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In 1840, one man transformed travel in the British Isles. | 0:00:05 | 0:00:10 | |
His name was George Bradshaw | 0:00:10 | 0:00:12 | |
and his railway guides inspired | 0:00:12 | 0:00:14 | |
the Victorians to take to the tracks. | 0:00:14 | 0:00:16 | |
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 | 0:00:23 | |
Now, 170 years later, I'm making a series of journeys across the length | 0:00:25 | 0:00:30 | |
and breadth of these isles to see what of Bradshaw's Britain remains. | 0:00:30 | 0:00:37 | |
I'm at the mid point of my journey from Buckinghamshire to Aberystwyth, | 0:00:54 | 0:00:58 | |
and at this point I'm going to make a small diversion, | 0:00:58 | 0:01:01 | |
dragged northwards from my direct route to Wales | 0:01:01 | 0:01:04 | |
by that magnet for train enthusiasts, | 0:01:04 | 0:01:07 | |
the railway works at Crewe. | 0:01:07 | 0:01:09 | |
On today's journey, I'll explore one of the greatest | 0:01:09 | 0:01:12 | |
locomotive factories in railway history. | 0:01:12 | 0:01:15 | |
The records are sketchy but they talk about 20,000 people, | 0:01:15 | 0:01:18 | |
so that the size of it was immense. | 0:01:18 | 0:01:20 | |
Discover the dark side of the Industrial Revolution. | 0:01:20 | 0:01:23 | |
The place was very heavily spoilt by pollution, | 0:01:23 | 0:01:25 | |
and the stench of the sewage, it was like a large cess pit. | 0:01:25 | 0:01:29 | |
And learn how in Victorian times the potteries | 0:01:29 | 0:01:31 | |
brought their products to the masses. | 0:01:31 | 0:01:33 | |
This is incredibly difficult. This is fiendish. | 0:01:33 | 0:01:37 | |
So far my journey has brought me from the rural home counties | 0:01:40 | 0:01:44 | |
into the heart of the industrial Midlands. | 0:01:44 | 0:01:47 | |
I'll soon be heading west, through the Severn Valley, | 0:01:47 | 0:01:50 | |
along its heritage railway, before venturing into Wales, | 0:01:50 | 0:01:54 | |
and my final stop at Aberystwyth. | 0:01:54 | 0:01:56 | |
Today I'm making a detour to explore Stoke-on-Trent, | 0:01:59 | 0:02:03 | |
en route to the fabled railway works of Crewe, | 0:02:03 | 0:02:05 | |
finishing up in the Cheshire town of Winsford. | 0:02:05 | 0:02:09 | |
My Bradshaw's contain a gripping description of my first destination, | 0:02:12 | 0:02:16 | |
Stoke-on-Trent, at the height of the Industrial Revolution. | 0:02:16 | 0:02:20 | |
"There may be seen the surrounding hills, | 0:02:20 | 0:02:23 | |
"crowned with towering columns and huge pyramids of chimneys, | 0:02:23 | 0:02:27 | |
"and great rounded furnaces clustering together like hives." | 0:02:27 | 0:02:32 | |
Yes I'm headed for the Potteries, | 0:02:32 | 0:02:35 | |
sounds like my cup of tea. | 0:02:35 | 0:02:37 | |
At their Victorian peak, the six pottery towns, | 0:02:40 | 0:02:43 | |
strung along the North Staffordshire Railway, | 0:02:43 | 0:02:46 | |
were home to 250,000 people, | 0:02:46 | 0:02:49 | |
almost all employed in the manufacture. | 0:02:49 | 0:02:51 | |
Those communities have since merged into modern Stoke-on-Trent, | 0:02:52 | 0:02:56 | |
but the story began in Burslem, the so-called "Mother Town". | 0:02:56 | 0:03:01 | |
I'm exploring with local historian, Fred Hughes. | 0:03:01 | 0:03:04 | |
This is the Wedgwood Institute. | 0:03:04 | 0:03:06 | |
As you can see, it rather is a magnificent building. | 0:03:06 | 0:03:10 | |
It's a statement, it's a picture of what the Potteries were | 0:03:10 | 0:03:13 | |
in Victorian times. This is the image | 0:03:13 | 0:03:16 | |
that the people of Burslem wanted to portray to the rest of the world. | 0:03:16 | 0:03:20 | |
We gave birth to pottery and Josiah Wedgwood, | 0:03:20 | 0:03:24 | |
the great Josiah Wedgwood, was born here, | 0:03:24 | 0:03:26 | |
and this is a tribute to him. | 0:03:26 | 0:03:28 | |
Pottery began in this area as a cottage industry, | 0:03:28 | 0:03:31 | |
using the abundant local coal and clay. | 0:03:31 | 0:03:34 | |
Then, in the mid-18th century, Josiah Wedgwood, | 0:03:34 | 0:03:37 | |
inspired by the scientific advances of his day, | 0:03:37 | 0:03:40 | |
applied industrial methods for the first time. | 0:03:40 | 0:03:43 | |
Over the years, thousands of bottle kilns dotted the landscape. | 0:03:44 | 0:03:49 | |
Bradshaw's guide gives me a very powerful description | 0:03:49 | 0:03:52 | |
of the Potteries towns in the middle 19th century. | 0:03:52 | 0:03:55 | |
Give me an idea of what they looked like, and felt like, and smelt like. | 0:03:55 | 0:03:59 | |
It was satanic, it was dark, it was dingy, it was dirty, | 0:03:59 | 0:04:02 | |
you couldn't see the sky. | 0:04:02 | 0:04:04 | |
Grit got in your eyes all the time, people were chocking, virtually | 0:04:04 | 0:04:07 | |
to death, on the smoke and the pollution coming out of these places. | 0:04:07 | 0:04:12 | |
Out of this inferno came some of the finest porcelain ever made. | 0:04:12 | 0:04:17 | |
By the turn of the 18th century, | 0:04:17 | 0:04:19 | |
delicate bone china had been developed, | 0:04:19 | 0:04:22 | |
and local red clay was abandoned in favour of finer white clay, | 0:04:22 | 0:04:26 | |
imported from southwest England. | 0:04:26 | 0:04:28 | |
At first it was brought by sea and canal, but by the mid-19th century, | 0:04:28 | 0:04:33 | |
the smoke of the bottle ovens mingled | 0:04:33 | 0:04:35 | |
with smoke from railway locomotives. | 0:04:35 | 0:04:37 | |
The railways sped everything up. | 0:04:37 | 0:04:39 | |
First of all it could carry more ware, and more clay in. | 0:04:39 | 0:04:43 | |
It still had to come from Cornwall, round the coast to Liverpool. | 0:04:43 | 0:04:47 | |
It sped up that transportation from Liverpool into the Potteries. | 0:04:47 | 0:04:51 | |
The rails also exported the finished goods across the country and beyond, | 0:04:51 | 0:04:56 | |
helping the industry flourish for over a century. | 0:04:56 | 0:05:00 | |
The region remains an important centre for British ceramics, | 0:05:00 | 0:05:03 | |
though it's a far cry from its Victorian heyday. | 0:05:03 | 0:05:07 | |
Electrification certainly did away with coal and smoke, | 0:05:07 | 0:05:12 | |
and of course the Clean Air Act, | 0:05:12 | 0:05:14 | |
but I think the most important thing was the big change | 0:05:14 | 0:05:17 | |
in the way other nations had come in. | 0:05:17 | 0:05:19 | |
I mean, we'd had our Industrial Revolution, | 0:05:19 | 0:05:22 | |
we started the whole thing. | 0:05:22 | 0:05:24 | |
All of a sudden other nations wanted a piece of the action, | 0:05:24 | 0:05:27 | |
so they followed on where we left off. | 0:05:27 | 0:05:30 | |
-We led it and we lost it. -That's absolutely right. | 0:05:30 | 0:05:33 | |
Luckily, not every trace of the Victorian trade has disappeared. | 0:05:33 | 0:05:38 | |
Close at hand, the Middleport Pottery has survived virtually | 0:05:38 | 0:05:41 | |
unchanged since the 19th century. | 0:05:41 | 0:05:45 | |
I'm taking a tour with company historian, Jemma Baskeyfield. | 0:05:45 | 0:05:49 | |
Was this state of the art when built at the end of the 19th century? | 0:05:49 | 0:05:52 | |
Yeah, people came to visit this factory | 0:05:52 | 0:05:54 | |
because it was a very cutting edge factory. | 0:05:54 | 0:05:57 | |
The most cutting edge factory you could wish to visit. | 0:05:57 | 0:06:00 | |
Today we are possibly the most backwards factory you'll ever visit, | 0:06:00 | 0:06:04 | |
but, yeah, that's part of the charm, certainly. | 0:06:04 | 0:06:07 | |
A few years ago, the historic buildings here had fallen | 0:06:08 | 0:06:11 | |
into such disrepair that the factory was at risk of closure. | 0:06:11 | 0:06:15 | |
However in 2011, the Prince of Wales's Regeneration Trust | 0:06:15 | 0:06:19 | |
stepped in with ambitious plans to redevelop the site | 0:06:19 | 0:06:23 | |
on behalf of the whole community. | 0:06:23 | 0:06:25 | |
So this remarkable snapshot | 0:06:25 | 0:06:27 | |
of the Victorian pottery industry will survive. | 0:06:27 | 0:06:30 | |
So, this is the largest collection of the blocks and cases, | 0:06:32 | 0:06:36 | |
master copies of moulds, left in any factory anywhere. | 0:06:36 | 0:06:40 | |
We've kept all of them, and there's 15,000 plus. | 0:06:40 | 0:06:44 | |
Piled up, well, as high as you can see and it goes on for ever. | 0:06:44 | 0:06:48 | |
Yeah, in all directions. | 0:06:48 | 0:06:50 | |
Once of the most extraordinary sights I've ever seen. | 0:06:50 | 0:06:53 | |
Mass production, using moulds like these, | 0:06:53 | 0:06:55 | |
helped Victorian potters to meet unprecedented demand | 0:06:55 | 0:06:59 | |
from the new aspirational middle class. | 0:06:59 | 0:07:02 | |
And to supply decorated products on an industrial scale, | 0:07:02 | 0:07:05 | |
they embraced the art of transfer printing. | 0:07:05 | 0:07:09 | |
It's a way you can affordably, to a high quality, | 0:07:09 | 0:07:13 | |
decorate pottery over and over again. | 0:07:13 | 0:07:15 | |
And that's replacing the hand painting process | 0:07:15 | 0:07:18 | |
which is what went before. | 0:07:18 | 0:07:20 | |
This is the only pottery still using the method. | 0:07:20 | 0:07:23 | |
The pattern is printed onto sheets of tissue paper, | 0:07:23 | 0:07:26 | |
before transferring the colour onto the pottery. | 0:07:26 | 0:07:29 | |
These ladies are incredibly skilled. | 0:07:29 | 0:07:31 | |
Traditionally it takes seven years to learn how to do this job. | 0:07:31 | 0:07:34 | |
So they take this sticky paper, and they've got to apply it | 0:07:34 | 0:07:38 | |
to the once-fired pottery, what we call biscuitware. | 0:07:38 | 0:07:41 | |
They apply the print, but they can't peel it off and put it on again, | 0:07:41 | 0:07:44 | |
because it sticks, so it's first time every time. | 0:07:44 | 0:07:47 | |
The colour pigment is oil-based, so when you wash these items, | 0:07:47 | 0:07:51 | |
the tissue paper washes away, | 0:07:51 | 0:07:53 | |
and you're just left with the print on the surface of the pottery. | 0:07:53 | 0:07:56 | |
-I'm amazed. -Yep, well, if you'd like to have a go... | 0:07:56 | 0:08:00 | |
I'll be more amazed! Ha, ha, ha! | 0:08:00 | 0:08:01 | |
The transferors work with amazing speed. | 0:08:02 | 0:08:06 | |
Time to see how I measure up. | 0:08:06 | 0:08:08 | |
Try to get your hand down to the bottom | 0:08:08 | 0:08:10 | |
and swing it round this side, like a cone. | 0:08:10 | 0:08:12 | |
-Like a cone. Oh! -The scissors are there. | 0:08:12 | 0:08:17 | |
'The trick's to minimise the creases and joins, | 0:08:17 | 0:08:19 | |
'so they won't be detectable. | 0:08:19 | 0:08:21 | |
'But I begin to see why it takes you seven years to perfect the art.' | 0:08:21 | 0:08:25 | |
This is incredibly difficult. | 0:08:25 | 0:08:27 | |
-We make it look easy. -This is fiendish. | 0:08:27 | 0:08:29 | |
That's better, you've got the hang of it now. That's it. | 0:08:33 | 0:08:36 | |
Covering the outside is one thing, but the inside is quite another. | 0:08:37 | 0:08:42 | |
-Now begins the really difficult bit. -That's it. | 0:08:42 | 0:08:45 | |
Seven years down the line, you might be on the production line. | 0:08:47 | 0:08:51 | |
Oh, dear, I've got a hole. | 0:08:51 | 0:08:55 | |
You can repair it, and then cut it off when you've pressed it over. | 0:08:55 | 0:08:58 | |
-That's it. Perfect match. -Where's the reject bin? | 0:09:00 | 0:09:03 | |
We don't reject anything. | 0:09:05 | 0:09:06 | |
I think I'd better stop distracting the skilled transferors, | 0:09:08 | 0:09:11 | |
and continue my tour of Victorian Staffordshire. | 0:09:11 | 0:09:14 | |
The phenomenal success of the Potteries here | 0:09:15 | 0:09:18 | |
had unforeseen consequences for some, | 0:09:18 | 0:09:21 | |
and before I leave Stoke-on-Trent, I'm visiting a place | 0:09:21 | 0:09:24 | |
which reveals the drawbacks of rapid industrial growth. | 0:09:24 | 0:09:27 | |
I've come to Trentham Park, which is described in my Bradshaw's, | 0:09:29 | 0:09:33 | |
as, "The Duke of Sutherland's seat on the River Trent, of great extent. | 0:09:33 | 0:09:38 | |
"The old seat has been rebuilt by Sir Charles Barry, | 0:09:38 | 0:09:41 | |
"the Trent is made to spread into a fine lake planted | 0:09:41 | 0:09:46 | |
"with ornamental timber, the work of Capability Brown, | 0:09:46 | 0:09:50 | |
"the famous landscape artist." | 0:09:50 | 0:09:52 | |
Here is the Trent, here is the lake all beautifully described, | 0:09:52 | 0:09:56 | |
but where is the house? | 0:09:56 | 0:09:57 | |
When my guidebook was published, | 0:10:00 | 0:10:02 | |
Trentham Park was one of the most fashionable houses in the land, | 0:10:02 | 0:10:06 | |
having been remodelled in the 1830s by celebrity architect, | 0:10:06 | 0:10:10 | |
Sir Charles Barry, the man who built the Houses of Parliament. | 0:10:10 | 0:10:13 | |
To learn what became of this magnificent pile, | 0:10:13 | 0:10:16 | |
I'm meeting estate manager, Michael Walker. | 0:10:16 | 0:10:19 | |
-Hello, Michael. -Hello, Michael, very nice to meet you. | 0:10:19 | 0:10:22 | |
There are certain disadvantages to using a guide book 150 years old. | 0:10:22 | 0:10:26 | |
I'm looking for a house, and I rather fear it's not here. | 0:10:26 | 0:10:29 | |
-Is that right? -That's absolutely right, the majority of Trentham Hall | 0:10:29 | 0:10:33 | |
-was demolished in 1911 by the Duke of Sutherland. -Why? | 0:10:33 | 0:10:35 | |
What brought that about? | 0:10:35 | 0:10:37 | |
The pottery industry was expanding all the time in the 1840s, | 0:10:37 | 0:10:41 | |
and so was local housing. | 0:10:41 | 0:10:43 | |
But there was no provision for proper sanitation. | 0:10:43 | 0:10:46 | |
And the sewage from the houses pretty much ran | 0:10:46 | 0:10:49 | |
directly into the local brooks and rivers. | 0:10:49 | 0:10:52 | |
And at that time, the River Trent used to feed directly into | 0:10:52 | 0:10:55 | |
Capability Brown's mile-long lake. | 0:10:55 | 0:10:57 | |
So the place was very heavily spoilt by pollution, both in the air, | 0:10:57 | 0:11:03 | |
sometimes it could be black, and the stench, | 0:11:03 | 0:11:06 | |
the stench of the sewage, it was like a large cess pit. | 0:11:06 | 0:11:10 | |
It's quite an interesting antidote, | 0:11:10 | 0:11:11 | |
because I get very enthusiastic about the Victorian period | 0:11:11 | 0:11:14 | |
from my Bradshaw's, but it's worth remembering | 0:11:14 | 0:11:17 | |
that there was a pretty ghastly downside to it all. | 0:11:17 | 0:11:19 | |
By the turn of the 20th century, the problem had become so bad | 0:11:19 | 0:11:23 | |
that the Sutherlands chose to abandon the park. | 0:11:23 | 0:11:27 | |
No buyer was found for the house, | 0:11:27 | 0:11:28 | |
so it was demolished for its building materials. | 0:11:28 | 0:11:32 | |
All that remained of Charles Barry's masterpiece | 0:11:32 | 0:11:34 | |
was his remarkable formal garden. | 0:11:34 | 0:11:37 | |
So what we're seeing here, this is Charles Barry, is it? | 0:11:37 | 0:11:40 | |
This is Charles Barry, it's a very, very grand Italian garden, | 0:11:40 | 0:11:44 | |
in the neo-classical style. | 0:11:44 | 0:11:45 | |
And this formality suited the Victorians, did it? | 0:11:45 | 0:11:48 | |
I think this was the must-have accessory | 0:11:48 | 0:11:50 | |
for the aristocracy at the time. It was a new trend, a new fashion, | 0:11:50 | 0:11:54 | |
and one which was really pioneered in this country at Trentham. | 0:11:54 | 0:11:59 | |
Visiting the park today, it's possible, with a little imagination, | 0:11:59 | 0:12:04 | |
to savour its Victorian zenith. | 0:12:04 | 0:12:07 | |
The garden was of course designed to be viewed from upstairs | 0:12:07 | 0:12:11 | |
within the grand bedrooms of the house, looking down, | 0:12:11 | 0:12:14 | |
and it's only really from above you get the detail, formality. | 0:12:14 | 0:12:18 | |
It's really tremendous, isn't it? | 0:12:18 | 0:12:20 | |
How was it that the garden was able to survive? | 0:12:20 | 0:12:23 | |
Well, after the house was demolished, | 0:12:23 | 0:12:25 | |
Trentham ran as a private business for the local people, | 0:12:25 | 0:12:31 | |
as paid for public visitor attraction. | 0:12:31 | 0:12:35 | |
For most of the 20th century, | 0:12:35 | 0:12:36 | |
the gardens were the playground of the Potteries. | 0:12:36 | 0:12:39 | |
There were dance halls and a bandstand, and a new branch line, | 0:12:39 | 0:12:42 | |
opened in 1910, enabled visitors to flock here to enjoy the attractions. | 0:12:42 | 0:12:47 | |
Trentham Park took visitors within five minutes walk | 0:12:48 | 0:12:51 | |
of the front gates of the estate, that was very important, | 0:12:51 | 0:12:54 | |
during the holiday period that train service was | 0:12:54 | 0:12:57 | |
very, very well used indeed. | 0:12:57 | 0:13:00 | |
Sadly, by the end of the 20th century, | 0:13:00 | 0:13:02 | |
the gardens themselves had fallen into decline. | 0:13:02 | 0:13:05 | |
But in 2004, a major renovation project began. | 0:13:05 | 0:13:09 | |
Barry's Italianate parterre was restored, | 0:13:09 | 0:13:12 | |
and new areas were landscaped by leading garden designers. | 0:13:12 | 0:13:16 | |
So George Bradshaw might be pretty astonished that the house is gone, | 0:13:16 | 0:13:19 | |
-but he probably would recognise the garden. -I hope he would. | 0:13:19 | 0:13:23 | |
The manicured elegance of Trentham is stunning, | 0:13:27 | 0:13:30 | |
but I'm now taking to the tracks in search of a wilder landscape. | 0:13:30 | 0:13:34 | |
My last stop of the day was a favourite Victorian beauty spot. | 0:13:41 | 0:13:45 | |
As evening approaches, I'm on the train to Kidsgrove. | 0:13:48 | 0:13:51 | |
"Mow Cop," says Bradshaw's, "is a mountain in miniature. | 0:13:51 | 0:13:56 | |
"From the summit of this hill, 1,091 feet high, | 0:13:56 | 0:13:59 | |
"the finest views imaginable are attainable in every direction." | 0:13:59 | 0:14:05 | |
I suppose that depends on the weather, | 0:14:05 | 0:14:07 | |
and I'm hoping my luck will hold. | 0:14:07 | 0:14:09 | |
Built by the North Staffordshire Railway, | 0:14:11 | 0:14:13 | |
and originally called Harecastle, Kidsgrove Station opened in 1848. | 0:14:13 | 0:14:19 | |
Soon readers of Bradshaw's would alight here | 0:14:19 | 0:14:21 | |
to admire the vista from a nearby park. | 0:14:21 | 0:14:23 | |
Guide, Des Ball, is showing me the way. | 0:14:26 | 0:14:29 | |
You know, Des, my Bradshaw's | 0:14:29 | 0:14:31 | |
has quite a long paragraph about Mow Cop. | 0:14:31 | 0:14:33 | |
I was thinking, "What is all the fuss about?" | 0:14:33 | 0:14:36 | |
Because it's only 1,000 feet high, but now I get here, I see. | 0:14:36 | 0:14:39 | |
I mean, you have got this 360 degree view, | 0:14:39 | 0:14:43 | |
haven't you? Amazing. | 0:14:43 | 0:14:45 | |
Seven counties are visible from here, | 0:14:45 | 0:14:47 | |
and my guide book tells me that on a fine day | 0:14:47 | 0:14:50 | |
you can see as far as Wales. | 0:14:50 | 0:14:52 | |
First we have Shropshire over there. | 0:14:52 | 0:14:54 | |
Then we have Denbighshire, Welsh mountains there, | 0:14:54 | 0:14:57 | |
go all way up to north Wales there. | 0:14:57 | 0:14:59 | |
And over to this side, we have Derbyshire. | 0:14:59 | 0:15:04 | |
My Bradshaw's also points out | 0:15:04 | 0:15:05 | |
"an artificial ruin, which has a good appearance | 0:15:05 | 0:15:08 | |
"in every point of view." | 0:15:08 | 0:15:10 | |
Built as a folly in the 1750s, | 0:15:10 | 0:15:13 | |
by the time my guidebook was published | 0:15:13 | 0:15:15 | |
it was in use as a summer house, complete with windows and doors. | 0:15:15 | 0:15:19 | |
These days, romantic as it is, it's rather windswept, | 0:15:19 | 0:15:23 | |
so Des is leading me to a more hospitable venue. | 0:15:23 | 0:15:26 | |
Here is the pub, Michael, I mentioned, called the Cheshire View, | 0:15:26 | 0:15:29 | |
but it used to be called The Railway Inn, | 0:15:29 | 0:15:31 | |
and of course, in the hollow there is the railway and Mow Cop Station, | 0:15:31 | 0:15:36 | |
that used to be. No longer here, I'm afraid. | 0:15:36 | 0:15:38 | |
An ideal spot for a thirsty railway traveller | 0:15:38 | 0:15:41 | |
to revel in the English landscape that unfolds below. | 0:15:41 | 0:15:45 | |
It is an amazing view, isn't it? | 0:15:45 | 0:15:47 | |
Yes, wait until the sun sets in a moment. | 0:15:47 | 0:15:49 | |
And to think that you and I can see it without | 0:15:49 | 0:15:51 | |
-the smoke and pollution of the Victorian era. Cheers. -Cheers. | 0:15:51 | 0:15:55 | |
My Midlands railway adventure continues, | 0:16:05 | 0:16:07 | |
and my next stop is almost hallowed ground. | 0:16:07 | 0:16:12 | |
"Crewe," says my Bradshaw's, "is a railway town, | 0:16:15 | 0:16:19 | |
"and a first class depot. Nearly 2,000 men are employed. | 0:16:19 | 0:16:23 | |
"Here are immense rolling mills for the rails and locomotive factories. | 0:16:23 | 0:16:28 | |
"An engine with its tender is made up of 5,416 separate pieces, | 0:16:28 | 0:16:34 | |
"and a new one is turned out every Monday morning. | 0:16:34 | 0:16:37 | |
"Any self-respecting great British railway traveller must visit Crewe." | 0:16:37 | 0:16:42 | |
The works at Crewe were once among the foremost in the world, | 0:16:43 | 0:16:47 | |
and the town still has a place in every train buff's heart. | 0:16:47 | 0:16:51 | |
-Morning. -Morning. Thank you very much. | 0:16:51 | 0:16:53 | |
So I'm going to the very heart of the railways, Crewe. | 0:16:53 | 0:16:56 | |
-Crewe. -Can you imagine that in the 1860s | 0:16:56 | 0:16:58 | |
apparently a locomotive and its tender was made up | 0:16:58 | 0:17:01 | |
of 5,416 separate pieces? | 0:17:01 | 0:17:04 | |
-That's amazing, isn't it? -Bet you didn't know that? -No, I didn't. | 0:17:04 | 0:17:08 | |
-I bet you didn't before you read that. -Certainly so! | 0:17:08 | 0:17:11 | |
-Have a good day. -And you. | 0:17:11 | 0:17:13 | |
The story of the immense works at Crewe | 0:17:15 | 0:17:17 | |
began as a meeting point of major railways. | 0:17:17 | 0:17:21 | |
Even with its elegant 19th century architecture covered in scaffolding, | 0:17:21 | 0:17:25 | |
the station remains a key hub, as it was in Victorian days. | 0:17:25 | 0:17:29 | |
Crewe started its railway history as a major junction, | 0:17:29 | 0:17:33 | |
and in the next few minutes there will be | 0:17:33 | 0:17:35 | |
trains leaving from here for Liverpool, | 0:17:35 | 0:17:37 | |
for Manchester, for Edinburgh and for south Wales. | 0:17:37 | 0:17:40 | |
In the early 1800s, there was a hamlet of just 360 souls, | 0:17:40 | 0:17:45 | |
but the arrival of the railway in 1837 changed that. | 0:17:45 | 0:17:49 | |
In 1877 the Borough of Crewe was established, and by 1881, | 0:17:49 | 0:17:54 | |
its population exceeded 24,000, complete with rows | 0:17:54 | 0:17:58 | |
of railway workers' cottages. | 0:17:58 | 0:18:00 | |
At the heart was a vast factory, | 0:18:00 | 0:18:02 | |
which I'm exploring with general manager, Tony Webb. | 0:18:02 | 0:18:05 | |
-Hello, Tony. -Hello, Michael, welcome to Crewe. -Thank you. | 0:18:05 | 0:18:09 | |
The first line to reach Crewe was the Grand Junction Railway, | 0:18:09 | 0:18:12 | |
which linked Birmingham with the pioneering | 0:18:12 | 0:18:14 | |
Liverpool to Manchester line. | 0:18:14 | 0:18:16 | |
It was soon joined by other routes, and Crewe found itself | 0:18:16 | 0:18:20 | |
at the junction of three of Britain's busiest main lines. | 0:18:20 | 0:18:24 | |
It was the ideal spot for a railway works on an epic scale. | 0:18:24 | 0:18:27 | |
My Bradshaw says 2,000 people were working at the site, | 0:18:28 | 0:18:31 | |
but I think it got to be much more than that, didn't it? | 0:18:31 | 0:18:34 | |
Yeah, the war years, the records are sketchy, | 0:18:34 | 0:18:36 | |
but they talk about 20,000 people, so the size of it was immense. | 0:18:36 | 0:18:40 | |
Is this the full extent of the works? | 0:18:40 | 0:18:41 | |
You get some idea of the scale, | 0:18:41 | 0:18:43 | |
there's a football ground here, which is kind of lost in space... | 0:18:43 | 0:18:47 | |
It is huge, you're talking about erecting shops and buildings | 0:18:47 | 0:18:50 | |
which were hundreds of metres long. | 0:18:50 | 0:18:52 | |
Obviously it created not only a works, | 0:18:52 | 0:18:54 | |
but it created a town as well. How were the people housed? | 0:18:54 | 0:18:58 | |
The railway was a very paternalistic organisation, | 0:18:58 | 0:19:00 | |
There would have been railway schooling, railway homes, | 0:19:00 | 0:19:03 | |
it had its own hospital on site. | 0:19:03 | 0:19:06 | |
The accident book is very interesting reading, | 0:19:06 | 0:19:08 | |
not uncommon for people to lose eyes, fingers and even limbs. | 0:19:08 | 0:19:11 | |
There are some old drawings that were created at the works | 0:19:11 | 0:19:14 | |
of artificial limbs as well. | 0:19:14 | 0:19:16 | |
More than 8,250 locomotives were built here, | 0:19:16 | 0:19:19 | |
from Victorian steam engines to modern electric trains. | 0:19:19 | 0:19:24 | |
These days, however, the works focus on renovating bogies, | 0:19:24 | 0:19:28 | |
the wheel systems that sit beneath carriages. | 0:19:28 | 0:19:31 | |
They start in a pretty filthy condition, don't they? | 0:19:31 | 0:19:34 | |
You can imagine running round for half a million miles or more, yeah. | 0:19:34 | 0:19:38 | |
At the end of the process you wouldn't recognise them, | 0:19:38 | 0:19:40 | |
and I'm offering a helping hand with the finishing touches. | 0:19:40 | 0:19:44 | |
It all looks now so beautiful, so pristine. | 0:19:44 | 0:19:47 | |
It's ready for another half a million miles, yeah. | 0:19:47 | 0:19:50 | |
Just as it comes down now, Michael, you just steady it. | 0:19:50 | 0:19:53 | |
Beautiful, beautiful. Spot on. | 0:19:55 | 0:19:57 | |
If you can just remove the stand and let it swing into position. | 0:19:57 | 0:20:00 | |
-Just take that away? -Yeah. -Whoa! | 0:20:00 | 0:20:02 | |
-There we go. -Did I do that? -You did that, yeah. | 0:20:02 | 0:20:06 | |
By building their tracks through Crewe, | 0:20:08 | 0:20:10 | |
Victorian railway engineers shaped the town's history. | 0:20:10 | 0:20:14 | |
Today, it remains an important junction, | 0:20:16 | 0:20:19 | |
and a magnet for some of Britain's most committed railway enthusiasts, | 0:20:19 | 0:20:23 | |
like Tom and William Snook. | 0:20:23 | 0:20:26 | |
-Tom and William, hello. -Good afternoon. -Nice to see you both. | 0:20:26 | 0:20:32 | |
-You're a father and son team, is that right? -We are indeed, yes. | 0:20:32 | 0:20:35 | |
Now I quite like trains, but I'm not a trainspotter, | 0:20:35 | 0:20:39 | |
for those of us not in on this, | 0:20:39 | 0:20:41 | |
can you explain the intrigue of photographing trains, | 0:20:41 | 0:20:44 | |
and taking down numbers, and so on. | 0:20:44 | 0:20:47 | |
Well for me, of course, it started in 1952. | 0:20:47 | 0:20:50 | |
By the time of eight, I was travelling on my own to London, | 0:20:50 | 0:20:53 | |
and seeing all sorts of things, | 0:20:53 | 0:20:55 | |
which of course you can't do these days, | 0:20:55 | 0:20:57 | |
and the camaraderie of all the youngsters together, | 0:20:57 | 0:21:00 | |
and screaming and shouting when something really unusual came in. | 0:21:00 | 0:21:04 | |
You know, it's the enthusiasm to try and see everything, for me, | 0:21:04 | 0:21:07 | |
I want to see everything, my dad has nearly seen everything, | 0:21:07 | 0:21:11 | |
and I'm not that far behind him. | 0:21:11 | 0:21:13 | |
-What's that you're clutching there? -Well, my son compiled this. | 0:21:13 | 0:21:17 | |
I've created this book over three years, | 0:21:17 | 0:21:20 | |
I finally finished it last year. So, it goes from locomotives, | 0:21:20 | 0:21:23 | |
passenger trains, the testing trains | 0:21:23 | 0:21:25 | |
that run around the country for Network Rail. | 0:21:25 | 0:21:28 | |
So I thought I'd bring you up a copy, | 0:21:28 | 0:21:30 | |
it's yours to keep and take away. | 0:21:30 | 0:21:32 | |
Oh, my goodness, I mean... | 0:21:32 | 0:21:34 | |
I'm really flattered, but it's not easy reading, is it? | 0:21:34 | 0:21:38 | |
How can I put this? You wouldn't go to sleep reading this. | 0:21:38 | 0:21:43 | |
Or, actually, maybe you would! | 0:21:43 | 0:21:45 | |
It's really a historical document, like Bradshaw's really, | 0:21:45 | 0:21:48 | |
in as much as it tells you what is totally on the network, | 0:21:48 | 0:21:54 | |
at that particular time in the summer of this year. | 0:21:54 | 0:21:57 | |
It's no replacement for my trusty Bradshaw's guide, | 0:21:57 | 0:22:00 | |
but it's good to know that for some | 0:22:00 | 0:22:03 | |
the romance of the railways lives on. | 0:22:03 | 0:22:05 | |
It's a class 350! | 0:22:06 | 0:22:08 | |
For me, the best thing about train travel | 0:22:11 | 0:22:13 | |
is the chance to discover the remarkable range | 0:22:13 | 0:22:16 | |
of Victorian industries that were served by the railways. | 0:22:16 | 0:22:19 | |
I'm on my way to Winsford, which Bradshaw's tells me is situated | 0:22:19 | 0:22:23 | |
in one of the most important salt districts in the country. | 0:22:23 | 0:22:27 | |
"There are 28 salt works here, | 0:22:27 | 0:22:29 | |
"some of them being like small towns in extent." | 0:22:29 | 0:22:32 | |
Now, other towns around here are Middlewich, Northwich and Nantwich, | 0:22:32 | 0:22:38 | |
which is very interesting, | 0:22:38 | 0:22:39 | |
because I think "wich" is the Anglo-Saxon for salt. | 0:22:39 | 0:22:42 | |
Beneath Cheshire's "wich" towns lies an enormous salt deposit, | 0:22:43 | 0:22:48 | |
formed from a sea bed 200 million years ago. | 0:22:48 | 0:22:51 | |
Ever since Roman times, the brine that bubbles up in local springs | 0:22:51 | 0:22:55 | |
has been evaporated to make salt, | 0:22:55 | 0:22:57 | |
and by the 1600s, rock salt was also being mined in the area. | 0:22:57 | 0:23:03 | |
Then in Victorian times, | 0:23:03 | 0:23:04 | |
a fresh rock salt deposit was discovered in nearby Winsford, | 0:23:04 | 0:23:08 | |
and a mine dug to extract it. It's still in operation today. | 0:23:08 | 0:23:12 | |
I'm heading 180 metres below ground with mine manager, Gordon Dunn. | 0:23:15 | 0:23:19 | |
Now in Victorian times, I guess they didn't go down | 0:23:21 | 0:23:23 | |
in beautiful lifts like this, how did they go down? | 0:23:23 | 0:23:26 | |
They went down in the same buckets that was used to lift the salt. | 0:23:26 | 0:23:30 | |
It wasn't really regarded as unsafe, | 0:23:30 | 0:23:32 | |
it was just regarded as the only way to do it. | 0:23:32 | 0:23:34 | |
Prospectors looking for coal first discovered | 0:23:36 | 0:23:39 | |
the extent of the salt seam. | 0:23:39 | 0:23:42 | |
Using explosives, picks and shovels, they began to carve out | 0:23:42 | 0:23:46 | |
vast subterranean rooms, supported by pillars of salt. | 0:23:46 | 0:23:49 | |
I was rather expecting I was going to be crawling on hands and knees, | 0:23:49 | 0:23:53 | |
but this is like walking into an underground ballroom, isn't it? | 0:23:53 | 0:23:56 | |
-It's huge. -Yes, it is. It is very large. | 0:23:56 | 0:23:58 | |
As well as being needed for the Victorian table, | 0:23:58 | 0:24:01 | |
the 19th century saw demand for salt rise | 0:24:01 | 0:24:04 | |
thanks to the growing chemical industry, | 0:24:04 | 0:24:06 | |
which used it for everything from caustic soda to chlorine. | 0:24:06 | 0:24:10 | |
Between 1844 and 1892, one million tonnes of salt | 0:24:10 | 0:24:14 | |
were mined at Winsford - an extraordinary feat, | 0:24:14 | 0:24:17 | |
given the basic equipment that the miners were using. | 0:24:17 | 0:24:20 | |
You can see the black marks on the roof from the soot from the candles, | 0:24:20 | 0:24:23 | |
cos that was the only way they were able to light the... | 0:24:23 | 0:24:26 | |
-Seriously? -Yeah, seriously, it was all candlelit, | 0:24:26 | 0:24:29 | |
and we've found evidence in the old workings of old tallow candles, | 0:24:29 | 0:24:32 | |
and old small packets of cigarettes, | 0:24:32 | 0:24:34 | |
cos they were allowed to smoke underground in those days. | 0:24:34 | 0:24:37 | |
And where we are now is the old two-foot gauge railway line. | 0:24:37 | 0:24:40 | |
And once they'd taken the salt up to the surface, | 0:24:40 | 0:24:43 | |
was it also transported by train? | 0:24:43 | 0:24:45 | |
Yes it was, some of it was transported | 0:24:45 | 0:24:47 | |
by train in special carriages | 0:24:47 | 0:24:49 | |
that were timber lined to stop the salts reacting with the steel, | 0:24:49 | 0:24:52 | |
and other salt was put into barges, sent to Liverpool | 0:24:52 | 0:24:56 | |
and shipped round the world, and traded as Liverpool salt, | 0:24:56 | 0:24:58 | |
although it was really from Cheshire. | 0:24:58 | 0:25:00 | |
Victorian mining was so efficient | 0:25:00 | 0:25:02 | |
that by the late 1800s prices had plummeted, | 0:25:02 | 0:25:05 | |
and Winsford was forced to close. | 0:25:05 | 0:25:07 | |
But it reopened in the 1920s when a local competitor flooded, | 0:25:07 | 0:25:11 | |
and since then has prospered. | 0:25:11 | 0:25:14 | |
Today, the salt mined in its 142 miles of underground tunnels | 0:25:14 | 0:25:18 | |
is used mostly for gritting the roads. | 0:25:18 | 0:25:21 | |
And you're still at it? | 0:25:22 | 0:25:24 | |
We certainly are, we mine over a million tonnes a year, | 0:25:24 | 0:25:27 | |
and we've got enough reserves for the next... For up to 100 years. | 0:25:27 | 0:25:30 | |
Despite the mine's resources, a decade ago, | 0:25:30 | 0:25:32 | |
it began to diversify in a highly unexpected direction. | 0:25:32 | 0:25:36 | |
The salt in the rock here helps to regulate | 0:25:36 | 0:25:39 | |
the humidity in the disused tunnels, creating stable conditions | 0:25:39 | 0:25:42 | |
which are excellent for storing historic documents. | 0:25:42 | 0:25:46 | |
I'm hunting out archive manager, Stuart Selwood. | 0:25:46 | 0:25:49 | |
Stuart? | 0:25:49 | 0:25:52 | |
This is bizarre, rows and rows of bookshelves, in a salt mine. | 0:25:52 | 0:25:58 | |
-Hello. -Hello. Why are there all these records in a salt mine? | 0:25:58 | 0:26:03 | |
Well, this is the National Archives off-site storage facility. | 0:26:03 | 0:26:06 | |
And the repositories in Kew, | 0:26:06 | 0:26:09 | |
where the National Archives is based, are filling up, | 0:26:09 | 0:26:12 | |
and we needed a safe and secure environment to hold them in. | 0:26:12 | 0:26:16 | |
The National Archives, formerly known as the Public Record Office, | 0:26:16 | 0:26:20 | |
was established in the 19th century | 0:26:20 | 0:26:22 | |
to impose Victorian order on Britain's official records. | 0:26:22 | 0:26:25 | |
Nowadays the collection holds material from the Middle Ages | 0:26:25 | 0:26:28 | |
right up to the present day. | 0:26:28 | 0:26:31 | |
This census was taken in this area at the time of my Bradshaw's guide. | 0:26:31 | 0:26:35 | |
Inside, you've got the actual printed and then written record, | 0:26:35 | 0:26:42 | |
from the night in 1861 when they took the census. | 0:26:42 | 0:26:46 | |
And indeed, the first person listed here is a salt maker, | 0:26:46 | 0:26:49 | |
George Witton, then his wife, Martha Witton, gives her age, | 0:26:49 | 0:26:54 | |
then their daughter, Maria Witton. | 0:26:54 | 0:26:57 | |
Quite a thought though, that those people there, those salt workers | 0:26:57 | 0:27:01 | |
might actually have dug these tunnels, | 0:27:01 | 0:27:04 | |
and now their records are housed here in perpetuity. | 0:27:04 | 0:27:07 | |
Yes, indeed. I mean, we will be keeping them safe down here | 0:27:07 | 0:27:10 | |
for the foreseeable future, and beyond, really. | 0:27:10 | 0:27:14 | |
Once again, my 19th century guidebook | 0:27:14 | 0:27:16 | |
has led me to fresh insights into Britain's past and present. | 0:27:16 | 0:27:21 | |
From the hidden underground archives | 0:27:21 | 0:27:23 | |
to potteries untouched by the passage of time, | 0:27:23 | 0:27:26 | |
this country is full of surprises. | 0:27:26 | 0:27:28 | |
Minerals have dominated this leg of my journey, | 0:27:28 | 0:27:32 | |
the salt and coal and clays buried in the ground | 0:27:32 | 0:27:35 | |
had been known about throughout history, | 0:27:35 | 0:27:38 | |
but they were exploited by the Victorians on an industrial scale, | 0:27:38 | 0:27:42 | |
shaping the destinies of Staffordshire and Cheshire. | 0:27:42 | 0:27:46 | |
In the mines, the collieries and the kilns, | 0:27:46 | 0:27:49 | |
workers toiled to make Britain prosperous. | 0:27:49 | 0:27:53 | |
They were the salt of the earth. | 0:27:53 | 0:27:55 | |
On the next leg of my journey, | 0:27:59 | 0:28:01 | |
I learn how Victorian blacksmithing was not for the faint-hearted. | 0:28:01 | 0:28:06 | |
It's very hard, physical work, there's no doubt about that. | 0:28:06 | 0:28:10 | |
I'll ride one of Britain's most modern trains. | 0:28:10 | 0:28:14 | |
And there we go, a surge of power. | 0:28:14 | 0:28:16 | |
And traverse the remarkable Victoria Bridge. | 0:28:16 | 0:28:20 | |
In its day it was the longest clear span in the world, | 0:28:20 | 0:28:22 | |
and it is, of course, majestic. | 0:28:22 | 0:28:25 | |
TRAIN WHISTLE HOOTS | 0:28:25 | 0:28:28 | |
Subtitles by Red Bee Media Ltd | 0:28:53 | 0:28:56 |