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For Victorian Britons, George Bradshaw was a household name. | 0:00:03 | 0:00:07 | |
At a time when railways were new, | 0:00:07 | 0:00:10 | |
Bradshaw's guidebook inspired them to take to the tracks. | 0:00:10 | 0:00:13 | |
I'm using a Bradshaw's Guide to understand how trains transformed | 0:00:15 | 0:00:19 | |
Britain and Ireland - | 0:00:19 | 0:00:21 | |
their landscape, industry, society and leisure time. | 0:00:21 | 0:00:25 | |
As I follow its routes 130 years later, | 0:00:25 | 0:00:28 | |
it helps me to discover these islands today. | 0:00:28 | 0:00:31 | |
I'm approaching the halfway mark of my journey from southeastern | 0:00:54 | 0:00:58 | |
to northwestern Ireland. | 0:00:58 | 0:01:01 | |
On this leg, I hope to find earthy evidence of early civilisations, | 0:01:01 | 0:01:06 | |
investigate a fishy history, | 0:01:06 | 0:01:08 | |
discover induction at a Catholic seminary | 0:01:08 | 0:01:12 | |
and beat the drum for Ireland. | 0:01:12 | 0:01:14 | |
I began my journey on the coast at Wexford | 0:01:22 | 0:01:25 | |
and then travelled to Dublin, | 0:01:25 | 0:01:26 | |
where I beheld the soul of the nation. | 0:01:26 | 0:01:29 | |
Now I turn west, | 0:01:29 | 0:01:30 | |
hoping to discover more of Ireland's rich cultural identity | 0:01:30 | 0:01:34 | |
as I cross this country and end my peregrination on the Atlantic coast. | 0:01:34 | 0:01:39 | |
Today's route begins at Navan, I then travel to Leixlip, | 0:01:41 | 0:01:45 | |
make a stop in the university town of Maynooth and end in Mullingar. | 0:01:45 | 0:01:50 | |
Along the way I get up to speed with modern archaeology... | 0:01:53 | 0:01:57 | |
-That was excellent. -HE SIGHS | 0:01:58 | 0:02:00 | |
-That was perfect. -Do you really go at that pace? | 0:02:00 | 0:02:03 | |
..discover a glorious hidden wonder... | 0:02:03 | 0:02:07 | |
This is the best chapel in Ireland by a long shot. | 0:02:07 | 0:02:10 | |
You can't come to Ireland and not see this, can you? | 0:02:10 | 0:02:13 | |
No. | 0:02:13 | 0:02:15 | |
..and get my marching orders. | 0:02:15 | 0:02:17 | |
If you're going to join them, beat. | 0:02:18 | 0:02:20 | |
I'll be leaving this train at M3 Parkway, | 0:02:28 | 0:02:32 | |
which was evidently added to the rail network | 0:02:32 | 0:02:34 | |
after my Bradshaw's Guide | 0:02:34 | 0:02:35 | |
was published. The book directs my attention to the Hill of Tara | 0:02:35 | 0:02:40 | |
on which several mounds mark the site where kings | 0:02:40 | 0:02:43 | |
were crowned on a coronation stone. | 0:02:43 | 0:02:46 | |
Rock and royal. | 0:02:46 | 0:02:48 | |
I'm now in Navan, County Meath, | 0:02:55 | 0:02:57 | |
which is rich in both beautiful landscapes and mythology. | 0:02:57 | 0:03:01 | |
The Hill of Tara is considered one of the most important | 0:03:03 | 0:03:06 | |
archaeological sites in Ireland. | 0:03:06 | 0:03:08 | |
According to tradition, it was the seat of the High King of Ireland | 0:03:10 | 0:03:14 | |
in the pre-Norman era, when five clans held sway over the country. | 0:03:14 | 0:03:19 | |
Tara was a sacred site associated with kingship rituals. | 0:03:19 | 0:03:23 | |
Guiding me through the site is cultural historian | 0:03:26 | 0:03:28 | |
and archaeologist Mairead Carew. | 0:03:28 | 0:03:31 | |
Mairead, immediately this open and very tranquil space, | 0:03:33 | 0:03:36 | |
with its mounds, seems very special. | 0:03:36 | 0:03:38 | |
Very ancient, very spiritual. | 0:03:38 | 0:03:40 | |
Yeah, well, it has been a sacred site for over 5,000 years. | 0:03:40 | 0:03:45 | |
The earliest tomb was built about 3500 BC. | 0:03:45 | 0:03:49 | |
-What is this, Mairead? -This is the Mound of the Hostages. | 0:03:51 | 0:03:54 | |
-Why hostages? -Because King Cormac Mac Airt | 0:03:54 | 0:03:56 | |
was said to have exchanged hostages there. | 0:03:56 | 0:03:59 | |
There's a passage tomb in there, | 0:04:00 | 0:04:02 | |
which means there's chambers where the dead were buried. | 0:04:02 | 0:04:06 | |
The mound has been used for high status burials | 0:04:06 | 0:04:09 | |
since around 3000 BC. | 0:04:09 | 0:04:11 | |
The highlight awaits me. | 0:04:13 | 0:04:14 | |
Is this the Coronation Stone? | 0:04:16 | 0:04:18 | |
Well, this stone is known as the Lia Fail, or Stone of Destiny, | 0:04:18 | 0:04:23 | |
and it was believed to play a role in the inauguration of kings. | 0:04:23 | 0:04:27 | |
The tradition was that the god Lugh, | 0:04:27 | 0:04:29 | |
you would hear his voice coming through the stone | 0:04:29 | 0:04:32 | |
if you were the rightful king. | 0:04:32 | 0:04:34 | |
And those origins, whether mythological or not, | 0:04:34 | 0:04:38 | |
can they be described as Gaelic | 0:04:38 | 0:04:39 | |
and how important are they to Irish people? | 0:04:39 | 0:04:42 | |
During the cultural revival in the 19th century, | 0:04:42 | 0:04:44 | |
scholars and writers and artists took a huge interest in the history | 0:04:44 | 0:04:48 | |
and mythology of places like Tara. | 0:04:48 | 0:04:51 | |
Sounds like it was getting quite political at that time. | 0:04:51 | 0:04:54 | |
Yeah, certainly it was because you have the cultural nationalists | 0:04:54 | 0:04:58 | |
beginning to become really interested in their history | 0:04:58 | 0:05:01 | |
and their language and their culture | 0:05:01 | 0:05:04 | |
and using that in terms of their identity. | 0:05:04 | 0:05:07 | |
The Irish Nationalists were not alone in sensing | 0:05:09 | 0:05:11 | |
the spiritual importance of the site. | 0:05:11 | 0:05:14 | |
'In the late 19th century, an organisation from Britain staked | 0:05:14 | 0:05:18 | |
'its claim on the land.' | 0:05:18 | 0:05:20 | |
This has a different feel to it, the contours are not as clear. | 0:05:20 | 0:05:24 | |
Yeah, well, you see, it was destroyed by a group in 1899. | 0:05:24 | 0:05:28 | |
Between 1899 and 1902, | 0:05:28 | 0:05:30 | |
a group known as British Israelites came to the site, | 0:05:30 | 0:05:34 | |
they were convinced the Ark of the Covenant was buried here | 0:05:34 | 0:05:36 | |
and they dug two big trenches across the enclosure | 0:05:36 | 0:05:40 | |
and they had no archaeological supervision, | 0:05:40 | 0:05:43 | |
they were just intending on finding the Ark of the Covenant. | 0:05:43 | 0:05:46 | |
The Ark of the Covenant is a chest said to contain the Ten Commandments | 0:05:47 | 0:05:52 | |
inscribed on stone tablets. | 0:05:52 | 0:05:54 | |
The British Israelites believed that it was buried at the Hill of Tara. | 0:05:54 | 0:06:00 | |
The end of the 19th century, a terribly delicate time | 0:06:00 | 0:06:04 | |
in Anglo-Irish relations, | 0:06:04 | 0:06:06 | |
the British come here and dig up the most sacred site in | 0:06:06 | 0:06:09 | |
Ireland. What was the reaction? | 0:06:09 | 0:06:11 | |
Well, there was a very strong reaction. | 0:06:11 | 0:06:14 | |
The poet WB Yeats, | 0:06:14 | 0:06:16 | |
the nationalist Arthur Griffith, founder of Sinn Fein, | 0:06:16 | 0:06:19 | |
and Maud Gonne all came here to protest | 0:06:19 | 0:06:22 | |
and there was a media campaign. | 0:06:22 | 0:06:25 | |
They wrote to The Times of London, | 0:06:25 | 0:06:26 | |
and they said that the site has been desecrated and it was probably | 0:06:26 | 0:06:30 | |
the most consecrated spot in Ireland. | 0:06:30 | 0:06:33 | |
'Those highly controversial excavations | 0:06:35 | 0:06:38 | |
'offended cultural sensitivities and | 0:06:38 | 0:06:40 | |
'would have affronted today's principles of archaeology, | 0:06:40 | 0:06:43 | |
'which emphasise getting information before digging begins.' | 0:06:43 | 0:06:49 | |
Rosanne Scott is part of a research project that's been surveying | 0:06:49 | 0:06:53 | |
the site since the 1990s. | 0:06:53 | 0:06:56 | |
-Roseanne. -Hello. -Hello, I'm Michael. | 0:06:56 | 0:06:59 | |
How are you? Nice to meet you. | 0:06:59 | 0:07:00 | |
What on earth are you doing? | 0:07:00 | 0:07:03 | |
So we're doing an archaeological survey of the Hill of Tara | 0:07:03 | 0:07:06 | |
and we are using geophysical prospection methods to find out more | 0:07:06 | 0:07:08 | |
about what lies beneath the surface of the ground. | 0:07:08 | 0:07:11 | |
What sort of things are you looking for? | 0:07:11 | 0:07:13 | |
Well, this type of instrument is very good at picking up the remains | 0:07:13 | 0:07:17 | |
of features like ditches, pits, gulleys, | 0:07:17 | 0:07:19 | |
things that have been cut into the surface of the ground | 0:07:19 | 0:07:22 | |
and we can find, for example, enclosures and burial monuments, | 0:07:22 | 0:07:26 | |
-graves. -You've obviously marked out the ground here with your strings. | 0:07:26 | 0:07:31 | |
So, what, you've established a kind of grid, have you? | 0:07:31 | 0:07:33 | |
Yeah, so we work on a 20 by 20 metre grid system, | 0:07:33 | 0:07:37 | |
it's very important, of course, when we're collecting this kind of data | 0:07:37 | 0:07:41 | |
to know exactly the position on the ground | 0:07:41 | 0:07:43 | |
-that we collect each measurement. -What you're doing looks... | 0:07:43 | 0:07:46 | |
A, rather bizarre but, B, rather fun. | 0:07:46 | 0:07:49 | |
-Could I have a go? -You can, of course. | 0:07:49 | 0:07:50 | |
Yeah, you're more than welcome. | 0:07:50 | 0:07:52 | |
The magnetic gradiometer collects geophysical data to create digital | 0:07:54 | 0:07:58 | |
images of what lies beneath the surface. | 0:07:58 | 0:08:01 | |
The instrument must be walked at a fair speed. | 0:08:02 | 0:08:04 | |
INSTRUMENT BEEPS | 0:08:04 | 0:08:07 | |
That was excellent. | 0:08:14 | 0:08:16 | |
-HE SIGHS -That was perfect. | 0:08:16 | 0:08:17 | |
-Do you really go at that pace? -Well done. | 0:08:17 | 0:08:19 | |
-Yeah. -Wow, you must be exhausted. | 0:08:19 | 0:08:21 | |
Yeah, it's good. It's the only exercise we get. | 0:08:21 | 0:08:23 | |
The findings of the project are displayed in the deconsecrated | 0:08:30 | 0:08:34 | |
19th-century church next to the Hill of Tara. | 0:08:34 | 0:08:39 | |
This is one of the number of different types of imagery | 0:08:39 | 0:08:42 | |
we have of the Hill of Tara. | 0:08:42 | 0:08:44 | |
The aerial photo's very useful for getting a better understanding | 0:08:44 | 0:08:46 | |
of the topography of the hill. | 0:08:46 | 0:08:48 | |
We also have some more detailed imagery, | 0:08:48 | 0:08:51 | |
like this, taken from a helicopter. | 0:08:51 | 0:08:53 | |
What that does is allows us to create a very detailed 3-D modelling | 0:08:53 | 0:08:57 | |
of the hill. So, for example, | 0:08:57 | 0:08:59 | |
some of the archaeological features that weren't known to exist before | 0:08:59 | 0:09:03 | |
-can now be seen. -And what has it led you to discover | 0:09:03 | 0:09:06 | |
that you might not have known without this technology? | 0:09:06 | 0:09:09 | |
OK, well, I think the most significant discovery is that of | 0:09:09 | 0:09:13 | |
a very large enclosure, which came as a complete surprise, | 0:09:13 | 0:09:16 | |
and we can see the image of it here and what it is is an oval ditch | 0:09:16 | 0:09:22 | |
and on either side of that is a ring of posts, | 0:09:22 | 0:09:25 | |
which would originally have held large timber uprights. | 0:09:25 | 0:09:28 | |
It probably dates from around 2500 BC or so. | 0:09:28 | 0:09:31 | |
It's a henge-type monument and it can be compared | 0:09:31 | 0:09:34 | |
to similar monuments, the landscape of Stonehenge, | 0:09:34 | 0:09:36 | |
and also elsewhere in Ireland, such as a Newgrange. | 0:09:36 | 0:09:39 | |
Have you found the Ark of the Covenant? | 0:09:39 | 0:09:41 | |
No, we haven't yet and I expect we never will. | 0:09:41 | 0:09:43 | |
Because this station is on a branch line | 0:09:55 | 0:09:58 | |
I need to make a short double-back towards Dublin. | 0:09:58 | 0:10:00 | |
At Clonsilla, I change trains to get onto the mainline heading west. | 0:10:09 | 0:10:14 | |
My next stop will be Leixlip. | 0:10:17 | 0:10:20 | |
Bradshaw's tells me it's situated on the Liffey, | 0:10:20 | 0:10:23 | |
close to the famous salmon leap. | 0:10:23 | 0:10:25 | |
In the 20th century a barrage was built across the river | 0:10:25 | 0:10:28 | |
and a reservoir created. I wonder what happened to the dammed salmon. | 0:10:28 | 0:10:34 | |
The name Leixlip comes from the Old Norse lax hlaup, | 0:10:47 | 0:10:52 | |
which means salmon leap. | 0:10:52 | 0:10:54 | |
It's located just ten miles outside Dublin and when the railways opened | 0:10:54 | 0:10:58 | |
in 1848, Victorian day-trippers came here to take in the waterfalls | 0:10:58 | 0:11:03 | |
and the spectacle of the athletic fish. | 0:11:03 | 0:11:06 | |
Today it's home to the Leixlip Hydroelectric Power Station. | 0:11:07 | 0:11:10 | |
And it's where I'm meeting fisheries biologist Dennis Doherty. | 0:11:12 | 0:11:15 | |
Well, Dennis, I find the dam a kind of classic piece of industrial | 0:11:17 | 0:11:21 | |
architecture, but my first question is why do salmon leap? | 0:11:21 | 0:11:25 | |
Salmon leap to gain access over obstacles and in most cases that'd | 0:11:25 | 0:11:30 | |
be a natural obstacle like a waterfalls or a tree across a river. | 0:11:30 | 0:11:33 | |
Where are they headed and why? | 0:11:33 | 0:11:35 | |
They spawn in freshwater and spend their adult life at sea, | 0:11:35 | 0:11:39 | |
so they're going upstream to spawn in the month of December. | 0:11:39 | 0:11:43 | |
Then those eggs will hatch in around Saint Patrick's Day, | 0:11:43 | 0:11:46 | |
or slightly after, and about two years later | 0:11:46 | 0:11:48 | |
those young fish would go to sea. | 0:11:48 | 0:11:51 | |
They would spend one year at sea and they would then come back here to | 0:11:51 | 0:11:54 | |
Liffey and go upstream to spawn again. | 0:11:54 | 0:11:57 | |
The fish know to go back to where they were born? | 0:11:57 | 0:12:00 | |
Yes. A Liffey salmon will not only come back to the Liffey, | 0:12:00 | 0:12:03 | |
he or she would actually come back to the particular stretch of river | 0:12:03 | 0:12:06 | |
that they actually spawned in above the station here. | 0:12:06 | 0:12:09 | |
Extraordinary. | 0:12:09 | 0:12:10 | |
The Leixlip hydroelectric dam was completed in 1952, | 0:12:12 | 0:12:16 | |
designed to generate electricity and to provide flood protection | 0:12:16 | 0:12:21 | |
and drinking water for Dublin. | 0:12:21 | 0:12:22 | |
Now, the day that this was built was not good news for the salmon, | 0:12:24 | 0:12:29 | |
at least in principle. What thought was given to them? | 0:12:29 | 0:12:31 | |
Yeah, quite a lot of thought. | 0:12:31 | 0:12:32 | |
In fairness to the powers that be at that time, | 0:12:32 | 0:12:35 | |
they built a fish lift for adult salmon moving upstream. | 0:12:35 | 0:12:38 | |
Also one of the spillway gates is adapted for downstream lowering. | 0:12:38 | 0:12:42 | |
-And they come over the top? -They come over the top, that middle gate there, | 0:12:42 | 0:12:46 | |
which is lowered, and we spill water over that and the fish go down | 0:12:46 | 0:12:50 | |
on the plume of water and out to sea. | 0:12:50 | 0:12:51 | |
That must be a ride to remember for the salmon. | 0:12:51 | 0:12:54 | |
Yes, certainly, yeah, must be exciting for them, I suppose. | 0:12:54 | 0:12:56 | |
Salmon can leap up waterfalls to a height of around 12 feet but the | 0:12:58 | 0:13:02 | |
Leixlip dam poses an insurmountable barrier, nearly 80-foot high. | 0:13:02 | 0:13:08 | |
In order to allow the Liffey salmon to return to their breeding grounds | 0:13:08 | 0:13:11 | |
further upstream, a fish lift has been built, | 0:13:11 | 0:13:14 | |
which works in a similar way to a canal lock. | 0:13:14 | 0:13:17 | |
So, here we are at the top of the dam. | 0:13:21 | 0:13:24 | |
Where would a salmon that was headed upstream be now? | 0:13:24 | 0:13:26 | |
So, a salmon is located in the downstream chamber here below us. | 0:13:26 | 0:13:30 | |
The bottom gate is closed. | 0:13:30 | 0:13:32 | |
The middle gate is open, filling the chamber. | 0:13:32 | 0:13:35 | |
The water levels come up until it meets the reservoir level, | 0:13:35 | 0:13:38 | |
at which point the salmon merely swim out | 0:13:38 | 0:13:40 | |
through that chamber and out. | 0:13:40 | 0:13:42 | |
It takes around 20 minutes for the lock to fill up and the salmon | 0:13:44 | 0:13:48 | |
to reach the top. | 0:13:48 | 0:13:50 | |
It's not peak season for fish migration but any activity through | 0:13:50 | 0:13:53 | |
the lift is monitored by Nigel Bond of the Marine Institute. | 0:13:53 | 0:13:57 | |
Hello, Nigel, I'm Michael. Now, you're counting salmon. | 0:13:59 | 0:14:04 | |
What's the importance of doing that? | 0:14:04 | 0:14:05 | |
The importance of counting salmon is so that we know what the state | 0:14:05 | 0:14:08 | |
of the river is at the current time and we have data that goes back | 0:14:08 | 0:14:12 | |
for many years so we can see if there's any fluctuations | 0:14:12 | 0:14:14 | |
in the numbers of fish that are appearing in the river. | 0:14:14 | 0:14:16 | |
Could you show me a fish that you've seen move through? | 0:14:16 | 0:14:19 | |
Sure, sure. There's a fish going through in June. | 0:14:19 | 0:14:23 | |
That's a salmon and he passes all three electrodes, | 0:14:24 | 0:14:27 | |
he generates a count and we record that on our equipment. | 0:14:27 | 0:14:30 | |
Water quality is essential for salmon to thrive, | 0:14:31 | 0:14:34 | |
so keeping accurate track of population numbers | 0:14:34 | 0:14:37 | |
can tell marine scientists a lot about the waterway. | 0:14:37 | 0:14:40 | |
With the data, and frankly speaking, | 0:14:42 | 0:14:44 | |
what is the state of the Liffey at the moment? | 0:14:44 | 0:14:46 | |
Well, at the moment the Liffey is operating below | 0:14:46 | 0:14:50 | |
its conservation limit, | 0:14:50 | 0:14:52 | |
so, like a lot of other rivers in the country, | 0:14:52 | 0:14:55 | |
care has to be taken not to take fish from a river that's operating | 0:14:55 | 0:14:58 | |
below its conservation limit. | 0:14:58 | 0:14:59 | |
So, at the moment, | 0:14:59 | 0:15:01 | |
no-one is allowed to put their rod into the Liffey for a salmon? | 0:15:01 | 0:15:04 | |
At the moment, that's correct, yeah. | 0:15:04 | 0:15:06 | |
Well, let's hope that one day it all changes. | 0:15:06 | 0:15:09 | |
Please, yeah. Hopefully, yeah. | 0:15:09 | 0:15:10 | |
This stop by the river Liffey marks the end of today's travels. | 0:15:15 | 0:15:20 | |
Time to take a rest and to begin again tomorrow. | 0:15:20 | 0:15:23 | |
This morning I'm taking the train from Leixlip station as I continue | 0:15:38 | 0:15:42 | |
to journey west. | 0:15:42 | 0:15:43 | |
My next stop will be Maynooth. | 0:15:46 | 0:15:49 | |
Bradshaw's recommends Saint Patrick's Roman Catholic College, | 0:15:49 | 0:15:53 | |
a quadrangular edifice containing "a noble library of 18,000 volumes. | 0:15:53 | 0:15:58 | |
"Founded in 1795, it has a parliamentary grant | 0:15:58 | 0:16:03 | |
"of £30,000 per year." | 0:16:03 | 0:16:06 | |
Interesting, given that England had an established Protestant church. | 0:16:06 | 0:16:11 | |
But now that Catholics had the vote, they had to be won over. | 0:16:11 | 0:16:13 | |
Maynooth is a university town 16 miles from central Dublin. | 0:16:17 | 0:16:21 | |
It grew around its 13th-century castle, | 0:16:21 | 0:16:24 | |
which in the late medieval period | 0:16:24 | 0:16:26 | |
was the centre of Irish political power and culture. | 0:16:26 | 0:16:29 | |
I'm making my way to Saint Patrick's College, mentioned in my Bradshaw's. | 0:16:31 | 0:16:35 | |
The seminary, where students train for the priesthood, | 0:16:35 | 0:16:38 | |
today shares the campus with Maynooth University, | 0:16:38 | 0:16:42 | |
where I'm meeting Dr Niall McKeith, curator of the college's museum. | 0:16:42 | 0:16:46 | |
Niall, when were Catholic educational establishments | 0:16:49 | 0:16:52 | |
first permitted? | 0:16:52 | 0:16:53 | |
They were first permitted in 1795 and this is because it was only | 0:16:53 | 0:16:58 | |
in 1791 that the penal laws were actually removed from the statute | 0:16:58 | 0:17:03 | |
books in the Palace of Westminster. | 0:17:03 | 0:17:05 | |
Westminster gave a small donation to the bishops in order to purchase | 0:17:05 | 0:17:10 | |
a building for the commencement of the seminary. | 0:17:10 | 0:17:12 | |
Given that England and Scotland were Protestant, | 0:17:12 | 0:17:16 | |
why did the government agreed to give a grant to a Catholic college? | 0:17:16 | 0:17:20 | |
Well, because up until that time there was no Catholic seminary within Ireland, | 0:17:20 | 0:17:23 | |
so if anybody who wanted to become educated to become a priest, | 0:17:23 | 0:17:25 | |
then they had to either go to France or Salamanca or to Rome. | 0:17:25 | 0:17:29 | |
At that time we're talking about revolution in France and those | 0:17:29 | 0:17:32 | |
priests who were being educated in Paris were then coming back | 0:17:32 | 0:17:35 | |
to Ireland with the revolutionary ideas, | 0:17:35 | 0:17:37 | |
so it was in the interests of the British government for there | 0:17:37 | 0:17:40 | |
to be a seminary built in Ireland for the education of priests. | 0:17:40 | 0:17:44 | |
There was a fear of radicalisation? | 0:17:44 | 0:17:46 | |
There was, of course. | 0:17:46 | 0:17:47 | |
Concerned about links between Catholics in Ireland and France, | 0:17:48 | 0:17:52 | |
and seeking to improve its own popularity, | 0:17:52 | 0:17:55 | |
in 1845 the British government tripled the money granted | 0:17:55 | 0:17:58 | |
to St Patrick's. | 0:17:58 | 0:17:59 | |
The college expanded rapidly, employing Augustus Pugin, | 0:18:03 | 0:18:07 | |
famed architect of the Palace of Westminster, | 0:18:07 | 0:18:09 | |
to design new buildings, including a large refectory... | 0:18:09 | 0:18:12 | |
..and a new library, | 0:18:15 | 0:18:16 | |
which now houses the college's collection of pre-1850 books. | 0:18:16 | 0:18:20 | |
At the heart of the seminary is its chapel. | 0:18:23 | 0:18:25 | |
Well, this is truly spectacular and huge. | 0:18:29 | 0:18:33 | |
Victorian Gothic at its very best and it reminds me | 0:18:33 | 0:18:35 | |
of the Palace of Westminster. Was it Pugin? | 0:18:35 | 0:18:38 | |
No, it was a pupil of Pugin's | 0:18:38 | 0:18:39 | |
or an apprentice of Pugin's who designed it | 0:18:39 | 0:18:41 | |
and that was one JJ McCarthy, and it is the largest choral-type chapel | 0:18:41 | 0:18:47 | |
in the world where all of the stalls are all facing each other | 0:18:47 | 0:18:51 | |
and you have the absolute magnificent rose window | 0:18:51 | 0:18:54 | |
there at the end. | 0:18:54 | 0:18:56 | |
Fabulous organ. | 0:18:56 | 0:18:57 | |
And then down the sides of the church facing each other in carving | 0:18:58 | 0:19:02 | |
and relief, all of the coats of arms of the various bishops. | 0:19:02 | 0:19:06 | |
This is the best chapel in Ireland by a long shot. | 0:19:06 | 0:19:10 | |
Well, I mean, really, you can't come to Ireland | 0:19:10 | 0:19:13 | |
-and not see this, can you? -No, no. | 0:19:13 | 0:19:15 | |
The chapel is one of the most impressive I've seen. | 0:19:17 | 0:19:20 | |
And there's another unexpected treasure here at St Patrick's. | 0:19:21 | 0:19:24 | |
The National Science Museum of Ireland is on the campus. | 0:19:26 | 0:19:29 | |
Niall, I'm astonished to find a physics museum in what I thought was | 0:19:33 | 0:19:37 | |
a seminary. Now, what is the explanation for that? | 0:19:37 | 0:19:40 | |
The explanation is that when the college was originally set up | 0:19:40 | 0:19:43 | |
in 1795, | 0:19:43 | 0:19:45 | |
that they brought over seven professors from the Sorbonne | 0:19:45 | 0:19:48 | |
to start it off. One of those professors was a professor | 0:19:48 | 0:19:51 | |
of natural philosophy, or physics, | 0:19:51 | 0:19:54 | |
so physics has been taught in the seminary here since the foundation | 0:19:54 | 0:19:58 | |
-of the estate. -And in your early days, who would have been your most outstanding scientist? | 0:19:58 | 0:20:02 | |
The most outstanding would have been Reverend Nicholas Callan. | 0:20:02 | 0:20:05 | |
He was a seminary student here, he was ordained, | 0:20:05 | 0:20:09 | |
he then went to Rome to do his divinity and while he was there | 0:20:09 | 0:20:13 | |
the initial interest that he had in physics was reinforced when he met | 0:20:13 | 0:20:18 | |
Alessandro Volta and Galvani. | 0:20:18 | 0:20:20 | |
It was an important moment in our understanding of electricity. | 0:20:21 | 0:20:26 | |
The Italian scientists had invented the battery and discovered animal | 0:20:26 | 0:20:30 | |
electricity, transforming theories into practical applications. | 0:20:30 | 0:20:35 | |
Nicholas Callan returned to St Patrick's as Professor of natural | 0:20:36 | 0:20:40 | |
philosophy and made an important breakthrough of his own. | 0:20:40 | 0:20:44 | |
Now, I assume this is a very important object. | 0:20:46 | 0:20:48 | |
What was it that Callan did? | 0:20:48 | 0:20:51 | |
Callan invented the induction coil. | 0:20:51 | 0:20:53 | |
The induction coil is a device to take a low voltage and step it up | 0:20:53 | 0:20:58 | |
to an extremely high voltage | 0:20:58 | 0:21:00 | |
of the order of hundreds of thousands of volts. | 0:21:00 | 0:21:03 | |
So, they already knew how to generate some electricity | 0:21:03 | 0:21:06 | |
from a battery but this was about getting more voltage. | 0:21:06 | 0:21:09 | |
Exactly. In 1840, | 0:21:09 | 0:21:11 | |
he was able to generate voltages of the order of 600,000 volts. | 0:21:11 | 0:21:17 | |
He didn't have the nice digital voltmeters that we have today, | 0:21:17 | 0:21:21 | |
but what he did have was clerical students | 0:21:21 | 0:21:24 | |
and he used to make 15 clerical students hold hands | 0:21:24 | 0:21:28 | |
and then the last two would have to put their hands on | 0:21:28 | 0:21:30 | |
the output of the secondary coil | 0:21:30 | 0:21:32 | |
and he determined the voltage by how high the students jumped. | 0:21:32 | 0:21:36 | |
What a story! | 0:21:37 | 0:21:38 | |
The induction coil was the first type of transformer. | 0:21:38 | 0:21:42 | |
The X-ray, radio transmission and the ignition coil in cars are all | 0:21:43 | 0:21:48 | |
inventions which owe their origins to Father Callan's work. | 0:21:48 | 0:21:52 | |
Your own personal assessment of Callan, what would that be? | 0:21:52 | 0:21:55 | |
I have been known to say that | 0:21:57 | 0:21:59 | |
Faraday was the father of electricity | 0:21:59 | 0:22:01 | |
and the Reverend Nicholas Callan | 0:22:01 | 0:22:03 | |
would be the Reverend Godfather of electricity. | 0:22:03 | 0:22:06 | |
I'm leaving Maynooth to take the train onwards west. | 0:22:14 | 0:22:18 | |
It gives me a chance to question my fellow travellers about Britain | 0:22:20 | 0:22:24 | |
and Ireland's difficult history. | 0:22:24 | 0:22:26 | |
Hello, ladies, may I join you for a moment? | 0:22:26 | 0:22:29 | |
I'm using a 19th-century guidebook here | 0:22:31 | 0:22:34 | |
and it's all about conflict, really, | 0:22:34 | 0:22:36 | |
between the Irish and British, | 0:22:36 | 0:22:39 | |
the Hunger and rebellions and executions. | 0:22:39 | 0:22:41 | |
Just wondered, you know, does that still stick in the Irish mind? | 0:22:41 | 0:22:44 | |
Yeah, when we were in secondary school we learned an awful lot about | 0:22:44 | 0:22:48 | |
the Famine. You know, it's only three or four generations ago, | 0:22:48 | 0:22:51 | |
so it's not that long ago, | 0:22:51 | 0:22:52 | |
so it is definitely still, kind of, in our minds. | 0:22:52 | 0:22:55 | |
There was a lot of talk about "Oh, you know, | 0:22:55 | 0:22:58 | |
"the English aristocracy and the English landlords | 0:22:58 | 0:23:00 | |
"were living perfectly normal lives | 0:23:00 | 0:23:03 | |
"while people were starving all around them." | 0:23:03 | 0:23:05 | |
I mean, it was very raw when we were...well, when I was a child. | 0:23:05 | 0:23:08 | |
-And now? -Trying to think, you know, it's more holistic, | 0:23:08 | 0:23:11 | |
that they're shown both sides, | 0:23:11 | 0:23:13 | |
but I still think there wasn't really another side. | 0:23:13 | 0:23:16 | |
And would you say this harrowing 19th-century history | 0:23:19 | 0:23:22 | |
still affects Irish views of the British today? | 0:23:22 | 0:23:26 | |
Probably as recently as the last decade or so I think the views | 0:23:26 | 0:23:30 | |
of the British in Ireland has changed. | 0:23:30 | 0:23:32 | |
Time has been a great healer. | 0:23:32 | 0:23:34 | |
My next stop will be Mullingar. | 0:23:44 | 0:23:46 | |
The guidebook tells me that the population is employed in the wool | 0:23:46 | 0:23:49 | |
and butter trades. | 0:23:49 | 0:23:51 | |
But I'll find there the ruins of two castles and a large | 0:23:51 | 0:23:55 | |
infantry barracks for 1,000 men. | 0:23:55 | 0:23:58 | |
It seems I won't be the first Briton to march into Mullingar. | 0:23:58 | 0:24:01 | |
Today, the wool and butter trades are long gone, | 0:24:15 | 0:24:18 | |
but the barracks still stands. | 0:24:18 | 0:24:20 | |
The British built the huge military compound in the early 19th century. | 0:24:22 | 0:24:26 | |
Irish military forces took it over, | 0:24:28 | 0:24:30 | |
and used it until 2012 when it was closed. | 0:24:30 | 0:24:33 | |
BRASS BAND PLAYS | 0:24:38 | 0:24:40 | |
Not far from the barracks, | 0:24:40 | 0:24:42 | |
I can hear what sounds like a regimental band. | 0:24:42 | 0:24:45 | |
-Bravo. Kim, I'm Michael. -Hi, Michael. | 0:24:59 | 0:25:01 | |
So, is there a connection between the Mullingar Town Band and | 0:25:01 | 0:25:04 | |
the military barracks that used to be in the town? | 0:25:04 | 0:25:06 | |
There is, yeah. While we were officially formed in 1879, | 0:25:06 | 0:25:09 | |
we actually can trace our roots as far back as the 1800s. | 0:25:09 | 0:25:13 | |
A lot of the British soldiers were involved in the British barracks | 0:25:13 | 0:25:17 | |
settled here in Mullingar and they had just civilian bands. | 0:25:17 | 0:25:21 | |
We're a marching band, we're a concert band | 0:25:21 | 0:25:23 | |
and we provide music education in our junior bands as well. | 0:25:23 | 0:25:26 | |
I suppose it's kind of like a mini music school. | 0:25:26 | 0:25:29 | |
Today, there are over 200 members, starting from the age of eight, | 0:25:29 | 0:25:33 | |
and this community band has won some top awards | 0:25:33 | 0:25:36 | |
in Ireland and the United Kingdom. | 0:25:36 | 0:25:38 | |
Are you in fine form today? | 0:25:40 | 0:25:42 | |
-Yeah. -I see you got the trombone there, | 0:25:42 | 0:25:45 | |
when did you learn to play the trombone? | 0:25:45 | 0:25:47 | |
-About 11 years ago. -Really? | 0:25:47 | 0:25:49 | |
-I started in the band. -You must've been tiny! | 0:25:49 | 0:25:51 | |
-Yeah, quite little! -HE CHUCKLES | 0:25:51 | 0:25:53 | |
And do you get much pleasure out of playing for the band? | 0:25:53 | 0:25:56 | |
I love playing for the band. | 0:25:56 | 0:25:58 | |
-You love it. -I've been playing here most my life. | 0:25:58 | 0:26:01 | |
The band is open to experienced players and beginners. | 0:26:01 | 0:26:04 | |
I've been invited to arm myself with a bass drum. | 0:26:06 | 0:26:09 | |
If you're going to join them, beat. | 0:26:14 | 0:26:16 | |
HE LAUGHS Thank you. | 0:26:20 | 0:26:23 | |
You look like me, so it must be here. | 0:26:24 | 0:26:26 | |
Is it the left foot first? | 0:26:27 | 0:26:28 | |
And then the right hand first. | 0:26:28 | 0:26:30 | |
Left foot, right hand. | 0:26:30 | 0:26:31 | |
OK, rolls. | 0:26:31 | 0:26:33 | |
That was terrible! | 0:27:12 | 0:27:13 | |
The salmon knows where it comes from | 0:27:21 | 0:27:23 | |
and returns to the place of its birth. | 0:27:23 | 0:27:26 | |
At the end of the 19th century, | 0:27:26 | 0:27:28 | |
nationalists felt the need to explain the origins of the Irish | 0:27:28 | 0:27:32 | |
people and drew inspiration from the Gaelic legends of the Kings of Tara. | 0:27:32 | 0:27:38 | |
That left only the question of in which direction to march | 0:27:38 | 0:27:42 | |
and who would call the beat? | 0:27:42 | 0:27:44 | |
Next time, I have a go at traditional Irish cuisine... | 0:27:58 | 0:28:02 | |
How's that looking, Timmy? | 0:28:02 | 0:28:03 | |
You wouldn't be selling it now. | 0:28:03 | 0:28:05 | |
Very lumpy, you know what I mean? | 0:28:05 | 0:28:06 | |
..see the landscape that inspired one of the 20th-century's | 0:28:06 | 0:28:09 | |
greatest poets, WB Yeats... | 0:28:09 | 0:28:12 | |
It gave him a sense of where Celtic man had come out of the landscape | 0:28:12 | 0:28:16 | |
and that drove him to believe that Ireland should have an independence. | 0:28:16 | 0:28:19 | |
Heel, toe... | 0:28:19 | 0:28:20 | |
..and step in time, Sligo style. | 0:28:20 | 0:28:23 | |
One, two, three. | 0:28:23 | 0:28:25 | |
Michael Flatley better watch out! | 0:28:25 | 0:28:27 |