0:00:02 > 0:00:06Antiques - what do we really know about them,
0:00:06 > 0:00:08apart from being beautiful to look at,
0:00:08 > 0:00:12exquisitely made and often hugely valuable?
0:00:12 > 0:00:16It looks like a sort of encrustation of brilliance
0:00:16 > 0:00:17to wear on your finger.
0:00:17 > 0:00:21But why were they made in the first place and who were they made for?
0:00:23 > 0:00:26Jet was this mysterious material.
0:00:26 > 0:00:28It's actually a form of fossilised wood.
0:00:28 > 0:00:32Whether from a mediaeval castle or an auction house...
0:00:32 > 0:00:34In the room now at 340...
0:00:34 > 0:00:37..antiques unlock a fascinating history
0:00:37 > 0:00:40of the way we lived, then and now.
0:00:40 > 0:00:42I'm now a liberated, voting, emancipated woman.
0:00:42 > 0:00:45I'm historian Dr Lucy Worsley
0:00:45 > 0:00:47and I'm going to uncover the stories
0:00:47 > 0:00:50behind some of these remarkable objects.
0:00:51 > 0:00:53CHEERING
0:00:53 > 0:00:55'I'm antiques expert Mark Hill
0:00:55 > 0:00:58'and I'll be looking at why some items have become priceless
0:00:58 > 0:01:01'while others are the collectibles of tomorrow.
0:01:01 > 0:01:05'Along the way we'll meet the people who preserved them.
0:01:05 > 0:01:09'The highly-skilled craftspeople who still make them...'
0:01:09 > 0:01:12So 34% of your diamond - poof! Gone!
0:01:12 > 0:01:15Yes. To get to the finished product.
0:01:15 > 0:01:17'..and the passionate people who collect them.'
0:01:17 > 0:01:21The artists used to chop up hair and mix it with the paint.
0:01:21 > 0:01:23That's quite incredible.
0:01:23 > 0:01:28'We're going to put antiques in their historical and social context.
0:01:28 > 0:01:31'This time we're looking at objects associated with ceremonies,
0:01:31 > 0:01:34'from private ones like weddings and funerals,
0:01:34 > 0:01:37'to the public events of royal coronations
0:01:37 > 0:01:39'and the Olympic Games.'
0:01:51 > 0:01:53We've come to Hever Castle in Kent.
0:01:53 > 0:01:55It dates from the 13th century
0:01:55 > 0:01:58and was later the childhood home of Anne Boleyn.
0:01:59 > 0:02:03Now, castles like this aren't just for defending yourself,
0:02:03 > 0:02:06they're also for hosting big ceremonial occasions
0:02:06 > 0:02:08like jousting tournaments.
0:02:08 > 0:02:10Yes, and we still hold enormous ceremonies
0:02:10 > 0:02:12to celebrate public events today.
0:02:12 > 0:02:16I'm thinking of coronations or, most notably, the Olympic Games.
0:02:16 > 0:02:19I suppose this applies to our private lives too, doesn't it?
0:02:19 > 0:02:22We get these rituals of passage at births, deaths and marriages,
0:02:22 > 0:02:24and they're all marked by ceremonies.
0:02:24 > 0:02:27And the most popular ceremony is still marriage,
0:02:27 > 0:02:30although I'm not quite sure poor old Anne Boleyn would agree.
0:02:32 > 0:02:35Their marriage may not have ended well,
0:02:35 > 0:02:37but when Henry VIII was courting Anne Boleyn,
0:02:37 > 0:02:40he made frequent visits to Hever Castle and lavished her
0:02:40 > 0:02:43with gifts of jewellery.
0:02:43 > 0:02:47And antique jewels, obviously, are now highly sought after.
0:03:00 > 0:03:05SJ Phillips is an antique jewellery dealer on Bond Street in London.
0:03:05 > 0:03:07Trading since 1869,
0:03:07 > 0:03:11it is still run by the original owner's great-grandsons.
0:03:11 > 0:03:13BELL RINGS
0:03:13 > 0:03:17Whoa! Jewels, very nice!
0:03:17 > 0:03:20The rings they have on sale tell a fascinating story
0:03:20 > 0:03:24of how the jewellery associated with love and marriage has changed over time.
0:03:24 > 0:03:30In many ways, the circle or the ring, represents love without end.
0:03:30 > 0:03:33Obviously there are no ends in a circle and it's portable,
0:03:33 > 0:03:35visible and can be personalised,
0:03:35 > 0:03:38so it's really not surprising that the ring has been
0:03:38 > 0:03:40at the core of marriage for centuries.
0:03:40 > 0:03:44This one's brilliant because it has a secret surprise hidden inside.
0:03:44 > 0:03:46It's got a little poem. It says,
0:03:46 > 0:03:49"Hearts content cannot repent."
0:03:49 > 0:03:53It's known as a poesy ring, poesy being a word then for poetry.
0:03:53 > 0:03:56So this is a 17th century gold ring
0:03:56 > 0:03:59and a gentleman would give this to a lady
0:03:59 > 0:04:02as a little token of his affections.
0:04:02 > 0:04:05The tradition of wearing a wedding ring on the fourth finger
0:04:05 > 0:04:08goes back thousands of years.
0:04:08 > 0:04:11There was a Roman medical idea
0:04:11 > 0:04:14that there was a vein that ran all the way from that finger
0:04:14 > 0:04:17to the heart and I'm brandishing my right hand
0:04:17 > 0:04:19because that was more significant.
0:04:19 > 0:04:22Then people realised it was impractical to have your ring
0:04:22 > 0:04:25on the hand that you're going to use, so you move it to the left.
0:04:25 > 0:04:28- Have you seen these before?- This is a brilliant little thing, isn't it?
0:04:28 > 0:04:32- Quite ingenious.- It's a pair of hands
0:04:32 > 0:04:35which makes it a fede ring.
0:04:35 > 0:04:38- Mani in fede.- Exactly.
0:04:38 > 0:04:40Hands in trust.
0:04:40 > 0:04:42Hands in trust and the two hands clasp each other
0:04:42 > 0:04:46and can be unclasped if you slide the two parts of the ring apart.
0:04:46 > 0:04:48Isn't that brilliant?
0:04:48 > 0:04:51This is actually an early 19th century one.
0:04:51 > 0:04:56It's a long tradition of ring design that the two hands clasped together.
0:04:56 > 0:05:00But the modern engagement would seem incomplete to most of us
0:05:00 > 0:05:03unless accompanied by a diamond.
0:05:03 > 0:05:06This is my favourite so far. I do like this one.
0:05:06 > 0:05:09It's from the 17th century, which is my favourite century.
0:05:09 > 0:05:10And it's got a sort of...
0:05:10 > 0:05:13Oh, it's just so luxurious.
0:05:13 > 0:05:18It's like an encrustation of brilliance to wear on your finger, don't you think?
0:05:18 > 0:05:19I do rather, and of course
0:05:19 > 0:05:22diamonds extend that entire sort of love enduring.
0:05:22 > 0:05:25They're a solid, hard, durable rock
0:05:25 > 0:05:28and one that's been associated with royalty and nobility for centuries.
0:05:28 > 0:05:33Well, the word's adamantine. It means in Latin invincible,
0:05:33 > 0:05:35indomitable, goes on forever.
0:05:35 > 0:05:39So that's the symbolism of diamonds as a gem, I suppose.
0:05:39 > 0:05:42If you like that one, what do you think of this rather brash little number?
0:05:42 > 0:05:44I like that one too. Yes, yes, I'll have that.
0:05:44 > 0:05:471920s, 1930s, good Art Deco period piece.
0:05:47 > 0:05:51I can imagine wearing that on a liner crossing the Atlantic,
0:05:51 > 0:05:53sipping a cocktail in the bar!
0:05:53 > 0:05:56So, if you're a nervous young man coming into this shop,
0:05:56 > 0:05:59what are the different prices?
0:05:59 > 0:06:03Our 17th century poesy ring is worth about £3,000.
0:06:04 > 0:06:07Our early 19th century fede ring...
0:06:07 > 0:06:10- The secret double ring with the hands.- Absolutely.
0:06:10 > 0:06:12That's worth between £3,000-£5,000.
0:06:12 > 0:06:14We're ramping up the prices
0:06:14 > 0:06:18with our beautiful 17th century rose cut diamond ring,
0:06:18 > 0:06:22which is worth around £70,000.
0:06:22 > 0:06:26But I would have to sell my apartment to buy this.
0:06:26 > 0:06:29£180,000. You have good taste.
0:06:29 > 0:06:31SHE CHUCKLES
0:06:31 > 0:06:34It is amazing, that one. I love it.
0:06:38 > 0:06:40Hatton Garden in London
0:06:40 > 0:06:44has been the centre of England's diamond industry since the mediaeval period.
0:06:46 > 0:06:48There are still some expert diamond cutters
0:06:48 > 0:06:53who use traditional methods that have changed little in hundreds of years.
0:06:53 > 0:06:56Come on down. I'll show you where it all takes place.
0:06:56 > 0:07:00'Gary's family have been cutting diamonds since 1890.'
0:07:00 > 0:07:02This is the centre of operations.
0:07:02 > 0:07:06This is our little cubbyhole where we hide out from the world.
0:07:07 > 0:07:10And we've just got a stone here which...
0:07:11 > 0:07:14A stone? That's enormous!
0:07:14 > 0:07:18It's 36 carat. Just bought that in South Africa about three weeks ago.
0:07:18 > 0:07:23- That's absolutely huge. It's got a yellow tinge to it.- Well, yes.
0:07:23 > 0:07:26It's unusually yellow.
0:07:26 > 0:07:29It's what they call a fancy yellow or a fancy intense yellow diamond.
0:07:31 > 0:07:33'The job of the diamond cutter,
0:07:33 > 0:07:35'is to get the highest yield from the rough rock.
0:07:35 > 0:07:40'To help him do this, he uses a 3D scanner to build a digital model.'
0:07:40 > 0:07:42And there it is.
0:07:43 > 0:07:46'Most rocks are cut in half to make two diamonds,
0:07:46 > 0:07:48'and the vital decision of where to place this cut
0:07:48 > 0:07:51'is still down to human expertise.'
0:07:51 > 0:07:54See, what I can do here now,
0:07:54 > 0:07:57is I can actually place a line on the stone
0:07:57 > 0:08:00where we think we're going to saw the stone into two.
0:08:00 > 0:08:04'Once the design of the two diamonds has been chosen,
0:08:04 > 0:08:07'the computer then fits both parts inside the rock.'
0:08:07 > 0:08:11Oh, my goodness! I see.
0:08:11 > 0:08:14- But they're so small.- It's not small.
0:08:15 > 0:08:18But there's so much... Perhaps I should rephrase that.
0:08:18 > 0:08:21There's so much wastage on the outside, by the looks of it,
0:08:21 > 0:08:23because they're hiding right inside it.
0:08:23 > 0:08:27- I've got to tell you, that, actually, is a phenomenal yield by our standards.- Really?
0:08:27 > 0:08:30Normally we get wastage of over 50%.
0:08:30 > 0:08:34- But this stone is going to give us a yield of...- 66%.
0:08:34 > 0:08:3766%, which is exceptionally high.
0:08:37 > 0:08:39So what happens to all this excess material?
0:08:39 > 0:08:42Is that just cut away and used for smaller, tiny diamonds?
0:08:42 > 0:08:46No, no, that is just ground away. That goes into the air.
0:08:46 > 0:08:51- So 34% of your diamond - poof! Gone! - Yes. To get to the finished product.
0:08:52 > 0:08:56'The rough diamond is clasped inside the cutting machine,
0:08:56 > 0:09:00'which uses a paper-thin metal disc to slice through the rock.
0:09:00 > 0:09:05'It can take days or even weeks, to cut through a diamond,
0:09:05 > 0:09:08'as too much pressure could cause it to shatter.'
0:09:08 > 0:09:13What do you use to cut it? It looks like it's a sort of steel or iron.
0:09:13 > 0:09:15- That's a very, very thin phosphor bronze disc.- OK.
0:09:15 > 0:09:19Why phosphor bronze? Because it's absorbent on the end.
0:09:19 > 0:09:24- And what do you need to absorb into it?- Diamonds. Diamond powder.
0:09:24 > 0:09:27- The only thing that can cut a diamond is a diamond.- Correct.
0:09:27 > 0:09:30- The hardest material known to us. - Yes.
0:09:30 > 0:09:33A small amount of diamond paste mixed with a little oil,
0:09:33 > 0:09:35that's placed on this little bit of leather
0:09:35 > 0:09:37and we just place it on the roller.
0:09:39 > 0:09:44And then we just put this onto the tip of the phosphor bronze disc.
0:09:44 > 0:09:46And you see it just spinning round.
0:09:46 > 0:09:48It's just taking the diamond powder off there.
0:09:48 > 0:09:52And that will carry on slicing through the stone.
0:09:54 > 0:09:58The most skilled part of diamond cutting is known as polishing,
0:09:58 > 0:10:02and uses a machine that was first invented in Germany during the 15th century.
0:10:04 > 0:10:07This scaife has a spinning abrasive turntable
0:10:07 > 0:10:09which gives the diamond its final sparkle.
0:10:12 > 0:10:17And, again, we put diamond powder inside this plate.
0:10:17 > 0:10:20So basically you have a plate of diamond,
0:10:20 > 0:10:25with the diamond which we're polishing being lowered onto it.
0:10:25 > 0:10:28So this is where the diamond becomes a diamond that we would recognise,
0:10:28 > 0:10:31- bought from a jewellers, or set into a ring.- Yes.
0:10:31 > 0:10:34This is the final process where we break the facets down.
0:10:34 > 0:10:37So the facet is the flat plane that's cut at an angle
0:10:37 > 0:10:39all the way round the diamond?
0:10:39 > 0:10:42Yes, to get the full refraction on the diamond.
0:10:42 > 0:10:47The majority are cut into a design known as brilliant diamonds,
0:10:47 > 0:10:48which have 58 facets.
0:10:48 > 0:10:53The skill of polishing is to get the angles of the different facets perfectly aligned.
0:10:56 > 0:10:59- There's still an enormous amount of experience.- Of course.
0:10:59 > 0:11:01We've been doing it for over 40 years each,
0:11:01 > 0:11:05so you get to see and know an awful lot by your own...
0:11:05 > 0:11:08Even just by looking, you can tell things are wrong or right.
0:11:08 > 0:11:13- 40 years!- Yeah, over 40 years. Gary and I started this together.
0:11:13 > 0:11:16But I'm still down the bottom and he's still at the top.
0:11:16 > 0:11:20- We'll meet in the middle one of these days.- Oh, I don't think so.
0:11:20 > 0:11:24So you can see, this has got all the full 58 facets on it.
0:11:24 > 0:11:27It really is stunning, isn't it?
0:11:27 > 0:11:30What factors do you use to appraise a diamond?
0:11:30 > 0:11:36We use the four C's - colour, cut, clarity and carat weight,
0:11:36 > 0:11:38which determine the value of the stone.
0:11:38 > 0:11:43So the carat term, which you see in jewellers across the land, that's actually the weight.
0:11:43 > 0:11:44That's the weight, yes.
0:11:44 > 0:11:48A carat was actually taken from a carob bean.
0:11:48 > 0:11:52They're fairly uniform weight, so in the bush in Africa
0:11:52 > 0:11:54when they were valuing diamonds in the old days,
0:11:54 > 0:11:56they'd be weighed against one of those.
0:11:56 > 0:12:00- That's how the word carat came about.- From carob beans? - From carob beans.
0:12:04 > 0:12:0770% of engagement rings sold today now contain a diamond,
0:12:07 > 0:12:12thanks partly to a highly successful diamond marketing campaign
0:12:12 > 0:12:14in the 1930s.
0:12:14 > 0:12:19But the ring isn't the only part of the marriage ceremony that's changed over time.
0:12:19 > 0:12:23The custom of having a special dress just for your wedding
0:12:23 > 0:12:25is also relatively new.
0:12:25 > 0:12:27It wasn't until the 19th century
0:12:27 > 0:12:33that wealthy brides started to choose light-coloured dresses to be worn only once, on the wedding day.
0:12:34 > 0:12:37It was when Queen Victoria wore white
0:12:37 > 0:12:41for her marriage to Prince Albert that it really took off.
0:12:45 > 0:12:50Antique and vintage clothes have become increasingly popular in recent years,
0:12:50 > 0:12:54and I've come to Dalston in east London to meet Meg Andrews.
0:12:54 > 0:12:58She's been selling antique dresses for 25 years.
0:12:58 > 0:13:00Lucy, this is my studio.
0:13:00 > 0:13:04Ooh! It's Aladdin's cave!
0:13:04 > 0:13:06Who are your clients, Meg?
0:13:06 > 0:13:08What kind of people are buying your dresses?
0:13:08 > 0:13:14I'm selling to museums and I sell to collectors, here and abroad.
0:13:14 > 0:13:21And people who would just like an item of Victorian or 18th century,
0:13:21 > 0:13:25just to perhaps frame or put in a case in their rooms.
0:13:25 > 0:13:27Beautiful wedding dress.
0:13:27 > 0:13:311840s, similar to Queen Victoria's,
0:13:31 > 0:13:33worth around £500.
0:13:33 > 0:13:36Queen Victoria really set the trend, didn't she,
0:13:36 > 0:13:40for the very simple, white wedding dress that survives till today?
0:13:40 > 0:13:44Yes. Sometimes people wore white dresses before that,
0:13:44 > 0:13:46but yes, she set the fashion.
0:13:46 > 0:13:49- How would she have accessorised it? - This is a Honiton lace wedding veil.
0:13:49 > 0:13:51Oh, look at this.
0:13:51 > 0:13:55She would have worn all Honiton lace. She was trying to encourage...
0:13:55 > 0:13:58- British industry!- Exactly, exactly.
0:13:58 > 0:14:02Do you know an extraordinary thing about the lace on Victoria's dress?
0:14:02 > 0:14:05She actually commissioned it before proposing to Albert.
0:14:05 > 0:14:07- Oh, did she?- Yes!- Oh, right.
0:14:07 > 0:14:11Of course it's her prerogative to propose because she's going to be the Queen.
0:14:11 > 0:14:15I guess she didn't have it in mind, necessarily, as a wedding dress
0:14:15 > 0:14:18and that indicates to me that people
0:14:18 > 0:14:23weren't so hung up about wedding dresses as a special thing at that time
0:14:23 > 0:14:27- because before that they would've just worn their very best dress. - Yes, they would.
0:14:27 > 0:14:30And not necessarily white, just a really smart dress
0:14:30 > 0:14:33- that you could go on wearing and using afterwards.- That's right.
0:14:33 > 0:14:37And also, not with Victoria, but people who were less well-off,
0:14:37 > 0:14:40they would've worn the dress as an evening dress
0:14:40 > 0:14:43and accessorised it slightly differently.
0:14:43 > 0:14:46Do you think that it's sort of the modern wedding industry
0:14:46 > 0:14:49that's encouraged the idea that you wear it JUST for one day?
0:14:49 > 0:14:53- It's quite a disposable fashion thing to do in a sense.- Yes, very.
0:14:53 > 0:14:56What a waste when you've spent thousands on the dress
0:14:56 > 0:14:59and thought and thought about it and looked and looked.
0:14:59 > 0:15:03Victorian brides would have to go to painful lengths to acquire
0:15:03 > 0:15:06the fashionable figure of the period.
0:15:06 > 0:15:08What I find quite interesting about the dress
0:15:08 > 0:15:11is that it was VERY restrictive. For instance,
0:15:11 > 0:15:13this has whale bone or baleen
0:15:13 > 0:15:17which was from the roof of the mouth of the whale.
0:15:17 > 0:15:19Whale bone's a remarkable material, isn't it?
0:15:19 > 0:15:23- It can twist and bend. - It's very pliable, sort of elastic.
0:15:23 > 0:15:25- Sucking you in.- Yes.
0:15:25 > 0:15:28And so not only did she have the whale bones here,
0:15:28 > 0:15:30the shoulders were quite low
0:15:30 > 0:15:33and the sleeves were very tight,
0:15:33 > 0:15:35so you had very little movement.
0:15:35 > 0:15:37When we talk about women's liberation,
0:15:37 > 0:15:40we often mean politically, economically,
0:15:40 > 0:15:44but actually physically as well! Clothes like this restrict.
0:15:44 > 0:15:47- They keep you in your place, don't they?- Very much so.
0:15:49 > 0:15:52Collectors aren't just interested in Victorian dresses.
0:15:52 > 0:15:55Vintage clothes from the 1920s are incredibly popular,
0:15:55 > 0:15:58especially cos you can still wear them.
0:15:58 > 0:16:00Lovely!
0:16:00 > 0:16:02I am wearing my dream dress.
0:16:02 > 0:16:04It looks really good.
0:16:04 > 0:16:07- So it's 1925 this, is it?- Yes.
0:16:07 > 0:16:10Now, this truly was somebody's wedding dress!
0:16:10 > 0:16:12Yes, then she would have worn it for evenings.
0:16:12 > 0:16:15She'd have got a lot of wear out of that.
0:16:15 > 0:16:17There's a real change in style here in so many ways,
0:16:17 > 0:16:19not least in ease of movement.
0:16:19 > 0:16:23I'm now a liberated, voting, emancipated woman.
0:16:23 > 0:16:27But also, at THIS period, weddings had to take place in the morning,
0:16:27 > 0:16:31that was the rule, and that's why we still call it the wedding breakfast
0:16:31 > 0:16:33because it took place in the morning.
0:16:33 > 0:16:36By the 20th century they could take place in the afternoon,
0:16:36 > 0:16:38shading on into the evening,
0:16:38 > 0:16:42so the style of dresses reflects later times of day as well.
0:16:42 > 0:16:45- This is definitely an evening dress. - For dancing, yes.
0:16:45 > 0:16:47You can do the Charleston in this dress.
0:16:47 > 0:16:48You can have a wild old time!
0:16:51 > 0:16:55This wedding dress also reflects one of the most dynamic styles of the time -
0:16:55 > 0:16:57Art Deco.
0:17:01 > 0:17:04Symmetrical lines and geometric patterns are classic features
0:17:04 > 0:17:08of a style that emerged from the age of jazz.
0:17:09 > 0:17:11This modern look originated at
0:17:11 > 0:17:15the Paris International Exhibition Of Decorative Arts in 1925
0:17:15 > 0:17:19and used bright colours contrasting with chrome and silver.
0:17:21 > 0:17:24This 1920s wedding ring also demonstrates
0:17:24 > 0:17:26the angular style of Art Deco.
0:17:34 > 0:17:37After a wedding, the next major ceremonial event
0:17:37 > 0:17:40is traditionally the welcome given to a newborn child.
0:17:51 > 0:17:53Gifts to celebrate a birth date back millennia...
0:17:55 > 0:17:58..but the traditional silver cup has its origins in the 1600s.
0:18:02 > 0:18:04This looks nice. Have you had this before?
0:18:04 > 0:18:06It looks a little like porridge
0:18:06 > 0:18:09but I don't feel that I'd be the sort of person who'd be having this.
0:18:09 > 0:18:12No, this is a special alcoholic sort of porridge.
0:18:12 > 0:18:17It's got beer, it's got grain, it's got spices and sugar in it.
0:18:17 > 0:18:21- And do you know when you eat/drink it?- Mm-hmm?
0:18:21 > 0:18:22Eugh!
0:18:22 > 0:18:24Just after you've given birth!
0:18:24 > 0:18:27Yes, this would bring you back to life, I'm quite sure,
0:18:27 > 0:18:29but that was its point, wasn't it?
0:18:29 > 0:18:33It's a way of reviving a half-dead mother after she's just had
0:18:33 > 0:18:36an arduous Tudor labour without any painkillers, basically.
0:18:36 > 0:18:42Traditionally caudle was served in one of these little caudle cups.
0:18:42 > 0:18:47Later they become known as porringers for slurping your porridge out of.
0:18:47 > 0:18:50And this is a very cute little 17th century one, isn't it?
0:18:50 > 0:18:54It is and this one, very small, dating from 1640, is a functional one
0:18:54 > 0:18:58and would've been used by a mother to perhaps even feed her child.
0:18:58 > 0:19:03It's made out of pewter which is a metal alloy
0:19:03 > 0:19:05made up primarily of tin.
0:19:05 > 0:19:09This one is 60 years later, also pewter.
0:19:09 > 0:19:12It's much bigger and grander and fancier
0:19:12 > 0:19:15and it is still possible that somebody would
0:19:15 > 0:19:18slurp their porridge out of it but it also has
0:19:18 > 0:19:21more of the qualities of a decorative, commemorative piece.
0:19:21 > 0:19:25As they're associated with the birth of a child and christenings,
0:19:25 > 0:19:29they become the gift that godparents often give to their godchildren
0:19:29 > 0:19:31to mark the occasion of the birth.
0:19:31 > 0:19:35Early pieces like this, particularly connected to a very popular subject
0:19:35 > 0:19:38like childbirth will naturally be of great interest.
0:19:38 > 0:19:42Something like this is worth £450, thereabout.
0:19:42 > 0:19:47And a piece like that would fetch somewhere around £1,000-£1,200.
0:19:50 > 0:19:53Pewter has been made in Britain since the Middle Ages.
0:19:53 > 0:19:56Compared to silver, pewter was relatively cheap and was very popular
0:19:56 > 0:20:02until mass-produced glassware became available in the 19th century.
0:20:03 > 0:20:07I've come to A E Williams, a family-run pewter factory
0:20:07 > 0:20:11in Birmingham which has been handcrafting pewter since 1779.
0:20:11 > 0:20:15Steve Johnson is the great-great-great-great-grandson
0:20:15 > 0:20:17of the original owner.
0:20:18 > 0:20:22What you're looking at here is the largest collection
0:20:22 > 0:20:25of antique moulds in the world today.
0:20:25 > 0:20:28As you can see we've got everything from candlestick moulds
0:20:28 > 0:20:29to goblet moulds to tankard moulds.
0:20:29 > 0:20:34It's amazing. When you say antique, do you mean really antique?
0:20:34 > 0:20:35Are they old moulds or new?
0:20:35 > 0:20:38Well, if you have a look at antique pewter,
0:20:38 > 0:20:40these are the moulds that actually made the pewter
0:20:40 > 0:20:42so these are older than the antiques.
0:20:42 > 0:20:45So you've got 18th century, 19th century...?
0:20:45 > 0:20:48Just behind you there are some large plate moulds,
0:20:48 > 0:20:53- one dated 1729, the other dated 1762.- Good Lord.
0:20:53 > 0:20:56So these have been in continuous use for hundreds of years?
0:20:56 > 0:20:59- Even today. - So you still use those today?
0:20:59 > 0:21:02- Yep, yep.- Do you have any porringers?- Yes, we do.
0:21:02 > 0:21:05Here's an old mould here.
0:21:05 > 0:21:09- It's probably a couple of hundred years old.- What's it made of?
0:21:09 > 0:21:10That's cast iron.
0:21:10 > 0:21:14So this would've been used to make porringers in the 18th, 19th century?
0:21:14 > 0:21:16Absolutely.
0:21:16 > 0:21:18Pewter is made from 90% tin
0:21:18 > 0:21:23while small amounts of copper and antimony help it to harden.
0:21:23 > 0:21:27It melts at 240 degrees, which is low for metal,
0:21:27 > 0:21:29meaning it hardens very quickly.
0:21:29 > 0:21:33- Do you want to have a go? - I would LOVE to have a go.
0:21:33 > 0:21:37- I'll get a ladle of metal for you. - Thank you. Oh, it's heavy, actually!
0:21:37 > 0:21:39You forget. You sort of imagine it to be like water.
0:21:39 > 0:21:42- Do I just go for it?- That's right.
0:21:42 > 0:21:44- Here we go.- Straight in, Mark.
0:21:44 > 0:21:46OK. There we go.
0:21:46 > 0:21:50- And even when it's filling up and it comes out, keep it running in.- OK.
0:21:50 > 0:21:52That gets rid of all the impurities out of it.
0:21:52 > 0:21:55- And that's great.- That's it?- Yep.
0:21:55 > 0:21:57If you keep your eye down there,
0:21:57 > 0:21:59you can see that that's set now.
0:22:01 > 0:22:02- That quick?- Yep.
0:22:02 > 0:22:07We want to keep it moving, so if you grab the pillar there,
0:22:07 > 0:22:12and get this mallet. When you pull that back, if you hit...
0:22:12 > 0:22:17That bit? I'm notoriously bad at sport. Stand well back!
0:22:19 > 0:22:22- You have to be relatively tough with it.- Just a bit.
0:22:22 > 0:22:25- If you tilt that back towards you. - There it is!- There you go!
0:22:28 > 0:22:31- Nothing happens... Oh!- There you go.
0:22:32 > 0:22:34I've made part of a porringer.
0:22:34 > 0:22:36And that looks pretty good to me.
0:22:36 > 0:22:39- Excellent. Thank you very much! - There you go.
0:22:41 > 0:22:45Once the porringer has cooled down, it needs to be turned
0:22:45 > 0:22:47which involves shaving the rough edges
0:22:47 > 0:22:50to create a smooth, shiny surface.
0:22:50 > 0:22:54This is the most skilled part of creating pewter
0:22:54 > 0:22:57and John Morris has been turning pewter for over 30 years.
0:23:00 > 0:23:01Want to try?
0:23:01 > 0:23:04I'll give it a go. Bye-bye, bowl!
0:23:08 > 0:23:10Oh, there it is!
0:23:10 > 0:23:14- Go further down the bowl. - Oh, yes!
0:23:15 > 0:23:20It's not the beautiful sort of flow that you had.
0:23:20 > 0:23:25- You're getting there. What you need is confidence.- Yes.
0:23:28 > 0:23:30MARK CHUCKLES
0:23:30 > 0:23:32Oh.
0:23:32 > 0:23:34- That's quite good, that is. - Is that all right?- Yes.
0:23:34 > 0:23:37This is much, much harder than it looks.
0:23:37 > 0:23:42The handle is then soldered onto the porringer before the maker's mark
0:23:42 > 0:23:44is hand-stamped onto the finished item.
0:23:48 > 0:23:49- Oh!- Lovely.
0:23:49 > 0:23:51Hey-hey! And there we go,
0:23:51 > 0:23:54- my finished porringer! - Very good, that.
0:23:54 > 0:23:56First attempt.
0:24:01 > 0:24:05In the same way that gifts are often given to welcome a new life into the world,
0:24:05 > 0:24:08the passing of a life is marked by its own rituals.
0:24:25 > 0:24:30The average life expectancy in Victorian Britain was the late 30s.
0:24:30 > 0:24:33With death so present, mourning was a normal part of life.
0:24:35 > 0:24:38For married women, Victorian society's expectations
0:24:38 > 0:24:41were especially strict if your husband died.
0:24:42 > 0:24:46Widows were required to withdraw from public life, wear black,
0:24:46 > 0:24:49veil their heads and cover mirrors with black drapes.
0:24:51 > 0:24:55There was even special jewellery made to suit the occasion.
0:24:57 > 0:25:00I've been one year and 11 months in black now
0:25:00 > 0:25:02and I'm desperate to wear coloured clothes again!
0:25:02 > 0:25:07Only one month to go. Two years and you'll be able to free yourself.
0:25:07 > 0:25:09Then two years are up. Actually, I won't.
0:25:09 > 0:25:12Then I'll be in half-mourning for my Victorian late husband
0:25:12 > 0:25:17and that means grey or lavender or mauve for another six months.
0:25:17 > 0:25:21And thank goodness I don't work for Queen Victoria because if I was in her household
0:25:21 > 0:25:25I would've been in half-mourning for the rest of her life.
0:25:25 > 0:25:27How many years was it? After Albert died in 1861
0:25:27 > 0:25:29she spent pretty much most of her life in mourning.
0:25:29 > 0:25:32She went into black for the rest of her life.
0:25:32 > 0:25:35This wasn't uncommon for Victorian mothers who, if you think about it,
0:25:35 > 0:25:38probably experienced quite a lot of infant mortality.
0:25:38 > 0:25:41Probably they'd lost a lot of their children along the way.
0:25:41 > 0:25:43It's almost a cliche to say it
0:25:43 > 0:25:45but the Victorians had this CULT of mourning.
0:25:45 > 0:25:48They were very comfortable talking about death and mourning
0:25:48 > 0:25:51which we're not at all today. We're uncomfortable with it.
0:25:51 > 0:25:53The Victorians had a hang-up about talking about sex.
0:25:53 > 0:25:56They were very reticent about that and the opposite today.
0:25:56 > 0:26:02I sort of feel rather sorry for you. You have to amass this enormous, complex clothing
0:26:02 > 0:26:04whereas I just don this simple band.
0:26:04 > 0:26:08Well, there also seems to be a bit of an imbalance between male mourning and female mourning.
0:26:08 > 0:26:11I'm supposed to mourn my husband for two-and-a-half years,
0:26:11 > 0:26:15but if you had a wife, you could get away with only mourning her for three months!
0:26:15 > 0:26:17Well, I've got to go out and do some work to earn money
0:26:17 > 0:26:21to buy all of this garb and this fantastic necklace that you have,
0:26:21 > 0:26:24which is made out of perhaps the most popular material
0:26:24 > 0:26:27of the Victorian period for mourning, which is jet.
0:26:27 > 0:26:29Jet was this mysterious material,
0:26:29 > 0:26:33only washed up on a particular part of the coastline
0:26:33 > 0:26:35where you find the town of Whitby.
0:26:35 > 0:26:37It's actually a form of fossilised wood,
0:26:37 > 0:26:39so I suppose in a way very similar to coal.
0:26:39 > 0:26:44Very popular from the 1860s to the 1880s.
0:26:44 > 0:26:46The industry in Whitby became so thriving and popular
0:26:46 > 0:26:48that 1,000 people were employed there.
0:26:48 > 0:26:51It was said that in Whitby even the dogs are black.
0:26:51 > 0:26:54Absolutely, it was worn slightly earlier than the 1860s.
0:26:54 > 0:26:57In fact, when George IV died in 1830
0:26:57 > 0:27:00there was a decree that jet will be the ornament.
0:27:00 > 0:27:03Certainly Victoria took this up with a great passion,
0:27:03 > 0:27:05as did ladies who could afford it.
0:27:05 > 0:27:09It was a very expensive material and widely imitated.
0:27:09 > 0:27:13The values then and now really depend on how well-worked they are.
0:27:13 > 0:27:17The more skill that went into it from the craftsman side of it,
0:27:17 > 0:27:18that raised the value.
0:27:18 > 0:27:21A piece like this today would fetch around £600,
0:27:21 > 0:27:23if you had to buy it from a dealer.
0:27:23 > 0:27:25Now, there's one problem with jet.
0:27:25 > 0:27:27Some people said that it was a bit too shiny
0:27:27 > 0:27:29to wear in the first year of mourning,
0:27:29 > 0:27:31but as I've now officially reached the second year,
0:27:31 > 0:27:33I think I can put this on.
0:27:33 > 0:27:36I think I can help you with that, if you will allow me.
0:27:36 > 0:27:41Just plunge me a little bit further into gloom.
0:27:44 > 0:27:48Black jet was not the only jewellery worn in mourning.
0:27:48 > 0:27:51In a time before photography, people still wanted
0:27:51 > 0:27:55a tangible reminder of their lost loved ones.
0:27:56 > 0:28:00'I've come to North London to meet Anne Louise Luthi.
0:28:00 > 0:28:04'Over the past 20 years, she has become a major collector
0:28:04 > 0:28:05'of hair jewellery,
0:28:05 > 0:28:09'and now owns over 250 items.'
0:28:09 > 0:28:13This is probably the earliest piece and that has platted hair.
0:28:13 > 0:28:17On the back, turn it over, and you will see that it says
0:28:17 > 0:28:21"my father and my husband".
0:28:21 > 0:28:22So this is the hair of two people?
0:28:22 > 0:28:25That's the hair of two people,
0:28:25 > 0:28:29probably at the end of the 17th century.
0:28:29 > 0:28:32The idea was to commemorate people,
0:28:32 > 0:28:37and the only part of the body you can use after death is hair.
0:28:37 > 0:28:39What else could you do, in a way?
0:28:39 > 0:28:42- You could have a portrait or miniature.- That was more expensive.
0:28:42 > 0:28:48- There was no photography, either. - No, not until the middle of the 19th century.
0:28:48 > 0:28:49Absolutely.
0:28:49 > 0:28:54So this was the way that people commemorated the loved ones.
0:28:54 > 0:28:56By keeping them literally close,
0:28:56 > 0:28:58- by taking a part of their body to wear close to them.- Yes.
0:28:58 > 0:29:00This one looks much more decorative.
0:29:00 > 0:29:04What we have here is a lady cradling her child,
0:29:04 > 0:29:06near an urn on a pedestal,
0:29:06 > 0:29:12and it says "JC OBT", so died "July 21st 1785,
0:29:12 > 0:29:14"aged two years and seven months.
0:29:14 > 0:29:18"Not lost, but gone before." There it is.
0:29:18 > 0:29:22And the idea that she would be reunited with her child...
0:29:22 > 0:29:24- How sweet. - ..when she herself died.
0:29:24 > 0:29:27It's terribly touching, isn't it?
0:29:27 > 0:29:31If you look closely here at the bottom, that's where the hair is.
0:29:31 > 0:29:34And also, the artists who did these miniatures
0:29:34 > 0:29:37used to chop up hair and mix it with the paint.
0:29:37 > 0:29:39That's quite incredible.
0:29:39 > 0:29:41It's also interesting that this is a pin,
0:29:41 > 0:29:45so it would have been pinned close, physically, to her heart.
0:29:45 > 0:29:46'In the 19th century,
0:29:46 > 0:29:50'hair jewellery stopped being worn only for mourning,
0:29:50 > 0:29:52'and became fashionable in its own right.'
0:29:52 > 0:29:56The most valuable of all was white hair.
0:29:56 > 0:29:58And then, you can see...
0:29:58 > 0:30:01- Why was that? - I suppose because it was beautiful.
0:30:01 > 0:30:03You can see the butterfly there.
0:30:03 > 0:30:07There you get a beautiful hair bouquet.
0:30:07 > 0:30:10Didn't people find it rather squeamish and strange
0:30:10 > 0:30:13to wear hair that wasn't connected to you or your family?
0:30:13 > 0:30:16Not really, no, because it was a material.
0:30:16 > 0:30:22It wasn't necessarily thought of as being associated with a particular person.
0:30:28 > 0:30:32Wearing hair jewellery may seem slightly macabre to us now,
0:30:32 > 0:30:35but in the past, the ceremonial marking of death
0:30:35 > 0:30:38was much more part of everyday life.
0:30:38 > 0:30:41Even executions were once ceremonial events,
0:30:41 > 0:30:45carried out in public until the mid-19th century.
0:30:46 > 0:30:49One of history's most shocking executions
0:30:49 > 0:30:53was the beheading of Anne Boleyn, the second wife of Henry VIII,
0:30:53 > 0:30:57on the 19th May, 1536.
0:30:58 > 0:31:01It was the first execution of a Queen of England.
0:31:19 > 0:31:24This is what you might call a ceremonial sword.
0:31:24 > 0:31:27Certainly not for use on the battlefield.
0:31:27 > 0:31:31It's a German beheading sword of about 1750.
0:31:31 > 0:31:34And it's got a picture on it
0:31:34 > 0:31:36that shows exactly how you use it.
0:31:36 > 0:31:39He's lifting it up right over the head,
0:31:39 > 0:31:41and he comes down with a great big swoosh,
0:31:41 > 0:31:43and takes the head off.
0:31:43 > 0:31:46This was the privilege given to Anne Boleyn, in 1536.
0:31:46 > 0:31:49Because she was the queen,
0:31:49 > 0:31:52she wasn't going to be beheaded with the axe, like everybody else.
0:31:52 > 0:31:55A special French swordsman was brought over,
0:31:55 > 0:31:57to give her a nice, clean ending.
0:31:57 > 0:31:59Actually, your sword is better than mine,
0:31:59 > 0:32:01because yours has a point on the end of it.
0:32:01 > 0:32:03Tell me a bit more about your rapier.
0:32:03 > 0:32:05Nice and light. Very nimble. Long.
0:32:05 > 0:32:07As you say, with this very sharp point.
0:32:07 > 0:32:09This was all about the art of swordsmanship.
0:32:09 > 0:32:11With this rather fine hand guard, here.
0:32:11 > 0:32:14It was made in Britain in the early 17th century
0:32:14 > 0:32:16and is a rather fine example.
0:32:16 > 0:32:19I think it would be creepy to collect a beheading sword like this.
0:32:19 > 0:32:22I think it would show that you're slightly disturbed.
0:32:22 > 0:32:25There's a certain... Not romance, I suppose,
0:32:25 > 0:32:27but there's a certain gory interest in it, isn't there?
0:32:27 > 0:32:29These are quite collectible today.
0:32:29 > 0:32:31Something like this could fetch a couple of thousand.
0:32:31 > 0:32:33Similarly, my rather fine rapier.
0:32:33 > 0:32:35Anything from £2,000 to £10,000 or so,
0:32:35 > 0:32:38depending on the date, the quality of it, and who made it.
0:32:40 > 0:32:44Though there is considerably less demand for swords these days,
0:32:44 > 0:32:48there are still a few people making them, using traditional methods
0:32:48 > 0:32:50that have been practised by blacksmiths for centuries.
0:32:57 > 0:33:00Simon Fearnhamm specialises in making historical swords,
0:33:00 > 0:33:04as well as repairing antiques, at his factory
0:33:04 > 0:33:06in the Essex countryside.
0:33:08 > 0:33:11Simon, tell us what you are doing.
0:33:11 > 0:33:13At the moment, I'm drawing the metal down,
0:33:13 > 0:33:15thinning it off, tapering it, shaping it.
0:33:15 > 0:33:17So you're making the sword longer and thinner?
0:33:17 > 0:33:20Longer and thinner, and giving it the right shape.
0:33:20 > 0:33:21What metal are you using there?
0:33:21 > 0:33:24This is a carbon spring steel.
0:33:24 > 0:33:25What kind of sword are you making?
0:33:25 > 0:33:29This is based on an original tomb effigy carving in Westminster Abbey.
0:33:29 > 0:33:31The sword of Sir Giles Daubeney.
0:33:31 > 0:33:33Nice medieval sword.
0:33:33 > 0:33:36Do you know how to use a sword yourself
0:33:36 > 0:33:38so that you can tell if you've made a good one?
0:33:38 > 0:33:41- I've played with swords. - You've played with swords?!
0:33:41 > 0:33:44I've been making swords for 30-odd years, so yes.
0:33:44 > 0:33:48I've handled a lot of original medieval swords,
0:33:48 > 0:33:51so you get a good feel for the heft of the sword,
0:33:51 > 0:33:53- and how it should feel. - What does "the heft" mean?
0:33:53 > 0:33:55It's the balance in the hand.
0:33:55 > 0:33:57If you use it for hours on end, you want something
0:33:57 > 0:33:59that doesn't put too much strain on your arms.
0:33:59 > 0:34:02Ooh, look at that!
0:34:02 > 0:34:05'Forging is the first stage of making a sword
0:34:05 > 0:34:07'and it requires considerable skill.'
0:34:09 > 0:34:13- OK.- Strike while the iron's hot. Come on.- Oh, yeah, yeah.
0:34:15 > 0:34:17Am I making any difference there?
0:34:17 > 0:34:19Ooh, look. You can see it.
0:34:19 > 0:34:21- You're putting a bend on it. - MARK LAUGHS
0:34:21 > 0:34:24- You don't want that, do you? - I'll straighten it out in a minute.
0:34:27 > 0:34:31So it's curved up at the end now? That's not right, is it?
0:34:31 > 0:34:35- I'll put it into the forge...- Did I do that? Oops.- Just a little bit.
0:34:40 > 0:34:42Once Simon has forged the sword,
0:34:42 > 0:34:46the next stage is to grind it down to a sharp edge,
0:34:46 > 0:34:48something that was historically done by hand,
0:34:48 > 0:34:50but is now helped by modern technology.
0:34:51 > 0:34:55Eventually this piece of metal will become a sword,
0:34:55 > 0:34:56like this.
0:34:57 > 0:35:00So that is ground?
0:35:00 > 0:35:02- The very, very beginnings, yeah. - It's hot!
0:35:02 > 0:35:04The very beginnings of a rough grind.
0:35:04 > 0:35:07What's the next stage to get it looking like that?
0:35:07 > 0:35:09Hours more of the rough grinding,
0:35:09 > 0:35:12and getting all the lines and everything all true.
0:35:12 > 0:35:16- And then days on the sanding and finishing...- Days?
0:35:16 > 0:35:18Days.
0:35:18 > 0:35:23So this is your nearly complete, double-handed broadsword.
0:35:23 > 0:35:27- A replica of Sir Giles Daubeney's, from the 15th century?- Yeah.
0:35:27 > 0:35:29Can I ask how much it would cost?
0:35:29 > 0:35:32With scabbard, the sword itself is around £6,000.
0:35:32 > 0:35:35£6,000 is a lot of money,
0:35:35 > 0:35:38but if you were looking for a scarce, historical sword,
0:35:38 > 0:35:40from centuries ago,
0:35:40 > 0:35:42- it's a fraction of the cost. - Definitely.
0:35:42 > 0:35:46A sword with provenance, that sort of style,
0:35:46 > 0:35:49tens, even hundreds of thousands of pounds, depending on who owned it.
0:35:56 > 0:36:00These days, swords are mainly used for ceremonial purposes,
0:36:00 > 0:36:03notably when the Queen bestows knighthoods.
0:36:04 > 0:36:06And when a new monarch is crowned,
0:36:06 > 0:36:10a number of swords are carried in the coronation procession.
0:36:13 > 0:36:16So Westminster Abbey's been used for coronations
0:36:16 > 0:36:19since William the Conqueror, in 1066,
0:36:19 > 0:36:23right up to 1953, last time round with the current Queen.
0:36:23 > 0:36:27You think it's all about the moment when the King or Queen is anointed,
0:36:27 > 0:36:30becomes crowned, starts their official job.
0:36:30 > 0:36:33But really, the whole point of it is the spectacle.
0:36:33 > 0:36:38Traditionally, the coronation was preceded by a procession from the Tower of London,
0:36:38 > 0:36:42all through the city, lined with cheering crowds.
0:36:44 > 0:36:46For over 300 years,
0:36:46 > 0:36:49people have been buying mementos of these royal events.
0:36:49 > 0:36:52By the time Edward VII was crowned in 1902,
0:36:52 > 0:36:55after the death of Queen Victoria,
0:36:55 > 0:36:58royal memorabilia had become incredibly popular,
0:36:58 > 0:37:01and remains an inexpensive way to own a piece of history.
0:37:11 > 0:37:15This is from the coronation of Edward VII,
0:37:15 > 0:37:19but, ha-ha-ha, it's got the wrong date on it, hasn't it?
0:37:19 > 0:37:21June 26th, 1902.
0:37:21 > 0:37:24When it was supposed to be but then the poor guy got appendicitis
0:37:24 > 0:37:29- and he couldn't show up, so they had to put the whole thing back. - It went back to August 9th.
0:37:29 > 0:37:31What a lot of people don't realise,
0:37:31 > 0:37:34ceramics like these were produced many months - if not a year - in advance.
0:37:34 > 0:37:38As soon as the date was announced, the ceramics industry swung into gear,
0:37:38 > 0:37:41and started producing vast quantities of these things.
0:37:41 > 0:37:44When it was announced that he had appendicitis,
0:37:44 > 0:37:47and the coronation would be postponed to August 9th,
0:37:47 > 0:37:49quite a lot of these were already in existence,
0:37:49 > 0:37:53which means they only had a little bit of time to catch up with the correct date.
0:37:53 > 0:37:56Consequently, the ones with the wrong date are very common,
0:37:56 > 0:37:58the ones with the correct date are much rarer.
0:37:58 > 0:38:01That's worth probably around £30.
0:38:01 > 0:38:04And what about my mug here?
0:38:04 > 0:38:07Probably about the same as the tea you're going to put in it.
0:38:07 > 0:38:08Aw, but it has sentimental value.
0:38:12 > 0:38:15When Charles II was restored to the throne,
0:38:15 > 0:38:17after the Commonwealth in 1660,
0:38:17 > 0:38:20he rode a wave of affection for the monarchy.
0:38:20 > 0:38:25The occasion saw the first pieces of mass market royal memorabilia
0:38:25 > 0:38:26being produced.
0:38:26 > 0:38:31Pretty much every royal event since has been marked with souvenirs.
0:38:31 > 0:38:34I'm meeting Steven Jackson,
0:38:34 > 0:38:37who's collected so many royally-related items
0:38:37 > 0:38:40that he's built a mini museum in his back garden.
0:38:40 > 0:38:42Oh, my goodness!
0:38:42 > 0:38:46- You like royal memorabilia, don't you?!- Yes, yes!
0:38:46 > 0:38:50How did you get started on this subject matter, then?
0:38:50 > 0:38:53I was left by my grandfather quite a little collection.
0:38:53 > 0:38:55I've always been fascinated by history
0:38:55 > 0:38:57and the two go together.
0:38:57 > 0:38:59How many pieces have you got now?
0:38:59 > 0:39:02Oh, well. Ceramics, around about 8,000.
0:39:02 > 0:39:068,000 ceramics. And then you've also got textile items.
0:39:06 > 0:39:09Oh, yes, there's textiles...
0:39:09 > 0:39:12- Biscuit tins, box of matches.- Yeah.
0:39:12 > 0:39:17The Royal Family usually stand for stability and continuity,
0:39:17 > 0:39:20but sometimes royal memorabilia can reflect times of rapid change
0:39:20 > 0:39:23and uncertainty.
0:39:23 > 0:39:26So this is your Edward VIII cabinet.
0:39:26 > 0:39:30All the people making commemorative goods must have been pretty pleased,
0:39:30 > 0:39:35in 1936 and 1937, because we've got two kings coming along very quickly, haven't we?
0:39:35 > 0:39:39They started to sell commemoratives for Edward in the September.
0:39:39 > 0:39:42Harrods and Selfridges were full of them.
0:39:42 > 0:39:45So this is a little plate that was planned to be
0:39:45 > 0:39:49for the coronation of Edward VIII,
0:39:49 > 0:39:52which was planned to be in May, 1937.
0:39:52 > 0:39:56But, in the event, he abdicated to get married to Mrs Simpson.
0:39:56 > 0:39:59He abdicated on December 11th and then, of course,
0:39:59 > 0:40:01the manufacturers with things left over...
0:40:01 > 0:40:03"What are we going to do with all of our unsold stock?"
0:40:03 > 0:40:05They added very quickly,
0:40:05 > 0:40:09"acceded the throne and abdicated," with the date on.
0:40:09 > 0:40:13I like that. That's quick thinking. That's waste not, want not.
0:40:13 > 0:40:16I think that, as a collector, you're quite unusual.
0:40:16 > 0:40:19You're not really looking for quality, high-end, beautiful stuff,
0:40:19 > 0:40:21are you?
0:40:21 > 0:40:24You're interested in things that are quite cheap and mass-produced.
0:40:24 > 0:40:27Well, if it isn't mass-produced,
0:40:27 > 0:40:30invariably, it's not a commemorative.
0:40:30 > 0:40:33- That's the definition?- That's the secret to the whole subject.
0:40:33 > 0:40:36It had to be mass-produced, for people at large.
0:40:36 > 0:40:39I guess items like this, although cheap and cheerful,
0:40:39 > 0:40:43represented a significant investment for normal people.
0:40:43 > 0:40:46- They were engaged in the life of the nation.- Yes, they were.
0:40:46 > 0:40:49Why do you think people have the urge
0:40:49 > 0:40:52to get these tangible memory items?
0:40:52 > 0:40:55I think it's a point of reference in their own lives.
0:40:55 > 0:41:00There's a great expression from Macaulay, the great Victorian historian,
0:41:00 > 0:41:04who, when he was examining a mug at the factory,
0:41:04 > 0:41:06described them as,
0:41:06 > 0:41:10"Reflections of men's souls. A window into men's minds."
0:41:10 > 0:41:13- That is so poetic and lovely. - It was a lovely expression.
0:41:13 > 0:41:16You may think it's a little piece of junk but, actually, no.
0:41:16 > 0:41:20This will mean a lot to a lot of people who were alive in 1936.
0:41:20 > 0:41:25King George VI, who succeeded Edward after the abdication,
0:41:25 > 0:41:28saw Britain through the Second World War.
0:41:30 > 0:41:35On 29th July, 1948, he attended the opening ceremony
0:41:35 > 0:41:39of the 14th Olympic Games at Wembley Stadium.
0:41:39 > 0:41:41It was only the second time
0:41:41 > 0:41:43the modern Games had been held in Britain,
0:41:43 > 0:41:46and it would be the last until 2012.
0:41:47 > 0:41:51The differences between then and now are startling.
0:41:51 > 0:41:57The 2012 Games is estimated to be costing at least £12 billion,
0:41:57 > 0:42:01while in 1948, they cost a modest £750,000.
0:42:16 > 0:42:20There were great hopes for Britain in the first post-war Games.
0:42:20 > 0:42:24But in the end, we only achieved gold medals in one event.
0:42:26 > 0:42:28'The rowing.'
0:42:28 > 0:42:31- There we go.- One, two, three. Slow down.
0:42:31 > 0:42:34One, two, three, four.
0:42:34 > 0:42:36Why have you got your legs crossed?
0:42:36 > 0:42:39- Hm?- Why have you got your legs crossed?- I always cross my legs.
0:42:39 > 0:42:41SHE LAUGHS
0:42:41 > 0:42:43All the time.
0:42:43 > 0:42:45- What, when you're rowing?- Yes.
0:42:45 > 0:42:47HE LAUGHS
0:42:48 > 0:42:54We're recreating the 1948 coxless pairs at the Olympic Games.
0:42:54 > 0:42:56Gold for Britain.
0:42:56 > 0:43:00One of three medals that the rowing team won in what they called the make-do-and-mend Games.
0:43:00 > 0:43:03Because it was after the war, they were a bit short of money
0:43:03 > 0:43:05and everybody had to bodge things together.
0:43:05 > 0:43:08- They had the rowing events down at Henley.- Yes.
0:43:08 > 0:43:12The winners of the coxless pairs were called John Wilson and William Laurie.
0:43:12 > 0:43:16You've heard of Mr Laurie because he was the dad of Hugh Laurie, the actor.
0:43:16 > 0:43:19What I can't believe is that the athletes
0:43:19 > 0:43:25had to get through their training on 2,600 calories a day. That's what you got in your ration.
0:43:25 > 0:43:31I think the ration itself was one piece of bacon, an egg, and a small bit of cheese.
0:43:31 > 0:43:34But once they had been selected for the team that went up,
0:43:34 > 0:43:35they got 3,400 calories a day,
0:43:35 > 0:43:41which is the same as a docker got. That was the ration for dockers, people doing heavy work.
0:43:41 > 0:43:45But today the athletes eat 8,000 calories a day.
0:43:45 > 0:43:49'Sports-related antiques are extremely popular.
0:43:49 > 0:43:53'And we have a rare 1948 Olympic medal.'
0:43:53 > 0:43:54This is a bronze medal, is it?
0:43:54 > 0:43:58Yes, bronze, silver and gold - the medals that we know today -
0:43:58 > 0:44:02were first awarded in that combination in 1904.
0:44:02 > 0:44:04Were they true gold, true silver?
0:44:04 > 0:44:09Well, the last time true gold medals were awarded was in 1912.
0:44:09 > 0:44:13What? Since then it's been a bit of a swizz and they haven't been gold?!
0:44:13 > 0:44:17I don't necessarily think so! It's still the event, the taking part,
0:44:17 > 0:44:20that's the important part, not the medal itself.
0:44:20 > 0:44:23It has a rather lovely design of athletes lifting each other up.
0:44:23 > 0:44:25Have you noticed they're all naked?
0:44:25 > 0:44:28To take part in the original Olympic Games, you had to be naked.
0:44:28 > 0:44:30The ancient Greek word for that is "gymnos",
0:44:30 > 0:44:33and that leads us to have our term today, "gymnasium".
0:44:36 > 0:44:41- Stretch your arms out, put your back into it.- I'm still no good at this.
0:44:41 > 0:44:43It's just as well I wasn't in that Olympics team.
0:44:43 > 0:44:46SHE LAUGHS
0:44:46 > 0:44:48The Austerity Games was the second time
0:44:48 > 0:44:50Britain had hosted the Olympics.
0:44:50 > 0:44:54The first time, in 1908, we came top of the medal table,
0:44:54 > 0:44:56winning 56 golds.
0:44:56 > 0:44:59But female athletes didn't get much of a look-in.
0:44:59 > 0:45:03At the 1908 Olympic Games,
0:45:03 > 0:45:06there were 2,000 competitors. Only 37 of them were women.
0:45:06 > 0:45:09But one won gold for Britain, in the archery.
0:45:09 > 0:45:12And, quite amazingly, she was 53 years old.
0:45:13 > 0:45:16'Her name was Queenie Newall.
0:45:16 > 0:45:18'In an attempt to step into her shoes,
0:45:18 > 0:45:22'I'm having a longbow lesson with the archer Maggie Woolf.'
0:45:22 > 0:45:24Aim towards the top of the target, and away. Go!
0:45:24 > 0:45:26- Woo!- Nearly!
0:45:26 > 0:45:29Not bad. Good for a first shot.
0:45:29 > 0:45:32'We're using traditional longbows,
0:45:32 > 0:45:34'but Maggie's brought along an antique
0:45:34 > 0:45:38'to point out one noticeable difference from those used today.'
0:45:40 > 0:45:44The bow that they would have used in 1908 is pure yew.
0:45:44 > 0:45:47This one is pre-First World War.
0:45:47 > 0:45:49This is the outer wood of the yew,
0:45:49 > 0:45:51and the soft belly wood of the yew,
0:45:51 > 0:45:53so it's got a nice flex and spring.
0:45:53 > 0:45:58The yew contains all the elements one needs in a good shooting bow.
0:45:58 > 0:46:01But it's a bit dangerous. Isn't it poisonous, yew wood?
0:46:01 > 0:46:04Yes. All parts of the yew are poisonous.
0:46:04 > 0:46:06A lot of bowyers went slightly crazy.
0:46:06 > 0:46:09It caused some problem in the brain.
0:46:09 > 0:46:12So I don't think they had a very long life, making these bows.
0:46:12 > 0:46:16'Joining our archery lesson is the Olympic historian Rebecca Jenkins,
0:46:16 > 0:46:19'author of the book on the 1908 Games.'
0:46:19 > 0:46:21- Let it go.- Oh!
0:46:21 > 0:46:25What did the main organiser of the Games think about the female athletes?
0:46:25 > 0:46:29Baron Pierre de Coubertin, whose idea it was to revive the Games,
0:46:29 > 0:46:32was a Parisian aristocrat.
0:46:32 > 0:46:35He thought that ladies performing in public before strangers was really...
0:46:35 > 0:46:37He said something along the lines of,
0:46:37 > 0:46:42"Impractical, uninteresting, anaesthetic, and incorrect."
0:46:42 > 0:46:45Therefore, he really didn't want women to be involved.
0:46:45 > 0:46:50Drawing back to the eye. Keep drawing. More, more, more.
0:46:50 > 0:46:52BOTH: Yay!
0:46:53 > 0:46:56- Yeah, you got it. - You're getting good, you know.
0:46:56 > 0:47:01The thing I really like about Queenie is she was 53 years old.
0:47:01 > 0:47:05And she was a gold medal winner at that age.
0:47:05 > 0:47:09The point about archery is you can look like a lady and still excel at your sport.
0:47:09 > 0:47:11You don't have to be 24 and be able to jump very high.
0:47:11 > 0:47:14And they all had to be wearing proper clothes, long skirts.
0:47:14 > 0:47:17ladies are supposed to be private creatures,
0:47:17 > 0:47:20so you appear properly dressed.
0:47:20 > 0:47:22So there's no way they could take part in the swimming,
0:47:22 > 0:47:24because the rules said you must wear a skirt.
0:47:24 > 0:47:28Exactly. They wouldn't even dream of having women swimmers by 1908.
0:47:28 > 0:47:31They did come in in 1912, but you're in Sweden by that point.
0:47:31 > 0:47:35- I think it was the Scandinavian influence.- They're more liberated in Scandinavia!
0:47:35 > 0:47:39They seemed much more egalitarian about the idea of the healthy body.
0:47:39 > 0:47:42Long reach forward. Back to your cheek.
0:47:42 > 0:47:45- ALL: Oh!- Look at that.
0:47:45 > 0:47:48- In the red! In the red! - That is absolutely fantastic.
0:47:48 > 0:47:50Just outside the gold.
0:47:50 > 0:47:53I can see you taking this sport up seriously.
0:47:55 > 0:47:59Antique bows and medals are just some of the collectible items
0:47:59 > 0:48:02associated with popular sports memorabilia.
0:48:04 > 0:48:08'In the Cotswolds, Manfred Schotten sells antique golf clubs,
0:48:08 > 0:48:10'tennis rackets,
0:48:10 > 0:48:13'cricket bats, and other highly sought-after sports items.
0:48:13 > 0:48:19'Even this Victorian golf ball is worth around £5,000.
0:48:19 > 0:48:23'But there are cheaper ways to own a piece of sporting history.'
0:48:23 > 0:48:26If you haven't got thousands of pounds
0:48:26 > 0:48:28to splash out on an Olympic medal,
0:48:28 > 0:48:30why not consider some of the paperwork,
0:48:30 > 0:48:34known as ephemera, that was produced around the Games?
0:48:34 > 0:48:37Something like this, the London Olympic Games programme,
0:48:37 > 0:48:38is a brilliant place to start.
0:48:38 > 0:48:42This can fetch up to around £70 or so,
0:48:42 > 0:48:44and it's crammed with information.
0:48:44 > 0:48:47Everything from events, to athletes, to photographs.
0:48:47 > 0:48:50There's really everything you need to know about the Games,
0:48:50 > 0:48:55including some rather interesting information about restaurants.
0:48:55 > 0:48:58These were known as the Austerity Games in 1948.
0:48:58 > 0:49:01I find this particularly fascinating.
0:49:01 > 0:49:03We're told that, "Eating in the West End at present
0:49:03 > 0:49:08"is not a matter about which Londoners feel particularly happy.
0:49:08 > 0:49:11"Visitors from abroad are likely to be even less content.
0:49:11 > 0:49:14"But the food situation is one that must be accepted
0:49:14 > 0:49:17"as an inevitable result of the nation's economic position."
0:49:18 > 0:49:20The contents are fascinating,
0:49:20 > 0:49:23but what really does it for me is this fantastic cover.
0:49:23 > 0:49:26If you can look for colourful artwork
0:49:26 > 0:49:29that really sums up the design ethics of the day,
0:49:29 > 0:49:33that really adds to the appeal and, in many cases, the value as well.
0:49:36 > 0:49:39Three years after the 1948 Olympics,
0:49:39 > 0:49:43Britain was ready to put austerity and the war behind it.
0:49:43 > 0:49:45A ceremonial event for the nation
0:49:45 > 0:49:49would focus people's attention on a brighter future.
0:49:50 > 0:49:54The Festival Of Britain of 1951 was intended to celebrate British design,
0:49:54 > 0:49:59and to cheer everybody up after the war and the recovery.
0:49:59 > 0:50:03The director of the festival described it as a tonic for the nation.
0:50:03 > 0:50:05It was based here on the South Bank,
0:50:05 > 0:50:07and its centrepiece was the Royal Festival Hall.
0:50:08 > 0:50:148.5 million people attended the exhibition on the South Bank.
0:50:14 > 0:50:18Many of the designs on display were ultra-modern in style,
0:50:18 > 0:50:22including the chairs for the terrace.
0:50:38 > 0:50:39- Hello.- Hello.
0:50:39 > 0:50:42You're sitting on one of the chairs that they actually used
0:50:42 > 0:50:45on the terrace at the festival, aren't you?
0:50:45 > 0:50:49That's it. This is a reproduction of the antelope chair,
0:50:49 > 0:50:51which was designed for this very purpose.
0:50:51 > 0:50:53It was placed outside the Royal Festival Hall,
0:50:53 > 0:50:56so you could sit and enjoy the festival and the river.
0:50:56 > 0:50:58It's such a 1950s-looking thing, isn't it?
0:50:58 > 0:51:01It is, and it sums up so much of what the festival was about.
0:51:01 > 0:51:04After the disasters and privations of World War Two,
0:51:04 > 0:51:07this was all about our positive future,
0:51:07 > 0:51:09which was meant to be delivered with technology.
0:51:09 > 0:51:11If you look at the form and structure of it,
0:51:11 > 0:51:13with these ball feet,
0:51:13 > 0:51:15and these cylindrical steel rods,
0:51:15 > 0:51:20it's almost like a molecular model that you might find in a school or a scientific laboratory.
0:51:20 > 0:51:24At this time, of course, you had interest in microscopes,
0:51:24 > 0:51:28cells, molecules, and that's all reflected in this chair.
0:51:28 > 0:51:31It also launched a new colour palette, as well,
0:51:31 > 0:51:34which was so much more vibrant and positive
0:51:34 > 0:51:36than the austerity of utility furniture.
0:51:36 > 0:51:39It's a beautiful chair that speaks so much for the period.
0:51:39 > 0:51:42Do you think it's called the antelope because it looks like
0:51:42 > 0:51:44it could go boing on its springy little legs?
0:51:44 > 0:51:48It does have a certain lightness of form, I suppose.
0:51:48 > 0:51:50This whole look launched a new look on the high street.
0:51:50 > 0:51:53It really was, in its own way, a trendsetter.
0:51:53 > 0:51:55This one's a reproduction, so it's brand new,
0:51:55 > 0:51:58but vintage examples depending on condition and date
0:51:58 > 0:52:01can cost you anything from £80 to £500.
0:52:01 > 0:52:04The Festival of Britain had been staged
0:52:04 > 0:52:08exactly 100 years after another ceremonial event.
0:52:08 > 0:52:11To many, it represented the pinnacle of Britain's power and influence
0:52:11 > 0:52:13across the world.
0:52:13 > 0:52:16On 1st May, 1851,
0:52:16 > 0:52:19Queen Victoria attended the opening ceremony
0:52:19 > 0:52:24at the Great Exhibition of the Industrial Nations in Hyde Park.
0:52:24 > 0:52:26The brainchild of Prince Albert,
0:52:26 > 0:52:29the exhibition was housed in a massive iron glasshouse
0:52:29 > 0:52:32designed by Joseph Paxton.
0:52:32 > 0:52:35Amazingly, it was a temporary structure,
0:52:35 > 0:52:37and was pulled down after only six months.
0:52:39 > 0:52:43'But to this day, the Victoria & Albert Museum in London
0:52:43 > 0:52:46'remains as a permanent memorial to the exhibition.'
0:52:55 > 0:53:01So up there is a picture of the Great Exhibition of 1851,
0:53:01 > 0:53:03and there's Queen Victoria,
0:53:03 > 0:53:06giving out the prizes for best exhibit.
0:53:06 > 0:53:08They had 13,000 exhibits,
0:53:08 > 0:53:11the fruits of industry from all over the world,
0:53:11 > 0:53:16- brought to this massive greenhouse up there.- Absolutely.
0:53:16 > 0:53:19This building was built after the exhibition closed,
0:53:19 > 0:53:21to house many of the objects.
0:53:21 > 0:53:23It was known then as the South Kensington Museum,
0:53:23 > 0:53:27but it's much more familiar to us today as the Victoria & Albert Museum.
0:53:27 > 0:53:30Fair enough as it was Prince Albert who was really behind this.
0:53:30 > 0:53:32The Great Exhibition was hugely successful.
0:53:32 > 0:53:35It made over £16 million, in today's money.
0:53:35 > 0:53:38And they used it to buy land
0:53:38 > 0:53:41all up and down Exhibition Road, here in South Kensington.
0:53:41 > 0:53:45So the Victoria & Albert Museum and the Science Museum and Imperial College
0:53:45 > 0:53:48were all built on the profits of the Great Exhibition.
0:53:48 > 0:53:53This part of town became known, in homage to Prince Albert, as Albertopolis.
0:53:53 > 0:53:55This is the book of the show, is it?
0:53:55 > 0:53:59Effectively, yes. It's a special edition of The Art Journal.
0:53:59 > 0:54:01The Art Journal Illustrated Catalogue.
0:54:01 > 0:54:05This showed many of the best things exhibited in the exhibition itself.
0:54:06 > 0:54:09It's all very much in the sort of latest tastes.
0:54:09 > 0:54:12It's all very Victorian, very ornate. Look at something like this.
0:54:12 > 0:54:16Statues, other fountains...
0:54:16 > 0:54:18- And some shoes.- These are funny. Look.
0:54:18 > 0:54:22"Mr J Sparkes Hall of London exhibits many improvements
0:54:22 > 0:54:26"in modern boots and shoes, together with a curious series
0:54:26 > 0:54:29"of well-executed facsimiles of ancient ones."
0:54:29 > 0:54:31Here we've got a display of shoes.
0:54:31 > 0:54:34Look, it's a shoe of vulcanised India rubber.
0:54:34 > 0:54:36Rubber had only just appeared.
0:54:36 > 0:54:38Also in the exhibition, it was used to make
0:54:38 > 0:54:41a more comfortable pair of false teeth, in which you could yawn.
0:54:41 > 0:54:43They had a new spring mechanism
0:54:43 > 0:54:45that made them a lot more comfortable.
0:54:45 > 0:54:48This book is actually quite a collectible piece,
0:54:48 > 0:54:50as well as a fascinating guide to the exhibition
0:54:50 > 0:54:52and Victorian tastes of the time.
0:54:52 > 0:54:55It's worth between £200 and £400, in really nice condition.
0:54:55 > 0:54:58The original catalogues can fetch an awful lot more,
0:54:58 > 0:55:00up to around £12,000 or so.
0:55:00 > 0:55:03But it's the objects that commemorated the exhibition,
0:55:03 > 0:55:04the souvenirs, if you like,
0:55:04 > 0:55:07that really form the backbone of the market.
0:55:07 > 0:55:10Ceramics, glass. All manner of different pieces were produced
0:55:10 > 0:55:13to satisfy the desires of those six million people who visited
0:55:13 > 0:55:17to remember and to commemorate their visit.
0:55:21 > 0:55:23Although the exhibition was temporary,
0:55:23 > 0:55:27the glasshouse was rebuilt in an area of London
0:55:27 > 0:55:29now known as Crystal Palace,
0:55:29 > 0:55:32where it remained until it was destroyed by a fire in 1936.
0:55:36 > 0:55:40But it is antiques from the original 1851 exhibition
0:55:40 > 0:55:44that are some of the most sought-after items at this auction in Macclesfield.
0:55:44 > 0:55:47Pictures, vases,
0:55:47 > 0:55:49even pot lids, that commemorate the exhibition,
0:55:49 > 0:55:51are all going under the hammer.
0:55:51 > 0:55:53£65, gentlemen, again.
0:55:55 > 0:55:57This ornate silver fish knife and fork set
0:55:57 > 0:56:00is one of the more unusual items.
0:56:00 > 0:56:03551. Fabulous pair of cased fish servers, there.
0:56:03 > 0:56:06£280. Here with me at £280.
0:56:06 > 0:56:09£300. £320. £340, I'm out.
0:56:09 > 0:56:11At £340 stands at the back now.
0:56:11 > 0:56:15At £340. With us in the room now at 340.
0:56:17 > 0:56:19But there's one particular piece
0:56:19 > 0:56:21that has really grabbed my attention.
0:56:21 > 0:56:23For me, this has enormous appeal
0:56:23 > 0:56:26as a souvenir of the Great Exhibition.
0:56:26 > 0:56:28For a start, it has this fantastic painting on glass,
0:56:28 > 0:56:31of the Crystal Palace itself.
0:56:31 > 0:56:34Open it up, and you discover it's a tea caddy.
0:56:34 > 0:56:36So it's functional as well as decorative.
0:56:36 > 0:56:38It's also made from papier-mache,
0:56:38 > 0:56:42which was a very popular material for making all manner of items,
0:56:42 > 0:56:44from small pieces of furniture, such as tables,
0:56:44 > 0:56:47to tea caddies and even perhaps pen boxes and trays.
0:56:47 > 0:56:50This would have been an ideal souvenir for the middle class visitor
0:56:50 > 0:56:52to the Great Exhibition.
0:56:52 > 0:56:55A rather exceptional Victorian papier-mache tea caddy.
0:56:55 > 0:56:58Great Exhibition, 1851. Interest, as you'd imagine.
0:56:58 > 0:57:02The tea caddy is estimated to go for £150.
0:57:02 > 0:57:06£320, I'm bid. 340. 360. 380.
0:57:06 > 0:57:08400. 420.
0:57:08 > 0:57:11But there are several interested bidders both in the room and online.
0:57:11 > 0:57:13Still on the internet.
0:57:13 > 0:57:15At £540.
0:57:15 > 0:57:17At 540.
0:57:17 > 0:57:19Are you sure, online?
0:57:19 > 0:57:23We give you it at 540. The best is online now.
0:57:24 > 0:57:27£540 was a fantastic price for that.
0:57:27 > 0:57:30And the reason? It was in fantastic condition.
0:57:30 > 0:57:32Papier-mache can be very easily damaged.
0:57:32 > 0:57:35If it's dropped, the glass would break.
0:57:35 > 0:57:37Even the insides of the tea caddy compartments
0:57:37 > 0:57:40were still lined with their tinfoil.
0:57:40 > 0:57:44An absolutely fantastic buy for whoever was lucky enough to get it.
0:57:50 > 0:57:55Many of these items on sale are not of great intrinsic value.
0:57:55 > 0:57:59Like inexpensively-produced royal ceramics, they prove
0:57:59 > 0:58:03you don't need deep pockets to own a piece of ceremonial history.
0:58:03 > 0:58:07Antiques associated with weddings and funerals
0:58:07 > 0:58:09give us a fascinating insight
0:58:09 > 0:58:13into how we've changed the way we mark personal milestones.
0:58:13 > 0:58:17Today, many of these objects look like they no longer have a function,
0:58:17 > 0:58:19but actually they do.
0:58:19 > 0:58:21Their purpose is to commemorate an event,
0:58:21 > 0:58:24and to give us something to remember it by.
0:58:51 > 0:58:54Subtitles by Red Bee Media Ltd.