Prune lavender one specific time to avoid 'woody' plant next year, according to Monty Don
Lavender flourishes in bright sunshine and needs well-draining soil to prosper. The plants battle in shadowy spots or cold conditions, which means they can face challenges in Britain's unpredictable climate.
According to the Royal Horticultural Society (RHS), many lavender specimens can turn "woody" without proper care, though regular trimming can prevent this issue. Cutting back lavender properly is essential for reviving your plants, but certain important guidelines must be followed, reports the Express.
Monty Don explained on his blog how to stop lavender bushes becoming "woody" and "leggy", saying: "To avoid woody, leggy plants, lavender should be pruned every year. The best time to do this is as soon as the flowers start to fade."
Monty explained this timing could range from mid-summer through to late August, depending on which lavender variety you're growing.
The horticultural guru continued: "Do not wait for the seed heads to form or the flowers to turn brown, as you want to allow the maximum amount of time for regrowth before winter."
For a nicely proportioned plant, gardeners should trim boldly while ensuring some young growth stays on every branch.
He cautioned that lavender plants generally won't regenerate from old bare wood, making it crucial to preserve these fresh shoots.
Monty explained: "These new shoots will grow fast and provide an attractive and healthy cover to protect the plant in winter and provide the basis of next year's display."
Should your lavender appear particularly weary despite proper pruning, it might be wise to substitute the plant entirely.
If you happen to miss the ideal pruning window for your lavender, it's advised to hold off until the subsequent spring.
This is particularly crucial for less robust varieties such as French, Spanish and Italian types.
July also presents a splendid opportunity to take cuttings from lavender for crafting dried flower gifts.
While waiting to prune your lavender, there are other plants that can be pruned in July, including wisteria and certain fruit trees.
Rambling and climbing roses, along with some perennials like hardy geraniums, might also benefit from a trim at this time.
When pruning, always make angled cuts to ward off disease and ensure your secateurs are sharp.
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The Guardian
13 hours ago
- The Guardian
How to make the perfect fritto misto – recipe
Fritto misto (the term for 'mixed fry' sounds so much better in Italian, somehow) is, in the words of Katie Caldesi, 'an assortment of deep-fried vegetables, fish or meats … all bite-size, intended to be eaten with fingers and a wedge of lemon'. And she should know, because she loves the stuff so much that she served fritto misto at her wedding to chef Giancarlo. It's pure crisp, relaxed holiday pleasure – a simple crowdpleaser that everyone can dig into together, with, as Caldesi observes, a winning element of surprise: 'You don't know what is hidden beneath the batter until you've bitten into it.' On that note, and because my memories of the dish involve rustling salty piles washed down with well-chilled carafes of vino della casa at seaside restaurants, I always think of the fishy version (properly fritto misto di mare), but I've given suggestions below for a vegetable alternative so everyone can enjoy the feast. After all, as the Tuscans say, fritta è buona anche una suola di scarpa (even the sole of a shoe tastes good fried). Alan Davidson's magisterial 1972 work Mediterranean Seafood explains that, while fritto misto is 'one of the most common fish dishes in restaurants on the Italian coast … the composition varies according to what is available, and there are scores of possible combinations. In Venice,' he adds, 'a typical mixture would be from the following range: inkfish or squid; soft-shell crabs; prawns or shrimp; eel; sardines. In Naples, the list would be shorter.' Quoting one signora Jeanne Caròla, he writes: 'Our fritto di pesce, the ultra-classical one, is not too varied: red mullet and squid only.' With such a simple recipe, you should be guided by what's freshest, or what looks best, at the fishmonger – that's the Italian way. However, my job here is to test recipes as written, so obediently I went out to find large raw prawns, which most recipes call for, along with baby squid. Cesare Casella and Stephanie Lyness's The Fundamental Techniques of Classic Italian Cuisine demands fish fillets; Tessa Kiros' Twelve specifies red mullet, so, happening upon a fine Cornish example at my local fishmonger, I use that in both. Sasha Marx's recipe for Serious Eats, meanwhile, substitutes the usual sardines and anchovies for the North American smelt, which I swap back to anchovies. Caldesi, too, goes for anchovies, though she sandwiches tinned ones in fresh sage leaves, thereby adding a pop of salty perfume that proves irresistible; in fact, one of my testers asks why I can't just make a whole plate of those instead. The River Cafe Classic Italian Cookbook simply calls for 'mixed small fish' (though its authors note that the day they went to the market, they were lucky enough to find 'langoustines, soles, mullets, eels, prawns and moscardini [baby octopus]'), which, in my case, means the anchovies and the whitebait I've already bought for Russell Norman's version. These are soaked in milk for 15 minutes before cooking – though Ruth Rogers and Rose Gray don't say why, it's said to reduce the 'fishy' flavour. Fresh fish ought not to need this treatment, so I've thrown caution to the wind and skipped this step. Whatever you go for (do play about with my suggested selection below), it's very easy to overcook seafood – to my mind, the prawns stand up best to the fierce heat of the hot oil, even more so if, like Marx, you leave the shells on. But if crunching through them isn't your idea of fun, you might prefer to remove them first. If you fancy using fish (and the more textures and flavours here, the merrier, as far as I'm concerned), I find that small whole ones work better than fillets or cubes of mullet, which are difficult to cook perfectly and have a tendency to stick or fall apart. You could also use soft-shell crabs, scallops, mussels, even oysters; anything that appeals, really. Vegetables are very much an optional extra, but I like the freshness that they bring to the dish – or as much as anything that's been deep-fried can be said to be 'fresh'. Caldesi suggests cauliflower and artichokes, Kiros artichokes, asparagus, courgettes and tomatoes, and Casella and Lynness courgettes and aubergine, plus sprigs of sage, parsley and basil. The artichokes, to my and my testers' surprise, prove the favourites; they don't seem to give off much water (courgettes and aubergines, on the other hand, are prone to turning soggy) and their shape provides lots of interesting ridges for the batter to cling to. But they're so seasonal that I've substituted the more easily sourced fennel bulb, whose aniseed flavour I think pairs better with fish. If you'd prefer to keep things vegetarian, use a mixture of vegetables that take your fancy, but avoid anything with a high water content such as mushrooms and ripe tomatoes. Where the recipes really differ is in the batter they use, which varies from chef Pasquale Torrente's mere dusting of semolina flour to the enriched, beer-spiked batter in the Caldesis' The Italian Cookery Course. Being a sucker for carbs, I admit to a fatal weakness for the more robust and shatteringly crisp batter shell – somewhere between tempura and a fish supper – produced by Caldesi, Kiros and Angela Hartnett's recipes. As with so much here, however, it's a matter of personal preference; if you like your seafood plain and simple, just dip it in seasoned semolina, or in the mixture of semolina and cornflour used by Marx, which does indeed help to keep it crisper for longer, or in the River Cafe's flour before frying. (Semolina gives a grittier consistency; Casella and Lynness mix cornmeal and flour for a similar, but even craggier result.) Flour, according to Harold McGee's seminal On Food & Cooking, is the ingredient that has the 'largest influence on batter quality … the gluten proteins in ordinary wheat flour are valuable for the clinginess they provide, but they form elastic gluten and absorb moisture and fat, and so are responsible for chewiness and oiliness in the fried crust. For these reasons, moderate-protein flours make better batters than bread flour.' Though I don't find any recipes that call for bread flour, several mention the finely milled 00 flour traditionally used in pasta making, possibly because it's one that's often found in Italian kitchens. The example I buy, however, proves higher in protein than my standard plain variety, so I've stuck with the latter, cut with cornflour, which, as McGee explains, 'improves crispness because its relatively large particles are less absorbent, and its proteins dilute wheat gluten and reduce the chewiness of the crust'. Much as I appreciate an excuse to crack open a bottle while cooking, I favour the plainer, water-based batters to those made with beer and wine, or indeed eggs and milk (with a special mention to the whisked egg whites in Norman's book Polpo, which give his dredge an ethereal, tempura-like effect). Cold sparkling water, in particular, produces a deliciously light, crisp result. If you're a real perfectionist, you might take Hartnett's advice and stir the batter over a bowl of iced water, because the colder the batter, the slower the gluten formation. I find simply using fridge-cold water and being careful not to overmix (chopsticks are, as she says, ideal for the purpose) work well enough for me. I don't think Marx's baking powder is necessary, given the sparkling water, nor Caldesi's pinch of sugar, which I suspect is, like the milk in many recipes, more there to encourage the batter to brown than to add an overt sweetness. Fritto misto tends to be rather paler than, say, an onion ring; more a ghostly tentacle than a bronzed rubber band. This is one recipe that you must, I'm afraid, get out the oil for: the clue is in the name. A high heat is best – Casella and Lynness's 165C feels too cool, and the seafood takes ages to brown, leaving some of it overcooked. Better to go in hot and fast, as Hartnett and several others recommend – though, unless you have a huge fryer, I'd also urge you to cook the different elements separately, to prevent the squid overcooking while the prawns are still floppy and wan. It's also best, if doing both vegetables and seafood, to cook the former first, or everything will end up tasting of fish. Serve hot, with plenty of salt and wedges of lemon to squeeze over the top. The ingredients list is just a guide, so feel free to swap in seafood and vegetables as desired. Prep 25 min Cook 10 min (depending on the size of your pan) Serves 4 2 fennel bulbs 300g squid, baby or large, cleaned if necessary8 large raw shell-on prawns, or 12 medium ones200g small whole fish (ie, whitebait)16 sage leaves 8 anchovy fillets in oil, drained 125g plain flour, plus extra for dusting25g cornflour Salt Neutral oil, for frying250ml very cold sparkling water Lemon wedges, to serve Trim the fennel and cut it into chunky wedges. Give the squid a wash, then remove the tentacles, and cut off and discard the head at the top of them. If the squid are large, you might need to peel off the outer membrane (look online for advice) before cutting the body into chunky rings; if using baby squid, leave the bodies whole. Wash the prawns, cut a slit down the back of each one and pull out and discard the dark 'vein' running along the prawn's back. Wash the small fish. Pat everything dry. Pair up the sage leaves with ones of fairly equal size, then sandwich an anchovy fillet between each pair (you may need to trim one end off some of the anchovies for neatness). Put the flours in a large bowl and season with salt. Put a little more plain flour on a plate. Pour enough neutral oil into a large, heavy saucepan to fill it by no more than a third and heat to 190C (alternatively, set a deep-fat fryer to heat to 190C). Turn on the oven to low and line a baking tray with kitchen paper. When the oil is almost up to temperature, quickly stir the cold sparkling water into the bowl of seasoned flours, mixing as little as possible; don't worry if there are lumps. As soon as the oil is ready, toss the fennel in the plate of flour to coat, shake off the excess, then dip it in the batter. Shake the excess back into the bowl and carefully drop the fennel into the hot oil (don't overcrowd the pan or the oil will cool down too far and its contents will go soggy, so if necessary fry everything in batches), stirring once so it doesn't stick or clump. Fry for a couple of minutes, until pale golden brown, then scoop out with a slotted spoon on to the kitchen paper, blot off any excess oil and put in the low oven to keep warm. Repeat with the prawns, followed by the squid, then the little fish, and finally the sage and anchovy sandwiches, making sure the oil comes back up to temperature each time, and bearing in mind that the prawns will probably take a little longer (three or so minutes if they're large specimens) than the squid. Go by eye: the batter should be crisp and pale gold, rather than bronzed. Once everything is fried and ready, tip on to a serving plate, season with salt and serve with lemon wedges to squeeze over the top (and with a bowl for the prawn heads and shells). Fritto misto: the capo of all fried foods, or does someone else fry seafood better? Do you prefer a light semolina dredge or a crunchy batter jacket? Or will you make the case for the vegetable, meat or even sweet versions?
Daily Mail
17 hours ago
- Daily Mail
Do YOU live in a Japanese knotweed hotspot? Here's how to spot and get rid of it
Bristol is the Japanese knotweed 'capital of England', new data from Environet shows. In the year to date, there have been 1,440 reported sightings of Japanese knotweed in the South West city, according to the findings. Merseyside is another hotspot for Japanese knotweed, with 2,963 sightings reported, but spanning a less dense area, at 11.87 episodes per square mile compared to 33.91 in Bristol. Greater London is the third most prevalent Japanese knotweed hub, with 4,687 reported sightings and 7.74 incidents per square mile. Lancashire came out in fourth place, seeing a hefty 8,612 sightings spanning 7.25 episodes per square mile. Residents in Greater Manchester also need to be on high alert for Japanese knotweed, with the area seeing 3,558 Japanese knotweed reports, translating to 7.22 incidents per square mile. Spanning further afield, the Isle of Man, a self-governing British crown dependency, also reached the top 10, as did the Channel Islands, Isle of Wight, Derbyshire and Nottingham, followed closely by the West Midlands and Surrey. What is Japanese knotweed? According to the Royal Horticultural Society, Japanese knotweed is a persistent, clump-forming herbaceous perennial, which was introduced to Britain as an ornamental garden plant but has since become an invasive weed subject to legal control measures. Japanese knotweed first arrived in Britain in the Victorian times in a box of plant specimens delivered to Kew Gardens and was quickly adopted by gardeners and horticulturalists, who were unaware of its invasive nature. Since then it has spread widely, with an average of 1.1 occurrences in every square mile of England and 3.9 in Wales, according to Environet. 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Glasgow Times
19 hours ago
- Glasgow Times
Glasgow homeowner ordered to remove sun room from property
Glasgow City Council served two enforcement notices on a flat at 1 Seton Terrace as officials said the structures, installed without permission, were out of character and affecting neighbours. The owner, Gerard Caughey, appealed to the Scottish Government in a bid to overturn the rulings, but they have now been upheld. A sun room, or orangery, was built in 2018 as an extension to the mid-19th century two-storey flat while the two flues – for a wood-burning stove within a workshop in the garden – were installed in a lane to the back of the property. Council officials said both the flues and the sun room require planning permission while listed building consent is needed for the extension. They ordered their removal in November last year following 'various' public complaints, as the flues have 'a direct impact on the amenity of the neighbouring properties' due to smoke. Officials also said the sun room does not 'protect the listed building's appearance' or 'complement the… period, style and character'. (Image: Appeal documents) But Mr Caughey, who claimed he was only aware of one complaint, appealed. A reporter was appointed by the Scottish Government to investigate the case. A representative for the owner said he had reinstated a single-storey extension at the same 'height and scale' as an original orangery, which had been part of the property when it was purchased in the 1990s but was removed as it was in 'a dangerous condition'. The appeal argued the extension had been completed six years before the enforcement notice was issued and that it protected the listed building 'due to its similarity to what was there originally'. It added 'quality' Spanish hardwood had been used and a 'sympathetic approach' was taken. The owner's appeal also claimed the council had failed to respond to a query about retrospective planning applications, and a prior enforcement notice relating to the flues had been dismissed. A letter of support for the extension was provided by Brian Johnston, planning convener on Dennistoun Community Council. It stated the work had been 'carried out with a sympathetic regard for the original building' and the 'workmanship, design and materials' were of 'high quality'. In response, the council said the previous notice was not withdrawn and the flues are not 'a sufficient distance' from neighbouring properties, so a planning application would be refused. READ MORE: Call to keep 'distinctive' building facade in plan for new Radisson hotel It added permission for the extension also wouldn't be granted, as it is 'incongruous with the listed building and contributes to overdevelopment of the rear area'. The council believes removing the 'unauthorised structure would restore the character of the listed building by restoring the rear wall of the building to its original unobscured state'. The reporter, Simon Bonsall, found permission was required in both cases and that breaches of planning control had occurred. He upheld the enforcement notices. Mr Bonsall also refused to grant listed building consent for the extension. He concluded: 'While the effect of the orangery on the setting would not be harmful, I consider that the orangery through its design, location and materials would… not be in keeping with the character of the listed building. 'I consider that the removal of the orangery… would restore the character of the listed building to its state prior to the orangery having been built.' The owner can challenge the rulings at the Court of Session, but only on a point of law.
