Yorkshire—Coast and Moorland Scenes — Context and Discussion
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The source record for Yorkshire—Coast and Moorland Scenes — Context and Discussion measures this digital text at 28,809 words, 2 hr 6 min estimated reading time, and 4 detected text sections.
The text analysis averages about 30.8 words per sentence, while the detected sections provide another way to judge how the source is divided.
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Staithes had filled me with so much pleasant expectancy that my first walk down this street of dirty, ugly houses had brought me into a querulous frame of mind, and I wondered irritably why the women should all wear lilac-coloured bonnets, when a choice of colour is not difficult as far as calico is concerned. Those women who were in mourning had dyed theirs black, and these assorted well with the colour of the stone of many of the houses.
I hurried down on to the little fish-wharf--a wooden structure facing the sea--hoping to find something more cheering in the view of the little bay, with its bold cliffs, and the busy scene where the cobles were drawn up on the shingle. Here my spirits revived, and I began to find excuses for the painters. The little wharf, in a bad state of repair, like most things in the place, was occupied by groups of stalwart fisher-folk, men and women.
The men were for the most part watching their women-folk at work. They were also to an astonishing extent mere spectators in the arduous work of hauling the cobles one by one on to the steep bank of shingle. A tackle hooked to one of the baulks of timber forming the staith was being hauled at by five women and two men! Two others were in a listless fashion leaning their shoulders against the boat itself. With the last 'Heave-ho!' at the shortened tackle the women laid hold of the nets, and with casual male assistance laid them out on the shingle, removed any fragments of fish, and generally prepared them for stowing in the boat again.
It is evidently an accepted state of things at Staithes that the work of putting out to sea and the actual catching of the fish is sufficient for the men-folk, for the feminine population do their arduous tasks with a methodical matter-of-factness which surprises only the stranger. I was particularly struck on one occasion with the sight of a good-looking and very neatly dressed young fishwife who was engaged in that very necessary but exceedingly unpleasant task of cutting open fish and removing the perishable portions. With unerring precision the sharp knife was plunged into each cod or haddock, and the fish was in its marketable condition in shorter time than one can write. A little boy plunged them into a pail of ruddy-looking water, and from thence into the regulation fish box or basket that finds its way to the Metropolis.
A change has come over the inhabitants of Staithes since 1846, when Mr. Ord describes the fishermen as 'exceedingly civil and courteous to strangers, and altogether free from that low, grasping knavery peculiar to the larger class of fishing-towns.' Without wishing to be unreasonably hard on Staithes, I am inclined to believe that this character is infinitely better than these folk deserve, and even when Mr. Ord wrote of the place I have reason to doubt the civility shown by them to strangers. It is, according to some who have known Staithes for a long while, less than fifty years ago that the fisher-folk were hostile to a stranger on very small provocation, and only the entirely inoffensive could expect to sojourn in the village without being a target for stones. The incursion of the artistic hordes has been a great factor in the demoralization of the village, for who would not be mercenary when besought at all hours of the day to stand before a canvas or a camera? Thus, the harmless stranger who strays on to the staith with a camera is obliged to pay for 'an afternoon's 'baccy' if he want an opportunity to obtain more than a snapshot of a picturesque group. He may try to capture a lonely old fisherman by asking if he would mind standing still for 'just one second,' but the old fellow will move away instantly unless his demand for payment be readily complied with.
No doubt many of the superstitions of Staithes people have languished or died out in recent years, and among these may be included a particularly primitive custom when the catches of fish had been unusually small. Bad luck of this sort could only be the work of some evil influence, and to break the spell a sheep's heart had to be procured, into which many pins were stuck. The heart was then burnt in a bonfire on the beach, in the presence of the fishermen, who danced round the flames.
Gordon Home, who both painted and described the scenes in this 1907 volume, approaches the Yorkshire coast and moors with the eye of a landscape artist. His prose frequently pauses on qualities of light and atmosphere—'a stormy afternoon,' 'sunlight and shadows in Whitby harbour'—as though composing a picture. Yet the book is not merely descriptive; it weaves historical narratives into the topography, most notably a detailed account of the siege of Scarborough Castle drawn from Sir Hugh Cholmley's memoirs.
Home's preface clarifies that this is not a comprehensive survey but a personal record of the north-eastern portion of the county, with a companion volume covering the dales and fells. The text thus moves between immediate sensory impressions and archival anecdotes, creating a layered portrait of place.
A Painter's Prose: Light, Colour and Composition
Home's training as an artist is evident in his descriptive choices. The list of illustrations—titles such as 'A Stormy Afternoon,' 'Sunlight and Shadows in Whitby Harbour,' and 'A Golden Afternoon, Danby'—reveals a preoccupation with atmospheric effects. In the text, he often frames views as if selecting a vantage point: the 'ancient stone-built town of Pickering' is described as 'the gateway to the moors,' a phrase that positions the reader at a threshold. His vocabulary favours visual precision: 'shattered keep,' 'almost precipitous ascent,' 'incredible little compass' (of Lady Cholmley's mouth). These details accumulate into a style that prioritises seeing over mere telling.
Voices from the Past: The Cholmley Memoir
One of the most striking sections is Home's extended treatment of the siege of Scarborough Castle, which he reconstructs using Sir Hugh Cholmley's own writings. He quotes Cholmley's description of his wife—'her eyes black and full of loveliness and sweetness'—and notes the husband's 'almost worshipping' tone. Home does not simply report events; he dramatises the tension between Cholmley's 'anxious and troubled face' and Lady Cholmley's courageous plea that he not surrender for her sake. The passage is unusual in a travel book for its psychological depth, and it shows Home's willingness to let a primary source shape the narrative.
Structure and Selection: A Guided Itinerary
The book's organisation follows a logical geographic route: from Pickering across the moors to Whitby, then along the Esk valley and the coast to Redcar and Scarborough, with inland excursions to the Cleveland Hills and Rievaulx Abbey. Each chapter functions as a stage in a journey, and Home signals transitions with directional phrases ('across the moors,' 'along the Esk valley'). The table of contents acts as a map, and the illustrations—though untitled in the digital edition—are keyed to specific locations. This structure gives the reader a clear sense of movement through space, even if the full text is not available.
Diction and the Regional Eye
Home's language is precise and occasionally archaic: 'scaur,' 'beck,' 'dyke,' 'keep.' He uses local terms without explanation, assuming a reader familiar with northern English geography. His sentences are often long and periodic, building up a scene before delivering the main clause. For example, he describes the strategic importance of Pickering by listing the roads and railways that converge there. This cumulative syntax mirrors the act of surveying a landscape—taking in details before arriving at a conclusion. The effect is unhurried, inviting the reader to look as carefully as the author did.
Home's book rewards a reader who is willing to move slowly, attending to both the surface of the landscape and the stories embedded in it. The historical digressions, particularly the Cholmley material, offer a counterpoint to the scenic descriptions, reminding us that place is always layered with human memory. For those interested in Edwardian travel writing or the intersection of art and topography, this volume provides a compact example of how a painter-author can make a region visible through words.
Reading Home’s Yorkshire sketches, I kept thinking how his eye for light made even old stones feel tender. That same quiet ache for atmosphere stayed with me in In Morocco — Reading Notes, though the sky is different. Both felt less like scenes and more like someone remembering a place softly, long after leaving it.
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