston Churchill, which has outlasted this former Prime minister.
Apart from the amazing oak tree and the intriguing remains of the Panshanger orangery, the park is well worth visiting to enjoy its views of lakes, its variety of trees, the long-horned cattle grazing in the fields, and the lovely vistas of the valley of the River Mimran and the rural Hertfordshire landscape. It is gratifying to see that a company, whose activities, such as digging gravel and sand, can easily wreck the countryside, have managed to carry out their work and at the same time to preserve the estate in superb, unsullied condition. Once again our friends in Hertfordshire have opened our eyes to another wonder in the depths of the English countryside.
AN ANCIENT WOOD IS one that is at least 400 years old and has probably been in existence since time immemorial. Several of these ‘prehistoric’ woods have survived the spread of London over the centuries. Often, they are islands of wildness in a sea of suburbia, as is the case of Coldfall Wood near East Finchley and Muswell Hill in North London. We visited it on a damp afternoon when the trees were dripping with rainfall. This heightened the sense that we were strolling through a landscape little changed from the time when London had not extended so far into what was mostly untamed countryside.
Coldfall Wood was originally named ‘Colefall’, a word possibly derived from the Old English words ‘cole’ and ‘gefeall’, probably used to describe a place where charcoal was burnt. It is named that way in a document dated 1599 and on an Ordnance Survey map published as late as 1877. In 1599, there was a murder in the wood. This was not an uncommon event in Finchley, whose common land (which included Coldfall Wood) was the haunt of highwaymen and other miscreants for many centuries, and especially during the 18th. The wood made history in the world of geology in 1835 when (according to an article that can be found at http://www.locallocalhistory.co.uk/gd/gdpage04.htm):
“…At a spot in Coldfall Wood, just beneath the vegetable soil, an eminent London geologist, Mr. N. T Wetherell, of Highgate, discovered a strange accumulation of fossil remains, consisting of miscellaneous rocks, shells, teeth of fish, and bones of saurians of extinct species, evidently brought hither by some unknown agency from the formations of various northern areas of England.”
The importance of this discovery led to the suggestion that:
“… the southern lowlands of England, as well as the mountains of Wales and the northern counties, showed traces of their former occupation by glaciers, and perhaps a glacial sea.”
However, this idea mooted in the 19th century has been challenged. It is now thought unlikely that Muswell Hill was once submerged beneath a glacial sea (although the glaciers did reach the area).
The present Coldfall Wood, which is a reduced version of what it was before the mid-19th century, is a deformed square in plan, its southern border, which is bounded by Creighton Avenue, being longer than its northern one. In the past, the wood extended southwards and reached the road now called ‘Fortis Green’ that existed from the early 19th century. Incidentally, the settlement of Fortis Green was in existence by the 16th century. The wood slopes downhill from its southern and western edges. At its southwest corner, it is just over 300 feet above sea level and at its north eastern corner, it is at least 60 feet lower.
Distinct footpaths both circumnavigate and traverse the wood. Because of the density of the trees, the buildings surrounding the wood are mostly hidden and the 14-hectare (35 acre) woodland feels much larger than it is. Every now and then, the footpaths cross small footbridges. These structures traverse often barely perceptible beds of streams, many of which were waterless on the August afternoon of our visit. In the lower reaches of the wood, the streams were filled with water. At the lowest corner of the wood, there is a wetland area traversed by an elevated wooden walkway. The water that flows down the slopes of Coldfall Wood disappears underground at the lowest (north east) corner of the woodland.
East Finchley, in which Coldfall Wood is located, is a watershed for two of London’s rivers, both tributaries of the Thames. From the western slopes of East Finchley, water runs into the River Brent whose mouth is at Brentford in West London. Water from the eastern slopes heads eastwards towards the River Lea whose waters flow into the Thames in London’s East End. I believe that this is the case for the water from the streams in Coldfall Wood.
I believe that I might have visited Coldfall Woods once before while visiting a dear friend, sometime in the late 1970s. Neither then nor a few days ago, when I made my second visit there, did I have even the slightest inkling of its history and geological significance. As we still have good friends who live close to it, it is likely that my next visit to Coldfall Wood will be in much less than forty years’ time.
SOME YEARS AGO, I was walking in Stoke Common (just north of Slough) with my teacher and close friend, the late Professor Robert Harkness. The Common was a wooded area with a variety of trees. Some of them looked very awkward in that their curved or leaning trunks seemed to defy gravity. Yet, the trees did not fall over despite this.
Robert, who was a renowned physiologist, was also a naturalist. Everything natural aroused his interest. As we walked through the woods, he explained that the trees did not topple over because each of them maintained their own centres of gravity as they grew. These centres of gravity must, he considered change constantly during the long lifetimes of the trees. How, he wondered, did the trees grow in such a way that they never became unbalanced and always remained standing?
He never told me the answer. Maybe, he did not know, but ever since that damp grey afternoon with him on Stoke Common, I always look at trees and wonder whether anyone knows the answer to his question. This afternoon, I was walking along the lovely tree-lined path that leads to Kenwood House from its public car park, when I noticed some trees growing on a steep slope lining it. The trees’ roots seemed to be clinging to the slope, hanging on for dear life. Seeing them reminded me of Robert and his wondering about arboreal ‘assessment’ of centres of balance and a fine old friend, who passed away in June 2006.
BIG WOOD SEEMED large to me when I was a child. Although it does not live up to its name, it feels like a big wood once you enter it. Located in the heart of Hampstead Garden Suburb (‘HGS’), this woodland and the much smaller nearby Little Wood are quite ancient. They were part of a forest that was at least 1000 years old, part of land given to Wealdhere, who became Bishop of London late in the 7th century. The woods and surrounding land remained church possessions until 1911, when they were leased to the HGS Trust by the Ecclesiastical Commissioners. According to the londongardenstrust.org website: “When Hampstead Garden Suburb was being planned in 1907, its instigator, Dame Henrietta Barnett, was committed to providing green spaces within the housing, planting trees and preserving those that existed. When additional land was acquired to extend the Suburb in 1911, Big Wood was leased from the Ecclesiastical Commissioners and preserved as woodland. In 1933 Finchley UDC took on the freehold.”
Stage and auditorium of Little Wood Theatre
There is a report that circus elephants used to be kept in a field that existed between Big and Little Woods before the construction of houses in this location (now Denman Drive North and South). Colin Gregory wrote (www.hgs.org.uk):
“Before leaving this story, we should pay our respects to one of the last occupiers of Park Farm: the circus proprietor Lord’ George Sanger … His descendants continued the circus in operation until the 1960s. It is said that when he owned Park Farm he allowed the circus animals to winter on his land. An elderly resident of Denman Drive – constructed in 1908 on what was once Westminster Abbey’s land – used to recall ‘elephants grazing’ in the field between Big Wood and Little Wood, before Denman Drive North and Denman Drive South – constructed in 1912 on what was once the Bishop’s land – were completed.”
We re-visited the woods recently on a hot sunny afternoon. We entered Big Wood from the end of Temple Fortune Hill. At this entrance to the tiny forest there is a wooden gate that was put up to commemorate the 29 residents of HGS who died during WW2. I do not remember seeing this gate when I was a child in the 1960s. Often in those days, my friends and I used to play in the woods, which I recall as being dark and dingy.
Lopa and I walked leisurely from one end of Big Wood to the other along good paths in about five minutes. This made the wood seem far smaller than its name suggests. However, when we wandered off the main tarred paths onto the numerous dirt tracks, made uneven by semi-exposed roots, threading their way amongst the trees, tree stumps, broken branches, and clumps of stinging nettles, the wood seemed dense and dank despite the fine blue sky above the tree tops. Calls of hidden birds punctuated the silence. On these small paths, we lost all sense of direction and managed to get lost within the tiny area of woodland.
We had asked some locals how we could reach Little Wood from Big Wood and they had told us to follow a certain path, which they pointed out. We set off along it, but it kept bifurcating every few yards and we were clueless as to which of the two branching paths was the one to follow to arrive at Little Wood. Eventually after going around in circles, we gave up and left Big Wood via Oakwood Road, which is appropriately named as many of the trees in the two woods are oaks. We entered Little Wood from Denman Drive North, the continuation of Denman Drive South. These differently named sections of the same stretch of road link the two woods and must pass close to the field where circus elephants once grazed.
Little Wood, whose history is the same as that of Big Wood, contains one of London’s lesser-known performance spaces, a small open-air theatre. This was created in 1920 by the Play and Pageant Union, one of two drama groups that later merged to form the Garden Suburb Theatre. It was restored in 1997, and now looks like it would benefit from some more restoration. The stage is a clearing in the woods surrounded by trees and bushes. The audience sits on a circular stepped auditorium consisting of three layers of paving stones set in a curve around the stage.
The theatre in Little Wood occupies an important place in my memories of childhood. It was here when I was about ten years old, back in the early 1960s, that I first saw a performance of Shakespeare’s “A Midsummer Night’s Dream”. It must have been on a summer evening when I watched this with a sense of wonder that still lives with me. Apart from the odd logs, there were no other props. The actors and actresses appeared on, and disappeared from, the simple stage almost magically, popping through gaps between the trees and bushes surrounding the theatre.
I cannot begin to imagine what The Bard was thinking when he created The Dream, but I feel sure that he would have approved of its being acted out in on the sylvan stage in Little Wood. Furthermore, I think that he would have appreciated a play that contains six amateur actors in its plot being performed by a troupe of amateur actors such as we were watching that far-off evening. Since watching that play in Little Wood so many years ago, I have seen several other performances of “A Midsummer Night’s Dream”, and only one has given me as much pleasure as that. It was a recent staging of the play directed by Nicholas Hytner at the relatively new Bridge Theatre near London’s Tower Bridge. In that recent show, as the theatre’s publicity said:
“The theatre becomes the forest – a dream world of flying fairies, contagious fogs and moonlight revels.”
And, the result at the Bridge was more than wonderful, although seeing the play in a real forest (Little Wood, in my case) is hard to beat.
Returning to the little theatre in Little Wood the other day, though it was out of use during the Covid-19 pandemic, it kindled many happy memories. Although I had not visited that theatre for many decades, it looked just as I remembered it.
BANGALORE IS RAPIDLY BECOMING AN URBAN DESERT, but luckily there are some green oases. One of these is Cubbon Park, named in honour of Sir Mark Cubbon (1775-1861). When it was first laid out in 1870 it was called ‘Meades Park’. Now, its official name is ‘Sri Chamarajendra Park’, although few Bangaloreans would recognize that name as being Cubbon Park.
Although a few roads traverse the park, they do not detract from ots pleasant sylvan nature. And, on Sundays many of these roads are closed to make them free of traffic.
Most of the park is not laid out in an obviously planned way and much of it is pleasantly in the shade of the leafy branches of huge old trees. Wherever you go, you will encounter dogs with their owners, wild dogs, people sitting or sleeping on benches or logs, people exercising, and picnickers. During a recent visit, I saw groups of young art students sitting in circles on the ground. They were cutting up old newspapers and magazines to gather materials for collages they were preparing.
Cubbon Park has its own metro station. One of its entrances is close to both a statue of King Edward VII of Great Britain and also a disused fighter jet, advertising the products of HAL, whose offices face the park.
After passing through the security check, which is present at all metro stations, I descended to the subterranean concourse. This and other parts of the station has been decorated by artworks created, with varying degrees of skill, by students of the Shristi school of design, which is located at Yelahanka, in between Bangalore and its Kempe Gowda Airport.
I was escorted by one of the Shristi students through the metro ticket barrier to another concourse that can be entered via a station entrance near the Chinnaswamy Cricket Stadium. This particular concourse had a temporary exhibition of photos of Indians who served in British armed forces during WW2. Sadly, this exhibition looked hastily conceived and did not make much of an impact either visually or historically. The involvement of Indian troops and officers during WW2 is undoubtedly of great interest, but this exhibition did not really explore this even superficially. While I was looking at the show, a Sikh gentleman spoke with me and pointed to one of the photos on display. It showed his father, who had fought during the War.
The exhibition ends on the 22nd December, but the delights of Cubbon Park remain … at least for the foreseeable future, but for how long it is impossible to say in a city that gives more importance to real estate investments than to preservation of heritage.
In my youth, there were no free newspapers in London. There were, and still are, daily newspapers that were available to buy every morning. In the evening, there was a choice of the Evening Standard and the Evening News. Both were available to buy for a few pennies.
The Evening News disappeared some years ago. The Evening Standard remained on sale. Then, a few years ago (in 2009), the Standard became available free of charge. In my opinion, its quality decreased a bit after it became free. Shortly before the Standard became free of charge, a morning paper, the Metro, came into existence in 1999. It was free of charge.
The Metro is a perfect read for a bus or train journey lasting 15 to 25 minutes. It covers much news and contains plenty of other interesting features. As free newspapers go, I would far rather have a copy of the Metro than the Standard.
Time Out is a weekly which provides fairly thorough information about what is happening on the London leisure scene and includes often useful reviews of films, restaurants, bars, theatres, etc. Founded in 1968, it provided a far more intelligent and edgy account of the London scene than its rivals. Until 2012, Time Out was sold to readers for a fee, which was well worth paying. Since September 2012, it has been handed out free of charge each week. For sveral years, I thought that the free version was not as interesting as the former paid version, but of late the quality of Time Out‘s contents has been improving.
These various free periodicals are great but in these days of worrying about the planet, should we not be minimising the amount of paper being used just as we are trying with plastics? Although I am not so keen about using on-line versions of newspapers, they do not involve sacrificing trees or rubbish creation.