0:00:24 > 0:00:28DAVID DIMBLEBY: Few periods in our history capture the imagination
0:00:28 > 0:00:30like the age of the Tudors.
0:00:34 > 0:00:39It was a time of adventure and exploration,
0:00:39 > 0:00:42of valour and glory.
0:00:52 > 0:00:59This is Buckland Abbey in Devon, once the home of Sir Francis Drake,
0:00:59 > 0:01:04the great explorer and some would say pirate,
0:01:04 > 0:01:06who circumnavigated the globe,
0:01:06 > 0:01:09who defended England against the Spanish Armada
0:01:09 > 0:01:12and who was Queen Elizabeth's great warrior hero.
0:01:14 > 0:01:17And this...is Drake's drum,
0:01:17 > 0:01:20said to be one of those he carried on his voyages.
0:01:20 > 0:01:25It has his coat of arms on the front,
0:01:25 > 0:01:28the red dragon and a golden ship.
0:01:33 > 0:01:35And legend has it that as he lay dying,
0:01:35 > 0:01:38he pledged this drum to the nation,
0:01:38 > 0:01:41saying that if ever we were in peril,
0:01:41 > 0:01:46all we had to do was sound it and he would return to our rescue.
0:01:57 > 0:02:00Whether the legend is true or not,
0:02:00 > 0:02:02this is one of a number of objects
0:02:02 > 0:02:06that have made the Tudor age seem like a golden age,
0:02:06 > 0:02:09and the reputation has grown all the time.
0:02:09 > 0:02:12It was an image that was deliberately cultivated
0:02:12 > 0:02:15by an alliance of monarch and artist.
0:02:15 > 0:02:18Under the Tudors, what they were creating
0:02:18 > 0:02:21was an image of power and of glory.
0:02:21 > 0:02:26And not, as before, power and glory in heaven,
0:02:26 > 0:02:30but power and glory here and now on Earth.
0:03:16 > 0:03:19BIG BEN CHIMES
0:03:22 > 0:03:27In 1509, a young prince was crowned King of England
0:03:27 > 0:03:30here in the heart of London.
0:03:37 > 0:03:43Henry VIII was the second crowned king of a new royal dynasty,
0:03:43 > 0:03:45the Tudors.
0:03:53 > 0:03:56You have to forget the image we all have of Henry VIII
0:03:56 > 0:04:01as a fat, bloated tyrant and a wife killer, a spoilt king,
0:04:01 > 0:04:04and think instead of a handsome, debonair 17-year-old
0:04:04 > 0:04:08coming to the throne, an intelligent young man.
0:04:08 > 0:04:10That was the Henry who inherited.
0:04:10 > 0:04:12And he inherited from his father a full Treasury,
0:04:12 > 0:04:14which was to his advantage,
0:04:14 > 0:04:17because he was determined to show that his nation,
0:04:17 > 0:04:19which had for so long been a sideshow in Europe,
0:04:19 > 0:04:23was as rich and powerful as any of them.
0:04:33 > 0:04:36Henry realised that he could use art
0:04:36 > 0:04:40to make a bold statement about royal power,
0:04:40 > 0:04:43and he showed how it could be done
0:04:43 > 0:04:46in the first great work he commissioned here at Westminster.
0:05:15 > 0:05:18This is the tomb Henry built to commemorate his parents
0:05:18 > 0:05:20shortly after he came to the throne.
0:05:20 > 0:05:25Now, most tombs are designed to commemorate what's passed.
0:05:25 > 0:05:30This one was deliberately designed to point the way to the future.
0:05:38 > 0:05:43With this tomb, Henry heralded a new era of extravagance.
0:05:48 > 0:05:52The figures are sculpted in bronze and gold,
0:05:52 > 0:05:55resting on a base of Italian marble.
0:05:57 > 0:06:02All around the sides are cherubs and scenes from the Bible.
0:06:05 > 0:06:08It took four years to make,
0:06:08 > 0:06:11the most expensive tomb of the age
0:06:11 > 0:06:15and more sumptuous than any in Westminster Abbey.
0:06:23 > 0:06:26No-one in England could do work as fine as this.
0:06:26 > 0:06:30Henry had to commission an Italian sculptor, Pietro Torrigiano,
0:06:30 > 0:06:34to come here from Rome, a journey few were willing to undertake.
0:06:34 > 0:06:38Uncomfortable, long and you arrived in this damp climate.
0:06:38 > 0:06:40Even Torrigiano himself, when he'd done it,
0:06:40 > 0:06:45talked about his gallant feats among those beasts of Englishmen.
0:06:55 > 0:06:57Henry spent more money on palaces
0:06:57 > 0:07:01than any other monarch before or since.
0:07:07 > 0:07:11Hampton Court was originally the home of one of his chief advisers,
0:07:11 > 0:07:13Cardinal Wolsey.
0:07:13 > 0:07:18Henry thought it so magnificent, he took it for himself.
0:07:24 > 0:07:28Most of our older palaces were built as fortresses to protect the monarch,
0:07:28 > 0:07:30but with Henry it was different.
0:07:30 > 0:07:33He didn't fear any internal threat,
0:07:33 > 0:07:37and so Hampton Court was dedicated to luxurious pleasures
0:07:37 > 0:07:39and extravagant display.
0:07:43 > 0:07:46The palace exterior is rich in detail.
0:07:46 > 0:07:52A complex astronomical clock showing the signs of the Zodiac.
0:07:54 > 0:07:59Elaborate chimneys made of terracotta brick,
0:07:59 > 0:08:05and harking back to another heroic age, medallions of Roman emperors.
0:08:16 > 0:08:18Henry was very competitive,
0:08:18 > 0:08:22obsessed with how he'd compare with his rivals abroad.
0:08:22 > 0:08:24There's a wonderful story told about the Venetian ambassador
0:08:24 > 0:08:26of a meeting he had with the king.
0:08:26 > 0:08:31The king said, "Come, talk with me a while.
0:08:31 > 0:08:35"The King of France, is he as tall as I am?"
0:08:35 > 0:08:38I replied, there was little difference.
0:08:38 > 0:08:40"Is he as stout?"
0:08:40 > 0:08:42I said no.
0:08:42 > 0:08:45"What sort of legs has he?"
0:08:45 > 0:08:49I said, "Spare," at which point the king opened his doublet,
0:08:49 > 0:08:52put his hand on his thigh and said, "Look here,
0:08:52 > 0:08:54"and I've a good calf to my leg, too!"
0:09:01 > 0:09:06During the early years of his reign, England and France were at war.
0:09:09 > 0:09:15Then in 1520, Henry sailed to France at the head of a great fleet.
0:09:15 > 0:09:19This time he came not to fight
0:09:19 > 0:09:22but to make peace with his great rival.
0:09:27 > 0:09:30The peace was celebrated with a week-long celebration.
0:09:30 > 0:09:33It was the most glorious summit anybody's ever arranged.
0:09:33 > 0:09:37It was called the Field of Cloth of Gold.
0:09:41 > 0:09:45Henry came over from England to meet Francis I
0:09:45 > 0:09:48in splendour with 6,000 followers.
0:09:48 > 0:09:52And here in Hampton Court is the picture done for Henry
0:09:52 > 0:09:56to remind him of what that wonderful moment was like.
0:09:56 > 0:10:00Here's Henry on his horse, surrounded by all his courtiers.
0:10:03 > 0:10:07The marquees, the Field of Cloth of Gold shimmering there
0:10:07 > 0:10:10with Francis and Henry meeting under it.
0:10:12 > 0:10:16But they didn't just have a formal meeting and a chat.
0:10:16 > 0:10:21The whole series of events designed to make them almost blood brothers.
0:10:21 > 0:10:24For instance, they flirted with each other's wives.
0:10:24 > 0:10:27They agreed before the summit that they would both grow their beards
0:10:27 > 0:10:31as long as they could - they arrived with masculine, virile beards.
0:10:33 > 0:10:36They wrestled together, they jousted.
0:10:40 > 0:10:43And then in the centre, this magnificent palace which really...
0:10:43 > 0:10:46people had their eyes out on stalks when they saw it.
0:10:46 > 0:10:49They could not believe this place had been built.
0:10:49 > 0:10:51It had a brick foundation, but the whole thing
0:10:51 > 0:10:57was made of wood and canvas, like an astonishing stage set.
0:10:57 > 0:11:01And with real glass windows, which were particularly expensive
0:11:01 > 0:11:03and therefore particularly lavish.
0:11:03 > 0:11:06And of course, the whole thing was lavish beyond belief.
0:11:06 > 0:11:14Outside, this fountain which flowed not with water but with wine.
0:11:14 > 0:11:17And following an old English tradition, of course,
0:11:17 > 0:11:21we drank too much, and a scene here, vomiting in the street and brawling.
0:11:24 > 0:11:27There was one other little touch the English had.
0:11:27 > 0:11:31Before Mass was said, they flew through the sky
0:11:31 > 0:11:34a dragon firework 24 feet long, breathing fire,
0:11:34 > 0:11:37and there it is up at the top left-hand corner.
0:11:37 > 0:11:42They hadn't been warned about this. Some people thought it was a comet
0:11:42 > 0:11:43and disaster was going to follow,
0:11:43 > 0:11:48but it was just typical English exuberance. Let the fireworks fly!
0:12:12 > 0:12:18Henry's foreign policy depended on expanding his navy.
0:12:18 > 0:12:20The scale of his ambition can be seen
0:12:20 > 0:12:23in the Pepys Library in Cambridge.
0:12:32 > 0:12:34This is really thrilling.
0:12:34 > 0:12:37This is the most beautiful book.
0:12:37 > 0:12:41It's a quite extraordinary record
0:12:41 > 0:12:43of the Royal Navy
0:12:43 > 0:12:46as it was founded by Henry VIII.
0:12:46 > 0:12:50And this book was drawn up by the man in charge of guns
0:12:50 > 0:12:53and of ammunition, Anthony Anthony.
0:12:53 > 0:12:56And he listed every ship in the Royal Navy,
0:12:56 > 0:12:59from the very smallest at the back,
0:12:59 > 0:13:02these ones with oars as well as sails.
0:13:02 > 0:13:06And under each ship, the list of all the guns that were on board,
0:13:06 > 0:13:11the bows and arrows that were on board, the men who crewed the ship.
0:13:11 > 0:13:13And as you go forwards,
0:13:13 > 0:13:16the ships get bigger and bigger
0:13:16 > 0:13:22until you reach the large fighting ships that Henry built here.
0:13:22 > 0:13:25And finally, at the front here...
0:13:26 > 0:13:31..this magnificent painting, the Mary Rose.
0:13:31 > 0:13:36This was the first flagship of Henry's fleet.
0:13:38 > 0:13:41400 men.
0:13:41 > 0:13:4391 guns.
0:13:43 > 0:13:45Meticulously listed.
0:13:49 > 0:13:53And it was these ships that showed that England was determined
0:13:53 > 0:13:56to take mastery of the seas.
0:14:04 > 0:14:09The Mary Rose saw 35 years of active service.
0:14:09 > 0:14:12The peace with France hadn't lasted,
0:14:12 > 0:14:16and the Mary Rose was sunk in the Solent off the Isle of Wight,
0:14:16 > 0:14:19resisting a French invasion.
0:14:19 > 0:14:23Most of her 600 crew were drowned.
0:14:38 > 0:14:42Miraculously, in the 1960s, divers discovered the hulk of the Mary Rose
0:14:42 > 0:14:46lying on its side in the mud at the bottom of the Solent.
0:14:46 > 0:14:49They built a cradle and decided to lift it, and I remember...
0:14:49 > 0:14:51I think I had a flu or something,
0:14:51 > 0:14:54I watched television all day long, as nothing happened.
0:14:54 > 0:14:56It was like watching paint dry.
0:15:04 > 0:15:07All our divers are clear, so I think that's a fairly firm indication
0:15:07 > 0:15:09that lift-off is about to take place.
0:15:13 > 0:15:17'And then of course one's absolutely gripped, and it came up,'
0:15:17 > 0:15:22and I remember the first three timbers appearing above the water.
0:15:22 > 0:15:27- The timber is in superb condition. - Indeed it is, the oak particularly.
0:15:38 > 0:15:41'Until there was a terrible dramatic moment'
0:15:41 > 0:15:43when it slipped in the cradle.
0:15:43 > 0:15:45LOUD CRACKING
0:15:47 > 0:15:52And it looked for a moment as though the whole enterprise would be over.
0:15:52 > 0:15:55What's happened there? There was a tremendous cracking noise.
0:15:55 > 0:15:57Yes, as though something has given there.
0:16:03 > 0:16:06'Eventually, the ship was brought back to shore.
0:16:08 > 0:16:12'Work to preserve her has been going on ever since.'
0:16:28 > 0:16:31After years spent washing out the salt,
0:16:31 > 0:16:36wax is now being injected into the wood to stabilise it.
0:16:37 > 0:16:39It's a toxic environment,
0:16:39 > 0:16:45so everyone has to wear protective clothing to enter the chamber.
0:16:47 > 0:16:50It's a very...messy-looking job.
0:16:50 > 0:16:52What are you actually doing to it?
0:16:52 > 0:16:54This is the wax that we use to preserve the ship.
0:16:54 > 0:16:56So are you mixing it up with...?
0:16:56 > 0:16:59Yeah, I'm putting it onto the barge deck,
0:16:59 > 0:17:02where it mixes with water, then dissolves
0:17:02 > 0:17:04and goes through into the tank and round the system,
0:17:04 > 0:17:07through the filter and sprayed onto the ship.
0:17:07 > 0:17:09- So it becomes part of the atmosphere.- Exactly.
0:17:09 > 0:17:12And then the ship will be preserved.
0:17:15 > 0:17:18It's like a kind of ghost ship to work on.
0:17:18 > 0:17:21It can be quite sort of eerie some days.
0:17:21 > 0:17:22Just the history of the ship
0:17:22 > 0:17:25and so many people that actually lost their lives on there.
0:17:25 > 0:17:28And sometimes, you know, you look at that ship
0:17:28 > 0:17:32and remember exactly what happened in the Solent on that day.
0:17:48 > 0:17:5319,000 objects were found from the Mary Rose and are preserved.
0:17:53 > 0:17:56This is just a small part of the collection.
0:17:56 > 0:17:58Pots up there on the shelf...
0:18:00 > 0:18:02Cannons there.
0:18:02 > 0:18:05And in these drawers, I'll just have a look at one of them.
0:18:05 > 0:18:09This is probably... I just have to put gloves on to protect the stuff.
0:18:09 > 0:18:12This is probably the best collection
0:18:12 > 0:18:16of just ordinary, everyday objects from Tudor Britain.
0:18:16 > 0:18:20These are things that, you know, people on board a ship used,
0:18:20 > 0:18:22people would have used in their homes.
0:18:22 > 0:18:25I mean, look at this, for example, look.
0:18:25 > 0:18:27A lovely pair of shoes.
0:18:27 > 0:18:31Nice thick leather, the stitches are still intact.
0:18:31 > 0:18:35There's a slit rather curiously across the top of the left toe,
0:18:35 > 0:18:37as though the owner had a bunion or something
0:18:37 > 0:18:40and was trying to ease the pressure.
0:18:40 > 0:18:44And funny little manicure things. This is a nit comb on one side.
0:18:44 > 0:18:45Yeah, they had nits, too.
0:18:45 > 0:18:48A nit comb and an ordinary comb.
0:18:48 > 0:18:51You can imagine them all in the dark on that boat
0:18:51 > 0:18:54sort of doing each other's hair to get the nits out...
0:18:54 > 0:18:56Yeuch!
0:18:56 > 0:18:59There's a boatswain's whistle for attracting attention,
0:18:59 > 0:19:01because if you're in a ship,
0:19:01 > 0:19:05the gale's blowing, the canvas is flapping, the ropes are...
0:19:05 > 0:19:08You can't shout all time, so you have a whistle.
0:19:08 > 0:19:10WHISTLES THREE TONES
0:19:10 > 0:19:12You can hear it against the wind.
0:19:12 > 0:19:14WHISTLES
0:19:19 > 0:19:23And this, I think, is probably the most gruesome of all the exhibits.
0:19:23 > 0:19:28This is a urethral syringe. Block your ears if you...are squeamish.
0:19:28 > 0:19:31This was used for sailors who'd gone ashore
0:19:31 > 0:19:33and picked up sexual diseases.
0:19:33 > 0:19:39And this long tube here was inserted into the male member,
0:19:39 > 0:19:43and mercury plunged down inside them.
0:19:43 > 0:19:47Well, certainly if you had too much of it, the mercury would kill you.
0:19:47 > 0:19:52I suspect the thought of having... ouch...that inside you would...
0:19:52 > 0:19:54deter you in the first place.
0:19:54 > 0:19:56Probably stay on board.
0:20:09 > 0:20:17By the 1530s, Henry VIII had proved England's mastery in war and at sea.
0:20:17 > 0:20:22But now he risked it all for even greater power.
0:20:26 > 0:20:31For almost 1,000 years, the Church, ruled from Rome,
0:20:31 > 0:20:34had rivalled the English crown in money and influence.
0:20:38 > 0:20:43Now Henry wanted a divorce from his wife, but the Pope said no.
0:20:48 > 0:20:53Henry denounced the Catholic Church and the Pope himself.
0:20:53 > 0:20:55In the years that followed,
0:20:55 > 0:20:59all art which reflected the Catholic Church would be destroyed.
0:21:04 > 0:21:08Catholic monasteries and abbeys were plundered for their treasure
0:21:08 > 0:21:11and left in ruins.
0:21:14 > 0:21:18This picture, commissioned by Henry and hung in his palace,
0:21:18 > 0:21:22shows Christ's disciples stoning the Pope,
0:21:22 > 0:21:25who tries in vain to protect his wealth.
0:21:37 > 0:21:41Henry was now free to create a Church of England
0:21:41 > 0:21:44in which he would have the last word.
0:21:54 > 0:21:57If you'd come to the church of Tivetshall St Margaret's
0:21:57 > 0:21:59500 years ago,
0:21:59 > 0:22:03like thousands of English churches, it would have been full of colour.
0:22:03 > 0:22:07Paintings on the walls, probably statues,
0:22:07 > 0:22:11the whiff of incense, the services in Latin.
0:22:11 > 0:22:15It was the closest, for country people, that they came
0:22:15 > 0:22:19to art and artistic expression of their religion.
0:22:19 > 0:22:22What a devastating effect Henry had.
0:22:22 > 0:22:25His legacy was that all the paintings were taken away,
0:22:25 > 0:22:27the statues were removed
0:22:27 > 0:22:33and the walls instead were just simply painted in whitewash.
0:22:33 > 0:22:38The worshippers, instead of facing the image of Christ on the cross
0:22:38 > 0:22:43or the Day of Judgement, faced the image of monarchy.
0:22:53 > 0:22:56This royal coat-of-arms,
0:22:56 > 0:22:59painted during the reign of Henry's daughter Elizabeth,
0:22:59 > 0:23:03celebrates the power and authority
0:23:03 > 0:23:06of the Tudor dynasty over the Church.
0:23:19 > 0:23:22Henry might have established his own Church,
0:23:22 > 0:23:25but he still had to win over his people.
0:23:47 > 0:23:51To break the spell of the Catholic Church,
0:23:51 > 0:23:54Henry turned to the new magic of printing.
0:23:54 > 0:23:59He printed for the first time the complete Bible in English.
0:23:59 > 0:24:01I used to be in the printing business,
0:24:01 > 0:24:04and this still gives me a real thrill.
0:24:04 > 0:24:08This is...how it was done in the old days,
0:24:08 > 0:24:12but the principle's still the same. Ah!
0:24:17 > 0:24:21The smell of the ink and the first sight of the printed page,
0:24:21 > 0:24:23beautifully printed.
0:24:23 > 0:24:27Two printers working this machine produced a page every 15 seconds,
0:24:27 > 0:24:31which I find hard to believe, it must have been tough going.
0:24:31 > 0:24:36But in no time he had 8,000 copies of the Bible in English printed,
0:24:36 > 0:24:41one for every parish in his kingdom. I mean, it's difficult to grasp.
0:24:41 > 0:24:42It seems commonplace to us,
0:24:42 > 0:24:46but this revolutionary breakthrough in knowledge,
0:24:46 > 0:24:49in letting people see religion for themselves
0:24:49 > 0:24:55and, above all, the king being in a position to control what they saw.
0:25:06 > 0:25:09It was an astonishing achievement.
0:25:09 > 0:25:12For the first time, every parish in the land
0:25:12 > 0:25:16had a complete version of the Bible in a language they could understand.
0:25:16 > 0:25:21This is the Great Bible, as it's called, Henry's Bible.
0:25:21 > 0:25:25And the title page at the very heart of it has Henry,
0:25:25 > 0:25:30sitting there in majesty, handing his Bible to the bishops.
0:25:30 > 0:25:34They in turn hand it down to the priests,
0:25:34 > 0:25:39and the priests hand it down to the people here at the bottom,
0:25:39 > 0:25:40who are all shouting out,
0:25:40 > 0:25:44"Vivat rex! Long live the King!"
0:25:44 > 0:25:46And where's God in all this?
0:25:50 > 0:25:53There He is at the very, very top.
0:25:53 > 0:25:57Crammed in just under the border
0:25:57 > 0:25:59is God.
0:25:59 > 0:26:02Mmm. This is Henry's Bible.
0:26:15 > 0:26:20Henry's rejection of the Catholic Church changed British art.
0:26:20 > 0:26:24It was now free to focus not on God and the heavens,
0:26:24 > 0:26:27but the material world and its people.
0:26:30 > 0:26:34One person who found this particularly appealing
0:26:34 > 0:26:39was one of the great painters of the age, a German, Hans Holbein.
0:26:39 > 0:26:42He came here because this was a place
0:26:42 > 0:26:47where he would be appreciated not for painting religious paintings
0:26:47 > 0:26:53but in demand for what he really liked, which was painting power.
0:26:59 > 0:27:02In a series of striking portraits,
0:27:02 > 0:27:07Holbein captured the likeness of the great power-brokers of the court.
0:27:07 > 0:27:10Among them, Henry's chief ministers...
0:27:14 > 0:27:17..and his wives.
0:27:22 > 0:27:25This is one of Holbein's finest paintings.
0:27:25 > 0:27:29It shows French ambassadors at the court of Henry VIII.
0:27:29 > 0:27:33And it was commissioned by this ambassador here, a young man of 29,
0:27:33 > 0:27:36even though he looks as though he's in his 40s,
0:27:36 > 0:27:38and his fellow ambassador, who's 27.
0:27:38 > 0:27:43And they chose Holbein because Holbein would paint them like this,
0:27:43 > 0:27:48and this is a perfect example of the change in painting.
0:27:48 > 0:27:52Instead of religious painting, rather severe, symbolic,
0:27:52 > 0:27:58here we have a painter relishing all the practical, material details.
0:27:58 > 0:28:01The painting of the clothes, for instance.
0:28:01 > 0:28:03Beautifully, obsessively painted.
0:28:03 > 0:28:08That fur looks so light on the coat.
0:28:09 > 0:28:13This sumptuous gown which you can almost feel.
0:28:15 > 0:28:19And the details in the middle are designed to say,
0:28:19 > 0:28:24"This is the new world, this is the world of intellectual ferment,
0:28:24 > 0:28:28"this is the world of science, of discovery, of change.
0:28:28 > 0:28:32"This isn't the world where we're obsessed with a narrow religion."
0:28:35 > 0:28:40Religion itself is consigned to one tiny object
0:28:40 > 0:28:42right up in the top left-hand corner,
0:28:42 > 0:28:47a crucifix half obscured by the curtain.
0:28:47 > 0:28:53As though all of this poses a slight possible danger to religious belief.
0:28:53 > 0:28:57Now, the oddest of all the things in the picture, though,
0:28:57 > 0:29:00is a little device that makes absolutely no sense
0:29:00 > 0:29:02when you stand in front of the picture, here,
0:29:02 > 0:29:04and it's there at the bottom.
0:29:04 > 0:29:07A kind of white/grey streak.
0:29:07 > 0:29:11But absolutely makes sense, and it's a sort of joke,
0:29:11 > 0:29:13when you come round here.
0:29:13 > 0:29:15You have to stand
0:29:15 > 0:29:20right here at the far corner and look down,
0:29:20 > 0:29:26and that strange streak turns into a human skull.
0:29:26 > 0:29:28Death.
0:29:28 > 0:29:33Despite all this grandeur, death awaits us all.
0:29:47 > 0:29:52Holbein's vigorous, worldly style won the attention of the king,
0:29:52 > 0:29:56who recognised a man after his own heart.
0:29:56 > 0:30:02In 1536, Henry asked Holbein to create an image of royal power
0:30:02 > 0:30:05that could be copied and sent throughout the country
0:30:05 > 0:30:07for all his subjects to see.
0:30:49 > 0:30:51Trinity College in Cambridge was founded by Henry,
0:30:51 > 0:30:53so it's not surprising that
0:30:53 > 0:30:57pride of place in the hall is a copy of the Holbein portrait of him.
0:30:57 > 0:31:01He looks like a Tudor nightclub bouncer standing in that pose,
0:31:01 > 0:31:05so the first message of it is, "I'm here, I'm in charge,
0:31:05 > 0:31:09"don't you dare disagree with me."
0:31:09 > 0:31:13But then there are other ways of putting across this idea
0:31:13 > 0:31:15of the power of the king.
0:31:15 > 0:31:17The clothes themselves -
0:31:17 > 0:31:21the furs, the silk, the brocade.
0:31:21 > 0:31:24Silk was actually confined to the aristocracy.
0:31:24 > 0:31:28The lower orders weren't actually allowed, by law, to wear silk.
0:31:29 > 0:31:31And then there's the painting of the legs.
0:31:31 > 0:31:35Henry, proud of his legs, shows off his calves to great effect.
0:31:35 > 0:31:39And finally, of course, the face. If you look closely at the face...
0:31:41 > 0:31:44..very severe, rather frightening.
0:31:54 > 0:31:56- Are you here at Trinity?- Yeah.
0:31:56 > 0:31:58Are you? How long have you been here?
0:31:58 > 0:32:00- Two years.- Are you at Trinity, too?
0:32:00 > 0:32:02- Yeah.- So what do you think
0:32:02 > 0:32:04of the portrait of the king?
0:32:04 > 0:32:06It's obviously an extremely impressive picture.
0:32:06 > 0:32:09When I enter the hall, it's the first thing that strikes me.
0:32:09 > 0:32:12Sitting under that portrait might put you off your food.
0:32:12 > 0:32:16Yeah, some might say. But I don't know, I think it's a good image,
0:32:16 > 0:32:19a good memoir of representing where Trinity's come from and its history.
0:32:19 > 0:32:22Obviously Henry VIII was very brash and brazen.
0:32:22 > 0:32:25What do you think about the codpiece on him?
0:32:25 > 0:32:27Um...yeah, it's...
0:32:27 > 0:32:30- It's a bit ridiculous, isn't it? - I'd agree. I think so.
0:32:30 > 0:32:33I think it's quite a chauvinistic sign,
0:32:33 > 0:32:36which would be in tune with the fact that he had six wives.
0:32:36 > 0:32:38With the broad shoulders,
0:32:38 > 0:32:41it goes very well with a dagger he's wearing.
0:32:41 > 0:32:43It's all very strong and virile.
0:32:43 > 0:32:47He's not someone you'd like to meet in a dark alley at night, is he?
0:32:47 > 0:32:49Definitely not, not someone that size.
0:32:49 > 0:32:51LAUGHTER
0:33:03 > 0:33:10Holbein's genius decided Henry's image for the rest of his reign.
0:33:10 > 0:33:15The unassailable power of the crown was fixed in people's minds,
0:33:15 > 0:33:19even as Henry himself fell into decline.
0:33:38 > 0:33:43This is one of Henry's last suits of armour, a magnificent piece.
0:33:43 > 0:33:50Burnished steel etched with gold, the exaggerated codpiece there,
0:33:50 > 0:33:53rather like the Holbein suggesting power and majesty.
0:33:53 > 0:33:57Designed for hand-to-hand fighting with a poleaxe...
0:33:58 > 0:34:01..that sort of thing. But I rather doubt
0:34:01 > 0:34:04that the man wearing this would have been capable of that,
0:34:04 > 0:34:06because by the time this suit of armour was made
0:34:06 > 0:34:10he'd already become very, very fat,
0:34:10 > 0:34:13huge round the waist, vast bottom,
0:34:13 > 0:34:18and he was weak, too. He couldn't actually carry this suit of armour
0:34:18 > 0:34:23without having a special corset fitted inside from which it hung.
0:34:23 > 0:34:26And the leg had to be padded out
0:34:26 > 0:34:30because he had a terrible ulcerating wound in his leg.
0:34:30 > 0:34:36So what you have here is an outer shell of a man
0:34:36 > 0:34:38who'd once been a handsome young prince,
0:34:38 > 0:34:43and now was crumbling, decaying.
0:34:43 > 0:34:48A man who was a shadow of his former self.
0:34:57 > 0:35:03Henry died in 1547 at the age of 55.
0:35:18 > 0:35:21It was 11 years before a ruler came to the throne
0:35:21 > 0:35:24who could build on Henry's vision.
0:35:34 > 0:35:40Henry's daughter Elizabeth had spent her childhood here at Hatfield.
0:35:40 > 0:35:44Like her father she was obsessed with the image of royal power,
0:35:44 > 0:35:47but her way of projecting it was very different.
0:36:07 > 0:36:09Henry ruled by brute force.
0:36:09 > 0:36:13Elizabeth was far more subtle.
0:36:13 > 0:36:16She had a very intelligent, clever way
0:36:16 > 0:36:19of dealing with the problem all rulers face,
0:36:19 > 0:36:23how to project an image that will be accepted by their people,
0:36:23 > 0:36:27how to tell a story about themselves that can be understood.
0:36:27 > 0:36:32And Elizabeth did it by presenting herself as the Virgin Queen,
0:36:32 > 0:36:34that wonderful image,
0:36:34 > 0:36:37probably the most powerful image of any British monarch ever.
0:36:37 > 0:36:40And here she is, the Virgin Queen,
0:36:40 > 0:36:44in a famous portrait which is called the Rainbow Portrait.
0:36:44 > 0:36:48At first glance, you just see the Queen in all her magnificence,
0:36:48 > 0:36:51encrusted with jewels,
0:36:51 > 0:36:57her face made up white with scarlet lips and the fine eyebrows.
0:36:57 > 0:37:00But when you look closer, like all Elizabethan things
0:37:00 > 0:37:04there's a kind of riddle to it, a sort of story behind the story.
0:37:04 > 0:37:05For instance, the rainbow.
0:37:05 > 0:37:10She's holding the rainbow, which is a symbol of peace, in her right hand.
0:37:10 > 0:37:13And the words above, the only words on the portrait,
0:37:13 > 0:37:17"Non sine sole iris,"
0:37:17 > 0:37:20no rainbow without the sun.
0:37:20 > 0:37:23And the sun, of course, is Elizabeth herself.
0:37:23 > 0:37:27So no peace without Elizabeth, message number one.
0:37:27 > 0:37:31Then pearls everywhere, which symbolise purity.
0:37:31 > 0:37:34Earrings, round her neck.
0:37:34 > 0:37:37And then it gets even more subtle here.
0:37:37 > 0:37:41On her sleeve, this wonderfully encrusted serpent
0:37:41 > 0:37:47or snake with an orb above and a little heart-shaped ruby below.
0:37:47 > 0:37:50The serpent represents wisdom.
0:37:50 > 0:37:56It could be her emotions, her heart being controlled by wisdom.
0:37:58 > 0:38:00But the most extraordinary bit of this portrait
0:38:00 > 0:38:04is something you don't really notice until you look quite closely,
0:38:04 > 0:38:09which is that this golden robe has on it painted ears and eyes.
0:38:13 > 0:38:17This is rather less subtle, I think, but what it's saying is
0:38:17 > 0:38:21that as Queen, I have eyes and ears everywhere.
0:38:21 > 0:38:24In other words, my servants, the people who are loyal to me,
0:38:24 > 0:38:30are watching and listening, and nothing you do will not be noticed.
0:38:30 > 0:38:31Watch out,
0:38:31 > 0:38:34this is a woman with real power.
0:38:45 > 0:38:49What Elizabeth knew was that you could exert power
0:38:49 > 0:38:53as effectively through seduction as through fear.
0:38:55 > 0:39:00Under her patronage, the brilliant Nicholas Hilliard,
0:39:00 > 0:39:01a young man from Devon,
0:39:01 > 0:39:05became the greatest painter of one of the most delicate art forms,
0:39:05 > 0:39:08the miniature.
0:39:08 > 0:39:12These paintings weren't for public display.
0:39:12 > 0:39:18They were intimate pictures to be treasured in private.
0:39:18 > 0:39:20And this is the man who did it all.
0:39:20 > 0:39:25This is Hilliard himself, a self portrait.
0:39:25 > 0:39:28It's tiny, but when you look closely
0:39:28 > 0:39:35you can see in his eyes a lively, mischievous view of the world.
0:39:36 > 0:39:40He himself said that he wanted to capture in his painting
0:39:40 > 0:39:43these lovely graces, these witty smilings,
0:39:43 > 0:39:47these stolen glances which, like lightning, pass.
0:39:51 > 0:39:53Now this...
0:39:53 > 0:39:56It's just thrilling even to hold this in your hand.
0:39:56 > 0:40:01This is probably the most powerful image of the Elizabethan era.
0:40:01 > 0:40:05This is Hilliard's famous painting of Young Man Among Roses.
0:40:05 > 0:40:09And he has his hand on his heart,
0:40:09 > 0:40:15looking with almost cow-eyed devotion, out towards the Queen.
0:40:15 > 0:40:22What a wonderful explanation almost, of the nature of romantic love.
0:40:25 > 0:40:29And this is the famous Drake Jewel.
0:40:29 > 0:40:33I hardly dare hold this in my hand.
0:40:33 > 0:40:36It's priceless.
0:40:36 > 0:40:42Given to the explorer, Francis Drake, by Queen Elizabeth herself.
0:40:42 > 0:40:46A cameo on the front, said to suggest her love and fascination
0:40:46 > 0:40:49with exploration of foreign lands.
0:40:49 > 0:40:52An African man and a European woman behind.
0:40:52 > 0:40:54Rubies and diamonds all around.
0:40:54 > 0:40:56Absolutely exquisite.
0:40:56 > 0:40:59But the great treasure of this is when you turn it over...
0:41:01 > 0:41:03You open it up.
0:41:05 > 0:41:10Inside is this miniature of Queen Elizabeth herself.
0:41:11 > 0:41:15For Drake's eyes only, with a little phoenix below.
0:41:18 > 0:41:22Perfect portrait.
0:41:22 > 0:41:25Almost secret, in the back of the locket.
0:41:44 > 0:41:48There's no margin for mistake.
0:41:48 > 0:41:50If you have a wrong stroke,
0:41:50 > 0:41:56if you make one little point in the wrong place, everyone's aware of it.
0:41:56 > 0:42:00You can't really go wrong anywhere and you can't correct a mistake.
0:42:00 > 0:42:01How long would it take for a portrait?
0:42:01 > 0:42:06Oh gosh, it depends on whether it's a good day or a bad day, really.
0:42:06 > 0:42:08LAUGHING
0:42:08 > 0:42:13It would be up to 12 very, very, intense hours.
0:42:13 > 0:42:16Hilliard wouldn't have painted somebody like me, would he?
0:42:16 > 0:42:21- He didn't paint... He painted beautiful youths, and...- Well...
0:42:21 > 0:42:24- ..and princesses and... - Queen Elizabeth.
0:42:24 > 0:42:26But she was made to look like a young girl.
0:42:26 > 0:42:29When she was 60 she was being painted as though she was 20.
0:42:29 > 0:42:32Yes, of course. That was part of her image, wasn't it?
0:42:32 > 0:42:33- The Virgin Queen.- Yes.
0:42:33 > 0:42:36But did he do portraits of real people
0:42:36 > 0:42:38or was it always the court that he painted?
0:42:38 > 0:42:41Erm, generally he tended to be quite courtly.
0:42:41 > 0:42:43What did he paint on?
0:42:43 > 0:42:45He painted on parchment.
0:42:45 > 0:42:47- Is this parchment? - It is, yes.
0:42:47 > 0:42:50- What's it made from? - That would be made from sheep.
0:42:50 > 0:42:55Very fine and smooth with very few coarse hairs.
0:42:55 > 0:42:57- It's a lovely surface. - It's beautiful to work on.
0:42:57 > 0:42:59Smooth one side, rougher on the other.
0:42:59 > 0:43:02- Presumably you paint on the smooth side?- Yes, that's right.
0:43:02 > 0:43:03Very good.
0:43:11 > 0:43:14Could you turn very slightly... Yes.
0:43:14 > 0:43:15- Like that?- Yes, that's good.
0:43:15 > 0:43:19So, how's it doing? Is it done?
0:43:19 > 0:43:22I'm just putting the final sheen...
0:43:22 > 0:43:25- Then can I have a look? - And I would say it's done.
0:43:25 > 0:43:28HE HUMS PENSIVELY
0:43:28 > 0:43:31At this point you can sack the painter.
0:43:31 > 0:43:32Oh my goodness!
0:43:35 > 0:43:37Very young, I'd say.
0:43:37 > 0:43:39- Do you think so?- Hmm.
0:43:39 > 0:43:43- Oh, I thought I'd got a sense of, um...- Old age?
0:43:43 > 0:43:46- No, a sense of experience and life. - Wisdom?
0:43:46 > 0:43:49- And wisdom, yes, yes. - I think wisdom.
0:43:49 > 0:43:54And now you've got the eyes with a great, like, shining light.
0:43:54 > 0:43:57- What's that done with? - That was your piercing look.
0:43:57 > 0:43:59- That's great!- That little point.
0:43:59 > 0:44:00- I go for the piercing look.- Good.
0:44:00 > 0:44:02I tell you what, I've got a slightly...
0:44:02 > 0:44:04My father used to have this too,
0:44:04 > 0:44:09as though there's a slightly bad smell under his nose.
0:44:09 > 0:44:12You know, a sort of sniffing. SHE LAUGHS
0:44:31 > 0:44:35The devotion Elizabeth inspired led her courtiers
0:44:35 > 0:44:41on intrepid journeys of exploration to the four corners of the Earth.
0:44:51 > 0:44:53Look, there's a seal over there.
0:44:53 > 0:44:55SEAL BARKING
0:45:06 > 0:45:10I've been messing about on boats on the River Dart for years
0:45:10 > 0:45:12and I love it because it's very beautiful
0:45:12 > 0:45:15but it's also powerfully romantic.
0:45:15 > 0:45:19Because from this river, in the 16th century,
0:45:19 > 0:45:22a new breed of Englishmen seemed to emerge.
0:45:22 > 0:45:25Fearless sailors who crossed great oceans
0:45:25 > 0:45:28and particularly went to America.
0:45:32 > 0:45:36The New World offered excitement and glory
0:45:36 > 0:45:39to those brave enough to cross the open seas.
0:45:40 > 0:45:45One who confronted its perils was an artist called John White.
0:45:45 > 0:45:48He sailed on the expeditions of Sir Walter Raleigh,
0:45:48 > 0:45:51to the territory of Virginia.
0:45:51 > 0:45:55Named after Elizabeth, the Virgin Queen.
0:45:56 > 0:45:59White's job was to paint the things they found.
0:46:00 > 0:46:03The extraordinary and exotic animals.
0:46:10 > 0:46:15Best of all, White captured the world of the Native Americans.
0:46:17 > 0:46:21With these pictures, Elizabeth could see at first hand
0:46:21 > 0:46:25the territories and the peoples she'd conquered.
0:46:34 > 0:46:37The most daring voyage of the age
0:46:37 > 0:46:41was Francis Drake's circumnavigation of the Earth.
0:46:41 > 0:46:48He set off in 1577 and returned, triumphant, almost four years later.
0:47:01 > 0:47:06The map maker, Emery Molyneux, sailed in one of Drake's ships
0:47:06 > 0:47:12and when he came back, he made these two wonderful globes.
0:47:17 > 0:47:20The construction of them alone is quite extraordinary.
0:47:20 > 0:47:24There's a wooden pole through the centre,
0:47:24 > 0:47:26which holds the thing in shape, roughly,
0:47:26 > 0:47:30but the globe itself is made of layer upon layer of paper
0:47:30 > 0:47:34and then a thin layer of plaster put on the top,
0:47:34 > 0:47:37and then the map itself printed in sort of slices,
0:47:37 > 0:47:41like the slices of an orange, and stretched over it.
0:47:41 > 0:47:44And this is the result.
0:47:44 > 0:47:48These two magnificent globes. One of the heavens, one of the Earth.
0:47:48 > 0:47:54The heavens, showing all the constellations, with their names,
0:47:54 > 0:47:57the Great Bear, the Little Bear, all of that.
0:47:57 > 0:48:00And interestingly, because for the first time
0:48:00 > 0:48:02Drake had circumnavigated the globe,
0:48:02 > 0:48:05there's the consolation called the Southern Cross.
0:48:05 > 0:48:07Right down here at the bottom,
0:48:07 > 0:48:10with its five stars in the shape of a cross
0:48:10 > 0:48:12that you can only see in the southern oceans.
0:48:12 > 0:48:17But what's really perhaps even more fascinating is this one of the Earth,
0:48:17 > 0:48:18as they knew it at the time.
0:48:18 > 0:48:22The excitement of doing this must have been quite extraordinary,
0:48:22 > 0:48:26because you see here new bits of the world appearing on this map,
0:48:26 > 0:48:28and still other bits completely untouched.
0:48:28 > 0:48:34There's no Australia, for instance. But beautifully, accurately, marked.
0:48:34 > 0:48:36I barely dare touch it.
0:48:42 > 0:48:46It traces Drake's journey from England,
0:48:46 > 0:48:49out across the North Atlantic,
0:48:49 > 0:48:51down into the South Atlantic,
0:48:51 > 0:48:54there's the route of course over to Virginia and to the Americas...
0:48:54 > 0:48:58round, down into the South Atlantic
0:48:58 > 0:49:01and, if I can find it right down here,
0:49:01 > 0:49:06Cape Horn, at the very bottom of South America.
0:49:07 > 0:49:10And the line showing where Drake sailed
0:49:10 > 0:49:13along the western seaboard of the Americas.
0:49:13 > 0:49:16But the other interesting thing about this is that
0:49:16 > 0:49:21these two globes were presented to Queen Elizabeth by Molyneux
0:49:21 > 0:49:23and before they were presented,
0:49:23 > 0:49:27here, bang in the middle of America, is the royal coat of arms
0:49:27 > 0:49:30and a great inscription stamped on America,
0:49:30 > 0:49:32as though saying to Queen Elizabeth,
0:49:32 > 0:49:36"All this territory is yours if you want it.
0:49:36 > 0:49:38"The New World is there for the taking."
0:49:53 > 0:49:57The riches brought home by fearless explorers in the 16th century
0:49:57 > 0:50:03were beyond the wildest dreams even of Elizabeth's court.
0:50:13 > 0:50:16In 1912, some workmen were demolishing a building
0:50:16 > 0:50:18in Cheapside in the City of London.
0:50:18 > 0:50:22They unearthed an old box. They opened it.
0:50:22 > 0:50:26And what they discovered was absolutely astonishing.
0:50:26 > 0:50:29This treasure trove.
0:50:29 > 0:50:32The Cheapside Hoard.
0:50:34 > 0:50:38It's the largest collection of jewellery of this period
0:50:38 > 0:50:40anywhere in the world
0:50:40 > 0:50:42and it is absolutely astonishing.
0:50:42 > 0:50:45It's worth millions and millions of pounds.
0:50:48 > 0:50:51You need to look closely to see what there is.
0:50:51 > 0:50:57This crystal cup with a lovely engraved silver-gilt handle
0:50:57 > 0:50:59and top and bottom to it.
0:50:59 > 0:51:02These pieces of agate.
0:51:02 > 0:51:06At the centre here, absolutely astonishing piece of work.
0:51:06 > 0:51:08An enormous emerald
0:51:08 > 0:51:11which has been sliced and when it's opened,
0:51:11 > 0:51:15there's a little clock inside.
0:51:15 > 0:51:18But what's really exciting here are the small things.
0:51:18 > 0:51:24The most beautifully, exquisitely made jewels. This cross here.
0:51:27 > 0:51:29This, which is a little - I can't touch them -
0:51:29 > 0:51:31but this which is a little scent pot
0:51:31 > 0:51:34with opals in a fern shape all the way round,
0:51:34 > 0:51:38with diamonds and white enamel.
0:51:39 > 0:51:43This early Christian amethyst,
0:51:43 > 0:51:46of two...thought to be two saints' figures.
0:51:47 > 0:51:50I think one or two I could just pick up. This one, for instance.
0:51:52 > 0:52:01A finely-cut diamond from India, with white enamel settings.
0:52:01 > 0:52:06Right the way around there are little dots on the enamel.
0:52:09 > 0:52:13It was such a breathtaking find.
0:52:13 > 0:52:15The magic of this collection
0:52:15 > 0:52:18is what it tells us about the reach of the Elizabethan era.
0:52:18 > 0:52:21Rubies and diamonds from India on the one hand,
0:52:21 > 0:52:25to emeralds from Colombia on the other. All brought here to London
0:52:25 > 0:52:29to glamorise and glorify the Elizabethan court.
0:52:35 > 0:52:39The Armada Portrait shows Elizabeth decked out
0:52:39 > 0:52:42in a dazzling array of jewels and fine clothes.
0:52:46 > 0:52:50Her hand rests confidently on the globe,
0:52:50 > 0:52:52fingers touching the Americas.
0:52:58 > 0:53:03But while exploration brought wealth, it also brought new enemies.
0:53:03 > 0:53:09Behind Elizabeth, the Spanish Armada fleet gathers in the summer of 1588.
0:53:09 > 0:53:14Its mission - to defeat England and overthrow the Queen.
0:53:18 > 0:53:24To the right, the Spanish fleet founders in stormy English waters.
0:53:26 > 0:53:29This is not just a painting of royal power.
0:53:30 > 0:53:35It's a rousing patriotic image to inspire the nation.
0:53:40 > 0:53:43The defeat of the Armada quickly became the stuff of myth.
0:53:43 > 0:53:46There was of course the myth that Francis Drake was so cool,
0:53:46 > 0:53:49when he was told the Spanish were coming up the Channel, he said,
0:53:49 > 0:53:52"I'll finish my game of bowls before I go and attack them."
0:53:52 > 0:53:56There was the myth that it was puny England against the might of Spain,
0:53:56 > 0:54:00when in reality, we outgunned and outmanoeuvred the Spanish.
0:54:00 > 0:54:03But the biggest myth of all was that it was all God's doing.
0:54:03 > 0:54:07That the storms were provided by God to help England.
0:54:07 > 0:54:09Elizabeth even had a medal made.
0:54:09 > 0:54:12"God blew," it said on it, "and they were scattered."
0:54:26 > 0:54:29Perhaps the English could be forgiven for beginning to think
0:54:29 > 0:54:32they were God's chosen people.
0:54:32 > 0:54:34And if any doubt was left,
0:54:34 > 0:54:40England's most persuasive myth-maker was about to emerge.
0:54:40 > 0:54:42He wasn't a painter, but a poet.
0:54:42 > 0:54:46His name - William Shakespeare.
0:54:50 > 0:54:53At the heart of Shakespeare's work are the history plays,
0:54:53 > 0:54:57which he began writing shortly after the defeat of the Spanish Armada.
0:54:57 > 0:55:01They're plays which describe the whole grandeur of British history
0:55:01 > 0:55:06in very vivid terms, with heroes and villains.
0:55:06 > 0:55:11Richard III - the evil hunchback. Killing the princes in the tower.
0:55:11 > 0:55:12And when he dies, shouting out,
0:55:12 > 0:55:16"A horse. A horse. My kingdom for a horse."
0:55:16 > 0:55:20And Henry V urging his troops on to battle against the French
0:55:20 > 0:55:24with a cry of, "Once more unto the breach, dear friends. Once more!"
0:55:24 > 0:55:29A picture so vibrant it still lives with us today.
0:55:38 > 0:55:44Shakespeare's plays span 350 years of British history,
0:55:44 > 0:55:46and come to a triumphant end
0:55:46 > 0:55:50with a celebration of the birth of Elizabeth herself.
0:56:02 > 0:56:04What Shakespeare was saying to his audience was,
0:56:04 > 0:56:07"Look, a new era has dawned.
0:56:07 > 0:56:10"A period of peace and prosperity,
0:56:10 > 0:56:15"brought to you by the Tudors, and you should enjoy it."
0:56:15 > 0:56:21In an earlier play, Richard II, he'd set out his vision of England.
0:56:21 > 0:56:25It was a myth then - it's a myth now.
0:56:25 > 0:56:30But the glorious language still sends a shiver down the spine.
0:56:30 > 0:56:35"This royal throne of kings, this sceptr'd isle,
0:56:35 > 0:56:38"This earth of majesty, this seat of Mars,
0:56:38 > 0:56:42"This other Eden, demi-paradise,
0:56:42 > 0:56:45"This fortress built by Nature for herself
0:56:45 > 0:56:49"Against infection and the hand of war,
0:56:49 > 0:56:54"This happy breed of men, this little world,
0:56:54 > 0:56:59"This precious stone set in the silver sea,
0:56:59 > 0:57:02"Which serves it in the office of a wall
0:57:02 > 0:57:04"Or as a moat defensive to a house,
0:57:04 > 0:57:07"Against the envy of less happier lands,
0:57:07 > 0:57:13"This blessed plot, this earth,
0:57:13 > 0:57:15"this realm...
0:57:16 > 0:57:19"..this England."
0:57:48 > 0:57:50In the next Age:
0:57:51 > 0:57:53The arrogance of a king.
0:57:54 > 0:57:57The people's defiance.
0:57:57 > 0:57:59Scientific invention...
0:58:00 > 0:58:03..and monumental splendour.
0:58:04 > 0:58:06In the age of revolution.