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In 1840, one man transformed travel in the British Isles. | 0:00:06 | 0:00:10 | |
His name was George Bradshaw | 0:00:10 | 0:00:12 | |
and his railway guides inspired the Victorians to take to the tracks. | 0:00:12 | 0:00:17 | |
Stop by stop, he told them where to travel, | 0:00:18 | 0:00:21 | |
what to see and where to stay. | 0:00:21 | 0:00:24 | |
Now 170 years later, | 0:00:24 | 0:00:27 | |
I'm making a series of journeys across the length and breadth | 0:00:27 | 0:00:30 | |
of these isles to see what of Bradshaw's Britain remains. | 0:00:30 | 0:00:35 | |
I'm now on the second stage of my journey from London to Devon. | 0:00:59 | 0:01:03 | |
Today's leg takes me across Wiltshire and Somerset | 0:01:03 | 0:01:06 | |
starting with some of the most iconic images of England. | 0:01:06 | 0:01:10 | |
On today's leg, | 0:01:12 | 0:01:13 | |
I visit a tourist hotspot that's been captivating visitors | 0:01:13 | 0:01:17 | |
since the Victorian era. | 0:01:17 | 0:01:19 | |
This is the granddaddy of all castles and cathedrals | 0:01:19 | 0:01:23 | |
and skyscrapers, this is the beginning of architecture. | 0:01:23 | 0:01:26 | |
Thank you very much. | 0:01:26 | 0:01:27 | |
I take to the air... | 0:01:27 | 0:01:30 | |
I think George Bradshaw would have loved this machine, | 0:01:30 | 0:01:32 | |
but he would have been even more amazed to find out | 0:01:32 | 0:01:34 | |
that there would be trains that went faster than this thing does. | 0:01:34 | 0:01:39 | |
And I try my hand at cloth making, the 19th century way. | 0:01:39 | 0:01:45 | |
This is more difficult than it looks. | 0:01:45 | 0:01:48 | |
You're horsing around with me, aren't you? | 0:01:48 | 0:01:51 | |
On this journey, I'm tracking the master engineer | 0:01:51 | 0:01:54 | |
of the Great Western Railway, Isambard Kingdom Brunel. | 0:01:54 | 0:01:57 | |
I began at one of his greatest successes, | 0:01:57 | 0:02:00 | |
London's Paddington Station, | 0:02:00 | 0:02:02 | |
and I'll end my journey in Newton Abbot, | 0:02:02 | 0:02:05 | |
the scene of one of his most brilliant failures. | 0:02:05 | 0:02:09 | |
This leg covers 51 miles. | 0:02:09 | 0:02:12 | |
From Wiltshire, I'll venture into Somerset, finishing up at a station | 0:02:12 | 0:02:16 | |
that for most of the year is a picture of peace and tranquillity. | 0:02:16 | 0:02:20 | |
My first stop is Salisbury, whose cathedral | 0:02:22 | 0:02:24 | |
with its slender spire, has attracted the admiration | 0:02:24 | 0:02:27 | |
of visitors over centuries including the author of my Bradshaw's guide. | 0:02:27 | 0:02:31 | |
"It has the great advantage of being not only uniform in design, | 0:02:31 | 0:02:35 | |
"but offers a complete specimen of the style of that age, | 0:02:35 | 0:02:39 | |
"namely early English", | 0:02:39 | 0:02:42 | |
and in my view that style is one of unsurpassed elegance. | 0:02:42 | 0:02:46 | |
The cathedral was begun in 1220 and the main body completed in 38 years. | 0:02:51 | 0:02:57 | |
An astonishing feat when you consider its scale. | 0:02:57 | 0:03:00 | |
The spire, the tallest in the United Kingdom, | 0:03:01 | 0:03:04 | |
was added over 50 years later | 0:03:04 | 0:03:06 | |
and has proudly presided over the city for 700 years. | 0:03:06 | 0:03:10 | |
The artist John Constable made this vista famous | 0:03:29 | 0:03:31 | |
of what Bradshaw's describes as "a magnificent edifice | 0:03:31 | 0:03:35 | |
"begun by Bishop Poore", but then my Bradshaw strikes a different note | 0:03:35 | 0:03:39 | |
saying "unfortunately the city lies low | 0:03:39 | 0:03:41 | |
"and though its water meadows are pleasant to look at, | 0:03:41 | 0:03:43 | |
"the courts in which the poor live are in a filthy state". | 0:03:43 | 0:03:48 | |
Evidently there was more to Salisbury than met the artist's eye. | 0:03:48 | 0:03:52 | |
Despite being founded in the 13th century, | 0:03:55 | 0:03:58 | |
Salisbury could in fact best be described as a new town, | 0:03:58 | 0:04:01 | |
a "medieval Milton Keynes". | 0:04:01 | 0:04:04 | |
The original settlement, known as Old Sarum, | 0:04:04 | 0:04:07 | |
was located on a hill to the north. | 0:04:07 | 0:04:10 | |
However, in 1220, deteriorating relationships | 0:04:10 | 0:04:14 | |
between the clergy of Old Sarum and the military | 0:04:14 | 0:04:16 | |
led to a new cathedral being built here | 0:04:16 | 0:04:19 | |
and a new city purposefully designed and set around it. | 0:04:19 | 0:04:23 | |
The new city of Salisbury was built on a series of chequers, | 0:04:25 | 0:04:29 | |
a grid system a bit reminiscent of a modern American city. | 0:04:29 | 0:04:33 | |
My Bradshaw's says most of the streets are laid out straight | 0:04:33 | 0:04:37 | |
and regular with rilles four or five foot broad | 0:04:37 | 0:04:41 | |
running through them from the Avon, Nadder and Wylye | 0:04:41 | 0:04:44 | |
and it was these rilles or water channels | 0:04:44 | 0:04:47 | |
that gave so many health problems in Victorian England. | 0:04:47 | 0:04:51 | |
In the summer of 1849, the medieval water system | 0:04:51 | 0:04:55 | |
carrying human waste led to a devastating cholera epidemic | 0:04:55 | 0:04:59 | |
that killed nearly 200 citizens. | 0:04:59 | 0:05:02 | |
I'm meeting Adrian Green, curator of the Salisbury and Wiltshire Museum. | 0:05:03 | 0:05:08 | |
-Adrian, good morning. -Hello, pleasure to meet you, | 0:05:09 | 0:05:12 | |
I'm getting an extraordinary impression of Salisbury | 0:05:12 | 0:05:15 | |
in the middle 19th century, the poor in their courts | 0:05:15 | 0:05:18 | |
living in filthy conditions, what's Bradshaw's referring to? | 0:05:18 | 0:05:21 | |
He's referring to the places where people used to live | 0:05:21 | 0:05:24 | |
in the middle of the 19th century, which they actually lived in | 0:05:24 | 0:05:27 | |
going right back into Medieval Times. Filthy, filthy conditions. | 0:05:27 | 0:05:30 | |
And there were these rilles, these water channels | 0:05:30 | 0:05:33 | |
criss-crossing the city - a kind of Amsterdam, was it? | 0:05:33 | 0:05:35 | |
That's right, it was often referred to as an English Venice, | 0:05:35 | 0:05:38 | |
but that was somewhat glamorising the situation because these rilles | 0:05:38 | 0:05:41 | |
were basically open sewers, running through the streets. | 0:05:41 | 0:05:44 | |
And so that gave rise to the health problems, to cholera? | 0:05:44 | 0:05:47 | |
That's right, because there was no organised water supply in Salisbury. | 0:05:47 | 0:05:50 | |
People got their water supply from the ground, right by where these rilles or water channels were. | 0:05:50 | 0:05:55 | |
So dirt would seep into the ground and people would then get their | 0:05:55 | 0:05:57 | |
own drinking water from the very same place that all the dirt was. | 0:05:57 | 0:06:01 | |
Was it well understood that the cholera was coming from the water? | 0:06:01 | 0:06:04 | |
People were beginning to understand that. There were local doctors | 0:06:04 | 0:06:07 | |
who were beginning to pick up on the idea that cholera | 0:06:07 | 0:06:10 | |
seemed to be concentrated where these open water channels were. | 0:06:10 | 0:06:13 | |
And they petitioned the local council to do something about it, | 0:06:13 | 0:06:16 | |
but nothing happened so they went one stage higher. | 0:06:16 | 0:06:19 | |
They went to the National Board of Health in London, to the government inspector | 0:06:19 | 0:06:23 | |
and they invited down a man called Thomas Rammell, who did an inquiry | 0:06:23 | 0:06:27 | |
to find out what the causes were of the terrible conditions in Salisbury. | 0:06:27 | 0:06:32 | |
This enquiry was carried out in 1851 and determined that disease | 0:06:32 | 0:06:36 | |
did indeed arise from the rilles, | 0:06:36 | 0:06:38 | |
and recommended that the 700-year-old waterways | 0:06:38 | 0:06:41 | |
be replaced with subterranean brick-built sewers. | 0:06:41 | 0:06:45 | |
A mammoth engineering project which would take years. | 0:06:45 | 0:06:49 | |
However, in the process of removing the old water channels, | 0:06:49 | 0:06:52 | |
the Victorian workmen unearthed hoards of archaeological treasures. | 0:06:52 | 0:06:57 | |
To keep the artefacts in Salisbury, a museum was founded | 0:06:58 | 0:07:02 | |
and that's where the collection is now housed. | 0:07:02 | 0:07:04 | |
And here we have some of drainage collection on display. | 0:07:04 | 0:07:10 | |
It looks like a fantastic collection of everyday items - spoons and knives and forks and scissors. | 0:07:10 | 0:07:15 | |
That's right. It's a real snapshot of daily life, | 0:07:15 | 0:07:17 | |
going back through the Middle Ages. | 0:07:17 | 0:07:19 | |
And in particular, they have a very fine collection of pilgrim badges | 0:07:19 | 0:07:22 | |
which date back to the Medieval period before the Reformation. | 0:07:22 | 0:07:25 | |
And why are these things so nicely preserved? | 0:07:25 | 0:07:28 | |
It's basically because they fell into the mud in the bottom | 0:07:28 | 0:07:31 | |
of the water channels and there was no oxygen there. | 0:07:31 | 0:07:33 | |
It slowed down the process of decay. | 0:07:33 | 0:07:35 | |
Objects made out of things like pewter, for example, | 0:07:35 | 0:07:38 | |
which would normally rot away and deteriorate, | 0:07:38 | 0:07:40 | |
in this case have survived, and to an exceptional level of preservation. | 0:07:40 | 0:07:44 | |
Well, it's really a very fine collection. | 0:07:44 | 0:07:46 | |
Yes, it is an absolutely fine collection. | 0:07:46 | 0:07:48 | |
-Let's go and look at some of the others in storage. -OK, fantastic. | 0:07:48 | 0:07:51 | |
I thought I'd show you one of my favourite pieces | 0:07:51 | 0:07:55 | |
which is a fabulous chess piece. | 0:07:55 | 0:07:57 | |
That is exquisite. What's that made of? | 0:07:57 | 0:07:59 | |
It's made of walrus ivory. It dates back to the 13th century, | 0:07:59 | 0:08:02 | |
which is about the time that Salisbury Cathedral was constructed. | 0:08:02 | 0:08:06 | |
It's a king piece, as you can see he's wearing his crown, | 0:08:06 | 0:08:09 | |
sitting on horseback | 0:08:09 | 0:08:10 | |
and then protected by a whole series of foot-soldiers. | 0:08:10 | 0:08:13 | |
Absolutely beautiful. | 0:08:13 | 0:08:14 | |
Your collection really is of a national standard, isn't it? | 0:08:14 | 0:08:17 | |
That's right, it is. | 0:08:17 | 0:08:19 | |
We are designated by the Department of Culture, Media and Sport | 0:08:19 | 0:08:22 | |
because our collections are so important | 0:08:22 | 0:08:24 | |
and one of the main reasons is because of this collection. | 0:08:24 | 0:08:26 | |
For more than century and a half railway passengers have been | 0:08:35 | 0:08:37 | |
attracted to Salisbury, not just for its magnificent cathedral, | 0:08:37 | 0:08:41 | |
but also because of its proximity to of one of the world's most enigmatic ancient historic sites, | 0:08:41 | 0:08:46 | |
to which I'm headed now. | 0:08:46 | 0:08:48 | |
Bradshaw's says, "Salisbury Plain is a turfy naked tract. | 0:09:16 | 0:09:21 | |
"In the flattest and most solitary part are the celebrated Druids' Circles of Stonehenge." | 0:09:21 | 0:09:26 | |
Bradshaw's admits that it's ever been | 0:09:26 | 0:09:28 | |
considered the greatest wonder in west of England, but then says | 0:09:28 | 0:09:31 | |
"Stonehenge is apt to disappoint the stranger at the first sight | 0:09:31 | 0:09:35 | |
"and to some it is a trifle indeed." | 0:09:35 | 0:09:37 | |
Well, it may not be built on the scale | 0:09:37 | 0:09:39 | |
of a Victorian railway station, but I'm impressed by its antiquity. | 0:09:39 | 0:09:44 | |
-Hello, do you like Stonehenge? -Yes! | 0:09:56 | 0:09:59 | |
I'm reading a Victorian guide book, a 19th-century guide book. | 0:09:59 | 0:10:03 | |
It says, "Stonehenge can disappoint the stranger at first sight." | 0:10:03 | 0:10:07 | |
Do you agree with that? Do you find it disappointing? | 0:10:07 | 0:10:10 | |
-No, not at all. -Where have you come from? | 0:10:10 | 0:10:13 | |
I've come from Florida. | 0:10:13 | 0:10:14 | |
Ah, well, that's very interesting because my guidebook also says | 0:10:14 | 0:10:18 | |
that in the 19th century an American came here and looked at it, | 0:10:18 | 0:10:21 | |
looked up at the stones on top of each other and wondered that | 0:10:21 | 0:10:25 | |
anyone should think anything of it at all. How do you react to that? | 0:10:25 | 0:10:28 | |
He's an idiot! | 0:10:28 | 0:10:30 | |
MICHAEL LAUGHS | 0:10:30 | 0:10:31 | |
So what's your reaction? Have you been moved to see it? | 0:10:31 | 0:10:35 | |
Yeah, I mean, I'm here. | 0:10:35 | 0:10:37 | |
I've paid money to fly across the country to see it. | 0:10:37 | 0:10:40 | |
It's just as astounding as a pyramid. | 0:10:40 | 0:10:43 | |
-So you have not been disappointed? -Not at all. | 0:10:43 | 0:10:46 | |
-Well, you've rescued the reputation of your nation, well done! -OK. | 0:10:46 | 0:10:51 | |
I'm so relieved to discover that nowadays an American has come here | 0:10:51 | 0:10:55 | |
and expressed the proper sense of awe. | 0:10:55 | 0:10:58 | |
George Bradshaw ought to know about this. | 0:10:58 | 0:11:01 | |
One of the most recognisable ancient monuments on the planet, | 0:11:01 | 0:11:05 | |
Stonehenge has been a UNESCO World Heritage Site since 1986. | 0:11:05 | 0:11:11 | |
The true significance of this antiquity has become | 0:11:11 | 0:11:13 | |
confused in the mists of time, but there are plenty of theories | 0:11:13 | 0:11:17 | |
and I'm hoping that Blue Badge guide and expert David Richards | 0:11:17 | 0:11:21 | |
will be able to enlighten me. | 0:11:21 | 0:11:23 | |
-Hello, David. -Hello, Michael. | 0:11:24 | 0:11:26 | |
I've been steered here as usual by my Bradshaw's Guide, | 0:11:26 | 0:11:28 | |
which tells me that this is Druids' Circles, is that correct? | 0:11:28 | 0:11:32 | |
Sadly not so. The Druids are a Victorian construct. | 0:11:32 | 0:11:36 | |
This was built by people 5,000 years ago, long before the Druids. | 0:11:36 | 0:11:40 | |
And they had to bring these stones a long distance, that's the wonder of it, isn't it? | 0:11:40 | 0:11:44 | |
It is, astonishing that these stones | 0:11:44 | 0:11:47 | |
weighing 30-40 tonnes should be dragged 25 miles from the north, | 0:11:47 | 0:11:51 | |
some of them coming - the smaller ones - from South Wales. | 0:11:51 | 0:11:54 | |
And the purpose of building this was religious? | 0:11:54 | 0:11:56 | |
Yes, I'm sure it was. | 0:11:56 | 0:11:57 | |
With the setting of the midwinter sun and the rising | 0:11:57 | 0:12:00 | |
of the summer solstice, I'm sure it was used for religious purposes. | 0:12:00 | 0:12:05 | |
-And what else? -Well, it is one of the biggest, | 0:12:05 | 0:12:08 | |
if not THE biggest ancient cemetery. 200 people are buried there. | 0:12:08 | 0:12:11 | |
The place is very popular with tourists today, | 0:12:11 | 0:12:14 | |
but I think it was in the Victorian era too, wasn't it? | 0:12:14 | 0:12:16 | |
Absolutely, yes. The railways did that. | 0:12:16 | 0:12:19 | |
When the railways come to Salisbury in 1847, everything is transformed. | 0:12:19 | 0:12:25 | |
The South Western Railway advertises in the Times of London, | 0:12:25 | 0:12:28 | |
"Go to Stonehenge. It'll cost you three and sixpence in an open carriage", | 0:12:28 | 0:12:33 | |
an open carriage, good gracious, on a day like this! | 0:12:33 | 0:12:36 | |
And the Victorians came in multitudes. | 0:12:36 | 0:12:39 | |
Day-trippers coming to party and to picnic. | 0:12:39 | 0:12:42 | |
Just like today's tourists, they also wanted a snapshot. | 0:12:46 | 0:12:50 | |
The earliest photograph of the stones dates back to 1853 | 0:12:50 | 0:12:54 | |
and was owned by Prince Albert himself, | 0:12:54 | 0:12:56 | |
but by the end of the century thanks to advances in technology | 0:12:56 | 0:13:00 | |
and the canniness of one guide, William Judd, | 0:13:00 | 0:13:03 | |
an instant souvenir was accessible to all. | 0:13:03 | 0:13:06 | |
Armed with a camera, he set up a mobile studio | 0:13:06 | 0:13:10 | |
and darkroom on the site and, for the right price of course, | 0:13:10 | 0:13:13 | |
he would oblige visitors with a souvenir print. | 0:13:13 | 0:13:15 | |
Bradshaw's also tells me that there are about 140 stones, | 0:13:17 | 0:13:21 | |
but it's impossible to count them and if you count them twice | 0:13:21 | 0:13:24 | |
and get the same number twice, that's unlucky. | 0:13:24 | 0:13:27 | |
Well, that's a myth which is still told today. | 0:13:27 | 0:13:30 | |
-Is it really? -But the Victorians, mind you, | 0:13:30 | 0:13:32 | |
when they came they got into all sorts of trouble | 0:13:32 | 0:13:35 | |
because people had read that, and they'd come here, | 0:13:35 | 0:13:38 | |
they'd say "I'm going to crack this," | 0:13:38 | 0:13:40 | |
and they'd go round and they'd chalk the stones, | 0:13:40 | 0:13:42 | |
so the stones were covered in numbers, | 0:13:42 | 0:13:44 | |
-which local people didn't like. -Victorian vandalism. -Oh, absolutely. | 0:13:44 | 0:13:48 | |
It wasn't good, and so... | 0:13:48 | 0:13:50 | |
but the worst vandalism of all was that | 0:13:50 | 0:13:54 | |
people would arrive from London, I suspect, with hammers | 0:13:54 | 0:13:58 | |
and they would whack the stones and take a chunk of it back home. | 0:13:58 | 0:14:03 | |
And so the railways and Stonehenge ultimately led to | 0:14:03 | 0:14:06 | |
the Ancient Monuments Protection Act of 1882. | 0:14:06 | 0:14:09 | |
What is the importance of Stonehenge in the human story? | 0:14:09 | 0:14:13 | |
This is the granddaddy of all castles and cathedrals | 0:14:13 | 0:14:16 | |
and skyscrapers, this is the beginning of architecture. | 0:14:16 | 0:14:19 | |
I could linger all day by these enduringly fascinating stones, | 0:14:22 | 0:14:25 | |
but I must continue. | 0:14:25 | 0:14:27 | |
I'm returning to Salisbury to travel on an alternative line | 0:14:27 | 0:14:31 | |
to the Great Western. | 0:14:31 | 0:14:32 | |
I'm on my way now to Yeovil Junction. | 0:14:43 | 0:14:45 | |
My guide tells me that the town has a fine Gothic church | 0:14:45 | 0:14:49 | |
and a large market which occurs on Fridays. | 0:14:49 | 0:14:52 | |
In the vicinity is Brympton House, the old seat of the Fane family. | 0:14:52 | 0:14:56 | |
Well, the present owners have invited me to dinner. | 0:14:56 | 0:15:00 | |
There has been a manor at Brympton since 1220. | 0:15:14 | 0:15:18 | |
However, the current house dates from the early 15th century, | 0:15:18 | 0:15:22 | |
with Elizabethan and Jacobean additions. | 0:15:22 | 0:15:24 | |
It's built in its entirety from local Somerset hamstone, | 0:15:25 | 0:15:29 | |
which gives the house its mellow, honeyed hue. | 0:15:29 | 0:15:32 | |
What a beautiful house! | 0:15:35 | 0:15:36 | |
I'm meeting current owner and old acquaintance, Bill Glossop. | 0:15:38 | 0:15:42 | |
Bill, how good to see you. | 0:15:43 | 0:15:45 | |
Hello, nice to see you. Long time since we've met. | 0:15:45 | 0:15:48 | |
-Long time. -Do come in. -Thank you so much. | 0:15:48 | 0:15:50 | |
One of the most interesting things about the house is this | 0:15:54 | 0:15:57 | |
wonderful terrace which...people who come here for weddings | 0:15:57 | 0:16:01 | |
love to come straight out of the wedding room | 0:16:01 | 0:16:03 | |
and have a glass of champagne on here. | 0:16:03 | 0:16:06 | |
It was built by Lady Georgiana Fane in Victorian times | 0:16:06 | 0:16:11 | |
and it was she who sold the land for the railway | 0:16:11 | 0:16:14 | |
which runs between Yeovil and Taunton which has now been made into a road. | 0:16:14 | 0:16:19 | |
The spread of the Victorian railway network was largely dependent | 0:16:21 | 0:16:24 | |
on local landowners like Lady Georgiana | 0:16:24 | 0:16:27 | |
agreeing to sell their land. | 0:16:27 | 0:16:29 | |
Whether they championed this new mode of transport or held out | 0:16:29 | 0:16:33 | |
in order to make substantial gain, without their agreement, | 0:16:33 | 0:16:37 | |
large swathes of countryside would have remained inaccessible. | 0:16:37 | 0:16:40 | |
Thank you so much, Bill, for having us. Lovely to see you all. | 0:16:43 | 0:16:46 | |
And you. Cheers! | 0:16:46 | 0:16:47 | |
It's a new day and before I leave Yeovil, | 0:16:59 | 0:17:02 | |
I have further exploring to do. | 0:17:02 | 0:17:04 | |
Bradshaw's tell me that Yeovil is an ancient town, | 0:17:08 | 0:17:11 | |
the seat of a considerable glove trade. | 0:17:11 | 0:17:14 | |
Nowadays the town has its finger in a bigger pie | 0:17:14 | 0:17:17 | |
and for a rural county, manufacturing here has really taken off. | 0:17:17 | 0:17:21 | |
Yeovil is now home to the UK's sole helicopter producer, AgustaWestland. | 0:17:23 | 0:17:30 | |
The company's origins can be traced back to the late 19th century | 0:17:30 | 0:17:33 | |
when it was founded by the Petter brothers, Ernest and Percy. | 0:17:33 | 0:17:37 | |
Westland helicopters has a particular place | 0:17:40 | 0:17:42 | |
in my personal experience and indeed in political history | 0:17:42 | 0:17:46 | |
because an order for helicopters led to a massive row | 0:17:46 | 0:17:49 | |
in Margaret Thatcher's Cabinet, the resignation of Michael Heseltine | 0:17:49 | 0:17:54 | |
who stormed out of the Cabinet room, | 0:17:54 | 0:17:56 | |
and very nearly the demise of Margaret Thatcher herself. | 0:17:56 | 0:17:59 | |
'Today I'm meeting up with employee of 20 years, Ted Udall, | 0:18:03 | 0:18:07 | |
'to find out how this firm took flight.' | 0:18:07 | 0:18:10 | |
-Ted, good morning. -Morning, Michael. | 0:18:10 | 0:18:12 | |
I believe this Westland goes all the way back to Victorian times? | 0:18:12 | 0:18:16 | |
Yes, indeed - the 1860s. | 0:18:16 | 0:18:17 | |
It started off as a little hardware shop in centre of Yeovil. | 0:18:17 | 0:18:20 | |
It gradually expanded from there into stoves, | 0:18:20 | 0:18:26 | |
and then later on into agricultural machinery. | 0:18:26 | 0:18:29 | |
When did they get into aircraft? | 0:18:29 | 0:18:31 | |
Well, it wasn't until the start of the First World War | 0:18:31 | 0:18:34 | |
when Lloyd George made a speech in the House where they needed more armaments, | 0:18:34 | 0:18:39 | |
and more support for the war. And the management of the company | 0:18:39 | 0:18:43 | |
decided to write off to the Admiralty and the War Office | 0:18:43 | 0:18:47 | |
and the Admiralty said, "Well, please come and see us." | 0:18:47 | 0:18:50 | |
From that they said, "Well, you're a high-tech company, why don't you build aeroplanes?" | 0:18:50 | 0:18:54 | |
The firm was originally commissioned to build 30 Short patrol seaplanes. | 0:18:56 | 0:19:01 | |
Production was so successful that by 1918 the Petters had built their own airfield | 0:19:01 | 0:19:06 | |
and 1,100 planes had rolled off the production line. | 0:19:06 | 0:19:11 | |
With the end of the war, they diversified into civil aircraft, | 0:19:11 | 0:19:15 | |
but peace was to be short-lived and during the Second World War | 0:19:15 | 0:19:19 | |
they manufactured the most iconic of British fighters - the Spitfire. | 0:19:19 | 0:19:23 | |
But now the business is helicopters. | 0:19:24 | 0:19:26 | |
Yes, indeed, since 1946. | 0:19:26 | 0:19:29 | |
So give me a quick rundown of which helicopters you deal with. | 0:19:29 | 0:19:32 | |
In here we've got Sea Kings which are being refurbished. | 0:19:32 | 0:19:35 | |
They've been in service quite a long time now. | 0:19:35 | 0:19:37 | |
We've got Merlin helicopters on this side | 0:19:37 | 0:19:40 | |
which are the current Royal Navy ones. | 0:19:40 | 0:19:42 | |
And we've got the Lynx and its replacement, the Wildcat. | 0:19:42 | 0:19:46 | |
My Bradshaw's guide mentions that Yeovil was once famous for glove-making. | 0:19:46 | 0:19:50 | |
It really is a long way from glove-making to aircraft. | 0:19:50 | 0:19:52 | |
Yes, it certainly is, but of course that was one of reasons why | 0:19:52 | 0:19:55 | |
the company decided that they could go into aircraft making anyway. | 0:19:55 | 0:19:58 | |
One of the local skills, part of the glove-making industry, is sewing. | 0:19:58 | 0:20:02 | |
And aircraft, in those very early days, | 0:20:02 | 0:20:05 | |
you had to spread canvas over the wooden frame and sew it together. | 0:20:05 | 0:20:08 | |
So that gave the company that confidence. | 0:20:08 | 0:20:11 | |
'The early success of the factory was very much linked | 0:20:11 | 0:20:16 | |
'to its proximity to Yeovil's complex rail network, | 0:20:16 | 0:20:19 | |
'so I'm taking to the skies to survey how it looks today. | 0:20:19 | 0:20:23 | |
'My lift - a twin-engine AW109, used for VIP travel and air ambulances.' | 0:20:23 | 0:20:31 | |
Riding alongside the train now. | 0:20:31 | 0:20:33 | |
It seems that Yeovil once was pretty much criss-crossed by railways. | 0:20:33 | 0:20:37 | |
Yes, indeed it was. The original railway came in from the west | 0:20:37 | 0:20:42 | |
and then the other line came in from the north to the south. | 0:20:42 | 0:20:46 | |
And there were, at one point, four separate railway stations, | 0:20:46 | 0:20:50 | |
including the one on the main east-west line | 0:20:50 | 0:20:53 | |
-which runs a couple of miles south of the town. -Amazing. | 0:20:53 | 0:20:56 | |
I think George Bradshaw, who loved engineering and innovation, | 0:20:58 | 0:21:02 | |
would have loved this machine, | 0:21:02 | 0:21:04 | |
but he would have been even more amazed to find out | 0:21:04 | 0:21:06 | |
that there would be trains that went faster than this thing does. | 0:21:06 | 0:21:11 | |
He certainly would, yes. The technology has moved on a pace. | 0:21:11 | 0:21:14 | |
Sadly, it's back down to earth for me as I continue the journey westwards. | 0:21:15 | 0:21:21 | |
I'm leaving Yeovil from its only other surviving station, | 0:21:21 | 0:21:24 | |
Pen Mill, where I've rejoined Brunel's Great Western railway. | 0:21:24 | 0:21:28 | |
My next stop is Castle Cary which my Bradshaw's tells me | 0:21:32 | 0:21:36 | |
has the remains of a castle built by William de Percheval in the reign of King Stephen. | 0:21:36 | 0:21:41 | |
I've always thought it a very beautiful name | 0:21:41 | 0:21:43 | |
and I assumed that it must be one of England's sleepiest stations. | 0:21:43 | 0:21:48 | |
It's certainly a picture of peace and tranquillity. | 0:21:52 | 0:21:55 | |
And I'm told that on any normal day, | 0:21:56 | 0:21:59 | |
Castle Cary is used by fewer than 800 passengers. | 0:21:59 | 0:22:02 | |
'However for a few days in June most years, | 0:22:02 | 0:22:05 | |
'that figure rises dramatically. | 0:22:05 | 0:22:08 | |
'I'm going to meet station manager Dave Martin to find out why.' | 0:22:08 | 0:22:13 | |
Dave, hello. | 0:22:13 | 0:22:15 | |
Congratulations on a lovely station, and a very quiet one too. | 0:22:15 | 0:22:19 | |
Thank you very much. | 0:22:19 | 0:22:20 | |
It seems to be quite quiet today, but it's not always. | 0:22:20 | 0:22:24 | |
We're the closest station to the site for the Glastonbury festival | 0:22:24 | 0:22:28 | |
so it turns into quite an entertaining place to be. | 0:22:28 | 0:22:31 | |
Lots of people coming by train? | 0:22:31 | 0:22:33 | |
Absolutely. About 18,000 people coming through the station to go to the festival. | 0:22:33 | 0:22:37 | |
It's hard to imagine in this little station. | 0:22:37 | 0:22:39 | |
It is. It takes a lot of organising, | 0:22:39 | 0:22:41 | |
and they all want to go back on the same day as well. | 0:22:41 | 0:22:44 | |
And they'd all be well behaved, of course. | 0:22:44 | 0:22:45 | |
The majority are. | 0:22:45 | 0:22:48 | |
One or two seem to think they can turn up without a ticket. | 0:22:48 | 0:22:51 | |
So, what ploys do they try? | 0:22:51 | 0:22:52 | |
Occasionally, a few people will come from very local stations | 0:22:52 | 0:22:57 | |
that aren't that well populated. | 0:22:57 | 0:23:00 | |
And somebody came along who'd obviously glanced out of the window | 0:23:00 | 0:23:02 | |
at Bruton station that they'd gone through, but not quite caught the name. | 0:23:02 | 0:23:06 | |
We asked him where he'd come from and he said Buxton | 0:23:06 | 0:23:09 | |
so we were quite happy to charge him £96. | 0:23:09 | 0:23:12 | |
Long before the music fans began to pass through here, | 0:23:15 | 0:23:18 | |
Castle Cary was better known for its textile industry. | 0:23:18 | 0:23:21 | |
By the 19th century, | 0:23:23 | 0:23:25 | |
the town specialised in producing a hard-wearing | 0:23:25 | 0:23:28 | |
luxury fabric made, remarkably, using horsehair. | 0:23:28 | 0:23:32 | |
And one company survives manufacturing the material | 0:23:32 | 0:23:37 | |
just as it did 140 years ago. | 0:23:37 | 0:23:39 | |
Anna Smith is the managing director. | 0:23:40 | 0:23:44 | |
-Anna, hello. -Hello, hi. -It's good to see you. | 0:23:44 | 0:23:46 | |
So this is horsehair. | 0:23:46 | 0:23:47 | |
I wondered whether I would recognise it, but I certainly do. | 0:23:47 | 0:23:50 | |
Yes, that's right. It's the tail hair from horses, working horses, | 0:23:50 | 0:23:53 | |
live animals that have their tails cut. | 0:23:53 | 0:23:57 | |
-And what do you actually do with it? -We weave it into upholstery fabric. | 0:23:57 | 0:24:00 | |
And what are the advantages of that? | 0:24:00 | 0:24:03 | |
It's a very durable, hard-wearing fabric. | 0:24:03 | 0:24:05 | |
It'll last more than 100 years if it's properly upholstered. | 0:24:05 | 0:24:09 | |
And how long has this factory been going? | 0:24:09 | 0:24:11 | |
The company's been going since 1837. It was started by John Boyd, | 0:24:11 | 0:24:15 | |
he was a travelling Scotsman who came down to this area. | 0:24:15 | 0:24:18 | |
How unusual is it now to produce horsehair? | 0:24:18 | 0:24:20 | |
There's only two of us left in the world, that's us | 0:24:20 | 0:24:22 | |
and there's a company in France and that's it now. | 0:24:22 | 0:24:25 | |
I'm intrigued to see this industrial process. | 0:24:25 | 0:24:27 | |
-Can we go in and have a look at it? -Yes, certainly. | 0:24:27 | 0:24:29 | |
'First, the hair has to be straightened.' | 0:24:31 | 0:24:33 | |
That looks like a bed of nails. I'm not required to lie on it, am I? | 0:24:34 | 0:24:38 | |
No, but we pull the hair through it. It's called a hackle. | 0:24:38 | 0:24:43 | |
What's the technique, Duncan? | 0:24:43 | 0:24:45 | |
Hold it tight there, start with the ends, gradually pull them through. | 0:24:45 | 0:24:49 | |
Mind if I have a go at that? | 0:24:49 | 0:24:50 | |
-Start with the ends. -Yeah. | 0:24:50 | 0:24:53 | |
Ooh, that's not so good, is it? | 0:24:55 | 0:24:57 | |
This is more difficult that it looked. | 0:24:57 | 0:24:59 | |
You're horsing around with me, aren't you? | 0:24:59 | 0:25:01 | |
It takes a little bit of practice. | 0:25:01 | 0:25:03 | |
So how long do you do this for, Duncan? | 0:25:03 | 0:25:05 | |
Just a couple of minutes. It depends. | 0:25:05 | 0:25:07 | |
You can feel when it goes through easily. | 0:25:07 | 0:25:09 | |
It's tougher than it looks, actually. | 0:25:12 | 0:25:17 | |
Ah, that's better. | 0:25:17 | 0:25:20 | |
I'm getting better, aren't I? Oh, yes. | 0:25:20 | 0:25:22 | |
-How I learned to hackle. Thereby hangs a tail. -It'll do. | 0:25:24 | 0:25:27 | |
It needs a little bit more work before the weavers get it! | 0:25:27 | 0:25:31 | |
'I think I had better leave it to the pros. | 0:25:33 | 0:25:35 | |
'The hair is then dyed, a process which takes a week. | 0:25:36 | 0:25:39 | |
'The length of the fabric is made up from cotton, | 0:25:39 | 0:25:42 | |
'silk or linen threads wound on what's called a warper | 0:25:42 | 0:25:46 | |
'whilst the bundles of horsehair are placed directly on the loom | 0:25:46 | 0:25:50 | |
'and each single tail hair is picked out to make up the width of the fabric.' | 0:25:50 | 0:25:56 | |
I've stepped into the 19th century. This is amazing! | 0:25:56 | 0:25:59 | |
Yes, not much has changed. | 0:25:59 | 0:26:02 | |
It's like a museum, but it's in production. | 0:26:02 | 0:26:04 | |
Historically, children were used to pick the hair out of the bundles, | 0:26:04 | 0:26:09 | |
but the 1870 Education Act abolished child labour in favour of schooling. | 0:26:09 | 0:26:14 | |
So Boyd diversified by inventing and patenting special looms | 0:26:16 | 0:26:20 | |
to mimic the skills of little fingers. | 0:26:20 | 0:26:22 | |
Remarkably, those machines are still in use today, | 0:26:26 | 0:26:29 | |
now powered by electricity in place of steam. | 0:26:29 | 0:26:32 | |
So you have the horsehair across the width | 0:26:35 | 0:26:37 | |
and the yarn to give you the length direction. | 0:26:37 | 0:26:41 | |
Can I touch that? It's a lovely feel to it, isn't it? | 0:26:41 | 0:26:45 | |
I don't want to put my fingers in there, though. | 0:26:45 | 0:26:48 | |
It's a beautiful pattern. This is really lovely. | 0:26:48 | 0:26:50 | |
Yes, the pattern dates back to about 1900 | 0:26:50 | 0:26:53 | |
so it's still the original pattern. | 0:26:53 | 0:26:55 | |
The looms are the same speed as hand-weaving, | 0:26:55 | 0:26:59 | |
so they only weave two-three metres per day, per loom. | 0:26:59 | 0:27:03 | |
Each hair is put in individually and we have 90 hairs in one inch, | 0:27:03 | 0:27:07 | |
so the loom has to go backwards and forwards 90 times just to produce one inch of cloth. | 0:27:07 | 0:27:13 | |
You're producing something really special here. | 0:27:13 | 0:27:16 | |
What kind of uses did it used to be put to in Victorian times? | 0:27:16 | 0:27:19 | |
It was used mainly for upholstery, | 0:27:19 | 0:27:21 | |
but it was also used in railway carriages because it was so durable. | 0:27:21 | 0:27:24 | |
Well, I think this would have been fit for use | 0:27:24 | 0:27:26 | |
in the royal railway carriage of Queen Victoria. | 0:27:26 | 0:27:29 | |
Definitely! | 0:27:29 | 0:27:30 | |
George Bradshaw might be amazed that in the 21st century | 0:27:36 | 0:27:40 | |
we're still using Victorian sewers | 0:27:40 | 0:27:42 | |
and there's a factory still producing horsehair. | 0:27:42 | 0:27:46 | |
But more astonishing is that engines that once powered agricultural equipment | 0:27:46 | 0:27:51 | |
have evolved into helicopters employed in our national defence. | 0:27:51 | 0:27:55 | |
On the next leg of my journey, | 0:28:00 | 0:28:02 | |
I'll explore a church that moves in mysterious ways. | 0:28:02 | 0:28:06 | |
That's extraordinary. It really is moving from side to side. | 0:28:06 | 0:28:10 | |
I'll find out just what it takes to run a 19th-century signal box. | 0:28:10 | 0:28:15 | |
I had no idea that what a signalman had to do | 0:28:15 | 0:28:18 | |
was so responsible and so physical. | 0:28:18 | 0:28:21 | |
And I'll summon all my strength to shift a 110-tonne steam locomotive. | 0:28:21 | 0:28:28 | |
She's moving. | 0:28:28 | 0:28:29 | |
Subtitles by Red Bee Media Ltd | 0:28:46 | 0:28:49 |