Categories
Beer history

The relatability of beer and pubs in the Roman Empire

I’ve spent much of the past month hiding down a rabbit hole, learning about the Roman Empire and Ancient Rome. And of course I took notes when beer and pubs were mentioned.

I’m not a historian and, unlike Jess, didn’t even study history at university. So, I find I quite easily get lost when trying to understand ancient history.

After visiting Roman ruins in Colchester and the City of London in early August I found myself frustrated at my lack of solid knowledge about Rome. So, I decided to do my homework.

Fortunately, Mary Beard’s 2015 book SPQR offers a relatively concise, extremely clearly-expressed history of Ancient Rome that even I could follow. The Kingdom, the Republic and the Empire made sense, and I understood for the first time which emperor followed which.

With my beer blogging hat on, though, the section that really grabbed me was about the decor of a bar in the port of Ostia in the 2nd century CE (formerly AD):

The main theme of the painting is the standard ancient line-up of Greek philosophers and gurus traditionally grouped under the title of ‘The Seven Sages’: they include Thales of Miletus, the sixth-century BCE thinker famous for claiming that water was the origin of the universe, and his rough contemporaries Solon of Athens, an almost legendary lawgiver, and Chilon of Sparta… But there was a surprise. For each of them was accompanied by a slogan not on their specialist subjects of politics, science, law or ethics – but on defecation… There are many ways to imagine the life in this bar: the rowdy guffawing at the lavatorial humour, the occasional discussion about what exactly Chilon’s claim to fame was, the bantering with the landlord, the flirtation with the waiting staff. The customers would have come for all kinds of reasons: to get a good, hot meal, to enjoy an evening in jollier and warmer surroundings than they had at home or simply to get drunk.

This made me think of those modern pubs where the publican’s personal taste and sense of humour manifests in the pictures on the walls, silly brass signs, and joke books on the shelves.

She also describes the many bars of Pompeii which, at her conservative estimate, numbered at least a hundred:

They were built to a fairly standard plan: a counter facing the pavement, for the ‘takeaway’ service; an inner room with tables and chairs for the eat-in, waiter service; and usually a display stand for food and drink, as well as a brazier or oven for preparing hot dishes and drinks. In a couple of cases at Pompeii… their decoration includes a series of paintings depicting scenes – part fantasy, part real – of life in the bar itself… One image shows the wine supplies being delivered in a large vat, another some snacks being consumed underneath sausages and other delicacies strung from the ceiling. The ‘worst’ signs are one full-on image of sex (hard to make out now because some modern moralist has defaced it), a number of graffiti along the lines of ‘I fucked the landlady’…

Elsewhere, in a discussion of the Romanisation of northern Europe, Beard writes about changing drinking habits:

[As] early as the beginning of the first century BCE, the same Greek visitor to Gaul who had been shocked to find enemy heads pinned up outside huts also spotted that – despite what Caesar had to say about local distaste for the grape – the richer locals had started to quaff imported wine, leaving traditional Gallic beer to the less well off. By the beginning of the second century CE, there were rather fewer beer gardens and rather more wine bars in Roman Colchester; or that, at least, is what the surviving fragments of the jars used to transport the wine suggest.

Keen to learn more, I followed the thread of the Vindolanda tablets – a trove of documents written on thin sheets of wood recovered from a site near Hadrian’s Wall in 1973. That led me to this episode of a BBC radio documentary from about 20 years ago where, yes, beer was mentioned again, at 25 minutes.

If you’d rather read about it, though, an article by Patricia Gillespie on the website of the Vindolanda Charitable Trust sets out the story nicely:

Early garrisons at Vindolanda, the Tungrians and Batavians, were from the northern provinces of the Roman Empire and clearly had a taste for beer. There are several references in the writing tablets to Celtic beer and in writing tablet 628 the Decurion Masclus, from the 9th cohort of Batavians, out-stationed with a vexillation, group, of soldiers is asking for orders on what to do next and ends his letter with ‘my men have no beer – please order some to be sent’.

On two occasions shortly before the New Year and again in February, a metretes of cervesa (beer) is listed in writing tablets. This was a measure containing 100 sextarii, about 50 pints, and the cost was only eight asses. (An as is a very low value bronze coin). The Batavians and the Tungrians clearly consumed beer in large quantities and had their own regimental brewer.

Also, in August, the BBC ran a story about brewing as a “mega industry” in Roman Britain.

Archaeologist Edward Biddulph is quoted as saying that “actually a lot of the population in Roman Britain were drinking beer and we see that in the pottery they were using, large beakers in the same sort of sizes as modern pint glasses”.

So much of Roman life and history seems impossible to know. But other aspects seem to telescope history and put us on the bench, in the boozer, next to some lairy lads, wondering what to have for the next round.

Main image: wall decoration at a bar in Pompeii via Nick Fewings at Unsplash.com

Categories
News

News, nuggets and longreads 27 July 2024: The Heat is On

Here’s our regular round-up of good writing about beer and pubs, with notes on Guinness, beer ticking, and the word ‘floral’.

First, a general observation on trade news: the individual stories don’t often grab our attention, but it is interesting to look at the front pages as a whole and see who is doing well, and where the problems are. At The Drinks Business and The Morning Advertiser this week we’ve had growth stories from Thornbridge, Mitchells and Butlers, Young’s (pubs) and, more tentatively, Fuller’s (pubs). Meanwhile, there are also stories about the surging price of a pint, the rapid loss of hospitality venues, and the ongoing battle between property developers and councils over pubs. We’d observe from Bristol, too, that things feel quite ‘frothy’, with venues changing hands, some breweries apparently thriving, and the fight to save The Rhubarb entering a new phase.


The logo for non-alcoholic Guinness.

Brewer Ed Wray went on a tour of the Guinness brewery and applied his technical and scientific eye to this famously secretive operation:

After its initial hiccup Guinness Zero has been way more successful than anticipated. They are however extremely cagey about how they make it and we had one of the strangest experiences I’ve seen on a brewery tour talking to the guy in charge of it. We only got as far as the outside of the building in which it’s made and most of our questions were nervously answered with “I can’t tell you that.” The smart money was on it being dealcoholised by reverse osmosis. The lack of alcohol means it gets 80 PUs. In Ireland you can get Guinness Zero on draught, an opportunity I did not take up as you can also get Guinness draught on draught.


Illustration: a pint glass.

For The Guardian beer ticker Andy Morton has written about his hobby and how it’s enabled him to try 50,000 beers over the years:

I got a taste for real ale in the late 1970s while at university in Cardiff. The only alcohol available in the students’ union was bland, fizzy beer. I sought out a better quality drink in local pubs and quickly grew to love the depth of flavour of all the different styles of cask ales… Back home in Sheffield after university, I started attending beer festivals. By 1985, I was recording the beers I drank by ticking them off in the festival programmes. In those early years, I was going to three or four festivals a year. Then someone I knew got me into this hobby properly, which is called beer ticking or scratching – marking off beers you drink from a list… The most festivals I’ve done in a single year is 109 – that was in 2004… The social side of ticking is great. You get to travel the country, and I’ve met some great friends and characters over the years: many with nicknames, like the Alefinder General, Mick the Tick, Trolley Gary and Jingling Geordie.


There was way too much good stuff this week, by the way, which is good news for the ‘footnotes’ post we also now post on Patreon every week. That has further thoughts on all the posts here, plus extra links, and some easter eggs. Subscribe if you want to read it.


The St James of Bermondsey, a Victorian pub on a street corner with benches outside.
St James of Bermondsey. SOURCE: Will Hawkes/London Beer City.

Because he had a backlog, we get two Will Hawkes newsletters in a row. It was May’s last week, and now he’s put June’s online, too. This one is another cracker with lots to enjoy but especially the more-honest-than-usual account of one London craft brewery’s attempt to run a proper pub:

4 July is Independence Day across the Atlantic… This year, though, our American cousins are not going to have the fun to themselves: there’ll be a degree of joy in Bermondsey, too… On that day, Anspach and Hobday’s six-month lease of the St James of Bermondsey pub runs out, and – as co-owner Jack Hobday puts it, albeit in not so many words – not a moment too soon… The St James is owned by Stonegate, Britain’s biggest pub group, and if A&H wanted to keep the pub going, they’d have had to accept a five-year deal at 90 percent of the advertised £49,972 a year, with no break, although they’d only be paying 60 per cent for the first two years (they’re currently paying a third)… Stonegate (which reportedly has debt of £2.2bn) uses The Beer Company for its procurement, but the range of keg beer A&H have been able to get has been limited to big-brewery brands… A&H was able to sell its own beer to the pub only on cask, but even then it was a painful experience. They sell their own beer into Stonegate at around £70 a firkin (72 pints, in theory), but the pub buys it at £130 or £140 a go. “We even have to deliver the beer direct as part of that sale!” says Jack.


Some yellow flowers in the park in soft focus.

Jordan St. John has a piece unpicking the meaning of the flavour descriptor ‘floral’. It’s a good one, he says, because it draws on universal experience: “Isn’t this aroma of grass, clover, and dandelion familiar to anyone who grew up in the city’s parks?… Relevant to everyone isn’t a bad place to start.” He then goes on to get more specific and ask, well, which aspect of florality do you mean?

When… grass is cut or chewed on, it releases aromatic volatiles. These are chemically similar enough that they’re referred to generically as Green Leaf Volatiles or GLV’s. These are aldehydes, alcohols, and esters that are emitted, potentially as signals to other plants and to attract or repel insects… In specific, what we’re interested in are Hexenal and Hexenol. In various configurations these are leaf aldehyde and leaf alcohol. Their defining characteristic is that they are generically grassy; they are what you’re smelling when you smell fresh cut grass… Which means, if you’re going to be drinking beer, a beverage made from the seed of a grass and a heavily bracted flower, it’s probably going to put in an appearance. An undecocted pilsner made with undermodified malt is likely to contain Hexanal. It will be grassy. You might find it in beers made with malt from small, local maltsters with batch to batch variance. Even well pelletized hops will contain bract matter; green leaves.


A painted sign on a pub advertising J.W. Lees brewery.

Looping back to the trade press, we enjoyed this interview with William Lees-Jones, who runs Manchester brewery J.W. Lees by Gary Lloyd. It’s the kind of frank, honest, rambling conversation that we suspect might have had his PR people twitching a bit, here and there. It’s also a reminder of the complex class dynamics in traditional brewing dynasties:

Lees-Jones states he was “shamelessly born with a silver spoon in his mouth” and entered the ‘dynasty’ of brewing back in 1994… All the family members who came to work in the business were able to bring complementary skills – his brother was a chartered surveyor, his sister was a fund manager in the City, his cousin Christina who set up the catering in the managed houses was working in the catering sector while cousin Michael became a qualified brewer… If he were to start from again from scratch would he have done things differently? “This probably sounds a bit arrogant but I probably wouldn’t have done,” Lees-Jones says. “I probably would have worked a bit harder at school and university but it probably wouldn’t have made much difference.”


Finally, from Instagram, a particularly beautiful beer…

For more good reading check out Stan Hieronymus’s round-up from Monday and Alan McLeod’s from Thursday.

Categories
pubs Somerset

Drinking with Dad in the backstreets of Highbridge

Drinking ale with my dad in a down-to-earth backstreet pub in a small town in Somerset was just what I needed, it turns out.

Dad’s been unwell for large chunks of the past year. Lying awake in the small hours fretting about him, I frequently found myself thinking: “What if we’ve had our last trip to the pub together?”

In Brighton a couple of months ago we did make it to the pub, and made the best of it, but he still wasn’t himself, and needed a wheelchair to get around. I wondered if he’d only come out for my sake.

But there have been encouraging signs in the past few weeks. The wheelchair has gone into storage and he’s started eating, as Mum says, like a bloody horse.

When I went down to Somerset on Saturday to take them out for lunch, however, I was still expecting that we’d have one or two drinks as we ate, and that would be it.

Instead, he did something so characteristically himself that I could have cried: he decided, out of the blue, that we were going to visit some pubs, and started issuing directions to Mum, our designated driver.

First, we checked out a country pub that used to have good Butcombe Bitter a decade or so ago. But it was a wash-out – simultaneously pretentious, and grotty, with all the atmosphere of a council storage shed. The passive-aggressive signs on every surface did nothing to help.

Dad was not in the mood for giving up, though. “I know where we’re going,” he said. “The Globe.”

“In Highbridge?” asked Mum. “Is it even still there?”

I was able to confirm that, yes, it is, having walked past it on Boxing Day – the first time I’d ever noticed it, despite having spent some time living in Highbridge as a kid.

Highbridge is an old railway and market town which has been absorbed into nearby Burnham-on-Sea.

And The Globe is a simple Victorian building surrounded by a new red-brick housing estate, on a road that doesn’t really go anywhere.

As we pulled up outside it was immediately clear that, if nothing else, this pub would be more lively than the previous one. The picnic tables on the pavement outside were crowded with people enjoying the spring sunshine, smoking, vaping, and laughing with each other.

Inside, it’s dominated by TVs and a pool table. The floor has bare boards and the walls and ceiling are decorated with:

  • football memorabilia, mostly Liverpool FC
  • joke signs
  • pictures of Elvis
  • electric guitars

Almost everyone was drinking lager but there was a single cask ale pump which Dad zeroed in on. He was disappointed not to find Butcombe Bitter but Cheddar Ales Gorge Best would do. The pints we were served were topped with an inch or so of beautiful froth.

We took a table a little distance from the bar and Dad turned to watch the football. Then he tasted the beer and turned back to me with a look of absolute delight on his face. He declared it a good pint. A little after that, he declared it a good pub, too.

Mum told me that they used to drink there 40 years ago, when I was small, if they could convince my grandparents to babysit. Highbridge has never had many pubs but there was just about a crawl, if they included hotel bars.

Some of the people in the pub also looked as if they’d been drinking there for 40 years, possibly continuously. I was pleased to hear the traditional local greeting “‘Ow be on?” delivered in earnest for the first time in years.

By my frame of reference, it felt like a Bridgwater pub: not ‘rough’, although I suspect some might read it that way, but straightforward, without pretence.

And yet it was also spotlessly clean, especially the gents toilet, which had a selection of aftershave and deodorant, along with proper soap, boiling hot water, and a functional hand dryer. (This should not feel like a pleasant surprise.)

The other killer feature? Pints of exceptionally good cask ale, in exceptionally good condition, were £3.50.

That’s probably why, after Mum had said we ought to be going, then went to the toilet, Dad leapt up and rushed to the bar to line up two more pints before she could get back, like a naughty kid. And watching him swagger up to the counter I thought, “There he is, he’s back.”

We’re going to take Jess sometime, and play euchre, though I doubt she’ll feel quite as at home as Mum and Dad, or as me. It’s the kind of pub I grew up in, and around, and doesn’t have a hint of London about it.

But then there are pubs Jess likes where I don’t feel completely at ease, which I believe she’s going to write about soon.

Categories
beer in fiction / tv opinion

Real ale as folk horror

It’s a standing joke amongst horror fans that you can make the case for almost anything to be part of the ‘folk horror’ sub-genre. But what about real ale?

This thought started with a conversation I was having on BlueSky about cultural cycles of reaction against technology in which I said:

I don’t think it’s any coincidence that the Campaign for Real Ale, The Wicker Man and the English Morris dancing revival all landed at about the same time.

The Wicker Man, directed by Robin Hardy and released in 1973, is arguably the key text in understanding what folk horror means.

It stars Edward Woodward as a mainland policeman sent to a remote island to investigate the disappearance of a girl.

He finds that the people of Summerisle practice a form of paganism and, though they’re a weirdly friendly bunch, he soon discovers that sacrifice plays an important part in their religion.

Other important examples of folk horror include The Blood on Satan’s Claw, directed by Piers Haggard, released in 1971, and the 1973 novel Harvest Home by American writer Thomas Tryon.

For a fuller explanation of what folk horror is, or might be, check out this post from Rowan Lee and, indeed, her entire blog.

The main point is that many of the stories concern secretive cults which are unwelcoming to outsiders and cling to arcane practices and rituals. Which brings us to CAMRA.

Calm down! I’m kidding. Sort of.

If you’ve read Brew Britannia you’ll know that Jess and I made the case there for CAMRA as part of a post-post-war reaction against modernity. After 20 years of space age, atom age technology, including keg beer and concrete pubs, it felt like time to get back to basics – and to nature.

We highlighted connections with preservation movements, protest movements, and E. F. Schumacher’s Small is Beautiful.

In 1976 CAMRA founder Michael Hardman even wrote a book called Beer Naturally (we have a signed copy) which opens with this statement:

Beer at its best is a reflection of a golden field of barley, a reminder of the rich aroma of a hop garden. Scientists can argue endlessly about the merits of the man-made concoctions which go into much of today’s beer but the proof of the pint is in the drinking… the best of British beer is produced from the gifts that nature gave us and by methods which have been proudly handed down over the centuries. The story of beer is a story of nature and of craftsmanship; a story of farmers and brewers who join forces to create beer naturally.

Christopher Lee as Lord Summerisle in an excellent tweed suit. Edward Woodward as Sergeant Howie is behind him. They are in a lush garden.

Now, try reading that in the voice of Christopher Lee as Lord Summerisle, whose actual speech goes:

What attracted my grandfather to the island, apart from the profuse source of wiry labor that it promised, was the unique combination of volcanic soil and the warm gulf stream that surrounded it. You see, his experiments had led him to believe that it was possible to induce here the successful growth of certain new strains of fruit that he had developed. So, with typical mid-Victorian zeal, he set to work. The best way of accomplishing this, so it seemed to him, was to rouse the people from their apathy by giving them back their joyous old gods, and it is as a result of this worship that the barren island would burgeon and bring forth fruit in great abundance.

We’ve written before about the spooky potential of pubs, including The Green Man in The Wicker Man and, of course, The Slaughtered Lamb in An American Werewolf in London. That’s not generally considered folk horror but those scenes on the Yorkshire moors could definitely be framed that way.

Beer loosens inhibitions. Beer puts people in touch with their animal instincts. Beer is magic.

The crossover between folk + horror + beer is perhaps best captured in a traditional song recorded by Traffic in 1971 as ‘John Barleycorn Must Die’:

“There were three men came out of the West
Their fortunes for to try
And these three men made a solemn vow
John Barleycorn must die…”

Just to run over those dates again:

  • The Blood on Satan’s Claw, 1971
  • ‘John Barleycorn Must Die’, 1971
  • CAMRA is founded, 1972
  • The Wicker Man, 1973

Much as I was enjoying my thought experiment, I wanted a sense check, and immediately thought of Lisa Grimm.

She’s a beer blogger and podcaster who I also happen to know enjoys folk horror. She says:

The Venn diagram of real ale, CAMRA, folk horror and – depending on whom you ask, more or less tangentially – mainstream archaeology in the mid-to-late 1960s and 1970s is not quite a circle, but there is a huge amount of overlap.

While archaeologists have always liked their beer (I’m pretty sure I learned more about beer than prehistory in my two degrees) popular archaeology fed into the eventual folk horror media landscape starting in 1968, when Richard J. C. Atkinson’s work at Silbury Hill was broadcast on the BBC.

This makes its way into Doctor Who in 1971 in The Daemons, which ticks all the boxes: a traditional pub called The Cloven Hoof, predating The Green Man in The Wicker Man by several years; televised ‘archaeology’ summoning an ancient evil (albeit one from another planet, in this instance) from definitely-not-Silbury Hill; good witchcraft; a maypole; and even some dodgy Morris dancers thrown into the mix.

There’s no way the pub in this episode – or, indeed, The Green Man – wouldn’t pass muster with early-years CAMRA. These look like hardcore real-ale spots with aggressively local-rural clientele. The punters literally out of central casting also fit the stereotype – all beards and tankards, no kegged lagers here!

The other thing Lisa flagged is that modern breweries are leaning into this connection.

She highlighted Verdant’s collaboration with the people behind the Weird Walk zine and their Ritual Pale Ale.

This made me think about other ways folk horror, or pagan imagery, or horror imagery, has leaked into beer branding.

Hop Back sprang to mind immediately with its grimacing green man mascot, as did Exmoor Beast.

Oakham also has a sort of green man crossed with a hop – imagine meeting someone wearing that for a mask in a Kentish field at midnight before the harvest!

These days, folk horror has also leaked into the mainstream in some interesting ways.

Detectorists isn’t horror, it’s a gentle comedy, but its creator Mackenzie Crook clearly knows the tropes. And his Worzel Gummidge was practically The Wicker Man for kids. Both shows feature beer and pubs conspicuously as a benign symbol of Englishness, and of life on the land.

Then there’s Morris dancing, another revived folk tradition that surged in popularity in the 1970s. I recently watched Tim Plester’s interesting 2011 documentary Way of the Morris about the rebirth of Morris dancing in the Oxfordshire village where he grew up, and the role his father and uncles played in the process. It was distinctly beer-soaked and blokey but Plester’s gloss on the story also made it feel somewhat spooky – or, at least, mystical.

Another interesting artefact, from 2018, is this excellent video for the song ‘Apparition’ by Stealing Sheep:

Reframing beard-weirdy finger-in-ear folkiness as something deeper, darker, and more magical is a clever trick.

And it might work in real ale’s favour.

Categories
cider Somerset

Good food and cheap cider on the Somerset Levels

Rich’s is a farm, a factory, a visitor attraction, and a great value family restaurant that feels as if it’s been transplanted from Bavaria.

Rich’s has been part of my life for as long as I can remember.

My dad isn’t a committed cider drinker but, having grown up on the Levels, he sometimes gets the taste.

When I was young, he’d often turn up with a plastic jerry can of Rich’s medium to take to a barbecue or party.

Recently, he’s been a bit under the weather, and it was touch and go whether we’d be able to celebrate his birthday at all.

Then, last week, he decided he wanted to go to Rich’s for lunch.

It’s been a while since I was last there and what I remembered was a barn, piles of apples on the ground in the car park, and a kind of canteen in a Portakabin.

“OK, fine,” I said, with a baffled shrug.

As it happens, it underwent a refurb in 2020, and that canteen is now a substantial restaurant with (counts on fingers) seating for about 150 people.

When we entered, Jess immediately said, “This feels like a German beer hall.”

And she was right.

Not a historic one – the kind you find in a post-war block, or out in the sprawl, or in a neat little village.

It’s something to do with all the polished wooden surfaces, perhaps.

Or the pervasive smell of roast pork.

Or the people: there were plenty of sturdy looking country folk digging into heaped plates.

If it wasn’t Bavaria of which it reminded me, then it was one of those diners Guy Fieri visits on Diner, Drive-Ins and Dives. The type of place that “cranks out” hearty meals to the delight of contented regulars.

Good cider, as far as we can tell

We’re not cider experts. As with wine, we don’t really want to be, though we’ve dabbled. And I suppose, being from Somerset, I ought to try a little harder.

I’m vaguely aware that Rich’s isn’t considered to be in the top flight of scrumpy producers. Its reputation is for being accessible and commercial, without the challenging funk and dryness of some competitors.

What I do know is this: Dad was delighted with a pint of their Golden Harvest at 4.5%. It’s a bright, ever-so-slightly fizzy Thatcher’s competitor but with less sugar than the bigger brand and an extra dimension or two.

I found Vintage (7.2%) good for a half, with some toffee character and sherry notes.

Jess, who has the driest palate in the family, went for traditional dry scrumpy at 6%. It’s still clearly a farm product but with the mud scraped off its boots.

And get this: all of those were about £3.80 a pint, with even Vintage only creeping up to the round £4.

Boak & Bailey eat big dinners

Having got used to increasingly stingy portions in pubs in the past year or two, and based on the prices on the menu, we over ordered for the table. And, again, were transported to Bavaria.

A ploughman’s lunch (£14.95) was served on a hunk of wood the length of a cricket bat, with enough cheese for the whole table. A portion of lasagna (£12.50, I think) seemed to be… a whole lasagna. And the small carvery plate (£10.95) was, in fact, a large carvery plate.

Oh, yes: we wrote about carveries recently, observing their disappearance. At Rich’s, which is pleasingly behind the times, the carvery lives on, seven days a week.

When was the last time you got presented with the bill in a restaurant and felt compelled to check with the waiting staff that they hadn’t forgotten something?

An overwhelmingly filling lunch for six, with drinks and a couple of desserts, came to £120.

Now, we’re not restaurant reviewers, but the point is that this really brought home how diminished the offer has become in towns and cities.

Rich’s has some economic advantages, of course.

First, they own the land on which the sprawling restaurant sits. Planning permission was presumably the main challenge.

And, secondly, they produce the core product themselves, on site, with no middle men or delivery costs.

Thirdly, Rich’s received a grant from the European Fund for Agricultural Development, which contributed to development of the restaurant, farm shop and museum. Presumably nicking in under the Brexit wire.

What can publicans do to compete with that? Not much, really. Taprooms might get closer – but we won’t hold our breaths for a carvery at Lost & Grounded just yet.

And, yes, thanks for asking, Dad had a great time, even if he was a bit knackered after all the excitement and the challenge of a large-small carvery plate.

Rich’s Cider Farm is in Watchfield just outside Highbridge at TA9 4RD. The website has menus.