Browse content similar to Northampton to Nuneaton. Check below for episodes and series from the same categories and more!
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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 | 0:00:16 | |
Stop by stop, he told them where to go, | 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 aboard for a series of rail adventures | 0:00:24 | 0:00:29 | |
across the United Kingdom to see what of Bradshaw's Britain remains. | 0:00:29 | 0:00:34 | |
The British Empire reached its zenith under | 0:00:54 | 0:00:57 | |
Queen Victoria, and mechanisation boosted its industrial output. | 0:00:57 | 0:01:01 | |
But as technology spread to other countries, | 0:01:01 | 0:01:04 | |
no British industry could rest on its laurels. | 0:01:04 | 0:01:07 | |
As I continue my journey north towards Leeds | 0:01:07 | 0:01:10 | |
across the Midlands, I shall be interested to see | 0:01:10 | 0:01:13 | |
how British manufacturing adapted to prosperity and competition. | 0:01:13 | 0:01:18 | |
All this week, I've been travelling away from the capital | 0:01:23 | 0:01:26 | |
and its metropolitan sprawl, | 0:01:26 | 0:01:27 | |
heading north on Stephenson's London to Birmingham line. | 0:01:27 | 0:01:31 | |
I'll explore the Victorian manufacturing hub | 0:01:31 | 0:01:33 | |
of the East Midlands | 0:01:33 | 0:01:35 | |
before ending my journey in the Yorkshire city of Leeds. | 0:01:35 | 0:01:38 | |
On this leg, I'm riding the tracks into the Midlands, | 0:01:39 | 0:01:42 | |
to Northampton and Rugby | 0:01:42 | 0:01:45 | |
and onto the city of Coventry before changing lines for Nuneaton. | 0:01:45 | 0:01:49 | |
Today I discover a tradition unaltered since Victorian times. | 0:01:49 | 0:01:53 | |
It's like most things in life - you can learn it in two weeks, | 0:01:53 | 0:01:55 | |
but it takes you a lifetime to be any good at it. | 0:01:55 | 0:01:58 | |
I hear about the man who changed education around the world. | 0:01:58 | 0:02:02 | |
These were people capable of running the British Empire. | 0:02:02 | 0:02:05 | |
Very much so, and that was part of Arnold's great reform. | 0:02:05 | 0:02:08 | |
And I see how a city rode out the economic cycles. | 0:02:08 | 0:02:12 | |
This is the forerunner of all modern bicycles, known as a safety bicycle. | 0:02:12 | 0:02:17 | |
-For the good reason that everything that came before was not! -Exactly! | 0:02:17 | 0:02:21 | |
My first stop today is Northampton, which Bradshaw's tells me | 0:02:26 | 0:02:30 | |
has an industrious population, some thousands of whom are engaged | 0:02:30 | 0:02:35 | |
in boot and shoe manufacture, which has been here for centuries. | 0:02:35 | 0:02:39 | |
Northampton, known as the land of the shoe makers, has been | 0:02:47 | 0:02:50 | |
producing shoes since the 15th century, | 0:02:50 | 0:02:53 | |
thanks to a plentiful supply of wood, water and cattle. | 0:02:53 | 0:02:57 | |
In 1642, a group of shoemakers won a contract to supply the army, | 0:02:57 | 0:03:02 | |
and by 1841, | 0:03:02 | 0:03:04 | |
fuelled by the arrival of the London to Birmingham railway line, | 0:03:04 | 0:03:07 | |
the shoe industry had grown to nearly 2,000 shoemakers. | 0:03:07 | 0:03:10 | |
Today, although the skills have changed little over the centuries, | 0:03:10 | 0:03:14 | |
there are only five firms left. | 0:03:14 | 0:03:17 | |
Keeping traditions alive is Crockett and Jones, founded in 1879. | 0:03:17 | 0:03:22 | |
The process starts with the leather being cut by a skilled cutter, | 0:03:22 | 0:03:26 | |
called a clicker. | 0:03:26 | 0:03:28 | |
David Mains oversees the factory's 21 clickers. | 0:03:28 | 0:03:31 | |
So clicking is cutting, is it? | 0:03:31 | 0:03:34 | |
It is cutting, yes, and it's not the actual cutting that's the skill. | 0:03:34 | 0:03:39 | |
The skill is getting the sections on the right areas of the leather. | 0:03:39 | 0:03:43 | |
-Avoiding defects? -Avoiding the defects, yeah. | 0:03:43 | 0:03:45 | |
Anybody can come and cut a piece out. | 0:03:45 | 0:03:47 | |
It's knowing where to put the pieces, that's where the skill is. | 0:03:47 | 0:03:51 | |
Cutting all the parts of a shoe from the skins is done by hand, | 0:03:52 | 0:03:56 | |
using a pattern and a knife. | 0:03:56 | 0:03:58 | |
The key thing is to create as little waste as possible. | 0:03:58 | 0:04:01 | |
In Victorian times, the patterns would have been | 0:04:01 | 0:04:03 | |
made from cardboard edged with brass, and the knives | 0:04:03 | 0:04:07 | |
clicking against their wooden blocks gave the cutters their name. | 0:04:07 | 0:04:10 | |
-Ooh. -Moved my pattern there. | 0:04:10 | 0:04:13 | |
You said this was the easy bit. It isn't! | 0:04:13 | 0:04:16 | |
LAUGHTER | 0:04:16 | 0:04:17 | |
It's nice round the curve there. | 0:04:17 | 0:04:20 | |
Not too bad. | 0:04:20 | 0:04:22 | |
I've got a little bit of a rough edge there, haven't I? | 0:04:22 | 0:04:25 | |
Just missed a bit. How many years' practice have you had? | 0:04:25 | 0:04:28 | |
Well, I've been here 20 years now. | 0:04:28 | 0:04:30 | |
I'll talk to you again in 20 years! Thank you so much, David. | 0:04:30 | 0:04:32 | |
-Thank you. -Bye-bye. | 0:04:32 | 0:04:34 | |
The striking thing about this factory is that the process has | 0:04:36 | 0:04:39 | |
stayed essentially the same for 134 years. | 0:04:39 | 0:04:42 | |
One of the managers, James Fox, | 0:04:42 | 0:04:44 | |
is taking me onto the factory floor to the closing room, | 0:04:44 | 0:04:48 | |
where all the leather parts are stitched together. | 0:04:48 | 0:04:51 | |
This room seems to be entirely filled with women. | 0:04:51 | 0:04:54 | |
Do you practise segregation here? | 0:04:54 | 0:04:56 | |
We don't, we don't, it's more of a natural occurrence. | 0:04:56 | 0:04:59 | |
The skills that are involved in the closing room | 0:04:59 | 0:05:02 | |
tend to be more delicate operations, there's less manual labour involved. | 0:05:02 | 0:05:06 | |
Still extremely highly skilled. | 0:05:06 | 0:05:08 | |
I think there's about 110 people in here, | 0:05:08 | 0:05:10 | |
100 of which are women, and about nine or ten gents | 0:05:10 | 0:05:13 | |
that you will see dotted around the room. | 0:05:13 | 0:05:16 | |
I have seen them dotted around. All the time I've been in your factory, | 0:05:16 | 0:05:19 | |
I've had this kind of Victorian feel. | 0:05:19 | 0:05:21 | |
You know, the wooden panelling and the shape of the windows | 0:05:21 | 0:05:24 | |
and all that sort of thing, and then to come into a room that's entirely | 0:05:24 | 0:05:27 | |
filled with one gender is also a very Victorian feel. | 0:05:27 | 0:05:31 | |
And as in Victorian times, | 0:05:31 | 0:05:34 | |
many of these workers are second or third generation shoemakers. | 0:05:34 | 0:05:37 | |
-Hello. I'm Michael. -Pleased to meet you. | 0:05:39 | 0:05:42 | |
-What's your name? -My name's Lisa. | 0:05:42 | 0:05:44 | |
And what is it that you're doing to the shoe? | 0:05:44 | 0:05:46 | |
I'm eyeleting the shoe. I'm only doing half a shoe. | 0:05:46 | 0:05:48 | |
It's just, erm, putting the holes in for the laces. | 0:05:48 | 0:05:51 | |
Quite a skilled job. You've got to get them in the right place | 0:05:51 | 0:05:54 | |
or else that's that sort of ruined and it's got to be re-cut again. | 0:05:54 | 0:05:57 | |
How long have you been here? | 0:05:57 | 0:05:58 | |
I've been here 23 years now. | 0:05:58 | 0:06:01 | |
Did you have any family here before? | 0:06:01 | 0:06:03 | |
My mother used to work here, yeah, and my grandfather worked in the clicking room upstairs. | 0:06:03 | 0:06:07 | |
Your mother, how many years was she here? | 0:06:07 | 0:06:10 | |
Erm... All her life, as well. She's 75 now. | 0:06:10 | 0:06:12 | |
-Thank you, Lisa. -You're welcome. -Lovely to see you. | 0:06:12 | 0:06:15 | |
-Thank you. Bye. -Bye. | 0:06:15 | 0:06:17 | |
It takes nearly three hours of continuous hand-stitching | 0:06:20 | 0:06:23 | |
to sew the leather uppers. James wants to show me | 0:06:23 | 0:06:26 | |
a machine that radically reduced how long it took to make them | 0:06:26 | 0:06:29 | |
and changed the way in which they could be repaired. | 0:06:29 | 0:06:32 | |
The Goodyear welting machine was invented in America | 0:06:32 | 0:06:36 | |
in the late 1860s, | 0:06:36 | 0:06:38 | |
mechanically fastening the sole to the shoe. | 0:06:38 | 0:06:41 | |
A strip of leather - the welt - was stitched to the upper. | 0:06:41 | 0:06:45 | |
Then the sole could be easily attached. | 0:06:45 | 0:06:48 | |
Michael, this is David, our Goodyear welter. | 0:06:48 | 0:06:52 | |
-Hi, David. -Pleased to meet you. | 0:06:52 | 0:06:53 | |
I've just been hearing that this Goodyear welting changed shoemaking, | 0:06:53 | 0:06:57 | |
-why is that? -Before Goodyear welting was actually introduced, | 0:06:57 | 0:07:01 | |
the bottom of the shoe was flat | 0:07:01 | 0:07:03 | |
and then you covered it with a full sheet of leather, which had to | 0:07:03 | 0:07:08 | |
-be either riveted or stapled right through. -Yes. | 0:07:08 | 0:07:10 | |
So it used a lot more leather, a lot more time, a lot more labour. | 0:07:10 | 0:07:14 | |
They came up with a process of putting a rib round the bottom of the insole, | 0:07:14 | 0:07:19 | |
to which we then sew a welt. | 0:07:19 | 0:07:23 | |
That's approximately 80 stitches. | 0:07:34 | 0:07:36 | |
And how long did that take them when doing it by hand? | 0:07:36 | 0:07:40 | |
-Two hours to a pair. -No! -Yeah, still does in Scandinavian countries, | 0:07:40 | 0:07:45 | |
where they still do them by hand. | 0:07:45 | 0:07:47 | |
You've added this leather strip, that's called the welt, | 0:07:47 | 0:07:51 | |
and then you're going to put the sole on there | 0:07:51 | 0:07:54 | |
and you're going to sew through the welt into the sole | 0:07:54 | 0:07:58 | |
-and that's going to hold the whole shoe together? -Yes. | 0:07:58 | 0:08:01 | |
How many years did it take you to achieve that level of skill? | 0:08:01 | 0:08:05 | |
I've been welt sewing about 40 years, I suppose. | 0:08:05 | 0:08:08 | |
It's like most things in life - you can learn it in two weeks | 0:08:08 | 0:08:10 | |
but it takes you a lifetime to be any good at it. | 0:08:10 | 0:08:12 | |
Extraordinary. I take my hat off to you. | 0:08:12 | 0:08:15 | |
-Thanks very much. -Thanks very much. | 0:08:15 | 0:08:17 | |
A hand-sewn pair of these quality shoes | 0:08:20 | 0:08:23 | |
could cost from £350 to £4,000. | 0:08:23 | 0:08:27 | |
What makes them so special is that they're made in | 0:08:27 | 0:08:31 | |
the traditional way, which has never been bettered. | 0:08:31 | 0:08:33 | |
To step into this factory is to be transported back through time. | 0:08:33 | 0:08:38 | |
A Victorian could have seen similar tools | 0:08:38 | 0:08:41 | |
working the fine-smelling leather. | 0:08:41 | 0:08:43 | |
My journey from Northampton to Rugby | 0:08:51 | 0:08:54 | |
is on the London-Midland line and takes 20 minutes. | 0:08:54 | 0:08:57 | |
As I approach Rugby, Bradshaw's draws attention to the | 0:09:01 | 0:09:04 | |
place of learning that put the town on the map. | 0:09:04 | 0:09:07 | |
'By the exertions of successive masters, | 0:09:07 | 0:09:10 | |
'especially the late Dr Arnold, | 0:09:10 | 0:09:12 | |
'it ranks as one of the best grammar schools in the country.' | 0:09:12 | 0:09:16 | |
As a grammar school boy myself, I'm anxious to learn more about | 0:09:16 | 0:09:20 | |
Thomas Arnold, a man who left his fingerprints on British education. | 0:09:20 | 0:09:25 | |
The school was founded in 1567 by a local philanthropist, | 0:09:37 | 0:09:41 | |
Lawrence Sheriff, who wanted to provide an education | 0:09:41 | 0:09:44 | |
for the boys of Rugby. | 0:09:44 | 0:09:45 | |
400 years later, the school retains a far-flung reputation | 0:09:45 | 0:09:50 | |
as one of the country's leading public schools. | 0:09:50 | 0:09:53 | |
The buildings conjure up the spirit of Dr Arnold. | 0:09:53 | 0:09:57 | |
I'm meeting the school's archivist, Rusty Maclean, to find out | 0:09:57 | 0:10:01 | |
more about the school's most celebrated head. | 0:10:01 | 0:10:03 | |
Hello, Rusty. | 0:10:03 | 0:10:05 | |
Very pleased to meet you. | 0:10:05 | 0:10:07 | |
Now, Dr Thomas Arnold has gone down in history | 0:10:07 | 0:10:10 | |
as a great educational reformer. | 0:10:10 | 0:10:12 | |
What was it that he was reforming here at Rugby? | 0:10:12 | 0:10:14 | |
Well, when Arnold arrived here in 1828, he arrived at a school | 0:10:14 | 0:10:18 | |
which, in common with most other schools of the day, | 0:10:18 | 0:10:21 | |
was an institution where boys were regarded as empty vessels | 0:10:21 | 0:10:25 | |
to be filled with facts and then flung out into the world. | 0:10:25 | 0:10:29 | |
Arnold, through his subtle reforms, remodelling of existing practices, | 0:10:29 | 0:10:34 | |
transformed the whole idea of education, | 0:10:34 | 0:10:36 | |
and his influence spread not only through the rest of England | 0:10:36 | 0:10:40 | |
but throughout the world. | 0:10:40 | 0:10:41 | |
Rusty is taking me to the classroom where Arnold used to teach. | 0:10:44 | 0:10:48 | |
What were Arnold's principles of education? | 0:11:00 | 0:11:03 | |
Well, in one of the first meetings he had with his sixth form, | 0:11:03 | 0:11:05 | |
he laid out three principles. First, religious and moral principles, | 0:11:05 | 0:11:10 | |
second, gentlemanly conduct, | 0:11:10 | 0:11:12 | |
and third, intellectual academic ability. | 0:11:12 | 0:11:16 | |
He was far more concerned with educating the whole person. | 0:11:16 | 0:11:20 | |
It wasn't just about facts. It was about developing character. | 0:11:20 | 0:11:24 | |
So he was training these young men of the school for what? | 0:11:24 | 0:11:28 | |
Well, he was training them for just about everything, | 0:11:28 | 0:11:30 | |
and boys went out from here into all walks of life - | 0:11:30 | 0:11:34 | |
the military, the church, politics, the arts. | 0:11:34 | 0:11:37 | |
But a big emphasis on administration. | 0:11:37 | 0:11:39 | |
These were people capable of running the British Empire. | 0:11:39 | 0:11:42 | |
Very much so, and that was part of Arnold's great reform. | 0:11:42 | 0:11:46 | |
I see you have a handsome collection of graffiti. | 0:11:47 | 0:11:50 | |
-These are desk lids, little tabletops, they were called. -A-ha. | 0:11:50 | 0:11:53 | |
And this in a sense is not graffiti because the boys were actually | 0:11:53 | 0:11:57 | |
permitted to carve their name on the desk lid before they left school. | 0:11:57 | 0:12:01 | |
Anyone that I would recognise? | 0:12:01 | 0:12:04 | |
You may recognise the name Chamberlain. | 0:12:04 | 0:12:07 | |
-This is Neville, our Prime Minister at the beginning of World War II. -It is. | 0:12:07 | 0:12:11 | |
An intriguing reference in my Bradshaw's. | 0:12:11 | 0:12:13 | |
"The fagging or monitor system prevails at the school..." - | 0:12:13 | 0:12:17 | |
this is in the mid-1860s - | 0:12:17 | 0:12:19 | |
"..but has somewhat been mitigated by Dr Arnold." | 0:12:19 | 0:12:22 | |
What does that mean? | 0:12:22 | 0:12:24 | |
Well, fagging originally was a mentoring system. | 0:12:24 | 0:12:26 | |
If you think that boys as young as six were entering this school, | 0:12:26 | 0:12:30 | |
probably their first time away from home | 0:12:30 | 0:12:32 | |
into a completely alien environment, | 0:12:32 | 0:12:34 | |
senior boys would take them under their wing, | 0:12:34 | 0:12:36 | |
show them where everything was, | 0:12:36 | 0:12:38 | |
and in return, the boys would provide menial tasks. Perhaps popping across | 0:12:38 | 0:12:42 | |
the road to get a bowl of baked potatoes | 0:12:42 | 0:12:44 | |
or polishing the senior boy's boots. | 0:12:44 | 0:12:46 | |
Trouble is, by the time Arnold arrived, | 0:12:46 | 0:12:48 | |
this had effectively become institutionalised bullying. | 0:12:48 | 0:12:51 | |
He made it a somewhat kinder place, did he? | 0:12:51 | 0:12:54 | |
Very much so. It was an environment of trust. | 0:12:54 | 0:12:58 | |
Dr Arnold most certainly left his mark on Victorian schooling, | 0:13:00 | 0:13:04 | |
while one of his pupils left his boot-print | 0:13:04 | 0:13:07 | |
on the sporting field of dreams. | 0:13:07 | 0:13:09 | |
Ah, William Webb Ellis, the boy who invented rugby football. | 0:13:10 | 0:13:15 | |
And when were the rules of rugby football formalised? | 0:13:15 | 0:13:19 | |
The sport was first codified officially in August 1845 by a group | 0:13:19 | 0:13:23 | |
of three Rugby school boys, one of whom was one of Thomas Arnold's sons. | 0:13:23 | 0:13:27 | |
When they were codified, they were actually produced... | 0:13:27 | 0:13:30 | |
printed in a little book... | 0:13:30 | 0:13:32 | |
Why so small? | 0:13:32 | 0:13:33 | |
In those days there were no referees, the boys didn't need them, | 0:13:33 | 0:13:37 | |
so they would take this booklet out on the pitch with them. | 0:13:37 | 0:13:40 | |
As the game developed, the rules changed to allow faster play. | 0:13:41 | 0:13:45 | |
It made matches more exciting for both players and fans. | 0:13:45 | 0:13:49 | |
It also meant that a referee on the pitch eventually became | 0:13:49 | 0:13:53 | |
compulsory, in order to settle disputes. | 0:13:53 | 0:13:55 | |
The game's roots have not been forgotten. | 0:13:57 | 0:13:59 | |
The Rugby World Cup is known as the Webb Ellis Trophy. | 0:13:59 | 0:14:03 | |
If Webb Ellis were watching now, I'm sure he'd be chuffed to see | 0:14:03 | 0:14:07 | |
how his game is being played today, pretty much as he invented it. | 0:14:07 | 0:14:11 | |
I have to admit that I'm not very sporty, but in for a penny... | 0:14:14 | 0:14:18 | |
Crouch, touch, set. | 0:14:23 | 0:14:25 | |
It's only a short trip up the London to Birmingham mainline | 0:14:56 | 0:15:00 | |
to my next stop, Coventry. | 0:15:00 | 0:15:01 | |
After a game of rugby, an early bath is called for, | 0:15:08 | 0:15:11 | |
and Bradshaw's is ever helpful. | 0:15:11 | 0:15:14 | |
"Coombe Abbey, belonging to the Earl of Craven, has abbey ruins, | 0:15:14 | 0:15:18 | |
"with a gallery of paintings by van Dyck." It sounds perfect. | 0:15:18 | 0:15:22 | |
Coombe Abbey was founded as a monastery by Cistercian monks | 0:15:35 | 0:15:39 | |
in the 12th century. | 0:15:39 | 0:15:41 | |
Following the dissolution of the Monasteries in the 1530s, | 0:15:41 | 0:15:44 | |
in the early 17th century it became a Royal property, | 0:15:44 | 0:15:48 | |
home to Elizabeth Stuart, the daughter of King James I. | 0:15:48 | 0:15:52 | |
Today it's a hotel, where I'll break my journey. | 0:15:52 | 0:15:57 | |
It may be my paranoia as a former politician, | 0:15:57 | 0:16:00 | |
but I find I sleep most soundly when secure behind a moat. | 0:16:00 | 0:16:05 | |
There is a moat, but I haven't found any van Dycks. | 0:16:08 | 0:16:11 | |
Still, it's a good place to rest my sporty legs. | 0:16:11 | 0:16:14 | |
A beautiful new day sees me heading into the manufacturing heartland of Coventry. | 0:16:27 | 0:16:32 | |
As far back as Roman Times its central location made it | 0:16:34 | 0:16:37 | |
ideally situated for trade. | 0:16:37 | 0:16:40 | |
And the arrival of the train helped to fuel its commercial ambitions. | 0:16:40 | 0:16:45 | |
-Hello. -Hello, good morning. | 0:16:45 | 0:16:47 | |
-I'm using this rather old guide book... -Bradshaw, yes. | 0:16:47 | 0:16:50 | |
Bradshaw! And it sounds to me that Coventry is well known for watchmaking. | 0:16:50 | 0:16:55 | |
Now, I didn't know that, is Coventry well known for watchmaking? | 0:16:55 | 0:16:58 | |
-Yes, it's known throughout the world. -What sort of watches? | 0:16:58 | 0:17:01 | |
They do what they call, Half Hunters, the big ones the chaps wore across here with the Albert chain. | 0:17:01 | 0:17:08 | |
Yes, they're very prized and very expensive. | 0:17:08 | 0:17:12 | |
-When does that go back to? -Erm, in the 1800s. | 0:17:12 | 0:17:15 | |
What do you know about watch making? | 0:17:15 | 0:17:17 | |
Erm, they used to have top shops, they lived in the two floors then they lived in the top shops | 0:17:17 | 0:17:23 | |
with big windows at the top and that's where they used to do the watches. | 0:17:23 | 0:17:27 | |
-Quite proud of all that, are you? -Oh, God, yeah - we are, aren't we? | 0:17:27 | 0:17:30 | |
-Of all the industries we've had and lost, aren't we? -Yes. | 0:17:30 | 0:17:33 | |
At its peak, in the 1850s, Coventry's watch-making industry employed 2,000 people. | 0:17:35 | 0:17:42 | |
And one of the biggest firms, Rotherhams, was producing 9,000 watches per year. | 0:17:42 | 0:17:47 | |
But by the 1860s, the industry was in decline | 0:17:48 | 0:17:51 | |
because of cheap imports of Swiss and American watches. | 0:17:51 | 0:17:55 | |
So generations of craftsmen learnt to adapt their skills to survive. | 0:17:55 | 0:18:00 | |
I'm meeting Steve Bagley, from Coventry Transport Museum at his rather special lock up. | 0:18:01 | 0:18:06 | |
Steve, what an amazing sight. An Aladdin's cave. | 0:18:07 | 0:18:11 | |
-Yeah, cars and bikes made in Coventry. -Absolutely glorious. | 0:18:11 | 0:18:16 | |
So how did Coventry get from watches to bicycles? | 0:18:16 | 0:18:21 | |
There was a slump in the watch-making industry and a few entrepreneurs | 0:18:21 | 0:18:25 | |
opened up sewing machine factories, | 0:18:25 | 0:18:27 | |
because the skills of making a watch was very similar to making a sewing machine. | 0:18:27 | 0:18:31 | |
And then there was slump in the sewing machine manufacturing industry. | 0:18:31 | 0:18:36 | |
Again, these entrepreneurs decided to build some of these French-build boneshakers, | 0:18:36 | 0:18:40 | |
velocipedes as they were also known. | 0:18:40 | 0:18:42 | |
So in 1868, these were brought to Coventry and the sewing machine factory began to manufacture these. | 0:18:42 | 0:18:49 | |
What comes next? | 0:18:49 | 0:18:51 | |
What they began to do, was to make the front wheel on the velocipede bigger, | 0:18:51 | 0:18:55 | |
so we ended up with what's now known as the penny farthing. | 0:18:55 | 0:18:58 | |
Or to call it its right name, the Ordinary. | 0:18:58 | 0:19:00 | |
But it is nicknamed penny farthing because we had a coin called a penny | 0:19:00 | 0:19:04 | |
and a much smaller coin called a farthing. | 0:19:04 | 0:19:07 | |
Exactly. Getting on and off is an issue. | 0:19:07 | 0:19:10 | |
They were made for athletic gentlemen to ride. | 0:19:10 | 0:19:13 | |
But the penny farthing was lacking one vital ingredient... | 0:19:13 | 0:19:17 | |
..a bicycle chain. | 0:19:17 | 0:19:19 | |
The Eureka moment came in 1885 with the invention of the Rover safety bicycle. | 0:19:19 | 0:19:25 | |
This is the modern bicycle as we know it today. | 0:19:25 | 0:19:29 | |
A fella called John Kemp Starley in Coventry, | 0:19:29 | 0:19:32 | |
he owned the Rover Cycle Company, that became the Rover Car Company, | 0:19:32 | 0:19:36 | |
still existed till very recently, and he developed this bicycle | 0:19:36 | 0:19:39 | |
in the mid-1880s and it is the forerunner of all modern bicycles. | 0:19:39 | 0:19:43 | |
And known as a safety bicycle. | 0:19:43 | 0:19:46 | |
-Er...for the good reason that everything that came before was not? -Exactly. | 0:19:46 | 0:19:50 | |
During the 1890s, Coventry became the cycle capital of the world, | 0:19:50 | 0:19:55 | |
and companies like Rover were producing thousands of these a year. | 0:19:55 | 0:20:00 | |
So much so that factories grew up all over the city. | 0:20:01 | 0:20:04 | |
From about seven companies in the 1870s | 0:20:04 | 0:20:08 | |
to about 50-odd companies by the 1890s. | 0:20:08 | 0:20:12 | |
It just exploded on the back of this safety bicycle. | 0:20:12 | 0:20:16 | |
And yet, I think of Coventry as being associated with motors? | 0:20:16 | 0:20:20 | |
-That's right. -So how was that transition made, from bicycles to motors? | 0:20:20 | 0:20:24 | |
Again, same old story, slump in the cycle industry. | 0:20:24 | 0:20:27 | |
So the businessmen and the entrepreneurs who were making cycles | 0:20:27 | 0:20:31 | |
decided to try these new-fangled motor cars that were being developed, | 0:20:31 | 0:20:34 | |
mainly in Germany and France on the Continent. | 0:20:34 | 0:20:36 | |
The bicycle bubble burst in the late 1890s. | 0:20:38 | 0:20:41 | |
Only 20 years later, the car industry was booming. | 0:20:41 | 0:20:45 | |
By 1939, engineers had developed super-fast production lines | 0:20:45 | 0:20:51 | |
and 38,000 people were employed in making cars. | 0:20:51 | 0:20:54 | |
The average price of a family car was around £150. | 0:20:54 | 0:20:59 | |
This lock up is an education to me, I had no idea | 0:21:01 | 0:21:04 | |
so many different types of cars were made in Coventry, | 0:21:04 | 0:21:07 | |
you've got Jaguar, Triumph, Standard, Alvis, Hillman. It's incredible, isn't it? | 0:21:07 | 0:21:12 | |
It is, isn't it? And we've actually recorded 142 car companies | 0:21:12 | 0:21:16 | |
have been registered in the city over the years. | 0:21:16 | 0:21:19 | |
Ranging from small companies like Hillman, who made small...like the Hillman Minx. | 0:21:19 | 0:21:24 | |
Very large cars like this fantastic Jaguar Mark VIII. Top of the range. | 0:21:24 | 0:21:30 | |
What a lovely car that is, isn't it? | 0:21:30 | 0:21:33 | |
It's beautiful, isn't it? It's got a column gear change so you can have a long bench seat in the front. | 0:21:33 | 0:21:39 | |
It has nothing separating the two seats, which for safety, | 0:21:39 | 0:21:43 | |
is not the best idea! | 0:21:43 | 0:21:44 | |
-Stick three people on the front bench. And of course no seat belts. -That's right. | 0:21:44 | 0:21:48 | |
-Are you going by the station? -Why not? | 0:21:52 | 0:21:55 | |
-Give you a lift in this, if you like. -Thank you! | 0:21:55 | 0:21:57 | |
By the 1960s and '70s, the glory days of making cars in Coventry, like this Alvis, | 0:22:01 | 0:22:06 | |
were over and manufacturing was in decline. | 0:22:06 | 0:22:09 | |
Foreign imports swept the market. | 0:22:09 | 0:22:12 | |
But thanks once more to the adaptability and the tenacity of the people of Coventry, | 0:22:12 | 0:22:16 | |
the re-invention continues. | 0:22:16 | 0:22:18 | |
Along with making London taxis, | 0:22:18 | 0:22:20 | |
Coventry's engineers now make high-end parts | 0:22:20 | 0:22:23 | |
for Land Rover and Jaguar, | 0:22:23 | 0:22:25 | |
highly successful products in the luxury car market. | 0:22:25 | 0:22:28 | |
Thank you, Steve. | 0:22:28 | 0:22:30 | |
Bye. | 0:22:32 | 0:22:33 | |
For the next part of my journey, I'm leaving Stephenson's | 0:22:41 | 0:22:44 | |
London to Birmingham main line and heading east. | 0:22:44 | 0:22:47 | |
Tickets and passes, please. | 0:22:56 | 0:22:57 | |
As far as Nuneaton. | 0:22:58 | 0:23:00 | |
-That's lovely. Thank you very much. -Thank you very much indeed. | 0:23:00 | 0:23:03 | |
I'm travelling across Warwickshire towards Nuneaton to visit | 0:23:03 | 0:23:08 | |
the childhood home of a great 19th-century author, Mary Ann Evans, | 0:23:08 | 0:23:13 | |
who had one thing in common with Bradshaw...by George, she did. | 0:23:13 | 0:23:17 | |
Mary Ann Evans, or George Eliot, as we know her, | 0:23:22 | 0:23:25 | |
lived in Nuneaton for the first 21 years of her life | 0:23:25 | 0:23:28 | |
before moving to London to become an essayist. | 0:23:28 | 0:23:32 | |
Her success is the more remarkable because women writers in the 1850s were very rare. | 0:23:32 | 0:23:37 | |
And while Britain underwent the Industrial Revolution, women's equality was scarcely on the agenda. | 0:23:37 | 0:23:44 | |
I'm keen to find out from John Burton, who's chairman of the George Eliot Fellowship, | 0:23:44 | 0:23:49 | |
why Mary wanted to keep her female identity a secret. | 0:23:49 | 0:23:52 | |
Why did she take a man's pen name? | 0:23:55 | 0:23:58 | |
Well, by the time her first work of fiction came out, she was living, | 0:23:58 | 0:24:03 | |
the Victorians would have said "in sin" with George Henry Lewis. | 0:24:03 | 0:24:07 | |
She couldn't marry him because he was already married. | 0:24:07 | 0:24:09 | |
And so the first work of fiction, I think they used George Eliot | 0:24:09 | 0:24:13 | |
in order to cover the fact that | 0:24:13 | 0:24:16 | |
the press would have made a lot of the fact this was George Henry Lewis' common-law wife, | 0:24:16 | 0:24:21 | |
rather than concentrating on the literary qualities of the novel. | 0:24:21 | 0:24:25 | |
What perception does she bring to her work, why is it she's so remembered? | 0:24:25 | 0:24:30 | |
I think she's so remembered because of the wisdom and the compassion, | 0:24:30 | 0:24:36 | |
actually that she shows when you read her. | 0:24:36 | 0:24:38 | |
She pulls you up short with her pre-Freudian, but psychological insights into human nature, | 0:24:38 | 0:24:44 | |
which I still find quite extraordinary. | 0:24:44 | 0:24:47 | |
I also feel that her humour is wonderful. | 0:24:47 | 0:24:50 | |
It's not laugh-out-loud humour, but it's wonderful, subtle, very understanding, human nature, | 0:24:50 | 0:24:56 | |
really, I think is at the core of what she's writing. | 0:24:56 | 0:25:00 | |
Eliot started writing in the 1850s. | 0:25:01 | 0:25:04 | |
I'd like to know what today's generation thinks. | 0:25:04 | 0:25:07 | |
I'm joining readers from a Nuneaton book club. | 0:25:07 | 0:25:11 | |
As a young person, do you think George Eliot is very challenging? | 0:25:11 | 0:25:15 | |
Yes, definitely. | 0:25:15 | 0:25:16 | |
Although she's a challenging writer, it doesn't mean it's impossible to read. | 0:25:16 | 0:25:20 | |
You've really got to persevere with it, though, because she does really go into detail. | 0:25:20 | 0:25:25 | |
When you can see it for what it is, | 0:25:25 | 0:25:27 | |
you then start to enjoy it and appreciate what she's written. | 0:25:27 | 0:25:30 | |
How would you rank Middlemarch amongst the novels that you've read? | 0:25:30 | 0:25:33 | |
It's up there. I actually prefer some of her other novels. | 0:25:33 | 0:25:36 | |
I think The Mill on the Floss is one of her best. | 0:25:36 | 0:25:39 | |
When you read George Eliot, can you tell that it's a woman who's writing? | 0:25:39 | 0:25:43 | |
I think so, yes, when we read Silas Marner, | 0:25:43 | 0:25:46 | |
the detail she put in about the emotion, | 0:25:46 | 0:25:50 | |
and describing the feelings. | 0:25:50 | 0:25:52 | |
She published anonymously, her very first work of fiction | 0:25:52 | 0:25:56 | |
and people assumed, a bit like the Brontes, really, | 0:25:56 | 0:26:00 | |
that it was a clergyman writing. | 0:26:00 | 0:26:03 | |
Except Charles Dickens, and he was the one person who tumbled to her identity and he commented | 0:26:03 | 0:26:10 | |
on the range of emotional intelligence, we would say today. | 0:26:10 | 0:26:14 | |
You've got a text over there, what are you reading about at the moment? | 0:26:14 | 0:26:18 | |
It's a passage from Middlemarch about when the railways came in. | 0:26:18 | 0:26:22 | |
"In the hundred to which Middlemarch belonged, | 0:26:22 | 0:26:25 | |
"railways were as exciting a topic as the reform bill, | 0:26:25 | 0:26:28 | |
"or the imminent horrors of Cholera and those who held the most | 0:26:28 | 0:26:32 | |
"decided views on the subject were women and landholders. | 0:26:32 | 0:26:37 | |
"Women both old and young regarded travelling by steam as | 0:26:37 | 0:26:40 | |
"presumptuous and dangerous and argued against it by saying | 0:26:40 | 0:26:44 | |
"that 'nothing would induce them to get into a railway carriage'." | 0:26:44 | 0:26:47 | |
Very good, a lovely social observation. Of course, | 0:26:49 | 0:26:52 | |
I think was largely true | 0:26:52 | 0:26:54 | |
until Queen Victoria was persuaded by her husband to travel by train, | 0:26:54 | 0:26:58 | |
at which point it became respectable for women. | 0:26:58 | 0:27:01 | |
So, George Elliot, George Bradshaw, two wonderful | 0:27:01 | 0:27:05 | |
reflections of the Victorian age. | 0:27:05 | 0:27:07 | |
One difference is George Bradshaw's got a train to catch. Bye-bye. | 0:27:09 | 0:27:13 | |
Watch makers in Coventry had to adapt to manufacturing first bicycles and then cars. | 0:27:24 | 0:27:31 | |
Shoe makers in Northampton had to adapt to survive. | 0:27:31 | 0:27:35 | |
Thomas Arnold, of Rugby School, | 0:27:35 | 0:27:37 | |
believed in fashioning young gentlemen with adaptable minds. | 0:27:37 | 0:27:41 | |
But George Eliot demonstrated that an educated woman could take | 0:27:41 | 0:27:46 | |
her place amongst the most eminent Victorians. | 0:27:46 | 0:27:50 | |
On the next leg of my next journey, I swap hats and view life from the other side of the tracks. | 0:27:55 | 0:28:00 | |
All aboard, all aboard. | 0:28:00 | 0:28:03 | |
I discover an astronomical invention that gave Hollywood a facelift. | 0:28:03 | 0:28:07 | |
-Am I on the dot? -Yes, you are. -Yay! | 0:28:07 | 0:28:10 | |
I never expected to get that right. | 0:28:10 | 0:28:12 | |
And my mettle is tested at the world's largest bell foundry. | 0:28:12 | 0:28:16 | |
To say I'm out of my comfort zone is to put it mildly. | 0:28:16 | 0:28:19 | |
There is molten metal leaping around in the room. | 0:28:19 | 0:28:23 |