Durham: A Sketch-Book — Story, Setting & Ideas

From Labels to Vistas: The Caption's Changing Voice

The captions in Bertram's sketch-book are not uniform. Early sketches are named with simple nouns: 'The Cathedral,' 'The Cloisters,' 'The North Aide.' These function as identifiers, directing attention to the subject itself. As the sequence progresses, captions become more descriptive and locational: 'Central Tower from Palace Green,' 'West End: from the River,' 'View from the Battery.' The addition of prepositions—'from,' 'at'—introduces a sense of perspective and movement. The final entries, such as 'Sadler Street' and 'The Market Place,' return to simpler forms, but now they evoke everyday urban life rather than monumental architecture. This variation in caption style subtly guides the reader's experience, shifting from cataloging to storytelling.

Repetition and Rhythm in the Sketch List

The list of sketches is printed twice in the front matter, once in a single column and again in a two-column layout. This repetition creates a rhythmic effect, emphasizing the sequence as a curated tour. The second listing groups some sketches under headings like 'The North Aide' and 'The Galilee,' which are also individual sketch titles. This overlap blurs the line between section and subject, suggesting that the book itself is a kind of architectural walk. The repeated names—'The Cathedral,' 'The Castle,' 'The City'—anchor the reader, while the intervening sketches (bridges, doorways, churches) provide variety. The structure mimics the experience of moving through Durham: returning to familiar landmarks while discovering new details.

Pace and Pause: The Role of White Space

Although the excerpts do not include the illustrations themselves, the sketch list implies a deliberate pacing. Each sketch is given its own line, and the list is broken into groups by blank lines or section breaks. For instance, after 'Prebends Bridge' the list ends, and the publication information follows. This spacing creates pauses, allowing the reader to mentally 'view' each sketch before moving on. The absence of descriptive text beyond captions means the images must carry the narrative weight. The pace is unhurried, inviting contemplation. The final sketch, 'Prebends Bridge,' closes the sequence on a note of transition—a bridge suggesting both connection and departure.

Bertram's sketch-book rewards a slow, attentive reading. Pay attention to the order of sketches and the subtle shifts in caption language; they form a quiet narrative of exploration. The repetition of certain landmarks across the list hints at multiple viewpoints, encouraging the reader to imagine the artist moving through Durham, selecting and framing each scene.

Flipping through Bertram’s Durham plates, I remembered sitting with my grandfather’s old York sketchbook, the same soft pencil lines tracing cloisters and river bends. Both books feel less like guides, more like someone’s private way of saying goodbye to stone. That quiet ache of place, never fully captured, lingers longer than any photograph. York: A Sketch-Book — Background and Themes holds that same unhurried warmth for me.