Around Britain by Canal

1,000 Miles of Waterways

Anthony Burton

• Publisher: Pen & Sword Transport
• Year: 2018
• ISBN:
  9781473893252
• Topic: Technik & Maschinenbau
• Subtopic: Seeverkehr

This is the story of a thousand mile-long trip around England by canal. At times the journey took the author out into the beautiful countryside, and elsewhere the canal crept round the edge of old industrial towns.It is a journey that proved full of surprises, delights and rich variety, as the book clearly demonstrates. The book illustrates the great contrasts between travelling on the wide tidal waters of the River Trent and being overtaken by sea-going cargo ships, to meadnering along the sinuous curves of the Oxford Canal. The Leeds & Liverpool Canal brought magnificent moorland scenery and the drama of the great five-lock staircase at Bingley. London was seen from two very different perspectives. Travelling past the elegant houses of Little Venice and Regents Park and then turning back along the Thames to float past the Houses of Parliament. The author finds as much pleasure in the hidden corners of Birmingham as in the rural beauties of Shropshire.The book has become regarded as a classic of canal travel, and is reissued with previously unpublished color photographs taken by Phillip Lloyd, who shared the trip with the author.

CHAPTER 1

On Back Doors

When I was young, one of the great treats was to be taken to stay with my grandmother in Stockton-on-Tees. Like most such recollections my own are made up of a mixture of very sharp images, where every detail comes out precise and highly coloured, and the vaguer pictures, that become little more than a blurred alternation of days when the sun shone with a brilliance we have never seen since, or the rain fell in sheets. In childhood memories there is no place for the merely dull. Clearest of all the memories comes the kitchen at the back of the house: the feel of it, the warmth from the big fire at the kitchen range, where the kettle hissed permanently on the hob; the smell of bread cooking; and the sight of it, a comforting warmth of colours, battered brown leather chairs, lino cloth on the table, brown velvet curtains worn to a threadbare golden old age. It was all as snug and cosy as a well-lined nest. Life in that house revolved around the kitchen. Here I played in muzzy comfort on the dark, wet days, and they are the days I remember best. The kitchen world was cut off from the rest of the house by the heavy, draught-defying curtain which came in so useful for amateur theatricals, when I mounted supremely egotistic one-boy shows for long-suffering relations.

There was another door out of the kitchen – the back door that led to the outside world. There was no curtain hanging there, for it was in constant use. In memory, neighbours are for ever poking their heads round that door, looking round the busy kitchen scene before asking the ritual question: ‘Anyone at home?’ Beyond the back door was the other part of that childhood back-of-the-house memory, the yard; a cobbled area surrounded by a high wall, ideal for ball games. The smell of the yard that comes back is of mint and washing – in equal parts. There was so little soil in the yard, there was room for nothing to grow apart from the wiry mint plants; the wash-house was out in the yard, steam-filled each Monday when clothes were pounded in a great galvanized tub. And beyond the yard wall was the back alley and the corner shop. It was by that alley wall that I first began to find pleasure in seeing how ingenious men could be, for it contained a device which, even as a child, impressed me by its magnificently effective simplicity. This was a hinged trapdoor let into the wall, through which you could dump all the household rubbish. A second trap, set lower down, allowed the dustman to empty it straight out the other side. I can still recall with pleasure the sight of the alley walls of Stockton disgorging themselves into the Corporation cart.

The house had a front door and stood facing other houses across the street; but that was the dull, formal part of the world. The front door was for Ministers of Religion and the Man from the Pru, who knocked and waited to be allowed in. And the front room was for tea from the best china and polite conversation and chintz on the chairs. It was always Sunday in the front room. The family that sat around in the front room did not seem to be quite the same family that worked in the back. As a child, I preferred the world at the back of the house. On more mature reflection I still do.

The main street of Stockton is wide enough to take the Town Hall and a market in the centre, with ample room for traffic on either side. Market days bring bright, bustling memories, but otherwise it seems, to my mind’s eye, less colourful, with the glorious exception of the department store at the end of the street, where change whistled all round the shop in shining metal cylinders. I was, I suppose, adolescent before I discovered that the town also had a back door world, the world of the river, which in those days still had its shipyards and boats. It had a very different air about it. It was all rather shabbier, dirtier, but yet had a unique atmosphere made by the tall warehouses ranged along narrow streets that suddenly opened up to the wide river scene. As a child I responded instinctively to these atmospheres. I don’t believe I ever stopped to think out how the town had grown up around its importance as an inland port, but I was conscious of the difference, aware that a town could have two quite distinct personalities. The town was not so very different from the house in Richmond Road.

Today I travel the country a good deal, usually by car. I seem to reach more places but see less, and what I do see from the main road is the front door world. This book is about a journey I made to find the other side of village, town and city. Such a journey had to meet a number of requirements. First, I had to travel to the right sorts of areas. That was essential. Then I had to have a form of transport that would give me time to see the world around me and it had to be a form of travel that I would actually enjoy. There was only one that matched my needs. There are any number of ways of moving around the country that give you time. You can ride a horse, but you can hardly ride your nag through the middle of Birmingham. Or you can go by bicycle, but that fell foul of the other criterion, that I should enjoy it. Or you can walk. Alas, I am too lazy. For me the choice was simple. I would travel the country by canal.

The canals are one of the great loves of my life, and no route could be more aptly described as back door than a canal route. You scarcely see anything else. Built to serve industry, canals tend to sidle up on towns, creeping in among the mills and factories, emerging only briefly to peer at the more fashionable areas before scurrying off again. Speed is absolutely perfect: you are not even allowed to go faster than four miles an hour. Nothing could be better, nothing more appropriate and certainly nothing more enjoyable. And the route was quite easily fixed. I wanted to do a continuous tour with as little doubling-up as possible, and to cover as wide an area as I could. It was simple enough, but I spent what seemed like months going over and over the details and schedules. At last, with a sublime disregard for superstition, I set off on 13 March 1975- to collect the 45’-foot narrow boat Water Columbine. My back door journey had begun.

CHAPTER 2

The Heart of England

The journey began at Hillmorton, on the outskirts of Rugby. Arriving by car, you drive through the suburban streets until you reach one, much the same as all the others, called Brindley Road in deference to the great canal engineer. That’s enough to tell you that you are nearly there. Down the road, through the narrow tunnel that pierces the railway embankment and out the other side to the canal, a visual change as startling as the move from the dark into the light. From suburbia you’ve reached the countryside; from the modern housing estate you have turned back two hundred years to the old Oxford Canal and the Canal Company buildings. Here, right at the start, are many of the special qualities that draw me back to the canal time and time again. Here is a group of buildings that belong completely to one moment in time and, just as importantly, to one region. Hillmorton Yard is a good place to set up a few standards.

Hillmorton is close to the very centre of England, and the buildings are as essentially English as any you could find. Here in Warwickshire you are in brick country. Coming as I do from the North of England, I am always inclined to look down on brick as a second-class building material. Stone is the thing. Brick buildings, like thirties semis elbowing their way in between the old, dark houses of local gritstone, are intrusions. But what I saw then was the stock brick, as different from these local bricks as concrete is from stone. Here the bricks were fired locally, formed from the red clay. And they have a richness of colour and texture that is hard to match today. In the days when these bricks were made, kiln temperatures tended to be a bit hit and miss, so you get a whole variety of colours from the deepest red to a lightish brown. And they have one great virtue: they improve with age, seeming to retreat back to fit in with the natural colours of the countryside from which they came.

The buildings themselves are plain enough, built to serve a purpose, quiet and functional. It is a simple grouping: the office, looking like a respectable, middle-class house, stands next to the lock, while the maintenance buildings are tucked away on a side arm, behind the high, rounded arch of the old bridge. There is nothing elaborate, no decoration. So why is it so satisfying to look at? Partly, it is just the presence of the water. Any building set down by water gains something in interest from the shifting reflections and the play of light. Partly, too, the answer lies with a feeling of right proportions, that unmistakable hallmark of Georgian building. But for me, the main joy lies in this feeling that the buildings belong in their surroundings, belong to this one particular place. It is a quality to which, I believe, most people respond, even if it is only subconsciously. Here are buildings that sit squarely and most comfortably in an old tradition of British architecture.

Nowadays, Hillmorton is the base for part of the British Waterways Board (B.W.B.) fleet of hire boats, and it was here, after leaving the car with no regrets whatsoever, that I collected the boat that was to be home for the next six weeks. The old working boatman would have recognized the 45”-foot steel hull as having a strong family resemblance to the traditional narrow boat, but inside in the cabin, it would have seemed a dream of almost unimaginable luxury. Hire boats such as this, built at Market Harborough, are specially designed for the holiday trade, and very well designed at that. They come complete with central heating, hot and cold running water, shower, cooker, fridge and a device known as a pump-out toilet, which was to prove something less than an unmixed blessing. Starting at the front, there is the water tank in the bows, and the first cabin, which the nautically inclined call the saloon, though it has always seemed to me a bit pompous to use language more appropriate to an ocean-going yacht. It’s the place where you can sit down or have a meal, and it comes complete with a seat that makes into a double bed for the night. Beyond that is the kitchen. Then there are two more cabins, each with two bunks and wash basins. The stern is the business end of the boat, where there is an open deck over the diesel engine, and the tiller and controls. People new to the canals are often nervous of this type of boat. They tend to look instead to the fibre-glass cruiser with wheel steering, something that seems more like the friendly family car. It is a mistake. The steel-hulled narrow boat is, after all, the craft that has grown up with the canals, the end product of two centuries of experience. It won’t blow around much in the wind, and the steerer has the whole length of the boat in view. It is so robust, so easy to handle that a child can manage it. In fact my daughter could steer when she was still so small she had to stand on a box to see over the cabin roof. The only thing you have to get used to is remembering which way you have to push the tiller, and learning that the boat pivots around the centre and not around one end.

The former maintenance yard at Hillmorton, a typical example of attractive yet strictly functional canal architecture.

When everything was stowed away, I was joined by the crew. Crew hardly seems the right word, for it suggests a sort of Captain Bligh hierarchy which, I hope, never materialized. Anyway, whatever you want to call them, they came: Phil and Bill. It sounds like a music-hall act and, as far as appearance is concerned, they would have made a good pair: Phil, tall, blond and thin; Bill, short, dark and, well, stout. And, just for the day, we were joined by an old friend, Peter White, whose many virtues included an ability to provide an apparently endless supply of food and hot drinks.

I backed the boat down the arm and out into the canal. And, at once, all the familiar pleasures of canal travel were back with me again. The whole pace of your life starts to slow down and take on a new meaning. The day is governed by the light of the sun, not the ticking of a clock on the wall. You could do away with clocks and watches altogether on the canal if it was not for the absurdities of the British licensing laws. You move at a walking pace, and in accepting that pace you seem to be brought closer to the whole natural world: you find yourself becoming more conscious of your surroundings, aware of quite small changes in the land about you, in the weather, in the movements of animals and birds. You have a sense that man is just another animal with his own place in the order of things. But you are also conscious of the great changes that man has made, of how he has set his mark on even the most natural-seeming landscapes.

The day was grey, with a chill, clinging dampness that lingered on through the morning. We seemed to move through an oddly monochrome land, as if we were being pictured in a faded sepia print. The water was ochre-ish, bounded by grey straggles of trees and brambles, still leafless and coloured only with the dull green of moss. The fields beyond were, at first, only snatched glimpses of a brighter green. Even the bird life seemed to fit into this mood. The heron stands like a grey, cast-iron ornament, waiting until the very last minute, when the bows of the boat are almost level with him, before taking off with a lazy beat of wide wings, his long neck tucked into his shoulders. He is like a flying wedge. The heron is a bird that takes a dim view of the passing boats. He flies up, moves on ahead and resumes his game of statues. But the wretched boat keeps coming on, disturbing him again, and he keeps being pushed forward until he tires of the whole business and swings round in a great arc to land back where he started. Sometimes you’ll see the heron get a fish: the long neck snakes into the water and the victim is speared and gobbled down in a flash. But mostly, he just stands around, wishing you’d go away.

Other birds seem less concerned by our passing. Coots and moorhen bob in the wake. Pigeons mostly stay out of sight but seldom out of earshot with their hollow, dreary repetition, whoo-hoo-wh, whoo-hoo-wh. In the fields the lapwings scarcely bother to break off from their endless pecking, raising their comma’d heads for a moment, before returning to the feast. Magpies – one for sorrow, two for joy – come out in ones to remind us the date is the thirteenth. The sun accepts the omen and stays behind the clouds.

Travelling down this part of the Oxford Canal, you may not notice man’s intrusion, but it’s there all right. It is there in the canal itself. The centuries have worked at smoothing out what was once a raw scar on the countryside, but they cannot disguise the fact that the canal wrought a major change, marked the beginning of a new age. This part of the country probably offers more extensive evidence of the old, medieval pattern of farming than any other. Not that it was the canal that brought a change to farming methods. That came long before, with the Black Death, when the population drastically declined. There just weren’t enough people around to work the land and much of the old arable went over to pasture for sheep. But the old patterns still stayed on the ground. The medieval peasant had farmed his strip, ploughing up and down the full length of it with a plough that dug deep furrows and threw up high ridges, and each strip was marked from its neighbour with a double furrow. That old field system meant nothing to the canal engineer, cutting through the land, looking for a level not a medieval boundary. So the canal today slices straight through ridge and furrow, giving the traveller a cross-section view, an instant lesson in agricultural history.

Canal travel is punctuated with pleasant regularity by bridges. They act as identification marks and distance posts: a bridge number and a map are all you need to keep a check on progress. The old bridges are built of the mellow brick found at Hillmorton, yet it was along the same canal that the materials of the new age were brought. Builders were no longer limited by what they could find at their own doorsteps. Some materials were introduced because they were better, most because they were cheaper. And, once begun, the pace of change accelerated and you can measure that change from the bridges you meet along the way. Where the railway crosses the canal, you find a structure very different from the little humpbacked bridge that is no more than a ripple on the horizon. The railway comes up on a high bank and crosses on a massive bridge. Though it is still made of brick, it is quite alien. This is the blue engineering brick, which became as typical of the modern industrial regions of the Midlands as the red brick was typical of the old rural areas.

The material may have changed, but the railway bridge was still just a canal bridge writ large, based on the powerful but visually satisfying contrast between straight parapet and curved arch. The twentieth century has changed all that. Brick has given way to concrete; the arch has been replaced by the slab. Most people, if asked, will say they prefer the old bridges, and I would suggest they are reacting against two new factors: the modern bridge is all straight lines, which are at odds with the curve of the land, and the material it is built from has no relation to the natural materials of the country. The old brick goes back closer to its origins; the concrete gets grubbier. Yet, there is a consolation, for even the motorway bridge now plays a part in the life of the countryside. The wire fence that runs as a boundary under the bridge makes an ideal backscratcher for sheep sheltering from the rain. I dare say you could pick enough wool to knit a sweater if you had a mind to it.

Look at a map, and the half dozen or so miles from Hillmorton to Braunston look singularly dull, and so they are if you are looking for some overwhelming excitement. There are no great monuments, no marvellous engineering features, not even any towns, but once you have got the habit of looking it is anything but dull. For me the pleasure was the keener simply because it was my first day back on the canal after nearly a year away. Certainly there is an egotistical pleasure in sliding the boat accurately, without a single bump, into that first lock. You take it much more seriously the first time; the bumps will come later. Then you have the opportunity to look around, note details. Pen goes to notebook with astonishing regularity. A plain, square, red-brick Georgian house becomes special precisely because you are looking; it is this act of looking that makes the building into something special, that makes you aware of the details. Passing just such a house I noticed the changing style of the brick work. There is often a sort of checkered effect on the houses. This is produced by the use of Flemish bond, where stretchers (bricks laid with their side to the wall face) and headers (bricks laid so that the ends are seen) alternate. Use different coloured bricks for headers and stretchers and you have diaper work of a chequerboard pattern. No need to know the technical names, but it is worthwhile seeing what a wealth of variety you can find in the simplest buildings.

The Oxford Canal joins the Grand Union at Braunston, a village that climbs the hill to the church at the summit. It is a very grand looking church for such a small place, topped by a tall spire and a myriad of pinnacles, that suggest either early English Gothic or Victorian: in this case both, as it was restored to what it never was by Butterfield in ...

Table of contents

• Cover
• Title
• Dedication
• Copyright
• Contents
• Preface
• Chapter 1: On Back Doors
• Chapter 2: The Heart of England
• Chapter 3: Brummagem
• Chapter 4: Provincial Pleasures
• Chapter 5: Mills and Hills
• Chapter 6: Of Shoes and Ships and Sealing Wax – and Aeroplanes and Ice
• Chapter 7: The Cotton Kingdom
• Chapter 8: Pennine Way
• Chapter 9: Tom Pudding Land
• Chapter 10: Burton on Trent
• Chapter 11: Old Towns
• Chapter 12: New Towns
• Chapter 13: Homage to Brindley
• Chapter 14: Down the Thames
• Chapter 15: London, Back Door and Front
• Chapter 16: Home Counties Crawl
• Chapter 17: Journey’s End