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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 the Victorians to take to the tracks.' | 0:00:12 | 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 | 0:00:25 | 0:00:29 | |
'across the length and breadth of these isles | 0:00:29 | 0:00:31 | |
'to see what of Bradshaw's Britain remains.' | 0:00:31 | 0:00:34 | |
'I'm now more than half way through a journey that began in Portsmouth | 0:00:57 | 0:01:01 | |
'and which has given me time to explore my home city of London. | 0:01:01 | 0:01:05 | |
'On this leg, I'll be continuing that exploration.' | 0:01:05 | 0:01:09 | |
'Today, I'll discover how derelict Victorian London | 0:01:12 | 0:01:16 | |
'is being rejuvenated.' | 0:01:16 | 0:01:18 | |
This used to be called Granary Square, | 0:01:18 | 0:01:20 | |
-and will be bigger than Trafalgar Square. -Amazing. | 0:01:20 | 0:01:23 | |
'I'll put in a shift at a Cambridgeshire brick factory.' | 0:01:23 | 0:01:26 | |
Oh, dear boy, would you like to come and have a go? | 0:01:26 | 0:01:29 | |
Always one for a challenge. | 0:01:29 | 0:01:31 | |
'And I'll meet a brick-built immigrant community.' | 0:01:31 | 0:01:34 | |
THEY SING | 0:01:34 | 0:01:36 | |
'Using my Bradshaw's Guide, | 0:01:43 | 0:01:45 | |
'I began on the Hampshire coast in Portsmouth, | 0:01:45 | 0:01:47 | |
'travelled up through Surrey and on to London, | 0:01:47 | 0:01:50 | |
'and I'll soon push north east to Cambridgeshire, | 0:01:50 | 0:01:53 | |
'completing my journey at Grimsby in Lincolnshire.' | 0:01:53 | 0:01:57 | |
'The fourth leg of my journey starts in Kings Cross, | 0:02:00 | 0:02:03 | |
'heads north to Alexandra Palace, | 0:02:03 | 0:02:05 | |
'on to Knebworth, into Bedfordshire and ends in Peterborough.' | 0:02:05 | 0:02:09 | |
The Victorian railways made their biggest architectural impact | 0:02:12 | 0:02:15 | |
in our city centres, with the erection of vast termini, | 0:02:15 | 0:02:19 | |
cathedrals of steam. | 0:02:19 | 0:02:21 | |
Today, thanks to an enormous rebuilding programme, | 0:02:21 | 0:02:24 | |
they are returning to their Victorian exuberance, | 0:02:24 | 0:02:27 | |
revealing again architectural details | 0:02:27 | 0:02:31 | |
pointed out in my Bradshaw's Guide. | 0:02:31 | 0:02:33 | |
'Built by the Great Northern Railway | 0:02:39 | 0:02:41 | |
'and named in homage to King George IV, | 0:02:41 | 0:02:44 | |
'central London's King's Cross opened in 1852. | 0:02:44 | 0:02:48 | |
'Today, it's a busy London terminus | 0:02:48 | 0:02:50 | |
'with over 40 million passengers passing through it each year. | 0:02:50 | 0:02:54 | |
'And after decades of neglect, | 0:02:54 | 0:02:57 | |
'the station is finally being restored to its beautiful grandeur.' | 0:02:57 | 0:03:01 | |
This station is, to me, a wonder | 0:03:03 | 0:03:05 | |
and it was to George Bradshaw, too. | 0:03:05 | 0:03:08 | |
"King's Cross presents a most imposing appearance. | 0:03:08 | 0:03:11 | |
"In the facade, the two main arches mark the end of the arrival | 0:03:11 | 0:03:14 | |
"and departures platforms and each has a span of no less than 72 feet. | 0:03:14 | 0:03:20 | |
"On reaching the platform, | 0:03:20 | 0:03:21 | |
"the traveller cannot fail to admire | 0:03:21 | 0:03:24 | |
"the size and character of the station, the semi-spherical roof | 0:03:24 | 0:03:27 | |
"the immense area covered in." | 0:03:27 | 0:03:29 | |
And thanks to the recent refurbishment of King's Cross, | 0:03:29 | 0:03:32 | |
we are seeing it today as no-one has seen it | 0:03:32 | 0:03:36 | |
since Queen Victoria went to her grave. | 0:03:36 | 0:03:39 | |
'Affectionately dubbed The Great Station, | 0:03:42 | 0:03:45 | |
'King's Cross was designed in an Italianate style | 0:03:45 | 0:03:48 | |
'by architect Lewis Cubitt. | 0:03:48 | 0:03:50 | |
'Now the station and the 67 acres | 0:03:50 | 0:03:53 | |
'of previously derelict land and buildings behind it | 0:03:53 | 0:03:57 | |
'are undergoing one of the largest urban regenerations in Europe.' | 0:03:57 | 0:04:00 | |
'I'm meeting Roger Mann of the redevelopment team | 0:04:03 | 0:04:06 | |
'at the Grade II listed Granary Complex. | 0:04:06 | 0:04:10 | |
'At the height of the Victorian industrial boom, | 0:04:10 | 0:04:12 | |
'it was part of a goods interchange, and now forms a new campus | 0:04:12 | 0:04:16 | |
'for the Central Saint Martins College of Art and Design.' | 0:04:16 | 0:04:20 | |
This is a fantastic space. | 0:04:23 | 0:04:25 | |
And the railway history is written on the wall, | 0:04:25 | 0:04:28 | |
-so it's been left intact, hasn't it? -It has. | 0:04:28 | 0:04:30 | |
There was a great debate about sandblasting this building, | 0:04:30 | 0:04:34 | |
but I think the right decision was made. | 0:04:34 | 0:04:36 | |
Originally, this was built purely for goods | 0:04:36 | 0:04:39 | |
and a passenger was something not necessarily thought of. | 0:04:39 | 0:04:43 | |
So it was always a bit of a by-product. | 0:04:43 | 0:04:45 | |
-Because the money was in freight? -Exactly so. | 0:04:45 | 0:04:47 | |
What were the sorts of goods being moved through this part of King's Cross? | 0:04:47 | 0:04:51 | |
Potatoes and coal, together with fish and then lots of other goods. | 0:04:51 | 0:04:55 | |
Fantastic. | 0:04:55 | 0:04:57 | |
'The redevelopment of King's Cross isn't confined to its interior. | 0:04:58 | 0:05:02 | |
'The exterior is being transformed, too.' | 0:05:02 | 0:05:05 | |
I had no idea that this vast space existed. What was it? | 0:05:08 | 0:05:12 | |
This was a canal basin. The canal itself, just over there, | 0:05:12 | 0:05:15 | |
came into the site all the way to the granary building | 0:05:15 | 0:05:18 | |
and underneath and, in fact, there were two openings | 0:05:18 | 0:05:21 | |
under the main building and one on either end of the shed. | 0:05:21 | 0:05:25 | |
The barges could pass under the building? | 0:05:25 | 0:05:27 | |
Under the building and disgorged of their product or, in fact, took a load on. | 0:05:27 | 0:05:31 | |
And what will this space be now? | 0:05:31 | 0:05:33 | |
This is to be called Granary Square, | 0:05:33 | 0:05:35 | |
we'll have a number of fountains playing, | 0:05:35 | 0:05:38 | |
probably with music from time to time | 0:05:38 | 0:05:41 | |
-and will be bigger than Trafalgar Square. -Amazing. | 0:05:41 | 0:05:44 | |
'The station's original roof, | 0:05:45 | 0:05:47 | |
'modelled on the Russian Tsar's riding school, | 0:05:47 | 0:05:50 | |
'was the largest in the world, spanning 105 by 800 feet. | 0:05:50 | 0:05:55 | |
'And the new 1,700-ton steel-and-glass dome | 0:05:55 | 0:05:58 | |
'covering the refurbished concourse is the centrepiece of architect | 0:05:58 | 0:06:03 | |
John McAslan's vision for King's Cross. | 0:06:03 | 0:06:05 | |
John... | 0:06:07 | 0:06:09 | |
-If you seek his monument, look about you. -Exactly. | 0:06:09 | 0:06:11 | |
Congratulations, it's magnificent. | 0:06:11 | 0:06:13 | |
You've chosen to make this sweeping roof. | 0:06:13 | 0:06:16 | |
Are you making reference here to Victorian architecture? | 0:06:16 | 0:06:19 | |
We are. We are inspired by the original architecture, | 0:06:19 | 0:06:23 | |
the original train shed roof and we've tried to interpret that | 0:06:23 | 0:06:26 | |
and I think people genuinely enjoy the quality of the space | 0:06:26 | 0:06:30 | |
and understand the references we've made. | 0:06:30 | 0:06:32 | |
I've noticed, for example, that the passenger sheds, | 0:06:32 | 0:06:36 | |
the glazing has all been redone, | 0:06:36 | 0:06:38 | |
light is now pouring on to the platforms. | 0:06:38 | 0:06:40 | |
That didn't happen for many years. | 0:06:40 | 0:06:42 | |
That's right, all of the old polychromatic | 0:06:42 | 0:06:44 | |
coverings have been removed, we've reinstated glass. | 0:06:44 | 0:06:47 | |
We've put photovoltaics on top so energy is produced now, so yes, | 0:06:47 | 0:06:50 | |
they're represented. and I think as you'll agree, | 0:06:50 | 0:06:53 | |
fantastic light is streaming in to the shed | 0:06:53 | 0:06:55 | |
for the first time in about 50 years. | 0:06:55 | 0:06:57 | |
If George Bradshaw were writing today and he came here, | 0:06:57 | 0:07:00 | |
would he write with such admiration about your spans and arches? | 0:07:00 | 0:07:05 | |
I think he'd see the connection we've made between | 0:07:05 | 0:07:07 | |
Victorian engineering and 21st century architecture | 0:07:07 | 0:07:10 | |
and engineering and I'd hope he would respond well to it. | 0:07:10 | 0:07:12 | |
WHISTLE | 0:07:26 | 0:07:28 | |
'My next stop, like King's Cross,' | 0:07:35 | 0:07:37 | |
is another piece of iconic Victorian architecture, | 0:07:37 | 0:07:42 | |
built with its own railway station, looming over the railway tracks. | 0:07:42 | 0:07:46 | |
A palace named after the Princess of Wales. | 0:07:46 | 0:07:50 | |
But it wasn't built for the Princess's pleasure, | 0:07:50 | 0:07:52 | |
but for the pleasure of the public. | 0:07:52 | 0:07:55 | |
Alexandra Palace. | 0:07:55 | 0:07:57 | |
'Five miles north of King's Cross, in 1873, | 0:07:58 | 0:08:00 | |
'The People's Palace opened | 0:08:00 | 0:08:03 | |
'as a centre of recreation for Victorian Londoners. | 0:08:03 | 0:08:07 | |
'But after just 16 days, Alexandra Palace was destroyed by fire. | 0:08:07 | 0:08:12 | |
'Two years later, a new palace, covering seven acres, opened. | 0:08:13 | 0:08:18 | |
'In 1936, | 0:08:18 | 0:08:19 | |
'the first public television pictures were transmitted from here | 0:08:19 | 0:08:24 | |
'and then in 1980, the palace was severely fire damaged again. | 0:08:24 | 0:08:29 | |
'I'm hoping that current Chief Executive, Duncan Wilson, | 0:08:29 | 0:08:32 | |
'will tell me how it's recovered.' | 0:08:32 | 0:08:34 | |
-Duncan, hello. -Hello. | 0:08:34 | 0:08:36 | |
So I take it from the architecture that this was a railway station. | 0:08:36 | 0:08:40 | |
Indeed. This was the booking hall of the railway station, | 0:08:40 | 0:08:42 | |
which lay between the hall and Alexandra Palace itself. | 0:08:42 | 0:08:46 | |
So when Alexandra Palace was built in 1873, | 0:08:46 | 0:08:48 | |
it already had its railway station? | 0:08:48 | 0:08:50 | |
Indeed, it was part of the whole concept to get people up here | 0:08:50 | 0:08:53 | |
in massive numbers to enjoy this enormous palace of entertainment. | 0:08:53 | 0:08:58 | |
And did the railway succeed in sucking people in? | 0:08:58 | 0:09:00 | |
It did, there were 94,000 people arrived on the Whit Monday | 0:09:00 | 0:09:03 | |
after it opened, although they did arrive rather late, | 0:09:03 | 0:09:06 | |
because there was a derailment just outside King's Cross. | 0:09:06 | 0:09:10 | |
'Alexandra Palace's entertainment spaces include its Palm Court, | 0:09:10 | 0:09:15 | |
'ice rink and - the largest of all - its Great Hall.' | 0:09:15 | 0:09:19 | |
This is absolutely extraordinary, isn't it? | 0:09:19 | 0:09:22 | |
So what did they build this vast space for? | 0:09:22 | 0:09:24 | |
It was built for, amongst other things, organ concerts | 0:09:24 | 0:09:27 | |
for audiences of ten to 15,000, choral concerts, | 0:09:27 | 0:09:31 | |
orchestral concerts, massive events. | 0:09:31 | 0:09:33 | |
It could accommodate nearly 2,000 performers. | 0:09:33 | 0:09:36 | |
From your knowledge of Alexandra Palace, | 0:09:36 | 0:09:38 | |
what impression do you get of what entertained the Victorians? | 0:09:38 | 0:09:41 | |
An amazing range of things by modern standards. I think, in a way, | 0:09:41 | 0:09:45 | |
it was the combination of the wildlife documentary | 0:09:45 | 0:09:47 | |
and the art history programme on television | 0:09:47 | 0:09:50 | |
all presented as an exhibition to the public, or a series of them, | 0:09:50 | 0:09:53 | |
so we had exhibitions of goat and rabbit breeding, | 0:09:53 | 0:09:57 | |
a Moorish bazaar and 1,000 monkeys exhibited in the Palm Court, | 0:09:57 | 0:10:02 | |
and they even brought elephants here by train, | 0:10:02 | 0:10:05 | |
led out through the front of the building to the circus. | 0:10:05 | 0:10:08 | |
-On the trunk line? -On the trunk line, yes. | 0:10:08 | 0:10:11 | |
What plans do you have for all this in the future? | 0:10:15 | 0:10:18 | |
Currently, we operate the Great and West halls as a successful | 0:10:18 | 0:10:21 | |
concert venue, but there's a lot we can do more with Alexander Palace, | 0:10:21 | 0:10:25 | |
if we can get the money to invest in it. | 0:10:25 | 0:10:27 | |
It's heartening that, like King's Cross, | 0:10:31 | 0:10:34 | |
another great Victorian edifice is highly valued today. | 0:10:34 | 0:10:37 | |
From the current Alexandra Palace station, | 0:10:46 | 0:10:49 | |
I am catching my next train north, out of the capital. | 0:10:49 | 0:10:53 | |
I've left London well behind me now, | 0:10:58 | 0:11:01 | |
and my train is swishing through Hertfordshire. | 0:11:01 | 0:11:04 | |
For my last stop of the day, I have taken a tip from Bradshaw's, | 0:11:04 | 0:11:08 | |
which says that in the vicinity is Knebworth Hall, | 0:11:08 | 0:11:11 | |
"the fine seat of Sir Edward Bulwer-Lytton." | 0:11:11 | 0:11:14 | |
Bulwer-Lytton? That rings a bell. An author, I think, | 0:11:15 | 0:11:18 | |
but I don't think I have ever read anything by him. | 0:11:18 | 0:11:21 | |
The name Knebworth might be synonymous with its rock festival, | 0:11:24 | 0:11:28 | |
but it's been home to the Lytton family since 1490, | 0:11:28 | 0:11:33 | |
and in the 19th century, to Sir Edward Bulwer-Lytton, | 0:11:33 | 0:11:36 | |
author and member of Parliament. | 0:11:36 | 0:11:38 | |
I'm meeting descendant Henry Lytton-Cobbold. | 0:11:38 | 0:11:41 | |
Hi, Michael. | 0:11:41 | 0:11:42 | |
-Henry, lovely to see you. -Very pleased you popped by. | 0:11:42 | 0:11:45 | |
-A fine seat, as my Bradshaw's says. -Thank you very much. | 0:11:45 | 0:11:48 | |
-But Bulwer-Lytton, I don't know much about him. -There's lots to tell you about Bulwer. | 0:11:48 | 0:11:52 | |
Let me show you round. Let me show you his influence. | 0:11:52 | 0:11:55 | |
So we have the most hideous and scary preachers here. | 0:11:56 | 0:12:01 | |
Yes, warding off evil spirits, which they still do to this day, I trust. | 0:12:01 | 0:12:05 | |
Does that tells us something about his mind? | 0:12:05 | 0:12:08 | |
It tells us a lot about his mind. | 0:12:08 | 0:12:11 | |
I mean, look at these. Everywhere you'll see bats on barrels. | 0:12:11 | 0:12:14 | |
Bats on barrels is a play on the word "Lytton", | 0:12:14 | 0:12:17 | |
the old English word for a bat being "lit", and for a barrel being "ton". | 0:12:17 | 0:12:22 | |
So everywhere you'll see different bats on barrels. | 0:12:22 | 0:12:25 | |
Some of these gargoyles seem to have a thirst on them. | 0:12:25 | 0:12:27 | |
Their very long tongues are hanging out. | 0:12:27 | 0:12:30 | |
In fact, English Heritage, which insisted everything go back | 0:12:30 | 0:12:33 | |
exactly the way it was, | 0:12:33 | 0:12:35 | |
when we were able to restore these a few years ago, | 0:12:35 | 0:12:37 | |
did allow us to shorten the tongues just a little bit, | 0:12:37 | 0:12:40 | |
just for decency's sake. | 0:12:40 | 0:12:43 | |
But great fun to restore them back up to their original position, | 0:12:43 | 0:12:47 | |
up above the library bay window here. | 0:12:47 | 0:12:49 | |
Having found out about Bulwer-Lytton's taste | 0:12:49 | 0:12:52 | |
in exterior decor, I want to discover more of the man himself. | 0:12:52 | 0:12:57 | |
He was perhaps best known for his historical novels. | 0:12:57 | 0:13:00 | |
This is his collection of medieval armour, | 0:13:00 | 0:13:03 | |
which is armour that still has dents in it | 0:13:03 | 0:13:07 | |
where spears and musket shell has hit it. | 0:13:07 | 0:13:09 | |
Here we are in Bulwer-Lytton's study, | 0:13:09 | 0:13:12 | |
where he wrote his enormous volume of work. | 0:13:12 | 0:13:15 | |
What was his reputation at the time? | 0:13:15 | 0:13:17 | |
He was the best-selling novelist in Britain in the 1830s, | 0:13:17 | 0:13:20 | |
until the young whippersnapper journalist Charles Dickens | 0:13:20 | 0:13:23 | |
came along and usurped him. | 0:13:23 | 0:13:24 | |
Of course, they were great friends, and they went on to work together. | 0:13:24 | 0:13:27 | |
Poor Lytton became very much a grand old man of literature | 0:13:27 | 0:13:31 | |
for the mid-19th-century authors and poets. | 0:13:31 | 0:13:35 | |
And would those other authors come down? | 0:13:35 | 0:13:37 | |
Yes, Dickens would bring his chums down, his actor friends down | 0:13:37 | 0:13:39 | |
for great weekend parties, and perform in the hall downstairs. | 0:13:39 | 0:13:44 | |
-So, this is his rather splendid library. -Wonderful. | 0:13:44 | 0:13:47 | |
Literally built from scratch, a Victorian gentleman's library. | 0:13:47 | 0:13:50 | |
-Wonderful. -It's funny to think, even right from the start of his career, | 0:13:50 | 0:13:54 | |
but even quite late into his career, he was writing for money. | 0:13:54 | 0:13:57 | |
I mean, he spent a lot of money on this towards the end of the 1840s, | 0:13:57 | 0:13:59 | |
when the railway was being built. | 0:13:59 | 0:14:02 | |
I think he relied rather too heavily on making money out of that, | 0:14:02 | 0:14:05 | |
and he ended up having to write the novel Harold | 0:14:05 | 0:14:07 | |
to help pay the solicitors' bills that he'd run up, | 0:14:07 | 0:14:10 | |
trying to fight for his fair share | 0:14:10 | 0:14:12 | |
for having the railway go right through his estate. | 0:14:12 | 0:14:16 | |
In the 1840s, like so many other landowners across these islands, | 0:14:17 | 0:14:21 | |
Edward Bulwer-Lytton had to decide whether he would | 0:14:21 | 0:14:24 | |
allow the railways to traverse his land, | 0:14:24 | 0:14:27 | |
and if he did, how much he would accept from them for the privilege. | 0:14:27 | 0:14:31 | |
So, here we have his estate at that time. | 0:14:31 | 0:14:34 | |
You can see how the railway literally seared it in two. | 0:14:34 | 0:14:38 | |
It really brings home to you what landowners | 0:14:38 | 0:14:41 | |
had to sacrifice in those days, if the railway passed through. | 0:14:41 | 0:14:44 | |
Yes. | 0:14:44 | 0:14:45 | |
Edward Bulwer-Lytton was the first writer to begin a novel | 0:14:54 | 0:14:58 | |
with the words, "It was a dark and stormy night." | 0:14:58 | 0:15:02 | |
He also gave us the phrase, "The pen is mightier than the sword," | 0:15:02 | 0:15:06 | |
and the expression, "The great unwashed." | 0:15:06 | 0:15:09 | |
Which after the long day that I've had, | 0:15:09 | 0:15:11 | |
is rather the way I'm feeling now. | 0:15:11 | 0:15:13 | |
It's off to a local hostelry, and early to bed. | 0:15:15 | 0:15:18 | |
Rejuvenated, and set for the next leg of my journey, | 0:15:25 | 0:15:28 | |
it's less than a half-hour trip | 0:15:28 | 0:15:30 | |
on the King's Cross-to-Peterborough main line. | 0:15:30 | 0:15:32 | |
I'm now in Bedfordshire, and my Bradshaw's tells me | 0:15:49 | 0:15:52 | |
some of the finest vegetables are produced here for the London market. | 0:15:52 | 0:15:56 | |
They must benefit from all this rain. | 0:15:56 | 0:15:58 | |
My next stop is Biggleswade, | 0:15:58 | 0:16:00 | |
and Bradshaw's tells me it was formerly | 0:16:00 | 0:16:02 | |
one of the most extensive corn markets in England, | 0:16:02 | 0:16:04 | |
and that's the clue I'm going to pursue, | 0:16:04 | 0:16:06 | |
because in my view, you don't get a corn market without corn. | 0:16:06 | 0:16:11 | |
In Bradshaw's day, mills in this area were abundant. | 0:16:15 | 0:16:18 | |
In the 1850s, Biggleswade was the first town in Bedfordshire | 0:16:18 | 0:16:23 | |
to have a main line station. | 0:16:23 | 0:16:24 | |
I've come to one of the last working mills in the county | 0:16:27 | 0:16:31 | |
to meet Bill Jordan, whose family has for generations | 0:16:31 | 0:16:34 | |
pushed forward the technology of milling. | 0:16:34 | 0:16:37 | |
-Hello. -Hello, Bill. -Welcome. | 0:16:41 | 0:16:43 | |
Thank you so much. | 0:16:43 | 0:16:45 | |
This is a gorgeous mill. How old is it? | 0:16:45 | 0:16:48 | |
This was built in 1896, so it was a model mill in its day. | 0:16:48 | 0:16:52 | |
Had there been mills here before? | 0:16:52 | 0:16:54 | |
Yes, there's been a mill here since the Domesday Book, 1086, | 0:16:54 | 0:16:57 | |
because this was a great grain-growing area. | 0:16:57 | 0:17:00 | |
Yes, my Bradshaw's Guide refers to the corn markets | 0:17:00 | 0:17:04 | |
of Biggleswade being amongst the most important in the country. | 0:17:04 | 0:17:07 | |
It was a real bread basket area. 400 mills alone in Bedfordshire, | 0:17:07 | 0:17:11 | |
and the great thing here, the River Ivel is a tributary of the Ouse, | 0:17:11 | 0:17:14 | |
so there was always reasonably good water here. | 0:17:14 | 0:17:17 | |
We're wearing our hard hats in here. What are you doing with this mill? | 0:17:17 | 0:17:20 | |
It's all about showing people how milling is done, | 0:17:20 | 0:17:23 | |
how we use water power to drive the mill, so sustainable power. | 0:17:23 | 0:17:28 | |
So this is a great example of an old Victorian roller mill | 0:17:28 | 0:17:32 | |
driven by water. | 0:17:32 | 0:17:33 | |
When this mill opened, what were its features? | 0:17:33 | 0:17:35 | |
Was it advanced for its time? | 0:17:35 | 0:17:37 | |
Oh, this was the last word. | 0:17:37 | 0:17:39 | |
The whole thing about flour milling was survival. | 0:17:39 | 0:17:42 | |
Those 400 mills came crashing down to just one, which was this one, | 0:17:42 | 0:17:47 | |
only a few years ago, | 0:17:47 | 0:17:48 | |
and the whole thing about milling was to try and use technology | 0:17:48 | 0:17:52 | |
to just get a step ahead of your competition. | 0:17:52 | 0:17:55 | |
Looking at this machinery, what should I notice about it? | 0:17:55 | 0:17:58 | |
Well, you weren't paying much for your power, | 0:17:58 | 0:18:00 | |
because we're working on a four-foot drop in the River Ivel | 0:18:00 | 0:18:03 | |
to actually drive this turbine, | 0:18:03 | 0:18:05 | |
which develops something like 28 horsepower. | 0:18:05 | 0:18:08 | |
-So it was a clever piece of kit. -Have you got it in working order? | 0:18:08 | 0:18:11 | |
This is absolutely in working order. | 0:18:11 | 0:18:13 | |
This will be one of the finest examples, really, | 0:18:13 | 0:18:15 | |
of a Victorian roller mill still in use. | 0:18:15 | 0:18:18 | |
You have to take your hat off to these Victorian engineers. | 0:18:23 | 0:18:27 | |
You really do. | 0:18:27 | 0:18:28 | |
This has been working for over 110 years, very little maintenance. | 0:18:28 | 0:18:33 | |
A few separate teeth occasionally, when there was a breakdown. | 0:18:33 | 0:18:37 | |
But absolutely. | 0:18:37 | 0:18:38 | |
All that power, 28 horsepower, just run off the river. | 0:18:38 | 0:18:42 | |
Very clever. | 0:18:42 | 0:18:44 | |
Bill's not merely an enthusiast for old mills. | 0:18:44 | 0:18:48 | |
In the 1970s, he and his brother saw a new future in breakfast cereals. | 0:18:49 | 0:18:53 | |
They swapped granary for granola, | 0:18:53 | 0:18:55 | |
traded in wheat for oats, | 0:18:55 | 0:18:57 | |
left flour milling behind, | 0:18:57 | 0:18:59 | |
and created their multi-million pound brand, Jordan's Cereal. | 0:18:59 | 0:19:03 | |
Paul Bell is a shift manager at their factory. | 0:19:05 | 0:19:07 | |
Paul, this is breakfast cereals on a industrial scale. | 0:19:09 | 0:19:12 | |
This whole thing we walked along is an oven. | 0:19:12 | 0:19:14 | |
It is indeed, 62 metres of it, yes. | 0:19:14 | 0:19:16 | |
This oven can do any cereal you like, can it? | 0:19:16 | 0:19:18 | |
Yes, essentially. We can do 13, 14 different types of base product. | 0:19:19 | 0:19:24 | |
Give me some idea of your output from this plant. | 0:19:24 | 0:19:26 | |
We produce, on average, 1,500 pallets of finished goods a week, | 0:19:26 | 0:19:30 | |
which is about 135,000 cases. | 0:19:30 | 0:19:33 | |
How many boxes of cereal is that? You multiply by what? | 0:19:33 | 0:19:36 | |
By six, as a rule. So that's quite some undertaking. | 0:19:36 | 0:19:40 | |
The technology that gets over 800,000 boxes of cereal per week | 0:19:40 | 0:19:45 | |
cooked, bagged, boxed, packed and distributed is a long step | 0:19:45 | 0:19:49 | |
forward from the water-powered mills of the company's Victorian history. | 0:19:49 | 0:19:54 | |
What we have here, flat-pack cartons, | 0:19:54 | 0:19:56 | |
and every time the sensor sees a bag on the belt, | 0:19:56 | 0:19:59 | |
it'll pull the carton down, push it into shape. | 0:19:59 | 0:20:02 | |
As we walk along the process, | 0:20:02 | 0:20:03 | |
we can watch the pushers push the bags into the boxes. | 0:20:03 | 0:20:07 | |
They're then folded and glued and sealed, | 0:20:07 | 0:20:10 | |
and fed down to the next process. | 0:20:10 | 0:20:13 | |
After going through a check weigher, which is obviously | 0:20:13 | 0:20:15 | |
a legal requirement for our 500g declarations. | 0:20:15 | 0:20:18 | |
From the bread basket of Bedfordshire, | 0:20:25 | 0:20:28 | |
I'm destined now for Cambridgeshire, | 0:20:28 | 0:20:30 | |
the county of my old university and for which, | 0:20:30 | 0:20:33 | |
unlike Bradshaw's, I have an affinity. | 0:20:33 | 0:20:35 | |
My Bradshaw's can be pretty opinionated. | 0:20:39 | 0:20:41 | |
Under the entry for Peterborough, where I'll be changing trains, | 0:20:41 | 0:20:45 | |
it writes "the country is flat and uninteresting in winter | 0:20:45 | 0:20:49 | |
"and when the floods are up, the roads are almost impassable." | 0:20:49 | 0:20:53 | |
It sounds as if some unfortunate personal experience | 0:20:53 | 0:20:56 | |
lies behind that. I find the Eastern Plain | 0:20:56 | 0:20:59 | |
rather more charming than Bradshaw's did. | 0:20:59 | 0:21:01 | |
Peterborough station serves all four points of the compass, | 0:21:04 | 0:21:08 | |
and four million passengers a year. | 0:21:08 | 0:21:10 | |
'Train just arriving at platform 5. | 0:21:10 | 0:21:12 | |
'Whittlesey is an additional stop today for this service.' | 0:21:12 | 0:21:16 | |
I'm taking the branch line east to Whittlesey. | 0:21:16 | 0:21:20 | |
Relying on the constituents of what Bradshaw's dismissed | 0:21:23 | 0:21:26 | |
as its boggy ground, since the 1880s | 0:21:26 | 0:21:30 | |
Peterborough and its surrounds | 0:21:30 | 0:21:32 | |
have built a prosperity based on the manufacture | 0:21:32 | 0:21:35 | |
of a construction product that most of us take for granted. | 0:21:35 | 0:21:38 | |
Bricks. | 0:21:39 | 0:21:41 | |
In the late 19th and early 20th centuries, | 0:21:43 | 0:21:46 | |
so much of our capital city was built with these, | 0:21:46 | 0:21:49 | |
that the product became known simply as London Brick. | 0:21:49 | 0:21:53 | |
I'm in Whittlesey to meet David Weeks, | 0:21:53 | 0:21:55 | |
whose company bought the original London Brick Company in the 1980s. | 0:21:55 | 0:21:59 | |
So this wonderful stuff is clay, is it? | 0:22:01 | 0:22:03 | |
Yeah, this is really the heart of the whole process. | 0:22:03 | 0:22:06 | |
It's called Lower Oxford clay, and interestingly, | 0:22:06 | 0:22:09 | |
when the brick works first started in Peterborough, | 0:22:09 | 0:22:12 | |
they used the very soft clay on the top, | 0:22:12 | 0:22:14 | |
and a guy called James Craig who set up the first brickworks | 0:22:14 | 0:22:17 | |
discovered this much harder clay underneath and purely by chance | 0:22:17 | 0:22:22 | |
as they dug further and further. | 0:22:22 | 0:22:24 | |
And there's a rich seam that goes from Oxford all the way | 0:22:24 | 0:22:27 | |
up to Yorkshire and all these brick works | 0:22:27 | 0:22:30 | |
were sited along the seam of clay. | 0:22:30 | 0:22:33 | |
With its high carbon content, | 0:22:35 | 0:22:37 | |
Lower Oxford Clay had a unique property - | 0:22:37 | 0:22:40 | |
it was combustible, so less fuel was needed | 0:22:40 | 0:22:43 | |
to fire the bricks in the production process. | 0:22:43 | 0:22:46 | |
In the late 19th century, | 0:22:46 | 0:22:48 | |
this industry was able to save energy, | 0:22:48 | 0:22:50 | |
and to make use of a raw material that was both natural and plentiful. | 0:22:50 | 0:22:55 | |
There's been quarrying around this part of Peterborough | 0:22:56 | 0:22:59 | |
for over 100 years now. | 0:22:59 | 0:23:01 | |
This is the last working clay quarry, | 0:23:01 | 0:23:03 | |
and when this is finished it will be the end of an era, | 0:23:03 | 0:23:06 | |
because the market for these bricks is gradually tailing off, | 0:23:06 | 0:23:10 | |
because although they're very hard-wearing and durable, | 0:23:10 | 0:23:12 | |
they don't have the insulation properties of a modern brick. | 0:23:12 | 0:23:15 | |
By the 1930s, the market for London bricks was huge... | 0:23:17 | 0:23:21 | |
..and most of the Peterborough brickyards | 0:23:23 | 0:23:26 | |
had their own railway sidings to transport their finished products. | 0:23:26 | 0:23:30 | |
David wants to show me how the very finest London bricks are produced. | 0:23:31 | 0:23:36 | |
So, tell me about this process here. | 0:23:37 | 0:23:39 | |
Well, at the back you can see what we call the green bricks, | 0:23:39 | 0:23:43 | |
which are just the natural clay as it's just come out | 0:23:43 | 0:23:46 | |
after the bricks have been pressed. This is one of the kiln chambers. | 0:23:46 | 0:23:50 | |
You put it into the kiln chamber ready to be fired | 0:23:50 | 0:23:52 | |
and these guys are now bricking it up with old reject bricks | 0:23:52 | 0:23:56 | |
and they will then seal it with a render | 0:23:56 | 0:23:58 | |
and then gradually the fire will then work its way round | 0:23:58 | 0:24:01 | |
into this chamber and fire these bricks | 0:24:01 | 0:24:03 | |
and move on to the next chamber. | 0:24:03 | 0:24:05 | |
How long will your green bricks stay there until they're proper bricks? | 0:24:05 | 0:24:08 | |
They'll be in the kiln for about five days. | 0:24:08 | 0:24:10 | |
To ensure that the enormous kiln is working to maximum capacity, | 0:24:10 | 0:24:15 | |
it's been given handy portholes to add fuel. | 0:24:15 | 0:24:19 | |
Oh, wow, that is a brilliant sight, isn't it? | 0:24:19 | 0:24:21 | |
Those are glowing, glowing bricks, are they? | 0:24:21 | 0:24:24 | |
Yep, a thousand degrees. | 0:24:24 | 0:24:26 | |
Oh, yes, so that's quite nice on a cold day! | 0:24:26 | 0:24:29 | |
The process starts with them, as they approach the fire, | 0:24:29 | 0:24:31 | |
they gradually dry out and then the temperature rises | 0:24:31 | 0:24:34 | |
up to 1,000 degrees when they're fired properly | 0:24:34 | 0:24:37 | |
and then there's a process when they cool down | 0:24:37 | 0:24:39 | |
and the whole cycle takes about 12 days | 0:24:39 | 0:24:42 | |
and the fire moves around the kiln. The bricks are static all the time, | 0:24:42 | 0:24:45 | |
the fire tracks its way around | 0:24:45 | 0:24:47 | |
and we load the green bricks in ahead of the fire | 0:24:47 | 0:24:50 | |
and then take out the fired bricks behind the fire. | 0:24:50 | 0:24:53 | |
And it's a continuous process. | 0:24:53 | 0:24:55 | |
Once fired and cooled, even in today's mechanised world, | 0:24:55 | 0:24:59 | |
London bricks are packed the old-fashioned way, by hand. | 0:24:59 | 0:25:03 | |
Oh, dear boy, would you like to come and have a go? | 0:25:03 | 0:25:08 | |
Always one for a challenge! | 0:25:08 | 0:25:10 | |
What do I have to do? | 0:25:10 | 0:25:12 | |
Just pick two bricks up like that and put them on there. | 0:25:12 | 0:25:16 | |
Just make sure they're... | 0:25:16 | 0:25:18 | |
That's it. Mind your fingers, because they bite. | 0:25:20 | 0:25:24 | |
They bite, do they? | 0:25:24 | 0:25:25 | |
The other thing is to go at speed, isn't it? | 0:25:27 | 0:25:28 | |
-Do you do this all day, do you, Reg? -All day, yes. -Goodness. | 0:25:28 | 0:25:31 | |
Do you do any of the other jobs around the brickworks? | 0:25:31 | 0:25:34 | |
No, not really, no. | 0:25:34 | 0:25:35 | |
We have done 'em, but, like, this is our main job, this is. | 0:25:35 | 0:25:39 | |
So, makes you pretty tough? | 0:25:39 | 0:25:41 | |
Yeah, exactly. It hurts at the end of the day, | 0:25:41 | 0:25:45 | |
and plus we just come back off holidays, so... | 0:25:45 | 0:25:48 | |
So you're a little bit out of practice? | 0:25:48 | 0:25:51 | |
Stiff, yeah, at the minute, yeah. | 0:25:51 | 0:25:53 | |
Many thousands have put in shifts at London Brick, | 0:25:56 | 0:25:59 | |
some of them from surprising backgrounds. | 0:25:59 | 0:26:02 | |
After the Second World War, | 0:26:03 | 0:26:05 | |
Britain's cities had to be rebuilt, and the demand for bricks soared. | 0:26:05 | 0:26:10 | |
The London Brick Company employed more than 3,000 prisoners of war. | 0:26:10 | 0:26:15 | |
But after they went home in the early 1950s, | 0:26:15 | 0:26:18 | |
London Brick began a recruitment drive in Southern Italy. | 0:26:18 | 0:26:21 | |
As a result, Peterborough has a thriving Italian ex-pat community. | 0:26:21 | 0:26:28 | |
-Anyone here connected with the brickworks? -These two. | 0:26:28 | 0:26:31 | |
In 1955. We come from the same place in Italy. | 0:26:31 | 0:26:34 | |
Did you know each other in those days? | 0:26:34 | 0:26:37 | |
-Yes, I go to school with him. -No! -Yeah. | 0:26:37 | 0:26:39 | |
-Signora, when did you come to England? -1952. | 0:26:39 | 0:26:43 | |
Now, what did you come to do? | 0:26:43 | 0:26:44 | |
You didn't come to work in a brick factory? | 0:26:44 | 0:26:46 | |
No, darling, I just came for my love. My husband. | 0:26:46 | 0:26:49 | |
And what did he do? | 0:26:49 | 0:26:51 | |
Work in the London Brick Company. | 0:26:51 | 0:26:52 | |
In the London Brick Company. | 0:26:52 | 0:26:54 | |
THEY SING IN ITALIAN | 0:26:54 | 0:26:56 | |
What better way to end a journey | 0:26:56 | 0:26:58 | |
than to be immersed in a vibrant community built brick by brick? | 0:26:58 | 0:27:02 | |
THEY SING: "Nessun Dorma" | 0:27:02 | 0:27:06 | |
The story of the Italian brick makers | 0:27:25 | 0:27:28 | |
reminds me that despite the industrialisation of Bradshaw's era, | 0:27:28 | 0:27:31 | |
most people continued to be manual labourers. | 0:27:31 | 0:27:34 | |
These tracks were laid by beef and brawn | 0:27:34 | 0:27:36 | |
and in the fields, the wheat was gathered | 0:27:36 | 0:27:39 | |
largely without the use of machines. In this era of mechanisation, | 0:27:39 | 0:27:43 | |
it's as well to remember those who lived by the sweat of their brow. | 0:27:43 | 0:27:48 | |
On the next leg of my journey, | 0:27:50 | 0:27:51 | |
I see how Lincolnshire farmers utilised rails | 0:27:51 | 0:27:55 | |
to improve their harvests. | 0:27:55 | 0:27:58 | |
That was fun! | 0:27:58 | 0:27:59 | |
I visit one of Britain's most ancient and impressive cathedrals. | 0:27:59 | 0:28:04 | |
The tower is like fingers of honey-coloured stone | 0:28:04 | 0:28:10 | |
against the blue sky. Absolutely breathtaking. | 0:28:10 | 0:28:13 | |
And I look to the future of rail freight. | 0:28:13 | 0:28:16 | |
It gives me the most enormous pleasure to be able | 0:28:16 | 0:28:19 | |
to name this locomotive Immingham 100. | 0:28:19 | 0:28:25 | |
APPLAUSE | 0:28:26 | 0:28:29 | |
Subtitles by Red Bee Media Ltd | 0:28:44 | 0:28:47 |