:00:22. > :00:23.As an antiques expert, when I look As an antiques expert, when I look
:00:23. > :00:24.As an antiques expert, when I look As an antiques expert, when I look
:00:24. > :00:25.at a piece of furniture I see a at a piece of furniture I see a
:00:25. > :00:33.at a piece of furniture I see a at a piece of furniture I see a
:00:33. > :00:34.person, a face, a body, a real person, a face, a body, a real
:00:34. > :00:35.person, a face, a body, a real personality. And, like most people,
:00:35. > :00:42.personality. And, like most people, personality. And, like most people,
:00:42. > :00:43.personality. And, like most people, every one has a story to tell.
:00:43. > :00:44.every one has a story to tell. every one has a story to tell.
:00:44. > :00:45.Here, at the Victoria & Albert Here, at the Victoria & Albert
:00:45. > :00:46.Here, at the Victoria & Albert Museum, amongst its vast and august
:00:46. > :00:47.Museum, amongst its vast and august Museum, amongst its vast and august
:00:47. > :00:48.collection, I've come to introduce collection, I've come to introduce
:00:48. > :00:49.collection, I've come to introduce you to one particularly fine piece
:00:49. > :00:50.you to one particularly fine piece you to one particularly fine piece
:00:50. > :01:00.you to one particularly fine piece of furniture that speaks to me like
:01:00. > :01:01.
:01:01. > :01:02.no other. no other.
:01:02. > :01:03.no other. This is the Kimbolton Cabinet, one
:01:03. > :01:04.This is the Kimbolton Cabinet, one This is the Kimbolton Cabinet, one
:01:04. > :01:05.of the finest examples of 18th of the finest examples of 18th
:01:05. > :01:13.of the finest examples of 18th Century English furniture in the
:01:13. > :01:14.country. country.
:01:14. > :01:15.country. Commissioned by the Duke and
:01:15. > :01:16.Commissioned by the Duke and Commissioned by the Duke and
:01:16. > :01:17.Duchess of Manchester in 1771, it Duchess of Manchester in 1771, it
:01:17. > :01:18.brought together the finest brought together the finest
:01:18. > :01:27.brought together the finest continental craftsmen with the very
:01:27. > :01:29.continental craftsmen with the very But it's more than a beautiful
:01:29. > :01:29.But it's more than a beautiful But it's more than a beautiful
:01:29. > :01:30.object. It captures a tumultuous object. It captures a tumultuous
:01:30. > :01:31.object. It captures a tumultuous object. It captures a tumultuous
:01:31. > :01:35.time in British history at the cusp time in British history at the cusp
:01:35. > :01:36.time in British history at the cusp of the Industrial Revolution. It
:01:36. > :01:37.of the Industrial Revolution. It of the Industrial Revolution. It
:01:37. > :01:37.of the Industrial Revolution. It can tell us about a world of
:01:37. > :01:39.can tell us about a world of privilege and exquisite
:01:39. > :01:40.privilege and exquisite privilege and exquisite
:01:40. > :01:41.craftsmanship. But it may also craftsmanship. But it may also
:01:41. > :01:42.craftsmanship. But it may also craftsmanship. But it may also
:01:42. > :01:43.surprise you to know it can also surprise you to know it can also
:01:43. > :01:44.surprise you to know it can also tell us about mass production, a
:01:44. > :01:45.tell us about mass production, a tell us about mass production, a
:01:45. > :01:55.revolution in design, even the revolution in design, even the
:01:55. > :02:19.
:02:19. > :02:20.revolution in design, even the Now you may have noticed that the
:02:20. > :02:21.Now you may have noticed that the Now you may have noticed that the
:02:21. > :02:22.gallery, in fact the whole museum, gallery, in fact the whole museum,
:02:22. > :02:24.gallery, in fact the whole museum, gallery, in fact the whole museum,
:02:24. > :02:30.is now closed and I, well we, are is now closed and I, well we, are
:02:31. > :02:31.is now closed and I, well we, are now alone. What a privilege.
:02:31. > :02:32.now alone. What a privilege. now alone. What a privilege.
:02:33. > :02:33.now alone. What a privilege. now alone. What a privilege.
:02:33. > :02:34.When I look at her - and it has to When I look at her - and it has to
:02:34. > :02:35.When I look at her - and it has to When I look at her - and it has to
:02:35. > :02:36.When I look at her - and it has to be a lady - I look at her and I
:02:36. > :02:37.be a lady - I look at her and I be a lady - I look at her and I
:02:37. > :02:38.be a lady - I look at her and I think of those times, a long time
:02:38. > :02:39.think of those times, a long time think of those times, a long time
:02:39. > :02:40.ago, when you saw someone elegant ago, when you saw someone elegant
:02:40. > :02:44.ago, when you saw someone elegant in an unguarded or embarrassing
:02:44. > :02:44.in an unguarded or embarrassing in an unguarded or embarrassing
:02:44. > :02:49.situation. My father purchased this situation. My father purchased this
:02:49. > :02:50.situation. My father purchased this situation. My father purchased this
:02:50. > :02:50.cabinet at auction in 1949. I was cabinet at auction in 1949. I was
:02:50. > :02:51.cabinet at auction in 1949. I was only ten-years-old but I can
:02:51. > :02:52.only ten-years-old but I can only ten-years-old but I can
:02:52. > :02:53.only ten-years-old but I can remember helping to load her on to
:02:53. > :02:54.remember helping to load her on to remember helping to load her on to
:02:54. > :02:55.remember helping to load her on to the back of his truck, with her
:02:55. > :02:56.the back of his truck, with her the back of his truck, with her
:02:56. > :02:57.the back of his truck, with her legs in the air, and it amazes me,
:02:57. > :02:58.legs in the air, and it amazes me, legs in the air, and it amazes me,
:02:58. > :02:59.legs in the air, and it amazes me, and gratifies me, and it would my
:02:59. > :02:59.and gratifies me, and it would my and gratifies me, and it would my
:02:59. > :03:00.and gratifies me, and it would my father, to think that she is now,
:03:00. > :03:02.father, to think that she is now, father, to think that she is now,
:03:02. > :03:02.in pride of place, in this in pride of place, in this
:03:02. > :03:03.in pride of place, in this wonderful collection. But she was
:03:03. > :03:04.wonderful collection. But she was wonderful collection. But she was
:03:04. > :03:05.wonderful collection. But she was not always built to go on public
:03:05. > :03:09.not always built to go on public not always built to go on public
:03:09. > :03:10.not always built to go on public display, in fact never at all. The
:03:10. > :03:12.display, in fact never at all. The display, in fact never at all. The
:03:12. > :03:12.whole idea of a cabinet, which whole idea of a cabinet, which
:03:12. > :03:13.whole idea of a cabinet, which originated in Italy in the 16th
:03:13. > :03:14.originated in Italy in the 16th originated in Italy in the 16th
:03:14. > :03:18.originated in Italy in the 16th Century, was that it was meant to
:03:18. > :03:19.Century, was that it was meant to Century, was that it was meant to
:03:19. > :03:24.hold little secret things. These hold little secret things. These
:03:24. > :03:25.hold little secret things. These should be drawers. In here,
:03:25. > :03:26.should be drawers. In here, should be drawers. In here,
:03:26. > :03:27.typically, there would be a typically, there would be a
:03:27. > :03:28.typically, there would be a cupboard, inside of which a little
:03:28. > :03:29.cupboard, inside of which a little cupboard, inside of which a little
:03:29. > :03:30.room, miniature room, and it was room, miniature room, and it was
:03:30. > :03:31.room, miniature room, and it was backed with mirrors and possibly a
:03:31. > :03:32.backed with mirrors and possibly a backed with mirrors and possibly a
:03:32. > :03:33.backed with mirrors and possibly a faux floor, tiled floor, and in the
:03:33. > :03:34.faux floor, tiled floor, and in the faux floor, tiled floor, and in the
:03:34. > :03:35.centre of that, either suspended or centre of that, either suspended or
:03:35. > :03:36.centre of that, either suspended or centre of that, either suspended or
:03:36. > :03:36.put on a little pedestal, would be put on a little pedestal, would be
:03:36. > :03:37.put on a little pedestal, would be the master's, the owner's latest
:03:37. > :03:41.the master's, the owner's latest the master's, the owner's latest
:03:41. > :03:42.object in his collection of fine object in his collection of fine
:03:42. > :03:43.object in his collection of fine things. And this he would show
:03:43. > :03:44.things. And this he would show things. And this he would show
:03:44. > :03:45.simply to his cabinet friends, his simply to his cabinet friends, his
:03:45. > :03:46.simply to his cabinet friends, his closest friends, which is where we
:03:46. > :03:51.closest friends, which is where we closest friends, which is where we
:03:51. > :03:52.get "Cabinet" in Government today. get "Cabinet" in Government today.
:03:52. > :03:54.get "Cabinet" in Government today. Now, this one has nothing, nothing
:03:54. > :03:55.Now, this one has nothing, nothing Now, this one has nothing, nothing
:03:55. > :03:56.at all. There's no cupboard, no at all. There's no cupboard, no
:03:56. > :03:57.at all. There's no cupboard, no at all. There's no cupboard, no
:03:57. > :03:58.drawers, all we have is a door at drawers, all we have is a door at
:03:58. > :03:59.drawers, all we have is a door at each end and that's because the
:03:59. > :04:00.each end and that's because the each end and that's because the
:04:00. > :04:10.treasures that you see inside are treasures that you see inside are
:04:10. > :04:16.
:04:16. > :04:17.And its sole purpose was to display And its sole purpose was to display
:04:17. > :04:27.And its sole purpose was to display these 11 panels of inlaid marble
:04:27. > :04:28.these 11 panels of inlaid marble these 11 panels of inlaid marble
:04:28. > :04:34.called Pietra Dura. Each depicts an called Pietra Dura. Each depicts an
:04:34. > :04:35.called Pietra Dura. Each depicts an Italian harbour, or lake scene.
:04:35. > :04:36.Italian harbour, or lake scene. Italian harbour, or lake scene.
:04:36. > :04:36.Italian harbour, or lake scene. Italian harbour, or lake scene.
:04:36. > :04:37.There's a man with a hat and he has There's a man with a hat and he has
:04:37. > :04:38.There's a man with a hat and he has There's a man with a hat and he has
:04:38. > :04:39.a little bonnet on, and there's a a little bonnet on, and there's a
:04:39. > :04:40.a little bonnet on, and there's a a little bonnet on, and there's a
:04:40. > :04:50.a little bonnet on, and there's a man with a big wide hat and a net,
:04:50. > :04:50.
:04:50. > :04:51.man with a big wide hat and a net, and they're fishing. Inlaying
:04:51. > :04:52.and they're fishing. Inlaying and they're fishing. Inlaying
:04:52. > :04:53.and they're fishing. Inlaying marble - and it's still done today
:04:53. > :04:54.marble - and it's still done today marble - and it's still done today
:04:54. > :04:55.marble - and it's still done today of course, it's a very fine craft -
:04:55. > :04:56.of course, it's a very fine craft - of course, it's a very fine craft -
:04:56. > :04:57.but normally there are different but normally there are different
:04:57. > :04:58.but normally there are different coloured stones which just give an
:04:58. > :04:59.coloured stones which just give an attractive picture, This man,
:04:59. > :05:00.attractive picture, This man, attractive picture, This man,
:05:00. > :05:01.Baccio Capelli, who made these the Baccio Capelli, who made these the
:05:01. > :05:01.Baccio Capelli, who made these the Baccio Capelli, who made these the
:05:01. > :05:02.best of the best, managed to cut best of the best, managed to cut
:05:03. > :05:03.best of the best, managed to cut best of the best, managed to cut
:05:03. > :05:04.the stone in such a way that the the stone in such a way that the
:05:04. > :05:05.the stone in such a way that the striations in the marble gave shape
:05:05. > :05:15.striations in the marble gave shape striations in the marble gave shape
:05:15. > :05:16.
:05:16. > :05:17.striations in the marble gave shape and depth to the picture. Just look
:05:17. > :05:22.and depth to the picture. Just look and depth to the picture. Just look
:05:22. > :05:23.and depth to the picture. Just look here and you'll see what I mean.
:05:23. > :05:24.here and you'll see what I mean. here and you'll see what I mean.
:05:24. > :05:25.here and you'll see what I mean. You see this little round house, at
:05:25. > :05:26.You see this little round house, at You see this little round house, at
:05:26. > :05:27.You see this little round house, at the end of a wall, obviously it's a
:05:27. > :05:28.the end of a wall, obviously it's a the end of a wall, obviously it's a
:05:28. > :05:29.key port, the pigonia or something key port, the pigonia or something
:05:29. > :05:30.key port, the pigonia or something like that, and it looks round
:05:30. > :05:31.like that, and it looks round like that, and it looks round
:05:31. > :05:32.because of the shading, but that's because of the shading, but that's
:05:32. > :05:33.because of the shading, but that's not painted on, that's how he
:05:33. > :05:34.not painted on, that's how he not painted on, that's how he
:05:34. > :05:35.cleverly cut the marble using the cleverly cut the marble using the
:05:35. > :05:36.cleverly cut the marble using the striation of pale and then darker
:05:36. > :05:41.striation of pale and then darker striation of pale and then darker
:05:41. > :05:42.striation of pale and then darker vein to create a round effect. And
:05:43. > :05:43.vein to create a round effect. And vein to create a round effect. And
:05:44. > :05:44.then little tiny segments in the then little tiny segments in the
:05:45. > :05:45.then little tiny segments in the roof added to that, there were
:05:46. > :05:46.roof added to that, there were roof added to that, there were
:05:46. > :05:52.little pieces of pale marble, a little pieces of pale marble, a
:05:52. > :05:53.little pieces of pale marble, a little pieces of pale marble, a
:05:53. > :05:54.piece of darker marble. And if we piece of darker marble. And if we
:05:54. > :05:55.piece of darker marble. And if we piece of darker marble. And if we
:05:55. > :05:56.come down here to look, there a come down here to look, there a
:05:56. > :06:02.come down here to look, there a come down here to look, there a
:06:02. > :06:03.piece of lapis inset into a sky of piece of lapis inset into a sky of
:06:03. > :06:04.piece of lapis inset into a sky of piece of lapis inset into a sky of
:06:04. > :06:05.marble. See how he has cut it so marble. See how he has cut it so
:06:05. > :06:06.marble. See how he has cut it so that the pale light looks almost
:06:06. > :06:07.that the pale light looks almost that the pale light looks almost
:06:07. > :06:08.that the pale light looks almost like sunset or dawn. But it's the
:06:08. > :06:09.like sunset or dawn. But it's the like sunset or dawn. But it's the
:06:09. > :06:10.like sunset or dawn. But it's the way he's cut it to make it look
:06:10. > :06:10.way he's cut it to make it look way he's cut it to make it look
:06:10. > :06:11.way he's cut it to make it look light at the lower part and then
:06:11. > :06:14.light at the lower part and then light at the lower part and then
:06:14. > :06:18.darkening blue sky up here. The darkening blue sky up here. The
:06:18. > :06:19.darkening blue sky up here. The clouds look rounded. The sea you
:06:19. > :06:20.clouds look rounded. The sea you clouds look rounded. The sea you
:06:20. > :06:21.can see has little reflections of can see has little reflections of
:06:21. > :06:21.can see has little reflections of can see has little reflections of
:06:21. > :06:22.the land and the boats that's in the land and the boats that's in
:06:22. > :06:32.the land and the boats that's in the marble - absolutely brilliant,
:06:32. > :06:39.
:06:39. > :06:40.But you may wonder what such a But you may wonder what such a
:06:40. > :06:40.cabinet, showcasing Italian marble cabinet, showcasing Italian marble
:06:40. > :06:44.cabinet, showcasing Italian marble craftsmanship, was doing on British
:06:44. > :06:45.craftsmanship, was doing on British shores. The Kimbolton Cabinet,
:06:45. > :06:55.shores. The Kimbolton Cabinet, despite outward appearance, was
:06:55. > :06:56.despite outward appearance, was actually made here.
:06:56. > :06:56.actually made here. actually made here.
:06:57. > :06:57.actually made here. It was commissioned in 1771 by one
:06:58. > :06:58.It was commissioned in 1771 by one of the country's wealthiest
:06:59. > :06:59.of the country's wealthiest of the country's wealthiest
:07:00. > :07:00.families, the Duke and Duchess of families, the Duke and Duchess of
:07:00. > :07:06.families, the Duke and Duchess of Manchester, for their grand country
:07:06. > :07:07.Manchester, for their grand country Manchester, for their grand country
:07:07. > :07:07.pile, Kimbolton Castle. A glamorous pile, Kimbolton Castle. A glamorous
:07:07. > :07:14.pile, Kimbolton Castle. A glamorous addition to the Duchess's bed
:07:14. > :07:15.addition to the Duchess's bed addition to the Duchess's bed
:07:15. > :07:15.chamber. The Duke, a keen political chamber. The Duke, a keen political
:07:16. > :07:16.chamber. The Duke, a keen political animal, took great interest in
:07:17. > :07:17.animal, took great interest in animal, took great interest in
:07:18. > :07:24.foreign affairs and was destined to foreign affairs and was destined to
:07:24. > :07:25.foreign affairs and was destined to become British Ambassador to France.
:07:25. > :07:26.become British Ambassador to France. become British Ambassador to France.
:07:26. > :07:27.This painting is entitled The Grand This painting is entitled The Grand
:07:27. > :07:28.This painting is entitled The Grand Tour Portrait and depicts his hand
:07:28. > :07:29.Tour Portrait and depicts his hand Tour Portrait and depicts his hand
:07:29. > :07:30.Tour Portrait and depicts his hand resting pointedly on a map of Italy
:07:30. > :07:31.resting pointedly on a map of Italy resting pointedly on a map of Italy
:07:31. > :07:32.where indeed the family would have where indeed the family would have
:07:32. > :07:42.where indeed the family would have purchased the marble panels as
:07:42. > :07:47.
:07:47. > :07:48.In the 18th Century no aristocratic In the 18th Century no aristocratic
:07:48. > :07:49.education was complete without education was complete without
:07:49. > :07:50.education was complete without education was complete without
:07:50. > :07:50.embarking on the Grand tour to the embarking on the Grand tour to the
:07:50. > :07:52.embarking on the Grand tour to the continent, much like our gap-years
:07:52. > :07:52.continent, much like our gap-years continent, much like our gap-years
:07:52. > :07:58.continent, much like our gap-years today but you actually had to learn
:07:58. > :07:59.today but you actually had to learn today but you actually had to learn
:07:59. > :08:00.today but you actually had to learn something! And this was a time when
:08:00. > :08:01.something! And this was a time when archaeological excavations across
:08:01. > :08:01.archaeological excavations across archaeological excavations across
:08:01. > :08:02.Italy were uncovering fine examples Italy were uncovering fine examples
:08:02. > :08:08.Italy were uncovering fine examples of architecture and domestic life
:08:08. > :08:09.of architecture and domestic life of architecture and domestic life
:08:09. > :08:09.from the ancient world. Such from the ancient world. Such
:08:09. > :08:10.from the ancient world. Such discoveries gave birth to an
:08:10. > :08:11.discoveries gave birth to an appetite for classically-inspired
:08:11. > :08:12.appetite for classically-inspired design amongst the aristocracy,
:08:12. > :08:13.design amongst the aristocracy, particularly in Britain, a
:08:13. > :08:14.particularly in Britain, a particularly in Britain, a
:08:14. > :08:15.fledgling Empire starting to see fledgling Empire starting to see
:08:15. > :08:25.fledgling Empire starting to see itself as the natural successor to
:08:25. > :08:29.
:08:29. > :08:30.This is classicism, this is how we This is classicism, this is how we
:08:30. > :08:31.This is classicism, this is how we lived if we were really wealthy,
:08:31. > :08:32.lived if we were really wealthy, lived if we were really wealthy,
:08:32. > :08:32.surrounded not only by the objects surrounded not only by the objects
:08:32. > :08:33.surrounded not only by the objects themselves, but also the influence
:08:33. > :08:39.themselves, but also the influence on English construction and
:08:39. > :08:40.on English construction and manufacture. Everything from grand
:08:40. > :08:41.manufacture. Everything from grand manufacture. Everything from grand
:08:41. > :08:48.bookcases to marble furniture, even bookcases to marble furniture, even
:08:48. > :08:49.bookcases to marble furniture, even empire line dresses. Clean lines
:08:49. > :08:50.empire line dresses. Clean lines empire line dresses. Clean lines
:08:50. > :08:51.and elegant shapes were now the and elegant shapes were now the
:08:51. > :08:52.and elegant shapes were now the order of the day replacing the
:08:52. > :09:00.order of the day replacing the order of the day replacing the
:09:00. > :09:05.opulence and excess of established tastes.
:09:05. > :09:07.tastes. So neoclassicism replaced this.
:09:07. > :09:12.So neoclassicism replaced this. So neoclassicism replaced this.
:09:12. > :09:13.This is high-style Rococo. This is This is high-style Rococo. This is
:09:13. > :09:14.This is high-style Rococo. This is 1745/1750. It's a basic shape on
:09:14. > :09:15.1745/1750. It's a basic shape on 1745/1750. It's a basic shape on
:09:15. > :09:18.1745/1750. It's a basic shape on which we just piled every type of
:09:18. > :09:19.which we just piled every type of which we just piled every type of
:09:19. > :09:20.decoration you can imagine. Rococo, decoration you can imagine. Rococo,
:09:20. > :09:21.decoration you can imagine. Rococo, the word comes from Rocai meaning
:09:21. > :09:22.the word comes from Rocai meaning Rocworthy, when inorganic matter
:09:22. > :09:23.Rocworthy, when inorganic matter Rocworthy, when inorganic matter
:09:23. > :09:24.was used as a decorative motif, was used as a decorative motif,
:09:24. > :09:25.was used as a decorative motif, was used as a decorative motif,
:09:25. > :09:30.great foliage, birds - a nod to great foliage, birds - a nod to
:09:30. > :09:31.great foliage, birds - a nod to great foliage, birds - a nod to
:09:31. > :09:32.China here with the HoHo birds. And China here with the HoHo birds. And
:09:32. > :09:35.China here with the HoHo birds. And these sea scrolls are most typical
:09:35. > :09:36.these sea scrolls are most typical these sea scrolls are most typical
:09:36. > :09:36.little decorations. So this was little decorations. So this was
:09:36. > :09:37.little decorations. So this was height of fashion in the
:09:37. > :09:46.height of fashion in the height of fashion in the
:09:46. > :09:47.1750s/1760s and by 1775 it had 1750s/1760s and by 1775 it had
:09:47. > :09:51.disappeared. The Duchess of disappeared. The Duchess of
:09:51. > :09:52.disappeared. The Duchess of Manchester's interest lay in art. A
:09:52. > :09:53.Manchester's interest lay in art. A Manchester's interest lay in art. A
:09:53. > :09:54.fine painter herself, in this fine painter herself, in this
:09:54. > :09:55.fine painter herself, in this portrait by Sir Joshua Reynolds she
:09:55. > :09:56.portrait by Sir Joshua Reynolds she portrait by Sir Joshua Reynolds she
:09:56. > :09:57.has chosen to be depicted in has chosen to be depicted in
:09:57. > :09:58.has chosen to be depicted in classical dress as the Roman
:09:58. > :10:04.classical dress as the Roman classical dress as the Roman
:10:04. > :10:05.classical dress as the Roman goddess Diana and her son as cupid.
:10:05. > :10:06.goddess Diana and her son as cupid. goddess Diana and her son as cupid.
:10:06. > :10:07.It's no surprise to discover that It's no surprise to discover that
:10:07. > :10:08.It's no surprise to discover that such a fashion conscious woman
:10:08. > :10:09.such a fashion conscious woman such a fashion conscious woman
:10:09. > :10:13.would seek out the most fashionable would seek out the most fashionable
:10:13. > :10:14.would seek out the most fashionable designer for her cabinet. Robert
:10:14. > :10:15.designer for her cabinet. Robert designer for her cabinet. Robert
:10:15. > :10:16.designer for her cabinet. Robert Adam was in fact an architect by
:10:16. > :10:17.Adam was in fact an architect by Adam was in fact an architect by
:10:17. > :10:18.training, like his father before training, like his father before
:10:18. > :10:18.training, like his father before training, like his father before
:10:18. > :10:19.him, and he was fortunate enough to him, and he was fortunate enough to
:10:19. > :10:20.him, and he was fortunate enough to him, and he was fortunate enough to
:10:20. > :10:24.be sent to study on the continent be sent to study on the continent
:10:24. > :10:25.be sent to study on the continent be sent to study on the continent
:10:25. > :10:25.for five years. He was at the very for five years. He was at the very
:10:25. > :10:26.for five years. He was at the very forefront of Neoclassicism as is
:10:26. > :10:27.forefront of Neoclassicism as is forefront of Neoclassicism as is
:10:27. > :10:32.forefront of Neoclassicism as is clear to see in his original plans
:10:32. > :10:33.clear to see in his original plans clear to see in his original plans
:10:33. > :10:33.for the cabinet. Indeed his for the cabinet. Indeed his
:10:33. > :10:34.for the cabinet. Indeed his architectural background is hard to
:10:34. > :10:35.architectural background is hard to architectural background is hard to
:10:35. > :10:36.miss - the cabinet does resemble miss - the cabinet does resemble
:10:36. > :10:37.miss - the cabinet does resemble the frontage of a rather grand
:10:37. > :10:38.the frontage of a rather grand the frontage of a rather grand
:10:38. > :10:39.house built to showcase Italian house built to showcase Italian
:10:39. > :10:47.house built to showcase Italian Panels but constructed by the very
:10:47. > :10:48.Panels but constructed by the very finest British Craftsmen.
:10:48. > :10:49.finest British Craftsmen. finest British Craftsmen.
:10:49. > :10:50.Now the men charged with bringing Now the men charged with bringing
:10:50. > :10:52.Adam's ambitious classical design Adam's ambitious classical design
:10:52. > :10:53.Adam's ambitious classical design Adam's ambitious classical design
:10:53. > :10:54.to life were Ince and Mayhew. Or as to life were Ince and Mayhew. Or as
:10:54. > :10:57.to life were Ince and Mayhew. Or as they should properly be referred to
:10:57. > :10:58.they should properly be referred to they should properly be referred to
:10:58. > :10:59.as Mayhew and Ince. They were as Mayhew and Ince. They were
:10:59. > :11:00.as Mayhew and Ince. They were partners in a business based here
:11:00. > :11:01.partners in a business based here partners in a business based here
:11:01. > :11:02.partners in a business based here in Soho, London. So close were they
:11:02. > :11:03.in Soho, London. So close were they in Soho, London. So close were they
:11:03. > :11:11.that they lived in adjacent house that they lived in adjacent house
:11:11. > :11:11.that they lived in adjacent house that they lived in adjacent house
:11:11. > :11:12.and married a pair of sisters. Now and married a pair of sisters. Now
:11:12. > :11:13.they were contemporary to they were contemporary to
:11:13. > :11:14.Chippendale - now Thomas Chippendale - now Thomas
:11:14. > :11:16.Chippendale - now Thomas Chippendale we've all heard of but
:11:16. > :11:16.Chippendale we've all heard of but Chippendale we've all heard of but
:11:16. > :11:17.this was a larger company entirely, this was a larger company entirely,
:11:17. > :11:18.this was a larger company entirely, this was a larger company entirely,
:11:18. > :11:19.and to give you an indication the and to give you an indication the
:11:19. > :11:20.dictionary of English furniture dictionary of English furniture
:11:20. > :11:21.dictionary of English furniture makers devotes six pages to Thomas
:11:21. > :11:31.makers devotes six pages to Thomas makers devotes six pages to Thomas
:11:31. > :11:33.
:11:33. > :11:34.Chippendale and 11 pages to Mayhew Let's get on to higher things and
:11:34. > :11:37.Let's get on to higher things and Let's get on to higher things and
:11:37. > :11:38.see the craftsmanship they put into see the craftsmanship they put into
:11:38. > :11:39.see the craftsmanship they put into their inlay. All of these things
:11:39. > :11:39.their inlay. All of these things their inlay. All of these things
:11:39. > :11:42.are typical, high style classical are typical, high style classical
:11:42. > :11:43.are typical, high style classical and then later regency designs.
:11:43. > :11:43.and then later regency designs. and then later regency designs.
:11:43. > :11:44.Look at this honeysuckle, you'll Look at this honeysuckle, you'll
:11:44. > :11:45.Look at this honeysuckle, you'll Look at this honeysuckle, you'll
:11:45. > :11:46.see that again and again and again, see that again and again and again,
:11:46. > :11:50.see that again and again and again, after the 1770s right through until
:11:50. > :11:51.after the 1770s right through until the 1820s. Wonderful designs,
:11:51. > :11:52.the 1820s. Wonderful designs, the 1820s. Wonderful designs,
:11:52. > :11:53.impactful when new, because these impactful when new, because these
:11:53. > :12:02.impactful when new, because these would have been bright primary
:12:03. > :12:03.would have been bright primary would have been bright primary
:12:03. > :12:04.colours. The green is harewood colours. The green is harewood
:12:04. > :12:05.colours. The green is harewood which is actually a sycamore dyed
:12:05. > :12:06.which is actually a sycamore dyed which is actually a sycamore dyed
:12:06. > :12:07.with oxide of iron. That goes with oxide of iron. That goes
:12:07. > :12:08.with oxide of iron. That goes bright green. This is boxwood, the
:12:08. > :12:09.bright green. This is boxwood, the bright green. This is boxwood, the
:12:09. > :12:10.background I think might be background I think might be
:12:10. > :12:11.background I think might be huyawood, it might be purple heart
:12:11. > :12:12.huyawood, it might be purple heart huyawood, it might be purple heart
:12:12. > :12:13.huyawood, it might be purple heart which would in fact mean this was a
:12:13. > :12:14.which would in fact mean this was a which would in fact mean this was a
:12:14. > :12:20.mauvey colour, with yellows, whites, mauvey colour, with yellows, whites,
:12:20. > :12:22.mauvey colour, with yellows, whites, blacks and greens, and then etched.
:12:22. > :12:26.blacks and greens, and then etched. blacks and greens, and then etched.
:12:26. > :12:27.These are phenomenal. This is These are phenomenal. This is
:12:27. > :12:28.These are phenomenal. This is satinwood. This would have been in
:12:28. > :12:29.satinwood. This would have been in satinwood. This would have been in
:12:29. > :12:30.bright yellow, again with green and bright yellow, again with green and
:12:30. > :12:31.bright yellow, again with green and reds against it. These timbers have
:12:31. > :12:32.reds against it. These timbers have reds against it. These timbers have
:12:32. > :12:32.faded, of course the marble hasn't, faded, of course the marble hasn't,
:12:32. > :12:33.faded, of course the marble hasn't, these would have been bright
:12:33. > :12:34.these would have been bright colours, almost somewhat fighting
:12:34. > :12:37.colours, almost somewhat fighting colours, almost somewhat fighting
:12:37. > :12:38.against the muted tones of the against the muted tones of the
:12:38. > :12:39.against the muted tones of the marble. This would have stood out,
:12:39. > :12:40.marble. This would have stood out, marble. This would have stood out,
:12:40. > :12:41.this would have knocked you, you this would have knocked you, you
:12:41. > :12:42.this would have knocked you, you this would have knocked you, you
:12:42. > :12:44.would have to wear dark glasses to would have to wear dark glasses to
:12:44. > :12:45.would have to wear dark glasses to look at this. You can imagine
:12:45. > :12:46.look at this. You can imagine look at this. You can imagine
:12:46. > :12:47.people coming and saying, "Ah do people coming and saying, "Ah do
:12:47. > :12:48.people coming and saying, "Ah do people coming and saying, "Ah do
:12:48. > :12:49.come and see my latest bit of work come and see my latest bit of work
:12:49. > :12:50.come and see my latest bit of work come and see my latest bit of work
:12:50. > :12:51.come and see my latest bit of work by Mr Adams - have a look at this."
:12:51. > :12:52.by Mr Adams - have a look at this." by Mr Adams - have a look at this."
:12:52. > :12:53.by Mr Adams - have a look at this." Wow, what a knock out, look at this,
:12:53. > :12:54.Wow, what a knock out, look at this, Wow, what a knock out, look at this,
:12:54. > :12:55.Wow, what a knock out, look at this, look at the gilding, look at the
:12:55. > :12:56.look at the gilding, look at the look at the gilding, look at the
:12:56. > :12:57.sparkle coming out of those and sparkle coming out of those and
:12:57. > :12:58.sparkle coming out of those and imagine that not only by daylight
:12:58. > :12:59.imagine that not only by daylight imagine that not only by daylight
:12:59. > :13:02.but candlelight, a hundred candles but candlelight, a hundred candles
:13:02. > :13:03.but candlelight, a hundred candles in a chandelier sparkling on that.
:13:03. > :13:04.in a chandelier sparkling on that. Wonderful, unbelievable, nobody had
:13:04. > :13:14.Wonderful, unbelievable, nobody had Wonderful, unbelievable, nobody had
:13:14. > :13:17.
:13:17. > :13:18.While the woodwork is indeed fine, While the woodwork is indeed fine,
:13:18. > :13:21.While the woodwork is indeed fine, While the woodwork is indeed fine,
:13:21. > :13:22.it is the metal mounts that are the it is the metal mounts that are the
:13:22. > :13:23.it is the metal mounts that are the real achievement. They were the
:13:23. > :13:24.real achievement. They were the real achievement. They were the
:13:24. > :13:25.work of Matthew Boulton, while he work of Matthew Boulton, while he
:13:25. > :13:26.work of Matthew Boulton, while he was in partnership with James
:13:26. > :13:26.was in partnership with James was in partnership with James
:13:26. > :13:27.Fothergill in his workshops in Fothergill in his workshops in
:13:27. > :13:28.Fothergill in his workshops in Birmingham, and in fact cost more
:13:28. > :13:29.Birmingham, and in fact cost more Birmingham, and in fact cost more
:13:29. > :13:30.Birmingham, and in fact cost more than the rest of the cabinet put
:13:30. > :13:31.than the rest of the cabinet put together. Boulton charged �73.11s
:13:31. > :13:32.together. Boulton charged �73.11s together. Boulton charged �73.11s
:13:32. > :13:33.together. Boulton charged �73.11s for the mounts which was more than
:13:33. > :13:34.for the mounts which was more than for the mounts which was more than
:13:34. > :13:35.the �72 that Chippendale charged the �72 that Chippendale charged
:13:35. > :13:39.the �72 that Chippendale charged for the complete Library Table at
:13:39. > :13:40.for the complete Library Table at for the complete Library Table at
:13:40. > :13:41.Nostell Priory. Now let's have a Nostell Priory. Now let's have a
:13:41. > :13:42.Nostell Priory. Now let's have a Nostell Priory. Now let's have a
:13:42. > :13:44.look at what they are and why they look at what they are and why they
:13:44. > :13:44.look at what they are and why they look at what they are and why they
:13:45. > :13:45.cost so much money. These are not cost so much money. These are not
:13:46. > :13:46.cost so much money. These are not just gilt metal mounts ie, gilded
:13:47. > :13:47.just gilt metal mounts ie, gilded just gilt metal mounts ie, gilded
:13:48. > :13:48.brass, these are gilded bronze and brass, these are gilded bronze and
:13:48. > :13:49.brass, these are gilded bronze and they are mercurially gilded and
:13:49. > :13:50.they are mercurially gilded and they are mercurially gilded and
:13:50. > :13:51.they are fired to produce this they are fired to produce this
:13:51. > :13:52.extraordinary mirror effect when extraordinary mirror effect when
:13:52. > :13:53.extraordinary mirror effect when burnished, but you'll notice that
:13:53. > :14:00.burnished, but you'll notice that burnished, but you'll notice that
:14:00. > :14:00.parts of them are matte. These parts of them are matte. These
:14:01. > :14:01.acanthus leaves, formalised acanthus leaves, formalised
:14:02. > :14:03.acanthus leaves, are actually acanthus leaves, are actually
:14:03. > :14:03.acanthus leaves, are actually acanthus leaves, are actually
:14:03. > :14:04.traced by hand with a pointer and traced by hand with a pointer and
:14:04. > :14:05.traced by hand with a pointer and traced by hand with a pointer and
:14:05. > :14:06.they are then fired with a gold, they are then fired with a gold,
:14:06. > :14:07.they are then fired with a gold, and you mix gold and mercury
:14:07. > :14:08.and you mix gold and mercury and you mix gold and mercury
:14:08. > :14:08.together, and the mercury when together, and the mercury when
:14:09. > :14:10.together, and the mercury when heated evaporates leaving the gold
:14:10. > :14:19.heated evaporates leaving the gold heated evaporates leaving the gold
:14:19. > :14:20.firmly affixed to the surface. Then firmly affixed to the surface. Then
:14:20. > :14:21.firmly affixed to the surface. Then they are burnished, the inside bits
:14:21. > :14:22.they are burnished, the inside bits they are burnished, the inside bits
:14:22. > :14:28.are burnished, the outside is left are burnished, the outside is left
:14:28. > :14:29.are burnished, the outside is left flat and matte. But Matthew Boulton
:14:29. > :14:30.flat and matte. But Matthew Boulton flat and matte. But Matthew Boulton
:14:30. > :14:40.was far more than a master was far more than a master
:14:40. > :14:43.
:14:43. > :14:44.Matthew Boulton was in fact one of Matthew Boulton was in fact one of
:14:44. > :14:46.Matthew Boulton was in fact one of the great industrial innovators of
:14:46. > :14:47.the great industrial innovators of the great industrial innovators of
:14:47. > :14:47.the 18th Century. He formed the 18th Century. He formed
:14:47. > :14:48.the 18th Century. He formed partnerships with people such as
:14:48. > :14:49.partnerships with people such as partnerships with people such as
:14:49. > :14:50.James Fothergill to produce the James Fothergill to produce the
:14:50. > :14:51.James Fothergill to produce the most luxurious and beautiful gilt
:14:51. > :14:52.most luxurious and beautiful gilt most luxurious and beautiful gilt
:14:52. > :14:56.most luxurious and beautiful gilt metal mounts that we've seen on the
:14:56. > :14:57.metal mounts that we've seen on the metal mounts that we've seen on the
:14:57. > :14:58.Kimbolton cabinet. But also he Kimbolton cabinet. But also he
:14:58. > :14:59.Kimbolton cabinet. But also he joined forces with James Watt who
:14:59. > :14:59.joined forces with James Watt who joined forces with James Watt who
:14:59. > :15:00.had just produced the most had just produced the most
:15:00. > :15:01.had just produced the most efficient steam engine anyone had
:15:01. > :15:02.efficient steam engine anyone had efficient steam engine anyone had
:15:02. > :15:03.ever seen, and those two together ever seen, and those two together
:15:03. > :15:04.ever seen, and those two together created a huge mass production
:15:04. > :15:05.created a huge mass production created a huge mass production
:15:05. > :15:06.business, which was the beginning business, which was the beginning
:15:06. > :15:07.business, which was the beginning of the Industrial Revolution and so
:15:07. > :15:08.of the Industrial Revolution and so of the Industrial Revolution and so
:15:08. > :15:09.important was he that he actually important was he that he actually
:15:09. > :15:10.important was he that he actually important was he that he actually
:15:10. > :15:20.has his portrait now on the back of has his portrait now on the back of
:15:20. > :15:27.
:15:27. > :15:28.But he was most famous for But he was most famous for
:15:28. > :15:30.But he was most famous for Sheffield plated wares. That gets
:15:30. > :15:32.Sheffield plated wares. That gets Sheffield plated wares. That gets
:15:32. > :15:34.Sheffield plated wares. That gets its name from its place of origin.
:15:34. > :15:36.its name from its place of origin. its name from its place of origin.
:15:37. > :15:38.A cutler developed a system of A cutler developed a system of
:15:38. > :15:39.A cutler developed a system of applying sheets of copper and
:15:39. > :15:40.applying sheets of copper and silver together thus reducing
:15:40. > :15:41.silver together thus reducing silver together thus reducing
:15:41. > :15:42.silver together thus reducing material cost. It was a fluke. The
:15:42. > :15:44.material cost. It was a fluke. The material cost. It was a fluke. The
:15:44. > :15:45.material cost. It was a fluke. The story goes he was mending a knife
:15:46. > :15:46.story goes he was mending a knife story goes he was mending a knife
:15:46. > :15:48.and found that silver and copper and found that silver and copper
:15:48. > :15:50.and found that silver and copper when heat just heal together to
:15:50. > :15:51.when heat just heal together to when heat just heal together to
:15:51. > :15:52.make one material. And so middling make one material. And so middling
:15:52. > :15:54.make one material. And so middling people as they were called, people
:15:54. > :15:55.people as they were called, people people as they were called, people
:15:55. > :15:57.of ordinary means, could afford to of ordinary means, could afford to
:15:57. > :15:58.of ordinary means, could afford to of ordinary means, could afford to
:15:58. > :16:00.buy what looked like a luxury style buy what looked like a luxury style
:16:00. > :16:03.buy what looked like a luxury style buy what looked like a luxury style
:16:03. > :16:06.item and here you can see a item and here you can see a
:16:06. > :16:09.item and here you can see a wonderful great big terrine, teapot,
:16:09. > :16:10.wonderful great big terrine, teapot, wonderful great big terrine, teapot,
:16:10. > :16:11.cream jug, and the candelabra, all cream jug, and the candelabra, all
:16:11. > :16:12.cream jug, and the candelabra, all produced in the grandest form with
:16:12. > :16:13.produced in the grandest form with produced in the grandest form with
:16:13. > :16:14.not the grandest of materials. That not the grandest of materials. That
:16:14. > :16:15.not the grandest of materials. That would not have been possible some
:16:15. > :16:20.would not have been possible some would not have been possible some
:16:20. > :16:22.years before. The ornate curves of years before. The ornate curves of
:16:23. > :16:23.years before. The ornate curves of the Rococo period could never be
:16:23. > :16:25.the Rococo period could never be the Rococo period could never be
:16:25. > :16:30.reproduced other than by hand. reproduced other than by hand.
:16:30. > :16:32.reproduced other than by hand. reproduced other than by hand.
:16:32. > :16:33.However, that was not the case with However, that was not the case with
:16:33. > :16:34.neoclassicism. This style neoclassicism. This style
:16:34. > :16:36.neoclassicism. This style celebrated the old while lending
:16:36. > :16:37.celebrated the old while lending celebrated the old while lending
:16:37. > :16:39.celebrated the old while lending itself more easily to the tools of
:16:39. > :16:40.itself more easily to the tools of itself more easily to the tools of
:16:40. > :16:43.mass production. Let me show you mass production. Let me show you
:16:43. > :16:45.mass production. Let me show you the first three-quarters of the
:16:45. > :16:49.the first three-quarters of the the first three-quarters of the
:16:49. > :16:52.18th Century. Most domestic items 18th Century. Most domestic items
:16:53. > :16:54.18th Century. Most domestic items 18th Century. Most domestic items
:16:54. > :16:57.were of a baluster shape, like so. were of a baluster shape, like so.
:16:57. > :16:59.were of a baluster shape, like so. We didn't know what the ancients
:16:59. > :17:00.We didn't know what the ancients We didn't know what the ancients
:17:00. > :17:01.furnished their houses with. Until furnished their houses with. Until
:17:01. > :17:03.furnished their houses with. Until furnished their houses with. Until
:17:03. > :17:04.we started to excavate, we had no we started to excavate, we had no
:17:04. > :17:06.we started to excavate, we had no idea how they furnished their
:17:06. > :17:08.idea how they furnished their idea how they furnished their
:17:08. > :17:09.idea how they furnished their domestic items. So if we take that
:17:09. > :17:10.domestic items. So if we take that domestic items. So if we take that
:17:10. > :17:12.domestic items. So if we take that baluster shape, put a handle on it,
:17:12. > :17:15.baluster shape, put a handle on it, baluster shape, put a handle on it,
:17:15. > :17:15.baluster shape, put a handle on it, baluster shape, put a handle on it,
:17:16. > :17:17.a lid on it, you have a tankard. A a lid on it, you have a tankard. A
:17:17. > :17:19.a lid on it, you have a tankard. A a lid on it, you have a tankard. A
:17:19. > :17:23.spout on it, you have a pot. That spout on it, you have a pot. That
:17:24. > :17:26.spout on it, you have a pot. That spout on it, you have a pot. That
:17:26. > :17:28.was the basis on which we could ply was the basis on which we could ply
:17:28. > :17:30.was the basis on which we could ply all sorts of Rococo and exotic
:17:30. > :17:32.all sorts of Rococo and exotic all sorts of Rococo and exotic
:17:32. > :17:36.decoration in gother style. That decoration in gother style. That
:17:36. > :17:39.decoration in gother style. That was expensive to make. It applied
:17:39. > :17:40.was expensive to make. It applied was expensive to make. It applied
:17:40. > :17:40.itself also to furniture and in itself also to furniture and in
:17:40. > :17:42.itself also to furniture and in itself also to furniture and in
:17:42. > :17:43.silver, too. We put a back on it, silver, too. We put a back on it,
:17:43. > :17:44.silver, too. We put a back on it, silver, too. We put a back on it,
:17:44. > :17:48.like so. We put some seat rail on like so. We put some seat rail on
:17:48. > :17:50.like so. We put some seat rail on like so. We put some seat rail on
:17:50. > :17:52.it and some legs. You have an 18th it and some legs. You have an 18th
:17:52. > :17:55.it and some legs. You have an 18th Century chair until the 1760s. Now
:17:55. > :17:56.Century chair until the 1760s. Now Century chair until the 1760s. Now
:17:56. > :17:58.what happened was after the what happened was after the
:17:58. > :18:03.what happened was after the excavations, we changed, we cut not
:18:03. > :18:04.excavations, we changed, we cut not excavations, we changed, we cut not
:18:04. > :18:05.only material costs, but shape only material costs, but shape
:18:05. > :18:08.only material costs, but shape costs. The latest shape to come
:18:08. > :18:10.costs. The latest shape to come costs. The latest shape to come
:18:11. > :18:11.from our excavations was a simple from our excavations was a simple
:18:11. > :18:12.vase shape which permeated vase shape which permeated
:18:12. > :18:13.vase shape which permeated everything exactly the same way.
:18:13. > :18:15.everything exactly the same way. everything exactly the same way.
:18:15. > :18:15.everything exactly the same way. everything exactly the same way.
:18:15. > :18:16.You put a handle on it, a spout on You put a handle on it, a spout on
:18:16. > :18:17.You put a handle on it, a spout on You put a handle on it, a spout on
:18:17. > :18:20.it, another sort of spout on it, a it, another sort of spout on it, a
:18:20. > :18:20.it, another sort of spout on it, a it, another sort of spout on it, a
:18:21. > :18:25.lid on it, and you have post-1770, lid on it, and you have post-1770,
:18:25. > :18:28.lid on it, and you have post-1770, lid on it, and you have post-1770,
:18:28. > :18:29.that is it. There they are. There's that is it. There they are. There's
:18:29. > :18:31.wood, there's silver, pottery, wood, there's silver, pottery,
:18:31. > :18:41.wood, there's silver, pottery, glass. The basic shape is
:18:41. > :18:46.
:18:46. > :18:48.glass. The basic shape is Finally, from the exclusive
:18:48. > :18:48.Finally, from the exclusive Finally, from the exclusive
:18:48. > :18:48.Kimbolton Cabinet, to the humblest Kimbolton Cabinet, to the humblest
:18:48. > :18:49.Kimbolton Cabinet, to the humblest pot, everyone could share in the
:18:49. > :18:50.pot, everyone could share in the pot, everyone could share in the
:18:50. > :18:51.pot, everyone could share in the fashion of the day. In many ways,
:18:51. > :18:53.fashion of the day. In many ways, fashion of the day. In many ways,
:18:53. > :18:55.fashion of the day. In many ways, this was one of the first examples
:18:55. > :18:56.this was one of the first examples this was one of the first examples
:18:56. > :18:57.of popular culture. On a personal of popular culture. On a personal
:18:57. > :18:59.of popular culture. On a personal of popular culture. On a personal
:18:59. > :19:00.note, I think it's a time when we note, I think it's a time when we
:19:00. > :19:02.note, I think it's a time when we lost a lot of the individuality
:19:02. > :19:05.lost a lot of the individuality lost a lot of the individuality
:19:05. > :19:06.which was created in the first which was created in the first
:19:06. > :19:08.which was created in the first three-quarters of the 18th Century,
:19:08. > :19:09.three-quarters of the 18th Century, three-quarters of the 18th Century,
:19:09. > :19:10.when machinery took over, and it's when machinery took over, and it's
:19:10. > :19:11.when machinery took over, and it's very difficult thereafter to tell
:19:11. > :19:12.very difficult thereafter to tell very difficult thereafter to tell
:19:12. > :19:15.the quality of something simply by the quality of something simply by
:19:15. > :19:16.the quality of something simply by the quality of something simply by
:19:16. > :19:17.looking at it from a distance. And looking at it from a distance. And
:19:17. > :19:18.looking at it from a distance. And looking at it from a distance. And
:19:18. > :19:19.of course on the other hand, it's of course on the other hand, it's
:19:19. > :19:21.of course on the other hand, it's rather good because you need
:19:21. > :19:27.rather good because you need rather good because you need
:19:27. > :19:28.someone like me to help you. someone like me to help you.
:19:28. > :19:29.someone like me to help you. someone like me to help you.
:19:29. > :19:30.I love to visit this cabinet as I love to visit this cabinet as
:19:30. > :19:31.I love to visit this cabinet as I love to visit this cabinet as
:19:31. > :19:32.often as I'm in London. But not often as I'm in London. But not
:19:32. > :19:33.often as I'm in London. But not often as I'm in London. But not
:19:33. > :19:34.just because of what she can tell just because of what she can tell
:19:34. > :19:35.just because of what she can tell us about the distant past. It's
:19:35. > :19:37.us about the distant past. It's us about the distant past. It's
:19:37. > :19:40.us about the distant past. It's time I told you about my role in
:19:40. > :19:44.time I told you about my role in time I told you about my role in
:19:44. > :19:48.the story. The Cabinet remained in the story. The Cabinet remained in
:19:48. > :19:54.the story. The Cabinet remained in Kimbolton Castle for over 170 years
:19:54. > :19:55.Kimbolton Castle for over 170 years Kimbolton Castle for over 170 years
:19:55. > :19:57.Kimbolton Castle for over 170 years until 1949. Well, in common with so
:19:57. > :20:00.until 1949. Well, in common with so until 1949. Well, in common with so
:20:00. > :20:01.until 1949. Well, in common with so many of those great families in the
:20:01. > :20:02.many of those great families in the many of those great families in the
:20:02. > :20:03.18th Century, it became dissipated 18th Century, it became dissipated
:20:03. > :20:04.18th Century, it became dissipated 18th Century, it became dissipated
:20:04. > :20:07.over the years and by the 1940s over the years and by the 1940s
:20:07. > :20:08.over the years and by the 1940s over the years and by the 1940s
:20:08. > :20:10.this has happened to the Dukes of this has happened to the Dukes of
:20:10. > :20:12.this has happened to the Dukes of Manchester family. The tenth Duke
:20:12. > :20:12.Manchester family. The tenth Duke Manchester family. The tenth Duke
:20:12. > :20:13.Manchester family. The tenth Duke inherited in 1947, but by 1949, he
:20:14. > :20:14.inherited in 1947, but by 1949, he inherited in 1947, but by 1949, he
:20:14. > :20:16.inherited in 1947, but by 1949, he found there was no money left. So
:20:16. > :20:17.found there was no money left. So found there was no money left. So
:20:17. > :20:19.found there was no money left. So the house had to be sold, the
:20:19. > :20:20.the house had to be sold, the the house had to be sold, the
:20:20. > :20:22.the house had to be sold, the grounds and all the contents and a
:20:22. > :20:22.grounds and all the contents and a grounds and all the contents and a
:20:22. > :20:23.vast auction was held. My father vast auction was held. My father
:20:23. > :20:24.vast auction was held. My father vast auction was held. My father
:20:24. > :20:26.went along to view the sale and he went along to view the sale and he
:20:26. > :20:28.went along to view the sale and he went along to view the sale and he
:20:28. > :20:30.went along to view the sale and he took me with him and I was just ten.
:20:30. > :20:31.took me with him and I was just ten. took me with him and I was just ten.
:20:31. > :20:32.took me with him and I was just ten. I'm very fortunate, I had a most
:20:32. > :20:33.I'm very fortunate, I had a most marvellous relationship with my
:20:33. > :20:35.marvellous relationship with my marvellous relationship with my
:20:35. > :20:36.father. We were together for 40 father. We were together for 40
:20:36. > :20:38.father. We were together for 40 years as friends, partners and
:20:38. > :20:40.years as friends, partners and years as friends, partners and
:20:40. > :20:40.father and son. Mostly as friends father and son. Mostly as friends
:20:41. > :20:42.father and son. Mostly as friends father and son. Mostly as friends
:20:42. > :20:45.and partners. There he was, he was and partners. There he was, he was
:20:45. > :20:45.and partners. There he was, he was and partners. There he was, he was
:20:45. > :20:46.in the Signals for a while, then he in the Signals for a while, then he
:20:46. > :20:47.in the Signals for a while, then he in the Signals for a while, then he
:20:47. > :20:48.went up to the North Sea and there went up to the North Sea and there
:20:48. > :20:52.went up to the North Sea and there went up to the North Sea and there
:20:52. > :20:56.we are together, that is one of my we are together, that is one of my
:20:56. > :20:57.we are together, that is one of my favourite shots. My father was an
:20:57. > :20:58.favourite shots. My father was an favourite shots. My father was an
:20:58. > :20:59.antiques dealer before the war. In antiques dealer before the war. In
:20:59. > :21:01.antiques dealer before the war. In fact, we were well established by
:21:01. > :21:03.fact, we were well established by fact, we were well established by
:21:03. > :21:04.then because my grandfather had then because my grandfather had
:21:04. > :21:06.then because my grandfather had started in Tring High Street in
:21:07. > :21:08.started in Tring High Street in started in Tring High Street in
:21:08. > :21:10.started in Tring High Street in 1871. So my father took an academic
:21:10. > :21:12.1871. So my father took an academic 1871. So my father took an academic
:21:12. > :21:14.interest in English furniture. I interest in English furniture. I
:21:14. > :21:15.interest in English furniture. I interest in English furniture. I
:21:15. > :21:16.have a photograph. Here he is, he have a photograph. Here he is, he
:21:16. > :21:17.have a photograph. Here he is, he have a photograph. Here he is, he
:21:17. > :21:21.is pointing out the benefits or the is pointing out the benefits or the
:21:21. > :21:23.is pointing out the benefits or the is pointing out the benefits or the
:21:23. > :21:25.good or bad points of a Chippendale good or bad points of a Chippendale
:21:25. > :21:26.good or bad points of a Chippendale chair. He is talking to two
:21:26. > :21:26.chair. He is talking to two chair. He is talking to two
:21:26. > :21:27.colleagues who were quite attentive colleagues who were quite attentive
:21:27. > :21:28.colleagues who were quite attentive colleagues who were quite attentive
:21:28. > :21:29.and the point is that he had a and the point is that he had a
:21:30. > :21:31.and the point is that he had a and the point is that he had a
:21:31. > :21:31.following. He would view a sale and following. He would view a sale and
:21:31. > :21:33.following. He would view a sale and people would follow him around and
:21:33. > :21:36.people would follow him around and people would follow him around and
:21:36. > :21:39.people would follow him around and listen to his words of wisdom. This
:21:39. > :21:40.listen to his words of wisdom. This listen to his words of wisdom. This
:21:40. > :21:41.is rather funny. This curious group is rather funny. This curious group
:21:42. > :21:43.is rather funny. This curious group of people are several of my
:21:43. > :21:45.of people are several of my of people are several of my
:21:45. > :21:47.relatives. That is my grandfather. relatives. That is my grandfather.
:21:47. > :21:47.relatives. That is my grandfather. relatives. That is my grandfather.
:21:47. > :21:49.He was a dealer. That is Johnston He was a dealer. That is Johnston
:21:49. > :21:52.He was a dealer. That is Johnston Bly. There is another dealer there,
:21:52. > :21:54.Bly. There is another dealer there, Bly. There is another dealer there,
:21:54. > :21:55.Bly. There is another dealer there, he is called Bumper Bly. We were a
:21:55. > :21:56.he is called Bumper Bly. We were a he is called Bumper Bly. We were a
:21:56. > :21:58.he is called Bumper Bly. We were a bit of a mixture. We have been
:21:58. > :22:00.bit of a mixture. We have been bit of a mixture. We have been
:22:00. > :22:02.bit of a mixture. We have been around quite a long time. And here
:22:02. > :22:07.around quite a long time. And here around quite a long time. And here
:22:07. > :22:08.is the catalogue from the sale. is the catalogue from the sale.
:22:08. > :22:14.is the catalogue from the sale. Kimbolton Castle, Monday 18th July,
:22:14. > :22:18.Kimbolton Castle, Monday 18th July, Kimbolton Castle, Monday 18th July,
:22:18. > :22:20.1949, interesting - Knight, Frank 1949, interesting - Knight, Frank
:22:20. > :22:21.and Rutley. Christie's and and Rutley. Christie's and
:22:21. > :22:23.and Rutley. Christie's and Sotheby's were the top. Christie's
:22:23. > :22:23.Sotheby's were the top. Christie's Sotheby's were the top. Christie's
:22:23. > :22:25.Sotheby's were the top. Christie's had been down and taken to London
:22:25. > :22:26.had been down and taken to London had been down and taken to London
:22:26. > :22:28.the best things out of this the best things out of this
:22:28. > :22:31.the best things out of this collection and left the residue for
:22:31. > :22:33.collection and left the residue for collection and left the residue for
:22:33. > :22:39.collection and left the residue for Knight Frank to sale. Lot 314 says
:22:39. > :22:41.Knight Frank to sale. Lot 314 says Knight Frank to sale. Lot 314 says
:22:41. > :22:42.- antique Italian satinwood and - antique Italian satinwood and
:22:42. > :22:44.rosewood cabinet. Not only rosewood cabinet. Not only
:22:44. > :22:46.rosewood cabinet. Not only Christie's missed it, it had not
:22:46. > :22:47.Christie's missed it, it had not Christie's missed it, it had not
:22:47. > :22:49.been catalogued properly. It had been catalogued properly. It had
:22:49. > :22:50.been catalogued properly. It had been catalogued properly. It had
:22:50. > :22:51.some Italian panels in it. It was some Italian panels in it. It was
:22:51. > :22:52.some Italian panels in it. It was some Italian panels in it. It was
:22:52. > :22:53.English. My father and I went down English. My father and I went down
:22:53. > :22:54.English. My father and I went down English. My father and I went down
:22:54. > :22:55.into the gloom of the cellar, and into the gloom of the cellar, and
:22:55. > :22:56.into the gloom of the cellar, and there was this sparkling thing. Why
:22:56. > :22:57.there was this sparkling thing. Why there was this sparkling thing. Why
:22:57. > :23:00.there was this sparkling thing. Why was it down in the cellar? Why
:23:00. > :23:01.was it down in the cellar? Why was it down in the cellar? Why
:23:01. > :23:03.wasn't it upstairs? It wasn't. My wasn't it upstairs? It wasn't. My
:23:03. > :23:05.wasn't it upstairs? It wasn't. My father recognised it. He knew what
:23:05. > :23:05.father recognised it. He knew what father recognised it. He knew what
:23:05. > :23:07.it was. Something registered. And it was. Something registered. And
:23:07. > :23:09.it was. Something registered. And it was. Something registered. And
:23:09. > :23:10.it was. Something registered. And so when he got home he went to the
:23:10. > :23:14.so when he got home he went to the so when he got home he went to the
:23:14. > :23:16.dictionary of English furniture and dictionary of English furniture and
:23:16. > :23:17.under "cabinets" the Kimbolton under "cabinets" the Kimbolton
:23:17. > :23:18.under "cabinets" the Kimbolton Cabinet. Full-colour. There is not
:23:18. > :23:19.Cabinet. Full-colour. There is not Cabinet. Full-colour. There is not
:23:19. > :23:21.Cabinet. Full-colour. There is not another one in the world that looks
:23:21. > :23:23.another one in the world that looks another one in the world that looks
:23:23. > :23:24.like that. Furthermore, it says, like that. Furthermore, it says,
:23:24. > :23:25.like that. Furthermore, it says, "Plate six shows an English
:23:25. > :23:26."Plate six shows an English "Plate six shows an English
:23:26. > :23:28.adaptation of the Roman style adaptation of the Roman style
:23:28. > :23:29.adaptation of the Roman style designed by Robert Adam for the
:23:30. > :23:30.designed by Robert Adam for the designed by Robert Adam for the
:23:30. > :23:32.Duchess of Manchester." What could Duchess of Manchester." What could
:23:32. > :23:33.Duchess of Manchester." What could Duchess of Manchester." What could
:23:33. > :23:35.be plainer than that? There is the be plainer than that? There is the
:23:35. > :23:36.evidence. Christie's missed it. evidence. Christie's missed it.
:23:36. > :23:38.evidence. Christie's missed it. Knight Frank missed it, but my
:23:38. > :23:48.Knight Frank missed it, but my Knight Frank missed it, but my
:23:48. > :23:54.
:23:54. > :23:56.He borrowed �500 from the bank, He borrowed �500 from the bank,
:23:56. > :23:58.He borrowed �500 from the bank, He borrowed �500 from the bank,
:23:58. > :23:59.which was a huge amount of money. which was a huge amount of money.
:23:59. > :24:01.which was a huge amount of money. In Buckinghamshire, you could buy
:24:01. > :24:02.In Buckinghamshire, you could buy In Buckinghamshire, you could buy
:24:02. > :24:03.five thatched cottages for that. He five thatched cottages for that. He
:24:03. > :24:04.five thatched cottages for that. He five thatched cottages for that. He
:24:04. > :24:04.borrowed the money and he went to borrowed the money and he went to
:24:05. > :24:06.borrowed the money and he went to borrowed the money and he went to
:24:06. > :24:09.the sale and he was determined to the sale and he was determined to
:24:09. > :24:10.the sale and he was determined to the sale and he was determined to
:24:10. > :24:12.buy it and he bought it for �470. buy it and he bought it for �470.
:24:12. > :24:13.buy it and he bought it for �470. buy it and he bought it for �470.
:24:13. > :24:14.That's when I helped him load it up That's when I helped him load it up
:24:14. > :24:15.That's when I helped him load it up That's when I helped him load it up
:24:15. > :24:17.into the back of the lorry. There's into the back of the lorry. There's
:24:18. > :24:19.into the back of the lorry. There's into the back of the lorry. There's
:24:19. > :24:21.my father and the Cabinet, and my my father and the Cabinet, and my
:24:21. > :24:23.my father and the Cabinet, and my mother and the bank manager, and
:24:23. > :24:24.mother and the bank manager, and mother and the bank manager, and
:24:24. > :24:26.everybody's worried - except the everybody's worried - except the
:24:26. > :24:27.everybody's worried - except the Cabinet - because it's unsaleable.
:24:27. > :24:28.Cabinet - because it's unsaleable. Cabinet - because it's unsaleable.
:24:28. > :24:29.Cabinet - because it's unsaleable. He's right, he's bought one of the
:24:29. > :24:30.He's right, he's bought one of the He's right, he's bought one of the
:24:30. > :24:32.most important pieces of furniture most important pieces of furniture
:24:32. > :24:33.most important pieces of furniture he could possibly find and it's
:24:33. > :24:34.he could possibly find and it's he could possibly find and it's
:24:34. > :24:36.unsaleable. Now, the only place to unsaleable. Now, the only place to
:24:36. > :24:38.unsaleable. Now, the only place to unsaleable. Now, the only place to
:24:38. > :24:40.go with something like that is to a go with something like that is to a
:24:40. > :24:41.go with something like that is to a go with something like that is to a
:24:41. > :24:42.museum. So naturally he went to the museum. So naturally he went to the
:24:42. > :24:45.museum. So naturally he went to the Victoria & Albert Museum, only to
:24:45. > :24:47.Victoria & Albert Museum, only to Victoria & Albert Museum, only to
:24:47. > :24:48.find that they were the find that they were the
:24:48. > :24:51.find that they were the underbidders. Ah! He's bought it
:24:51. > :24:53.underbidders. Ah! He's bought it underbidders. Ah! He's bought it
:24:53. > :24:55.underbidders. Ah! He's bought it against on top of the V and! Now
:24:55. > :24:57.against on top of the V and! Now against on top of the V and! Now
:24:57. > :24:58.against on top of the V and! Now against on top of the V and! Now
:24:58. > :25:01.who is going to -- the V&A! Now who who is going to -- the V&A! Now who
:25:01. > :25:03.who is going to -- the V&A! Now who who is going to -- the V&A! Now who
:25:03. > :25:08.is he going to sell it to? He's is he going to sell it to? He's
:25:08. > :25:11.is he going to sell it to? He's stuck with it! Eventually, the VA
:25:11. > :25:12.stuck with it! Eventually, the VA stuck with it! Eventually, the VA
:25:12. > :25:15.stuck with it! Eventually, the VA and -- the V&A bought it. I'm
:25:15. > :25:17.and -- the V&A bought it. I'm and -- the V&A bought it. I'm
:25:17. > :25:20.privileged here to show you the privileged here to show you the
:25:20. > :25:22.original purchase order. Objects original purchase order. Objects
:25:22. > :25:23.original purchase order. Objects are bidded on approval, purchase
:25:23. > :25:25.are bidded on approval, purchase are bidded on approval, purchase
:25:25. > :25:27.are bidded on approval, purchase John Bly. They told him it was no
:25:27. > :25:32.John Bly. They told him it was no John Bly. They told him it was no
:25:32. > :25:37.John Bly. They told him it was no good asking a lot of money. But
:25:37. > :25:37.good asking a lot of money. But good asking a lot of money. But
:25:37. > :25:39.good asking a lot of money. But they paid him �685. That's a pretty
:25:39. > :25:42.they paid him �685. That's a pretty they paid him �685. That's a pretty
:25:42. > :25:43.good profit in those days. Just good profit in those days. Just
:25:43. > :25:46.good profit in those days. Just good profit in those days. Just
:25:46. > :25:48.over �200. Not bad for an empty over �200. Not bad for an empty
:25:48. > :25:49.over �200. Not bad for an empty over �200. Not bad for an empty
:25:49. > :25:50.cabinet. Well, I said it was empty, cabinet. Well, I said it was empty,
:25:51. > :25:53.cabinet. Well, I said it was empty, cabinet. Well, I said it was empty,
:25:53. > :25:54.but it wasn't empty. I have a but it wasn't empty. I have a
:25:54. > :25:55.but it wasn't empty. I have a but it wasn't empty. I have a
:25:55. > :25:56.secret. I'm ten years old and I secret. I'm ten years old and I
:25:56. > :25:57.secret. I'm ten years old and I secret. I'm ten years old and I
:25:57. > :25:59.found this inside it. And I took it found this inside it. And I took it
:25:59. > :26:00.found this inside it. And I took it found this inside it. And I took it
:26:00. > :26:01.and hid it away and after we had and hid it away and after we had
:26:01. > :26:03.and hid it away and after we had and hid it away and after we had
:26:03. > :26:05.sold the Cabinet I showed my father sold the Cabinet I showed my father
:26:05. > :26:06.sold the Cabinet I showed my father and said, "I have saved this."
:26:06. > :26:07.and said, "I have saved this." and said, "I have saved this."
:26:07. > :26:10.and said, "I have saved this." There was a nice smile between us.
:26:10. > :26:15.There was a nice smile between us. There was a nice smile between us.
:26:15. > :26:17.There was a nice smile between us. I kept that over my desk ever since.
:26:17. > :26:19.I kept that over my desk ever since. I kept that over my desk ever since.
:26:19. > :26:21.I kept that over my desk ever since. Now, 60 years later, I have been
:26:21. > :26:23.Now, 60 years later, I have been Now, 60 years later, I have been
:26:23. > :26:25.permitted a second peek inside permitted a second peek inside
:26:25. > :26:26.permitted a second peek inside under the strict supervision of
:26:26. > :26:27.under the strict supervision of under the strict supervision of
:26:27. > :26:28.under the strict supervision of Kate Hay. The last time I looked in
:26:28. > :26:30.Kate Hay. The last time I looked in Kate Hay. The last time I looked in
:26:30. > :26:34.Kate Hay. The last time I looked in it wasn't empty. This is where the
:26:34. > :26:36.it wasn't empty. This is where the it wasn't empty. This is where the
:26:36. > :26:37.carving was. Well, it's exactly the carving was. Well, it's exactly the
:26:37. > :26:38.carving was. Well, it's exactly the carving was. Well, it's exactly the
:26:38. > :26:39.same. It is empty, but it is same. It is empty, but it is
:26:39. > :26:41.same. It is empty, but it is phenomenal quality. I just remember
:26:41. > :26:45.phenomenal quality. I just remember phenomenal quality. I just remember
:26:45. > :26:46.at that age my father saying, at that age my father saying,
:26:46. > :26:48.at that age my father saying, "Inside of the piece of furniture
:26:48. > :26:49."Inside of the piece of furniture "Inside of the piece of furniture
:26:49. > :26:51."Inside of the piece of furniture is as important as the outside." It
:26:51. > :26:53.is as important as the outside." It is as important as the outside." It
:26:53. > :26:55.is wonderful. If you look inside, is wonderful. If you look inside,
:26:55. > :26:59.is wonderful. If you look inside, you can see the nuts-and-bolts.
:26:59. > :27:01.you can see the nuts-and-bolts. you can see the nuts-and-bolts.
:27:01. > :27:03.yes! I don't remember seeing those yes! I don't remember seeing those
:27:03. > :27:04.yes! I don't remember seeing those yes! I don't remember seeing those
:27:04. > :27:05.at all. Now, we know what the at all. Now, we know what the
:27:05. > :27:06.at all. Now, we know what the at all. Now, we know what the
:27:06. > :27:08.museum paid for it in 1949. I museum paid for it in 1949. I
:27:08. > :27:09.museum paid for it in 1949. I museum paid for it in 1949. I
:27:09. > :27:10.wonder what it is worth today. I wonder what it is worth today. I
:27:10. > :27:11.wonder what it is worth today. I wonder what it is worth today. I
:27:11. > :27:12.know you are not allowed to give know you are not allowed to give
:27:12. > :27:13.know you are not allowed to give valuations, but what do you think?
:27:13. > :27:14.valuations, but what do you think? valuations, but what do you think?
:27:14. > :27:16.The museum does not give valuations. The museum does not give valuations.
:27:16. > :27:17.The museum does not give valuations. The museum does not give valuations.
:27:17. > :27:17.To us, it is priceless. As part of To us, it is priceless. As part of
:27:17. > :27:19.To us, it is priceless. As part of the national collection, it will
:27:19. > :27:20.the national collection, it will the national collection, it will
:27:20. > :27:24.the national collection, it will never be sold. My father would be
:27:24. > :27:25.never be sold. My father would be never be sold. My father would be
:27:25. > :27:26.never be sold. My father would be very pleased. Gosh. It was such a
:27:26. > :27:26.very pleased. Gosh. It was such a very pleased. Gosh. It was such a
:27:27. > :27:28.very pleased. Gosh. It was such a long time ago. You better close the
:27:28. > :27:34.long time ago. You better close the long time ago. You better close the
:27:34. > :27:35.long time ago. You better close the door before I get tearful! So you
:27:35. > :27:37.door before I get tearful! So you door before I get tearful! So you
:27:37. > :27:39.could see what still remains an could see what still remains an
:27:40. > :27:42.could see what still remains an could see what still remains an
:27:42. > :27:44.empty cabinet is full to the brim, empty cabinet is full to the brim,
:27:44. > :27:45.empty cabinet is full to the brim, empty cabinet is full to the brim,
:27:45. > :27:49.providing a window on a world of providing a window on a world of
:27:49. > :27:50.industrialists and ordinary people. industrialists and ordinary people.
:27:50. > :27:53.industrialists and ordinary people. This exclusive piece of furniture,
:27:53. > :27:55.This exclusive piece of furniture, This exclusive piece of furniture,
:27:55. > :27:57.which once graced Her Grace's bed which once graced Her Grace's bed
:27:57. > :28:00.which once graced Her Grace's bed chamber, is in fact symbolising the
:28:00. > :28:02.chamber, is in fact symbolising the chamber, is in fact symbolising the
:28:02. > :28:03.chamber, is in fact symbolising the last-gasp of an era that has been
:28:03. > :28:04.last-gasp of an era that has been last-gasp of an era that has been
:28:04. > :28:05.replaced by mass production and the replaced by mass production and the
:28:06. > :28:07.replaced by mass production and the replaced by mass production and the
:28:08. > :28:09.style and tastes that we know today. style and tastes that we know today.
:28:09. > :28:10.style and tastes that we know today. style and tastes that we know today.