0:00:01 > 0:00:03Hello and welcome to The One Show,
0:00:03 > 0:00:05with street barber extraordinaire, Michael Douglas.
0:00:05 > 0:00:10And the lovely Lucy Siegle, with another chance to see some of our favourite One Show films.
0:00:12 > 0:00:14# One
0:00:14 > 0:00:16# One
0:00:16 > 0:00:18# One
0:00:18 > 0:00:20# One
0:00:20 > 0:00:23# One. #
0:00:23 > 0:00:25We're in the north-east of England
0:00:25 > 0:00:27and the island you see behind us is Lindisfarne,
0:00:27 > 0:00:29otherwise known as the Holy Island.
0:00:29 > 0:00:32It's bigger than it looks, actually.
0:00:32 > 0:00:34It's three miles long and 1.5 miles wide,
0:00:34 > 0:00:36and home to about 160 people.
0:00:36 > 0:00:39All we need to do is get across there.
0:00:39 > 0:00:41What time is the ferry?
0:00:41 > 0:00:43There's no ferry, Michael.
0:00:43 > 0:00:45Can't we just drive across?
0:00:45 > 0:00:49Yeah, of course we do, just drive across in an underwater car
0:00:49 > 0:00:50like James Bond(!)
0:00:50 > 0:00:52- No, it's just a normal car. - Really?- Look, relax.
0:00:52 > 0:00:55Lindisfarne is a tidal island,
0:00:55 > 0:00:59so that's a causeway and we'll just drive across. We just need to wait.
0:00:59 > 0:01:01- How long do I have to wait? - About two hours.
0:01:01 > 0:01:04I think I'll take the wait, because I've been on a boat before
0:01:04 > 0:01:09and us hairdressers, we don't have sea legs, that's for sure.
0:01:09 > 0:01:13We all know that fishing is a hardy weather-dependent occupation,
0:01:13 > 0:01:14so I'm not quite sure if I'll
0:01:14 > 0:01:17net any volunteers for a haircut, cos with weather like this,
0:01:17 > 0:01:19I think they'll all be out fishing.
0:01:19 > 0:01:24MUSIC: "Beyond The Sea" by Bobby Darin
0:01:24 > 0:01:26Today, I'm in Polperro,
0:01:26 > 0:01:29a picturesque fishing village on the Cornish coastline.
0:01:29 > 0:01:32You're the only fisherman I've seen with some hair!
0:01:32 > 0:01:34- Are you up for having a haircut? - Yeah!
0:01:34 > 0:01:37So here is Tim Curtis,
0:01:37 > 0:01:39he's a part-time fisherman and a publican.
0:01:39 > 0:01:41- So you can catch all the pub's fish...- Yeah.
0:01:41 > 0:01:45- ..at five, six o'clock in the morning...- Come in for ten, eleven o'clock...
0:01:45 > 0:01:46..cook it, serve it
0:01:46 > 0:01:48and then get people drunk in the evening?
0:01:48 > 0:01:52Every good fisherman has a tattoo. Have you got an anchor?
0:01:52 > 0:01:54No, I left that to Popeye.
0:01:57 > 0:02:00What am I doing in a coat?
0:02:00 > 0:02:03It's made me feel slightly overdressed. Take a look.
0:02:03 > 0:02:06Whoa!
0:02:06 > 0:02:08- That is different.- All right?- Yeah, that's great.
0:02:08 > 0:02:10- D'you think the missus will be pleased?- I think so, yeah.
0:02:10 > 0:02:14Is it a thumbs-up or a thumbs-down? A down?!
0:02:14 > 0:02:16We're going. I don't like it here.
0:02:16 > 0:02:20Got a boat, got all the gear. I guess it's just a case of waiting, really.
0:02:25 > 0:02:28What's the future of a fisherman round here?
0:02:28 > 0:02:29Youngsters nowadays
0:02:29 > 0:02:32don't really want to get out of bed at four in the morning
0:02:32 > 0:02:36and come home at seven o'clock at night without a guaranteed income.
0:02:36 > 0:02:37You have two youngsters here.
0:02:37 > 0:02:39Do you quite fancy yourselves as fishermen?
0:02:39 > 0:02:42I want to be a fisherman.
0:02:42 > 0:02:44I suggest you do some kind of gangsta rap singing
0:02:44 > 0:02:47on the side of the fishing
0:02:47 > 0:02:49and bingo, you're on a winner.
0:02:49 > 0:02:51I can feel something tugging.
0:02:51 > 0:02:53Doesn't feel big, but
0:02:53 > 0:02:56there's summat going on.
0:02:56 > 0:02:59I think you've caught probably enough for a sandwich.
0:03:02 > 0:03:04- You're Chris, are you?- Yes.
0:03:04 > 0:03:07- Is it a tough life?- It's the most dangerous occupation there is.
0:03:07 > 0:03:09I've met two or three fishermen this morning
0:03:09 > 0:03:11and they all seem to be going bald. What's under the hat?
0:03:11 > 0:03:12Worry!
0:03:13 > 0:03:15Now, we've just set off,
0:03:15 > 0:03:18and I'm not entirely sure we'll be able to do a haircut on here.
0:03:18 > 0:03:20It's probably quite dangerous.
0:03:20 > 0:03:23MUSIC: "Rock The Boat" by The Hues Corporation
0:03:24 > 0:03:26I can see you have a lovely head of hair.
0:03:26 > 0:03:28You ain't coming near me with them scissors.
0:03:28 > 0:03:29How long has it been that long?
0:03:29 > 0:03:32- All me life.- Exactly. All the more reason for a change.- No.
0:03:32 > 0:03:35I think one day it will go on its own, quite frankly.
0:03:37 > 0:03:39Do you want a haircut?
0:03:39 > 0:03:41OK, so this is Beaver, a fisherman
0:03:41 > 0:03:44as you can tell cos he has the whole kit and caboodle on
0:03:44 > 0:03:45and he smells a bit fishy.
0:03:45 > 0:03:48- I feel a bit ropey. Do you not get seasick or anything?- No!
0:03:48 > 0:03:50How long have you been a fisherman?
0:03:50 > 0:03:52Ever since I was about 11.
0:03:52 > 0:03:54Do you need any qualifications?
0:03:54 > 0:03:56You need so many qualifications
0:03:56 > 0:03:58just to pick your nose now.
0:03:58 > 0:04:00I reckon I'm more qualified to work in the NHS,
0:04:00 > 0:04:03- the amount of first aid courses I've done.- Is it worth it?
0:04:03 > 0:04:06I wouldn't choose to go into it now, not for the money,
0:04:06 > 0:04:09but I do actually like the way of life.
0:04:09 > 0:04:13It's like cutting hair on a rollercoaster.
0:04:13 > 0:04:15Take a look!
0:04:15 > 0:04:16Doesn't look too bad.
0:04:16 > 0:04:19I'm relieved we're both in one piece and not overboard.
0:04:19 > 0:04:21I hope this keeps till I get home or I'll have
0:04:21 > 0:04:22to nip to the chippy.
0:04:25 > 0:04:27Is that the most extreme location The One Show's asked you to
0:04:27 > 0:04:29cut hair in?
0:04:29 > 0:04:31Probably not. We did Britain's deepest pothole,
0:04:31 > 0:04:32which was a bit scary
0:04:32 > 0:04:36- and we also did a naturist camp. - Oh, did you?
0:04:36 > 0:04:38That was a bit hairy.
0:04:38 > 0:04:40- How did that go?- It was funny.
0:04:40 > 0:04:42- It was very funny.- Good.
0:04:42 > 0:04:45And on that note, a couple of hundred years ago,
0:04:45 > 0:04:48Lindisfarne had an enormous herring fishing fleet.
0:04:48 > 0:04:51But there's only a few little fishing boats left now.
0:04:51 > 0:04:54They mainly concentrate on catching crab and lobster.
0:04:54 > 0:04:57I believe the French like these specific crabs and lobsters.
0:04:57 > 0:04:58- From Lindisfarne?- Yep.
0:05:00 > 0:05:02But here on the island,
0:05:02 > 0:05:04if we were to look back to the mainland,
0:05:04 > 0:05:07if the tide was out you'd see loads of wading birds.
0:05:07 > 0:05:10They're attracted by worms just beneath the surface.
0:05:10 > 0:05:12- It's so gorgeous here.- It is.
0:05:12 > 0:05:15It's hard to believe we're on a massive lump
0:05:15 > 0:05:17of volcanic rock
0:05:17 > 0:05:19and it's been designated a nature reserve,
0:05:19 > 0:05:22- not for naturists. - Important to make that distinction.
0:05:22 > 0:05:25They can come, but you must wear some clothes.
0:05:25 > 0:05:28Because of the rare plants and wildlife here.
0:05:28 > 0:05:31Time has a different value here.
0:05:31 > 0:05:34It's very, very relaxing.
0:05:34 > 0:05:36You just want to drink it in.
0:05:36 > 0:05:38Probably not a good place to come if you're in a hurry.
0:05:38 > 0:05:40But here's a man who knows how to speed things up -
0:05:40 > 0:05:42Marty Jopson.
0:05:43 > 0:05:46Sir David Attenborough's brilliant camera colleagues
0:05:46 > 0:05:49bring the most astonishing images right into our homes.
0:05:49 > 0:05:51We take for granted
0:05:51 > 0:05:54the power of film to show us the world in close-up.
0:05:54 > 0:05:57Cast yourself back to 1910,
0:05:57 > 0:05:59and the dawn of the motion picture.
0:05:59 > 0:06:02Imagine how amazing it must have been
0:06:02 > 0:06:05to see a film of a plant actually growing.
0:06:08 > 0:06:11'It was called The Birth Of The Flower
0:06:11 > 0:06:13'and showed, in time-lapse...
0:06:13 > 0:06:15'the birth of a flower.
0:06:15 > 0:06:17'It was the work of a most-remarkable man
0:06:17 > 0:06:19'called Percy Smith.
0:06:19 > 0:06:21'Thanks to the British Film Archive,
0:06:21 > 0:06:24'his masterpiece is carefully preserved for posterity.'
0:06:24 > 0:06:26This is an amazing film.
0:06:26 > 0:06:29It must have blown people's mind to see this the first time?
0:06:29 > 0:06:30Absolutely. It's spectacular,
0:06:30 > 0:06:32and to see things in such close-up...
0:06:32 > 0:06:34amazing!
0:06:34 > 0:06:37This was the first time anyone had ever done this?
0:06:37 > 0:06:40Absolutely the first time, and copied by
0:06:40 > 0:06:44everybody ever since. He was the Attenborough of his day.
0:06:46 > 0:06:47'But hang on,
0:06:47 > 0:06:50'this was years before colour film was even available.'
0:06:50 > 0:06:52It's not a photographic colour,
0:06:52 > 0:06:55it's colour that was applied to the surface of the film
0:06:55 > 0:06:57to give a kind of lighting effect.
0:07:00 > 0:07:02'Percy Smith was an eccentric.
0:07:02 > 0:07:04'He was a clerk in the Civil Service
0:07:04 > 0:07:06'with a passion for photography.'
0:07:06 > 0:07:10The first person to film a motion picture was a guy called
0:07:10 > 0:07:11Eadweard Muybridge. Here it is.
0:07:11 > 0:07:14It's a film of a horse and shows it gets all its feet off the ground
0:07:14 > 0:07:16at the same time.
0:07:16 > 0:07:19But when Percy came along, they were filming with stuff like this.
0:07:19 > 0:07:22It uses 24 frames per second.
0:07:22 > 0:07:26What Percy did was film much, much slower than that
0:07:26 > 0:07:28and then played the film at normal speed.
0:07:28 > 0:07:31What that does is compress time.
0:07:31 > 0:07:36It makes everything seem to go much faster.
0:07:36 > 0:07:39'THE expert on Percy is Dr Tim Boon,
0:07:39 > 0:07:41'head curator of the Science Museum.
0:07:41 > 0:07:44'His research has shown him that the birth of the flower
0:07:44 > 0:07:46'was an overwhelming success.'
0:07:46 > 0:07:49It virtually caused a riot.
0:07:49 > 0:07:51The audience refused to leave the cinema
0:07:51 > 0:07:54until the film was rewound and shown again.
0:07:54 > 0:07:56That happened several nights running.
0:07:56 > 0:07:58'Percy became a celebrity and the work
0:07:58 > 0:08:00'took over his life.'
0:08:00 > 0:08:03So every room in the house, he'd have some set-up,
0:08:03 > 0:08:06- some strange contraption filming? - Absolutely.
0:08:06 > 0:08:09That's how he came to make this extraordinary
0:08:09 > 0:08:11Heath Robinson machine in his bathroom,
0:08:11 > 0:08:14which involved a see-saw and an old cocoa tin,
0:08:14 > 0:08:16water dripping in and chains of gears
0:08:16 > 0:08:18operating the shutter of the camera.
0:08:18 > 0:08:21In the end, he bought a house round the corner
0:08:21 > 0:08:23from the house where this photography was going on.
0:08:23 > 0:08:25They had connecting gardens.
0:08:25 > 0:08:28So he had to buy another house to live in
0:08:28 > 0:08:30cos he's taken over the one?
0:08:30 > 0:08:32- Absolutely.- That's fabulous.
0:08:32 > 0:08:35'Today we take time-lapse for granted,
0:08:35 > 0:08:38'but BAFTA-winning graphics designer Mick Connaire
0:08:38 > 0:08:41'had helped bring it a giant step forward.
0:08:41 > 0:08:43'he and the BBC's Natural History Unit
0:08:43 > 0:08:46'have created an extraordinary sequence
0:08:46 > 0:08:48'of a whole season in an English woodland.'
0:08:48 > 0:08:52How does the state-of-the-art compare to what Percy was doing?
0:08:52 > 0:08:54It's not a million miles away.
0:08:54 > 0:08:57We were pushing the boundaries with what we did
0:08:57 > 0:08:59and he did that way back then with no kit at all.
0:08:59 > 0:09:01We have modern cameras
0:09:01 > 0:09:03and high technology,
0:09:03 > 0:09:05but we had to build ramps from wood
0:09:05 > 0:09:07and use ladders and bits of string
0:09:07 > 0:09:09and wheels and pulleys
0:09:09 > 0:09:12in the same way, just to get the shot we needed.
0:09:12 > 0:09:14'The sequence was filmed twice -
0:09:14 > 0:09:15'once in the woodland,
0:09:15 > 0:09:17'and then in the studio,
0:09:17 > 0:09:20'to give themselves complete control of the environment.'
0:09:20 > 0:09:22We had to replicate the woodland to the millimetre
0:09:22 > 0:09:24to make sure all the plants fitted on.
0:09:24 > 0:09:26We built the same 30-metre track
0:09:26 > 0:09:29and filmed everything growing over the months ahead.
0:09:29 > 0:09:32Then I had to stick all the bits together to make it work.
0:09:32 > 0:09:34'And work it did.
0:09:34 > 0:09:36'Two years filming, and at 50-seconds long,
0:09:36 > 0:09:39'it's one of the most complex scenes ever invented
0:09:39 > 0:09:43'in natural history film-making.'
0:09:43 > 0:09:46What would Percy have thought of all that new stuff?
0:09:46 > 0:09:48I think he'd have loved it.
0:09:48 > 0:09:52But the blue screen and the computer graphics?
0:09:52 > 0:09:56You mustn't forget that the journey from The Birth Of The Flower
0:09:56 > 0:09:59to The Woodland has been a hundred years in the making.
0:09:59 > 0:10:01And that really is a time-lapse.
0:10:01 > 0:10:04Percy Smith, the forgotten pioneer.
0:10:07 > 0:10:09It's hard to take your eyes off that sort of photography,
0:10:09 > 0:10:12- isn't it, Michael? Hello? - Just amazing, yeah.
0:10:12 > 0:10:14Sorry, Lindisfarne Castle back there,
0:10:14 > 0:10:17was thought to have been built by Henry VIII, would you believe?
0:10:17 > 0:10:20He wanted to use this island
0:10:20 > 0:10:22so he could keep on eye on those pesky Scots.
0:10:22 > 0:10:25He certainly had a good view, because you can see for miles
0:10:25 > 0:10:27and up to the Scottish borders.
0:10:27 > 0:10:29You can. He used to have cannons pointed out to sea,
0:10:29 > 0:10:31and pointed out to the mainland,
0:10:31 > 0:10:34just in case of any emergencies.
0:10:34 > 0:10:36More recently, in perhaps a more genteel fashion,
0:10:36 > 0:10:39the castle was converted to a home
0:10:39 > 0:10:41by Edward Hudson, editor of Country Life magazine,
0:10:41 > 0:10:44and my favourite architect, Edwin Lutyens.
0:10:44 > 0:10:47That would have been around the early 1900s.
0:10:47 > 0:10:49So if I get my big, beloved history book out,
0:10:49 > 0:10:53that's somewhere around the end of the reign of Queen Victoria.
0:10:53 > 0:10:56Ah, and who on The One Show do we traditionally
0:10:56 > 0:10:58turn to for all things Victorian?
0:10:58 > 0:11:00Dan Snow.
0:11:00 > 0:11:01- Gyles Brandreth.- What?
0:11:05 > 0:11:07Queen Victoria,
0:11:07 > 0:11:09and her dogs, as painted by
0:11:09 > 0:11:12the megastar, Sir Edwin Landseer,
0:11:12 > 0:11:16a child prodigy who specialised in portraits of animals.
0:11:16 > 0:11:19'From noble beasts to doleful pets with human emotions,
0:11:19 > 0:11:24'Victorians lapped up his anthropomorphic creatures.'
0:11:24 > 0:11:27Landseer was so revered as THE artist of the animal kingdom
0:11:27 > 0:11:30that he was even given the job of fashioning THESE
0:11:30 > 0:11:34magnificent cats to guard Horatio Nelson.
0:11:39 > 0:11:43'But his most famous work had its origins far from the capital city
0:11:43 > 0:11:45'in the Highlands of Scotland.
0:11:45 > 0:11:48'You've probably seen it before, though not in an art gallery.
0:11:51 > 0:11:53If you'd opened a magazine back in 1916,
0:11:53 > 0:11:56you might have discovered this image promoting whisky.
0:11:56 > 0:11:58Ten years later,
0:11:58 > 0:12:01here we are again, still advertising whisky.
0:12:01 > 0:12:03By the 1980s, a version of the same image
0:12:03 > 0:12:06was again promoting whisky.
0:12:06 > 0:12:08But this proud beastie
0:12:08 > 0:12:11was never intended as a marketing tool.
0:12:11 > 0:12:13'Known as The Monarch Of The Glen,
0:12:13 > 0:12:16'the painting had been commissioned for the House of Lords'
0:12:16 > 0:12:20'refreshment room, but on completion the Commons refused to pay for it,
0:12:20 > 0:12:23'saying it was "inappropriate" for that setting.'
0:12:23 > 0:12:25So what happened to that painting?
0:12:25 > 0:12:26The painting was bought by Thomas Dewar.
0:12:26 > 0:12:28The whisky family?
0:12:28 > 0:12:29Dewar's whisky.
0:12:29 > 0:12:32Thomas Dewar very quickly saw the worth
0:12:32 > 0:12:33of the Monarch, not just as a work of art,
0:12:33 > 0:12:36but also as an icon to
0:12:36 > 0:12:38market and brand his whisky with.
0:12:38 > 0:12:39And here he is.
0:12:39 > 0:12:42Here he is in all his splendour and glory.
0:12:42 > 0:12:45The monarch of all he surveys. Magnificent!
0:12:45 > 0:12:47It looks remarkably lifelike.
0:12:47 > 0:12:50Absolutely. Landseer was very interested
0:12:50 > 0:12:52in anatomical make-up,
0:12:52 > 0:12:54so he would spend a lot of time
0:12:54 > 0:12:55both observing stags in the wild
0:12:55 > 0:12:59and also with the carcasses of animals in his studio,
0:12:59 > 0:13:01back in London.
0:13:01 > 0:13:03What's unusual, too, in a way is you think of
0:13:03 > 0:13:06most paintings that feature animals, there's usually
0:13:06 > 0:13:08the master, somebody riding the horse,
0:13:08 > 0:13:10somebody with the dogs.
0:13:10 > 0:13:13But this is an animal isolated.
0:13:13 > 0:13:14Absolutely. But perhaps
0:13:14 > 0:13:17this is a hunter's-eye view of the stag as well.
0:13:17 > 0:13:19The way he haughtily looks down,
0:13:19 > 0:13:21almost challenging the stalkers.
0:13:21 > 0:13:23You're right, he has us in his eye,
0:13:23 > 0:13:25and we have him in our sights.
0:13:27 > 0:13:31'Although an Englishman, Landseer's mastery of the Scottish landscape
0:13:31 > 0:13:34'was achieved through numerous trips to the Highlands,
0:13:34 > 0:13:35'which he loved.
0:13:35 > 0:13:37'He's rumoured to have been ambidextrous
0:13:37 > 0:13:40'and able to draw an animal's head with one hand
0:13:40 > 0:13:42'while sketching its tail with the other.
0:13:42 > 0:13:45'But was his view of Scotland
0:13:45 > 0:13:48'just a romanticised cliche for English toffs?'
0:13:48 > 0:13:52What's interesting - an image like that's so familiar now,
0:13:52 > 0:13:54it's become something iconic.
0:13:54 > 0:13:57It is more than simply a work of art.
0:13:57 > 0:14:00It's kind of part of the social fabric.
0:14:00 > 0:14:02It is a bit of a cliche.
0:14:02 > 0:14:06I would say it's very much part of the shortbread-tin view of Scotland.
0:14:06 > 0:14:08When the painting was completed in 1851,
0:14:08 > 0:14:10Scotland was becoming
0:14:10 > 0:14:13Europe's most urbanised and industrialised nation.
0:14:13 > 0:14:15So really it is a complete contradiction
0:14:15 > 0:14:18to what is happening in Scotland.
0:14:18 > 0:14:21What the experiences of most Scots are during this period.
0:14:22 > 0:14:24'The Monarch's had its critics,
0:14:24 > 0:14:26'but what do the locals think of him these days?'
0:14:26 > 0:14:29I've seen that before, definitely.
0:14:29 > 0:14:31Seen him on my granny's walls when I was little.
0:14:31 > 0:14:35Does it make you proud to be Scottish to look at a painting like that?
0:14:35 > 0:14:37I would say so.
0:14:37 > 0:14:40One of the criticisms of the picture is that it's
0:14:40 > 0:14:42an English person's view of Scotland,
0:14:42 > 0:14:44a sentimental view, the Highlands, the mists,
0:14:44 > 0:14:46the stag, et cetera,
0:14:46 > 0:14:48instead of being the reality of Scotland.
0:14:48 > 0:14:50I'd probably rather have a picture of that
0:14:50 > 0:14:53than a lot of the other aspects you see around here.
0:14:53 > 0:14:55'Despite celebrity status,
0:14:55 > 0:14:57'Landseer suffered from depression
0:14:57 > 0:15:00'and was eventually declared insane.
0:15:00 > 0:15:02'When he died in 1873,
0:15:02 > 0:15:05'his funeral was held at St Paul's Cathedral
0:15:05 > 0:15:07'and the lions of Trafalgar Square
0:15:07 > 0:15:09'draped with wreaths.
0:15:09 > 0:15:12'These days, the stag which once advertised whisky
0:15:12 > 0:15:15'is a priceless museum exhibit.'
0:15:15 > 0:15:18Landseer was never avant-garde,
0:15:18 > 0:15:19never edgy.
0:15:19 > 0:15:20He was unpretentious,
0:15:20 > 0:15:23his work was full of simple goodness.
0:15:23 > 0:15:25As a nation, we love The Monarch Of The Glen
0:15:25 > 0:15:28because it stirs the spirit
0:15:28 > 0:15:29and it touches the heart.
0:15:32 > 0:15:36- I'm stirred and touched by Gyles. - Are you?- Yeah.
0:15:36 > 0:15:39I've also had lunch at one of the great two pubs here in Lindisfarne.
0:15:39 > 0:15:42- I think you've been to both of them. - Well, I like a pub.
0:15:42 > 0:15:45Where we are now is the priory.
0:15:45 > 0:15:48This is the whole reason why this place is called the Holy Island.
0:15:48 > 0:15:51This was actually founded as a monastery
0:15:51 > 0:15:55in 635 AD by St Aidan.
0:15:55 > 0:15:57It became a focus for Christianity
0:15:57 > 0:15:59for the whole of Anglo-Saxon England.
0:15:59 > 0:16:01How did he become a saint?
0:16:01 > 0:16:04Well, in his case, the nearby place of Bamburgh
0:16:04 > 0:16:06was ransacked by a pagan army
0:16:06 > 0:16:09who set fire to it, so St Aidan prayed
0:16:09 > 0:16:12and the wind changed and blew the flames
0:16:12 > 0:16:13towards the enemy.
0:16:13 > 0:16:15The power of prayer, of course.
0:16:15 > 0:16:17Or it might just have been a change in the weather.
0:16:17 > 0:16:19But remarkable things HAVE happened here.
0:16:19 > 0:16:22In 700 AD, another one of the monks, Eadfrith,
0:16:22 > 0:16:25he produced these beautiful illuminated manuscripts
0:16:25 > 0:16:28and they became known as the Lindisfarne Gospels.
0:16:28 > 0:16:32- They were originally in Latin, which I can understand.- Go on, then.
0:16:32 > 0:16:35Pater noster, qui es in caelis, et cetera.
0:16:35 > 0:16:37But there is an English version, for you.
0:16:37 > 0:16:39That was produced in 970 AD.
0:16:39 > 0:16:42And that is the oldest surviving
0:16:42 > 0:16:44copy of the Bible in English.
0:16:44 > 0:16:46Really? That's quite interesting.
0:16:46 > 0:16:49There isn't just one saint from round here.
0:16:49 > 0:16:51The other one's St Cuthbert.
0:16:51 > 0:16:54He was reported to be a great healer,
0:16:54 > 0:16:56obviously had magic hands of some description,
0:16:56 > 0:16:58and when they buried him when he died,
0:16:58 > 0:17:00they put him in a stone casket
0:17:00 > 0:17:02and when they opened this stone casket,
0:17:02 > 0:17:04no ageing or decaying
0:17:04 > 0:17:06had taken place at all.
0:17:06 > 0:17:08HE defied the ageing process.
0:17:08 > 0:17:09I'll get one of these stone caskets.
0:17:09 > 0:17:11- I think you should. - Get this sorted out.
0:17:11 > 0:17:13- I'll lend it you.- Thanks.
0:17:13 > 0:17:16Unfortunately, we can't compare now,
0:17:16 > 0:17:18because when the Vikings invaded,
0:17:18 > 0:17:19the monks upped and left
0:17:19 > 0:17:23- and they took St Cuthbert's body with the Gospels.- Really?
0:17:23 > 0:17:25That's a shame.
0:17:25 > 0:17:27All this history, eh? Do you fancy some more?
0:17:27 > 0:17:30Arthur Smith doesn't just like to talk to great historic figures,
0:17:30 > 0:17:34he likes to move in with them as well. Bit weird, innit?
0:17:34 > 0:17:37PIANO MUSIC
0:17:40 > 0:17:42The music of The Planets,
0:17:42 > 0:17:45the most famous piece of work by Gustav Holst
0:17:45 > 0:17:48and played on the very piano he used for its composition.
0:17:53 > 0:17:55And this is the very house where he was born,
0:17:55 > 0:17:58because although his father's family
0:17:58 > 0:18:01were of Latvian origins and he was rumoured to be Swedish,
0:18:01 > 0:18:05Holst was in fact a very English gentleman.
0:18:05 > 0:18:07'Brought up right here in Cheltenham.
0:18:08 > 0:18:13'This is probably the room where he was born in 1874,
0:18:13 > 0:18:15'the main bedroom.'
0:18:15 > 0:18:18And it's where I'll be sleeping tonight.
0:18:21 > 0:18:23'Music was in the Holst family.
0:18:23 > 0:18:27'His father, Adolph, was a highly accomplished pianist.
0:18:27 > 0:18:31'His mother, Clara, came for lessons and then married her teacher.'
0:18:31 > 0:18:34But Clara died when Holst was seven.
0:18:34 > 0:18:37And given his father's dedication to his music,
0:18:37 > 0:18:39and it would seem, the local boozer,
0:18:39 > 0:18:43I'm guessing Gustav had quite a lonely childhood.
0:18:46 > 0:18:49As a young boy, Holst started by playing the violin.
0:18:49 > 0:18:53But he disliked it intensely, much preferring the piano.
0:18:53 > 0:18:57'But he was a frail child with poor eyesight and asthma,
0:18:57 > 0:19:00'and he developed a painful hand condition.'
0:19:00 > 0:19:02He became a rather good pianist.
0:19:02 > 0:19:05He got into the Royal College Of Music.
0:19:05 > 0:19:07He had hoped to become an even better one,
0:19:07 > 0:19:11but at the Royal College he increasingly suffered from neuritis.
0:19:11 > 0:19:13He was quite a sickly man and yet he was also
0:19:13 > 0:19:15an avid rambler, wasn't he?
0:19:15 > 0:19:17Did he walk with Vaughan Williams?
0:19:17 > 0:19:20Yes, he did, they were great walking companions.
0:19:20 > 0:19:22It's funny to think someone must have bumped into
0:19:22 > 0:19:24these gentlemen walking along
0:19:24 > 0:19:27and think, "That's Vaughan Williams and Holst!"
0:19:30 > 0:19:34'Holst married Isobel Harrison in 1901
0:19:34 > 0:19:36'and they had a daughter called Imogen.
0:19:36 > 0:19:39'He settled down to a career as a teacher
0:19:39 > 0:19:42'which he loved, but it took up so much of his time that he was
0:19:42 > 0:19:45'only able to compose on Sundays.'
0:19:45 > 0:19:49He wrote entirely what he wanted to write.
0:19:49 > 0:19:52That made him seem very modern to a lot of people,
0:19:52 > 0:19:55because his ear was attuned to modern things.
0:19:55 > 0:19:59'Holst was quite an alternative thinker for his time.
0:19:59 > 0:20:01'He studied the teachings of Hinduism
0:20:01 > 0:20:02'and learned Sanskrit.'
0:20:02 > 0:20:05And then he got into astrology.
0:20:05 > 0:20:07The alignment of the stars was right
0:20:07 > 0:20:10and he created his most famous work.
0:20:15 > 0:20:19What is it about The Planets that makes it still such a hugely
0:20:19 > 0:20:21popular and influential work?
0:20:21 > 0:20:24I think there's several things.
0:20:24 > 0:20:25One is in the Jupiter movement,
0:20:25 > 0:20:28you have I Vow To Thee My Country. that's played everywhere.
0:20:28 > 0:20:30Princess Diana's favourite hymn tune.
0:20:33 > 0:20:36Mars...
0:20:36 > 0:20:40Films. John Williams is totally inspired
0:20:40 > 0:20:41by The Planets.
0:20:41 > 0:20:45I think it's just the sheer exhilaration of quite a lot of it.
0:20:47 > 0:20:51Of course, you always imagine these great figures from the past
0:20:51 > 0:20:52were serious people,
0:20:52 > 0:20:56but here's a letter from Holst and a couple of his drinking friends
0:20:56 > 0:20:58to another friend.
0:20:58 > 0:20:59"Dear Vally,
0:20:59 > 0:21:02"we the undersigned guests of the Jolly Talgarth
0:21:02 > 0:21:04"have learnt with sorrow
0:21:04 > 0:21:07"of the indisposition of your sofa."
0:21:07 > 0:21:09I'll bet he was fun to be with.
0:21:12 > 0:21:15It's time for me to try and get some sleep.
0:21:15 > 0:21:17The bed looks magnificent with its
0:21:17 > 0:21:20brass bedstead, lovely sheets.
0:21:20 > 0:21:22What a shame I'm sleeping on this one.
0:21:25 > 0:21:29It's quite cosy here in what I think of as "The Planet Suite".
0:21:29 > 0:21:31Ah!
0:21:35 > 0:21:37It was interesting to sleep in a place
0:21:37 > 0:21:40so quiet and dark, just the ticking of the clock.
0:21:40 > 0:21:43And then, at 4 AM,
0:21:43 > 0:21:45I woke up to find...
0:21:45 > 0:21:50I was still quite tired so I went back to sleep. It was nice.
0:21:50 > 0:21:51Well, let me conclude
0:21:51 > 0:21:54by quoting the great man himself.
0:21:54 > 0:21:58"Talking about music is like keeping small boys
0:21:58 > 0:22:00"outside a sweet shop, explaining to them
0:22:00 > 0:22:02"how sweets are made."
0:22:02 > 0:22:04So I'll shut up and you listen.
0:22:06 > 0:22:07MUSIC: "Jupiter" by Holst
0:22:13 > 0:22:15I love The Planets, but it's a shame
0:22:15 > 0:22:19the stars didn't predict the sorry fortunes of this priory.
0:22:19 > 0:22:22It was destroyed the first time round by the Vikings,
0:22:22 > 0:22:24but then it was rebuilt by the Normans,
0:22:24 > 0:22:27and there's evidence of that in these rather lovely arched windows.
0:22:27 > 0:22:29Nice. Didn't stay nice for long, though.
0:22:29 > 0:22:32That old Henry VIII came along and denounced Catholicism
0:22:32 > 0:22:35- in the 16th century and they trashed this place.- Aw!
0:22:35 > 0:22:37They took all the bricks and all the rubble
0:22:37 > 0:22:40and that castle we saw earlier, they built that with it.
0:22:40 > 0:22:43But people don't just come here for the ruins,
0:22:43 > 0:22:46they also come for the magnificent views of the coastline.
0:22:46 > 0:22:48Ah, the great British waters,
0:22:48 > 0:22:51which incidentally, Miranda is about to immerse herself into.
0:22:51 > 0:22:52Should be good.
0:22:54 > 0:22:57'Britain has some truly stunning coastline
0:22:57 > 0:23:01'and our shores are brimming with some very special wildlife.'
0:23:01 > 0:23:03The trouble is,
0:23:03 > 0:23:06most of the animals live down there, in crevices, in caves,
0:23:06 > 0:23:09or on the rocks, and getting up close is really tricky.
0:23:09 > 0:23:12'But for those with a good head for heights,
0:23:12 > 0:23:15'there is a new way of experiencing coastal wildlife.'
0:23:15 > 0:23:20It's called eco coasteering,
0:23:20 > 0:23:22and it's quite scary.
0:23:23 > 0:23:26'Unbelievably, along this bit of Cornish coastline,
0:23:26 > 0:23:29'you can swim, climb and even leap into the water
0:23:29 > 0:23:32'to get really close to wildlife.
0:23:32 > 0:23:35'But you do need an expert guide
0:23:35 > 0:23:38'who carries a lot of safety gear under his top,
0:23:38 > 0:23:39'like Ian Anderson.'
0:23:39 > 0:23:41We're about to jump into the water.
0:23:41 > 0:23:43Basically, when you're ready,
0:23:43 > 0:23:46don't stand up there too long, don't look at it for too long,
0:23:46 > 0:23:48cos it just gets worse.
0:23:48 > 0:23:52'So, after a thorough safety briefing and a leaping lesson,
0:23:52 > 0:23:54'it's time for me to take the plunge.'
0:23:56 > 0:23:58- It's a long way down! - It IS a long way.
0:23:58 > 0:24:00- OK, get ready.- Yup.
0:24:00 > 0:24:04OK, ready - three, two, one...
0:24:04 > 0:24:06- Go! - SHE YELLS
0:24:12 > 0:24:14That is bonkers!
0:24:14 > 0:24:17That is absolutely crazy.
0:24:19 > 0:24:21Whoo!
0:24:21 > 0:24:24'Ian knows exactly how deep the water is
0:24:24 > 0:24:25'beneath each jump
0:24:25 > 0:24:28'and once we're down here we can get access
0:24:28 > 0:24:30'to some really pristine coastal habitat.
0:24:30 > 0:24:32'Or at least we could if we hadn't picked a day
0:24:32 > 0:24:35'with pouring rain and huge tidal swell.
0:24:41 > 0:24:47'But it's worth the effort. These rocks are teaming with life.'
0:24:47 > 0:24:51What's incredible about the rock here is every millimetre is covered with something.
0:24:51 > 0:24:54We have barnacles, mussels clinging on for dear life,
0:24:54 > 0:24:55anemones, dog whelks.
0:24:55 > 0:24:58'The mussels are anchored to the rock
0:24:58 > 0:25:00'by filaments that are weight-for-weight
0:25:00 > 0:25:02'as strong as steel, and they need to be.'
0:25:04 > 0:25:06That's the extreme environment we're working in.
0:25:06 > 0:25:09We'll be clinging to the rocks soon.
0:25:09 > 0:25:12'Mussel beds stretch for miles along this part of the coast,
0:25:12 > 0:25:14'a sign of a really healthy habitat.
0:25:17 > 0:25:21'Our next stop is a remote cave, only accessible with another jump.'
0:25:21 > 0:25:25- Three, two, one, go! - SHE YELLS
0:25:31 > 0:25:34'With a rising tide and strong undercurrents,
0:25:34 > 0:25:38'I have a really renewed respect for the creatures that survive here.'
0:25:38 > 0:25:40Whoo!
0:25:43 > 0:25:46Out of control! This is great!
0:25:46 > 0:25:49I think we're all right, get in before the next wave.
0:25:49 > 0:25:51Whoo!
0:25:51 > 0:25:52Or not!
0:25:54 > 0:25:57I love the pink hue of the rock we've got here
0:25:57 > 0:25:59with all this lovely algae on, it's beautiful.
0:25:59 > 0:26:03Yeah, it's amazing, and it's amazing that it manages to even cling on.
0:26:03 > 0:26:05- You can see what's happening.- Yeah.
0:26:08 > 0:26:12'These caves are also used by seals to shelter from storms,
0:26:12 > 0:26:14'or just to take a nap.
0:26:14 > 0:26:17'Today, no-one's home, but whilst we're inside,
0:26:17 > 0:26:22'this grey seal pops it head up just a hundred metres away.
0:26:22 > 0:26:25'But there's one more animal I want to see
0:26:25 > 0:26:29'and these live high up on the cliffs.'
0:26:29 > 0:26:31So we've got the kittiwakes up there?
0:26:31 > 0:26:32Yeah, just get a bit closer to the cliff edge
0:26:32 > 0:26:35- and we'll get a really good look at them.- Brilliant.
0:26:38 > 0:26:40'These small, shy gulls
0:26:40 > 0:26:42'nest up here to escape from predators
0:26:42 > 0:26:46'and they're perfectly adapted for living on really narrow ledges.'
0:26:46 > 0:26:48So when you look at these cliffs,
0:26:48 > 0:26:51they are just sheer, it doesn't look like there's any
0:26:51 > 0:26:54place a bird could nest, let alone lay an egg and try
0:26:54 > 0:26:56and bring up chicks.
0:26:56 > 0:26:59The eggs are quite an unusual shape.
0:26:59 > 0:27:02That's right - a much more pronounced point at one end
0:27:02 > 0:27:03than most birds' eggs,
0:27:03 > 0:27:05so if they roll, it's in a circular fashion
0:27:05 > 0:27:07and not straight off the edge of the cliff.
0:27:07 > 0:27:10It's a wonderful end
0:27:10 > 0:27:11to our journey today.
0:27:11 > 0:27:15We've been through some pretty rough water, some pretty fierce swells,
0:27:15 > 0:27:18and there's the "kitti-wah" call of the kittiwakes, brilliant.
0:27:18 > 0:27:22What a spectacle to end the journey.
0:27:22 > 0:27:24And a spectacular end to our journey as well.
0:27:24 > 0:27:27We've just made it back from the island before the tide sweeps in.
0:27:27 > 0:27:31- What a relief! But that's it from us for today. See you!- Bye!
0:27:31 > 0:27:34Subtitles by Red Bee Media Ltd