“No, a perch.”
The angler has just unhooked a small fish and returned it to the canal. I think of perch as being deep and narrow but it takes a while for the adult to develop that impressive hump and belly.




Richard Bell's nature sketchbook since 1998
“No, a perch.”
The angler has just unhooked a small fish and returned it to the canal. I think of perch as being deep and narrow but it takes a while for the adult to develop that impressive hump and belly.





It’s a sleek predator but I wish that we could return to the days when I regularly saw water voles alongside the canal. As the introduced mink spread into valley, the water voles disappeared.
As we walk back later that afternoon we come across a young heron that stands at the edge of the canal looking intently at the water, its yellow eye unblinking. It’s so intent that it lets us get within a few yards of it before flying off and settling twenty yards further along the towpath.



A small white moth flutters around in a curlicue flightpath around the edge of the pond, a spectral presence. On still summer evenings there are often two or three hovering around.
A small red-tailed bumble bee is systematically working its way around the geranium flowers.

Thank you Jane for the question (see comments for this post) about how I go about sketching. What I was trying to do here was sketch whatever came along during a short session watching the pond but I didn’t want to end up with just sketches so I started writing my field notes straight away, breaking off to draw damselflies, moths and tadpoles as I spotted them.
I didn’t get around to drawing red-tailed bee so I’ve popped in a sketch from a post I wrote six years ago: Summer Evening Sketches

The track edges on the middle section of our walk from Leaplish to Tower Knowle look like illustrations from a field guide with a greater variety of wild flowers than you’d find many nature reserves.



Giant hogweed grows luxuriantly on the banks of the River Esk at Musselborough. One low-lying field has become a jungly thicket of hogweed, towering over my head to ten or twelve feet. I’ve got no intention of pushing in amongst it: the headline on the front page of our local paper this week was ‘Teenage Boy Scarred by Giant Hogweed’.
This year the Esk at Musselborough is to be the location for the traditional river crossing of the riders of the Border Reivers. The ceremonies include turf cutting at a number of traditional spots: the Reivers’ version of beating the bounds.

As the bus goes through Portobello we get views of misty hills across the Firth of Forth.
Unfortunately no sketching is allowed in the Scottish Parliament, not without the permission of the Presiding Officer. The mace, which is made from silver and gold panned from Scottish rivers, was designed and crafted by Michael Lloyd. It’s the first time that I’ve seen any of his work since my Royal College of Art days. He was in the silversmithing department but we both attended the general studies environment group run by Christopher Cornford and my tutor in natural history illustration John Norris Wood. You can see the influence of natural form in his design for the mace which is more like a giant thistle than the traditional gothic mace in the House of Commons in London.
He has engraved the words ‘Wisdom, Justice, Compassion and Integrity’ on the head of the mace. Not words that we’d normally use when discussing politicians but a great mission statement to aim for.
Link: Michael Lloyd – This is my story – The Silversmith’s Art


We find a spot downstream where we can sit at the beck-side, undisturbed by waders. The beck, which is rather low at present, plunges over a bed of limestone. The blocks and cracks remind me of the clints and grykes of the limestone pavement at Malham Cove.

I’m wishing that I had a length of string so that I could strap my spiral bound sketchbook around my neck. I really wouldn’t like it to drop in the beck.
As I look down I notice water avens growing from the turf that projects out over the water. Here, probably somewhat beyond easy reach for browsing sheep, there are probably half a dozen species within a square foot, including lady’s mantle, birdsfoot trefoil, plantain and a sedge.



The resident blackbird scolds it. This is the farmyard’s resident blackbird that, Fiona tells us, has been angry ever since it arrived.



Its white flowers have also attracted a longhorn moth Adela reaumurella, a metallic green micro moth, less than a centimetre in length. My photograph shows a female; the male’s antennae are twice as long, three times the length of its forewing.
Slender tufted sedge, Carex acuta (above), has sharp corners on its triangular stems. In my photograph, the male flower spikes are the dangling ochre tassels while the female spikes, below them in the flower head, have two styles growing from each ovary, like the forked tongue of a serpent.
Askham Bog has the largest colony of gingerbread sedge, Carex elongata, in England. In autumn the floppy tussocks of this sedge and its spikes of seeds turn reddish brown. Is that how it gets its name? Is it the colour of gingerbread? Or did it once have some use as a food or herbal remedy?
The colony is in Far Wood, east of the reserve’s boardwalk so wellies are recommended if you go in search of the sedge.
The pink flowers of amphibious bistort, Persicaria amphibium (above), are still in bud. It’s floating leaves are pointed at the tip and blunt at the base.
Despite its name water violet, Hottonia palustris, is a relative of the primrose. In my photograph you can see the stigma of the flower in the yellow centre of the foreground flower. In primroses this is what botanists refer to as ‘pin eyed’. Water violet has finely divided fern-like leaves beneath the surface of the water.
Dog violets grow alongside the duckboards and a few marsh violets, Viola palustris, which have paler flowers with dark veins. Marsh violet has long creeping rhizomes so when we spotted one, we soon found a few more scattered around nearby amongst the marsh plants.

Askham Bog Yorkshire Wildlife Trust Reserve.

Increasingly, the canal, the Calder & Hebble Navigation, which runs parallel to the river, acts as an overflow channel but downstream from the Figure of Three locks the canal itself has what effectively acts as an embankment possibly built up in part by the navvies tipping spoil alongside the channel when they excavated this stretch of the navigation in the 1830s.
Following the Boxing Day floods, the farmer’s solution appears to have been to flatten a short stretch of the banking and to cut an overflow notch so that the field can drain across the towpath into the canal.

As I understand it, these deposits were laid down after the last ice age in a valley that had been deepened because the river that occupied it was heading down towards a lower sea level. Sea levels were so much lower during the ice age that most of the North Sea was dry land.
Swollen by meltwater, this precursor of the Calder was more powerful than the river as we see it today, which meanders over its flood plain re-sorting the alluvial deposits by cutting into the riverbank on the outside of a meander and depositing a sandbar elsewhere. I imagine that flash floods were more powerful in the treeless landscape of the ice age.
In the 18th and 19th centuries, stretches of the river were channeled into a straighter course by canal building navvies and much later in the early 1960s the river was diverted during the construction of Healey Mills railway marshalling yards.
