For about one hundred kilometres across northern central Tasmania, a protrusion of Jurassic rock emerges, overlooking the agricultural landscapes around townships like Deloraine, Westbury and Longford. These form the north-western boundary of the Central Plateau: they are the Great Western Tiers, or, in an Aboriginal term, kooparoona niara: ‘home of the mountain spirits’.
British transplants arriving in Tasmania in the early 1800s began spreading their claims of land ownership to the inland districts beneath the Western Tiers within several decades. By the middle of the nineteenth-century, landowners had pushed their way through to the forests at the foot of the mountains.
The earliest known track up onto the Tiers was cut in 1879, and is known as Higgs’ Track. Today it remains one of the most efficient, popular and enjoyable routes into Tasmania’s high country. Higgs’ Track was cut by the father and son team of Joshua and Sydney Higgs; the Higgs family had arrived from London’s West End in 1853, and their track led from the Western Creek sawmill to the plateau’s edge, where they had a grazing lease near Lake Lucy Long.
Subsequent tracks began braiding their way up the slopes, through a tangle of snow gum and sassafras, mountain pepper and kerosene bush: Parsons Track, Warners Track, Yeates Track, Mole Creek Track and Staggs Track form, among others, a network of routes that made journeys to the lakes and peaks of that region. When trout were released in the waterways of the Central Plateau in 1895, these tracks became more and more popular; fishing became a serious attraction for visitors to the region, and locals offered their services for hospitality and guiding.
The Higgs family house was built with American architectural influences, and each of the twelve children helped to raise their accommodation. Joshua Higgs would move to Launceston to become an early architect in the fledgling city. He was also a gifted artist: significant works that survive include a sketch of the early Kings Bridge tollhouse in Launceston, and a beautiful painting of the Western Creek sawmill from which Higgs’ Track led.
His son Sydney Higgs would travel around Australia and New Zealand as a young man, earning a reputation as “a noted shearer” according to his 1934 obituary in the Examiner. But Sydney would return to live at the foot of the Tiers, in Caveside, where he met and married Lydia Stone. Sydney had a wealth of experiences from which to draw stories and was consequently “widely known as a brilliant storyteller who could hold an enraptured audience for hours,” according to local historian John F. Pithouse.
Hoofing it up the track he cut to fish his favourite streams, Sydney Higgs would be found in a dinner jacket and bowler hat. A photograph exists of this gentlemanly figure on the rocky edges of a tarn with a fishing rod in hand.
Higgs’ history continues to live in the towns beneath kooparoona niara, and elsewhere: Sydney Higgs jnr. was also a renowned watercolour painter, and his own daughter, Avis Higgs, remains one of Wellington’s treasured textile designers and watercolour artists at nearly 100 years of age.
Dairy pastures follow the road until I turn off the tarmac; an old timber signs points towards the tracks, as well as a ‘Big Tree’, which, according to local knowledge, is now just a big stump. My old car grumbles as I pull in to park at the trailhead. The serrated leaves of sassafras shine with a young green, while the trunks of eucalypts seem antediluvian; ferns sprout from damp corners; rills of water sprint across the path and plunge into creeks; some recently- and beautifully-constructed walls of pitched stone push back the dark earth.
Lady Lake Hut sits perched on the plateau, a rebuilt version of what Sydney Higgs once erected here. Welcome swallows neurotically wave around their nest in the eaves. I am nearly a kilometre above the low mosaic of farms and towns, and here, as much as anywhere, the subtle colours of rugged country remain much the same as they did for thousands of years after the glaciers melted away from it. Soggy sphagnum, well-lit layers of distant dolerite, the springtime maroon on mountain rocket: these all offer a restful impression on my eye.
For a pioneer and bushman with artistic inclinations, there may be no more wonderful place.
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