Loughrigg Fell - Topography

Topography

The fell is surrounded by an unusual amount of open water. To the north the River Rothay flows through Grasmere and Rydal Water before bending around the eastern side of Loughrigg. On the southern flank the River Brathay runs from Elter Water and is also fed by the outfall from Loughrigg Tarn. The two rivers merge at Clappersgate on the south eastern corner of the fell, just before flowing into Windermere. The western boundary is formed by Red Bank (535 ft) on the ridge to Silver How. Unnamed becks fall north and south into Grasmere and Elter Water.

Loughrigg has two subsidiary ridges on its eastern flank. Lanty Scar provides the obvious line of ascent from Rydal, while the spur rising over Todd Crag leads up from Clappersgate. There are many areas of woodland on the lower slopes, giving way to a wide expanse of bracken clad knolls and small tarns on the top. The summit is on the western side of the plateau and is identified by an Ordnance Survey column. Many lower tops also decorate the fell, sometimes to the confusion of visitors. Despite the girdle of lakes only Windermere is visible from the summit. The vista is open to the south over the green and blue country of Furness, with many fells in view on the other three sides.

The fell is easily accessible, being surrounded by roads on all sides. Ambleside and the smaller settlements of Skelwith Bridge, Elterwater, Grasmere and Rydal are all within reach, as is the popular double car park at White Moss Common. Many paths run over the fell including the well known Loughrigg Terrace, a level path with superb views of Grasmere, Helm Crag and the Fairfield group. Just beyond the eastern end of the Terrace are some quite remarkable caves, caused by quarrying. They penetrate about 150 feet (46 m) into the hillside and are often full of water; there are other small mines on the fell.

Read more about this topic:  Loughrigg Fell

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)