Crag Hill - Topography

Topography

The North Western Fells occupy the area between the rivers Derwent and Cocker, a broadly oval swathe of hilly country, elongated on a north-south axis. Two roads cross from east to west, dividing the fells into three convenient groups. The central sector, rising between Whinlatter and Newlands passes, includes Crag Hill.

The highest ground in the North Western Fells is an east-west ridge in this central sector, beginning with Grasmoor above Crummock Water and then gradually descending eastwards over Crag Hill, Sail, Scar Crags and Causey Pike. Grasmoor has the greatest elevation, but Crag Hill stands at the hub of the range. In plan it appears as a cross with ridges running to the four points of the compass.

To the north of Crag Hill is the col of Coledale Hause, the high level connection to Hopegill Head, focal point of a parallel but slightly lower ridge. Valleys descend from either side of Coledale Hause, running between these two ridges. Gasgale Gill (or Liza Beck on OS maps) flows westward to the River Cocker, while Coledale Beck runs eastwards to the Derwent. Guarding the way up from the Hause to Crag Hill is Eel Crag, the face which gave the fell its former name.

Crag Hill also has a southern ridge which steps down toward Buttermere over Wandope and Whiteless Pike. The valley of Rannerdale forms the western boundary with Sail Beck on the other side. Both empty into Crummock Water.

The highest part of Crag Hill is near the 'cross' where the four ridges meet. Moving further east towards Sail, the ridge tapers down with crags on either side. Scott Crags stands over Coledale and Scar Crag (not to be confused with Scar Crags) looks down on Sail Beck. Beneath Scar Crag is Addacomb Hole, a deep corrie without a tarn. By contrast to the west of the summit the slopes are smooth and wide, although still steep.

Read more about this topic:  Crag Hill

Famous quotes containing the word topography:

    That the mere matter of a poem, for instance—its subject, its given incidents or situation; that the mere matter of a picture—the actual circumstances of an event, the actual topography of a landscape—should be nothing without the form, the spirit of the handling, that this form, this mode of handling, should become an end in itself, should penetrate every part of the matter;Mthis is what all art constantly strives after, and achieves in different degrees.
    Walter Pater (1839–1894)