0:00:02 > 0:00:06When we become human, when our eyes adjust to the raw light
0:00:06 > 0:00:10of the world, the first thing we see is a face.
0:00:14 > 0:00:18And before we can walk, before we can speak,
0:00:18 > 0:00:20we become readers of faces.
0:00:25 > 0:00:28And as we grow into ourselves and the world we live in,
0:00:28 > 0:00:30this instinct stays with us.
0:00:34 > 0:00:38We scan the world for connections and make snap judgements.
0:00:40 > 0:00:43Friend or foe, cruel or kind?
0:00:44 > 0:00:47An innocent glance, or the look of love?
0:00:50 > 0:00:54Locking eyes helps us navigate through our lives.
0:00:55 > 0:00:58But also navigate through our history.
0:01:01 > 0:01:03When we look upon the faces of the past,
0:01:03 > 0:01:07it's like combing through the family album of our nation.
0:01:09 > 0:01:13Each one contains something of ourselves -
0:01:13 > 0:01:16who we are, and who we've been.
0:01:19 > 0:01:24But be warned - none of these faces can be taken at face value.
0:01:28 > 0:01:32Because no portrait is as simple as it first seems.
0:01:35 > 0:01:40Every portrait is the result of a three-way contest.
0:01:40 > 0:01:44First of all, there's the vanity of the sitter, of course -
0:01:44 > 0:01:46how we think we'd like to be seen.
0:01:46 > 0:01:50But then there's the job of the artists who mischievously
0:01:50 > 0:01:51complicate that vanity.
0:01:52 > 0:01:56And then, not least, there is the verdict of the public.
0:01:56 > 0:02:01And it's this three-way game which gives portraits their complexity,
0:02:01 > 0:02:05their richness and their intrigue.
0:02:06 > 0:02:09And when the portraits are of the powerful,
0:02:09 > 0:02:12the battle of wills can get fierce.
0:02:16 > 0:02:20But to know the story of those battles is to understand not just
0:02:20 > 0:02:24how portraits got painted, but how Britain got made.
0:02:45 > 0:02:47BELL CHIMES
0:02:47 > 0:02:51As the firm, confident notes of Big Ben sound out,
0:02:51 > 0:02:56we greet you from Parliament, where we now wait to do birthday homage to
0:02:56 > 0:02:59the greatest of modern parliamentarians.
0:03:00 > 0:03:05The 30th November 1954 was the day the nation came together to
0:03:05 > 0:03:10celebrate the 80th birthday of Prime Minister Winston Churchill.
0:03:11 > 0:03:15All members of both houses and the officials of Parliament,
0:03:15 > 0:03:18and their wives, have assembled here.
0:03:18 > 0:03:22Now, he comes down the stairs to the greetings of both houses.
0:03:24 > 0:03:28Beamed into homes by the BBC, the climax of the ceremony was to be
0:03:28 > 0:03:32the unveiling of a birthday present from Parliament.
0:03:32 > 0:03:36It was a portrait that would immortalise the greatest Briton of all.
0:03:39 > 0:03:44Churchill was a hero in our house.
0:03:44 > 0:03:47We were rather a Labour Party family, but we made an exception
0:03:47 > 0:03:51for Winston Churchill because he'd saved Britain from the Nazis.
0:03:51 > 0:03:57Now, we all knew that Churchill was, to put it mildly, past his prime.
0:03:57 > 0:04:02But everybody wanted some great climactic moment,
0:04:02 > 0:04:06which rose above politics, when the nation could say, "Thank you."
0:04:08 > 0:04:12But politics is rarely that simple.
0:04:12 > 0:04:15A year earlier, Churchill had suffered a stroke.
0:04:15 > 0:04:18He had recovered, but as he looked out at the audience, he knew that
0:04:18 > 0:04:23among them were some that wanted to replace him with a younger face.
0:04:28 > 0:04:32So, for Churchill, what lay behind the curtain was more than a portrait.
0:04:34 > 0:04:38It had to be a proclamation of his undimmed vigour.
0:04:45 > 0:04:48The story of the portrait began three months earlier
0:04:48 > 0:04:51at Churchill's home of Chartwell.
0:04:54 > 0:04:58As a keen amateur, he had his own painting studio
0:04:58 > 0:05:02and it was here that he sat for the all-important portrait.
0:05:05 > 0:05:09On the other side of the easel stood the painter, Graham Sutherland.
0:05:11 > 0:05:12Hand-picked by Parliament,
0:05:12 > 0:05:18he was celebrated for his unsparing scrutiny and penetrating portraits.
0:05:22 > 0:05:24But as he set his sights on Churchill,
0:05:24 > 0:05:29he found himself locked in a contest of wills.
0:05:29 > 0:05:34It was a drama documented in an extraordinary set of photographs.
0:05:37 > 0:05:42Well, I supposed you would have to call these remarkable images
0:05:42 > 0:05:43war photography.
0:05:44 > 0:05:51This was going to be one of the most tumultuous commissions ever.
0:05:51 > 0:05:53Both the artist and, I think,
0:05:53 > 0:05:56the sitter as well thought they were in a fight.
0:05:57 > 0:06:00Wary of what the artist's eye might reveal,
0:06:00 > 0:06:04Churchill immediately tried to take control of the sittings.
0:06:05 > 0:06:10The first day, Churchill says to Sutherland,
0:06:10 > 0:06:13"What would you like? The Bulldog or the Cherub?"
0:06:13 > 0:06:17And of course it's insulting to Sutherland because it's saying there
0:06:17 > 0:06:21are only two way in which my image is allowed to go into the public.
0:06:21 > 0:06:26You can have the winsome baby face or the fighting bulldog.
0:06:26 > 0:06:31And Sutherland gets more and more determined to do what he wants.
0:06:34 > 0:06:38Sutherland soon realised he did not have a cooperative subject.
0:06:38 > 0:06:41Churchill was constantly lighting up.
0:06:41 > 0:06:44His moods would shift from amiable to growly.
0:06:44 > 0:06:47The brandy snifter was never far away.
0:06:49 > 0:06:52Churchill is such a difficult sitter,
0:06:52 > 0:06:55he nods off after lunch, he's drowsy.
0:06:55 > 0:06:57And there's not much Sutherland can do about it.
0:06:57 > 0:07:01He has to say to him, "A little bit more of the old lion, sir."
0:07:03 > 0:07:06So they're jousting about absolutely everything.
0:07:08 > 0:07:12Taking the photographs and his many sketches with him,
0:07:12 > 0:07:17Sutherland decided to work up the painting back at his own house.
0:07:17 > 0:07:23This made Churchill suspicious of what the final product would look like.
0:07:26 > 0:07:32What results from this clash of the titans, from this duel of egos,
0:07:32 > 0:07:38nobody quite knew until the thing was unveiled.
0:07:43 > 0:07:46As the congratulatory speeches wore on,
0:07:46 > 0:07:53few were aware that Churchill had seen the painting and hated it.
0:07:53 > 0:07:58Prime Minister and painter knew humiliation for them both was just seconds away.
0:07:59 > 0:08:04Mr Prime Minister, I gladly join my colleagues
0:08:04 > 0:08:09in presenting this token of our sincere regards to him.
0:08:16 > 0:08:19As the curtain drew back, what the audience saw...
0:08:22 > 0:08:25..was a picture of the rugged truth.
0:08:27 > 0:08:30Which was not what Churchill had wanted.
0:08:30 > 0:08:36No bulldog, no baby face, just an obituary in paint.
0:08:41 > 0:08:44The moment of retribution was at hand.
0:08:47 > 0:08:52The portrait is a remarkable example of Modern Art.
0:08:52 > 0:08:56LAUGHTER
0:09:06 > 0:09:08The gale of laughter that swept the audience
0:09:08 > 0:09:11was Churchill's revenge on Sutherland.
0:09:11 > 0:09:14Sutherland is sitting there captive,
0:09:14 > 0:09:20a prisoner inside this immense, formal, televised nightmare.
0:09:21 > 0:09:25And Sutherland is distraught and humiliated by the whole thing
0:09:25 > 0:09:28and they are both casualties,
0:09:28 > 0:09:32they are both bloodied, humiliated, wounded.
0:09:32 > 0:09:37Exactly the opposite of what everybody had wanted.
0:09:39 > 0:09:42But in the aftermath of this great battle of wills,
0:09:42 > 0:09:46the biggest casualty of all would be the painting itself.
0:09:47 > 0:09:52After a few weeks at Churchill's London house, it disappeared.
0:09:54 > 0:09:58Winston and his wife found the image so offensive,
0:09:58 > 0:10:01it was never displayed and eventually...
0:10:03 > 0:10:04..it was burned.
0:10:21 > 0:10:23Well, this is all that we have left.
0:10:23 > 0:10:27It's a transparency that belongs to the estate of the artist
0:10:27 > 0:10:28and thank God we have it.
0:10:28 > 0:10:31Because it let's us see that this
0:10:31 > 0:10:34is actually one of the great masterpieces of British portraiture.
0:10:34 > 0:10:37Not just British portraiture, actually -
0:10:37 > 0:10:40it's up there with Rembrandt, Velasquez, with Holbein's Henry VIII.
0:10:40 > 0:10:44This is an extraordinary, extraordinary painting.
0:10:44 > 0:10:46And I'll tell you why it is so extraordinary.
0:10:46 > 0:10:49Think of all the other official portraits, for God's sake.
0:10:49 > 0:10:54Stalin, Castro, the hideous portraits of the tyrants like Hitler,
0:10:54 > 0:10:56this is not that.
0:10:58 > 0:11:01This is a portrait of a magnificent ruin.
0:11:04 > 0:11:06Britain's triumph in the 1950s
0:11:06 > 0:11:10is that it is full of magnificent ruins, being magnificent
0:11:10 > 0:11:14and being ruined is the battle of Britain, it is British history.
0:11:17 > 0:11:20It is portraiture of rugged nobility.
0:11:22 > 0:11:26And the tragedy about this is that Winston didn't see this.
0:11:27 > 0:11:30If only the picture was still here,
0:11:30 > 0:11:35we would all love and revere it and say, "This is Britain."
0:11:41 > 0:11:45All portraits are born of from a tug-of-war between sitter,
0:11:45 > 0:11:47artist and public.
0:11:48 > 0:11:52In this one, it was the portrait which was torn apart.
0:11:55 > 0:12:00Sutherland would later brood that he should never have accepted the commission.
0:12:00 > 0:12:03Perhaps it was, from the start, a hopeless challenge.
0:12:05 > 0:12:09After all, how do you paint a saviour?
0:12:22 > 0:12:24Deep in the Hertfordshire countryside
0:12:24 > 0:12:26is a saviour from another age.
0:12:31 > 0:12:36Here in the village of Piccotts End, it was hidden away for centuries.
0:12:38 > 0:12:41This is a doorway to another world.
0:12:51 > 0:12:53It's a time machine, this little cottage.
0:12:56 > 0:13:00This house was once a hostel on an ancient route of pilgrimage.
0:13:02 > 0:13:05It's easy to think of medieval carts
0:13:05 > 0:13:10and pilgrims trudging to the nearby monastery,
0:13:10 > 0:13:12where there is a relic of holy blood.
0:13:14 > 0:13:16Painted over 500 years ago,
0:13:16 > 0:13:23its walls are aglow with images of Christ, the Virgin, and the Saints,
0:13:23 > 0:13:27all enveloped in a dense garden of leaves and flowers.
0:13:28 > 0:13:32We'll never know who painted these beautiful things.
0:13:32 > 0:13:36But it was a job that you had,
0:13:36 > 0:13:39you had the job of providing these glorious images
0:13:39 > 0:13:45for pilgrims and a Christian world that was full of being looked at.
0:13:45 > 0:13:50There was never a moment when the faces of the Bible weren't
0:13:50 > 0:13:56looking at you, and you could pause to look back at them for reassurance.
0:13:56 > 0:14:01And you'd be blessed by those faces.
0:14:14 > 0:14:17This is the important part of contemplation.
0:14:17 > 0:14:21It is not just that we are contemplating Christ,
0:14:21 > 0:14:23but Christ is looking at us.
0:14:23 > 0:14:27"I exist because God looks at me."
0:14:31 > 0:14:34You would see the images of Christ, the Mother of God,
0:14:34 > 0:14:36the angels and the saints.
0:14:36 > 0:14:38And you wouldn't just look at them
0:14:38 > 0:14:40you would go and kiss them an honour them.
0:14:40 > 0:14:43You would want a living relationship with them,
0:14:43 > 0:14:44a tangible one.
0:14:47 > 0:14:53Both the Greek and the Latin words for face also mean person,
0:14:53 > 0:14:55person and face mean the same thing.
0:14:55 > 0:14:58And it's interesting that a face has eyes to see the other,
0:14:58 > 0:15:02ears to hear the other, lips to speak with the other,
0:15:02 > 0:15:06so, person means communion, and it's essential for the Christian faith.
0:15:12 > 0:15:14But then came the Reformation.
0:15:16 > 0:15:20As Henry VIII carved England away from the rest of Christendom,
0:15:20 > 0:15:26so the paintings here became condemned as Roman idolatry.
0:15:26 > 0:15:27They had to go.
0:15:30 > 0:15:36The defacing was done by Protestant reformers in the middle of the 1530s
0:15:36 > 0:15:41because they were insecure about the power of faces to control the imagination.
0:15:43 > 0:15:49"Defaced" means, like that, to take the face away,
0:15:49 > 0:15:56so that you lose connection with talismanic presences.
0:15:56 > 0:16:00You take away the magic and you leave a community,
0:16:00 > 0:16:04in this case the community of Catholic England, without
0:16:04 > 0:16:11someone to look to for prosperity, safety, happiness and abundance.
0:16:11 > 0:16:13You're on your own.
0:16:15 > 0:16:19But the architects of the Reformation understood
0:16:19 > 0:16:21the psychological need for a powerful face.
0:16:24 > 0:16:26And as they defaced Catholic imagery,
0:16:26 > 0:16:29they made new icons of salvation.
0:16:32 > 0:16:38Christ in majesty was replaced by the King in majesty.
0:16:40 > 0:16:45But it was his daughter who would create an entirely new cult of images.
0:16:47 > 0:16:48Exit the Virgin Mary...
0:16:50 > 0:16:53..enter The Virgin Queen.
0:16:56 > 0:17:00It was Elizabeth I who would construct a face of power that would
0:17:00 > 0:17:05channel the old devotion to win a new allegiance.
0:17:11 > 0:17:12Hatfield House.
0:17:14 > 0:17:19A centre of power during Elizabeth's long, often threatened, reign.
0:17:25 > 0:17:28From here, her most trusted councillors maintained
0:17:28 > 0:17:31constant vigilance over the realm.
0:17:33 > 0:17:38Excommunication had given Catholic assassins license to kill,
0:17:38 > 0:17:41and Elizabeth's failure to marry
0:17:41 > 0:17:46and provide a Protestant heir put the realm in even greater jeopardy.
0:17:46 > 0:17:50Elizabeth's councillors knew that the Queen image could be
0:17:50 > 0:17:56a powerful weapon in securing the allegiance of hearts and minds.
0:17:56 > 0:17:59But the image makers initially weren't very good.
0:18:01 > 0:18:04From the moment of her accession,
0:18:04 > 0:18:07jobbing painters had been turning out faces of the Queen.
0:18:11 > 0:18:15Most of them were feeble and clumsy pictures.
0:18:19 > 0:18:24So the council of state had to take decisive action.
0:18:24 > 0:18:28"Her Majesty perceiveth that a great number of her loving subjects
0:18:28 > 0:18:33"are much grieved and take great offence with the errors
0:18:33 > 0:18:37"and deformities already committed by sundry persons."
0:18:37 > 0:18:42'In 1563, a proclamation was drafted.'
0:18:44 > 0:18:49'It banned anyone from producing unauthorised portraits of the Queen
0:18:49 > 0:18:54'until an official image was designed and disseminated by the state.'
0:18:54 > 0:19:00"..the showing or publication of such as are apparently deformed."
0:19:02 > 0:19:06Illicit pictures of the Queen were to be destroyed
0:19:06 > 0:19:09and the Queen's face re-branded.
0:19:09 > 0:19:12The message was clear.
0:19:13 > 0:19:19We control the picture of the Queen you are going to have.
0:19:19 > 0:19:24It's in our power to tell you what the face of the Queen is.
0:19:24 > 0:19:27We will tell you what the face of England is to be.
0:19:38 > 0:19:42Usually, state-controlled image making is the kiss of death
0:19:42 > 0:19:44to painterly inspiration.
0:19:46 > 0:19:47But not this time.
0:19:49 > 0:19:53This time, painters were inspired to make magic.
0:19:58 > 0:20:03Elizabeth's natural face disappears inside a formulaic mask.
0:20:03 > 0:20:06Perpetually luminous,
0:20:06 > 0:20:09impervious to the ravages of time.
0:20:11 > 0:20:15Her body becomes encrusted with symbols,
0:20:15 > 0:20:19many of them adapted from the Virgin Mary.
0:20:29 > 0:20:33Under the painter's spell, Elizabeth had become the Virgin Queen -
0:20:33 > 0:20:40devoted to the care of her subjects, married to no-one but the realm.
0:20:47 > 0:20:51But the radiance of the Virgin Queen reached its consummation
0:20:51 > 0:20:55in the greatest of all her portraits.
0:20:55 > 0:20:58It's known as the Rainbow Portrait.
0:21:00 > 0:21:04This is fabulous, isn't it? And I mean literally fabulous.
0:21:04 > 0:21:09This is the stuff of fable, legend, the imagination.
0:21:09 > 0:21:12The older she got, the more fantastic the image had to be.
0:21:14 > 0:21:18The painting was made just a few years before Elizabeth's death,
0:21:18 > 0:21:21yet she remains untouched by age.
0:21:23 > 0:21:26The real Elizabeth is an old lady in her mid-60s.
0:21:26 > 0:21:28She is blackened toothed,
0:21:28 > 0:21:31shrunken, complexion like jaundice.
0:21:31 > 0:21:33So this won't do.
0:21:33 > 0:21:38And if you concentrate enough on a stupendous image like this,
0:21:38 > 0:21:41that's what will be imprinted in your mind. And we actually have
0:21:41 > 0:21:46documents from ambassadors saying, "My God, she's still so beautiful."
0:21:46 > 0:21:50And it doesn't get more beautiful, more amazing than this.
0:21:56 > 0:21:59And as in so many of the later portraits of Elizabeth,
0:21:59 > 0:22:04this one pulls you into a labyrinth of signs and symbols.
0:22:10 > 0:22:14Emblem, allegory, symbol, fantasy,
0:22:14 > 0:22:17visual hyperbole is what it's all about.
0:22:18 > 0:22:22She belongs to some extraordinary sort of astral presence
0:22:22 > 0:22:25that's looking after her subjects.
0:22:28 > 0:22:31There is a suspended glove, a gauntlet
0:22:31 > 0:22:34and that stands for trust, for faithfulness.
0:22:36 > 0:22:39The jewelled serpent represents wisdom.
0:22:40 > 0:22:44A bodice covered in spring flowers,
0:22:44 > 0:22:47the emblem of perpetual future.
0:22:47 > 0:22:51The rainbow is the symbol of peace and harmony
0:22:51 > 0:22:53and future prosperity.
0:22:53 > 0:22:55She grips it with her right hand.
0:22:55 > 0:23:00And at the heart of the picture, almost its most telling,
0:23:00 > 0:23:05certainly its most unusual feature, is this glorious golden robe.
0:23:09 > 0:23:12The lustrous fabric is embroidered
0:23:12 > 0:23:15with the most mysterious symbols of all.
0:23:15 > 0:23:20Eyes, ears and mouths.
0:23:20 > 0:23:23That suggests one meaning of this fantastic decoration,
0:23:23 > 0:23:28namely, Elizabeth is the personification of fame.
0:23:28 > 0:23:32The mouths speak her renown to the rest of the world.
0:23:32 > 0:23:37The rest of the world's eyes and ears are on her.
0:23:40 > 0:23:44But after a while, it all gets just a little worrying.
0:23:46 > 0:23:52Another word for omniscience, after all, is spying.
0:23:58 > 0:24:03So, it's extraordinarily spooky to have the ears constantly listening,
0:24:03 > 0:24:06the eyes constantly watching.
0:24:06 > 0:24:09It's an amazing piece of visual performance
0:24:09 > 0:24:13which situates this picture exactly between the theatrical
0:24:13 > 0:24:16and the spectacular on the one hand,
0:24:16 > 0:24:21and the creepy and the paranoid and the vigilant on the other hand.
0:24:27 > 0:24:30Elizabeth knew the power of the Royal stare.
0:24:31 > 0:24:34She may have let herself be depicted like a goddess,
0:24:34 > 0:24:40but she always stayed in touch with the mortal beneath the mask.
0:24:40 > 0:24:44The same could not be said of her successors.
0:24:48 > 0:24:53In 1626, London saw the coronation of a new monarch.
0:24:56 > 0:25:03The Stuart King, Charles I, believed he was a little God on Earth.
0:25:03 > 0:25:07Little he certainly was,
0:25:07 > 0:25:08with a marked stammer.
0:25:13 > 0:25:16But his sense of majesty was colossal
0:25:16 > 0:25:19and he would let art help him do the talking.
0:25:25 > 0:25:30His subjects would be dazzled into submission by spectacular painting,
0:25:30 > 0:25:35which turned unprepossessing reality into imperial magnificence.
0:25:37 > 0:25:42The best of them courtesy of the wonder-working artist Anthony van Dyck.
0:25:46 > 0:25:49Van Dyck understood how the figure of the mounted prince,
0:25:49 > 0:25:51in firm command of a noble steed,
0:25:51 > 0:25:56could project an image of imperial power like no other pose.
0:25:56 > 0:26:01Here he is, then, the British Caesar, riding high above mere mortals.
0:26:07 > 0:26:11So powerful was this equestrian image that in the very same year
0:26:11 > 0:26:16that it was painted, the King and his horse leapt off the canvas.
0:26:20 > 0:26:22This is Charles I On Horseback.
0:26:22 > 0:26:26Here he is riding towards Whitehall down there,
0:26:26 > 0:26:30Trafalgar Square just behind him.
0:26:30 > 0:26:33The person who made this was actually a French sculptor
0:26:33 > 0:26:36a man called Hubert Le Sueur, who'd come over with
0:26:36 > 0:26:40Charles I's French Queen, Henrietta Maria,
0:26:40 > 0:26:45and it was based on the statue of the Emperor Marcus Aurelius in Rome.
0:26:46 > 0:26:51This is a very short king, 5'4,
0:26:51 > 0:26:53meant to be on a very big horse,
0:26:53 > 0:26:58and the sculptor panicked a bit about his proportions,
0:26:58 > 0:27:01so the horse is weirdly sausage-like
0:27:01 > 0:27:05and it's too small, it looks almost like a training pony.
0:27:05 > 0:27:06But never mind the details,
0:27:06 > 0:27:10we'll forgive him his mediocre incompetence
0:27:10 > 0:27:14because actually the story this has to tell us is very, very important.
0:27:14 > 0:27:17It's a story about how a king
0:27:17 > 0:27:21wished to have the face of his power represented,
0:27:21 > 0:27:27and it has in it both the comedy of imperial pretentions
0:27:27 > 0:27:29and Charles I's tragic end.
0:27:32 > 0:27:36When the cavalier king was defeated, those who had pulled him down
0:27:36 > 0:27:40from his high horse needed to get rid of any images
0:27:40 > 0:27:42which might keep him in the saddle.
0:27:46 > 0:27:50And it was then that the remarkable history of this statue began.
0:27:54 > 0:28:00Oliver Cromwell himself had two objections to Le Sueur's creation -
0:28:00 > 0:28:03that it was in itself a kind of idol,
0:28:03 > 0:28:10and that, if not destroyed, it might become a focus for royalist diehards.
0:28:15 > 0:28:18But when the destroyers came to break it up,
0:28:18 > 0:28:21they found that the statue had disappeared.
0:28:28 > 0:28:30For five years, they searched in vain,
0:28:30 > 0:28:33until a tip-off led them here,
0:28:33 > 0:28:38to the churchyard of St Paul's, Covent Garden.
0:28:42 > 0:28:46The order is now to melt it down, to get rid of it.
0:28:46 > 0:28:49No trace of Charles I On Horseback
0:28:49 > 0:28:52around which secret royalists could rally.
0:28:52 > 0:28:58They give it to someone called John Rivet, who's a master brazier.
0:29:00 > 0:29:04But John Rivet was not a man who did what he was told.
0:29:07 > 0:29:10He pretends to have dismantled
0:29:10 > 0:29:11and melted the statue down.
0:29:13 > 0:29:17What he actually does is to bury it, underground, in this garden.
0:29:17 > 0:29:19I might be standing on the spot.
0:29:19 > 0:29:23So you feel that actually Master Rivet, the brazier,
0:29:23 > 0:29:28is giving Charles I, at least in statue form,
0:29:28 > 0:29:32the proper burial which the beheaded king had been denied.
0:29:37 > 0:29:41The statue would remain buried for another five years.
0:29:47 > 0:29:52But in its place, a new and more potent face of the King emerged.
0:30:00 > 0:30:03A circle of unrepentant royalists
0:30:03 > 0:30:06was determined to keep the image of the King alive.
0:30:10 > 0:30:14Within days of his beheading, his image was brought back to life.
0:30:14 > 0:30:18A powerful new portrait was printed and distributed.
0:30:21 > 0:30:22"Oh Lord, we offer unto thee,
0:30:22 > 0:30:26"all praise and thanks for the glory of thy grace that shined forth
0:30:26 > 0:30:30"in thine anointed servant, Charles."
0:30:30 > 0:30:33It was an image that exalted the dead king.
0:30:35 > 0:30:37And it was found
0:30:37 > 0:30:42within the pages of a subversive text, the Eikon Basilike:
0:30:42 > 0:30:44The Portrait Of The King.
0:30:45 > 0:30:47"For that part of it here militant
0:30:47 > 0:30:50"through thy son, thy blessed servant, Jesus Christ."
0:30:57 > 0:31:00Three of the first publishers were arrested.
0:31:00 > 0:31:06In 1649, it was a capital offence to question what Parliament had done.
0:31:06 > 0:31:11It's very beautifully imprinted on the front
0:31:11 > 0:31:15with an image of King Charles surrounded by the crown of thorns
0:31:15 > 0:31:17and his celestial crown above.
0:31:17 > 0:31:20But the spine of the book is completely plain
0:31:20 > 0:31:24so if this was on a bookshelf and you were being searched
0:31:24 > 0:31:27by Parliamentarians, it wouldn't stand out at all.
0:31:30 > 0:31:33To own this book was an act of treason.
0:31:34 > 0:31:39To open it was to see Charles transfigured.
0:31:40 > 0:31:46No longer aloft on his high horse, Charles is shown on bended knee.
0:31:47 > 0:31:51The mighty Emperor had become a humble martyr.
0:31:57 > 0:32:01With his right foot, Charles is trampling on the earthly crown,
0:32:01 > 0:32:04a crown he'd fought so bitterly and so hard to defend.
0:32:04 > 0:32:09With his right hand, he's grasping that crown which identifies him
0:32:09 > 0:32:14with the suffering and martyrdom of Jesus himself, the crown of thorns.
0:32:15 > 0:32:20And with his eye, all in the same complicated
0:32:20 > 0:32:23but immediately readable image,
0:32:23 > 0:32:27he's eying the heavenly crown, the true crown.
0:32:27 > 0:32:31Essentially, it sums up in image, in portraiture,
0:32:31 > 0:32:37the sense that Charles had died as a martyr for the cause of God.
0:32:39 > 0:32:42For true believers, this portrait turned political loyalty
0:32:42 > 0:32:45into religious devotion.
0:32:47 > 0:32:50I think If you look into the face,
0:32:50 > 0:32:55you can see he was a man of the most extraordinary principle.
0:32:55 > 0:33:00I mean, he did pray in forgiveness for those who beheaded him.
0:33:02 > 0:33:07The portrait went through 35 editions in the first year alone.
0:33:07 > 0:33:11Endlessly imitated, refined and embellished,
0:33:11 > 0:33:14this sanctified face of the King
0:33:14 > 0:33:18kept the flame of monarchy burning throughout those dangerous years.
0:33:23 > 0:33:27And when the Restoration came, the statue of Charles was
0:33:27 > 0:33:30disinterred and resurrected,
0:33:30 > 0:33:32here in the heart of central London,
0:33:32 > 0:33:36just a few hundred yards from where Charles had been executed.
0:33:39 > 0:33:43But soon a new class of ruler would be in the saddle.
0:33:49 > 0:33:52By the late 17th century,
0:33:52 > 0:33:56country had displaced court as the true centre of British power.
0:34:00 > 0:34:04Following the Glorious Revolution of 1688, kings and queens would
0:34:04 > 0:34:09rule only by permission of the landed aristocracy.
0:34:10 > 0:34:14And they would harness the image of the horse
0:34:14 > 0:34:17to justify their new claim to power.
0:34:19 > 0:34:24Althorp in Northamptonshire is the ancient seat of the Spencer dynasty.
0:34:30 > 0:34:34Step inside and you find yourself surrounded
0:34:34 > 0:34:37by a new expression of power in paint.
0:34:44 > 0:34:47This is the portrait gallery of the Spencers,
0:34:47 > 0:34:50except what you see are horses.
0:34:50 > 0:34:55You see this magnificent 18th century symphony
0:34:55 > 0:34:57to the horsey and hunting life.
0:34:59 > 0:35:04The Spencers are here actually as chaps, but they don't dominate the landscape.
0:35:05 > 0:35:11Here, they're swallowed up by a melee of dogs and horses
0:35:11 > 0:35:15and the exquisite beauty of the estate itself,
0:35:15 > 0:35:20acres and acres of true English land.
0:35:24 > 0:35:28No 18th century visitor could fail to be impressed
0:35:28 > 0:35:30by such abundance and affluence.
0:35:32 > 0:35:36But there's another more essential message in these paintings.
0:35:39 > 0:35:44The horses and the dogs speak of an obsession with breeding,
0:35:44 > 0:35:48blood-stock and lineage.
0:35:50 > 0:35:56These were the founding principles of the aristocratic right to rule.
0:35:58 > 0:36:05So, power in England rested on dynasty, pedigree,
0:36:05 > 0:36:10blood-stock - the purity of the family entitlement.
0:36:13 > 0:36:17So, in a sense this is a wonderful, idealised
0:36:17 > 0:36:23harmony of everything that goes to make up the true rulers of England.
0:36:26 > 0:36:31And it was here at Althorp that one historic event would confirm
0:36:31 > 0:36:36aristocratic supremacy over the Crown.
0:36:36 > 0:36:39In 1695, Robert Spencer, the Earl of Sunderland,
0:36:39 > 0:36:42invited King William III to Althorp.
0:36:42 > 0:36:44They dined in the Long Gallery,
0:36:44 > 0:36:47overlooked by his collection of beauties and blue bloods.
0:36:49 > 0:36:51We have eyewitness accounts of a huge banquet
0:36:51 > 0:36:56in that room for William III when he came to visit,
0:36:56 > 0:36:59and the whole place was apparently ablaze with plate.
0:37:02 > 0:37:05It must have been very much part of our history,
0:37:05 > 0:37:09the great handing over of power from the Crown to Parliament.
0:37:10 > 0:37:17Looking down on the King, these faces made an emphatic statement:
0:37:17 > 0:37:24You are outnumbered, outclassed, outbred.
0:37:24 > 0:37:26The message was clear.
0:37:28 > 0:37:31This is a grand family that's here to support you...
0:37:32 > 0:37:36..and, in return, you're going to have to do some of our bidding.
0:37:38 > 0:37:41On the walls of the country houses,
0:37:41 > 0:37:45dynastic portraits held sway.
0:37:45 > 0:37:48But in Parliament and the city,
0:37:48 > 0:37:51their control over their image was not so secure.
0:38:00 > 0:38:02It was a revolution in art.
0:38:04 > 0:38:10Attack portraits with the power to make or kill a political career.
0:38:15 > 0:38:18And the lethal weapon was laughter.
0:38:23 > 0:38:26Comic satire twisted the face of power...
0:38:27 > 0:38:31..and exposed it to the snigger of the streets.
0:38:33 > 0:38:35And when reverence turned to raspberries,
0:38:35 > 0:38:39you were just another clown in power.
0:38:47 > 0:38:49- RADIO:- 'The headlines this morning:
0:38:49 > 0:38:51'MPs have warned that the public is losing faith in the
0:38:51 > 0:38:54'Chilcott Enquiry into the invasion of Iraq when it was revealed that
0:38:54 > 0:38:59'the findings would not be published until after the General Election.'
0:38:59 > 0:39:01These buggers are put there to have control
0:39:01 > 0:39:04over our lives, and what you're doing is saying
0:39:04 > 0:39:05"Hey, wait a minute."
0:39:09 > 0:39:13You've got to laugh at these people, you've got to attack these people,
0:39:13 > 0:39:16you've got to pull them down a peg or two,
0:39:16 > 0:39:22and there's nothing more upsetting to a politician than to be laughed at.
0:39:24 > 0:39:28Of course, they have to pass it off as though they enjoy the joke
0:39:28 > 0:39:31when I don't think they do.
0:39:39 > 0:39:44Political satire that we know and love began in the 18th century.
0:39:44 > 0:39:48And its greatest exponent was James Gillray.
0:39:51 > 0:39:53This is an absolutely amazing image,
0:39:53 > 0:39:59because it represents everything that's special about Gillray.
0:40:00 > 0:40:05This cartoon was published in 1791.
0:40:05 > 0:40:09And in it, Gillray takes aim at Prime Minister William Pitt.
0:40:10 > 0:40:14So what does Gillray do to the great national leader?
0:40:14 > 0:40:18He turns him into a toadstool.
0:40:18 > 0:40:22So, Pitt's face, with the weak, disappearing, toffish chin,
0:40:22 > 0:40:29the nose, besides which Pinocchio's nose is merely retrousse,
0:40:29 > 0:40:32is on this kind of horrible mushroomy stalk
0:40:32 > 0:40:35and it's planted upon a heap of crap.
0:40:35 > 0:40:38And what is the heap of crap?
0:40:38 > 0:40:40It's the royal family,
0:40:40 > 0:40:43because the roots of the toadstool
0:40:43 > 0:40:46form the unmistakable shape of a crown.
0:40:52 > 0:40:54If this is an image of comic hatred,
0:40:54 > 0:40:58it's an image of intense artistic love, too.
0:40:58 > 0:41:03It's produced with all the intense care that would be
0:41:03 > 0:41:06lavished on a great oil painting.
0:41:06 > 0:41:10It's very, very exquisitely done,
0:41:10 > 0:41:11it's restless,
0:41:11 > 0:41:15it kind of curls and curves and moves.
0:41:15 > 0:41:17Fabulous form.
0:41:18 > 0:41:22Gillray's poison pen didn't stop with the Prime Minister.
0:41:22 > 0:41:24The royal family was fair game, too,
0:41:24 > 0:41:27and he made no-holds-barred images of them,
0:41:27 > 0:41:30unthinkable today.
0:41:30 > 0:41:33Every time you turn over a page, it's still shocking.
0:41:35 > 0:41:37George III falling in and out of sanity.
0:41:39 > 0:41:41The licentious Prince Regent.
0:41:45 > 0:41:47The Queen.
0:41:47 > 0:41:50Giving us the licence to laugh at the powerful,
0:41:50 > 0:41:55satire was a uniquely British tool in keeping despotism from the door.
0:41:57 > 0:42:01The freedom of British politics is attached to the liberties
0:42:01 > 0:42:05it could take with solemn portraits.
0:42:05 > 0:42:09And that tells us something about a democracy of vision,
0:42:09 > 0:42:13a democracy of vision which is charged with political dynamite,
0:42:13 > 0:42:18is being created here in Britain and only in Britain.
0:42:18 > 0:42:22So, whatever else is wrong with aristocratic, unreformed Parliament,
0:42:22 > 0:42:26the monarchy, or whatever, something extraordinary has
0:42:26 > 0:42:31happened in the relationship between art, portraiture and the people.
0:42:34 > 0:42:41Laughter and liberty danced freely around the pretentions of the mighty.
0:42:41 > 0:42:45But after the French Revolution had given not just the Crown
0:42:45 > 0:42:48but almost all of Britain a terrible scare,
0:42:48 > 0:42:52there was a real need to rebrand the monarchy.
0:42:52 > 0:42:59And a spectacular new art form came along which could do just that.
0:43:08 > 0:43:12Photography came to Britain in the 1840s and it captured
0:43:12 > 0:43:17the Victorian imagination with its alchemy of science and art.
0:43:25 > 0:43:28In photographic studios like this one,
0:43:28 > 0:43:34thousands upon thousands of faces lined up for the lens-man.
0:43:34 > 0:43:40Their image taken from the world and miraculously, perfectly fixed.
0:43:44 > 0:43:48Once, the portrait had been the preserve of the rich,
0:43:48 > 0:43:53but now almost anyone could own an image of themselves and their families.
0:43:58 > 0:44:03Look at these faces and you see the awakening of modern democracy.
0:44:04 > 0:44:08Victorian reforms meant that these were the people in whose hands
0:44:08 > 0:44:11power was destined to arrive.
0:44:15 > 0:44:20And it was with them that the monarchy now sought to build a connection,
0:44:20 > 0:44:24and they did so in the most intimate way.
0:44:32 > 0:44:37These amazing images are so touchingly beautiful.
0:44:37 > 0:44:41They are unlike any other image of the royals there'd ever been.
0:44:43 > 0:44:46These photographs of Victoria and Albert
0:44:46 > 0:44:48created a new image of monarchy,
0:44:48 > 0:44:53not as a grand dynasty, but as a loving family.
0:44:54 > 0:44:57Victorian life, with all its hypocrisies,
0:44:57 > 0:45:03and all of its repressed nervy secrets and desires and anguishes
0:45:03 > 0:45:09was built around the possibility of leading a perfect family and married life.
0:45:09 > 0:45:13So here is the hero and heroine of our story,
0:45:13 > 0:45:17and here's hubby sitting down reading as Prince Consulate liked to do,
0:45:17 > 0:45:20something serious, and here's the Queen standing next to him.
0:45:20 > 0:45:24But look at that pose - she's got her arm round his shoulders.
0:45:26 > 0:45:29That is a happily married couple, isn't it?
0:45:29 > 0:45:32That's a happily married, comfortable couple.
0:45:32 > 0:45:33A husband and wife.
0:45:38 > 0:45:42Moved by these portraits of simple, unadorned affection,
0:45:42 > 0:45:47the public placed 60,000 orders in the first days alone.
0:45:49 > 0:45:52And set on side tables across the land,
0:45:52 > 0:45:54they allowed the British to live with
0:45:54 > 0:45:58pictures of the royal family, and treat them as one of their own.
0:46:01 > 0:46:04The royal family, and the way we love it
0:46:04 > 0:46:07and the way we engage with it as a family,
0:46:07 > 0:46:12the possibility of identifying with them, begins through these images.
0:46:16 > 0:46:18I think everybody should have one item
0:46:18 > 0:46:20with the royal family on,
0:46:20 > 0:46:22just to say, you know, that's our royal family.
0:46:26 > 0:46:27I know I've got more than that,
0:46:27 > 0:46:30but I think everybody should have something.
0:46:35 > 0:46:37People do say to me, "It sounds as though they're
0:46:37 > 0:46:41"an extension of your family," and in a way they are.
0:46:41 > 0:46:44I was always interested from the age of eight, really, because that's
0:46:44 > 0:46:48when King George VI died, and I remember my parents were very upset.
0:46:48 > 0:46:51It was like someone in my family had died.
0:46:53 > 0:46:57The idea of the royals as our exemplary national family
0:46:57 > 0:47:01generated deep affection from their subjects.
0:47:01 > 0:47:05But no sooner had the hearts of the people been won
0:47:05 > 0:47:08than this royal love story lost its leading man.
0:47:12 > 0:47:15Following the death of Prince Albert in 1861,
0:47:15 > 0:47:18the Queen went into deep mourning,
0:47:18 > 0:47:22shutting herself off within the walls of Windsor Castle.
0:47:25 > 0:47:30As if to fill the void left by the abrupt withdrawal of her actual presence,
0:47:30 > 0:47:36Victoria issued a new set of photographs that were more revealing than ever before.
0:47:36 > 0:47:41The inconsolable widow sits with her eyes shut,
0:47:41 > 0:47:47with her chin slumped on her hand, thinking of her terrible loss.
0:47:47 > 0:47:51And the dignified face of Prince Albert that had
0:47:51 > 0:47:55appeared in the early photos, is now framed on the wall.
0:47:58 > 0:48:01This must've actually, in a way, been really quite hard for her to do.
0:48:01 > 0:48:05But she was really determined to do it.
0:48:05 > 0:48:08We think about Victoria as very stuck in her ways,
0:48:08 > 0:48:12but how adaptable she must have been to doing this.
0:48:14 > 0:48:18Even in the midst of her own personal tragedy,
0:48:18 > 0:48:24the Queen understood the importance of being visible to her subjects, come rain or shine.
0:48:26 > 0:48:27I mean, the royal family,
0:48:27 > 0:48:30especially the Queen, knows that they're there to be seen.
0:48:30 > 0:48:35I mean, she has see-through umbrellas so that if it's raining, people can still see her.
0:48:35 > 0:48:40I think if you can't see the face of your monarch, it is a great loss.
0:48:40 > 0:48:42You want to see them, you just do.
0:48:45 > 0:48:48But face-time with ordinary people would become
0:48:48 > 0:48:52all-important in our own age of mass democracy.
0:49:00 > 0:49:05Today, power resides with us all - in theory, at least.
0:49:07 > 0:49:10But public suspicion of politicians is a way of life.
0:49:11 > 0:49:15And so, it's more important than ever for the powerful to
0:49:15 > 0:49:19shape an image of themselves we can all relate to.
0:49:22 > 0:49:27No-one had that political art nailed better than Margaret Thatcher.
0:49:29 > 0:49:34And her most brilliant coup at image making took place here.
0:49:38 > 0:49:4219 Flood Street in Chelsea was once the home of Mrs Thatcher.
0:49:46 > 0:49:50This was her power base as she plotted to oust Edward Heath
0:49:50 > 0:49:53and become leader of the Tory party.
0:49:53 > 0:49:57- MARGARET THATCHER:- Well, Mr Heath's been leader for ten years,
0:49:57 > 0:50:00and the party decided that there should be a contest.
0:50:00 > 0:50:03You can't have a contest without a contestant, obviously.
0:50:03 > 0:50:05And I'm one of the main ones.
0:50:07 > 0:50:10Her challenge was to persuade the Tories
0:50:10 > 0:50:14that a woman could lead the party, and even the nation, too.
0:50:19 > 0:50:22But as the party faithful prepared to vote,
0:50:22 > 0:50:26it seemed that Thatcher's bid was doomed.
0:50:26 > 0:50:30There's a week to go before the crucial leadership poll,
0:50:30 > 0:50:33and Margaret Thatcher is so much the underdog.
0:50:33 > 0:50:35She's running a poor third.
0:50:35 > 0:50:39So, on that weekend before the election,
0:50:39 > 0:50:42reporters come to her house here,
0:50:42 > 0:50:47and they want her to make a prediction about what's going to happen, and she won't do that.
0:50:47 > 0:50:51And she does something brilliant instead - it's turned into a photo op.
0:50:55 > 0:51:00As the press lay in wait, Thatcher stepped out of her home.
0:51:00 > 0:51:06But she avoided a queenly wave, and instead did something remarkable.
0:51:10 > 0:51:14She took a broom and decided to sweep her path.
0:51:16 > 0:51:21The image taken would grab the headlines the following day
0:51:21 > 0:51:25and forever change Thatcher's political fortunes.
0:51:26 > 0:51:30She's got perfectly coiffed hair but it's a practical hair cut,
0:51:30 > 0:51:34she's got her sleeves rolled up for the task ahead.
0:51:34 > 0:51:40And above all is the broom - the broom emerges.
0:51:40 > 0:51:41She has a weapon.
0:51:41 > 0:51:45The weapon is going change Britain, but it's also
0:51:45 > 0:51:51the weapon of a woman, the new broom that is going to sweep clean.
0:51:51 > 0:51:58And as much as Elizabeth I is festooned in the pearls of her virginity,
0:51:58 > 0:52:03this is a perfectly simple, effective icon
0:52:03 > 0:52:07of a woman who's determined to take power.
0:52:10 > 0:52:13This Boudicca with the broom brushed Heath aside
0:52:13 > 0:52:18and it became the sword in her political crusade.
0:52:18 > 0:52:24With this sort of image, she cuts to the quick of British life,
0:52:24 > 0:52:32which is profoundly domestic, about keeping house and home together,
0:52:32 > 0:52:36and she's going to do it with kind of militant briskness.
0:52:39 > 0:52:42Mrs Thatcher, the morning after your election. How do you feel about it now?
0:52:42 > 0:52:43There's so much to be done.
0:52:43 > 0:52:46Are you a little apprehensive about this new job?
0:52:46 > 0:52:48Of course. Of course. Everyone is, starting a new job.
0:52:48 > 0:52:51Have you thought at all about Mr Heath this morning?
0:52:51 > 0:52:53Of course I have.
0:52:53 > 0:52:57From there on, Thatcher was resolute in the planning
0:52:57 > 0:53:00and control of her image.
0:53:00 > 0:53:04But when the dignity of a painted portrait was bestowed on her,
0:53:04 > 0:53:07the result was a frozen icon.
0:53:09 > 0:53:15The picture was commissioned in 1983 from the artist Rodrigo Moynihan,
0:53:15 > 0:53:18following another Conservative triumph at the polls.
0:53:18 > 0:53:20No sooner had work begun
0:53:20 > 0:53:23than Thatcher's interfering got out of hand.
0:53:25 > 0:53:28Over eight sittings, the hair was deemed a little off-colour.
0:53:31 > 0:53:34An unflattering squint was endlessly re-worked.
0:53:36 > 0:53:40And the deep blue eyes were made a steely shade of grey.
0:53:40 > 0:53:43All at the Prime Minister's behest.
0:53:44 > 0:53:49The result is something which was acceptable, unobjectionable -
0:53:49 > 0:53:52the kiss of death to great portraiture.
0:53:54 > 0:53:56But there's one last portrait.
0:53:56 > 0:54:02And its story is about what happens when the powerful lose control,
0:54:02 > 0:54:04if only for a minute.
0:54:05 > 0:54:10The result can be unpredictable and miraculous.
0:54:14 > 0:54:19No place captures the spirit of British democracy like Number 10.
0:54:22 > 0:54:26Its walls lined with Prime Ministers past and present,
0:54:26 > 0:54:31their portraits ostentatious in their modesty.
0:54:32 > 0:54:36But when that democracy came under threat,
0:54:36 > 0:54:41a portrait was made which itself became a weapon.
0:54:45 > 0:54:47A portrait of the man who began this history.
0:54:48 > 0:54:50Winston Churchill.
0:54:55 > 0:55:01Late 1941. Continental Europe had fallen to the Nazis.
0:55:06 > 0:55:11As the German war machine rolled on, Churchill went to North America,
0:55:11 > 0:55:15desperate for resources on which the future of the war depended.
0:55:20 > 0:55:21He's feeling very tired,
0:55:21 > 0:55:27he's feeling the weight of the war, Britain's near isolation,
0:55:27 > 0:55:31the struggle, he's feeling it in his bones in his blood and his body.
0:55:32 > 0:55:36Yet another great welcome awaited Mr Churchill in the Canadian House of Commons.
0:55:36 > 0:55:39In Ottowa, Churchill summoned up his last
0:55:39 > 0:55:43reserves of strength to deliver one of his finest speeches.
0:55:43 > 0:55:49We shall never descend to the German and Japanese level.
0:55:49 > 0:55:54But if anybody likes to play rough, we can play rough, too.
0:55:54 > 0:55:57Words which brought the House to its feet.
0:56:01 > 0:56:04Exhausted, Churchill left for the speaker's chamber,
0:56:04 > 0:56:07looking forward to a much-needed Scotch.
0:56:09 > 0:56:15And he's hit by an immense bank of floodlights and spotlights.
0:56:15 > 0:56:20He's going to have a photo session and he is furious about it.
0:56:20 > 0:56:24This is not what he wants to do at this particular moment.
0:56:26 > 0:56:31Behind the camera was a photographer by the name of Yousuf Karsh.
0:56:35 > 0:56:38And as he looked Churchill in the eye,
0:56:38 > 0:56:42he was seized by a bolt of creative audacity.
0:56:44 > 0:56:46He walks up to Churchill.
0:56:46 > 0:56:52He reaches for that face, and pulls the cigar out of Churchill's mouth.
0:56:52 > 0:56:56Everybody is stricken with horror and terror.
0:56:56 > 0:57:01Karsh simply walks back to his camera and releases the shutter
0:57:01 > 0:57:07and what he catches is that look on Churchill's face of petulant fury.
0:57:13 > 0:57:15What Karsh had captured was
0:57:15 > 0:57:17one of the greatest portraits
0:57:17 > 0:57:18of the 20th century.
0:57:23 > 0:57:26One that's defined our memory of Winston Churchill.
0:57:29 > 0:57:34It's a portrait that says over and over, "We will never surrender."
0:57:35 > 0:57:40But it had come about exactly when Churchill had surrendered,
0:57:40 > 0:57:44to the brilliant instinct of the artist.
0:57:45 > 0:57:50Because at that decisive moment, it was the photographer,
0:57:50 > 0:57:54not the Prime Minister, who knew exactly what the people needed.
0:57:58 > 0:58:05Karsh said, "I think I've given them the Churchill they wanted."
0:58:05 > 0:58:10What they wanted was bulldog bravura, implacable strength,
0:58:10 > 0:58:12indomitable resolve.
0:58:12 > 0:58:17No-one needed to know that what the world was looking at
0:58:17 > 0:58:22was just the face of a man who had lost his cigar.