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In 1840, one man transformed travel in Britain. | 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 | 0:00:17 | |
Stop by stop, he told them where to go, what to see, | 0:00:17 | 0:00:21 | |
and where to stay. | 0:00:21 | 0:00:23 | |
And now, 170 years later, I'm aboard for a series of rail adventures | 0:00:23 | 0:00:29 | |
across the United Kingdom | 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 halfway through my journey | 0:00:53 | 0:00:56 | |
from Hampshire to Wolverhampton, | 0:00:56 | 0:00:58 | |
and my serpentine route has brought me out west, | 0:00:58 | 0:01:01 | |
where I can presently enjoy the honey-coloured stones of Wiltshire. | 0:01:01 | 0:01:06 | |
Today I'll be discovering more about technology and engineering advances. | 0:01:06 | 0:01:10 | |
On this leg, I discover the origins of Victorian photography. | 0:01:15 | 0:01:19 | |
Talbot made the world's first photographic negative - | 0:01:19 | 0:01:22 | |
-a shot of this window. -Well, that is a feeling of history. | 0:01:22 | 0:01:26 | |
I visit Britain's longest rail tunnel | 0:01:26 | 0:01:28 | |
and its worrying water feature. | 0:01:28 | 0:01:31 | |
Torrents of water. That is unbelievable! | 0:01:31 | 0:01:34 | |
And I receive Bristol Zoo's seal of approval. | 0:01:34 | 0:01:38 | |
OK, Michael, if you just want to raise your right hand. | 0:01:38 | 0:01:41 | |
And your left hand. | 0:01:42 | 0:01:45 | |
Hey! Well done! | 0:01:45 | 0:01:47 | |
This journey has taken me from Southampton, through Hampshire, | 0:01:50 | 0:01:55 | |
on to Berkshire and into Wiltshire, | 0:01:55 | 0:01:57 | |
from where I'll head west to Bristol, across the Severn | 0:01:57 | 0:02:02 | |
and through the Cotswolds, to finish in Wolverhampton. | 0:02:02 | 0:02:05 | |
Today's leg takes a snapshot in Chippenham, | 0:02:07 | 0:02:10 | |
heads west to Bristol, crosses over to Wales, and ends in Gloucester. | 0:02:10 | 0:02:15 | |
My first stop will be Chippenham. | 0:02:20 | 0:02:22 | |
Bradshaw's tells me it has two tanneries, a foundry, | 0:02:22 | 0:02:25 | |
and a long bridge on 23 arches, which I fear is no longer there. | 0:02:25 | 0:02:29 | |
In the neighbourhood is Lacock Abbey, | 0:02:29 | 0:02:32 | |
seat of Talbot Esquire, the inventor of photography. | 0:02:32 | 0:02:36 | |
In a flash I see how my journey will develop. | 0:02:36 | 0:02:39 | |
I'm alighting at Chippenham | 0:02:43 | 0:02:44 | |
because there's no station at Lacock. | 0:02:44 | 0:02:47 | |
Before his house and the village he owned were given to the nation, | 0:02:47 | 0:02:50 | |
William Henry Fox Talbot MP, refused Isambard Kingdom Brunel | 0:02:50 | 0:02:55 | |
permission to run his railway through his land. | 0:02:55 | 0:02:58 | |
But the man is better known as the father of photography. | 0:02:59 | 0:03:02 | |
The curator of the Fox Talbot Museum, Roger Watson, knows more. | 0:03:05 | 0:03:10 | |
-Roger. -Michael, very nice to meet you. | 0:03:11 | 0:03:15 | |
The house is absolutely superb. What's its early history? | 0:03:15 | 0:03:19 | |
It starts out 1232, it was founded as an Augustinian convent. | 0:03:19 | 0:03:23 | |
And remained a convent | 0:03:23 | 0:03:24 | |
until the last year of the dissolution of the abbeys, | 0:03:24 | 0:03:27 | |
when it was sold off to one of Henry VIII's friends, William Sherrington. | 0:03:27 | 0:03:32 | |
In the mid-19th century, | 0:03:32 | 0:03:34 | |
the Fox Talbots owned the house. | 0:03:34 | 0:03:36 | |
And in 1840, Henry, | 0:03:36 | 0:03:38 | |
who had a passion for all things scientific, | 0:03:38 | 0:03:41 | |
invented a much-heralded photographic process, | 0:03:41 | 0:03:44 | |
and I want to know just how significant that discovery was. | 0:03:44 | 0:03:49 | |
Is Talbot properly to be credited with | 0:03:50 | 0:03:52 | |
the invention of photography as my Bradshaw's says? | 0:03:52 | 0:03:55 | |
There are two inventors of photography. | 0:03:55 | 0:03:57 | |
Here in England, Talbot was the inventor, | 0:03:57 | 0:03:59 | |
in France, Daguerre was the inventor, | 0:03:59 | 0:04:01 | |
but actually their processes were somewhat different, | 0:04:01 | 0:04:03 | |
they came from different directions. | 0:04:03 | 0:04:05 | |
I think they both actually deserve credit. | 0:04:05 | 0:04:07 | |
This is the South Gallery. | 0:04:09 | 0:04:12 | |
Here in the middle, | 0:04:12 | 0:04:13 | |
this is the latticed window where photographic history was made. | 0:04:13 | 0:04:17 | |
How? | 0:04:17 | 0:04:18 | |
Talbot made the world's first photographic negative, | 0:04:18 | 0:04:21 | |
a shot of this window. | 0:04:21 | 0:04:22 | |
Well, that is a feeling of history. Using these machines? | 0:04:22 | 0:04:26 | |
Well, we've got a couple of things set up here. | 0:04:26 | 0:04:28 | |
One of them is a camera obscura, | 0:04:28 | 0:04:30 | |
which is the pre-photographic type of camera, | 0:04:30 | 0:04:33 | |
and it's basically just a box with a lens on it. | 0:04:33 | 0:04:35 | |
You can have a look though here. | 0:04:35 | 0:04:37 | |
I'm seeing an image of what is outside, the trees, | 0:04:39 | 0:04:42 | |
I can see the green grass, | 0:04:42 | 0:04:45 | |
but that is just a function of light. | 0:04:45 | 0:04:48 | |
That's not giving me an image that I can keep and take away. | 0:04:48 | 0:04:51 | |
No, it's as fleeting as the light is itself. | 0:04:51 | 0:04:53 | |
What was the vital technology in being able to capture the image? | 0:04:53 | 0:04:57 | |
The vital technology was photochemistry. | 0:04:57 | 0:05:00 | |
Light changes the paper, changes it from white to black, | 0:05:00 | 0:05:03 | |
and that's what's important. | 0:05:03 | 0:05:05 | |
I've got a little camera here. | 0:05:05 | 0:05:07 | |
They were the first basic cameras. | 0:05:07 | 0:05:09 | |
He had them made here by a carpenter in the village. | 0:05:09 | 0:05:11 | |
He would put a piece of sensitised paper in the back... | 0:05:11 | 0:05:15 | |
and he would end up with a nice, little, as he called them, | 0:05:15 | 0:05:19 | |
Lilliputian images, postage-stamp size. | 0:05:19 | 0:05:21 | |
Patented in 1841, | 0:05:26 | 0:05:28 | |
Fox Talbot's innovation was the first negative-positive process | 0:05:28 | 0:05:32 | |
used in photographic development. | 0:05:32 | 0:05:34 | |
Treating paper with light-sensitive silver compounds | 0:05:34 | 0:05:37 | |
and other chemicals allowed, for the first time, | 0:05:37 | 0:05:40 | |
the production of an unlimited number of identical prints | 0:05:40 | 0:05:44 | |
from a single negative. | 0:05:44 | 0:05:45 | |
It's the basic chemistry of photography, | 0:05:46 | 0:05:49 | |
which is that silver nitrate, | 0:05:49 | 0:05:50 | |
when it mixes with sodium chloride, or table salt, | 0:05:50 | 0:05:53 | |
it becomes a very sensitive material. | 0:05:53 | 0:05:56 | |
So that's what we try and use on the paper. | 0:05:56 | 0:05:58 | |
This is the printing frame here, it's a proper 19th century one. | 0:05:58 | 0:06:01 | |
Lift the back off... | 0:06:01 | 0:06:03 | |
And we've got a feather inside, which usually makes a nice picture. | 0:06:03 | 0:06:07 | |
Lay your sensitive paper face-down. | 0:06:07 | 0:06:09 | |
Put the backing on. | 0:06:10 | 0:06:11 | |
Turn it over and see how your picture is going to look. | 0:06:14 | 0:06:17 | |
Hmmm. Quite nice. | 0:06:17 | 0:06:20 | |
Now out into the sunlight. | 0:06:20 | 0:06:22 | |
So, Roger, in a few moments of stepping outside | 0:06:22 | 0:06:25 | |
into the not very bright light today, | 0:06:25 | 0:06:27 | |
the paper has undergone a thorough change of colour. | 0:06:27 | 0:06:30 | |
It's just starting now, it'll continue on | 0:06:30 | 0:06:32 | |
for the next 10 minutes or so and get darker and darker. | 0:06:32 | 0:06:35 | |
At some point it'll be a very dark brown and you'll know that it's done. | 0:06:35 | 0:06:39 | |
Into the dark room next. | 0:06:39 | 0:06:42 | |
So we are going to move it from just a plain water bath | 0:06:42 | 0:06:46 | |
into the salt bath. | 0:06:46 | 0:06:47 | |
He found that a lot of salt would keep it from turning dark. | 0:06:47 | 0:06:51 | |
And so this was one of Talbot's breakthroughs. | 0:06:51 | 0:06:53 | |
How to stop the image just continuing to get darker | 0:06:53 | 0:06:56 | |
-as it was exposed to the light? -That's it. | 0:06:56 | 0:06:58 | |
40 years before people knew how to get the image there, | 0:06:58 | 0:07:00 | |
they just didn't know how to stop it. | 0:07:00 | 0:07:03 | |
How quickly did the Victorians take to photography? | 0:07:03 | 0:07:06 | |
It was almost immediate and at all levels. | 0:07:06 | 0:07:08 | |
The day that Queen Victoria proposed to Albert, | 0:07:08 | 0:07:11 | |
she also bought him a photograph at an exhibition in London. | 0:07:11 | 0:07:14 | |
When do you think it begins to change society? | 0:07:14 | 0:07:16 | |
It changes society in a couple of areas. | 0:07:16 | 0:07:19 | |
One is the Crimean War, certainly. | 0:07:19 | 0:07:21 | |
Images coming back from that, | 0:07:21 | 0:07:23 | |
people saw the battlefields for the first time. | 0:07:23 | 0:07:25 | |
But also just the fact that people living in faraway places | 0:07:25 | 0:07:28 | |
could see their monarch. | 0:07:28 | 0:07:30 | |
It brought the world closer, it made the world available to everybody. | 0:07:30 | 0:07:35 | |
Thank you so much for this snapshot of the early days of photography. | 0:07:35 | 0:07:38 | |
It's a pleasure. | 0:07:38 | 0:07:39 | |
In 1944, Matilda Talbot, William's granddaughter, | 0:07:42 | 0:07:46 | |
gave the Abbey and Lacock village to the National Trust. | 0:07:46 | 0:07:50 | |
Strict rules mean residents' properties remain unchanged, | 0:07:50 | 0:07:54 | |
maintaining the medieval feel of the place and its popularity today. | 0:07:54 | 0:07:59 | |
Every house in Lacock is exquisite, | 0:08:00 | 0:08:02 | |
it is the most beautifully preserved village. | 0:08:02 | 0:08:04 | |
And although I am a great fan of the railways, | 0:08:04 | 0:08:06 | |
I shudder to think what would have happened if Isambard Kingdom Brunel | 0:08:06 | 0:08:09 | |
had been able to bring his Weymouth extension through the Lacock estate, | 0:08:09 | 0:08:14 | |
cutting dangerously close to this lovely village | 0:08:14 | 0:08:17 | |
Why do you come to Lacock? | 0:08:23 | 0:08:25 | |
Because we love the place, there's a lovely atmosphere. | 0:08:25 | 0:08:28 | |
Very friendly place to come to, beautiful buildings, lovely history. | 0:08:28 | 0:08:31 | |
It's extraordinarily well preserved, isn't it? | 0:08:31 | 0:08:33 | |
Yes, it's beautiful. | 0:08:33 | 0:08:34 | |
-Hello. -Hello. | 0:08:37 | 0:08:40 | |
-How do you do? -It's so nice to see you. | 0:08:40 | 0:08:42 | |
I was thinking, you live in such a charming village | 0:08:42 | 0:08:45 | |
but you besieged by tourists. Are they ever a bit of a nuisance? | 0:08:45 | 0:08:49 | |
No, on the whole they're extremely nice. | 0:08:49 | 0:08:51 | |
-How long have you been here? -26 years. | 0:08:51 | 0:08:55 | |
I still get pleasure from the village | 0:08:55 | 0:08:58 | |
-because it really is beautiful. -It is lovely, | 0:08:58 | 0:09:01 | |
and I'm sorry that this tourist has come and disturbed you. | 0:09:01 | 0:09:04 | |
-Not at all. -I'll be on my way. | 0:09:04 | 0:09:07 | |
Would you like to come in and have drink or anything? | 0:09:07 | 0:09:10 | |
-You're so kind. -Or are you busy? -We must be on our way. | 0:09:10 | 0:09:12 | |
What typical Lacock hospitality. Thank you very much indeed. Bye-bye. | 0:09:12 | 0:09:16 | |
Back to Chippenham Station, | 0:09:20 | 0:09:22 | |
where I've spotted an irresistible piece | 0:09:22 | 0:09:24 | |
of Victorian engineering history. | 0:09:24 | 0:09:27 | |
Here at Chippenham Station, this little plaque tells me | 0:09:27 | 0:09:30 | |
that this was the site office used by Isambard Kingdom Brunel | 0:09:30 | 0:09:33 | |
during the construction of the Great Western Railway. | 0:09:33 | 0:09:36 | |
I think nowadays a site office would be Portakabin, | 0:09:36 | 0:09:39 | |
but in Brunel's time even the site office was beautiful. | 0:09:39 | 0:09:43 | |
I'd like to see what's going on inside today. | 0:09:43 | 0:09:45 | |
And Gareth Jones is going to show me around. | 0:09:47 | 0:09:50 | |
This is the room that we believe most of the work took place | 0:09:50 | 0:09:53 | |
when Brunel was designing. | 0:09:53 | 0:09:56 | |
These are the original flagstones. | 0:09:56 | 0:09:57 | |
In the basement most of the ceiling | 0:09:57 | 0:09:59 | |
is supported by these pieces of railway line, | 0:09:59 | 0:10:02 | |
which have come off the Great Western Railway itself. | 0:10:02 | 0:10:05 | |
They jolly well have. That's a rail. | 0:10:05 | 0:10:08 | |
Wow, wow! | 0:10:08 | 0:10:10 | |
And what you do from this office now? | 0:10:10 | 0:10:12 | |
We look after the car parking for First Great Western. | 0:10:12 | 0:10:16 | |
I'm on my way now to Bristol Temple Meads, | 0:10:20 | 0:10:23 | |
where I shall change toward Avonmouth. | 0:10:23 | 0:10:25 | |
I shall be leaving the train at Clifton Down. | 0:10:31 | 0:10:35 | |
Bradshaw's is enthusiastic about Clifton, | 0:10:35 | 0:10:37 | |
calling it "a beautiful watering place". | 0:10:37 | 0:10:40 | |
"The highly romantic and picturesque country | 0:10:40 | 0:10:42 | |
"in the midst of which it is situated | 0:10:42 | 0:10:44 | |
"provides on every side | 0:10:44 | 0:10:46 | |
"the most varied and extensive prospects." | 0:10:46 | 0:10:49 | |
And in the 19th century they added zoological gardens | 0:10:49 | 0:10:53 | |
which, according to Bradshaw's, is, "near Cook's Folly on Durdham Down." | 0:10:53 | 0:10:57 | |
With Iron Age hill forts overlooking its gorge, | 0:11:01 | 0:11:04 | |
Clifton is much older than Bristol. | 0:11:04 | 0:11:07 | |
The area first prospered thanks to its medicinal hot springs. | 0:11:08 | 0:11:13 | |
And the upmarket suburb was already firmly on the 19th century map, | 0:11:13 | 0:11:17 | |
even before Brunel's magnificent suspension bridge opened in 1864. | 0:11:17 | 0:11:22 | |
Victorian zoos were about much more than animals. | 0:11:25 | 0:11:28 | |
They were places suitable for promenading and entertainment. | 0:11:28 | 0:11:33 | |
At Bristol Zoo, which opened in 1836, | 0:11:33 | 0:11:36 | |
I'm meeting Sarah Joy Maddeaux. | 0:11:36 | 0:11:39 | |
-Hello, Sarah. -Hi. | 0:11:39 | 0:11:40 | |
I've just come through Clifton, | 0:11:40 | 0:11:42 | |
which is beautiful and beautifully preserved. | 0:11:42 | 0:11:44 | |
It must have been quite a place in the 19th century. | 0:11:44 | 0:11:46 | |
What activities were there here? | 0:11:46 | 0:11:48 | |
There was the spa at Hotwells, | 0:11:48 | 0:11:50 | |
but then the zoo was founded in 1836 as one of the really key attractions. | 0:11:50 | 0:11:55 | |
It is the oldest provincial zoo in the world. | 0:11:55 | 0:11:58 | |
For £25 you could purchase a share in the society, | 0:11:58 | 0:12:01 | |
and that enabled you to come into the gardens whenever you wanted. | 0:12:01 | 0:12:04 | |
In fact, Isambard Kingdom Brunel was one of the first shareholders | 0:12:04 | 0:12:08 | |
I've just come on the railway. | 0:12:08 | 0:12:10 | |
-Does that play any part in the zoo's development? -It does, yes. | 0:12:10 | 0:12:13 | |
Once Clifton Downs station opened in 1874, | 0:12:13 | 0:12:16 | |
it was key to opening access to the zoo. | 0:12:16 | 0:12:19 | |
So people coming by railway to the zoo, any animals? | 0:12:19 | 0:12:23 | |
We know that in 1894 the zoo sent a tiger to London by train. | 0:12:23 | 0:12:28 | |
We also know that they acquired a polar bear from Dundee, | 0:12:28 | 0:12:31 | |
which travelled by train. | 0:12:31 | 0:12:32 | |
I don't think I'd wish to share a compartment | 0:12:32 | 0:12:34 | |
with a polar bear or a tiger! | 0:12:34 | 0:12:35 | |
Modern zoos concern themselves very much with animal conservation, | 0:12:36 | 0:12:40 | |
and I'm keen to find out how far that was the case in Bradshaw's day. | 0:12:40 | 0:12:44 | |
Were the Victorians interested in animal welfare? | 0:12:45 | 0:12:49 | |
Yes, this was a period when you have the foundation | 0:12:49 | 0:12:51 | |
of the Royal Society For The Prevention Of Cruelty To Animals, | 0:12:51 | 0:12:54 | |
and The Royal Society For The Protection Of Birds, | 0:12:54 | 0:12:57 | |
and campaigns against bear-baiting and other blood sports. | 0:12:57 | 0:13:00 | |
But generally they were happy to come to zoos | 0:13:00 | 0:13:02 | |
and see animals from across the globe, from across the Empire, | 0:13:02 | 0:13:05 | |
in order to learn about them. | 0:13:05 | 0:13:07 | |
Now, from across the Empire, so was there a feeling of Imperial pride | 0:13:07 | 0:13:11 | |
that these animals came from parts of the map that were painted red? | 0:13:11 | 0:13:16 | |
Yes, I think that was very much a key | 0:13:16 | 0:13:17 | |
to the founding of zoos in the Victorian period. | 0:13:17 | 0:13:20 | |
Animal welfare has come a long way | 0:13:21 | 0:13:23 | |
since Bristol Zoo's Victorian beginnings. | 0:13:23 | 0:13:26 | |
And I'm meeting keeper Rob Goodchild to find out more. | 0:13:26 | 0:13:30 | |
Hello, Rob. Just admiring your seals, they're wonderful creatures. | 0:13:31 | 0:13:35 | |
Zoos have had to change a lot, haven't they? | 0:13:35 | 0:13:37 | |
How's Bristol doing in that regard? | 0:13:37 | 0:13:39 | |
Nowadays it's more about sustainable breeding programmes, | 0:13:39 | 0:13:42 | |
mental stimulus for the animals. | 0:13:42 | 0:13:44 | |
We've got a seal here, seems to be expecting something. | 0:13:44 | 0:13:46 | |
Yes, he knows he's going to get some reward now. | 0:13:46 | 0:13:49 | |
OK, Michael, if you just want to raise your right hand. | 0:13:49 | 0:13:52 | |
And your left hand. | 0:13:54 | 0:13:55 | |
Hey! Well done! | 0:13:56 | 0:13:58 | |
Now that enables you to have a good look under there | 0:13:58 | 0:14:00 | |
and make sure everything is all right? | 0:14:00 | 0:14:02 | |
Yes, if he didn't raise them for us | 0:14:02 | 0:14:03 | |
it would be almost impossible for me to check under his flippers, | 0:14:03 | 0:14:06 | |
because he's not likely to do it just out of pure kindness. | 0:14:06 | 0:14:10 | |
A simple spin around allows me to see | 0:14:10 | 0:14:13 | |
that he's using all the muscles in his body. | 0:14:13 | 0:14:15 | |
Fantastic. He is a really healthy-looking specimen. | 0:14:15 | 0:14:19 | |
Atari is a brilliant specimen. | 0:14:19 | 0:14:21 | |
He's also a fantastic father, | 0:14:21 | 0:14:23 | |
so his bloodline is extremely well represented in captivity. | 0:14:23 | 0:14:27 | |
Just a mile away, Clifton's grand terraces are another of its charms. | 0:14:33 | 0:14:37 | |
This is truly spectacular. | 0:14:39 | 0:14:41 | |
Bradshaw's says, "The range of buildings known as York Crescent | 0:14:41 | 0:14:46 | |
"affords an agreeable southern aspect, but the elevated situation | 0:14:46 | 0:14:50 | |
"leaves the houses much exposed to high winds." | 0:14:50 | 0:14:54 | |
Of course Bradshaw had never heard of double glazing. | 0:14:54 | 0:14:57 | |
Clifton is probably most famous for Brunel's suspension bridge. | 0:15:01 | 0:15:05 | |
Here I'm meeting Peter Davey, chairman of a group | 0:15:07 | 0:15:10 | |
which looks after a slightly less well-known | 0:15:10 | 0:15:13 | |
piece of Victorian engineering. | 0:15:13 | 0:15:15 | |
-Peter. -Michael. -A glorious view, isn't it? | 0:15:17 | 0:15:20 | |
-Absolutely amazing. -A wonderful piece of engineering. | 0:15:20 | 0:15:23 | |
I've come here in pursuit of a railway, because there used to be a rocks railway, didn't there? | 0:15:23 | 0:15:28 | |
That's right. The Clifton Rocks Railway, | 0:15:28 | 0:15:30 | |
for getting people up and down, Hot Wells to Clifton. | 0:15:30 | 0:15:33 | |
And on the first day, they arranged to have medallions | 0:15:33 | 0:15:36 | |
issued to the people who travelled on the opening day, | 0:15:36 | 0:15:39 | |
11th March, 1893. | 0:15:39 | 0:15:42 | |
What a treasure. | 0:15:42 | 0:15:44 | |
Absolutely delightful. | 0:15:44 | 0:15:46 | |
Victorian publisher and funicular-railway entrepreneur | 0:15:46 | 0:15:50 | |
Sir George Newnes built the railway. | 0:15:50 | 0:15:53 | |
It took two years because local conservationists | 0:15:53 | 0:15:56 | |
insisted it be hidden in a tunnel, | 0:15:56 | 0:15:59 | |
rather than scar the cliff face. | 0:15:59 | 0:16:02 | |
It closed in 1934 | 0:16:02 | 0:16:04 | |
and although evidence of its railway past remains, | 0:16:04 | 0:16:07 | |
the tunnel was more recently used | 0:16:07 | 0:16:09 | |
as a Second World War air-raid shelter. | 0:16:09 | 0:16:12 | |
This is shelter number one, Michael. | 0:16:14 | 0:16:16 | |
You can see down here where the people slept on those slabs. | 0:16:16 | 0:16:21 | |
And how many people might have been in here? | 0:16:21 | 0:16:23 | |
On this particular one, probably 100, | 0:16:23 | 0:16:25 | |
but the two other ones are bigger, | 0:16:25 | 0:16:27 | |
so they reckon about 300 could have slept in here. | 0:16:27 | 0:16:29 | |
-You bring your own bedding with you? -Bring your own bedding, | 0:16:29 | 0:16:32 | |
your own food, your Thermos flask, | 0:16:32 | 0:16:35 | |
as long as you had a ticket. | 0:16:35 | 0:16:37 | |
There you are, look. This one was to a Mr Wade. | 0:16:37 | 0:16:40 | |
So, this was a member of the public | 0:16:40 | 0:16:42 | |
and he gets this pass and that means he could come in here and sleep. | 0:16:42 | 0:16:45 | |
That's it. For the whole war or for one night. | 0:16:45 | 0:16:48 | |
With its stunning view, the Avon Gorge Hotel | 0:16:59 | 0:17:02 | |
is the perfect place for me to end my day | 0:17:02 | 0:17:05 | |
and I love Brunel's suspension bridge. | 0:17:05 | 0:17:08 | |
Tomorrow, I'll go in search of other engineering wonders. | 0:17:08 | 0:17:12 | |
ANNOUNCER: 'The service to Cardiff Central...' | 0:17:19 | 0:17:23 | |
The day has dawned bright and sunny, | 0:17:23 | 0:17:25 | |
but I will shortly head off to the dark and damp | 0:17:25 | 0:17:29 | |
in pursuit of railway engineering heritage. | 0:17:29 | 0:17:33 | |
To reach it, I'm back at Bristol Temple Meads | 0:17:36 | 0:17:39 | |
to catch the First Great Western towards Cardiff, | 0:17:39 | 0:17:43 | |
a much quicker journey today than it was in the 1860s | 0:17:43 | 0:17:46 | |
when my Bradshaw's was written. | 0:17:46 | 0:17:48 | |
During the early decades of the railways, | 0:17:49 | 0:17:52 | |
the only way from Bristol to South Wales | 0:17:52 | 0:17:55 | |
was a huge detour via Gloucester or by ferry. | 0:17:55 | 0:17:59 | |
Then in 1886, the Severn railway tunnel was built. | 0:17:59 | 0:18:03 | |
It was more than four miles long | 0:18:03 | 0:18:05 | |
and remained the longest tunnel in the United Kingdom | 0:18:05 | 0:18:08 | |
for more than a century. | 0:18:08 | 0:18:10 | |
It was an enormous engineering feat to build it, | 0:18:10 | 0:18:13 | |
but another one is to keep it dry | 0:18:13 | 0:18:16 | |
and that remains the case to the present day. | 0:18:16 | 0:18:19 | |
Passengers may appreciate the shorter journey time, | 0:18:21 | 0:18:24 | |
but this tunnel wasn't built for that reason. | 0:18:24 | 0:18:28 | |
This extraordinary piece of Victorian engineering | 0:18:28 | 0:18:30 | |
was driven by the enormous profit | 0:18:30 | 0:18:32 | |
that the Great Western Railway foresaw | 0:18:32 | 0:18:35 | |
in the transportation of coal | 0:18:35 | 0:18:37 | |
from the Welsh Valleys to industrial England. | 0:18:37 | 0:18:39 | |
I've emerged in Wales at Severn Tunnel Junction | 0:18:44 | 0:18:47 | |
to meet Dai Fuller, | 0:18:47 | 0:18:49 | |
who's worked at the tunnel's original pumping station | 0:18:49 | 0:18:53 | |
for 27 years. | 0:18:53 | 0:18:54 | |
Great to see you. Very elegant pump house you have here. | 0:18:54 | 0:18:57 | |
Why is it necessary to pump water out of the Severn Tunnel? | 0:18:57 | 0:19:01 | |
Under the construction of the actual tunnel itself, | 0:19:01 | 0:19:04 | |
an underground river broke through, a fresh-water river. | 0:19:04 | 0:19:07 | |
Are we talking about a lot of water? | 0:19:07 | 0:19:08 | |
If you go back years ago to Victorian days, | 0:19:08 | 0:19:11 | |
they would have been pumping | 0:19:11 | 0:19:12 | |
about 32 to 36 million gallons of water a day. | 0:19:12 | 0:19:14 | |
Do you think people going through on the train have any idea | 0:19:14 | 0:19:18 | |
that you're pumping out millions and millions of gallons a day | 0:19:18 | 0:19:22 | |
-to keep them safe? -I don't think so. | 0:19:22 | 0:19:25 | |
Passing underwater for over two miles, | 0:19:25 | 0:19:27 | |
the project cost £1.8 million. | 0:19:27 | 0:19:30 | |
The chief engineer Charles Richardson | 0:19:30 | 0:19:33 | |
designed the tunnel 50ft at its deepest, | 0:19:33 | 0:19:36 | |
26ft wide and with a roof up to 3ft thick. | 0:19:36 | 0:19:39 | |
But even such an enormous structure couldn't be engineered | 0:19:41 | 0:19:45 | |
to keep the surrounding water at bay. | 0:19:45 | 0:19:47 | |
How did the Victorians pump the water out? | 0:19:47 | 0:19:50 | |
Cornish beams were operating the pumps to draw the water up. | 0:19:50 | 0:19:54 | |
I can remember, as a schoolchild, | 0:19:54 | 0:19:56 | |
fascinated by looking across here | 0:19:56 | 0:19:57 | |
and hearing the noises coming from this building. | 0:19:57 | 0:20:00 | |
Back in '62, that ceased. | 0:20:00 | 0:20:03 | |
That's when it went over to electric. | 0:20:03 | 0:20:06 | |
A new railway delivered almost 80 million bricks and other materials | 0:20:06 | 0:20:10 | |
for the tunnel and for the new village of Sudbrook | 0:20:10 | 0:20:13 | |
where labourers were housed. | 0:20:13 | 0:20:15 | |
Miraculously, the eight-year construction was completed | 0:20:15 | 0:20:19 | |
without a single fatality, | 0:20:19 | 0:20:21 | |
even when Richardson's men breached an unexpected water source | 0:20:21 | 0:20:25 | |
dubbed "The Great Spring". | 0:20:25 | 0:20:27 | |
-So, what is this cosy space? -This was actually built | 0:20:27 | 0:20:30 | |
to cope with the underground river that broke through. | 0:20:30 | 0:20:33 | |
If I lift this board up now, | 0:20:33 | 0:20:35 | |
you can see the volume of water that we're actually standing above. | 0:20:35 | 0:20:39 | |
Torrents of water! That is unbelievable. | 0:20:41 | 0:20:45 | |
You're looking at somewhere in the region between | 0:20:45 | 0:20:48 | |
4 to 5ft of water there, going past us. | 0:20:48 | 0:20:50 | |
-4 or 5ft deep? -Yes. | 0:20:50 | 0:20:53 | |
That is a mighty flow. | 0:20:53 | 0:20:55 | |
Confident in the pump's ability to keep the tunnel dry, | 0:20:56 | 0:20:59 | |
I'm keen to get track-side to catch sight | 0:20:59 | 0:21:02 | |
of one of the eight trains per hour which pass through. | 0:21:02 | 0:21:05 | |
I just heard my ears go, | 0:21:06 | 0:21:08 | |
so I think we're going to witness a train going past shortly. | 0:21:08 | 0:21:10 | |
Feel that wind. It's got a little bit colder, I think. | 0:21:10 | 0:21:14 | |
Here it comes. Here it comes. | 0:21:14 | 0:21:16 | |
And a great gust of wind as it goes past. | 0:21:25 | 0:21:27 | |
That was very exciting. | 0:21:27 | 0:21:29 | |
That's an HST 125 InterCity, off to London. | 0:21:29 | 0:21:33 | |
This train will take me to Gloucester | 0:21:38 | 0:21:41 | |
and I shall remember on the way that that is the route | 0:21:41 | 0:21:44 | |
that many passengers would have had to take | 0:21:44 | 0:21:47 | |
before the Severn Tunnel was built. | 0:21:47 | 0:21:49 | |
And there they would have changed trains | 0:21:49 | 0:21:51 | |
to go down the other side of the Severn | 0:21:51 | 0:21:53 | |
to continue their journey in England. | 0:21:53 | 0:21:55 | |
Ranked the 10th wealthiest town of Medieval England, | 0:22:02 | 0:22:05 | |
Gloucester grew rich on the trade in woven Cotswold wool. | 0:22:05 | 0:22:09 | |
And when the railways arrived in 1840, | 0:22:10 | 0:22:13 | |
my guide book tells me that Gloucester regained its place | 0:22:13 | 0:22:16 | |
amongst the elite of English cities. | 0:22:16 | 0:22:19 | |
I'm meeting local historian Phillip Moss to find out why. | 0:22:19 | 0:22:25 | |
Phil! Hello. | 0:22:25 | 0:22:26 | |
Gloucester, according to Bradshaw's, | 0:22:26 | 0:22:29 | |
is now the central point of communication | 0:22:29 | 0:22:31 | |
between the north and the south, | 0:22:31 | 0:22:33 | |
the east and west of the kingdom. | 0:22:33 | 0:22:36 | |
From Plymouth, there's an uninterrupted run | 0:22:36 | 0:22:38 | |
through Bristol and Gloucester | 0:22:38 | 0:22:40 | |
into the furthest points of the north | 0:22:40 | 0:22:41 | |
where the Iron Road has pierced its way. | 0:22:41 | 0:22:44 | |
So, Gloucester was very important. | 0:22:44 | 0:22:46 | |
It was indeed, but in the early years | 0:22:46 | 0:22:48 | |
the journey was very far from being uninterrupted. | 0:22:48 | 0:22:52 | |
It was here at Gloucester where we had the great change of gauge. | 0:22:52 | 0:22:56 | |
From 1840, the Birmingham-Gloucester Railway | 0:22:56 | 0:22:59 | |
came with a standard gauge to Gloucester. | 0:22:59 | 0:23:02 | |
1844, the Bristol and Gloucester Railway came with the broad gauge. | 0:23:02 | 0:23:07 | |
The Birmingham train came in on the southernmost platform | 0:23:07 | 0:23:10 | |
and the train to Bristol left from the northernmost platform, | 0:23:10 | 0:23:13 | |
so consequently, everybody had to decamp from the train. | 0:23:13 | 0:23:16 | |
They carried far more luggage in those days than we do today | 0:23:16 | 0:23:18 | |
and it was absolute chaos. It has been said that | 0:23:18 | 0:23:21 | |
when anything got lost on the railway system anywhere, | 0:23:21 | 0:23:23 | |
people said, "Oh, it was lost at Gloucester." | 0:23:23 | 0:23:26 | |
So, there was a campaign, really, | 0:23:26 | 0:23:28 | |
to reduce the numbers of gauges to one. | 0:23:28 | 0:23:30 | |
-Is that the point? -That's right. About 1892, the whole rail system | 0:23:30 | 0:23:34 | |
was one standard gauge. | 0:23:34 | 0:23:36 | |
Back in 1327, King Edward II was buried at Gloucester Cathedral | 0:23:40 | 0:23:45 | |
and, guided by my Bradshaw's, that's where I'm headed next. | 0:23:45 | 0:23:48 | |
Here is the fine East Window which is commended by Bradshaw's. | 0:23:52 | 0:23:57 | |
79ft long, it tells me. | 0:23:57 | 0:24:00 | |
35ft wide. | 0:24:00 | 0:24:02 | |
It is extraordinary. It's an entire wall of glass | 0:24:04 | 0:24:08 | |
with these beautiful figures. | 0:24:08 | 0:24:10 | |
Very, very elegant. Very unusual. | 0:24:12 | 0:24:14 | |
Spectacular. | 0:24:14 | 0:24:16 | |
Commissioned around 1350 by King Edward's son Edward III, | 0:24:19 | 0:24:23 | |
as a tribute to his father, | 0:24:23 | 0:24:25 | |
this was once the largest stained glass window in the world | 0:24:25 | 0:24:28 | |
and, incredibly, 70% of the original remains. | 0:24:28 | 0:24:32 | |
The Victorians left their mark on Gloucester Cathedral, too. | 0:24:33 | 0:24:37 | |
The railways meant that they could easily transport heavy stone | 0:24:37 | 0:24:40 | |
from both York and Bath | 0:24:40 | 0:24:42 | |
for painstaking restoration work, | 0:24:42 | 0:24:45 | |
craftsmanship that master mason Pascal Mychalysin continues today. | 0:24:45 | 0:24:52 | |
How long have you been working as a stonemason on Gloucester Cathedral? | 0:24:52 | 0:24:55 | |
23 years, Michael. | 0:24:55 | 0:24:57 | |
I started on the tower, | 0:24:57 | 0:24:58 | |
then we went to,, I think, the west end | 0:24:58 | 0:25:01 | |
and then we went to the choir | 0:25:01 | 0:25:04 | |
and then... | 0:25:04 | 0:25:06 | |
Well, pretty much all around. MICHAEL CHUCKLES | 0:25:06 | 0:25:09 | |
This door, did you work on that? | 0:25:09 | 0:25:11 | |
Yes, we did the canopies. Otherwise, all what you see here | 0:25:11 | 0:25:15 | |
is Victorian, actually. | 0:25:15 | 0:25:17 | |
Do you recognise the stone, Michael, at the lower stage? | 0:25:17 | 0:25:20 | |
If you're putting it that way, | 0:25:20 | 0:25:21 | |
-it's probably the stone that's used in Parliament. -Yep. | 0:25:21 | 0:25:24 | |
Yep, exactly. It comes from Anston in Yorkshire, near Rotherham. | 0:25:24 | 0:25:28 | |
It was bought here with the railway. | 0:25:28 | 0:25:31 | |
Gloucester's master mason is French, | 0:25:34 | 0:25:37 | |
and these days the stone that he works so expertly | 0:25:37 | 0:25:41 | |
is sourced from France as well. | 0:25:41 | 0:25:43 | |
And who is this? | 0:25:46 | 0:25:48 | |
She is the first abbess of Gloucester Abbey, the Saxon Abbey, | 0:25:48 | 0:25:52 | |
and she was the sister of King Osric. | 0:25:52 | 0:25:55 | |
And where will she end up? | 0:25:55 | 0:25:56 | |
Inside the church, at the end of the south aisle, | 0:25:56 | 0:25:59 | |
-just before the south transept. -And what are you working on right now? | 0:25:59 | 0:26:02 | |
This canopy here, in effect, it could go over the head of the statue here. | 0:26:02 | 0:26:08 | |
Yes. What tools do you use for this? | 0:26:08 | 0:26:11 | |
Well, we use practically the same tools as medieval masons were using. | 0:26:11 | 0:26:15 | |
Old chisels or mallets. I can show you. | 0:26:15 | 0:26:18 | |
For example, I am working with a pickaxe here. | 0:26:18 | 0:26:21 | |
Doing the vaulting of the canopy. | 0:26:21 | 0:26:24 | |
So, I'm removing the waste... | 0:26:24 | 0:26:27 | |
with the pickaxe. | 0:26:27 | 0:26:28 | |
And how long would it take you to have done what you've done there? | 0:26:28 | 0:26:31 | |
A full month of work | 0:26:31 | 0:26:33 | |
and there will be another three weeks full-time. | 0:26:33 | 0:26:37 | |
You must be incredibly patient. | 0:26:37 | 0:26:39 | |
To be a mason, you have to be patient. | 0:26:39 | 0:26:42 | |
You have to be Zen. Would you like to have a go? | 0:26:42 | 0:26:45 | |
What, and ruin your beautiful canopy? | 0:26:45 | 0:26:47 | |
Well, I'm sure I can trust you. You are going to be careful. | 0:26:47 | 0:26:50 | |
I'll be very careful. I'll do exactly what you tell me. | 0:26:50 | 0:26:53 | |
OK. Put your hand a bit higher, to have better control. | 0:26:53 | 0:26:56 | |
-Yep. -Is that OK? | 0:27:02 | 0:27:04 | |
Not bad. You need another seven years and I'm sure you will do good. | 0:27:04 | 0:27:08 | |
I've enjoyed that, Pascal, but I really am scared | 0:27:08 | 0:27:11 | |
of touching such a beautiful thing | 0:27:11 | 0:27:13 | |
on which you've spent so many weeks already. | 0:27:13 | 0:27:16 | |
This stone is not needed, so you could have a wild go, if you want. | 0:27:16 | 0:27:20 | |
Whenever I go to Bristol, I find myself surrounded | 0:27:28 | 0:27:31 | |
by reminders of Isambard Kingdom Brunel, | 0:27:31 | 0:27:35 | |
including his elegant Clifton Suspension Bridge. | 0:27:35 | 0:27:38 | |
But partly we remember him because of that iconic image | 0:27:38 | 0:27:42 | |
with top hat and cigar. | 0:27:42 | 0:27:44 | |
The Victorians will live forever because of photography | 0:27:44 | 0:27:48 | |
and for that invention, we thank William Fox Talbot of Lacock Abbey. | 0:27:48 | 0:27:53 | |
'On the next leg, I drive a car | 0:27:57 | 0:27:59 | |
'powered by the technology of the Victorians...' | 0:27:59 | 0:28:02 | |
This is real motoring. | 0:28:02 | 0:28:04 | |
This is the way it was. | 0:28:04 | 0:28:06 | |
'..I visit the castle of the King of Salt...' | 0:28:06 | 0:28:09 | |
It's as though a French chateau | 0:28:09 | 0:28:11 | |
had landed in the Worcestershire countryside. | 0:28:11 | 0:28:14 | |
You've got to take it with a pinch of salt. | 0:28:14 | 0:28:17 | |
'..and I fight a losing battle in the Wars Of The Roses...' | 0:28:18 | 0:28:22 | |
Ready for the slaughter. | 0:28:22 | 0:28:24 | |
Harder. Come on! | 0:28:24 | 0:28:25 |