Sunset Over Morecambe Bay, In Snow

Snow covered Coniston Fells beckon, but a computer glitch and an ill-fated Christmas shopping trip, worthy of Father Ted, rob me of a day on their slopes. As a consolation, I climb Hampsfell to watch the sun set over Morecambe Bay. It turns into one of the most magical fell walks I’ve ever experienced.

December 9th, 2017 and the snow was falling, clothing the peaks in an alluring blanket of white. From my kitchen window, I can see Dow Crag, and in winter, when the trees are stripped of leaves, I can also make out a little of the Old Man of Coniston’s shoulder. By mid-afternoon they were looking positively Alpine, promising all kinds of winter adventure. It was too late to get out today, but Tuesday would be my birthday, and with uncharacteristic foresight, I’d booked the day off work. I checked the Met Office mountain forecast: sunshine and excellent visibility; and with only two days to go, there was just a chance it might be right.

Across the fields

I was buoyant. Borderline ecstatic. And then it happened. Or at least it didn’t. Sandy switched on her laptop, and nothing responded. Zilch, nada, not a flicker. I’m unusual in being a software developer who hates computers. It’s nothing personal, I just spend so much of my day immersed in them, I try to avoid them in my spare time. I fumbled for an excuse, but it wasn’t forthcoming, and Sandy was panicking, so I felt compelled to help.

My wife is a freelance journalist and animal photographer. She had two important photoshoots to process in the coming week, and her laptop is a vital tool. Luckily it was still under guarantee, so I got out my phone and looked up the nearest Apple Dealer (I know nothing about hardware).

“There’s one in Lancaster”, I announced triumphantly. “They can book you in on Tuesday.”

“But I’m at the Westmorland Gazette on Tuesday”, she said, far from consoled. “We’re on a deadline. I’m busy all this week”. Then she added, “Don’t you have the day off on Tuesday?”

My heart sank faster than a Sunderland supporter’s on the first day of the season; or Sue Lawley’s when Wainwright told her he didn’t much like music, at the start of half an hour of air time she was supposed to fill with his choice of Desert Island Discs.

“There are some nice shops in Lancaster”, Sandy offered brightly. “You could do some Christmas shopping”.

It was supposed to be a positive suggestion, but the very thought filled me with dread. I have form, you see. Once in Newcastle, with a few hours to kill, I tried a spot of seasonal gift hunting, unsupervised, but it turns out I’m terrible at it. I just wondered around John Lewis like an automaton, unable to find the way out. When I finally did, it led straight into Fenwicks and the nightmare started again. It was like an episode of Father Ted, except there wasn’t a party of priests in the lingerie department that I could follow. (I know this because I looked). When eventually I escaped into fresh air outside the Grainger Market, I seriously considered buying everyone sausages.

Tuesday arrives, and The Apple Dealer can’t see me until 11:30, so with that and the drive, and the fruitless Christmas shopping, and wandering around Sainsbury’s like an automaton, I don’t get home until 2:30pm. The sky is an unbroken expanse of blue, and the snow-capped Coniston Fells in the distance look magnificent. But they’re half an hour away—by the time I get there, there’ll only be about an hour of daylight left.

Determined to salvage something from the remains of the day, I wonder about Hampsfell. Hampsfell is a small hill that separates Cartmel and Grange. A tiddler compared to the Coniston Fells, but it punches above its weight with its rare limestone pavements and panoramic views of both the Lakeland fells and Morecambe Bay. Wainwright suggests it might appeal to the semi-retired fellwalker: “It is a hill small and unpretentious yet endowed with an air of freedom and space that will recall happy days on greater heights. It is a place for looking northwest, indulging memories, and dreaming.”

I’d be on the summit in time to watch the sun set. Sunset over the bay, on a beautiful snowy day, from a summit made for dreaming—that has to be something special.

I layer up, pull on my boots, grab gloves, hat, headtorch and microspikes and set off. The magic starts almost immediately I step outside the front door. The snow is little more than a dusting of icing sugar on the surrounding fields, but it’s enough to turn the landscape into a Christmas card. A robin hops about the hedgerow and the spire of Field Broughton church rises from a hollow across the meadows to complete the scene.

I wander up narrow country lanes and on to a bridleway, then a follow a path across a field to a stand of trees above. Sheep graze on scattered patches of exposed grass, their shaggy fleeces like mounds of driven snow. As I climb higher through Hampsfield allotment, the low orange sun blazes like a fireball through a lattice of branch and twig, a giant bonfire amid the deepening white blanket. Galloways roam the open fell side, their coats a swatch of seasonal colour: black, red, yellow, and cream, matching the silhouettes of the naked trees, the autumn bracken and the winter grass. As I approach the summit, something is happening across the valley…

Galloways on Hampsfell

On top of Hampsfell stands the Hospice, a squat stone tower with an open door and an open fireplace; a gift to travellers from the pastor of Cartmel in 1846, and a testament of thanks to beauty here experienced here daily. As Wainwright astutely observes, “Outside, over the doorway, is an inscription that will be Greek to most visitors.” Translated from the Greek (for Greek it is), the inscription, “rhododactylos eos”, means “the rosy fingered dawn”. Her cousin, the rosy fingered dusk, is at play now.

Hampsfell Hospice at sunset

North-west over Cartmel valley, beyond a brown swathe of winter woodland, the Coniston Fells rise like a frozen tundra, artic blue in the dimming light; but they are transforming before my eyes—awaking, warming as if softly stage-lit in anticipation of an imminent first act—their chiselled contours now reflect a warm pink glow. Behind them, the sky is a wan, ethereal yellow, sparsely streaked with wisps of mauve.

Old Man of Coniston

Dow Crag & Old Man of Coniston

As I turn south and climb between snow softened escarpments to the limestone-paved plateau, black skeletal branches of stunted, windblown hawthorn trees bow in unison toward the Hospice, a dark tower before a horizon of deepening orange.

Hampsfell Hospice at sunset

In the short distance to the tower, the colours shift and blend again as the sky overhead darkens. To the east, over the Kent Estuary, Arnside Knott is little more than a soft Prussian blue suggestion below a strip of sky, pink as oyster shells. The reflective snow bestows a strange ambience. The stone fence posts that guard the Hospice are black shadowy sentinels, chained together to repel the shaggy cows that roam like ancient bison.

Hampsfell Hospice at sunset

This is a landscape so familiar yet altogether new. It’s as if I’ve crossed into a parallel universe—somewhere I may have glimpsed on the cover of a 1970’s prog rock album. Folk tales of a faery kingdom that the unwary traveler may pass into and return a haunted, altered man seem suddenly less fantastical.

Kent Estuary from Hampsfell at sunset

Sunset in snow on Hampsfell

Yet, the real drama is happening to the west, where the orange sky intensifies over Bardsea and Barrow. In the sea beyond the dark peninsula, I can just make out tall thin poles, little more than fine grey pencil lines. Using the zoom on my camera, I discern the blades of the wind turbines. This is the offshore wind farm, Britain’s largest. Or at least it is in the parallel world I’m used to. Here, with imagination uninhibited, they are an encroaching army of Martian fighting machines from H G Wells’ War of the Worlds. And they must have opened fire, because all of a sudden the sky and water alike burst into flame.

Sunset over Morecambe Bay

Sunset over Morecambe Bay

In between, a low bank of cloud, the thick smoke of the conflagration, engulfs the peninsula, forming a soft grey barrier between the incandescent sky and its mirror image in the waters. All that’s left of the land beyond the Leven estuary is a thin black strip of shoreline. And before my eyes, a new civilisation emerges. The formless cloud bank resolves into an acropolis of colossal towers, slate grey but licked with yellow, still fresh from the furnace that rages above and below.

Morecambe Bay sunset



Cloud towers of Bardsea

Beyond the Hospice, the snow covered limestone gives way to snow covered scrub. I climb a stile over a dry stone wall and follow a white path lined with a Mexican wave of wind-bowed hawthorns. The south eastern horizon is salmon pink, below quilted cloud the colour of Herdwick shearlings. Copper rivulets snake across dark sands to reach the silver sea beyond.

Stunted Hawthorn on Hampsfell

Salmon Pink sky over the Kent Estuary

Toward Fell End, Hampsfell

Toward Fell End, Hampsfell

Slowly, the blaze in the west softens to amber afterglow and becomes a slender strip of pale gold beneath a charcoal sky. The cloud city levitates and starts to disperse, and beneath are pin pricks of light, like tiny candles, from the miniature human conurbations of Barrow, Bardsea, Dalton and Ulverston.

Sunset over the Leven Estuary





Sunset over Barrow from Hampsfell

I’ve been reading the memoirs of Flookburgh fisherman, Jack Manning. He knew these patterns of lights like the back of his hand. They were crucial landmarks when out on the sands, on horse or tractor, scooping shrimp or cockle in the dead of night before the tide’s return.

As I watch the ever changing light show from the subsidiary summit of Fell End, I’m aware of little puffs of steam rising in the dark. I hear a soft footfall and a snort, and I realise I’m not alone. As my eyes adjust, I discern the shapes of sheep grazing quietly on the slope below.

Sheep at sundown on Hampsfell

The snow is so reflective I leave my head torch in my rucksack. I return to the wall and find the stile has vanished. I’m momentarily perplexed, but when I retrieve the torch and switch it on, the stile materialises right in front of me. It must be darker than I thought.

Path to Fell End

And it’s growing darker by the minute; the torch beam accentuates the gloom, but I can no longer see without it. I pass the Hospice and begin the descent back to Hampsfield Allotment.

Suddenly, I notice something strange in the darkness up ahead. Two little points of light hover above the path. I can’t think what they could be. I’m not given to superstition but with my imagination so stoked it would be easy to start believing in the supernatural. They look like disembodied eyes and they hold their position at around head height. Try as I might to find a terrestrial explanation, none presents itself.

When I’m no more than a few yards away, I hear the breathing and see the vapour from the invisible nostrils. Slowly her outline materialises. A big Galloway cow, black as the night. She’s staring intently at me, probably wondering what the approaching ball of light might be. When she realises it’s only me, she loses interest, but doesn’t relinquish the path. I give her wide berth, more from respect than fear. Somehow, I sense no tension here. Nothing threatens the peace of this enchanted landscape on this frozen winter evening.

Just over half an hour later, I turn they key in my front door. I’m back where I started three hours earlier, yet in some intangible sense, I’m still half a world away.

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