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For Victorian Britons, George Bradshaw was a household name. | 0:00:04 | 0:00:08 | |
At a time when railways were new, Bradshaw's guidebook inspired them | 0:00:09 | 0:00:13 | |
to take to the tracks. | 0:00:13 | 0:00:15 | |
I'm using Bradshaw's guide to understand how trains | 0:00:15 | 0:00:19 | |
transformed Britain - | 0:00:19 | 0:00:21 | |
its landscape, its industries, society and leisure time. | 0:00:21 | 0:00:26 | |
As I crisscross the country 150 years later, | 0:00:26 | 0:00:30 | |
it helps me to discover the Britain of today. | 0:00:30 | 0:00:33 | |
Today, I am excited to be embarking on the Heart of Wales line. | 0:01:02 | 0:01:07 | |
Completed only in 1868 to serve the needs of the agricultural, | 0:01:07 | 0:01:12 | |
tin and anthracite industries, | 0:01:12 | 0:01:14 | |
now it's used mainly by locals and tourists who gasp at its spectacular | 0:01:14 | 0:01:20 | |
viaducts and tunnels on a line that is historic, scenic and epic. | 0:01:20 | 0:01:26 | |
This week, I'm travelling across Britain | 0:01:37 | 0:01:40 | |
from west Wales to East Anglia. | 0:01:40 | 0:01:42 | |
My journey, which began in Pembroke Dock, continued to Swansea | 0:01:43 | 0:01:48 | |
and now passes through the valleys and mountains of Wales, | 0:01:48 | 0:01:52 | |
crossing into Herefordshire and moving south-east to Oxford | 0:01:52 | 0:01:56 | |
to take in Bedford and to end in Cambridge. | 0:01:56 | 0:02:00 | |
Today's leg begins in Swansea, | 0:02:02 | 0:02:04 | |
moves north to marvel at the exotic in Llandeilo, | 0:02:04 | 0:02:09 | |
finds a room with a view in Ludlow, | 0:02:09 | 0:02:11 | |
heads south to Leominster, before arriving in Hereford. | 0:02:11 | 0:02:14 | |
On this journey, I receive a lesson in Welsh pronunciation... | 0:02:19 | 0:02:23 | |
Start from Pantyffynnon to Llandeilo, | 0:02:23 | 0:02:26 | |
then there's Llandeilo to Llandovery, Llandovery to Llanwrtyd. | 0:02:26 | 0:02:30 | |
You don't get confused with all your Llans do you? | 0:02:30 | 0:02:32 | |
Well, I don't! HE CHUCKLES | 0:02:32 | 0:02:35 | |
..step into my dancing shoes for a quadrille... | 0:02:37 | 0:02:40 | |
And away they go! | 0:02:45 | 0:02:47 | |
..and put my schoolboy scrumping skills to good use. | 0:02:47 | 0:02:51 | |
Heavens. That is delicious! | 0:02:51 | 0:02:53 | |
-Nice and fruity, isn't it? -Oh! | 0:02:53 | 0:02:55 | |
Be even better when it's alcoholic! | 0:02:55 | 0:02:57 | |
HE LAUGHS Definitely. | 0:02:57 | 0:02:58 | |
Part of your five a day, that. | 0:02:58 | 0:02:59 | |
This part of the line had been built by 1857, | 0:03:08 | 0:03:11 | |
and so my Bradshaw's lists the stations which are tongue twisters | 0:03:11 | 0:03:15 | |
for the non-Welsh-speaker. | 0:03:15 | 0:03:17 | |
Llanelly, Llandeilo, Llangadock, Llandovery. | 0:03:17 | 0:03:22 | |
I'll be getting off at Llandeilo in order to visit Aberglasney, | 0:03:22 | 0:03:26 | |
magnetised, as Victorians were, by its old-fashioned gardens. | 0:03:26 | 0:03:30 | |
At the time of my guidebook, in order to reach the gardens | 0:03:39 | 0:03:42 | |
visitors would pass through the picturesque medieval market town | 0:03:42 | 0:03:46 | |
of Llandeilo on the River Towy. | 0:03:46 | 0:03:49 | |
With the expansion of the British Empire, exotic plants | 0:03:53 | 0:03:56 | |
such as rhododendrons and azaleas reached Britain. | 0:03:56 | 0:04:00 | |
By the mid-19th century, botany had gripped the nation. | 0:04:00 | 0:04:04 | |
With it came revived interest in formal garden design | 0:04:05 | 0:04:08 | |
of earlier eras. | 0:04:08 | 0:04:10 | |
So it's no surprise that Aberglasney's Elizabethan parterres | 0:04:11 | 0:04:16 | |
were a source of inspiration to green-fingered Victorians. | 0:04:16 | 0:04:20 | |
I'm meeting Roger Evans of the Aberglasney Restoration Trust. | 0:04:20 | 0:04:24 | |
Roger, there's a delightful tranquillity here. | 0:04:28 | 0:04:30 | |
A lady visiting about the time of my Bradshaw's Guide, Hermione Jennings, | 0:04:30 | 0:04:34 | |
talked about it being a curiously old-fashioned place. | 0:04:34 | 0:04:37 | |
What would she have meant by that? | 0:04:37 | 0:04:38 | |
Well, the basic structure of the garden goes back to the early 1600s | 0:04:38 | 0:04:42 | |
and has remained fundamentally unchanged since that time | 0:04:42 | 0:04:46 | |
So these structures, what were their origins? | 0:04:46 | 0:04:48 | |
When Bishop Rudd moved here as bishop of St David's in 1594, | 0:04:48 | 0:04:54 | |
he brought with him the idea of cloisters | 0:04:54 | 0:04:57 | |
from his previous posting at Gloucester Cathedral, | 0:04:57 | 0:05:00 | |
and so he built these magnificent cloisters. | 0:05:00 | 0:05:03 | |
And fortunately, these remain now the only cloistered gardens | 0:05:03 | 0:05:08 | |
left in the UK. | 0:05:08 | 0:05:09 | |
But not all of the gardens are frozen in time. | 0:05:12 | 0:05:15 | |
In 2005, the Trust created something new - a Ninfarium. | 0:05:15 | 0:05:20 | |
It took its inspiration from the Italian gardens of Ninfa, | 0:05:22 | 0:05:26 | |
planted amongst medieval ruins. | 0:05:26 | 0:05:28 | |
The Ninfarium occupies the mansion's ruinous central rooms and courtyard. | 0:05:31 | 0:05:37 | |
It's subtropical in here! | 0:05:41 | 0:05:43 | |
I sense how exciting the grand glass houses of the 18th | 0:05:47 | 0:05:51 | |
and 19th centuries must have seemed to the Victorians. | 0:05:51 | 0:05:54 | |
Amongst the tropical plants I am meeting volunteer gardener, | 0:05:56 | 0:06:00 | |
Helen Scutt. | 0:06:00 | 0:06:01 | |
The Victorians had a fondness for glasshouses? | 0:06:05 | 0:06:08 | |
They did because I suppose it was a different environment for them, | 0:06:08 | 0:06:12 | |
they could express their artistic urge. | 0:06:12 | 0:06:14 | |
And of course, when all these plant explorers came back | 0:06:14 | 0:06:17 | |
with these new exotic plants, things like pineapples, | 0:06:17 | 0:06:20 | |
these strange, bizarre things - | 0:06:20 | 0:06:22 | |
ginger and passion flowers - | 0:06:22 | 0:06:25 | |
they had nowhere to grow them | 0:06:25 | 0:06:27 | |
because, of course, it's rainy and wet in Britain. | 0:06:27 | 0:06:29 | |
So they had to build these houses, if you like, to show them off in, | 0:06:29 | 0:06:34 | |
so why not create something quite beautiful at the same time? | 0:06:34 | 0:06:37 | |
Everyday Victorians were inspired by the grand glasshouses | 0:06:38 | 0:06:42 | |
of Regent's Park and Kew Gardens. | 0:06:42 | 0:06:45 | |
With innovations in manufacturing | 0:06:46 | 0:06:48 | |
and the abolition of the window tax in 1851, | 0:06:48 | 0:06:51 | |
they might hope to emulate them at a domestic scale. | 0:06:51 | 0:06:54 | |
What do you think the Victorians | 0:06:56 | 0:06:57 | |
would have made of a space like this? | 0:06:57 | 0:06:59 | |
They would have loved it. | 0:06:59 | 0:07:00 | |
They liked anything that was new and off-centre and exciting, | 0:07:00 | 0:07:04 | |
and I think this is a very exciting space. | 0:07:04 | 0:07:06 | |
They were building grottos and other sort of garden buildings, | 0:07:06 | 0:07:10 | |
so to come into a ruined garden like this, | 0:07:10 | 0:07:13 | |
I think they would have loved it. | 0:07:13 | 0:07:14 | |
It's now time to resume my journey north-east, | 0:07:18 | 0:07:20 | |
through mid Wales towards Ludlow. | 0:07:20 | 0:07:23 | |
I am going back on the Heart of Wales line | 0:07:25 | 0:07:27 | |
as it enters ever-more picturesque countryside. | 0:07:27 | 0:07:30 | |
The best place to see its twists and turns | 0:07:30 | 0:07:32 | |
is from the driver's point of view in the cab. | 0:07:32 | 0:07:35 | |
I am keen to appreciate why this line, completed in 1868, | 0:07:40 | 0:07:44 | |
is known as one of the most scenic in Britain. | 0:07:44 | 0:07:46 | |
Long-serving driver Haydn Williams | 0:07:48 | 0:07:51 | |
is happy for me to ride shotgun. | 0:07:51 | 0:07:53 | |
A very picturesque line, Haydn. | 0:08:05 | 0:08:07 | |
Do you think it is up there with the best in Britain? | 0:08:07 | 0:08:09 | |
Oh, definitely. | 0:08:09 | 0:08:11 | |
The best, probably. | 0:08:11 | 0:08:12 | |
How long have you been driving it? | 0:08:12 | 0:08:14 | |
Uh.. Since 1970, I started. | 0:08:14 | 0:08:16 | |
And this is the line I started on. | 0:08:16 | 0:08:18 | |
-Good heavens. That is a long time. -That is a long time. | 0:08:18 | 0:08:20 | |
There's some quite spectacular features, aren't there? | 0:08:20 | 0:08:23 | |
You've got a couple of viaducts and a tunnel? | 0:08:23 | 0:08:25 | |
Yes, we've got Cynghordy Viaduct, | 0:08:25 | 0:08:27 | |
which is just the other side of Llandovery. | 0:08:27 | 0:08:29 | |
Plus you've got Sugar Loaf Tunnel. | 0:08:29 | 0:08:32 | |
It's 1,001 yards long. | 0:08:32 | 0:08:34 | |
Much of the Heart of Wales line is single track | 0:08:35 | 0:08:38 | |
and a Victorian signalling system that allows trains to pass safely | 0:08:38 | 0:08:43 | |
is still in use today. | 0:08:43 | 0:08:44 | |
Single track, how do you manage occupation of the track? | 0:08:46 | 0:08:50 | |
With the token. | 0:08:50 | 0:08:52 | |
This is what gives you permission to be on the track. | 0:08:52 | 0:08:56 | |
This train doesn't go anywhere without this. | 0:08:56 | 0:08:58 | |
When do we exchange that? | 0:09:00 | 0:09:02 | |
We exchange it now in Llandovery, for the next section. | 0:09:02 | 0:09:05 | |
Do you know how long that system has existed? | 0:09:05 | 0:09:08 | |
Well, before I started! | 0:09:08 | 0:09:09 | |
HE LAUGHS | 0:09:09 | 0:09:10 | |
-Very ancient indeed! -Oh! Well, yeah. | 0:09:10 | 0:09:13 | |
Electronic token block signalling was in service by 1880. | 0:09:18 | 0:09:23 | |
Only the driver in possession of a token | 0:09:23 | 0:09:26 | |
could occupy a block of track at a given time. | 0:09:26 | 0:09:29 | |
It proved fail-safe. | 0:09:29 | 0:09:31 | |
2957 at Llandovery. I put Llandeilo-Llandovery token in. | 0:09:32 | 0:09:35 | |
Can I have the Llandovery-Llanwrtyd token out, please? | 0:09:35 | 0:09:38 | |
-You've asked permission to get the token. -Yes. | 0:09:41 | 0:09:43 | |
-And he's now going to release that? -That's it. And we get the light. | 0:09:43 | 0:09:46 | |
If you don't get the light, you can't get the token out. | 0:09:46 | 0:09:48 | |
Should then get a series of lights. There we are. | 0:09:48 | 0:09:50 | |
I've got Llandovery-Llanwrtyd token, | 0:09:51 | 0:09:53 | |
the white set-for-departure light is lit and the TPWS is flashing. | 0:09:53 | 0:09:56 | |
There's only one of these tokens, is there? | 0:09:56 | 0:09:58 | |
There's more than one token but there's only token out at one time | 0:09:58 | 0:10:01 | |
and this is the only one that can be released. | 0:10:01 | 0:10:02 | |
You cannot release any more tokens out of the machine now | 0:10:02 | 0:10:05 | |
-until we put this one back in. -Aha. | 0:10:05 | 0:10:07 | |
-So we can be clear that the track is ours? -Yes. | 0:10:07 | 0:10:10 | |
-So we have our new token. -Yes, we do. | 0:10:18 | 0:10:20 | |
How many places are there along the line | 0:10:20 | 0:10:23 | |
where you have to exchange the token? | 0:10:23 | 0:10:26 | |
The five sections are start from Pantyffynnon to Llandeilo, | 0:10:26 | 0:10:29 | |
then there's Llandeilo to Llandovery, | 0:10:29 | 0:10:32 | |
Llandovery to Llanwrtyd, Llanwrtyd to Llandrindod, | 0:10:32 | 0:10:36 | |
and Llandrindod to Knighton. | 0:10:36 | 0:10:39 | |
It's easy for you to say! | 0:10:39 | 0:10:41 | |
Then the final one, Knighton to Craven Arms. | 0:10:42 | 0:10:44 | |
Oh, that one I can manage! | 0:10:44 | 0:10:46 | |
You don't get confused with all your Llans do you? | 0:10:47 | 0:10:50 | |
Well, I don't! | 0:10:50 | 0:10:51 | |
I am looking forward to the Cynghordy Viaduct. | 0:10:52 | 0:10:54 | |
Will I get a good view of it? | 0:10:54 | 0:10:56 | |
Yes, you will. | 0:10:56 | 0:10:57 | |
It gives you quite a view of the valley either side as well, | 0:10:57 | 0:11:00 | |
which is quite spectacular. | 0:11:00 | 0:11:02 | |
Oh, I can see the arches now spreading out below. | 0:11:02 | 0:11:05 | |
That is beautiful! | 0:11:05 | 0:11:07 | |
That is superb. | 0:11:08 | 0:11:10 | |
In 1860, the Central Wales Extension Railway | 0:11:26 | 0:11:30 | |
commissioned the Cynghordy Viaduct. | 0:11:30 | 0:11:32 | |
18 arches long, this magnificent structure of sandstone and brick | 0:11:32 | 0:11:38 | |
stands at a dizzying height of 100 foot over the Bran Valley. | 0:11:38 | 0:11:42 | |
-What's our next stop, Haydn? -Llandrindod Well is our next stop. | 0:11:46 | 0:11:49 | |
It's where we change tokens and I will change with the other driver. | 0:11:49 | 0:11:54 | |
Ah, well. I have really enjoyed my ride had a fantastic view | 0:11:54 | 0:11:59 | |
and I have enjoyed your passion for Heart of Wales Line. | 0:11:59 | 0:12:02 | |
-Thank you. -Thank you so much. Bye-bye. | 0:12:02 | 0:12:05 | |
Today, the line carries around 200,000 people a year, | 0:12:11 | 0:12:15 | |
but historically it carried freight - mainly iron and coal. | 0:12:15 | 0:12:19 | |
Britain was building great iron ships | 0:12:20 | 0:12:22 | |
and railways for world markets and the demand for coal, | 0:12:22 | 0:12:26 | |
used in iron smelting and for steam power, was growing rapidly. | 0:12:26 | 0:12:31 | |
By the 1870s, Welsh coal production had exceeded 18 million tonnes. | 0:12:32 | 0:12:37 | |
As the train pulls into Llandrindod Wells, I'm in for a surprise. | 0:12:39 | 0:12:43 | |
Well, hello! | 0:12:46 | 0:12:47 | |
CROWD SHOUTS: Hello! | 0:12:47 | 0:12:50 | |
What a wonderfully, beautifully dressed group of people you are! | 0:12:50 | 0:12:53 | |
-Very nice to see you. -How do you do? | 0:12:53 | 0:12:54 | |
Why are you having a Victorian festival? | 0:12:54 | 0:12:57 | |
Victorian town, spa town, | 0:12:57 | 0:12:59 | |
and this is an annual festival which has been going for 33 years. | 0:12:59 | 0:13:03 | |
We heard you were on the train, so we've all come to welcome you. | 0:13:03 | 0:13:06 | |
-That's really sweet of you. -We're thrilled to bits to see you. | 0:13:06 | 0:13:08 | |
-Can I just hold that? -You may hold the Bradshaw's! Oh! | 0:13:08 | 0:13:12 | |
THE CROWD CHEERS | 0:13:12 | 0:13:15 | |
May I say that I never seen a better dressed group of people | 0:13:15 | 0:13:18 | |
on any railway station in Britain! | 0:13:18 | 0:13:20 | |
-Have a wonderful festival! -Thank you. -Thank you. | 0:13:20 | 0:13:22 | |
Thank you very much. | 0:13:22 | 0:13:23 | |
Once connected to the line in 1868, | 0:13:33 | 0:13:35 | |
remote spa towns like Llandrindod Wells | 0:13:35 | 0:13:39 | |
were transformed into holiday resorts. | 0:13:39 | 0:13:42 | |
Tourists from South Wales, the Midlands and Northeast England | 0:13:42 | 0:13:46 | |
flocked to the town's spas and pools to take the waters. | 0:13:46 | 0:13:50 | |
I am now on my way to Craven Arms, | 0:13:58 | 0:14:01 | |
where I shall take a mainline train and head south into Shropshire. | 0:14:01 | 0:14:05 | |
My destination now is Ludlow. | 0:14:17 | 0:14:20 | |
Bradshaw's tells me that of the old castle, the only remains are | 0:14:20 | 0:14:24 | |
a chapel in the Norman style, a great hall | 0:14:24 | 0:14:28 | |
and a keep 100ft high. | 0:14:28 | 0:14:30 | |
I can think of no better way to end my day | 0:14:30 | 0:14:33 | |
than with a delightful panorama. | 0:14:33 | 0:14:35 | |
The arrival of the train in 1852 transformed Ludlow into | 0:14:43 | 0:14:47 | |
something of a tourist magnet, with the castle as its main attraction. | 0:14:47 | 0:14:52 | |
And before I turn in for the night, I am heading straight to the top. | 0:15:04 | 0:15:07 | |
By the 15th century, Ludlow Castle was the seat of government | 0:15:10 | 0:15:13 | |
for Wales and the border counties, | 0:15:13 | 0:15:16 | |
and thanks to its pivotal role in the War of the Roses, | 0:15:16 | 0:15:19 | |
a royal palace too. | 0:15:19 | 0:15:20 | |
Ah, yes. What a view. | 0:15:28 | 0:15:31 | |
Looking that way towards Wales. | 0:15:32 | 0:15:34 | |
Here taking in the county of Shropshire. | 0:15:34 | 0:15:37 | |
An excellent vista over the ruins of the castle. | 0:15:37 | 0:15:40 | |
That, I believe, with the fine tower, is the church of St Laurence. | 0:15:40 | 0:15:45 | |
And the River Teme just below me. | 0:15:45 | 0:15:48 | |
As so often before, Bradshaw's has been a reliable guide. | 0:15:48 | 0:15:52 | |
After a good night's sleep, I am continuing my journey south | 0:16:13 | 0:16:16 | |
towards Hereford. | 0:16:16 | 0:16:17 | |
My first stop today is Leominster. | 0:16:30 | 0:16:32 | |
Bradshaw's tells me that it has, | 0:16:32 | 0:16:34 | |
"..a considerable trade in wheat, wool, hops and cider. | 0:16:34 | 0:16:39 | |
"Many of the buildings of timber and plaster are grotesquely ornamented." | 0:16:39 | 0:16:45 | |
It recommends the Lion Hotel. | 0:16:45 | 0:16:47 | |
Leominster was at a hub of Georgian coach routes. | 0:17:00 | 0:17:04 | |
Hotels like the Lion, offering travellers entertainment, | 0:17:05 | 0:17:09 | |
experienced a boom. | 0:17:09 | 0:17:10 | |
I'm visiting the Lion Hotel's ballroom. | 0:17:12 | 0:17:14 | |
For it was here in 1853 that a grand ball was held | 0:17:16 | 0:17:20 | |
to celebrate the opening of the Ludlow to Hereford railway. | 0:17:20 | 0:17:23 | |
James. | 0:17:25 | 0:17:26 | |
-Morning, Michael. -Very good to see you. | 0:17:26 | 0:17:29 | |
Owner James Hinton has kindly offered to show me inside. | 0:17:29 | 0:17:33 | |
It's superb! | 0:17:36 | 0:17:37 | |
With its lovely pillars and its chandeliers. | 0:17:38 | 0:17:41 | |
Tell me about the history of this ballroom. | 0:17:42 | 0:17:44 | |
The hotel itself was a coaching inn and, obviously before the railways, | 0:17:44 | 0:17:48 | |
coaching was the prominent means of getting people and parcels | 0:17:48 | 0:17:52 | |
around the country. | 0:17:52 | 0:17:54 | |
And this was the grand assembly room for the hotel. | 0:17:54 | 0:17:57 | |
Built in 1840 in the fashionable neo-classical style, | 0:17:58 | 0:18:03 | |
it was designed to host formal dances. | 0:18:03 | 0:18:05 | |
But the Lion Hotel's lavish improvement came too late. | 0:18:06 | 0:18:10 | |
Within a decade of reopening, it was bankrupt. | 0:18:10 | 0:18:14 | |
What happened to the hotel? | 0:18:14 | 0:18:16 | |
Well, unfortunately the railways are what happened to the hotel. | 0:18:16 | 0:18:19 | |
You're serious? The impact of the railway was that immediate? | 0:18:19 | 0:18:22 | |
Yes. You didn't need a horse and carriage to get to Hereford - | 0:18:22 | 0:18:25 | |
you had the railways. | 0:18:25 | 0:18:27 | |
Suddenly you could travel around the country within a day | 0:18:27 | 0:18:30 | |
as opposed to three or four days. | 0:18:30 | 0:18:32 | |
Within a week of the service being up and running, | 0:18:32 | 0:18:35 | |
the hotel was available to let. | 0:18:35 | 0:18:37 | |
I notice that the ballroom is in superb condition, | 0:18:37 | 0:18:41 | |
so I'm assuming it's still used for functions? | 0:18:41 | 0:18:43 | |
Oh, very much so. It still gets used for, would you believe, | 0:18:43 | 0:18:46 | |
-Victorian dancing. -Really? | 0:18:46 | 0:18:48 | |
Yes! | 0:18:48 | 0:18:49 | |
MICHAEL LAUGHS | 0:18:50 | 0:18:52 | |
How elegant! How beautiful! | 0:18:52 | 0:18:55 | |
Welcome, ladies. | 0:18:56 | 0:18:57 | |
Evidently, you do perform Victorian dances here. | 0:19:00 | 0:19:03 | |
Yes, we do. Yes. | 0:19:03 | 0:19:04 | |
-Every week. -Every week? | 0:19:04 | 0:19:06 | |
Yes, we have a practice and run through mostly quadrilles. | 0:19:06 | 0:19:11 | |
A Quadrille was a fashionable formation dance imported from Paris. | 0:19:12 | 0:19:18 | |
Together with the waltz, polka and mazurka | 0:19:18 | 0:19:21 | |
it became a favourite on the Victorian dance floor. | 0:19:21 | 0:19:25 | |
As you may have feared, I'm going to give it a go. | 0:19:25 | 0:19:29 | |
TRIO PLAYS A CLASSICAL PIECE | 0:19:29 | 0:19:33 | |
For the aspiring middle class, strict protocols governed | 0:19:47 | 0:19:50 | |
how to behave and dress, and they extended to the ballroom. | 0:19:50 | 0:19:54 | |
Ladies danced by invitation | 0:19:55 | 0:19:57 | |
and introductions could be made only by a husband or chaperone. | 0:19:57 | 0:20:01 | |
The rule book is extensive. | 0:20:12 | 0:20:14 | |
I'm clutching on to the rule that says, | 0:20:14 | 0:20:16 | |
"What happens in the ballroom stays in the ballroom." | 0:20:16 | 0:20:19 | |
Apart from a few bruised toes, my performance will be forgotten. | 0:20:26 | 0:20:31 | |
Thank you. | 0:20:40 | 0:20:42 | |
Dear lady. | 0:20:42 | 0:20:43 | |
SHE CHUCKLES | 0:20:43 | 0:20:45 | |
After my impromptu dance lesson, I'm in need of refreshment. | 0:20:48 | 0:20:53 | |
Travelling south through the West Midlands, | 0:20:53 | 0:20:55 | |
my final destination of this leg promises to be just the ticket. | 0:20:55 | 0:20:59 | |
I am going now as far as Hereford. | 0:21:04 | 0:21:05 | |
Bradshaw's tells me that, "The soil is a rich tract of meadow, orchard | 0:21:05 | 0:21:10 | |
"and timber, and the internal trade is chiefly in agricultural products, | 0:21:10 | 0:21:15 | |
"good cider and perry, which require a little brandy to qualify them." | 0:21:15 | 0:21:20 | |
Well, I feel qualified by experience to sample them. | 0:21:20 | 0:21:24 | |
Hereford boasts a long history of cider making, | 0:21:33 | 0:21:36 | |
which moved forward with the Industrial Revolution | 0:21:36 | 0:21:39 | |
from farmhouse cider mills to factory production. | 0:21:39 | 0:21:42 | |
The coming of the railway in 1853 opened new markets | 0:21:43 | 0:21:48 | |
and the cider factories helped the industry to survive | 0:21:48 | 0:21:51 | |
the Great Agricultural Depression of the late 19th century. | 0:21:51 | 0:21:56 | |
Today, there's a growing taste for specialist ciders, | 0:21:56 | 0:21:59 | |
which keeps farmers like Dennis Gwatkin very busy. | 0:21:59 | 0:22:02 | |
Hello, Dennis! | 0:22:04 | 0:22:06 | |
Hello there! Hello. | 0:22:06 | 0:22:07 | |
Vigorous action. I take it it's harvest time? | 0:22:07 | 0:22:10 | |
Yes, it's this time of year again. | 0:22:10 | 0:22:12 | |
These apples are much smaller than I imagined. | 0:22:12 | 0:22:15 | |
Yeah, they're cider apples. | 0:22:15 | 0:22:17 | |
They're unlike your eaters and cookers. | 0:22:17 | 0:22:19 | |
They're like little bullets, really. | 0:22:19 | 0:22:21 | |
They're bittersweet. | 0:22:21 | 0:22:23 | |
Mmm. Not bad, though. Not bad at all. | 0:22:24 | 0:22:27 | |
In 1877, 24,000 acres of Herefordshire | 0:22:27 | 0:22:31 | |
were given over to orchards, | 0:22:31 | 0:22:33 | |
more than any other county in Britain. | 0:22:33 | 0:22:35 | |
Bradshaw's talks about needing a little brandy to qualify the cider. | 0:22:38 | 0:22:42 | |
What does that mean? | 0:22:42 | 0:22:43 | |
Some of the cider, especially the farm ciders years ago, | 0:22:43 | 0:22:46 | |
was pretty rough stuff. | 0:22:46 | 0:22:47 | |
The scrumpy, as you might say. | 0:22:47 | 0:22:49 | |
And sometimes when it was drank in the pubs or cider houses of the day, | 0:22:49 | 0:22:53 | |
they put a little bit of brandy with it to make it a bit more palatable. | 0:22:53 | 0:22:57 | |
So how to make cider. First grow your apples, | 0:22:57 | 0:22:59 | |
second get the apples off the tree. | 0:22:59 | 0:23:00 | |
-Can I give you a hand with that? -Yeah, by all means! | 0:23:00 | 0:23:02 | |
Watch you head, watch you head. | 0:23:02 | 0:23:04 | |
DENNIS LAUGHS | 0:23:06 | 0:23:08 | |
We're not going to get drunk tonight, are we! | 0:23:09 | 0:23:11 | |
THEY BOTH LAUGH | 0:23:11 | 0:23:13 | |
Shaking the tree to harvest the ripe fruit is a tried and tested method. | 0:23:14 | 0:23:18 | |
Finally, I have enough apples to make my first batch of cider. | 0:23:21 | 0:23:24 | |
This looks like a fine vintage piece of machinery you've got here. | 0:23:30 | 0:23:34 | |
Yeah, it's a Victorian cider mill and press, travelling mill and press. | 0:23:34 | 0:23:37 | |
ENGINE CRANKS UP | 0:23:38 | 0:23:40 | |
We're off! | 0:23:40 | 0:23:41 | |
And away they go! | 0:23:45 | 0:23:48 | |
The machinery may be outdated but the production method is sound. | 0:23:48 | 0:23:53 | |
The mill passes the apples between two stone rollers | 0:23:53 | 0:23:56 | |
to produce pulp for the press. | 0:23:56 | 0:23:59 | |
MACHINE CHUGS | 0:23:59 | 0:24:01 | |
I learnt my technique shovelling on a steam engine! | 0:24:07 | 0:24:10 | |
Similar thing, I guess. | 0:24:10 | 0:24:12 | |
My next task is to fill the press with layers of pulp | 0:24:12 | 0:24:16 | |
sandwiched between porous cheesecloths | 0:24:16 | 0:24:18 | |
to separate out the juice. | 0:24:18 | 0:24:19 | |
Getting near full, I would say, now. That's getting near enough. | 0:24:21 | 0:24:23 | |
Now we've got to fold the cloths over to form the cheese. | 0:24:23 | 0:24:27 | |
We take the press board off. | 0:24:27 | 0:24:29 | |
-Nice heavy board. -Yup. | 0:24:29 | 0:24:31 | |
A couple of oak blocks. | 0:24:31 | 0:24:33 | |
Now the hard work begins. | 0:24:33 | 0:24:35 | |
And you'll begin to see the juice start to run. | 0:24:38 | 0:24:40 | |
Excellent. We have our first drops, I think. | 0:24:40 | 0:24:42 | |
It's coming. | 0:24:42 | 0:24:44 | |
TRICKLING | 0:24:44 | 0:24:45 | |
The juice is strained through the cloth into a barrel, | 0:24:45 | 0:24:48 | |
where it will ferment for two months. | 0:24:48 | 0:24:51 | |
MICHAEL STRAINS | 0:24:54 | 0:24:55 | |
We've got a good flow there. | 0:24:57 | 0:24:58 | |
Can you actually drink that stuff? | 0:24:58 | 0:25:00 | |
Oh, yeah. It's pure apple juice, that. | 0:25:00 | 0:25:02 | |
Now's the time to drink it | 0:25:02 | 0:25:03 | |
to know what sort of cider you're going to get. | 0:25:03 | 0:25:05 | |
MICHAEL GROANS | 0:25:05 | 0:25:06 | |
Straight off the press. | 0:25:07 | 0:25:08 | |
Heavens! That is delicious. | 0:25:12 | 0:25:13 | |
-Nice and fruity, isn't it? -Oh! Mmm! | 0:25:13 | 0:25:16 | |
Be even better when it's alcoholic. | 0:25:16 | 0:25:18 | |
DENNIS LAUGHS Definitely! | 0:25:18 | 0:25:19 | |
Part of your five a day, that. | 0:25:19 | 0:25:20 | |
After today's physical exertion, I feel a refreshment is deserved. | 0:25:22 | 0:25:27 | |
I can't imagine a more charming hostelry | 0:25:27 | 0:25:29 | |
than Dennis' historic cider house. | 0:25:29 | 0:25:31 | |
Who came in here? | 0:25:34 | 0:25:35 | |
The farm workers, the locals. | 0:25:35 | 0:25:37 | |
And that thing which looks as if it belongs to a St Bernard, | 0:25:37 | 0:25:40 | |
what is that? | 0:25:40 | 0:25:41 | |
DENNIS CHUCKLES That is a costrel. | 0:25:41 | 0:25:43 | |
That is an old term for a vessel that would have been taken out | 0:25:43 | 0:25:46 | |
in the fields every day by the farm workers | 0:25:46 | 0:25:49 | |
and that was actually paid as part of their wages. | 0:25:49 | 0:25:52 | |
-Cider? -Cider. Definitely, yeah. | 0:25:52 | 0:25:54 | |
The better the cider, the better the farm workers, the farm got, | 0:25:54 | 0:25:57 | |
so it was in their interest to make sure they made a good drop. | 0:25:57 | 0:25:59 | |
They were allowed two of those a day. | 0:25:59 | 0:26:01 | |
Cos all that stuff was banned in the middle Victorian period | 0:26:01 | 0:26:05 | |
by a thing called the Truck Act. | 0:26:05 | 0:26:06 | |
Yes, I think the politicians stepped in | 0:26:06 | 0:26:09 | |
and stopped a good thing, as usual! | 0:26:09 | 0:26:10 | |
The 1887 Truck Act was one of many attempts to stamp out | 0:26:13 | 0:26:17 | |
the practice of payment in kind and with it bonded labour. | 0:26:17 | 0:26:21 | |
The rapid changes brought about by the Industrial Revolution | 0:26:21 | 0:26:25 | |
prompted enlightened Victorians to enact a raft of laws | 0:26:25 | 0:26:29 | |
aimed at protecting both adults and children at work. | 0:26:29 | 0:26:32 | |
-What have we here? -This is a pint of Yarlington Mill. | 0:26:33 | 0:26:35 | |
It is a nice medium-sweet, fresh sort of tasting cider, that one. | 0:26:35 | 0:26:40 | |
Oh. That is lovely. Mmm, I like that. | 0:26:41 | 0:26:45 | |
Would I know about it if I drank a pint or two? | 0:26:45 | 0:26:47 | |
Oh, most definitely. | 0:26:47 | 0:26:48 | |
This is about 7% in alcohol, so it's... | 0:26:48 | 0:26:51 | |
You're not serious? | 0:26:51 | 0:26:52 | |
Oh, most serious. | 0:26:52 | 0:26:54 | |
Oh, my goodness. Well, bottoms up! | 0:26:54 | 0:26:56 | |
And thank you very much for offering me this lovely pint. | 0:26:57 | 0:27:00 | |
Not a problem at all. | 0:27:00 | 0:27:02 | |
I think for your hard day's labour, this is payment in kind. | 0:27:02 | 0:27:05 | |
I thought that had been banned! | 0:27:06 | 0:27:08 | |
A perfect day is drawing to a close and there's just enough time | 0:27:10 | 0:27:14 | |
to finish my pint before heading to the station to continue my journey. | 0:27:14 | 0:27:18 | |
From this part of my journey, | 0:27:25 | 0:27:27 | |
I should like to forget my attempts to stumble around a ballroom. | 0:27:27 | 0:27:31 | |
And cider laced with brandy, as recommended by my Bradshaw's, | 0:27:31 | 0:27:35 | |
would certainly induce oblivion. | 0:27:35 | 0:27:37 | |
But I shall long remember the Heart of Wales railway, | 0:27:37 | 0:27:41 | |
a Victorian masterpiece, in itself a thing of beauty, | 0:27:41 | 0:27:44 | |
which has enabled generations to appreciate the splendours | 0:27:44 | 0:27:48 | |
of the Welsh hillsides passing their carriage window at a leisurely pace. | 0:27:48 | 0:27:53 | |
'Next time, my heart is in my mouth as I go down a mine...' | 0:27:59 | 0:28:03 | |
We're 300ft below the surface and it's a strange feeling, isn't it? | 0:28:03 | 0:28:06 | |
It is, yep. | 0:28:06 | 0:28:08 | |
'..I plough my way through Oxfordshire...' | 0:28:08 | 0:28:10 | |
-You happy there? Are you a relaxed man? -Yeah. | 0:28:10 | 0:28:12 | |
-Good. I'm very relaxed about this. -Keep... Don't put it quite so tight. | 0:28:12 | 0:28:15 | |
-That's it. Perfect. -Very nice. -Perfect! | 0:28:15 | 0:28:18 | |
'..and I glimpse some racy artwork at Blenheim Palace.' | 0:28:18 | 0:28:21 | |
Ooh la la! There's a lot of flesh on display. | 0:28:21 | 0:28:24 | |
They were perhaps a little too risque for the ladies to see. | 0:28:24 | 0:28:28 |