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Deep below London's streets, hidden from public view, | 0:00:17 | 0:00:21 | |
lies an almost forgotten Royal relic. | 0:00:21 | 0:00:24 | |
A survival from the most shocking day in our history. | 0:00:26 | 0:00:29 | |
This is a kind of jacket with long sleeves. | 0:00:54 | 0:00:58 | |
It was called a waistcoat at the time. | 0:00:58 | 0:01:00 | |
It's made of the finest knitted silk. | 0:01:00 | 0:01:04 | |
Beautiful patterns on the sleeves and all over the front. | 0:01:04 | 0:01:08 | |
Very fine buttons up here. | 0:01:08 | 0:01:11 | |
But the significance of this waistcoat is here - | 0:01:13 | 0:01:18 | |
these great splodges of brown, which are thought to be blood. | 0:01:18 | 0:01:24 | |
Because it's said that this is the waistcoat | 0:01:24 | 0:01:27 | |
that King Charles I wore when he knelt for the executioner's axe | 0:01:27 | 0:01:33 | |
on 30th January 1649, | 0:01:33 | 0:01:37 | |
the day this country killed its King. | 0:01:37 | 0:01:41 | |
In the same vault is this extraordinary painting. | 0:01:49 | 0:01:53 | |
It shows the dead Charles, his eyes closed, | 0:01:53 | 0:01:56 | |
his skin a ghostly pallor. | 0:01:56 | 0:02:00 | |
And beside him, three female figures, | 0:02:00 | 0:02:03 | |
England, Scotland and Ireland, all distraught in misery, | 0:02:03 | 0:02:08 | |
their crowns actually in the act of falling off their heads. | 0:02:08 | 0:02:13 | |
And if you look very closely, | 0:02:13 | 0:02:15 | |
you can see that the painter has turned the King into a martyr. | 0:02:15 | 0:02:20 | |
He has rejoined the Royal head to the Royal body, | 0:02:20 | 0:02:25 | |
and the stitching round the neck shows, | 0:02:25 | 0:02:28 | |
with blood trickling down. | 0:02:28 | 0:02:31 | |
This is an artist in turmoil over something unimaginable | 0:02:31 | 0:02:35 | |
that's happened to him. | 0:02:35 | 0:02:36 | |
It's a time when art was used as a weapon | 0:02:36 | 0:02:40 | |
on the battlefield of a world turned upside down. | 0:02:40 | 0:02:44 | |
CROWD BOOS | 0:02:46 | 0:02:48 | |
The early years of the 17th century | 0:03:30 | 0:03:33 | |
gave the first signs of trouble to come. | 0:03:33 | 0:03:35 | |
A new dynasty had inherited the English throne - | 0:03:37 | 0:03:41 | |
the Stuarts of Scotland. | 0:03:41 | 0:03:44 | |
The pretensions of Charles I reached unprecedented heights, | 0:04:02 | 0:04:07 | |
which were unashamedly displayed in his capital. | 0:04:07 | 0:04:11 | |
This magnificent hall, unique in Britain at the time, | 0:04:42 | 0:04:46 | |
is where Charles I, when he ascended the throne, | 0:04:46 | 0:04:50 | |
did all his grand entertaining. | 0:04:50 | 0:04:52 | |
This was a place of dances, of receptions, | 0:04:52 | 0:04:55 | |
thronging with politicians and diplomats. | 0:04:55 | 0:04:58 | |
And to make it all the more impressive, | 0:04:58 | 0:05:01 | |
Charles commissioned this stupendous ceiling. | 0:05:01 | 0:05:05 | |
He turned for that to perhaps the greatest European painter of his age, | 0:05:08 | 0:05:13 | |
Peter Paul Rubens from the Netherlands. | 0:05:13 | 0:05:17 | |
If you don't want to get a permanent crick in your neck, | 0:05:19 | 0:05:23 | |
there's only one way to enjoy this painting, | 0:05:23 | 0:05:26 | |
and that's by lying flat on the floor... | 0:05:26 | 0:05:30 | |
..and seeing it as it should be seen. | 0:05:32 | 0:05:35 | |
Ah, that's better! | 0:05:35 | 0:05:37 | |
What Rubens has done is to show Charles's vision of kingship | 0:05:40 | 0:05:46 | |
by telling the story of Charles's father, James I, | 0:05:46 | 0:05:51 | |
and what this shows is the apotheosis of James. | 0:05:51 | 0:05:56 | |
That's to say, James I ascending to heaven as a god. | 0:05:56 | 0:06:01 | |
It's the most extraordinary claim. | 0:06:04 | 0:06:06 | |
James actually believed that he was as a god. | 0:06:06 | 0:06:12 | |
He told his Parliament, "Even God calls kings God." | 0:06:12 | 0:06:16 | |
And he told his children that they were little gods, | 0:06:16 | 0:06:19 | |
set on Earth to rule over men. | 0:06:19 | 0:06:23 | |
Not with hindsight the wisest advice, perhaps, that a father might give. | 0:06:23 | 0:06:30 | |
It wasn't long before Charles's behaviour | 0:06:47 | 0:06:50 | |
and his claims to divine kingship | 0:06:50 | 0:06:53 | |
had upset his subjects and, more dangerously, his Parliament. | 0:06:53 | 0:06:58 | |
With protests growing throughout the 1630s, | 0:06:58 | 0:07:02 | |
another great painter arrived from the Netherlands. | 0:07:02 | 0:07:05 | |
His name was Anthony van Dyck. | 0:07:06 | 0:07:10 | |
The portraits he produced are a snapshot of a doomed generation. | 0:07:11 | 0:07:18 | |
You'd never guess looking at these pictures | 0:07:40 | 0:07:42 | |
that we were going through the most turbulent period in our history. | 0:07:42 | 0:07:45 | |
Instead, van Dyck came here as a painter of fantasy land, | 0:07:45 | 0:07:50 | |
making portraits of people with beautiful silks, wonderful faces, | 0:07:50 | 0:07:57 | |
full of life and colour and swirling movement. | 0:07:57 | 0:08:01 | |
Elegant...handsome...relaxed... | 0:08:01 | 0:08:07 | |
..powerful. | 0:08:08 | 0:08:10 | |
This huge portrait was done by van Dyck to hang in the Royal palace. | 0:08:37 | 0:08:42 | |
Now, the King was quite a short man. Not here. | 0:08:42 | 0:08:46 | |
He looks like some great Roman emperor, some powerful warrior, | 0:08:46 | 0:08:50 | |
in his armour, long-legged, sitting on his great white charger. | 0:08:50 | 0:08:55 | |
The setting - very grand and powerful. | 0:08:56 | 0:08:59 | |
This Roman arch, with curious green silk drapery hanging. | 0:08:59 | 0:09:07 | |
Behind, a turbulent sky. | 0:09:07 | 0:09:10 | |
A Royal coat of arms | 0:09:10 | 0:09:12 | |
looking as if it's just been dumped on the side there, but vast. | 0:09:12 | 0:09:17 | |
But the key thing is the way that the King himself | 0:09:17 | 0:09:21 | |
is sitting on his white charger. | 0:09:21 | 0:09:23 | |
He's not just out for a ride. | 0:09:23 | 0:09:25 | |
He's actually doing quite a complicated dressage movement. | 0:09:25 | 0:09:29 | |
It's the horse trotting, slowly and deliberately. | 0:09:29 | 0:09:33 | |
Difficult to achieve, | 0:09:33 | 0:09:35 | |
but the King's doing it with consummate ease | 0:09:35 | 0:09:38 | |
just with his staff resting on the horse's withers. | 0:09:38 | 0:09:41 | |
And the idea is that he can control his horse | 0:09:41 | 0:09:45 | |
with the same calm as he holds the reins to his kingdom. | 0:09:45 | 0:09:49 | |
For my money, this is the most poignant painting here | 0:09:58 | 0:10:01 | |
because of the story it tells. | 0:10:01 | 0:10:04 | |
It shows two brothers - Lord John Stuart and his brother Bernard. | 0:10:04 | 0:10:10 | |
John, the elder one, looking a bit aloof out into the distance, | 0:10:10 | 0:10:16 | |
but Bernard - absolute picture of self-obsessed, rather arrogant, | 0:10:16 | 0:10:22 | |
rather carefree youth, | 0:10:22 | 0:10:25 | |
elegantly dressed in wonderful blue silks with absurd boots, | 0:10:25 | 0:10:31 | |
his hand on his hip, the other one holding his cloak | 0:10:31 | 0:10:35 | |
as though he hadn't got a care in the world, | 0:10:35 | 0:10:38 | |
all his future ahead of him. | 0:10:38 | 0:10:40 | |
But both these boys, seven years from the painting of this portrait, | 0:10:40 | 0:10:46 | |
would be dead - killed in bloody civil war. | 0:10:46 | 0:10:51 | |
SIREN WAILS | 0:10:54 | 0:10:55 | |
Events moved so quickly that few predicted the outcome. | 0:11:01 | 0:11:05 | |
It began with the protests of the Puritans - | 0:11:05 | 0:11:08 | |
extreme Protestants who set themselves | 0:11:08 | 0:11:11 | |
against the luxury of the court. | 0:11:11 | 0:11:14 | |
Their fear was that Charles was abandoning the Church of England | 0:11:15 | 0:11:19 | |
to flirt with Roman Catholicism, | 0:11:19 | 0:11:22 | |
and they pulled no punches in their pamphlets and sermons. | 0:11:22 | 0:11:27 | |
"All images, be they molten, carved or painted, | 0:11:30 | 0:11:35 | |
"are to God deceits, uncleanness, filthiness, dung, | 0:11:35 | 0:11:41 | |
"mischief and abomination." | 0:11:41 | 0:11:44 | |
"A dance is the devil's procession, and he that entereth into the dance | 0:11:50 | 0:11:57 | |
"entereth into his possession!" | 0:11:57 | 0:12:01 | |
"The loathsome and odious sin of drunkenness... | 0:12:03 | 0:12:07 | |
CROWD BOOS "..is the root and foundation of many other enormous sins, | 0:12:07 | 0:12:15 | |
"as bloodshed, stabbing, murder, | 0:12:15 | 0:12:20 | |
"swearing, fornication, | 0:12:20 | 0:12:23 | |
"adultery and suchlike, to the great dishonour of God!" | 0:12:23 | 0:12:30 | |
CROWD BOOS | 0:12:30 | 0:12:32 | |
But the attack that really hit home was on the evils of the theatre. | 0:12:41 | 0:12:46 | |
William Prynne wrote, | 0:12:46 | 0:12:48 | |
"It hath evermore been the notorious badge of prostituted strumpets | 0:12:48 | 0:12:53 | |
"and the lewdest harlots | 0:12:53 | 0:12:54 | |
"to ramble abroad to plays and playhouses, | 0:12:54 | 0:12:58 | |
"whither only branded whores and infamous adulteresses | 0:12:58 | 0:13:03 | |
"did usually resort in ancient times." | 0:13:03 | 0:13:06 | |
It was a thinly veiled reference to the Queen herself, | 0:13:06 | 0:13:09 | |
who was well known to enjoy the theatre, | 0:13:09 | 0:13:12 | |
and by implying that the Queen of England was a whore, | 0:13:12 | 0:13:17 | |
Prynne landed himself in a load of trouble. | 0:13:17 | 0:13:21 | |
He was fined £5,000, he was sentenced to life imprisonment | 0:13:28 | 0:13:31 | |
and ordered to have part of his ears cut off. | 0:13:31 | 0:13:34 | |
In prison, he went on writing the same kind of stuff | 0:13:34 | 0:13:37 | |
and they then ordered his ears to be cut off entirely, | 0:13:37 | 0:13:40 | |
and they branded the letters "SL" on his cheeks for "seditious libeller". | 0:13:40 | 0:13:46 | |
Many of the Puritans' objections to Charles | 0:14:04 | 0:14:06 | |
that were being heard across the country | 0:14:06 | 0:14:08 | |
were shared by Parliament, | 0:14:08 | 0:14:10 | |
which was already in a power struggle with the King. | 0:14:10 | 0:14:14 | |
It all came to a head in the winter of 1642. | 0:14:14 | 0:14:18 | |
A decade earlier, Charles had actually abolished Parliament, | 0:14:20 | 0:14:23 | |
thinking that he had the right and would rule by himself. | 0:14:23 | 0:14:26 | |
But then he ran out of money and had to summon them back to raise cash. | 0:14:26 | 0:14:31 | |
Instead of just agreeing, they returned with a long list of grievances - | 0:14:31 | 0:14:36 | |
about religious freedom, about his court, about taxation itself | 0:14:36 | 0:14:41 | |
and about their rights. | 0:14:41 | 0:14:43 | |
The King was so alarmed, and actually feared for his life, | 0:14:43 | 0:14:47 | |
that he fled the capital. | 0:14:47 | 0:14:49 | |
It was a terrible mistake. Events were out of his control. | 0:14:49 | 0:14:54 | |
Within months, the unthinkable was happening. | 0:15:00 | 0:15:04 | |
The nation was at war with itself. | 0:15:04 | 0:15:08 | |
On one side, the King's army, | 0:15:08 | 0:15:11 | |
determined to restore Royal authority. | 0:15:11 | 0:15:13 | |
On the other, a militia raised by Parliament | 0:15:13 | 0:15:17 | |
to assert its independence. | 0:15:17 | 0:15:19 | |
Each year in a Northamptonshire field, | 0:15:32 | 0:15:35 | |
enthusiasts stage a Civil War re-enactment. | 0:15:35 | 0:15:38 | |
How did it go? How did it go for you, that? | 0:15:43 | 0:15:46 | |
-We had a good battle today. -Did you have a good battle? | 0:15:46 | 0:15:48 | |
-Yes, yeah. -It was fun. | 0:15:48 | 0:15:50 | |
-Can I see the pikes? -You can. | 0:15:50 | 0:15:52 | |
-Can I try one? -You can indeed. | 0:15:52 | 0:15:54 | |
Um, 16ft of ash, topped with about 2ft of metal, normally. | 0:15:54 | 0:16:00 | |
But when you... when you charged, it's... | 0:16:00 | 0:16:03 | |
Oh, my God, watch out! LAUGHTER | 0:16:03 | 0:16:05 | |
Well, the idea is that at the press of pike, you would lunge together, | 0:16:05 | 0:16:10 | |
-gradually... -It's all right, I can hold it. It's just heavy. | 0:16:10 | 0:16:13 | |
..they would gradually come in towards each other and you would try and stab them. | 0:16:13 | 0:16:17 | |
When you got very close, you'd probably drop your pike, draw your sword | 0:16:17 | 0:16:21 | |
and set about each other in a very tightly packed close combat. | 0:16:21 | 0:16:25 | |
-It's very unwieldy, though, isn't it? -It is. | 0:16:25 | 0:16:28 | |
-Did you run with the pike, or walk? -You'd tend to walk. | 0:16:28 | 0:16:31 | |
As an individual weapon, it is, but if you've got 300 men | 0:16:31 | 0:16:34 | |
with these all pointed straight at you, | 0:16:34 | 0:16:37 | |
that's when it becomes frightening, and that's when people run away. | 0:16:37 | 0:16:40 | |
A lot of the power of the pike was psychological, in reality. | 0:16:40 | 0:16:43 | |
If you look at the records, there's not that many pike wounds, | 0:16:43 | 0:16:47 | |
but an awful lot of people ran away. | 0:16:47 | 0:16:49 | |
It makes for a lively day out. | 0:16:53 | 0:16:55 | |
But the reality of the Civil War was grim. | 0:16:55 | 0:16:59 | |
Proportionally, more British lives were lost | 0:16:59 | 0:17:02 | |
than in the First World War. | 0:17:02 | 0:17:04 | |
And 400 years later, people still know who they'd have supported. | 0:17:04 | 0:17:09 | |
How did you decide which army to belong to? | 0:17:11 | 0:17:14 | |
It's whether you want to fight with the King or the Parliament! | 0:17:14 | 0:17:17 | |
-Is it? -Yes. | 0:17:17 | 0:17:18 | |
-It's where your loyalties lie. -Which are you? Are you Parliament? | 0:17:18 | 0:17:21 | |
-Or are you... -ALL: Oooh! | 0:17:21 | 0:17:23 | |
We are the King's army, sir. | 0:17:23 | 0:17:25 | |
Are you a republican now? | 0:17:25 | 0:17:27 | |
Um...I'm Labour Party so, yes, I believe in the Levellers. | 0:17:27 | 0:17:32 | |
-I think I'm a natural Royalist. -HE LAUGHS | 0:17:32 | 0:17:35 | |
-What side would you have been on? -Royalist. I'd have been a Royalist. | 0:17:35 | 0:17:40 | |
I must admit, I've got republican leanings. | 0:17:40 | 0:17:43 | |
If you had a choice, would you be with Cromwell or with the King? | 0:17:43 | 0:17:46 | |
-Er, with Cromwell. -Why? | 0:17:46 | 0:17:48 | |
Because I, once again, vote Labour and suchlike, trade union... | 0:17:48 | 0:17:51 | |
-You must be tempted to make it a real fight! -Why, yes! | 0:17:51 | 0:17:55 | |
It's almost impossible to imagine this tranquil English countryside | 0:18:13 | 0:18:19 | |
ravaged by civil war. | 0:18:19 | 0:18:21 | |
The desolation of the battlefield... | 0:18:24 | 0:18:26 | |
..bodies lying in the ditches and by the hedgerows, | 0:18:28 | 0:18:33 | |
towns divided against towns, | 0:18:33 | 0:18:36 | |
villages fighting villages, | 0:18:36 | 0:18:39 | |
and, worst of all, families divided against themselves. | 0:18:39 | 0:18:43 | |
Middle Claydon has been home to the Verney family | 0:19:13 | 0:19:16 | |
for five-and-a-half centuries. | 0:19:16 | 0:19:18 | |
The Verney story, typical of so many families during the Civil War, | 0:19:29 | 0:19:33 | |
is captured in a moving monument in the family church. | 0:19:33 | 0:19:37 | |
It was constructed by the eldest son, Sir Ralph, in the aftermath of the war. | 0:19:43 | 0:19:49 | |
This is the memorial to the Verney family. | 0:20:11 | 0:20:14 | |
Down here, Sir Ralph Verney and his wife | 0:20:14 | 0:20:18 | |
and above, his father Sir Edmund and his wife. | 0:20:18 | 0:20:21 | |
Now, Sir Edmund was a courtier to Charles I, | 0:20:21 | 0:20:26 | |
and when the trouble began, | 0:20:26 | 0:20:28 | |
he felt compelled by the years he'd spent in his service | 0:20:28 | 0:20:32 | |
to remain loyal to the King on the Royalist side. | 0:20:32 | 0:20:35 | |
The son, on the other hand, thought on principle that the King was wrong | 0:20:35 | 0:20:40 | |
and that he had to fight for the Parliamentary side. | 0:20:40 | 0:20:43 | |
So this family was torn apart by this decision. | 0:20:43 | 0:20:48 | |
The father, while they were still estranged, | 0:20:48 | 0:20:52 | |
went off to fight at the great Battle of Edgehill, | 0:20:52 | 0:20:55 | |
where he had the job of carrying the Royal standard into battle, | 0:20:55 | 0:20:58 | |
and apparently fought very bravely, was said to have killed two people | 0:20:58 | 0:21:02 | |
and then was himself hacked to pieces, | 0:21:02 | 0:21:04 | |
and all that was left of him was the hand still holding the standard. | 0:21:04 | 0:21:09 | |
Now, years later, the war over, | 0:21:10 | 0:21:14 | |
Ralph had this great memorial commissioned. | 0:21:14 | 0:21:18 | |
And what does he do? Puts his father there at the top. | 0:21:18 | 0:21:21 | |
So despite all the divisions they had, | 0:21:21 | 0:21:24 | |
this great tribute to his father is made | 0:21:24 | 0:21:28 | |
with a plaque here recording his life. | 0:21:28 | 0:21:32 | |
In life, they may have been divided. | 0:21:34 | 0:21:37 | |
In death, they're reunited. | 0:21:37 | 0:21:41 | |
Which side do you think you'd have been on? | 0:21:59 | 0:22:01 | |
I think I would naturally be a Royalist. | 0:22:01 | 0:22:04 | |
I feel myself to be a Royalist, a monarchist. | 0:22:04 | 0:22:07 | |
But whether I would've approved of the way the King carried on | 0:22:07 | 0:22:12 | |
and would've allowed myself to be seduced by that, in a way, | 0:22:12 | 0:22:17 | |
I'm not sure. | 0:22:17 | 0:22:18 | |
And what would you think? | 0:22:18 | 0:22:20 | |
Well, I'd hate to tear the family apart | 0:22:20 | 0:22:22 | |
in such a way as it was torn apart all those years ago, | 0:22:22 | 0:22:26 | |
and at my age, I suppose, my emotional attachment | 0:22:26 | 0:22:29 | |
would be more towards keeping the family together. | 0:22:29 | 0:22:32 | |
So I might well decide to follow my father and go with the King. | 0:22:32 | 0:22:36 | |
Is there any evidence of what was going on in the family? | 0:22:36 | 0:22:39 | |
Well, yes, we've got a wonderful lot of letters in the archive from then, | 0:22:39 | 0:22:45 | |
and for instance, there's this one here, | 0:22:45 | 0:22:48 | |
which is written by Ralph's brother to him. | 0:22:48 | 0:22:52 | |
"Brother, | 0:22:52 | 0:22:53 | |
"what I feared is true, which is your being against the King. | 0:22:53 | 0:22:58 | |
"Give me leave to tell you in my opinion, | 0:22:58 | 0:23:01 | |
"'tis most unhandsomely done, | 0:23:01 | 0:23:03 | |
"and it grieves my heart to think that my father already, and I, | 0:23:03 | 0:23:09 | |
"who so dearly love and esteem you, | 0:23:09 | 0:23:11 | |
"should be bound in consequence, because it's in duty to our King, | 0:23:11 | 0:23:15 | |
"to be your enemy." | 0:23:15 | 0:23:17 | |
-Very touching, isn't it? -Yeah. | 0:23:17 | 0:23:20 | |
Ralph's younger brother is writing, saying, | 0:23:20 | 0:23:23 | |
"Your father and I love you, but we're going to be your enemies." | 0:23:23 | 0:23:26 | |
The story about his hand holding the standard. | 0:23:26 | 0:23:29 | |
Is that true? I mean, is there any evidence of that? | 0:23:29 | 0:23:31 | |
Oh, yes. The hand was found clutching the standard after Edmund was killed. | 0:23:31 | 0:23:37 | |
And his body was never found but the hand was brought back, | 0:23:37 | 0:23:40 | |
and indeed, on his hand was a ring, | 0:23:40 | 0:23:44 | |
and I have managed to obtain it for today and there it is. | 0:23:44 | 0:23:49 | |
His hand was buried in the tomb in the church. | 0:23:49 | 0:23:53 | |
Just his hand. | 0:23:53 | 0:23:55 | |
And there's the ring, which is still preserved. | 0:23:55 | 0:23:58 | |
My goodness! An enamel portrait. | 0:23:58 | 0:24:01 | |
-It is identifiably Charles I. -Yes, it is. | 0:24:01 | 0:24:04 | |
-Like the van Dyck portraits. -Mmm. | 0:24:04 | 0:24:07 | |
With all the turmoil it caused, | 0:24:33 | 0:24:35 | |
the Civil War forced people to question the way they led their lives. | 0:24:35 | 0:24:41 | |
The basement of the British Library. | 0:24:47 | 0:24:49 | |
They have 400 miles of books, many, many treasures among them, | 0:24:49 | 0:24:55 | |
and, in particular, a collection that tells us | 0:24:55 | 0:24:57 | |
about the most extraordinary moment in our history. | 0:24:57 | 0:25:00 | |
Because once people dared take up arms against God's anointed king, | 0:25:00 | 0:25:05 | |
they dared to think things they'd never thought before, | 0:25:05 | 0:25:09 | |
and what's more, they dared to publish them. | 0:25:09 | 0:25:13 | |
Down this alleyway are 2,000 volumes | 0:25:26 | 0:25:30 | |
containing 22,000 different tracts and pamphlets and newsletters - | 0:25:30 | 0:25:36 | |
a great explosion of ideas, | 0:25:36 | 0:25:39 | |
everybody speaking their mind and arguing with each other. | 0:25:39 | 0:25:44 | |
And these individual books contain an invaluable story - | 0:25:44 | 0:25:48 | |
the story of a great experiment in living. | 0:25:48 | 0:25:53 | |
This is a pamphlet from the Levellers, | 0:26:03 | 0:26:05 | |
people who believed in universal franchise - | 0:26:05 | 0:26:08 | |
that all men should have the vote. | 0:26:08 | 0:26:11 | |
And here, a document from the Diggers, | 0:26:11 | 0:26:15 | |
whose idea was that all land should be held in common. | 0:26:15 | 0:26:19 | |
It was a sort of very early version of communism. | 0:26:19 | 0:26:23 | |
But what they are specifically going against here | 0:26:23 | 0:26:26 | |
is another group - the Ranters. | 0:26:26 | 0:26:29 | |
Now, the Ranters believed that they were saved | 0:26:29 | 0:26:34 | |
and therefore would go to heaven, | 0:26:34 | 0:26:36 | |
and therefore could behave as they liked on Earth. | 0:26:36 | 0:26:39 | |
Perhaps slightly exaggerated by the Diggers, who say, | 0:26:39 | 0:26:42 | |
"They enjoy meat, drink, pleasures and women." | 0:26:42 | 0:26:46 | |
Here they are snogging in a corner, | 0:26:46 | 0:26:50 | |
celebrating, saying, "Let's give up the old ways. | 0:26:50 | 0:26:53 | |
"No way to the old way." | 0:26:53 | 0:26:55 | |
Standing there naked with somebody playing a musical instrument. | 0:26:55 | 0:26:59 | |
All these ideas sprang from a ferment of theories | 0:26:59 | 0:27:03 | |
about life and how it should be lived | 0:27:03 | 0:27:05 | |
and particularly how you should achieve salvation. | 0:27:05 | 0:27:08 | |
And here, some of them are listed - | 0:27:08 | 0:27:10 | |
a catalogue of several sects and opinions in England. | 0:27:10 | 0:27:13 | |
Jesuits, Arminians, Arians, Adamites, | 0:27:13 | 0:27:18 | |
Libertines, Soul Sleepers. | 0:27:18 | 0:27:21 | |
It must've been an extraordinary time to be alive. | 0:27:21 | 0:27:24 | |
The lid was off the pot and all these ideas exploded. | 0:27:24 | 0:27:28 | |
Complete chaos and constant argument and bickering | 0:27:28 | 0:27:31 | |
about who was right and who was wrong. | 0:27:31 | 0:27:33 | |
It's wonderfully summed up in a woodcut - | 0:27:33 | 0:27:37 | |
the world turned upside down. | 0:27:37 | 0:27:39 | |
And it shows the man has got | 0:27:39 | 0:27:42 | |
his britches on his shoulders | 0:27:42 | 0:27:45 | |
with his boots and spurs coming out where his arms should be, | 0:27:45 | 0:27:49 | |
his armour down below, and he's standing on his hands | 0:27:49 | 0:27:52 | |
and he's surrounded by an upside-down candle, | 0:27:52 | 0:27:56 | |
a church, upside down, | 0:27:56 | 0:27:59 | |
a rat chasing a cat, | 0:27:59 | 0:28:01 | |
a wheelbarrow pushing a man along on his hands. | 0:28:01 | 0:28:05 | |
And in the sky, of course, | 0:28:05 | 0:28:08 | |
fish flying. | 0:28:08 | 0:28:10 | |
And now appearing gradually, increasingly, in these documents | 0:28:10 | 0:28:15 | |
is one man and one name - | 0:28:15 | 0:28:19 | |
Oliver Cromwell. | 0:28:19 | 0:28:21 | |
Cromwell was a gentleman farmer in East Anglia | 0:28:22 | 0:28:26 | |
and he could've just passed his life peacefully there. | 0:28:26 | 0:28:28 | |
But when war started, he joined the Parliamentary forces | 0:28:28 | 0:28:34 | |
and he proved himself very quickly | 0:28:34 | 0:28:36 | |
to be an absolutely brilliant soldier... | 0:28:36 | 0:28:39 | |
..if a merciless one. | 0:28:40 | 0:28:42 | |
Cromwell's military genius | 0:28:50 | 0:28:52 | |
brought about the defeat of the Royalist army. | 0:28:52 | 0:28:56 | |
With the King captured and behind bars, | 0:28:56 | 0:28:59 | |
Parliament made the decision to put him on trial for treason. | 0:28:59 | 0:29:04 | |
The verdict - guilty. | 0:29:04 | 0:29:07 | |
He was led through the palace to a platform | 0:29:14 | 0:29:18 | |
which had been built out here, | 0:29:18 | 0:29:20 | |
and there he made a final statement of his beliefs with amazing calm, | 0:29:20 | 0:29:25 | |
ending with the words, "I go from a corruptible to an incorruptible crown | 0:29:25 | 0:29:30 | |
"where no disturbance can be." | 0:29:30 | 0:29:33 | |
And that said, he tucked his hair into a cap, | 0:29:33 | 0:29:37 | |
so that his neck would be free, | 0:29:37 | 0:29:39 | |
took off his cloak and lay down on the scaffold. | 0:29:39 | 0:29:42 | |
And at a signal from him, | 0:29:42 | 0:29:44 | |
the executioner with his axe, with one blow, severed his head. | 0:29:44 | 0:29:49 | |
With Charles out of the way, | 0:29:56 | 0:29:58 | |
a new form of government had to be invented. | 0:29:58 | 0:30:01 | |
Out of the confusion, | 0:30:06 | 0:30:09 | |
Cromwell eventually emerged | 0:30:09 | 0:30:11 | |
as Lord Protector of the Commonwealth of England, Scotland and Ireland. | 0:30:11 | 0:30:17 | |
Cromwell was a mass of contradictions, | 0:30:26 | 0:30:29 | |
and when he gained power, | 0:30:29 | 0:30:30 | |
he seemed to be pulled in all sorts of different directions. | 0:30:30 | 0:30:33 | |
He was a Puritan who famously banned the celebration of Christmas, | 0:30:33 | 0:30:38 | |
and yet he loved music and allowed dancing at his daughter's wedding. | 0:30:38 | 0:30:41 | |
In England he was seen as rather a hero of liberty, | 0:30:41 | 0:30:46 | |
in Ireland, as a vile oppressor who committed the most terrible massacres. | 0:30:46 | 0:30:51 | |
He'd tried to curb the tyranny of a king, | 0:30:51 | 0:30:55 | |
and yet in later years he became something of a tyrant himself. | 0:30:55 | 0:30:58 | |
The truth is that the new regime never really established | 0:30:59 | 0:31:04 | |
what it was meant to be. | 0:31:04 | 0:31:06 | |
And it shows in the portraits of its leader. | 0:31:06 | 0:31:09 | |
This is the first portrait of him, | 0:31:18 | 0:31:20 | |
and it's curious because it's almost like a Royal portrait. | 0:31:20 | 0:31:23 | |
It could be van Dyck painting Charles I - | 0:31:23 | 0:31:26 | |
the same sort of stormy clouds behind, | 0:31:26 | 0:31:30 | |
his armour on, staff of authority, | 0:31:30 | 0:31:33 | |
and a page to show his power, tying a sash round his waist. | 0:31:33 | 0:31:38 | |
Then there seems to have been a change of heart. | 0:31:40 | 0:31:43 | |
From the rather grand style of portrait, | 0:31:43 | 0:31:45 | |
Cromwell changed completely, | 0:31:45 | 0:31:49 | |
and in the famous words that he used to the painter of the next portrait, | 0:31:49 | 0:31:55 | |
"I want you to paint me, warts and all." | 0:31:55 | 0:31:58 | |
And here it is, this little miniature. | 0:31:58 | 0:32:01 | |
Look at Cromwell's face - | 0:32:01 | 0:32:03 | |
puffy, big nose, | 0:32:03 | 0:32:05 | |
warts on the forehead, | 0:32:05 | 0:32:08 | |
looking like an ordinary person. | 0:32:08 | 0:32:11 | |
And even more so in this one... | 0:32:11 | 0:32:13 | |
..where you can clearly see he's going bald, | 0:32:15 | 0:32:18 | |
and he even seems to have tried a comb-over to disguise it. | 0:32:18 | 0:32:24 | |
It's the first time I've seen a portrait of a head of state | 0:32:24 | 0:32:28 | |
that is not designed to flatter. | 0:32:28 | 0:32:30 | |
There is nothing flattering at all. | 0:32:30 | 0:32:33 | |
And then there's another change of heart, | 0:32:33 | 0:32:36 | |
and this time he reverts to the seriously pompous Cromwell. | 0:32:36 | 0:32:42 | |
He has his head put on a gold coin, | 0:32:42 | 0:32:46 | |
shown as a Roman emperor, with a wreath of laurels. | 0:32:46 | 0:32:52 | |
So it's quite an extraordinary change | 0:32:53 | 0:32:56 | |
and a sort of lack of certainty about how he wanted people to see him. | 0:32:56 | 0:33:00 | |
Cromwell died in 1658, | 0:33:07 | 0:33:10 | |
and in less than two years the Commonwealth had fallen apart. | 0:33:10 | 0:33:14 | |
Britain had lost its appetite for radical change. | 0:33:25 | 0:33:29 | |
Charles I's son was invited back from exile | 0:33:30 | 0:33:35 | |
to assume his father's throne. | 0:33:35 | 0:33:37 | |
It looked as though the whole revolution had been in vain. | 0:33:40 | 0:33:44 | |
This statue of Charles II perfectly captures the spirit of his reign. | 0:34:02 | 0:34:07 | |
At first glance, we could be back under the rule of his father, Charles I - | 0:34:07 | 0:34:12 | |
this rather boastful figure dressed as a military conqueror, | 0:34:12 | 0:34:16 | |
for all the world as though the Civil War had never happened. | 0:34:16 | 0:34:19 | |
The reality, of course, couldn't be more different. | 0:34:21 | 0:34:24 | |
Charles I believed he was God's anointed, | 0:34:24 | 0:34:28 | |
ruled at God's command. | 0:34:28 | 0:34:30 | |
Charles II, on the other hand, ruled by his people's consent. | 0:34:30 | 0:34:35 | |
Charles accepted that he had to bow to the will of Parliament, | 0:34:47 | 0:34:52 | |
but it didn't mean he wouldn't enjoy himself like a king. | 0:34:52 | 0:34:55 | |
On the contrary. | 0:34:55 | 0:34:57 | |
He was famous for his countless mistresses | 0:34:57 | 0:35:00 | |
and he fathered 14 illegitimate children. | 0:35:00 | 0:35:03 | |
He cultivated a new mood of informality, even abandon. | 0:35:03 | 0:35:09 | |
He chose as his court painter someone who'd reflect his tastes - | 0:35:09 | 0:35:14 | |
Peter Lely. | 0:35:14 | 0:35:15 | |
Lely had rather a lean time during the Cromwellian republic, | 0:35:31 | 0:35:35 | |
with all its austerity. It wasn't going to be a moment | 0:35:35 | 0:35:39 | |
when aristocrats would be commissioning paintings from him. | 0:35:39 | 0:35:42 | |
In fact, he had to take in a lodger to make ends meet. | 0:35:42 | 0:35:45 | |
But come the Restoration, he got the dream job, | 0:35:45 | 0:35:49 | |
painting the finest ladies of the court, | 0:35:49 | 0:35:52 | |
and a great collection of them hangs here. | 0:35:52 | 0:35:56 | |
They're called the Windsor Beauties, | 0:36:17 | 0:36:20 | |
and they're the most beautiful women of the time | 0:36:20 | 0:36:23 | |
who surrounded the King or were at court. | 0:36:23 | 0:36:26 | |
When people looked at them, they would, of course, know their history - | 0:36:28 | 0:36:31 | |
what political games they were playing, whose mistress they were, | 0:36:31 | 0:36:35 | |
whose illegitimate children they'd had. | 0:36:35 | 0:36:37 | |
And they all have a particular beauty of the time, | 0:36:37 | 0:36:42 | |
rather different from what we think of as beautiful now, | 0:36:42 | 0:36:45 | |
but I think nonetheless voluptuous and enticing. | 0:36:45 | 0:36:49 | |
Rather full lips, pale skin with pink cheeks, | 0:36:49 | 0:36:54 | |
almond-shaped eyes. And their dress is interesting, | 0:36:54 | 0:36:58 | |
because the grander you were at court, | 0:36:58 | 0:37:00 | |
the less formally you had to be dressed, | 0:37:00 | 0:37:02 | |
so some of them look as if they're wearing their nightdresses, | 0:37:02 | 0:37:05 | |
which, of course, allows the painter to show the shape of the body | 0:37:05 | 0:37:09 | |
and, perhaps all-important, just a hint of the bosom. | 0:37:09 | 0:37:13 | |
The deliciously seductive Jane Middleton. | 0:37:31 | 0:37:35 | |
She was married at 14, she was surrounded by admirers all her life, | 0:37:35 | 0:37:39 | |
had a lot of lovers. | 0:37:39 | 0:37:41 | |
The King wanted to make her his mistress, | 0:37:41 | 0:37:43 | |
but she always, always refused. | 0:37:43 | 0:37:46 | |
But this is the most powerful of this great bevy of beauties, | 0:37:57 | 0:38:02 | |
the formidable Barbara Villiers, | 0:38:02 | 0:38:05 | |
suitably dressed in almost military garb, | 0:38:05 | 0:38:09 | |
with a helmet with feathers, and a staff and a shield. | 0:38:09 | 0:38:14 | |
She was a long-term mistress of the King, | 0:38:14 | 0:38:17 | |
by whom she had many children, | 0:38:17 | 0:38:19 | |
but a great political operator as well at court, | 0:38:19 | 0:38:21 | |
a person people feared, | 0:38:21 | 0:38:23 | |
and a woman prepared to do what she wanted with her life. | 0:38:23 | 0:38:27 | |
She had not just the King as her lover, | 0:38:27 | 0:38:30 | |
she had a tightrope walker, an actor, a playwright | 0:38:30 | 0:38:33 | |
and a man who was to become Britain's greatest soldier, | 0:38:33 | 0:38:37 | |
the Duke of Marlborough. | 0:38:37 | 0:38:39 | |
A jaundiced bishop said of her she might have been very beautiful, | 0:38:39 | 0:38:43 | |
but she was most enormously vicious and ravenous. | 0:38:43 | 0:38:47 | |
What a woman. | 0:38:47 | 0:38:49 | |
Charles may have been a pleasure-seeker... | 0:39:01 | 0:39:04 | |
..but he also took care to act as patron | 0:39:05 | 0:39:08 | |
of the greatest intellectual enterprise of the age - | 0:39:08 | 0:39:12 | |
to explore and understand the secrets of the natural world. | 0:39:12 | 0:39:18 | |
One effect of the Civil War and the republic | 0:39:25 | 0:39:27 | |
was to free up scientific experiment. | 0:39:27 | 0:39:29 | |
Because there was such political chaos, | 0:39:29 | 0:39:31 | |
the scientists - many of them young geniuses - | 0:39:31 | 0:39:34 | |
were left to get on with it as they chose. | 0:39:34 | 0:39:36 | |
And when Charles came back, | 0:39:36 | 0:39:37 | |
he may have put an end to political experiment, | 0:39:37 | 0:39:40 | |
but he certainly didn't put an end to scientific experiment. | 0:39:40 | 0:39:43 | |
On the contrary, he realised it could be to England's greater glory, | 0:39:43 | 0:39:47 | |
and he gave it his Royal seal of approval. | 0:39:47 | 0:39:49 | |
What had been a ragtag association of amateur enthusiasts | 0:39:54 | 0:39:59 | |
became the Royal Society, | 0:39:59 | 0:40:01 | |
unleashing nothing short of a revolution in science. | 0:40:01 | 0:40:05 | |
The Royal Observatory was built on the King's orders | 0:40:09 | 0:40:12 | |
to promote the study of the heavens. | 0:40:12 | 0:40:14 | |
The work that was done here was typical of the spirit of the age. | 0:40:39 | 0:40:43 | |
Night after night for 40 years, | 0:40:43 | 0:40:46 | |
the Astronomer Royal came here and, looking through his telescopes, | 0:40:46 | 0:40:50 | |
measured the position of the stars. | 0:40:50 | 0:40:52 | |
And when I say "measured", it's not just a casual thing. | 0:40:52 | 0:40:55 | |
He had to obsessively record in minute detail | 0:40:55 | 0:40:58 | |
where every star he saw was in the firmament. | 0:40:58 | 0:41:01 | |
The idea behind it was very simple. | 0:41:01 | 0:41:04 | |
If you could tell where all the stars were | 0:41:04 | 0:41:07 | |
every hour of every day of the year, | 0:41:07 | 0:41:10 | |
then by looking at them, | 0:41:10 | 0:41:12 | |
you could work out where you were on Earth. | 0:41:12 | 0:41:15 | |
The celestial map produced by the first Astronomer Royal, | 0:41:19 | 0:41:23 | |
John Flamsteed, revealed the universe as never before. | 0:41:23 | 0:41:28 | |
Flamsteed fleshed out the known constellations | 0:41:37 | 0:41:41 | |
with newly discovered stars, | 0:41:41 | 0:41:44 | |
bringing the heavens to life with that sensual imagination | 0:41:44 | 0:41:48 | |
so beloved of Charles. | 0:41:48 | 0:41:50 | |
The work that was begun under Charles II | 0:42:00 | 0:42:02 | |
led to Greenwich eventually being declared the official centre of the world | 0:42:02 | 0:42:07 | |
for the purposes of measuring time and space. | 0:42:07 | 0:42:12 | |
And reaching out across the night sky is a laser beam | 0:42:15 | 0:42:19 | |
that marks the prime meridian, nought degrees, | 0:42:19 | 0:42:25 | |
the imaginary line | 0:42:25 | 0:42:27 | |
from which all the time zones of the world are calculated. | 0:42:27 | 0:42:30 | |
The study of science was so new that it welcomed anyone to its ranks. | 0:42:59 | 0:43:04 | |
One of the great scientists of the age still venerated here | 0:43:04 | 0:43:08 | |
had begun life as a painter apprenticed to Peter Lely. | 0:43:08 | 0:43:14 | |
His name was Robert Hooke, | 0:43:14 | 0:43:16 | |
and he became the first Curator of Experiments at the Royal Society. | 0:43:16 | 0:43:21 | |
This is thought to be Hooke's microscope, | 0:43:26 | 0:43:29 | |
and a very, very fine object it is, too - | 0:43:29 | 0:43:33 | |
beautifully decorated, | 0:43:33 | 0:43:34 | |
because obviously it was a very special instrument. | 0:43:34 | 0:43:38 | |
Hooke looked at all kinds of things. | 0:43:38 | 0:43:40 | |
The one we've got under here is just an ordinary flea. | 0:43:40 | 0:43:44 | |
And... Oh, my goodness! | 0:43:44 | 0:43:46 | |
It shows the flea in very fine detail. | 0:43:48 | 0:43:52 | |
You can see the sort of hairy legs and little spikes | 0:43:52 | 0:43:57 | |
and the amber colour - the gleam of light on it. | 0:43:57 | 0:44:02 | |
Of course, Hooke would have spent | 0:44:02 | 0:44:04 | |
hours and hours looking at these specimens. | 0:44:04 | 0:44:09 | |
What he wanted to do was to record in great detail what he was seeing, | 0:44:09 | 0:44:12 | |
and the way he did it | 0:44:12 | 0:44:14 | |
was to assemble a great book of all the objects he'd observed - | 0:44:14 | 0:44:19 | |
plant life, animal life, all the rest of it. | 0:44:19 | 0:44:22 | |
It's called Micrographia, | 0:44:22 | 0:44:23 | |
and this is the page of a flea, and he gives this description of it. | 0:44:23 | 0:44:29 | |
He says, "The microscope manifests it to be | 0:44:29 | 0:44:31 | |
"all over adorned with a curious polished suit of sable armour | 0:44:31 | 0:44:36 | |
"and beset with multitudes of sharp pins..." | 0:44:36 | 0:44:40 | |
There they are. | 0:44:40 | 0:44:42 | |
"..shaped almost like porcupine's quills or..." | 0:44:42 | 0:44:45 | |
And here's a nice common touch. | 0:44:45 | 0:44:48 | |
"..bright, conical steel bodkins." | 0:44:48 | 0:44:51 | |
The kind that women used in their clothes. | 0:44:51 | 0:44:55 | |
Look at this. Perfect detail. | 0:44:55 | 0:44:58 | |
Eye of the flea... these rather unpleasant back legs. | 0:44:58 | 0:45:04 | |
Next to the flea is the louse. | 0:45:04 | 0:45:07 | |
No guesses about why the louse and the flea were popular. | 0:45:07 | 0:45:11 | |
They were very easy to find. | 0:45:11 | 0:45:13 | |
You only... | 0:45:13 | 0:45:14 | |
He probably only had to look in the seams of his own clothes | 0:45:14 | 0:45:17 | |
to come up with a louse or a flea. | 0:45:17 | 0:45:19 | |
And here - the most beautiful louse. | 0:45:19 | 0:45:25 | |
There's something else from his body - rather surprising - | 0:45:27 | 0:45:30 | |
that he also put under the microscope, and it's drawn here, | 0:45:30 | 0:45:35 | |
and it's a sample of his frozen urine... | 0:45:35 | 0:45:39 | |
Weird. | 0:45:39 | 0:45:40 | |
..with little bubbles or circles. | 0:45:40 | 0:45:43 | |
When this book was produced, it caused a sensation. | 0:45:50 | 0:45:54 | |
It was the first time that many people had had a chance | 0:45:54 | 0:45:58 | |
to see these extraordinary pictures of natural life. | 0:45:58 | 0:46:02 | |
When Samuel Pepys, the diarist, got his copy, | 0:46:02 | 0:46:04 | |
he says he stayed up till two in the morning going through it, | 0:46:04 | 0:46:08 | |
it was so fascinating. And of course, for most people, | 0:46:08 | 0:46:11 | |
this was the first time they'd had any chance to see | 0:46:11 | 0:46:14 | |
what the natural world was like, all thanks to Hooke's work. | 0:46:14 | 0:46:18 | |
By the 1660s, | 0:46:29 | 0:46:31 | |
London was one of the busiest trading capitals in the world. | 0:46:31 | 0:46:35 | |
Here, Robert Hooke and his friend, the brilliant Christopher Wren, | 0:46:36 | 0:46:42 | |
would make their names transforming the great city around them. | 0:46:42 | 0:46:46 | |
Science today is very specialised. | 0:46:51 | 0:46:53 | |
But Wren was delving into everything. | 0:46:53 | 0:46:56 | |
He was fascinated by astronomy, by mathematics, | 0:46:56 | 0:47:00 | |
he built mechanical devices, | 0:47:00 | 0:47:02 | |
he did operations on a dog | 0:47:02 | 0:47:04 | |
to try to work out the circulation of the blood, | 0:47:04 | 0:47:07 | |
he made musical instruments. | 0:47:07 | 0:47:08 | |
It's even said he devised a scheme of writing in the dark. | 0:47:08 | 0:47:12 | |
But all this discovery - | 0:47:12 | 0:47:14 | |
this excitement of the universe on the one hand | 0:47:14 | 0:47:17 | |
and the tiny, microscopic details of life - | 0:47:17 | 0:47:20 | |
gave him and others an ambition, | 0:47:20 | 0:47:23 | |
and it was an ambition that was to get its great opportunity | 0:47:23 | 0:47:26 | |
to be unleashed in this city of London | 0:47:26 | 0:47:29 | |
by something that happened here in Pudding Lane. | 0:47:29 | 0:47:33 | |
In the early hours of Sunday 2nd September 1666, | 0:47:42 | 0:47:47 | |
fire broke out at a Pudding Lane bakery. | 0:47:47 | 0:47:50 | |
Soon, fanned by strong winds and fuelled by timber-frame houses, | 0:47:52 | 0:47:57 | |
the fire was raging out of control. | 0:47:57 | 0:47:59 | |
In four days, it destroyed three-quarters of the city. | 0:48:06 | 0:48:09 | |
Within a week of the fire being put out, | 0:48:23 | 0:48:25 | |
Wren submitted a plan for a new City of London. | 0:48:25 | 0:48:29 | |
It swept away the narrow streets that had helped the fire spread, | 0:48:31 | 0:48:36 | |
and replaced them with broad avenues and squares. | 0:48:36 | 0:48:40 | |
Hooke had a plan too. | 0:48:44 | 0:48:45 | |
It was more regimented - a rigorous grid system. | 0:48:45 | 0:48:50 | |
Hosts of other plans followed. | 0:48:51 | 0:48:53 | |
Like Wren's, they all tried to recreate London | 0:48:53 | 0:48:56 | |
as a great Roman city with a logical layout - | 0:48:56 | 0:49:00 | |
a capital to suit the scientific age. | 0:49:00 | 0:49:04 | |
The trouble was, these imaginative plans | 0:49:06 | 0:49:09 | |
were too ambitious to be implemented. | 0:49:09 | 0:49:12 | |
But Wren was not to be defeated. He imposed his mark on the city | 0:49:14 | 0:49:18 | |
by designing the greatest building of the age. | 0:49:18 | 0:49:22 | |
What an astonishing commission. | 0:50:04 | 0:50:07 | |
There'd been a cathedral here for a thousand years, | 0:50:07 | 0:50:10 | |
but when the old one burned down in the fire, | 0:50:10 | 0:50:12 | |
Wren got the job of building a new one. | 0:50:12 | 0:50:15 | |
He wanted, of course, to build a monument to the revived City of London, | 0:50:15 | 0:50:20 | |
to the glory of the King and, of course, the glory of God. | 0:50:20 | 0:50:23 | |
But look at it another way for a moment. | 0:50:23 | 0:50:25 | |
Think of what really preoccupied Wren. | 0:50:25 | 0:50:27 | |
Look at this building, not as a monument to faith, | 0:50:27 | 0:50:31 | |
but a monument to science. | 0:50:31 | 0:50:34 | |
Wren was determined to build a cathedral whose scale and ambition | 0:50:48 | 0:50:54 | |
would push mathematics and engineering to its limits. | 0:50:54 | 0:50:57 | |
He wanted to use scientific principles | 0:51:00 | 0:51:03 | |
to create a monumental structure to rival St Peter's in Rome. | 0:51:03 | 0:51:08 | |
From the start, Wren faced opposition from the clergy | 0:51:33 | 0:51:37 | |
in getting the building he wanted commissioned. | 0:51:37 | 0:51:40 | |
It went through a number of designs before he won their approval. | 0:51:40 | 0:51:45 | |
This was one of Wren's earliest experiments - | 0:52:11 | 0:52:14 | |
this completely entrancing, detailed and magnificent model | 0:52:14 | 0:52:19 | |
of the cathedral he wanted to build. | 0:52:19 | 0:52:22 | |
It's so enticing. You long to be about this size | 0:52:33 | 0:52:36 | |
and to be able to go up the steps and walk around inside. | 0:52:36 | 0:52:40 | |
It cost as much to put it together as to build a London house. | 0:52:42 | 0:52:46 | |
But as a scientist, | 0:52:46 | 0:52:47 | |
Wren was determined to embark on this project | 0:52:47 | 0:52:50 | |
by a process of trial and error. | 0:52:50 | 0:52:54 | |
His great ambition was to deliver to England | 0:52:55 | 0:52:57 | |
something that it had never seen before - | 0:52:57 | 0:53:01 | |
a dome on a huge scale. | 0:53:01 | 0:53:03 | |
Wow! That's so cool. | 0:53:17 | 0:53:21 | |
What Wren wanted was to make a dome | 0:53:38 | 0:53:40 | |
that was in proportion to the cathedral from the inside, | 0:53:40 | 0:53:44 | |
but from the outside was big enough to dominate the London skyline. | 0:53:44 | 0:53:48 | |
It was Wren's collaborator, Hooke, who came up with the solution. | 0:53:53 | 0:53:58 | |
You think you're looking at one dome. | 0:53:58 | 0:54:01 | |
In fact, there are two. | 0:54:01 | 0:54:03 | |
There's the inner dome, and then above it a huge outer dome | 0:54:03 | 0:54:07 | |
which you actually can't see from here. | 0:54:07 | 0:54:10 | |
So it's the two-dome solution - | 0:54:10 | 0:54:13 | |
a unique idea, a brilliant achievement. | 0:54:13 | 0:54:18 | |
Hidden between the two domes, Wren built a brick cone | 0:54:35 | 0:54:39 | |
to carry the load of the stone lantern on top of the cathedral - | 0:54:39 | 0:54:43 | |
850 tons of it - | 0:54:43 | 0:54:45 | |
freeing the outer dome from any structural burden. | 0:54:45 | 0:54:49 | |
And there's another less well-known testament to Wren's genius at St Paul's. | 0:54:55 | 0:55:00 | |
It's hidden away in the south-west tower - | 0:55:00 | 0:55:03 | |
the geometric staircase. | 0:55:03 | 0:55:06 | |
This staircase is a marvel of engineering. | 0:55:24 | 0:55:28 | |
It appears simply to float. | 0:55:28 | 0:55:31 | |
Each step rests on the other with nothing supporting it underneath, | 0:55:31 | 0:55:35 | |
and to this day they argue about why it actually stands up, | 0:55:35 | 0:55:39 | |
which is not very encouraging for people like me | 0:55:39 | 0:55:41 | |
who suffer from a bit of vertigo. | 0:55:41 | 0:55:43 | |
But Wren didn't just want to use science to serve the building. | 0:55:49 | 0:55:53 | |
He wanted the building to serve science. | 0:55:53 | 0:55:57 | |
He had a scheme to install a giant telescope | 0:55:57 | 0:56:00 | |
reaching from right down there up through a hole in the roof. | 0:56:00 | 0:56:04 | |
You could stay at the bottom, look through the telescope, | 0:56:04 | 0:56:07 | |
and as the Earth turned, | 0:56:07 | 0:56:09 | |
the telescope would track the stars in the night sky. | 0:56:09 | 0:56:14 | |
The 17th century had been a time of turmoil, | 0:56:33 | 0:56:37 | |
but out of it had come scientific genius and creative enterprise | 0:56:37 | 0:56:42 | |
that laid the foundations for Britain to become a world power. | 0:56:42 | 0:56:47 | |
At the moment that the final stone was laid | 0:56:47 | 0:56:50 | |
to the top of this dome in 1708, | 0:56:50 | 0:56:53 | |
St Paul's stood at the heart of a new nation. | 0:56:53 | 0:56:56 | |
Only the year before, it had been officially renamed - | 0:56:56 | 0:56:59 | |
not Britain, but Great Britain. | 0:56:59 | 0:57:02 | |
It was an end to warring factions. | 0:57:02 | 0:57:05 | |
In their place, collaboration and confidence that heralded a new era. | 0:57:05 | 0:57:10 | |
In the next age - | 0:57:16 | 0:57:17 | |
wealth beyond our wildest dreams | 0:57:17 | 0:57:21 | |
and the new middle class that enjoyed it. | 0:57:21 | 0:57:24 | |
Out of it all would emerge some of our most inspired artists... | 0:57:24 | 0:57:28 | |
..and our greatest hero. | 0:57:31 | 0:57:33 | |
It's the Age of Money. | 0:57:33 | 0:57:35 |