Moving flower pots under the bench in the greenhouse, I came across a black hunting wasp* with conspicuous white dots halfway along its antennae. There also appeared to be a white dot at the rear of its thorax. It’s been a mild day and it was even warmer in the greenhouse, even so I was surprised by how active it was. It didn’t appear to be just running for cover after I’d removed the plant pots, it appeared to be actively hunting on the surface of the damp soil. Its antennae were exploring all the time, moving independently of each other.
It was a little over a centimetre, about half an inch long, perhaps a little longer including the long antennae.
* It’s an Ichneumon – a relative of bees, wasps and ants – Ichneumon suspiciosus, a common species throughout the British Isles. Seeing it from above, I’d noticed a brownish tinge on its wings which was, in fact a broad red or orange band on its abdomen. The species also has pale spots to the rear, which I didn’t notice as it scuttled along.
I’ve done a bit more on the watercolour of ear fungus that I started drawing from a photograph a few weeks ago. I’d intended to keep things simple but I’m fascinated by detail and the macro photograph not only gives me a reference for the fungus, it also brings the miniature landscape of the bark of the felled tree into close focus.
I could go on working up all that detail for a few more hours, but I’m going to leave it at this stage because I didn’t intend this to be a sharp focus still life study. It’s fine as it is.
My current pocket sketchbook isn’t designed to take watercolour but it makes a change to use crayons.
I always feel that using a ‘flesh-coloured’ crayon is cheating but, having started with that as the basic colour, I can add various browns and a touch of crimson red to represent the actual colours of my skin.
The blackbirds have the lawn to themselves first thing in the morning, just as it is getting light. We counted eight on the back lawn yesterday. They concentrate on the area around the feeders, so I guess that they are primarily interested in spilt sunflower hearts.
At the top end of the lawn, a male has a bit of luck and seems surprised to have caught a worm. Soon a female notices what’s going on and tries to make off with his prize. He chases her off, then returns to the worm.
Before he can settle down to eating it, a rival male blackbird barges in. As the two males fight it out, the female spots her opportunity, dashes in and makes off with the worm.
The dawn patrol of blackbirds is soon ousted by a gaggle of female pheasants. It’s not unusual to see seven of them busy around the feeders but usually one or two of them will break off the main group to inspect the herbage around the pond, or to forage on the veg beds.
There’s evidently a pecking order amongst the females because as they pirouette around, pouncing and pecking any spilt seed they notice, one of them will make a quick lunge with her beak at another, momentarily shooing it away from her personal space.
This morning we finished the village scene for this year’s pantomime, Cinderella, and this afternoon we’ve blocked in the forest, on the reverse side of the backdrop. I had no fewer than seven helpers – members of the cast and their mums – filling in the outlines for me.
The flat, rounded shapes remind me of Clarice Cliff designs, but we’ll add a bit of shading and outline tomorrow morning.
Dress rehearsal is tomorrow at two, but I’m sure we’ll be finished by then.
On the lane between Notton and Woolley, a kestrel sits, hunched and huddled, in a roadside tree.
At Woolley Edge, there’s a flash of colour as a jay gets up from a roadside verge. Oak trees grow along the sandstone ridge here, so perhaps it was burying, or retrieving, an acorn.
As we reach the open higher ground at Bretton roundabout, we pass a buzzard sitting on a fence-post at the edge of the road.
As we get nearer to Flockton, we see a second kestrel, hovering over the field by the road.
Notton in the 1800s
Looking at our route on the original Ordnance Survey map from the 1800s, I’m surprised to see what a busy landscape this was, with its sandstone quarries,gravel pits and a brick kiln where George Lane meets the Wakefield to Barnsley road.
Just north of the gravel pit there are kennels and, more exotically, three-quarters of a mile to the northeast, there’s a Menagerie, which was part of the Chevet Hall estate.
An osier bed, near the top right corner of my map, would have produced the flexible whips of willow needed for basketmaking.
Five pink-footed geese have touched down on the Middle Lake at Nostell Priory, but they’ve been spotted.
The cob mute swan of the lake’s resident family increases his speed as he draws nearer to them and the geese appear to be increasingly uneasy.
They soon decide that it’s time to make an exit and they take off heading down the lake, then double back to fly up the lake, heading off in the direction that they appeared from, only fifteen minutes earlier.
The goosanders(in the foreground in my last photograph) don’t get involved.
The cob mute swan has defending his territory uppermost in his mind. He spends a lot of time looking up at the small waterfall where the overflow channel beneath the bridge on the Doncaster Road flows through from the Upper Lake. There’s another family of swans on that lake and I’m sure they’d expand into our resident cob’s territory if they got the chance.
Meanwhile the four cygnets of the Middle Lake family are looking increasingly like adults, with fewer and fewer grey patches. I’m afraid that he will soon want them to move on, so that he and the pen can start raising their next brood.
This morning is a big anniversary for me as fifty years ago this summer, as soon as I’d completed my O-levels, I went along to Horbury Pageant Players and asked if I could help with painting the scenery. Even so, as I walked into the hall this morning, I really didn’t expect a big band playing a fanfare.
“You shouldn’t have!” I told Wendie, the producer. She hadn’t: she explained that there’d been a double-booking for the hall this morning.
Band rehearsal over, we set about converting the backdrop of last year’s Sleeping Beauty chateau into Hardship Hall (above, on the extreme left) and the surrounding village, for this year’s production of Cinderella.
As you can see from my sketch, I’ve kept the trees and the castle door from the old backdrop, but I realise that the door, which is now supposed to represent a shuttered window, is too central and imposing for a village scene, so tomorrow, I’ll paint that out too and replace it with a more domestic-looking window.