Bowderstone - LakesBloc.com

Bowderstone
Bouldering
By Greg Chapman & Neil Kershaw
Introduction & History
Grades & Stars
Approach & Access
Season & Conditions
The Bowderstone. 2000 tons of
bouldering perfection; the
premier hardcore venue in the
Lakes. Like it steep, smooth,
and sensuous? She’s got it. You
will get more out of the Stone
the harder you climb, however
anyone climbing fb6c or above
can have a good day here. The
Ladder Face stays dry in all but
the worst weather.
This e-guide uses a split Fontainebleau/V-grade
scale to rate the boulder problems listed. Remember,
grades are a rough guide of difficulty, and body size
(height, reach, span etc.) can have a big effect on
the relative difficulty of a climb. Also, the Stone has
a nasty habit of shedding holds, so some lines have
gotten both harder and easier throughout history.
Grid Reference: 254 163 (O.S. English Lakes NW)
Follow the B5289 out of Keswick (signposted to
Borrowdale), driving south along the eastern shore
of Derwent Water. After around 8km is a left turn
signed as “Bowderstone Car Park”.
The Bowderstone is a year-round venue, with the
Ladder Face being steep enough to rebuff all but the
wettest weather and shady enough to shelter you
from direct summer sun.
The Stone began life in the Ordovician age 452
million years ago, cooling from bubbling magma to
the shiny green/brown andesite of today. Back then
it nestled in a warm embrace with the nearby
Bowderstone Crag, but over the last Ice Age relations
cooled and she was hurled down the hillside in what
must have been a cataclysmic rock fall! Then came
men: The Crack was probably climbed by the
Vikings, but the problems really began when Jerry
Moffatt and Pete Kirton arrived in the early ‘80’s.
Warming up on the easier problems they then
developed the majority of the Stone’s hard classics;
Picnic Sarcastic, Inaudible Vaudeville, Impropa
Opera, and Unfinished Opera being the most
notable. These visionaries left for pastures new, but
they had acolytes among the keener locals. Men
such as Dave Birkett and Paul Cornforth faithfully
followed the chalk for years during the ’80’s and
’90’s and produced numerous eliminates, and that
other Stone classic, Power Pinch.
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Remember to ‘Pay and Display’ or the National Trust
may get you! Follow the ‘Bowderstone’ signs out of
the car park and along a good path away from the
road. After about a10 minute easy walk you will
notice a 2000 ton lump of rock on your right. You
have arrived at the Bowderstone, or the ‘Styan’ as
she is affectionately known by locals.
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9
15
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There are no access issues as such, however due to
the supposed natural worth of the mosses fern's and
lichen’s growing on the top of the block, you are
asked to refrain from topping out lines on the
Ladder Face, as well as not removing any foliage
from the block.
Grade Spread (Including Links)
4-5
6a-6b+
6c-7a
7a+-7b
7b+-7c
7c+-8a
8a+-8b
Below: Dave Birkett eyes up his next move on some
impromptu linkage of the south face.
Photo Dave Willis.
Coloured diamonds are shown before each problem
to give an idea of difficulty at a glance:
A66
Font3 to 4+ - V0
 Font5 to 6c+ - V1 to V5
Font7a to 7c+ - V6 to V10
Font8a to 8c - V11 to V15
Penrith (M6)
Whitehaven
Keswick
N
A591
Stars are used (1 to 3) to highlight climbs of
outstanding quality.
Ambleside
B5289
1km
The late ‘90’s saw the main face worked out with the
addition of its two hardest problems. John Gaskins
crimped like only he can to float up the blankness
between Picnic and Impropa to give Phantom of the
Opera, at fb8a. The same blankness was the canvas
for Neil Thompson to produce a hard traverse link.
Done via the Left Hand sitter to Picnic and finishing
up Impropa, via a now broken hold. The line has
since been retro-climbed via the remaining (very)
thin crimps, and is a fully desperate fb8a/+.
Walla Crag
Derwent Water
Falcon Crag
Keswick
A new millennium saw the hitherto neglected
’backside’ of the Stone get a good spanking. First up
Adam Hocking, Wes Hunter, and Ian Turnbull
collaborated to flush out The Bowels, and the
futuristic looking Ears Of Perception. Adam later
linked these, grasping Into The Light.
P
Bus Stop
N
Shepherds Crag
Quayfoot
Quarry
B5289
100m
Grange
Next up, Yorkshire raider Steve Dunning bisected
The Ears via some very burly slapping for his Special
Cases fb8a/+. Finally, young albatross Ryan Pasquill
spanned the famous “16ft roof “project” (not quite
in one reach!) via some huge dynamics and the help
of a few tins of XXXX, fb8a.
The future… that’s pretty much it for up problems
now, but lets face it, going up is so passé. Think
laterally! A full traverse of the ladder face would be
a tremendous feat, and is a necessary hurdle to be
overcome to reach the Holy Grail - the circumnavigation of the Stone (gasp!). An amazing prospect...
That said, for premium conditions spring and
autumn tend to offer the best chance of all-round
good sport, i.e. it is still cool enough to get primo
conditions, yet the seepage has stopped and the
landings are generally dry - the “Backside” of the
block, in particular, attracts pooling below many
lines throughout the wetter months.
P
Bowderstone
Crag
King’s How
(392m)
Watendlath
Bowderstone
Crag
Bowderstone
Rosthwaite
Bowderstone
Above: Joe Le Sage digs deep on Grand Opera,
7c/V9. Photo: Tim Stubley
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9) Impropa Opera SDS (7c+/V10) A quality
addition which has, rightly, seen more attention in
recent times. As with the stand-up version the line
has two slight variants: from low holds either pull
through direct into IO RH (7c+/V10). Alternatively,
swing left via a distinct rib into IO LH (8a/V11).
(Ian Vickers/John Gaskins)
7a) Bloodsucker (7b+/V8) The same line
climbed with the hideous pocket rather than the
“power pinch” is a historical eliminate.
8) Impropa Opera (7c/V9) This quality line has
a LH and RH start, both at the same grade. IO LH:
start matched on the large flatty and slap up to the
shoddy pinch. Now nifty pulling on ever smaller
edges rightward to finish. IO RH: start slightly to the
right and follow a more direct line using hold
X.Morpho. (Jerry Moffatt/Al Wilson) **
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15) Inaudible Vaudeville (7b+/V8) Pull on
with a good RH edge and a poor LH pocket. Slap up
to the next good hold. OK it’s slightly eliminate but
it’s a quirk of local history, and a class move. Finish
at the Picnic Sarcastic jug by another big move. Just
as good is the natural version which uses a better LH
hold and a high toe hook in the Bowderiser crack,
7a+/V7. A SDS uses this method at a brilliant 7b/
V8; see south face topo for details.
Opposite page: Dave Mason sucks it in on an
attempt of P14. Photo Tim Stubley.
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14) Un-named (8a/V11) Pressing rightwards
from the start of Picnic Sarcastic, use the obvious
thin side-pull and small crimps to scratch across to
the start of Impropa Opera, finish up this. Hard!
Finishing at the start holds of Impropa is a historical
7c+/V10. (Neil Thompson/Adam Hocking)
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7) Power Pinch (7a+/V7) The approved tick:
follow the line on the topo from chest height edges
past a side-pull (the “power pinch”), a gaston, and
two crimps, to finish at edges above the deep pocket.
Using hold X is a more natural 6c+/V5, but could
you sleep at night? *
13a) Picnic Sarcastic Direct (7b+/V8) A good
variation on the classic line is a direct finish. This
aims straight for the big jug on the lip, directly
above the starting holds. Adding either sitter adds to
the fun. * (Adam Hocking)
12a
6) Slapstick (7c/V9) Dynoing from the rail (just
right of Power Pinch) to the “slapstick” hold (no
intermediates) is a worthwhile and historical
eliminate. Using the intermediate holds drops the
grade to 7a/V6. (Adam Hocking) *
13) Picnic Sarcastic (7a+/V7) Reach up the
ramp-line to a hidden pocket. Follow the chalk up
and left via classic cellar crankin’ to a huge diagonal
jug. Awesome! The RH sitter makes a better and
more complete line - 7b/V8. Whilst the LH sitter is a
more awkward, but still worthwhile 7b+/V8.
(Jerry Moffatt/Pete Kirton) **
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5) Statstick (7a/V6) Start matched on the good
hold on the rail, move up and left to the gorgeous
“slapstick” sloper. Once there glide up to the ramp
and finish. A sit start adds to the entertainment but
is the same grade. *
12a) Phantom Direct (8a/V11) A direct and
slightly harder central start in to Phantom of the
Opera, via some BIG moves. (R Pasquil/Dan Varian)
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4) The Rib (6b+/V4) Grab good holds from
standing, now contort up and right to the same jug/
flake finish as Move Man. The sit-start bumps the
grade to 6c/V4. Starting at P4 and linking into the
finish of The Rib, via the obvious rightwards
diagonal line, is also an excellent 6c+/V5.
X Hold
3) The Ramp (6a+/V3) Start at the base of the
obvious sloping ramp on good holds, now follow it
to the last clean holds before the green gully.
12) Phantom of the Opera (7c+/V10) From the
ramp-line of the Picnic Sarcastic, gain two small
crimps in the face. Continue crimping diagonally
upwards in to the upper moves of Grand Opera,
finishing at triangular hold on the lip. From the LH
sitter of P13 it is 8a/V11. (John Gaskins)
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2) Move Man (7a+/V7) Crimpy old school
antics. Start on the shelf directly beneath the obvious
cleaned edge. Gain the edge and use it to reach a big
jug/flake up and left. (Pete Kirton)
11)  Final Curtain (7c+/V10) A cracking
extension of Grand Opera taking in the full expanse
of the thin face. From the incut crimps continue left
across the face via thin edges to a good jug, on the
lip, directly above the start of Picnic Sarcastic. ***
(Adam Hocking)
11
1) Lateral Grunting's (7a+/V7) From the far
right of the main face, traverse left with weird
technique to a bizarre (historical) finish at the base
The Rib. Most people now finish up The Ramp. This
is fractionally harder.
10) Grand Opera (7c+/V10) Do the first two
moves of Impropa Opera (LH), now veer left to an
incut edge, utilize an intermediate pinch to gain
edges and up to a triangular hold on the lip. **
Bowderstone: Ladder Face
Please note that nearly all problems can be finished
at the lip if the weather, seepage and foliage is
favourable. This doesn't happen very often! Shown
on the topo are the industry standard finishes.
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Ladder Face
This is it. One of the best hardcore bouldering
venues in Britain. A compact arena of awesome
cellar-board style climbing with a unique style and
atmosphere. The only downside is the frequent
comments regarding the ladder from the visiting
tourists...
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Ladder Face
Ladder Face: Links
A) Power Pinch - Impropa Opera (7b+/V8)
Link Power Pinch into Impropa Opera via hold X.
B) Power Pinch - Grand Opera (7c+/V10); Link
Power Pinch into Grand Opera via hold X.
1) Low Traverse into Power Pinch is 7c/V9,
into A) is 7c+/V10, and into B) is 8a/V11.
2) Lateral Gruntings & Low Traverse into
Slapstick is 7c/V9, into Power Pinch 7c/V9, into A)
8a/V11 and into B) 8a+/V12.
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3) (7b+/V8) Starting at the base of Power Pinch
reverse the Low Traverse, to the start of Move Man
and finish up this. The same start into The Rib is
7a+/V7.
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4) Adam’s Problem (7c+/V10) Starting at the
base of Power Pinch reverse the Low Traverse, to
and up The Ramp and then traverse left to finish at
the top of Impropa Opera. (Adam Hocking)
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So you’ve ticked what you can over several visits,
you’ve got the problems wired, and you want that
little bit extra. Or you’re a globe-trotting superhero
and everything so far is too easy.
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5) Hot Air 7b+/V8 From the start of Picnic
Sarcastic traverse leftward and up to the offset slots
right of Bowderiser, finish at the jug at the top of
this problem.
South Face
South Face
6) Frank (7c/V9) As for Inaudible Vaudeville
but on reaching the large in cut hold traverse
leftward to the offset diagonal slots, climb direct
through the short headwall on slopey edges to a
slopey lip. *
The South Face promises a bit of respite from the
steepness of the Ladder Face. This it does, but at the
expense of some very high top outs. Combine this
with the thin face and awkward cracks on offer and
you have the epitome of ‘Old School’ bouldering.
You must do The Crack whoever you are!
22) On the Rebound (7a+/V7) SDS Starting just
right of the crack pull on and make a hard move
into sloping holds in the thin crack system. Finish up
The Crack Direct or Crack Superdirect.
7) Dave’s Circuit (7c+/V10) Climb Coming Up
for Air (see South Face page) all the way round onto
the south face, then diagonally up to the jugs at the
top of Bowderiser, from here flow down and right
past the offset diagonal slots to the big incut hold on
Inaudible Vaudeville, finish up this. Phew!
(Dave Birkett)
Ladder Face: Links
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16) Inaudible Vaudeville SDS (7b+/V8) Start
up the Bowderiser crack and reach right to the edge
on Inaudible, a sneaky high toe-hook in the crack
allows the next hold on Inaudible to be reached in
more control than on the eliminate stand-up.
17) Bowderiser (7a/V6) The awkward crack
from low to a jug finish, or a top out for the purist the sitter is a bit harder. Often wet or damp.
Below: Chris Plant gets to grips with the final
difficulties of the awesome Picnic Sarcastic, 7a+/V7.
Photo: Bassindale collection.
23) The Crack (6c/V4) Big crack. Rock climb it!
A high old school classic. Do it! **
24) Ears of Perception (7b/V8) Start in the
niche at the base of The Crack. Pull on (left of the
crack) via edges and undercuts. Jam your feet, and
lean out using holds on the hanging prow. Take a
direct line through the prow and cut loose to a
struggle over the lip into the scoop. Top out, if you
please. *(Adam Hocking)
18) Coming Up For Air (7a+/V7) SDS A burly
traverse left from the same start as Bowderiser gains
a slippery sequence to get on the South Face; finish
up The Crack Direct or Crack Superdirect .
19) Spring Chicken (7c/V9) Another historic
eliminate, in a similar vein to Inaudible Vaudeville.
With hands either side of the juggy shield pull on
and use only the shallow dish (LH) to reach the
sloping lip, up to jugs. Using everything is 6c/V4.
You need some links!…To help with description, the
section between problem numbers 3 and 7 on the
photo- topo is referred to as the “Low Traverse”. It
starts on the same holds as The Ramp, reverses
across to the start hold of Slapstick, then takes the
rail leftwards to the base of Power Pinch. As
mentioned on the previous page: the ultimate link
here is the full L-R (or for that matter R-L) traverse
of the face and has yet to be done.
20) The Crack Direct (6c+/V5) Follow the thin
diagonal crack leftwards into The Crack, follow this
to the top. *
21) The Crack Superdirect (7a/V6) Start as for
the Direct but veer right to attack the wall direct,
passing an obvious pocket high up. Finish up The
Crack. *
Above: James Ibertson cruises The Crack
Superdirect, 6c+/V5, spotted by Tim Stubley.
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Above: Adam Hocking on Special Cases, 8a/V11.
Photo: Mike Tyson.
Bowderstone Overview
Bowderstone Overview
The purpose of this overview is to give the most
efficient presentation of that dark place round the
back. That’s right - The Backside. Which is rude, so
to preserve the Styan’s modesty we didn’t use a
photo-topo...
26) Special Cases (8a/V11) SDS Start as for
The Bowels. Halfway along this lean out across the
hanging prow on small undercuts to reach a hard
swing onto small holds. Foot faggotry may help with
that, but once out its raw power as you lurch for the
sloping lip and a hard top out. (Steve Dunning) *
This part of her anatomy is very, very steep, and the
problems aren’t the elegant pulling found on her
other faces; pure burl, esoteric techniques, and
ungracious slapping rule here. Big numbers only I’m
afraid, but the effort is well rewarded by problems
of real quality. Good luck…
24) Ears of Perception (7b/V8) Start in the
niche at the base of The Crack. Pull on (left of the
crack) via edges and undercuts. Jam your feet, and
lean out using holds on the hanging prow. Take a
direct line through the prow and cut loose to a
struggle over the lip into the scoop. Top out, if you
please. * (Adam Hocking)
25) The Bowels (7c/V9) SDS Crawl into the
shakehole and sit down on the right hand side
where the chalk begins. Traverse rightwards by a)
thuggy sloper slapping low down, b) a variety of
knee bars, head jams, body cams, or c) a bit of both.
Finish up The Crack. Not your average problem!
25a) Into The Light (7c+/V10) SDS Link The
Bowels into Ears… Exasperating and excellent!
25b) Hock’s Marathon Finish (8a/V11) SDS A
stomach churning, uber strength sapping affair,
linking The Bowls into the second half of Dave’s
Circuit. (Adam Hocking)
(5+/V1) Arête on detached block 
(6a+/V3) The Ramp
(6b+/V4) The Rib
(6b+/V4) Warm Up Traverse
(6c/V4) The Crack
(6c/V4) Spring Chicken (non eliminate)
(6c+/V5) The Crack Direct
(7a/V6) Statstick
(7a/V6) The Crack Superdirect
(7a/V6) Bowderiser
(7a/V6) Power Pinch
(7a+V7) Picnic Sarcastic
(7a+/V7) Move Man
(7a+/V7) Lateral Gruntings
(7a+/V7) Low Traverse Reverse - The Rib Link
(7a+/V7) On the Rebound
(7a+/V7) Coming Up For Air
(7b/V8) Ears of Perception
(7b/V8) Power Pinch - Impropa Opera Link
(7b+/V8) Inaudible Vaudeville SDS
(7b+/V8) Low Traverse Reverse - Move Man Link
(7b+/V8) Hot Air
(7b+/V8) Inaudible Vaudeville
(7b+/V8) Unfinished Opera
(7b+/V8) Bloodsucker
(7b+/V8) Picnic Sarcastic Direct
(7c/V9) Impropa Opera
(7c/V9) Spring Chicken
(7c/V9) Frank
(7c/V9) Slapstick
(7c/V9) Low Traverse - Power Pinch Link
(7c/V9) The Bowels
(7c/V9) Lateral Gruntings - Low Traverse -Slapstick Link
(7c/V9) Power Pinch - Grand Opera Link
(7c+/V10) Grand Opera
(7c+/V10) Lateral Gruntings - Low Traverse - Power Pinch Link
(7c+/V10) Adam’s Problem
(7c+/V10) Dave’s Circuit
(7c+/V10) Into The Light
(7c+/V10) Final Curtain
(7c+/V10) Impropa Opera RH SDS
(7c+/V10) Phantom of the Opera
(7c+/V10) Impropa Opera LH SDS
(8a/V11) XXXX
(8a/V11) Problem 14
(8a/V11) Lateral Gruntings - Low Traverse - Grand Opera Link
(8a/V11) Sidekick
(8a/V11) Phantom Direct
(8a/V11) Special Cases
(8a/V11) Hock’s Marathon Finish 
Graded Tick List
27) Unfinished Opera (7b+/V8) Into the
shakehole again. This time sit down on the left of the
frictionless slopey ramp, pull on with great difficulty
and move left to a diagonal rightward line of good
holds and on to a quality finish. Very burley .
TIP: the ramp is a bit of a red herring. (Jerry Mofatt)
28) Sidekick (8a/V11) Sit start at the base of
the obvious layback groove and climb it via
powerful off balance moves. A quality problem. **
(John Gaskins)
Project - Left of Sidekick is a slight corner/groove;
climb this from a good low hold.
29) XXXX (8a/V11) Starts stood on the huge
shelf at the back of the roof. Lean out on a good
hold, now bust out a couple of very dynamic moves
on incut side-pulls to the lip and top out. Only a few
moves, but they are massive as well as desperate.
Morpho! A sitter coming in from the far right is a
project. (Ryan Pasquill) *
30) Warm Up Traverse (6b+/V4) Start low on
the lip, follow it until you want to top out - thuggy.
There is also a good 5+/V1 sit start arête on the
small boulder just behind XXXX.
Backside
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30
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1
3
13
8
5
Climbing Hut
Ladder Face
Approach
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