Polish Airmen’s Memorial, Bradley, North Yorkshire

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Polish Airmen’s Memorial, Bradley, North Yorkshire

On the quiet towpath of the Leeds & Liverpool Canal near the settlement of Low Bradley, south of Skipton, there is a memorial marking the site where a Wellington aircraft HZ251, flying from Skipton-on-Swale near Thirsk to Silloth in Cumbria, lost a wing and crashed into the canal embankment on September 23rd 1943.

Seven Polish airmen were killed instantly.  Five of them were the crew of another aircraft which had been grounded, stranding them away from their base.

The seven airmen were –

Flt Lt Jozef WOLNIK age 31 Navigator instructor

Flt Sgt Franciszek CIASTON age 27 pilot

Flt Sgt Wladyslaw OSTROWSKI age 27

Sgt Boleslaw Josef SWIECA age 28

Sgt Boleslaw RYCHEL age 21

Sgt Jan CZYZEWSKI age 23

Sgt Abram KAWENOCKI age 22

Five of them are buried at Fulford Cemetery, York.  Flt Lt Wolnik rests at Layton Cemetery in Blackpool, and Sgt Kawenocki lies in Long Lane Jewish Cemetery, Liverpool.

Among the local people who rushed to the scene was Jack Lockwood, one of three young mechanics repairing tractors for the West Riding War Agricultural Executive Committee, or “War Agg”.  He travelled past the site, near Winifred’s Café, every day by bus:  he noted how quickly the gruesome wreck was cleared away, but thought about the dead airmen twice a day on his way to and from work until in due course he joined the armed services:  https://www.cravenherald.co.uk/news/1341151.i-witnessed-polish-air-crews-death-plunge.

These Polish airmen’s stories have been meticulously researched.  Jan Czyzewski had married in February 1943;  his son was born four weeks before he was killed.  Jozef Wolnik had been married only three weeks.  Details of all seven airmen are recorded at https://www.yorkshire-aircraft.co.uk/aircraft/planes/dales/hz251.html.

A lifetime later, two local men, Peter Whitaker and Jim Hartley, successfully campaigned for the memorial to be built so this episode should not be forgotten.  It was unveiled by Jozef Wolnik’s widow, Mrs Josephine Stebbing MBE, on April 22nd 2007.

Those of us who didn’t live through those times may be tempted to visualise wartime fatalities as the direct result of enemy action, but war spreads its evil further.  These foreign airmen who had come to Britain to fight the Nazis lost their lives while routinely travelling back to base.  Their lives were cut short, and their loved ones’ futures irreparably damaged. 

They deserve to be remembered too.

Tram tracks revealed

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Tram tracks, Fargate and Leopold Street, Sheffield (2023) © John Binns

When Sheffield City Council abandoned its first-generation tram system in the 1950s, most of the redundant trackwork was simply covered with tarmac and forgotten.  At that time there was no value in uprooting the rails for scrap.

Ever since, workmen digging holes in main roads across the city have been repeatedly confronted by heavy steel girders blocking their way.

There was a recent flurry of media interest in Sheffield when most of the delta junction which connected the tracks along Fargate, Pinstone Street and Leopold Street came to light in the course of alterations to the pedestrianised area around the Town Hall.

People queued up to take photographs of the rusting rails, and BBC Look North and the Sheffield Star ran features on this 63-year-old piece of urban archaeology. 

Interviewees were sorry to see the tracks cut up, and wondered why they couldn’t be preserved for their heritage value:  Calls to preserve heritage as historic Sheffield tram tracks torn out for Fargate development (thestar.co.uk).

Actually, that’s already happened.  Tram tracks found in the course of pedestrianising The Moor at the start of the 1980s were included in the landscaping, with immediately recognisable planters representing the lower-deck fronts of two standard Sheffield double deckers:  Searching Picture Sheffield.  These have now vanished.

In Firth Park, when a roundabout was constructed in the 1950s at the bottom of Bellhouse Road and Sicey Avenue, the trams continued to run directly through the road junction for the few years that remained before buses took over.  The tram tracks still slice through the roundabout after six decades’ disuse.

Firth Park, Sheffield: roundabout and tram tracks (2023)

This isn’t simply a Sheffield eccentricity.  Stretches of recovered track, and often the associated stone setts, are preserved in such cities as Birmingham, Bristol and Chester.

The Fargate discovery is old news.  A history forum stream dated 2008-2011 reported numerous excavated tracks across the city:  Tram Tracks on the Moor – Sheffield Buses, Trams and Trains – Sheffield History – Sheffield Memories.

Sheffield was one of the last British cities to eliminate tram services, yet though you have to be pushing seventy years of age even to remember these tracks being used, the nostalgia for the city’s cream and blue four-wheelers is powerful and, it seems, inheritable by younger generations.

It’s tempting to ask why there can’t be tram-tracks in use along Fargate, Pinstone Street and The Moor, heading to the south of the city, now that city-centre bus services are diverted several hundred yards from the city’s pedestrian thoroughfares.

Castlefield Viaduct

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Castlefield Viaduct, Manchester (2023)

Castlefield, the site of Manchester’s first known settlement, the Roman Mamucium, is a cat’s cradle of canals and railways.

The Cheshire Lines Committee, a consortium of three separate railway companies, ran four tracks into the city centre, leading to its Manchester Central passenger station and the vast Great Northern Warehouse, both of which were reborn in recent times, respectively as a conference centre and a leisure complex.

The southern CLC viaduct was adapted to carry Metrolink trams in 1992, but the parallel viaduct has had no practical transport function since the track was lifted in the early 1970s. 

In 2021 the National Trust announced a scheme to use the viaduct to create a sky park – an elevated green space in an urban environment ~ by making use of the abandoned transport infrastructure.

The original linear sky park was the Coulée verte [green belt] René-Dumont (alternatively called the Promenade plantée [planted walkway] René-Dumont) in Paris, opened in 1993.  René Dumont (1904-2001) was a professor of agricultural sciences who began his career advocating the use of chemical fertilizers and eventually became an ecologist and an inspiration to the French Green Party.

The most famous sky park is the New York City High Line, a stretch of the New York Central Railroad’s abandoned West Side Line that was rescued from demolition and redevelopment by the Friends of the High Line.  It was opened in sections between 2009 and 2014.

These and other examples have demonstrated that it’s often cheaper and more profitable to make redundant rail infrastructure an amenity than to scrap it.  It’s well known that developers and property owners are attracted to inland waterways for sound commercial reasons, and it’s apparent that the effort to rejuvenate rail structures can similarly invigorate the surrounding area.

The Castlefield Viaduct is very much a temporary pilot project which is well worth visiting, a thousand-foot stretch accessible from the Deansgate/Castlefield tram stop:  A fly-though of Castlefield Viaduct – YouTube.  Funding for future development seems uncertain at present, and it would be a pity if the project had to be abandoned:  Castlefield Viaduct | Manchester | National Trust.

Other British cities have derelict railway structures that could be potential sky parks. 

Leeds has two such projects, the Monk Bridge Viaduct, built in 1846, closed in 1967 and now adapted as an urban garden, and the 1½-mile Holbeck Viaduct, built in 1882 and abandoned since 1987, for which ambitious plans exist.

Birmingham has the Duddeston Viaduct which, because of a disagreement between competing railway companies, was built and left incomplete in the late 1840s and has never carried a train.  

It would be satisfying to see it eventually find a useful purpose.

The new Adelphi

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Adelphi Cinema, Attercliffe, Sheffield: balcony plasterwork (1982)
Adelphi Cinema, Attercliffe: balcony (2023) [© Dan Bultin]

Sheffield has only two listed cinema buildings, both coincidentally opened in 1920 – the Abbeydale Picture House, designed as a multi-purpose entertainment venue with a full theatre stage, a ballroom, a billiard saloon and a café, and the Adelphi, Attercliffe, a straightforward silent-movie house which at the time of listing in 1996 was largely intact inside and out.

At present the Abbeydale is in a state of limbo.  Problems with the auditorium ceiling have led to a legal stand-off between the landlord and the lessee which needs to be resolved to safeguard the integrity of the building and enable a full restoration to take place.

There has been a flurry of media attention about the Adelphi, which was purchased by Sheffield City Council in March 2023 for refurbishment as a mixed-use cultural space, much needed for the revival and transformation of the local community. The Adelphi is on the market, with a promise of Levelling Up funding to make it once again “occupiable”:  Levelling Up: Adelphi Cinema in Attercliffe out to market (sheffnews.com).

A very attractive CGI image shows what the interior might look like after refurbishment, yet nowhere in the media coverage is there any indication that the original 1920 decoration has completely disappeared.

The auditorium in its current state is a bleak contrast to how it looked at the time it was surveyed for listing, with “pilasters, segment-arched panelled ceiling and [a] moulded proscenium arch with [a] central crest flanked by torches [and a] U-shaped gallery with [a] latticework plaster front”.  The original scheme was delicate and light:  Searching Picture Sheffield;  Searching Picture Sheffield.

The listing inspector observed that “cinemas dating from this period, between 1918 and the introduction of sound in the early 1930s, are comparatively rare”.

What happened? 

I e-mailed a city councillor who will be in a position to know (or find out) but I’ve so far received no response.

I photographed the interior in 1982 when it was a bingo club and again in 1990 when it was unoccupied.  At the time the entire auditorium was bristling with classical plaster decoration designed by the architect William Carter Fenton (1861-1950;  Lord Mayor 1922).

A cluster of urban-explorer reports in 2011 suggests that conversion to a night-club was largely respectful of the building’s listed status, despite the need for structural alterations.

The building was sold for storage use in 2013 and at some point the plasterwork was stripped out.

Recent images show a bleak space that looks nothing like a 1920s cinema.  The CGI image represents an admirable exercise in making the best of a bad job, apart from the puny chandeliers.

Maybe there was a legitimate reason to take down the plasterwork:  perhaps it was unstable and might have injured someone.  Maybe the owner at the time discussed the matter with the Council planning authority, but I’ve never heard any public mention of alterations in the years after the listing.

Though the Adelphi deserves to retain its Grade II listing because its fine exterior survives intact, it now bears no comparison with the Abbeydale, and there are other Sheffield cinemas with surviving interior features which haven’t been considered for protection:

And if the stripping of the auditorium plasterwork was unauthorised, should there not be consequences for a flagrant disregard of the laws about listed buildings?

Monumental cemetery

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Cimitero Monumentale, Milan, Italy: monument to the family of Francesco Podreider (1830-1894), by Domenico Ghidoni (1857-1920) – ‘Christ cleansing the Temple’

Milan’s Monumental Cemetery [Cimitero Monumentale di Milano], designed by Carlo Maciachini (1818-1899), is one of a number of magnificent Italian burial sites that far outclass even the major British examples.

This vast valhalla extends to 250,000 square metres.  The main section, predominantly Catholic as one would expect, was opened in 1866 and the Jewish section was added in 1872 and extended in 1913.  Non-Catholic gentiles are buried in a third area.

Tripadvisor recommends giving an hour to a location that would be difficult to explore thoroughly in less than a day without a guide or guide-book.  It’s an architectural and artistic buffet, and wandering is like going to Harrod’s food hall looking for a snack.

Facing the spacious entrance piazza, the Famedio (1887), a huge hall of fame in “Neo-Medieval” style, contains the remains of many of Milan’s most prominent citizens, and has sarcophagi commemorating the novelist Alessandro Manzoni (1785-1873), the philosopher Carlo Cattaneo (1801-1869) and the architect Luca Beltrami (1854-1933). 

The tombs in the archways of the Famedio’s extensive arcades are loaded with statuary in great variety, and avenues radiate from the terrace crowded with a similar variety of fortissimo graves and monuments. 

Mausolea in traditional styles – classical, Romanesque, Byzantine, – stand alongside modern structures of plate glass and steel.  Only Gothic seems to be absent.  Extravagance of design, materials, imagery, style and symbolism abound.  Bronze, copper, masonry and occasionally brick and terracotta are indiscriminately used according to families’ preference. 

Figures are draped across tombs in agonies of grief;  Father Time’s scythe reaches up from the earth.  Alongside symbol and allegory are obvious portraits, including some delightful matriarchs.  There is a surprising number of nudes, the females entirely uncovered and very beautiful, the males strategically covered.

Milan came early to embrace cremation.  Its Crematorium Temple, which also serves as a columbarium, was the first in the world, opened in 1876 and remained in use until 1992.  The range of cremators remains behind iron doors, one of them visible to the public.

I couldn’t begin to catalogue the fine monuments I photographed. 

(Google translations disconcertingly render Italian descriptions of these great monuments, edicola, as “news-stand”;  the French equivalent is Kiosque.  It’s derived from the Latin aedicula, which among other things means “shrine”.)

One exceptional example, the tomb of the textile manufacturer Antonio Bernocchi (1859-1930), is an inventive reiteration of Trajan’s Column in Rome, designed by the architect Alessandro Minali (1888-1960) and the sculptor Giannino Castiglioni (1884-1971):  Bernocchi Newsstand | Monumental Cemetery Milan (comune.milano.it). 

The tomb of the Campari family, beverage manufacturers whose famous aperitif bears their name, is an elaborate life-sized representation of the Last Supper by Giannino Castiglioni (1884-1971) – Campari Newsstand | Monumental Cemetery Milan (comune.milano.it) – and the monument to the family of Francesco Podreider (1830-1894), by Domenico Ghidoni (1857-1920), is a dramatic portrayal of Christ Cleansing the Temple:  Gospel Iconography | Monumental Cemetery Milan (comune.milano.it).

The composer Arturo Toscanini (1867-1957) lies in a mausoleum decorated with carvings by Leonardo Bistolfi (1859-1933), along with his wife Carla Finzi (d1951), his four children and his son-in-law, the pianist Vladimir Horowitz (1903-1989) and his daughter-in-law, the classical dancer Lucia Fornaroli (1888-1954):  Toscanini Newsstand | Monumental Cemetery Milan (comune.milano.it)

In contrast to these lively expressions of grief, the dour monument designed by Mario Palanti (1885-1978) for his parents and family, consists of truncated Doric columns supporting a vast sarcophagus.  It was built in the years 1928-30, and its crypt was used as an air-raid shelter in the Second World War.  It now serves as the Civic Mausoleum [Civico Mausoleo] honouring Milanese celebrities such as Herbert Einstein (1847-1902), father of the physicist Albert.

The Monumental Cemetery is overwhelming.  It certainly deserves more than an hour of anyone’s time.

Liverpool Olympia

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Olympia Theatre, West Derby Road, Liverpool

The circus industry has traditionally been peripatetic – we associate going to the circus with a “big top” tent in a field – but there was a moment, early in the twentieth century, when it seemed sensible to build auditoria big enough to house a circus ring.

That moment was brief.  The prolific theatre-architect Frank Matcham (1854-1920) converted the Brighton Hippodrome from an ice rink in 1901, but it was rebuilt as a variety theatre the following year.  Frank Matcham’s London Hippodrome on the corner of Leicester Square, built in 1900, was adapted as a variety theatre in 1909.

There are two places in Britain where you can still experience circus in a purpose-built hippodrome – Blackpool Tower Circus (1894;  interior by Frank Matcham 1900) and the Great Yarmouth Hippodrome (1903), but there’s a third survivor which is one of the largest and grandest of Frank Matcham’s auditoria.

The Olympia Theatre, West Derby Road, Liverpool (1905) was a proscenium theatre with a circus ring and water tank for the briefly fashionable spectacular performances known as naumachiae. 

To accommodate the standard 42ft-diameter circus ring projecting into the stalls area, the proscenium is 48 feet wide, and the stage measured 100 feet wide by 41ft deep.  The fly-grid is 68 feet above the stage floor. 

The base of the ten-foot-deep 80,000-gallon under-stage tank survives without its hydraulic machinery:  the basement storey also contained stabling for elephants and horses, and cages for lions.

The original seating-capacity was 3,750.

The Olympia was built by Moss Empires only a couple of hundred yards from their rival Thomas Barrasford’s 3,500-seat Royal Hippodrome (1902;  demolished 1984), which stood opposite Low Hill Cemetery (now Grant Gardens). 

Ken Roe, in his visit-notes for a Cinema Theatre Association tour in 2000, commented –

The Olympia was provided with 36 separate exits, but the problem turned out to be how to get the people into the place, not out…

Harold Akroyd, The Dream Palaces of Liverpool (Amber Valley 1987), remarked that –

…an asylum once occupied the site of the Olympia, which prompted the comment that Moss & Stoll must have been mad to open a music hall so close to the city…

This story is too good to check, however:  The Stage, April 27th 1905, indicates that the site was formerly occupied by the Licensed Victuallers Association almshouses.

Three balconies spread the audience across a wider space than a conventional proscenium theatre.  Beneath the Dress Circle were ten boxes facing the stage.  The additional proscenium boxes facing the audience were clearly intended only for circus shows.  Their onion domes are complemented by the plaster elephant-heads that embellish the side walls.  A sliding roof provided ventilation between houses.

Associated British Cinemas Ltd took on the lease in 1929.   On February 11th in that year the Olympia became Liverpool’s first sound-cinema when Al Jolson’s The Jazz Singer opened.  For perhaps the only time in the Olympia’s history, queues stretched out of sight down West Derby Road.

As competition from large-capacity modern super-cinemas grew in the 1930s even the Royal Hippodrome went over to films, and ABC, which operated both buildings, closed the Olympia as a cinema on March 25th 1939.

After wartime use as a Royal Navy Depot, the Olympia was sold to Mecca Ltd and reopened as the Locarno Ballroom in 1949. 

This conversion did practically irreversible damage to Frank Matcham’s auditorium.  Raising the stalls floor to stage level involved inserting concrete pillars into the basement area; the rear-stalls projection-box was dismantled and stairways were constructed from the stalls to the Grand Circle.

In August 1964 Mecca closed the ballroom and adapted the building as one of their chain of bingo clubs. 

Clearance of the surrounding housing led to closure in 1982, after which it remained on Mecca’s hands, listed Grade II, empty and for sale.  Its listing was raised to Grade II* in 1985. 

It remained dark until Silver Leisure Ltd, owners of the adjacent Grafton Ballroom, bought it in April 1990.  Ten years later Silver Leisure reopened the building, impressively refurbished, with a programme of boxing, wrestling and concerts. 

It has continued in the same family ownership, renamed Eventim Olympia with standing space in the stalls and seating in the lower and upper balconies. From the outset it was a huge risk to build the Olympia in inner-city Liverpool, but against huge odds, this enormous building has survived and earns its keep in the twenty-first century.

For details of Mike Higginbottom’s lectures on Liverpool architecture, please click here.

Rats desert a burning signal box

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Diesel multiple unit approaching Caernarvon railway station from Menai Bridge (1963)

I came across a colour slide that I took as a teenager on holiday with my dad of a diesel multiple unit approaching Caernarfon (then spelled ‘Caernarvon’ by the railway authorities) in the summer of 1963.  DMUs were still a novelty in those days.

We didn’t travel there by rail:  my dad was by then the proud owner of a Morris Minor convertible which he called Gladys.

In the 1980s I walked down the trackbed through the cutting that led from the site of Caernarfon station beneath the town centre and into a short tunnel leading to the Slate Quay.

Later still, when the tunnel became an underpass, I drove my car through it.

Remembering this prompted me to look up Caernarfon railway station on the compendious Subterranea Britannica website:  Disused Stations: Caernarvon Station (disused-stations.org.uk).

There I found an entertaining anecdote about Caernarvon No 1 signal box which controlled movements east of the station towards Menai Bridge.

Apparently, this box had for decades proved difficult to man because crews were intimidated by a colony of rats who liked to dine on the grease that lubricated the machinery beneath the floor.

The rats didn’t seem to mind the humans at all, but the railwaymen tired of hordes of rodents climbing all over the place.

When services south of Caernarfon ceased in 1964 the station became a terminus.  The track layout and signalling was altered and the No 1 signal box was closed and its mechanism dismantled.

There followed an unrepeatable public entertainment.

The wooden structure was soaked in paraffin and surrounded by dogs.  When the building was set on fire, hundreds of rats raced for safety and the dogs captured only a few.

The survivors spread across town and were for some time an inconvenience.

Nowadays, it seems, rats are no more a problem in Caernarfon than anywhere else:  Are you never more than 6ft away from a rat? – BBC News.

It’s once more possible to catch a train from Caernarfon, southwards over the 2ft-gauge Welsh Highland Railway, opened in 1997:  Home Page – Ffestiniog & Welsh Highland Railways (festrail.co.uk).

Zion Graveyard 4

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Zion Congregational Church and Sabbath School, Attercliffe, Sheffield (1978)

When I went looking for the site of the Zion Congregational Church in 2017 while reconnoitring my Heritage Open Days Walk Round Attercliffe, all that could be seen through the boundary fence was a twelve-foot-high jungle.

Coincidentally, that was the summer when the group that maintains the undenominational Upper Wincobank Chapel came looking for the burial place of the Chapel’s founder, Mary Ann Rawson (1801-1887). 

It took a great deal of work to locate her family tomb, and the group resolved to form the Friends of Zion Graveyard, which quickly purchased and restored the site and made it accessible.

I don’t do gardening, so instead I’ve brought visitors to the Graveyard through my Walks Round Attercliffe and Bus Rides Round Attercliffe and busied myself researching the history of the buildings and the generations of worshippers dating back to the end of the eighteenth century.

During the lockdown period the Friends produced a series of interpretation boards – to which I contributed – to fix to the boundaries of the Graveyard.

These make a significant difference to visitors’ understanding, particularly because the images show how much the surroundings have changed since the 1970s:  two of the congregation’s three buildings have been destroyed, along with all of the surrounding housing.

Visitors to the Zion Graveyard can now take away the information and the pictures in a guide-book, The Story of Zion Graveyard Attercliffe:

Soane’s country house restored

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Pitzhanger Manor, Ealing, London: Upper Drawing Room

Just as Sir John Soane’s Moggerhanger Park has been restored after twentieth-century alterations, so his own country seat, Pitzhanger Manor, has been returned to a state that its architect and first occupant would recognise.

By 1800 Soane had established his career:  he was appointed architect and surveyor to the Bank of England in 1788 and clerk of works for St James’s Palace and the Palace of Westminster in 1791, and purchased and rebuilt the town house at 12 Lincoln’s Inn Fields that now forms part of the Sir John Soane Museum in 1792.

Though Lincoln’s Inn Fields was ideal for conducting his busy architectural practice he sought a convenient country retreat where he could entertain clients as well as friends.  He purchased a house called Payton Place, which he renamed Pitzhanger Manor, in Ealing on the London-to-Oxford turnpike that provided easy access to and from the capital.

The village of Ealing was becoming fashionable:  Soane’s neighbours at the start of the new century included HRH Prince Edward (1767-1820), newly-created Duke of Kent and Strathearn, and Spencer Perceval (1762-1812), remembered as the only British prime minister to have been assassinated.

Soane had first encountered the Payton Place building in the late 1760s:  he worked on the south wing when he was apprenticed to the architect George Dance the Younger (1741-1825).

He bought the property for £4,500 and demolished all but Dance’s south wing, replacing it with his own design, completed in 1804.  Soane and his family lived there only until 1810:  he became estranged from his two ne’er-do-well sons and his wife Eliza preferred to live in town.  At Lincoln’s Inn Fields he purchased and rebuilt the adjacent houses, 13 and 14 which, with No 12, now form the Museum.

The three-bay centrepiece of Pitzhanger Manor echoes Robert Adam’s south front at Kedleston Hall, Derbyshire, and is derived from the triumphal Arch of Constantine in Rome.  Whereas earlier eighteenth-century architects had used ashlar or stucco to set the tone of their exteriors, Soane here contrasted brick and Portland stone, and stretched the narrow façade with a lofty attic.  The buildings bristles with statues and medallions of Coade stone, the twice-fired hard-wearing artificial ceramic that was prevalent from the early 1770s to the late 1840s in London and elsewhere in the British Isles and overseas.

Pitzhanger Manor is rather like Tardis:  it seems bigger inside than its exterior suggests.  This is because Soane retained the Dance wing to the south and his service buildings to the north were replaced in 1901-02 when the house became Ealing’s public library.

Like Moggerhanger Park, unsympathetic institutional use allowed a practical restoration. 

From 1985 until 2019, in gradual stages, the London Borough of Ealing and the Pitzhanger Manor & Gallery Trust have transformed the place into a sympathetic restoration of the historic house, with the library wing adapted as an excellent modern art gallery.  On the site of the former walled kitchen garden stands Soane’s Kitchen, an attractive modern café-restaurant:  Pitzhanger » Eat & Drink.

For details of opening times and events at Pitzhanger House, visit Pitzhanger » Current Events.

Great Big Trains of Wales

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Llangollen Railway: Carrog Station, Denbighshire (2022)

The first time I visited Llangollen (by car), you could still catch a train there and head east to Chester or Shrewsbury.

Those days have long gone:  the Beeching Axe fell in these parts at the beginning of 1965.  Freight trains from Ruabon continued to serve Llangollen Goods Yard until 1968, after which the track was quickly lifted all the way to Barmouth on the west coast of Wales.

A group of enthusiasts leased Llangollen Station and three miles of trackbed westwards, and when the station reopened to the public in 1975 sixty feet of track had been reinstated.

Subsequent developments were not unlike saving up pocket money to buy more track for a train set:  Shell Oil offered a mile of redundant track, which enabled the Llangollen Railway Trust to lay three-quarters of mile to Pentrefelin and use the rest to construct sidings for the accumulating quantity of rolling stock.

Thereafter, once the Dee Bridge had been refurbished by the local council, the route steadily grew in length – firstly 1¾ miles to Berwyn (March 1986), then Deeside Halt (1990), Glyndyfrdwy (1993) and eventually Carrog, 7½ miles from Llangollen (1996).

Development has been slowed by a succession of misfortunes.  The Llangollen Railway PLC experienced financial difficulties, not helped by the pandemic lockdowns, and went into receivership in March 2021.  Services were taken over and resumed by the Llangollen Railway Trust from July 2021.

In recent years, the track has been reinstated to Corwen, ten miles from Llangollen, and a brand new Corwen Central station opened in June 2023 to replace the unusable original, so that services can resume to a commercially worthwhile destination: Llangollen Railway | Heritage Train Rides in the United Kingdom (llangollen-railway.co.uk).

The ride up and down the beautiful Dee Valley is a restful experience, whether on a 1950s diesel railcar or on a loco-hauled train which may include an observation car.  There are refreshment rooms at Llangollen, Berwyn and Carrog.

While I savour the experience that a generation of enthusiasts has worked to recreate over decades between Llangollen and Corwen I can’t help regretting what was lost in the 1960s. 

The Ordnance Survey map shows mile after mile of “dismantled railway” stretching through beautiful Welsh countryside between Ruabon and Morfa Mawddach, the junction for Barmouth. 

Ten miles of trackbed is available to walkers on the Mawddach Trail between Dolgellau and Morfa Mawddach and the Bala Lake Railway runs narrow-gauge trains over a 4½-mile lakeside stretch but, because of the sacrifice of small sections to road improvements and building developments, the rest of the line is rendered useless and inaccessible.

It took only seven years to build this line as a commercial undertaking in the 1860s and even less time to dismantle it for scrap a century later.  Safeguarding its integrity as an amenity would have been a simple administrative matter. 

There was no way of computing social and environmental benefits in the 1960s, and we are the poorer for it.