A SHORT HISTORY OF THE SCULPTURE

There used to be a stone lion sculpture situated close to the old children’s playground in the centre of the Moor. The sculpture showed a lion grappling with a snake. It was removed (and possibly placed in storage) between 15 and 20 years ago after somebody attacked it with a hammer, seriously damaging it. People often ask what became of the lion, and say how much it was missed by their children. They also wonder about its origin. In 2006, I heard someone say that the sculpture commemorated Britain’s victory in the Napoleonic Wars and that the lion represented Britain, and that the snake represented France. In 2012, when I researched the subject using the online British Newspaper Archive, I learned that this was an urban legend. The statue was actually just one example of the ‘voluntaryism’ inspired by journalist John Lee, who writing as ‘The Owl’ in the Leeds Times, campaigned very successfully for the beautification of the Moor.

The sculpture was the idea of Benjamin Sharp, who was the foreman stone mason responsible for the carvings on the staircase of the Leeds Municipal Buildings (Leeds Central Library). It was crafted in his own time and given free of charge. The York Stone used was given free of charge by the owner of Scothall Quarries in Potternewton. To give you an idea of what the sculpture must have looked like when it was newly carved, stone from the Scothall Quarries looked like this. Just click on the image to see a larger version.

In June 1883, the sculpture was placed in a rockery situated close to the Adam and Eve Garden (named after two statues nicknamed ‘Adam and Eve’ and now the setting for the Victoria Memorial). In the 1950s, the sculpture was re-located to a site in the centre of the park next to the old children’s playground (which is no longer there). This may have happened at the time most of the allotments were cleared. In the 1970s, the sculpture began to be regularly painted by students. This was unnecessary as the sculpture was in excellent condition. Painting the sculpture devalued it as you could no longer tell it was a sculpture and that it had been sculpted from York Stone.

BACKGROUND

Leeds Times – Saturday 28 April 1883

“Within the last three days he (the Owl) has received a spontaneous mark of approval from a class of men high up in the scale of intelligence ; and from men who, it will be admitted, have some taste, as proved by their work inside the Leeds Municipal Offices, as on the exterior is some of the finest, most delicate, and beautiful carved work to be found in this country, and probably not surpassed in the world. “The Owl” was known to the clever men, employed by Mr. Appleyard on this work, only by his writings and his very different toil on Woodhouse Moor. Judging the man by what they had read and practically observed, they addressed a letter to the Leeds Times for “The Owl.” That letter speaks for itself. In composition, style, and the heart that is in it, one cannot help thinking highly of men who can have their sentiments conveyed in this wise :―

25, Servia-terrace, Cambridge-road, Meanwood-road, Leeds, April 24th, 1863.

“Dear Mr. Owl,―Having noticed jour praiseworthy efforts for the improvement of Woodhouse Moor, I beg to suggest for your approval an idea which struck me while strolling there on Sunday evening, that is, a large design in stone, either a single figure or a group, to be placed in the centre of the triangular piece of rockery at the Woodhouse-lane entrance on the moor. Of course, the first consideration is the cost. Now, Mr. Owl, if among your many friends or the people interested in making the moor attractive and pleasant, you can manage either to obtain the gift of a suitable block of stone (say six feet by four feet), or the requisite funds for purchasing the same, myself and fellow shopmates will gladly give our services for the carving of the group. Having been head man for Mr. Appleyard for the past six years, I have confidence in feeling that we could turn out a piece of work alike acceptable to the town and creditable to ourselves. We should simply wish it to be a working men’s gift so far as the cost of executing and working the design, but being only working men we cannot, unfortunately, pay the cost of the stone and fixing, though I have no doubt we could procure a proper yard where the stone could be placed during its working. I may say that we are nearly all employed at present in the carving at the new Municipal Offices, and we feel that this offer would be, in some measure, a, return for having had the pleasure of being employed upon Corporation work. The design we would willingly leave to your suggestion, though we think that a lion engaged in a struggle with a large rattlesnake (wound round his body) would make an effective subject. A single figure would not need a block above about six feet by four feet, though the size would depend upon the design, but we should like to do something large and imposing. I would suggest that, if possible, it should be commenced immediately, so that we should all be able to work upon it and get it finished before the offices are completed, as after that a number of us may have to leave the town. If you should consider the idea feasible, I shall be pleased to hear from you.-I am, yours obediently, BENJAMIN SHARP.

“P.S.―As there are eight or nine of us willing to give our leisure hours for the work, it would not take long to complete. If the idea meets with your approval, perhaps you would kindly step into the Municipal Offices and see me about it.”

“The Owl” is not ashamed to confess that he had a lump in his throat when he read this thoroughly unselfish, generous, and well-written letter. It makes one proud of our artisans to know that they could conceive and are prepared to carry out the self-denial that such a labour involves. “The Owl” has felt the pulse of the artisans of England for more than a generation, and he knows what they can and will do when they take a project in hand. He thanks these generous carvers from his heart for their offer, and feels that the people of Leeds will appreciate so noble an action.

The hour has come, and here are the men ready. Mr. Fielding’s public spirit in carving “The Owl” on the moor, free of any cost, was seconded by Mr. Joseph Pickard, jun., of Scothall Quarries, Potternewton, who in the most liberal spirit, gave the beautifully clear block of stone out of which Mr. Fielding carved the bird. The offer of Mr. Benjamin Sharp and his shopmates was gladly accepted. “The Owl” hastened again to Scothall Quarries, where a huge stone had recently been raised―over two tons in weight ― exactly adapted for the intended purpose. The incident was remarkable. Mr. Bailes, the obliging manager for Mr. J. Pickard, jun., said they were not always raising such large blocks, and it was quite providential that it should have been secured “in the nick of time.” Mr. Sharp and his fellow workmen have examined the stone and found it suitable. It will be removed to Mr. James Wood’s yard, contractor for the Municipal Offices, and a new phase of the co-operative principle will prove that “many hands make light work.” The carvers will speedily be at their task, and the good example set by Mr. Fielding and these spirited artisans will perhaps blossom and bear fruit in other directions and in an equally unselfish style. The quality of the stone from Scothall Quarries is so fine and the colour so good that some people have actually asked if the Woodhouse Moor owl was painted!”

THE SCULPTURE

“A CREDITABLE PIECE OF WORKMANSHIP has been placed on the new rockery on Woodhouse Moor. The idea originated with Mr Benjamin Sharp and his co-workers engaged on the stone carving in the interior of the Leeds Municipal Offices. They wished to show their appreciation of the efforts to improve the moor and in gratitude to the Leeds Corporation for the work found for them at the new building. That work is now drawing to a close, and this specimen of their abilities will mark the year when the building was completed. Mr Sharp prepared a neatly-designed and spirited model of “The Lion and the Serpent.” A splendid block of stone, more than three tons weight, without a flaw, was procured from Scothall Quarries, Potternewton, belonging to Mr Joseph Pickard, Jun. The stone was conveyed to a shed in the yard of Mr James Wood, builder, Thoresby Street, Leeds, who is the constructor for the municipal buildings, and there it has been carved by Mr Sharp and his fellow workers, the “lion’s share” of the sculpture falling to Mr B Sharp. The stone measures about four feet square. The figure of the lion is 5 feet 8 inches from the tip of the nose to the root of the tail, and the latter, curled on the body, is 3 feet long. The entire length of the serpent is 17 feet. The lion stands about 3 feet 8 inches in height. The pedestal or base is composed of rocks, interspersed with ferns. The lion is full of action. Finding himself in the coils of the serpent he is in the act of springing forward. Once round his body and twice round his right leg has the creature entwined; but, in the act of striking to sting the noble fellow, the latter has placed his left paw firmly on the neck of the serpent, crushing its body, and it is evident that the lion has the best of the encounter for life or death. Just at this moment the noble brute – startled by hearing something else approach – looks eagerly in the direction whence the sound came, and with glaring eyes and open mouth, displaying an array of terrible “grinders,” shows that he means mischief. This idea is capitally caught, just as if the lion thought, “I have scotched one enemy, and am ready for another.” The animal’s fore quarters are slightly elevated in treatment, as he stands amongst the rocks, and his extended claws testify that he is dealing with a deadly foe. The foliage of ferns is boldly conceived. The sinuous motion of the serpent is skilfully managed, and projecting from the mouth is his terrible sting, now powerless. The head of the lion is finely portrayed, and his whole body is full of energy and life. Mr B Sharp and those who have assisted him may be warmly congratulated on the outcome of their efforts. With them it has been a real “labour of love,” wrought out in their leisure time, and has called for no small amount of self-denial, not a penny having been charged for the time spent on the work. Thanks to the generosity of Mr James Wood, the lion and serpent was placed on one of his spring wherries, and yesterday morning it was conveyed to Woodhouse Moor and placed on the centre of the rockery. Our readers will have the opportunity of seeing for themselves what the unaided efforts of the carvers who have adorned that magnificent staircase at the municipal offices can accomplish. The weight of the completed work, when placed in position, was upwards of a ton.”

THE SCULPTURE’S FORGOTTEN ORIGIN

By 1935, the story of the sculpture’s origin had been forgotten, as this article published by the Yorkshire Post in July 1935 reveals:

“It has struck me that the statues in Leeds parks should make an interesting study for some local archaeologist. On Woodhouse Moor alone there are several curious specimens. There is the Owl, a solemn and more than life-sized effigy of the Leeds emblem, which presides over a small and shadowy lawn, and even more exciting is the Lion.

This beast, hidden among the trees near the “Cannons,” is engaged in a savage struggle with a serpent, and legend has it that it commemorates the Indian mutiny. The head of the serpent has been removed for safety’s sake by some patriot, but the lion still glares with undiminished ferocity.”

URBAN LEGENDS AND OTHER STORIES OF THE ORIGIN OF THE SCULPTURE

Yorkshire Evening Post, Problem Bureau, Derek Naylor – Saturday 1st December 1979

“Master John Thornton, 10, of Norwood Terrace, Headingley, Leeds: Can you tell me where the lion on Woodhouse Moor, Leeds, came from? It is made of stone and is fighting a snake. The statue, which is near the allotments and the bowling green in the park, is painted green.

Never heard of our lion friend until you mentioned it. We have made inquiries, but can only tell you that it has been there for many years, and was painted green only a short while ago because “pranksters” had thrown paint over it. Any older reader know anything about the lion and the snake?”

Yorkshire Evening Post, Problem Bureau, Derek Naylor – Saturday 8th December 1979

“LION AND SNAKE: In Bureau last week, Master John Thornton, of Norwood Terrace, Headingley, Leeds, asked if anyone knew the origin of a statue of a lion fighting a snake which stands near the bowling greens in Woodhouse Moor Park, Leeds.

Mr A Megevand, of Cottingley Tower, Leeds, tells me he first saw the statue in 1925 when he passed it daily traveling to school by tram.

It was in the garden of a large house at the top of Beckett Street at that time. Mr P Garner, of Aysgarth Drive, York Road, Leeds, says the house in question, now demolished, was Grove House, which for many years was Burmantofts Conservative Club and in its latter years was acquired by Leeds Angling Club until being demolished in the 1960s. He believes it was then the statue was taken to the park.”

Yorkshire Evening Post, Problem Bureau, Derek Naylor – Saturday 15th December 1979

“Lion and Snake: Several readers have written to me confirming that the statue of the lion and the snake has been situated in Woodhouse Park now for at least 50 years. Mr H H Heath of Farnborough Street, Leeds 4, says it was moved from near where the Victoria statue is today about 25 years ago and about the same time a large stone owl which stood next to the lion was removed reportedly the victim of a students’ rag.”

Yorkshire Evening Post, Problem Bureau, Derek Naylor – Saturday 22nd December 1979

“LION AND SNAKE: Final words on the Woodhouse Moor lion and snake statue. Mrs Elizabeth Coupland of Chaucer Gardens, Pudsey, says that the statue is supposed to commemorate the Indian Mutiny – the serpent was India suppressed by the British lion.

“I frequently saw it between 1936 and 1943 and had a small boy who was fascinated by it. The lion has been stroked, patted, kissed and waved goodbye to many a time. Anyway it brought great pleasure to my children and I am sure, many others.”

Mr A Hardy, of Bilton Lane, Harrogate, says he lived in Woodhouse for over 50 years and that when he was a boy the statue stood in the “Garden of Eden” long with “Adam and Eve.” Thanks to everyone who has taken such an interest in young Master Thornton’s question.”

THE SCULPTURE IN LITERATURE

C Lovedale commenting on the Leodis website in 2010 said:

“I too remember the stone lion. Some years ago I read a book by Leeds author Peter Robinson called “Caedmon’s Song”. It begins with the discovery of a body in a park, draped on a stone lion. I met Mr Robinson and asked him if Woodhouse Moor was the location he had described, he confirmed that it was, adding that he walked across the Moor each morning when a student at Leeds University.”

Caedmon’s Song is a novel published in 1990 by crime writer Peter Robinson (born March 17, 1950 at Armley) The novel begins when a university student is viciously attacked in a park and left draped over a stone lion. The novel is based on the crimes of the Yorkshire Ripper, Peter Sutcliffe.

“Soon she got to the centre of the park, near the bowling green. The whole tract of land was slightly convex, and this was the highest part. She could see lights in all directions, defining the valleys and hillsides on which the city was built. Because of the warm, most air, the far-off street lights all had haloes.

Just off the path stood a statue of a lion with a serpent coiled around it. Kirsten had noticed the other day, that some idiot – perhaps the skinheads – had spray-painted its head blue and scrawled filthy graffiti in red all over its body. That didn’t matter in the dark, though, and she decided to give in to an impulse she had often felt.

Swishing over the grass, she went up to the statue and ran her hand over the still-warm stone. Then, with sudden resolve, she jumped astride it.

The lion was small enough that her feet easily touched the ground. Down the path, she could see through the trees to the lights on the main road, and the turning into her own street, only a few hundred yards away. To think she had been here all this time and had always wanted to sit on the lion but hadn’t done so until now, her last night. She must have passed it at least a thousand times. She felt silly, but at the same time she was enjoying herself tremendously. At least nobody was watching.

She gripped the smooth mane and pretended she was riding through the jungle. In her mind, she could hear screeching cockatoos, chattering monkeys, humming and clicking insects, and snakes slithering through the undergrowth. She raised her head to look for the moon again, but before she could find it, she noticed a strange smell and, a split second later, felt a rough hand cover her mouth and nose.”

“Though she had avoided it on her way over, taking the roads instead, Kirsten walked back through the park. As her feet followed the familiar tarmac path through the trees she felt nothing at all, but when she reached the lion, its head still spray-painted blue and the red graffiti still scrawled all over its body, her hands started shaking. Unable to stop herself, she walked over to the sculpture.

It was a little after twelve. Children played on the swings and seesaw nearby. The clack of bowls came from the greens behind the low hedge, and one or two people sprawled out on the grass, listening to portable cassettes or reading. But Kirsten still felt extreme unease, as if she had somehow stumbled on a taboo place, an evil spot shunned by natives. She couldn’t help herself when she sat astride the lion, drawing amused glances from the two students playing cards on the grass nearby. It all happened so quickly. The fishy smell began to suffocate her and the world darkened at the corners of her vision. Then she saw him, and heard his raspy voice and saw the blade flash in the moonlight. She leapt off and hurried on her way, trembling.”

ART INSPIRED BY THE SCULPTURE

Local artist Howard Eaglestone was inspired to paint the lion when he saw it decked out one day in psychedelic colours. Here is his preparatory painting. And here is the final version of the painting.

Howard told me that the lushness of lion’s paint job seemed to him to represent a society in decay. Only a society in decay would be capable of painting a sculpture that had been respected and left untouched for so many decades. To Howard, the lion’s paint job also suggested that lion itself was decaying like the society which was causing the decay.

PHOTOS OF THE SCULPTURE

Here’s a photo that was sent to me by Ken Turner who now lives in New Jersey. It was taken by Mr Turner’s dad in 1961 and shows Ken sitting on the lion, with his brother Les sitting on the left. When the photo was taken, Ken lived at 21 St John’s Terrace at the top of Belle Vue Road.

Here’s a photo of Sue Buckle showing her sitting on the lion in 1964. Here’s another photo of Sue taken at the same time.

Here’s a photo taken by local resident Christopher Todd in 1969 showing his daughter Dominique sitting on the lion. Here’s another photo of Dominique taken by Christopher at about the same time.

Here’s a photo of the lion showing it after students had started to paint it. The photo was taken possibly in the 1980s by local resident Derek Rimmer. Here’s another photo of the lion taken by Derek at the same time.

Here’s a link to a Facebook page with several photos of the lion including one which appears to have been taken in the 1950s shortly after the lion was moved from its original location close to the Victoria Memorial to a new position in the centre of the park near the old children’s playground. The photo from Rachel Cunningham showing her on the lion was taken about 1970.

Here’s a link to a Secret Leeds page with photos of the sculpture and a story about it being painted pink.