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I'm on a journey along the edge of London, in rural Hertfordshire, | 0:00:20 | 0:00:24 | |
beginning here, in a field soon to become a forest | 0:00:24 | 0:00:27 | |
and ending at the countryside home | 0:00:27 | 0:00:30 | |
of one of the 20th century's greatest sculptors. | 0:00:30 | 0:00:33 | |
'My journey starts near St Albans in a forest of the future.' | 0:00:38 | 0:00:42 | |
-This ground is incredibly tough, isn't it? -It is jolly hard. | 0:00:42 | 0:00:47 | |
We've got to get down deep enough for these roots. | 0:00:47 | 0:00:49 | |
'Then it's off to Scott's Grotto in Ware, | 0:00:49 | 0:00:52 | |
'a puzzling remnant of 18th-century high society. | 0:00:52 | 0:00:56 | |
'I'll visit the gorgeous home | 0:00:56 | 0:00:58 | |
'of the late Barbara Cartland, queen of the romance novel.' | 0:00:58 | 0:01:01 | |
-So, we're in the very room that your mother used to write in. -Indeed. | 0:01:01 | 0:01:05 | |
I'd like to say welcome to Camfield Place, the home of Barbara Cartland | 0:01:05 | 0:01:09 | |
and the romance capital of the world. | 0:01:09 | 0:01:12 | |
And then it's onto Knebworth and a story of another inspirational lady. | 0:01:12 | 0:01:17 | |
She joined a delegation to rush the House of Commons | 0:01:17 | 0:01:20 | |
with lots of the other women. | 0:01:20 | 0:01:21 | |
Many of them were arrested, taken before the magistrates. | 0:01:21 | 0:01:24 | |
She wanted to be treated like one of the Suffragettes. | 0:01:24 | 0:01:27 | |
'And my Hertfordshire journey comes to an end in Perry Green, | 0:01:27 | 0:01:31 | |
'yet another famous home. That of the late Henry Moore, | 0:01:31 | 0:01:34 | |
'a Yorkshire man who settled here | 0:01:34 | 0:01:36 | |
'and became one of the world's most celebrated sculptors.' | 0:01:36 | 0:01:40 | |
And along the way, I'll be looking back at the best of the BBC's | 0:01:40 | 0:01:43 | |
rural programmes from this part of the world. | 0:01:43 | 0:01:45 | |
This is Country Tracks. | 0:01:45 | 0:01:49 | |
'Much of Hertfordshire is part of the London commuter belt. | 0:01:50 | 0:01:54 | |
'I'm less than 30 miles away from Marble Arch right now. | 0:01:54 | 0:01:57 | |
'But parts of it are very rural. | 0:01:57 | 0:01:59 | |
'Huge areas of this home county are given over to agriculture.' | 0:01:59 | 0:02:03 | |
This was once an arable field | 0:02:03 | 0:02:06 | |
and you could be forgiven for thinking that it still is. | 0:02:06 | 0:02:10 | |
But in fact, it's England's largest new native forest. | 0:02:10 | 0:02:14 | |
Or at least it will be. | 0:02:14 | 0:02:15 | |
'Give it a couple of hundred years | 0:02:17 | 0:02:19 | |
'and Heartwood Forest will be a dense, diverse woodland. | 0:02:19 | 0:02:23 | |
'It's a major project. | 0:02:23 | 0:02:25 | |
'At the helm is Louise Neicho from The Woodland Trust.' | 0:02:25 | 0:02:28 | |
It seems such a contrast. In here, established woodland | 0:02:28 | 0:02:31 | |
and out there, to me, it looks like arable fields. | 0:02:31 | 0:02:34 | |
Well, it is at the moment. | 0:02:34 | 0:02:35 | |
One of the reasons we bought the land in this location | 0:02:35 | 0:02:38 | |
is because of these pieces of ancient woodland. | 0:02:38 | 0:02:41 | |
Ancient woodland means it's been around for at least 400 years. | 0:02:41 | 0:02:44 | |
So the equivalent to our rainforest in the UK, basically. | 0:02:44 | 0:02:49 | |
And very few left in Britain today. | 0:02:49 | 0:02:51 | |
Something like 2% of the landmass in the UK is ancient woodland. | 0:02:51 | 0:02:55 | |
That's all that's left. And they are actually still being destroyed. | 0:02:55 | 0:02:58 | |
So one of the things this project will do is buffer it | 0:02:58 | 0:03:02 | |
and extend these pieces of ancient woodland. | 0:03:02 | 0:03:05 | |
We can never replace them, but we will be able to protect them. | 0:03:05 | 0:03:09 | |
So, Louise, why is the forest being planted here? | 0:03:11 | 0:03:14 | |
The Woodland Trust have been looking for a large site | 0:03:14 | 0:03:17 | |
in the south of England to create a really big project | 0:03:17 | 0:03:21 | |
that would have a huge impact on wildlife, as well as people. | 0:03:21 | 0:03:25 | |
So one of the reasons it's right here in Hertfordshire, | 0:03:25 | 0:03:29 | |
in St Albans, is that. | 0:03:29 | 0:03:30 | |
It must be pretty expensive land in the southeast of England. | 0:03:30 | 0:03:33 | |
It is, but we've got a very good reason for choosing it. | 0:03:33 | 0:03:36 | |
Within a 15-mile radius, | 0:03:36 | 0:03:38 | |
there's over two million people we can connect with. | 0:03:38 | 0:03:41 | |
We probably could've bought a piece of land the same size | 0:03:41 | 0:03:43 | |
in Scotland or Wales, but it wouldn't have had the same impact | 0:03:43 | 0:03:47 | |
in terms of people engagement, getting people involved. | 0:03:47 | 0:03:50 | |
That's what the project's all about. | 0:03:50 | 0:03:52 | |
It's going to take us 8-10 years to plant the forest. | 0:03:52 | 0:03:56 | |
We could probably do it quicker if we did it with contractors. | 0:03:56 | 0:03:59 | |
We could probably do it cheaper. That's not what we want. | 0:03:59 | 0:04:02 | |
We want a community forest that people really feel a part of | 0:04:02 | 0:04:05 | |
and really want to get connected with. | 0:04:05 | 0:04:08 | |
So, where does this new forest fit into the bigger woodland picture? | 0:04:08 | 0:04:12 | |
Believe it or not, the UK is one of the least wooded countries in Europe. | 0:04:12 | 0:04:15 | |
There's about 12% of woodland cover. | 0:04:15 | 0:04:18 | |
With an average in Europe of about 44%, which is quite incredible. | 0:04:18 | 0:04:22 | |
So one of the aims in The Woodland Trust | 0:04:22 | 0:04:25 | |
is to double woodland's native cover in the UK in the next 50 years. | 0:04:25 | 0:04:29 | |
'That's a big ambition indeed. | 0:04:32 | 0:04:35 | |
'But Louise tells me that here in Hertfordshire at least, | 0:04:35 | 0:04:38 | |
'there's an army of eager volunteers | 0:04:38 | 0:04:40 | |
'bringing determination and passion to this project.' | 0:04:40 | 0:04:44 | |
The Woodland Trust are planting 600,000 trees | 0:04:58 | 0:05:02 | |
across nearly 900 acres. | 0:05:02 | 0:05:05 | |
And what's even more impressive is that every single sapling | 0:05:05 | 0:05:08 | |
is being planted by hand, by volunteers. | 0:05:08 | 0:05:12 | |
No machines, no contractors, just a lot of goodwill. | 0:05:12 | 0:05:16 | |
What's in the line-up? | 0:05:29 | 0:05:31 | |
Today, we've got white willow, spindle, purging buckthorn, | 0:05:31 | 0:05:36 | |
wayfaring tree, blackthorn, hazel, | 0:05:36 | 0:05:40 | |
hawthorn, ash, field maple, | 0:05:40 | 0:05:44 | |
rowan, hornbeam, goat willow and an oak. | 0:05:44 | 0:05:50 | |
You passed the test! You got them all! | 0:05:50 | 0:05:52 | |
-That's quite a variety, isn't it? -Yes. | 0:05:52 | 0:05:54 | |
And any particular order? Are they all going in today? | 0:05:54 | 0:05:57 | |
Yeah. They'll all be going in today, | 0:05:57 | 0:05:59 | |
but what we try to do is get the tall species, so the oak, | 0:05:59 | 0:06:03 | |
the ash, the hornbeam, in the centre of the woodland. | 0:06:03 | 0:06:06 | |
That will create the forest. | 0:06:06 | 0:06:07 | |
But, then, along the edges, we want to create woodland edge habitat. | 0:06:07 | 0:06:11 | |
That's where the hedging-type shrub species go in, | 0:06:11 | 0:06:13 | |
such as the hawthorn and blackthorn. | 0:06:13 | 0:06:15 | |
I think you'd better put me to work. | 0:06:15 | 0:06:17 | |
-Yes, absolutely. -There's trees to go in. | 0:06:17 | 0:06:19 | |
This ground is incredibly tough, isn't it? | 0:06:31 | 0:06:35 | |
It is jolly hard, isn't it? | 0:06:35 | 0:06:36 | |
We've got to get down deep enough for these roots. | 0:06:36 | 0:06:39 | |
You've got to go as long as the roots? | 0:06:39 | 0:06:41 | |
As long as the root, yes. | 0:06:41 | 0:06:42 | |
And if you pick a tree with a big, wide spread of root, | 0:06:42 | 0:06:46 | |
then you've got to dig a big, wide hole. | 0:06:46 | 0:06:48 | |
I think I've got loads of flint in here. | 0:06:48 | 0:06:51 | |
I think we've got a Roman road under here somewhere. | 0:06:51 | 0:06:54 | |
There has been Roman occupation on this ground, | 0:06:54 | 0:06:57 | |
but now we're not going to interfere with that. | 0:06:57 | 0:06:59 | |
It's all about the trees now. | 0:06:59 | 0:07:01 | |
All about the trees and the people and the nature | 0:07:01 | 0:07:04 | |
and the flowers and the mosses | 0:07:04 | 0:07:05 | |
and the butterflies and the everythings. | 0:07:05 | 0:07:08 | |
-Have you got a favourite tree? -No, I haven't. | 0:07:08 | 0:07:12 | |
It just happens to be the one I'm looking at sometimes. | 0:07:12 | 0:07:14 | |
They all have different characteristics. | 0:07:14 | 0:07:17 | |
-So you like them all, then? -I do, yes. -That's not deep enough. | 0:07:17 | 0:07:20 | |
This is going to take me a while. | 0:07:20 | 0:07:22 | |
Yes, I think we're onto a job here. | 0:07:22 | 0:07:24 | |
So, have you been up here in all weathers? | 0:07:24 | 0:07:26 | |
Yes. And believe me, some of the all weathers were all weather. | 0:07:26 | 0:07:30 | |
-Were they really? -Yes. -I'm ready. How about you, Pat? | 0:07:30 | 0:07:32 | |
Well, I think so. I've got a nice little rough bit at the bottom there. | 0:07:32 | 0:07:36 | |
-Excellent. -Let's see what we can do. | 0:07:36 | 0:07:38 | |
-It's looking good. -Oh, perfect. Perfect! | 0:07:38 | 0:07:42 | |
Lovely soil, you see. It's nice and crumbly, isn't it? | 0:07:44 | 0:07:47 | |
It may have been hard to dig, | 0:07:47 | 0:07:49 | |
but it's beautifully crumbly to put back in. | 0:07:49 | 0:07:51 | |
-Right, what's next? -Here we've got an oak for you. | 0:08:03 | 0:08:06 | |
These are supposed to be the hardest ones. | 0:08:06 | 0:08:09 | |
They can be. Some of the roots are quite big. | 0:08:09 | 0:08:11 | |
-Thank you! -Mind how you go. | 0:08:11 | 0:08:14 | |
-Oh, this ground is brutal! -I know. | 0:08:14 | 0:08:17 | |
So, a good way to see if your roots are going to fit in that hole is... | 0:08:22 | 0:08:27 | |
We often tell the children this. | 0:08:27 | 0:08:29 | |
Put your hands across like that, | 0:08:29 | 0:08:31 | |
and if the palm of your hand hits the ground, | 0:08:31 | 0:08:33 | |
you know that your hole is going to be deep enough. | 0:08:33 | 0:08:36 | |
Mine's actually not quite there! | 0:08:36 | 0:08:39 | |
I've only gone about halfway, so... | 0:08:39 | 0:08:41 | |
That was a disappointing exercise. Keep going. | 0:08:41 | 0:08:45 | |
How long until it starts to look like a forest and feel like it? | 0:08:45 | 0:08:49 | |
Between 8-12 years. The trees will be above your head. | 0:08:49 | 0:08:53 | |
You will start to feel like you're in a forest. | 0:08:53 | 0:08:56 | |
So it's quite quickly. | 0:08:56 | 0:08:57 | |
That's much quicker than I expected, actually. | 0:08:57 | 0:09:00 | |
The people who've volunteered will see some fruits of their labour. | 0:09:00 | 0:09:04 | |
Yeah. Absolutely. Particularly the schoolchildren. | 0:09:04 | 0:09:07 | |
I often say to them, when you're going off to uni, | 0:09:07 | 0:09:11 | |
when you're getting married, come and see it. | 0:09:11 | 0:09:13 | |
-It will be a woodland by then, which I think is fantastic. -Love that. | 0:09:13 | 0:09:17 | |
'Heartwood Forest may need a helping hand to get started, | 0:09:17 | 0:09:20 | |
'but nature will soon take over and the land will become wild once more. | 0:09:20 | 0:09:25 | |
'In other parts of Hertfordshire, Mother Nature is being shaped, | 0:09:25 | 0:09:28 | |
'sculpted and styled. | 0:09:28 | 0:09:31 | |
'And Alan Titchmarsh knows a thing or two about that.' | 0:09:31 | 0:09:34 | |
In 1625, Francis Bacon wrote, | 0:09:41 | 0:09:44 | |
"God Almighty first planted a garden. | 0:09:44 | 0:09:48 | |
"And indeed, it is the purest of human pleasures." | 0:09:48 | 0:09:52 | |
'The century was one of massive change. | 0:09:53 | 0:09:55 | |
'Six monarchs, a civil war, the Puritans and the Plague. | 0:09:55 | 0:09:59 | |
'Garden design reacted to these social changes in a dramatic way. | 0:09:59 | 0:10:03 | |
'The garden became a refuge of order and calm. | 0:10:03 | 0:10:07 | |
'An opportunity to control nature in a chaotic world.' | 0:10:07 | 0:10:12 | |
It was a time when Britain began to garden for pride, | 0:10:12 | 0:10:15 | |
not just for purpose. | 0:10:15 | 0:10:16 | |
Hatfield House in Hertfordshire | 0:10:16 | 0:10:19 | |
is, for me, a fine example of this new passion for the aesthetic. | 0:10:19 | 0:10:25 | |
'From 1497 until the early 1600s, | 0:10:35 | 0:10:38 | |
'Hatfield had been a royal garden. | 0:10:38 | 0:10:42 | |
'The old palace still remains in the grounds. | 0:10:42 | 0:10:45 | |
'Elizabeth I grew up here | 0:10:48 | 0:10:50 | |
'and first learned she was to be Queen under Hatfield's old oaks. | 0:10:50 | 0:10:54 | |
'Her successor, King James I, | 0:10:57 | 0:11:00 | |
'planted these mulberry trees to help kick-start the silk trade. | 0:11:00 | 0:11:04 | |
'But it was Sir Robert Cecil, Earl of Salisbury | 0:11:06 | 0:11:09 | |
'who, in 1608, took over the estate and built the large Jacobean house, | 0:11:09 | 0:11:14 | |
'around which, the famous gardens were designed. | 0:11:14 | 0:11:17 | |
'Unlike many of the estates from this period, Hatfield is unique. | 0:11:18 | 0:11:22 | |
'Because here, you find a century's worth of ideas in one place. | 0:11:22 | 0:11:28 | |
'Whether it's the innovative use of the hedge... | 0:11:28 | 0:11:32 | |
'..an obsession with sculpted topiary, | 0:11:33 | 0:11:36 | |
'fruit trees that are both ornamental and functional | 0:11:36 | 0:11:39 | |
'or the clever use of perspective, | 0:11:39 | 0:11:41 | |
'these are some of the classic ideas of the time. | 0:11:41 | 0:11:44 | |
'But cleverly adapted, they can suit any contemporary garden. | 0:11:44 | 0:11:49 | |
'Now, there's one thing you can't escape at Hatfield. | 0:11:55 | 0:11:58 | |
'Something that goes on and on for 26 miles. | 0:11:58 | 0:12:02 | |
'Much underrated today, it was a revolutionary design feature then. | 0:12:02 | 0:12:06 | |
'The hedge. | 0:12:06 | 0:12:07 | |
'What I particularly like about Hatfield | 0:12:10 | 0:12:13 | |
'is that it has four gardens set around the house. | 0:12:13 | 0:12:17 | |
'And by looking at each one, we can actually see | 0:12:17 | 0:12:19 | |
'how the role of the hedge evolved across the century. | 0:12:19 | 0:12:22 | |
'No other garden I know can show this. | 0:12:22 | 0:12:25 | |
'Hatfield's private archive offers the key to how it all began.' | 0:12:25 | 0:12:30 | |
This is one of the very earliest gardening manuals. | 0:12:32 | 0:12:36 | |
One of the first to be published, in 1594, by Thomas Hill. | 0:12:36 | 0:12:40 | |
It's called The Gardener's Labyrinth. | 0:12:40 | 0:12:45 | |
And it's dedicated to Lord Sir William Cecil, | 0:12:45 | 0:12:48 | |
the father of Robert Cecil, who made this garden. | 0:12:48 | 0:12:51 | |
So you can tell how old it is. | 0:12:51 | 0:12:53 | |
In it, wonderful, wonderful pages | 0:12:53 | 0:12:56 | |
of patterns for you to copy, all of knots. | 0:12:56 | 0:13:03 | |
If you have a formal part in your garden | 0:13:03 | 0:13:06 | |
and you want to know how it came about, | 0:13:06 | 0:13:08 | |
then the answer is that it probably had its ancestors in Tudor times, | 0:13:08 | 0:13:12 | |
almost 500 years ago, in a knot garden like this one at Hatfield. | 0:13:12 | 0:13:18 | |
No flowers in this part. | 0:13:18 | 0:13:20 | |
Clipped box or Santolina, cotton lavender, was the height of fashion. | 0:13:20 | 0:13:25 | |
Woven into these intricate shapes, or knots. | 0:13:25 | 0:13:29 | |
'Up to this point, hedges were grown high to protect man from danger. | 0:13:29 | 0:13:33 | |
'Now they were clipped low and designed to compliment | 0:13:33 | 0:13:37 | |
'the architecture of the house. | 0:13:37 | 0:13:39 | |
'But the English knot was to go out of fashion during the 17th century. | 0:13:39 | 0:13:43 | |
'The French thought they could do better, | 0:13:43 | 0:13:46 | |
'so they created a larger and grander version, the parterre. | 0:13:46 | 0:13:50 | |
'It became a gardening must-have. | 0:13:52 | 0:13:54 | |
'And at Hatfield, it appeared on the south side of the garden. | 0:13:54 | 0:13:59 | |
'Like the knot, the parterre is a symmetrical formal garden | 0:13:59 | 0:14:02 | |
'with a box-hedge border and a pattern within. | 0:14:02 | 0:14:06 | |
'But it's more extensive than the knot | 0:14:06 | 0:14:08 | |
'and the hedge is shaped into elaborate curves and curlicues. | 0:14:08 | 0:14:12 | |
'But this was just the start. | 0:14:12 | 0:14:14 | |
'By now, Britain's landed gentry were travelling abroad | 0:14:14 | 0:14:18 | |
'and being exposed to new plants and ideas. | 0:14:18 | 0:14:21 | |
'The designers at Hatfield saw how these could work with the hedge | 0:14:21 | 0:14:25 | |
'and created a new formal garden in the east parterre. | 0:14:25 | 0:14:28 | |
'As the century progressed, the role of the hedge changed further. | 0:14:32 | 0:14:35 | |
'You can see how in Hatfield's west parterre.' | 0:14:35 | 0:14:41 | |
So this really, then, David, is the final development of the parterre. | 0:14:43 | 0:14:47 | |
Yes. I mean, the garden still had the formality, | 0:14:47 | 0:14:50 | |
the sharp lines, crispness, | 0:14:50 | 0:14:52 | |
but inside the beds was quite chaotic in some ways. | 0:14:52 | 0:14:55 | |
So all that remained of that parterre is the shape of the beds | 0:14:55 | 0:15:01 | |
and one or two lumps of box and yew topiary. | 0:15:01 | 0:15:04 | |
But, inside the beds, this effusion, this ebullience, | 0:15:04 | 0:15:07 | |
this complete organised chaos, if you like. | 0:15:07 | 0:15:10 | |
-Why did this happen? -Plants were a lot more important in them days. | 0:15:10 | 0:15:13 | |
We now have plants introduced almost weekly. | 0:15:13 | 0:15:16 | |
But of course, in them days, they weren't. | 0:15:16 | 0:15:19 | |
They were being brought from all over the world. | 0:15:19 | 0:15:22 | |
And the more important plants you had, the more important your garden was. | 0:15:22 | 0:15:27 | |
So this was the ultimate in showing off? | 0:15:27 | 0:15:30 | |
Exactly. And that's what these gardens were for. | 0:15:30 | 0:15:33 | |
'Here we can see how the role of the hedge has evolved into what it is today. | 0:15:33 | 0:15:38 | |
'What began as a focus, gradually retreated to become a boundary, | 0:15:38 | 0:15:43 | |
'a framework for our gardens. | 0:15:43 | 0:15:45 | |
'We owe its evolution to the 17th century.' | 0:15:45 | 0:15:48 | |
Alan Titchmarsh exploring the roots of gardening at Hatfield House. | 0:15:53 | 0:15:57 | |
I've headed northeast to Scott's Grotto in Ware. | 0:15:58 | 0:16:02 | |
It's a bizarre and beautiful place. | 0:16:02 | 0:16:05 | |
Behind a door on an ordinary residential street, | 0:16:05 | 0:16:08 | |
lies an extraordinary link with Hertfordshire's highfalutin past. | 0:16:08 | 0:16:14 | |
It's the biggest grotto in England. | 0:16:21 | 0:16:24 | |
Built in the 1760s by a Quaker poet called John Scott, | 0:16:24 | 0:16:28 | |
it's as stunning as it is strange. | 0:16:28 | 0:16:31 | |
"Grotto" is said to come from the word "grotesque", | 0:16:34 | 0:16:38 | |
and they were originally fashionable in Italy as places to go on balmy days. | 0:16:38 | 0:16:43 | |
But since we don't have that problem in Britain, | 0:16:43 | 0:16:46 | |
John Scott built it as a place to show off to his guests. | 0:16:46 | 0:16:49 | |
When Dr Johnson visited, he declared the place "the perfect habitation for a toad". | 0:16:49 | 0:16:54 | |
It is feeling a bit damp so I'll get my coat on. | 0:16:54 | 0:16:57 | |
Not only is it cold, but it's dark and empty. | 0:17:05 | 0:17:10 | |
No-one is certain why John Scott built such an intricate network of tunnels. | 0:17:15 | 0:17:21 | |
One theory is he was a great philanthropist | 0:17:21 | 0:17:23 | |
and the grotto was a job creation scheme. | 0:17:23 | 0:17:26 | |
On the other hand, it may have been the ultimate fashion statement. | 0:17:26 | 0:17:30 | |
After all, how many people could boast an underground treasure trove in the garden? | 0:17:30 | 0:17:35 | |
It's funny. These dark, flint-lined corridors | 0:17:41 | 0:17:45 | |
give me that slightly claustrophobic feeling. | 0:17:45 | 0:17:49 | |
It's 30 feet underground here, so that's not helping much. | 0:17:49 | 0:17:54 | |
I feel like I'm having to talk myself down a little bit. | 0:17:54 | 0:17:57 | |
Oh... | 0:17:57 | 0:17:59 | |
Wow. | 0:18:08 | 0:18:10 | |
These warm-water shells were originally brought | 0:18:10 | 0:18:13 | |
in the ballast of ships returning from the New World. | 0:18:13 | 0:18:16 | |
There's some from the Indian Ocean, some from the Caribbean. | 0:18:16 | 0:18:20 | |
There are some whopper barnacles up on the roof | 0:18:20 | 0:18:23 | |
and the whole grotto was restored in 1990 after a campaign to save it in the 1980s - | 0:18:23 | 0:18:27 | |
to bring back John Scott's vision from 250 years ago. | 0:18:27 | 0:18:33 | |
It's widely agreed that John Scott's poetry wasn't that good. | 0:18:39 | 0:18:42 | |
His grotto is certainly more famous than his work. | 0:18:42 | 0:18:46 | |
One writer who did make a huge difference | 0:18:46 | 0:18:48 | |
to the world of literature was EM Forster, | 0:18:48 | 0:18:51 | |
and the house which inspired his classic, Howards End, is not far away. | 0:18:51 | 0:18:57 | |
Rural Hertfordshire. | 0:19:00 | 0:19:02 | |
The inspiration for EM Forster's literary classic, Howards End. | 0:19:02 | 0:19:06 | |
Published in 1910, it's the story of three different families | 0:19:06 | 0:19:11 | |
from three different classes of English Edwardian society. | 0:19:11 | 0:19:17 | |
The setting is Howards End, | 0:19:17 | 0:19:19 | |
the house that connects all the characters in the book. | 0:19:19 | 0:19:22 | |
And the inspiration for Howards End, EM Forster's own childhood home, Rooks Nest. | 0:19:22 | 0:19:30 | |
"It is old and little and altogether delightful. Red brick, | 0:19:30 | 0:19:35 | |
"and standing on the boundary between the garden and the meadow." | 0:19:35 | 0:19:38 | |
'Margaret Ashby is a local author and expert on EM Forster.' | 0:19:38 | 0:19:42 | |
So, this is Howards End? | 0:19:42 | 0:19:44 | |
This is the original Howards End of EM Forster's novel. | 0:19:44 | 0:19:49 | |
He spent his childhood here, from the years of four to 14. | 0:19:49 | 0:19:52 | |
Loved the place and said he never wanted to leave it. | 0:19:52 | 0:19:57 | |
His father died, so the widow, Mrs Forster, decided she wanted to live in the country. | 0:19:57 | 0:20:03 | |
She brought her little boy here and we know from his letters | 0:20:03 | 0:20:07 | |
and his mother's letters, | 0:20:07 | 0:20:09 | |
how important the house was. At one point he called it, | 0:20:09 | 0:20:12 | |
"My abiding city." | 0:20:12 | 0:20:15 | |
There were two central elements to EM Forster's childhood - | 0:20:15 | 0:20:18 | |
one, his mother, and the other, this house. I want to go inside. | 0:20:18 | 0:20:22 | |
"To be parted from your house. It oughtn't to be allowed. | 0:20:22 | 0:20:26 | |
"It is worse than dying." | 0:20:26 | 0:20:28 | |
This a complicated family saga | 0:20:28 | 0:20:30 | |
involving three groups of people from differing classes | 0:20:30 | 0:20:34 | |
and the house is the place where these three classes come together, | 0:20:34 | 0:20:38 | |
mix and...part. | 0:20:38 | 0:20:42 | |
That is absolutely right. | 0:20:42 | 0:20:44 | |
It's very clever of Forster to make this happen. | 0:20:44 | 0:20:46 | |
It's leading towards his vision of an England | 0:20:46 | 0:20:50 | |
in which there is no separation, | 0:20:50 | 0:20:53 | |
that we don't have division by class. | 0:20:53 | 0:20:55 | |
But, for Forster, this novel is about more than connecting the classes. | 0:20:55 | 0:21:00 | |
The idea of connection is explored on many levels. | 0:21:00 | 0:21:05 | |
Something that was important in his literature but also in his personal life. | 0:21:05 | 0:21:10 | |
Adrian Barlow from the Institute Of Continuing Education at Cambridge University | 0:21:10 | 0:21:14 | |
has spent years studying Forster - his life and work. | 0:21:14 | 0:21:18 | |
Adrian, Forster's connection with the house is very clear. | 0:21:18 | 0:21:22 | |
But the idea of connection, connecting, is key to the novel. | 0:21:22 | 0:21:26 | |
I mean, there on the title page are the words "Only connect!..." | 0:21:26 | 0:21:30 | |
"Only connect!" - dot-dot-dot. | 0:21:30 | 0:21:32 | |
That leaves the way open for a discussion of exactly what he's trying to connect. | 0:21:32 | 0:21:37 | |
Whether it's an individual level, a social level, or even a political or ecological level. | 0:21:37 | 0:21:42 | |
In Howards End, what are the key connections? | 0:21:42 | 0:21:46 | |
The connections between the families - the Wilcoxes, the Schlegels and the Basts. | 0:21:46 | 0:21:50 | |
But, more importantly, a connection between the city and the country, | 0:21:50 | 0:21:54 | |
between past and present, and a sense that the world is changing very rapidly, | 0:21:54 | 0:21:58 | |
or is on the verge of changing very rapidly, | 0:21:58 | 0:22:00 | |
and we mustn't lose a sense of where we're coming from or going to. | 0:22:00 | 0:22:04 | |
"In these English farms, one might see life steadily and see it as a whole. | 0:22:04 | 0:22:08 | |
"Connect, until all men are brothers." | 0:22:08 | 0:22:13 | |
Was he, from childhood onwards, trying to make connections personally? | 0:22:13 | 0:22:17 | |
He was someone who valued friendship enormously, | 0:22:17 | 0:22:20 | |
but found friendship very difficult. | 0:22:20 | 0:22:22 | |
He was someone who, because of his sexual orientation, | 0:22:22 | 0:22:25 | |
found a position in society on one hand quite difficult to establish, | 0:22:25 | 0:22:29 | |
but on the other hand, found it something he wanted to be honest and open about. | 0:22:29 | 0:22:34 | |
Once he became emotionally connected, he stopped writing. | 0:22:34 | 0:22:37 | |
After the 1920s, where he's established the relationships | 0:22:37 | 0:22:40 | |
which will sustain him for the rest of his life, | 0:22:40 | 0:22:43 | |
the imperative to keep writing fiction disappears. | 0:22:43 | 0:22:47 | |
It would've been better for literature if he hadn't found happiness! | 0:22:47 | 0:22:51 | |
That would've been unfair on Forster. | 0:22:51 | 0:22:54 | |
"Only connect!... Only connect the prose and the passion and both will be exalted. | 0:22:54 | 0:22:58 | |
"Live in fragments no longer." | 0:22:58 | 0:23:02 | |
The book ends on an optimistic note. Spring has arrived, there's going to be a marvellous crop of hay, | 0:23:02 | 0:23:08 | |
and the families are connected through birth and marriage to their beloved Howards End. | 0:23:08 | 0:23:15 | |
Gyles Brandreth at Howards End. | 0:23:19 | 0:23:21 | |
I'm near Hatfield on the next leg of my journey, at the home of another famous author. | 0:23:21 | 0:23:27 | |
Far more prolific than Forster, | 0:23:27 | 0:23:29 | |
and some might say, more widely enjoyed. | 0:23:29 | 0:23:33 | |
EM Forster wanted to connect, and the writer that lived in this house wrote hundreds of books | 0:23:35 | 0:23:43 | |
and connected with a massive worldwide readership. | 0:23:43 | 0:23:46 | |
She was the one and only Barbara Cartland. | 0:23:46 | 0:23:49 | |
She was the queen of romance. Her first book, Jig-Saw, was published in 1925 | 0:23:53 | 0:23:59 | |
and she went on to write another 643 romance novels. | 0:23:59 | 0:24:03 | |
She died in 2000 at the age of 98, | 0:24:03 | 0:24:07 | |
leaving 160 unpublished manuscripts. | 0:24:07 | 0:24:10 | |
Her son, Ian McCorquodale has christened them, "The Pink Collection" | 0:24:10 | 0:24:14 | |
and Barbara Cartland fans all over the world are reading new stories | 0:24:14 | 0:24:19 | |
more than ten years after her death. | 0:24:19 | 0:24:22 | |
I'm privileged to be here, getting a rare insight | 0:24:22 | 0:24:26 | |
into the real world of Barbara Cartland with her son Ian, who still lives on the estate today. | 0:24:26 | 0:24:31 | |
Ian, we're in the very room that your mother used to write in. | 0:24:34 | 0:24:38 | |
Indeed, and welcome to Camfield Place... | 0:24:38 | 0:24:41 | |
-Thank you. -..the home of Barbara Cartland | 0:24:41 | 0:24:43 | |
and the romance capital of the world. | 0:24:43 | 0:24:45 | |
All romantic things happen in this house and in this room, my mother wrote all her wonderful books... | 0:24:45 | 0:24:51 | |
-Tell me how the room was arranged? -..lying on the sofa there, just behind us. | 0:24:51 | 0:24:55 | |
The secretary was sitting behind her. | 0:24:55 | 0:24:57 | |
She didn't like to see them, cos she said they always fidgeted. | 0:24:57 | 0:25:00 | |
-Too distracting. -Yes, there was a tape recorder behind her so not a word was missed. | 0:25:00 | 0:25:05 | |
In two hours, she always started at half-past one, having had lunch, | 0:25:05 | 0:25:09 | |
and she would write up to 8,000 words. It was a chapter in a book. | 0:25:09 | 0:25:13 | |
Most journalists can manage about 1,000 words now. | 0:25:13 | 0:25:16 | |
But she could write 8,000 words in two hours. | 0:25:16 | 0:25:20 | |
-That's incredibly fast. -She could write a book in a fortnight. -Wow. | 0:25:20 | 0:25:23 | |
That was one of the great things about Barbara Cartland. | 0:25:23 | 0:25:26 | |
She said, "When you're a writer, don't wait for the muse to arrive, sucking your pencil, | 0:25:26 | 0:25:31 | |
"cos the muse never comes. Writing is a discipline. | 0:25:31 | 0:25:34 | |
"You start at 1.30, not 1.35 or 1.40. You start at 1.30 and get on with it." | 0:25:34 | 0:25:39 | |
How do you fit them all into the library here, all these books? | 0:25:39 | 0:25:43 | |
We can't fit them all here. That shelf over there | 0:25:43 | 0:25:47 | |
are the original English language first-edition Barbara Cartlands as they came out. | 0:25:47 | 0:25:51 | |
But she was translated into 38 different languages, | 0:25:51 | 0:25:55 | |
and the library is not big enough for all those books. | 0:25:55 | 0:25:58 | |
-They're in boxes all over the estate. -Fair enough. | 0:25:58 | 0:26:01 | |
Do you know how many of her books were sold? | 0:26:01 | 0:26:04 | |
We reckon, and we're never quite sure about these things, | 0:26:04 | 0:26:08 | |
she's sold over a billion copies, a thousand-million books in her lifetime. | 0:26:08 | 0:26:11 | |
-That must be a record. -She's up there with the Bible. -It is! How extraordinary. | 0:26:11 | 0:26:15 | |
People's hunger for romance in life, I suppose. | 0:26:15 | 0:26:18 | |
-Were they always happy endings? -Always happy endings. She did write one book, | 0:26:18 | 0:26:22 | |
which had an unhappy ending, | 0:26:22 | 0:26:24 | |
and it was a disaster because all her fans from all over the world sent her telegrams and letters, | 0:26:24 | 0:26:31 | |
"Please, please, let Amy..." - the girl's name - "..marry the hero!" | 0:26:31 | 0:26:35 | |
Cos she went into a convent and he went off on a big, white charger. | 0:26:35 | 0:26:38 | |
That was a great mistake. | 0:26:38 | 0:26:40 | |
So when the book was reprinted, she changed it all around and they had a happy ending after all! | 0:26:40 | 0:26:44 | |
She said, after that experience, "I'm never going to write a book with an unhappy ending." | 0:26:44 | 0:26:48 | |
Every one's got to be a Barbara Cartland happy ending. | 0:26:48 | 0:26:51 | |
Barbara herself found true love in 1936, when she married Ian's father, Hugh. | 0:26:53 | 0:26:59 | |
It was her second marriage and they had 27 happy years together. | 0:26:59 | 0:27:03 | |
Hugh died in 1963 and Barbara never remarried. | 0:27:03 | 0:27:08 | |
What was it like for you, being the son of Barbara Cartland? She was so famous. | 0:27:12 | 0:27:15 | |
It was great. We used to do everything together. | 0:27:15 | 0:27:18 | |
People always ask me, how did your mother find time, being so busy - | 0:27:18 | 0:27:21 | |
she was an incredibly busy person - to look after the children? | 0:27:21 | 0:27:26 | |
She always found time as she'd write in the afternoon. Tea-time was children's time. | 0:27:26 | 0:27:31 | |
Then my father would come back from the office and she'd look after him. | 0:27:31 | 0:27:34 | |
She had a great adage - "If you want to get something done, ask a busy person." | 0:27:34 | 0:27:38 | |
-Did your father read many of her books, or any of her books? -I don't think he read one of them. | 0:27:38 | 0:27:42 | |
Oh, dear! | 0:27:42 | 0:27:44 | |
-It wasn't quite his style of literature. -No. | 0:27:44 | 0:27:47 | |
He liked war books. | 0:27:47 | 0:27:49 | |
She wrote in this beautiful room in this gorgeous house, in lovely grounds. | 0:27:49 | 0:27:53 | |
-Was the countryside, the Hertfordshire countryside, important to her? -Very important to her. | 0:27:53 | 0:27:58 | |
She used to sit in the drawing room looking out over the garden. | 0:27:58 | 0:28:02 | |
She loved the garden. She used to walk around it. Whatever time of the year, the garden looks different. | 0:28:02 | 0:28:06 | |
She loved the garden. She liked to commune with nature. | 0:28:06 | 0:28:10 | |
She loved the Hertfordshire countryside and she loved Hertfordshire too. | 0:28:10 | 0:28:14 | |
This is Jig-Saw. | 0:28:22 | 0:28:24 | |
It's Barbara Cartland's first romantic novel, published in 1925 when she was only 24 years old. | 0:28:24 | 0:28:32 | |
"It was early April, one of those fresh spring days when the air itself | 0:28:32 | 0:28:36 | |
"seems to glitter in the sunshine. | 0:28:36 | 0:28:39 | |
"The new green of the trees shines almost transparent, | 0:28:39 | 0:28:43 | |
"as the sea in the early morning or a Scotch burn trickling over rocks and fells. | 0:28:43 | 0:28:48 | |
"The slight wind was whispering of adventures." | 0:28:48 | 0:28:52 | |
Barbara Cartland spent many happy hours in this garden, walking her dogs | 0:28:55 | 0:28:59 | |
and thinking up ever new and exciting stories. | 0:28:59 | 0:29:03 | |
If she sat long enough, she may have caught a glimpse of a new visitor to Hertfordshire. | 0:29:03 | 0:29:07 | |
Miriam O'Reilly certainly did. | 0:29:07 | 0:29:09 | |
Grey squirrels have been a part of our landscape | 0:29:14 | 0:29:17 | |
ever since the 19th century when they were first introduced from North America. | 0:29:17 | 0:29:21 | |
They may be endearing, but they're running riot amongst our woodlands, eating our flowers | 0:29:21 | 0:29:26 | |
and more alarmingly, they're carrying a deadly pox | 0:29:26 | 0:29:29 | |
which is threatening to wipe out our native red squirrel population. | 0:29:29 | 0:29:34 | |
To try and stop them, landowners have resorted to culling large numbers of greys. | 0:29:34 | 0:29:38 | |
But it now seems they have company. | 0:29:38 | 0:29:41 | |
Up until now, the grey squirrel has dominated the species, | 0:29:41 | 0:29:44 | |
but a newcomer has arrived. | 0:29:44 | 0:29:46 | |
It's black, it's fast and it could overtake the greys. | 0:29:46 | 0:29:50 | |
The first black squirrel was reported to have been sighted in Hertfordshire in 1912. | 0:29:50 | 0:29:56 | |
Since then, they've spread into other areas | 0:29:56 | 0:29:59 | |
and their numbers have been increasing over the years. | 0:29:59 | 0:30:02 | |
I've never seen a black squirrel before, | 0:30:02 | 0:30:05 | |
but apparently they can be spotted here, | 0:30:05 | 0:30:07 | |
in the town of Hitchin in Hertfordshire, | 0:30:07 | 0:30:09 | |
especially in this churchyard. | 0:30:09 | 0:30:11 | |
I'm here bright and early to see if I can spot any, | 0:30:11 | 0:30:14 | |
and joining me is local ecologist, Brian Sawford, | 0:30:14 | 0:30:18 | |
who's been studying and photographing black squirrels for years. | 0:30:18 | 0:30:22 | |
Were you surprised when you saw your first one? | 0:30:22 | 0:30:25 | |
Certainly was. The first thing that went through my mind, | 0:30:25 | 0:30:28 | |
"There's a squirrel, it's gone down a chimney and got covered in soot." | 0:30:28 | 0:30:32 | |
But I soon realised it was in fact a black squirrel, | 0:30:32 | 0:30:35 | |
and that was in excess of 30 years ago. | 0:30:35 | 0:30:37 | |
Where do the black squirrels hail from originally? | 0:30:37 | 0:30:40 | |
They came from North America. | 0:30:40 | 0:30:42 | |
That is their native territory. | 0:30:42 | 0:30:45 | |
And in North America there's quite a lot of black variants | 0:30:46 | 0:30:51 | |
amongst the greys. | 0:30:51 | 0:30:52 | |
We weren't sure we would actually see any on this cold morning | 0:30:54 | 0:30:57 | |
but we hung around the graveyard for a couple of hours, | 0:30:57 | 0:31:00 | |
and it turned out to be worth the wait. | 0:31:00 | 0:31:02 | |
There's one just over there, | 0:31:02 | 0:31:04 | |
just coming down from the tree. Feeding. | 0:31:04 | 0:31:07 | |
It's really pretty. | 0:31:07 | 0:31:09 | |
Yes. | 0:31:09 | 0:31:10 | |
It's so cute. | 0:31:10 | 0:31:12 | |
It is very fluffy looking, very black. | 0:31:12 | 0:31:14 | |
It's got its winter coat on. | 0:31:14 | 0:31:16 | |
In the summer they are rather less fluffy, particularly on the tail. | 0:31:16 | 0:31:21 | |
There's another one over there. | 0:31:21 | 0:31:23 | |
Yes, that is slightly larger. | 0:31:23 | 0:31:24 | |
Notice it's much more chocolate brown in colouration. | 0:31:24 | 0:31:28 | |
-Does that mean it is older? -Yes. | 0:31:28 | 0:31:31 | |
It is running now to join the other one. | 0:31:31 | 0:31:34 | |
They are playing up the tree. | 0:31:34 | 0:31:35 | |
Exactly the same as the grey squirrels, | 0:31:35 | 0:31:37 | |
they'll chase around like that. | 0:31:37 | 0:31:39 | |
There is no real antagonism between | 0:31:39 | 0:31:41 | |
the two individuals, they're just chasing. | 0:31:41 | 0:31:44 | |
It is believed black squirrels now make up about half | 0:31:44 | 0:31:47 | |
the entire squirrel population in parts of Hertfordshire. | 0:31:47 | 0:31:51 | |
Two years ago, Helen McRobie carried out the first UK study | 0:31:52 | 0:31:56 | |
into their unique colour. | 0:31:56 | 0:31:58 | |
We were looking at the genetics | 0:31:58 | 0:31:59 | |
of the grey squirrel and the black squirrel, | 0:31:59 | 0:32:01 | |
looking for the genetic difference, | 0:32:01 | 0:32:03 | |
and what we found out was that the black squirrel | 0:32:03 | 0:32:06 | |
has got a big chunk of DNA missing from the gene for fur colour. | 0:32:06 | 0:32:09 | |
The jet black squirrel has got two copies of that mutated gene, | 0:32:09 | 0:32:13 | |
so it's mum and its dad | 0:32:13 | 0:32:15 | |
both have this genetic mutation. | 0:32:15 | 0:32:17 | |
Are there any other differences, apart from colour? | 0:32:17 | 0:32:20 | |
There is a little bit of evidence | 0:32:20 | 0:32:22 | |
this gene could be involved in improving their immunity | 0:32:22 | 0:32:26 | |
so they might be better able to survive. | 0:32:26 | 0:32:30 | |
In northern Scotland, the largest mammal cull ever is underway | 0:32:30 | 0:32:34 | |
to stop grey squirrels from wiping out our native reds. | 0:32:34 | 0:32:37 | |
But are the black ones as much of a threat? | 0:32:37 | 0:32:40 | |
Do the black squirrels carry the squirrel pox as well? | 0:32:40 | 0:32:43 | |
In every way that we know, | 0:32:43 | 0:32:45 | |
they are exactly the same as the greys in that way. | 0:32:45 | 0:32:48 | |
They totally interbreed, they are the same species, | 0:32:48 | 0:32:51 | |
and as far as we know they carry the disease as well. | 0:32:51 | 0:32:54 | |
Are they the same species as the red squirrel? | 0:32:54 | 0:32:56 | |
Now, the red squirrel is a totally different species of squirrel. | 0:32:56 | 0:33:00 | |
They are smaller and they have got tufty ears. | 0:33:00 | 0:33:02 | |
They have a more specialised diet. They tend to eat nuts, | 0:33:02 | 0:33:06 | |
whereas the grey squirrel, | 0:33:06 | 0:33:08 | |
including the black squirrel because they are the same species, | 0:33:08 | 0:33:11 | |
will eat a much wider range of food, | 0:33:11 | 0:33:13 | |
which means they are better able to survive, really. | 0:33:13 | 0:33:16 | |
They are less fussy. | 0:33:16 | 0:33:18 | |
We also did some research to see if this black squirrel | 0:33:18 | 0:33:21 | |
was the same as the black squirrel in America, | 0:33:21 | 0:33:24 | |
and we found the genetic mutation is exactly the same. | 0:33:24 | 0:33:27 | |
So it seems these black ones started off in America | 0:33:27 | 0:33:30 | |
and somebody has brought them over and released them into Britain. | 0:33:30 | 0:33:33 | |
As of yet, black squirrels | 0:33:33 | 0:33:35 | |
haven't spread further north than Cambridgeshire. | 0:33:35 | 0:33:38 | |
The latest estimates suggest there might be | 0:33:38 | 0:33:41 | |
as many as 25,000 black squirrels in England today. | 0:33:41 | 0:33:45 | |
If their numbers continue to increase, | 0:33:45 | 0:33:47 | |
then, like the greys, they might pose problems in future, | 0:33:47 | 0:33:50 | |
but for now, these little fellows are really quite fun to watch. | 0:33:50 | 0:33:56 | |
Miriam O'Reilly on the trail of the black squirrel. | 0:34:00 | 0:34:04 | |
I've moved on from Barbara Cartland's magnificent country house | 0:34:04 | 0:34:09 | |
and headed north to another Hertfordshire pile, Knebworth. | 0:34:09 | 0:34:13 | |
The house was first built in 1490, | 0:34:13 | 0:34:15 | |
but the grand, Gothic appearance we see now | 0:34:15 | 0:34:18 | |
dates from the early 1800s. | 0:34:18 | 0:34:20 | |
It has long held royal connections. | 0:34:20 | 0:34:23 | |
Queen Elizabeth I was a visitor here in 1571. | 0:34:23 | 0:34:26 | |
These days, Knebworth is just as famous | 0:34:32 | 0:34:35 | |
for hosting the kings and queens of rock. | 0:34:35 | 0:34:39 | |
# Look me up in the Yellow Pages | 0:34:39 | 0:34:41 | |
# I will be your rock of ages | 0:34:41 | 0:34:43 | |
# Your see-through fads and your crazy phrases, yeah. # | 0:34:43 | 0:34:46 | |
I'm here to investigate the story of a woman who, in her day, | 0:34:46 | 0:34:50 | |
was every bit as rebellious as Robbie Williams. | 0:34:50 | 0:34:53 | |
Her name was Lady Constance Lytton, | 0:34:57 | 0:35:00 | |
the third child of the 1st Earl of Lytton. | 0:35:00 | 0:35:03 | |
She was born in 1869, | 0:35:03 | 0:35:05 | |
had a kind and intelligent nature, | 0:35:05 | 0:35:07 | |
and was dearly loved by her family. | 0:35:07 | 0:35:10 | |
She was a gifted writer and journalist, | 0:35:10 | 0:35:12 | |
spent many years caring for her widowed mother, and never married. | 0:35:12 | 0:35:16 | |
She had fallen in love | 0:35:16 | 0:35:18 | |
with a career soldier called John Ponsonby, | 0:35:18 | 0:35:20 | |
but her family did not approve the match, | 0:35:20 | 0:35:22 | |
and she accepted their decision. | 0:35:22 | 0:35:25 | |
Constance was gentle and dutiful, frail even. | 0:35:26 | 0:35:30 | |
So it makes it all the more surprising | 0:35:30 | 0:35:32 | |
that in 1906, at the age of 39, | 0:35:32 | 0:35:34 | |
she became a Suffragette. | 0:35:34 | 0:35:38 | |
The Suffragettes wanted votes for women and penal reform | 0:35:40 | 0:35:44 | |
and Constance was ripe for a cause. | 0:35:44 | 0:35:46 | |
Archivist Clare Fleck has spent many hours researching her story. | 0:35:46 | 0:35:51 | |
So, Clare, why did Constance become a Suffragette? | 0:35:57 | 0:36:00 | |
She was introduced to the cause by Mrs Pethick Lawrence, | 0:36:00 | 0:36:03 | |
a notable lady in the cause. | 0:36:03 | 0:36:05 | |
And she considered it very carefully, | 0:36:05 | 0:36:08 | |
and decided this was something she could support, a very valid cause. | 0:36:08 | 0:36:12 | |
What did her particular arm of the Suffragettes do? | 0:36:12 | 0:36:16 | |
She joined the WSPU, the Women's Social and Political Union, | 0:36:16 | 0:36:20 | |
which was the militant arm of the Suffragettes, | 0:36:20 | 0:36:22 | |
rather than the Suffragists who held meetings and rallies and lectures, | 0:36:22 | 0:36:26 | |
but they didn't actually indulge in militant action. | 0:36:26 | 0:36:30 | |
So what did Constance do, by way of protest? | 0:36:30 | 0:36:32 | |
She joined a delegation to rush the House of Commons, | 0:36:32 | 0:36:35 | |
with lots of the other women. | 0:36:35 | 0:36:37 | |
Many of them were arrested, taken before the magistrates, | 0:36:37 | 0:36:40 | |
and sent to Holloway. | 0:36:40 | 0:36:42 | |
But as Lady Constance Lytton, she was given special treatment. | 0:36:42 | 0:36:45 | |
She wanted to be treated like one of the ordinary Suffragettes, | 0:36:45 | 0:36:48 | |
but as an aristocratic lady she had a medical check, | 0:36:48 | 0:36:51 | |
her weak heart was detected, | 0:36:51 | 0:36:53 | |
and in fact she was put on a hospital wing, rather than in the cells. | 0:36:53 | 0:36:57 | |
And this wasn't what she wanted. | 0:36:57 | 0:36:58 | |
She actually protested | 0:36:58 | 0:37:00 | |
and asked to be put on the ordinary cells with the Suffragettes | 0:37:00 | 0:37:03 | |
which she achieved for the last few days of her imprisonment. | 0:37:03 | 0:37:06 | |
How did she go from being treated well in prison | 0:37:06 | 0:37:08 | |
to really tough prison? | 0:37:08 | 0:37:10 | |
She didn't really see the real side of prison | 0:37:10 | 0:37:13 | |
until she took drastic action of her own. | 0:37:13 | 0:37:16 | |
After two lots of fairly gentle imprisonment, | 0:37:16 | 0:37:20 | |
she took herself off to Liverpool, | 0:37:20 | 0:37:22 | |
joined a demonstration there, | 0:37:22 | 0:37:24 | |
disguised her appearance, | 0:37:24 | 0:37:26 | |
she wore a very cheap coat, | 0:37:26 | 0:37:28 | |
had her hair cut in a very unattractive way, | 0:37:28 | 0:37:30 | |
wore very uncomfortable eyeglasses, | 0:37:30 | 0:37:32 | |
and as just Jane Wharton, a poor seamstress, | 0:37:32 | 0:37:35 | |
she had no special treatment. | 0:37:35 | 0:37:37 | |
She didn't have a medical inspection, | 0:37:37 | 0:37:39 | |
and went on to the ordinary wing with the ordinary Suffragettes, | 0:37:39 | 0:37:42 | |
as third-degree prisoners. | 0:37:42 | 0:37:44 | |
And what kind of treatment did they get in prison? | 0:37:44 | 0:37:47 | |
After a few days they went on hunger strike to make their point, | 0:37:47 | 0:37:51 | |
and were brutally force-fed after hunger striking for a few days. | 0:37:51 | 0:37:55 | |
-Wow! -Which was a brutal process. | 0:37:55 | 0:37:57 | |
She wrote about her experiences in prison, didn't she? | 0:37:57 | 0:38:00 | |
She did. She wrote a very moving book called Prison And Prisoners. | 0:38:00 | 0:38:03 | |
She does say a little bit in here about the process of force-feeding. | 0:38:03 | 0:38:07 | |
-Shall I read a bit? -Please do, yes. | 0:38:07 | 0:38:09 | |
She says, | 0:38:09 | 0:38:10 | |
"Two of the wardresses took hold of my arms, one held my head, | 0:38:10 | 0:38:13 | |
"one my feet. The doctor lent on my knees | 0:38:13 | 0:38:16 | |
"as he stooped over my chest to get at my mouth. | 0:38:16 | 0:38:18 | |
"I shut my mouth and clenched my teeth. | 0:38:18 | 0:38:21 | |
"The sense of being overpowered | 0:38:21 | 0:38:23 | |
"by more force than I could possibly resist was complete. | 0:38:23 | 0:38:25 | |
"But I resisted with nothing except my mouth." | 0:38:25 | 0:38:28 | |
It goes on but it is fairly graphic. | 0:38:28 | 0:38:31 | |
-Gracious, it's brutal treatment, isn't it? -It is, yes. | 0:38:31 | 0:38:34 | |
She wasn't particularly strong, wasn't made of stern stuff, physically. | 0:38:34 | 0:38:38 | |
No. Afterwards, the doctor said | 0:38:38 | 0:38:40 | |
it was one of the worst cases of force-feeding he'd seen | 0:38:40 | 0:38:43 | |
and she was nearly asphyxiated each time. | 0:38:43 | 0:38:45 | |
She suffered that eight times before they rumbled her | 0:38:45 | 0:38:48 | |
and realised she wasn't who she said she was and she was released. | 0:38:48 | 0:38:51 | |
-She did her time then, didn't she? -Mmm. | 0:38:51 | 0:38:53 | |
And did she ever get to see women getting the vote? | 0:38:53 | 0:38:56 | |
She saw the extension of the suffrage in 1918, | 0:38:58 | 0:39:03 | |
but she herself died in 1923, | 0:39:03 | 0:39:05 | |
which was before the complete suffrage of women which came in 1928. | 0:39:05 | 0:39:11 | |
But very much a part of the cause. | 0:39:11 | 0:39:13 | |
Oh, yes. | 0:39:13 | 0:39:14 | |
"February 6, 1918. | 0:39:15 | 0:39:18 | |
"Four years after the publication of my book | 0:39:18 | 0:39:21 | |
"by the Representation of the People Act | 0:39:21 | 0:39:23 | |
"about six million women of 30 years of age and over | 0:39:23 | 0:39:27 | |
"obtained the parliamentary vote." | 0:39:27 | 0:39:30 | |
Being a Suffragette and early feminist | 0:39:42 | 0:39:46 | |
placed not only great emotional and social demands on its supporters, | 0:39:46 | 0:39:50 | |
but also great physical demands. | 0:39:50 | 0:39:52 | |
And I consider myself to be a feminist, | 0:39:52 | 0:39:55 | |
and I would love to think | 0:39:55 | 0:39:56 | |
that I would suffer as much for such an important cause, | 0:39:56 | 0:39:59 | |
but I couldn't be sure. | 0:39:59 | 0:40:01 | |
What amazing women. | 0:40:01 | 0:40:02 | |
Constance experienced the best and worst | 0:40:09 | 0:40:12 | |
of early 20th-century prison treatment. | 0:40:12 | 0:40:14 | |
Dan Snow has been investigating some of the tactics used | 0:40:14 | 0:40:17 | |
in medieval crime and punishment. | 0:40:17 | 0:40:19 | |
A fortress, a royal palace, and even a zoo. | 0:40:23 | 0:40:26 | |
Over the centuries, | 0:40:26 | 0:40:27 | |
the storehouse of the Crown Jewels has had many purposes. | 0:40:27 | 0:40:31 | |
It is most famous as a prison, | 0:40:31 | 0:40:33 | |
but in fact only the highest status prisoners ever got sent to the tower. | 0:40:33 | 0:40:38 | |
And really, until the 19th century, | 0:40:38 | 0:40:40 | |
the idea of prison as punishment was quite unusual. | 0:40:40 | 0:40:43 | |
It was just a safe place to keep them until they could stand trial. | 0:40:43 | 0:40:47 | |
But away from the Tower, right across the country in medieval England, | 0:40:47 | 0:40:51 | |
criminals were punished by humiliation. | 0:40:51 | 0:40:54 | |
In 1351 it became the law that every town and village | 0:40:54 | 0:40:58 | |
should have a set of stocks. | 0:40:58 | 0:41:00 | |
Now, you could be locked here in the stocks for crimes | 0:41:00 | 0:41:03 | |
such as swearing, drunkenness, or homelessness. | 0:41:03 | 0:41:06 | |
Then people come along and laugh at you | 0:41:06 | 0:41:08 | |
and even pelt you with whatever came to hand. | 0:41:08 | 0:41:11 | |
Mountfitchet Castle in Hertfordshire is a re-creation of a Norman village. | 0:41:13 | 0:41:17 | |
Curator Jeremy Goldsmith | 0:41:17 | 0:41:19 | |
believes the period was a high point for humiliating punishments. | 0:41:19 | 0:41:23 | |
Swearing would be one hour in the stocks. | 0:41:23 | 0:41:25 | |
Thieving could even have your hands chopped off. | 0:41:25 | 0:41:29 | |
They were mainly really for drunkenness, disorderly behaviour, | 0:41:29 | 0:41:34 | |
and then you were put in the stocks for maybe an hour, two hours, | 0:41:34 | 0:41:37 | |
even three days. | 0:41:37 | 0:41:38 | |
But you were at the mercy of the mob once you were in the stocks, | 0:41:38 | 0:41:42 | |
because you had your head and hands and feet chained down | 0:41:42 | 0:41:44 | |
and they could do anything. | 0:41:44 | 0:41:46 | |
Whipping. Flogging. Flagellation. | 0:41:47 | 0:41:51 | |
Some of the oldest forms of public punishment. | 0:41:51 | 0:41:54 | |
Boudicca was flogged by the Romans | 0:41:54 | 0:41:56 | |
and of course, sailors were flogged using one of these, | 0:41:56 | 0:41:59 | |
a cat-o'-nine-tails, | 0:41:59 | 0:42:01 | |
which is where we get the expression, "no room to swing a cat". | 0:42:01 | 0:42:05 | |
In 1530, Henry VIII's infamous Whipping Act | 0:42:05 | 0:42:07 | |
made it a particularly bad time to be homeless. | 0:42:07 | 0:42:10 | |
The act said that vagrants were to be carried to a market town | 0:42:10 | 0:42:13 | |
and tied to the end of a cart naked, | 0:42:13 | 0:42:15 | |
and were then to be beaten with whips | 0:42:15 | 0:42:17 | |
until their bodies were covered with blood. | 0:42:17 | 0:42:19 | |
Branding with a red-hot iron | 0:42:23 | 0:42:26 | |
meant that people were forever marked with their crime. | 0:42:26 | 0:42:29 | |
Often the first letter of that crime | 0:42:29 | 0:42:31 | |
was branded on the hands, chest and the forehead | 0:42:31 | 0:42:35 | |
so that people would always know what they had done. | 0:42:35 | 0:42:38 | |
17 years after the Whipping Act | 0:42:38 | 0:42:40 | |
branding became another punishment extended to the homeless. | 0:42:40 | 0:42:44 | |
Blacksmiths were also responsible for conjuring up this humiliating device. | 0:42:44 | 0:42:49 | |
It is called a scold's bridle, | 0:42:49 | 0:42:51 | |
it was designed to be worn round the head | 0:42:51 | 0:42:53 | |
with this bit covering the mouth. | 0:42:53 | 0:42:55 | |
It was to punish women who scolded or gossiped too much. | 0:42:55 | 0:42:59 | |
But in the mid-18th century, one mob attack | 0:42:59 | 0:43:02 | |
on criminals in the stocks was a prelude to huge social change. | 0:43:02 | 0:43:06 | |
Egan and Salmon were two highwaymen | 0:43:06 | 0:43:08 | |
and they were put in Smithfields stocks in 1751. | 0:43:08 | 0:43:12 | |
So quite late on, really. | 0:43:12 | 0:43:14 | |
And they were literally in there for two or three days, | 0:43:14 | 0:43:17 | |
and they were beaten to death. | 0:43:17 | 0:43:18 | |
So the punishment meted out by the public was final. | 0:43:18 | 0:43:22 | |
They obviously felt that passionate about it | 0:43:22 | 0:43:25 | |
that they pelted them with rocks and killed them. | 0:43:25 | 0:43:27 | |
The incident meant that as the century ended, | 0:43:27 | 0:43:30 | |
this kind of extreme public punishment was being questioned. | 0:43:30 | 0:43:34 | |
In the late-18th century, new ideas started to circulate through society. | 0:43:37 | 0:43:42 | |
They emphasise that everybody had rights | 0:43:42 | 0:43:44 | |
and should be treated with respect. | 0:43:44 | 0:43:46 | |
In this context, some of the older kinds of punishment seemed barbaric. | 0:43:46 | 0:43:51 | |
And new kinds of prisons were encouraged. | 0:43:51 | 0:43:53 | |
They started with the building of one | 0:43:53 | 0:43:55 | |
on the banks of the Thames here in 1816. | 0:43:55 | 0:43:58 | |
This was a prison which emphasised rehabilitation | 0:43:58 | 0:44:01 | |
and learning, not just punishment. | 0:44:01 | 0:44:05 | |
Dan Snow unearthing some grisly forms of punishment. | 0:44:05 | 0:44:10 | |
I've come to the final stop on my Hertfordshire journey. | 0:44:10 | 0:44:13 | |
After visiting the homes | 0:44:13 | 0:44:14 | |
of a romantic novelist and a political author, | 0:44:14 | 0:44:17 | |
I've arrived at yet another artist's residence. | 0:44:17 | 0:44:20 | |
I'm in Perry Green, the home of Henry Moore. | 0:44:20 | 0:44:23 | |
He was one of the greatest sculptors of the 20th century. | 0:44:24 | 0:44:28 | |
He died in 1986, | 0:44:28 | 0:44:30 | |
but his reputation and his work has stood the test of time. | 0:44:30 | 0:44:33 | |
The Henry Moore Foundation was set up in 1977 | 0:44:35 | 0:44:38 | |
to encourage appreciation of the visual arts, particularly sculpture, | 0:44:38 | 0:44:42 | |
and to preserve Moore's legacy at his Hertfordshire home. | 0:44:42 | 0:44:46 | |
Curator Anita Feldman has been working here for 15 years | 0:44:46 | 0:44:49 | |
which makes her something of an authority on all things Moore. | 0:44:49 | 0:44:54 | |
Anita, what's this sculpture called? | 0:44:59 | 0:45:01 | |
This is Two Piece Knife Edge | 0:45:01 | 0:45:03 | |
and its name comes from that very fine knife edge like a blade | 0:45:03 | 0:45:06 | |
which comes down through the middle of the sculpture. | 0:45:06 | 0:45:09 | |
And Moore really enjoyed the contrast between these very smooth surfaces | 0:45:09 | 0:45:14 | |
and very rough textures. | 0:45:14 | 0:45:17 | |
In 1951, a film-maker working for the BBC | 0:45:24 | 0:45:26 | |
obtained unprecedented access to the sculptor, his work and his studio. | 0:45:26 | 0:45:31 | |
The result was an intimate documentary which changed the way | 0:45:31 | 0:45:35 | |
television approached the arts | 0:45:35 | 0:45:37 | |
and changed the public perception of Moore himself. | 0:45:37 | 0:45:39 | |
'Henry Moore is the most important | 0:45:41 | 0:45:44 | |
'of living British sculptors. | 0:45:44 | 0:45:46 | |
'With the strange and impressive shapes that fill his studio, | 0:45:46 | 0:45:49 | |
'he picks up and carries on a tradition | 0:45:49 | 0:45:52 | |
'that has been extinct in England for 400 years, | 0:45:52 | 0:45:54 | |
'a tradition of expressiveness and truth to material. | 0:45:54 | 0:45:58 | |
'The studio is a workshop in which he turns his ideas into tangible forms. | 0:45:58 | 0:46:04 | |
'Here are Henry Moore's hands and his tools. | 0:46:04 | 0:46:07 | |
'Sculpture is the art of cutting, | 0:46:15 | 0:46:17 | |
'carving or modelling various materials | 0:46:17 | 0:46:20 | |
'such as the hard crystalline stone on the left | 0:46:20 | 0:46:23 | |
'or the stringy wood on the right. | 0:46:23 | 0:46:26 | |
'Stone is worked with chisels, | 0:46:27 | 0:46:29 | |
'each one giving a characteristic effect. | 0:46:29 | 0:46:31 | |
'Wood is worked in quite a different way and with different tools. | 0:46:39 | 0:46:45 | |
'But sculpture can be modelling as well as carving, | 0:46:45 | 0:46:48 | |
'building up as well as cutting away, | 0:46:48 | 0:46:51 | |
'and for this the artist uses clay, wax or plaster. | 0:46:51 | 0:46:55 | |
'Henry Moore often works out his ideas for metal figures | 0:46:55 | 0:46:59 | |
'by making small models in a softer pliable material | 0:46:59 | 0:47:03 | |
'before translating them into metal.' | 0:47:03 | 0:47:06 | |
It's quite unusual to get a great insight | 0:47:06 | 0:47:09 | |
into an artist's personal life, | 0:47:09 | 0:47:11 | |
but the documentary made about Moore was really quite in-depth. | 0:47:11 | 0:47:14 | |
Was that typical of his character, to allow that? | 0:47:14 | 0:47:17 | |
He was a very open, very humble person. | 0:47:17 | 0:47:21 | |
He welcomed visitors to his home | 0:47:21 | 0:47:24 | |
and his studios to look at his work. | 0:47:24 | 0:47:26 | |
He was always very engaging with students. He was never elitist. | 0:47:26 | 0:47:30 | |
He turned down a knighthood | 0:47:30 | 0:47:32 | |
and he came from a very working-class family, | 0:47:32 | 0:47:35 | |
from coal miners in the north of England. | 0:47:35 | 0:47:38 | |
So for him, I think he really wanted art to be a part of modern life | 0:47:39 | 0:47:45 | |
and a part of everyday life. | 0:47:45 | 0:47:46 | |
The central tradition of sculpture | 0:47:46 | 0:47:48 | |
is rooted in a primary respect for the materials of sculpture. | 0:47:48 | 0:47:52 | |
One can learn from all sorts of natural forms such as these. | 0:47:52 | 0:47:58 | |
Take, for instance, this stone. | 0:48:00 | 0:48:02 | |
It has a hole right through it. | 0:48:02 | 0:48:04 | |
It has a strong, slow structural rhythm | 0:48:04 | 0:48:11 | |
which perhaps shows nature's way of working stone. | 0:48:11 | 0:48:17 | |
A year before that film was made, Henry Moore was commissioned | 0:48:34 | 0:48:37 | |
to create a piece of art for the 1951 Festival of Britain. | 0:48:37 | 0:48:41 | |
The documentary captures the process involved with making the sculpture | 0:48:41 | 0:48:45 | |
and offers a fascinating insight into one of our greatest artists. | 0:48:45 | 0:48:49 | |
Moore's practice was to construct full-size plaster models | 0:48:50 | 0:48:53 | |
from which the mould could be made for casting. | 0:48:53 | 0:48:56 | |
'The completed model now had to be cast in bronze. | 0:49:01 | 0:49:05 | |
'At this stage, the skill of the artist | 0:49:13 | 0:49:16 | |
'depends upon the skill of the craftsmen | 0:49:16 | 0:49:19 | |
'who carry out his intentions. | 0:49:19 | 0:49:22 | |
'When the mould is finished, the wax evaporates | 0:49:22 | 0:49:25 | |
'in the heat of the kiln, leaving a cavity | 0:49:25 | 0:49:28 | |
'into which the metal can be poured. | 0:49:28 | 0:49:31 | |
'The molten bronze is lifted white-hot from the furnace. | 0:49:31 | 0:49:35 | |
'It must be poured quickly before it loses its temperature, | 0:49:37 | 0:49:41 | |
'and this calls for a precision of eye | 0:49:41 | 0:49:43 | |
'and deftness of handling that only come with long experience. | 0:49:43 | 0:49:47 | |
'It is part of a sculptor's trade to be able to conceive his work | 0:49:48 | 0:49:52 | |
'in forms that can be divided into sections for casting. | 0:49:52 | 0:49:56 | |
'The various sections are assembled and riveted together with great care. | 0:50:04 | 0:50:09 | |
'When it is finished, even an experienced sculptor | 0:50:11 | 0:50:14 | |
'would find it hard to discover where one section ends and the next begins. | 0:50:14 | 0:50:19 | |
'It was spring when the finished figure | 0:50:21 | 0:50:24 | |
'was returned to Moore's studio. | 0:50:24 | 0:50:26 | |
'After six months of intensive labour, a new work had been completed. | 0:50:26 | 0:50:31 | |
'Henry Moore's sculpture is at its best when seen in the light | 0:50:32 | 0:50:37 | |
'and setting in which it was born.' | 0:50:37 | 0:50:39 | |
The reclining figure was a form | 0:50:47 | 0:50:49 | |
that Moore returned to throughout his career. | 0:50:49 | 0:50:52 | |
A great example is a sculpture called Large Reclining Figure | 0:50:52 | 0:50:56 | |
which sits on the hill overlooking the sheep field in Perry Green. | 0:50:56 | 0:50:59 | |
Indoors, the Sheep Field Barn Gallery | 0:51:09 | 0:51:11 | |
is home to the first ever exhibition of Henry Moore's plasters. | 0:51:11 | 0:51:16 | |
It shows them as works of art in their own right, | 0:51:16 | 0:51:18 | |
not just as moulds for the more famous bronze sculptures. | 0:51:18 | 0:51:22 | |
Right after the weather, | 0:51:25 | 0:51:27 | |
I'll be finding out how this was sculpted with sheep in mind | 0:51:27 | 0:51:30 | |
and seeing the full-size bronze version just outside. | 0:51:30 | 0:51:34 | |
I'll also be meeting a man who worked very closely | 0:51:34 | 0:51:37 | |
with Henry Moore himself. | 0:51:37 | 0:51:39 | |
But first, here's the Country Tracks weather for the week ahead. | 0:51:39 | 0:51:42 | |
. | 0:53:50 | 0:53:57 | |
I'm on a journey through Hertfordshire. | 0:54:08 | 0:54:11 | |
I started near St Albans, | 0:54:11 | 0:54:12 | |
planting trees in the new Heartwood Forest | 0:54:12 | 0:54:15 | |
before heading to Scott's Grotto in Ware. | 0:54:15 | 0:54:18 | |
I visited the home of Barbara Cartland near Hatfield | 0:54:18 | 0:54:22 | |
and heard the fascinating story | 0:54:22 | 0:54:23 | |
of an aristocratic Suffragette at Knebworth. | 0:54:23 | 0:54:26 | |
My journey ends at the Henry Moore Foundation in Perry Green. | 0:54:26 | 0:54:30 | |
Henry Moore and his wife Irina moved here to Perry Green in 1940 | 0:54:33 | 0:54:38 | |
when their home and studio in Hampstead was damaged in the Blitz. | 0:54:38 | 0:54:42 | |
Moore's work moulded beautifully into the surrounding landscape. | 0:54:47 | 0:54:52 | |
His sculpture Sheep Piece was designed to be decorated with sheep. | 0:54:52 | 0:54:56 | |
It was actually written into the lease that only sheep are allowed | 0:55:00 | 0:55:04 | |
to graze on this field because pigs and cows | 0:55:04 | 0:55:07 | |
would be all wrong for the art. | 0:55:07 | 0:55:09 | |
Henry Moore was persuaded to buy this land | 0:55:14 | 0:55:17 | |
by his friend Frank Farnham. | 0:55:17 | 0:55:19 | |
Frank's son John went on to become Moore's assistant | 0:55:19 | 0:55:22 | |
in the early 1960s. | 0:55:22 | 0:55:23 | |
Today he's back in Perry Green to remember his former boss. | 0:55:23 | 0:55:28 | |
John, what was your job for Henry Moore? | 0:55:30 | 0:55:33 | |
As an assistant, I suppose it was a bit of everything. | 0:55:33 | 0:55:36 | |
You would enlarge the sculptures for him, work with the foundries. | 0:55:36 | 0:55:40 | |
Also, the exhibitions, you used to have to compile | 0:55:40 | 0:55:44 | |
and travel with those. | 0:55:44 | 0:55:46 | |
-What was a typical working day like? -Quite routine, really. | 0:55:46 | 0:55:49 | |
You'd start first thing in the morning. | 0:55:49 | 0:55:52 | |
There was always a break at 11 o'clock, | 0:55:52 | 0:55:54 | |
one o'clock and four o'clock for tea, coffee, lunch. | 0:55:54 | 0:55:56 | |
And what was Henry Moore like as a character? | 0:55:56 | 0:56:00 | |
He was quite easy as a person to work with. | 0:56:00 | 0:56:02 | |
As long as you got on with the work. | 0:56:02 | 0:56:05 | |
He'd always give you two or three jobs to do now, | 0:56:05 | 0:56:08 | |
but in the end, you'd have to say, well, which is the most important? | 0:56:08 | 0:56:11 | |
Because he would want everything done quickly. | 0:56:11 | 0:56:16 | |
And you just couldn't do everything quickly, especially these things. | 0:56:16 | 0:56:19 | |
-You were working on them for weeks on end. -Was he a hard taskmaster? | 0:56:19 | 0:56:23 | |
-Not really. He was fine. -A good boss? -Yeah. | 0:56:23 | 0:56:28 | |
And now this one's grounded right here in the landscape, | 0:56:28 | 0:56:31 | |
and what a cracker it is as well. | 0:56:31 | 0:56:33 | |
Yeah, this is a very nice piece. I like this piece. | 0:56:33 | 0:56:37 | |
It was an early piece that he'd done in '38 as a maquette | 0:56:37 | 0:56:41 | |
that was enlarged straight from the maquette to the size. | 0:56:41 | 0:56:44 | |
It's a work that as you walk around it, it becomes different. | 0:56:44 | 0:56:48 | |
You always see a different view whichever angle you look at it. | 0:56:48 | 0:56:52 | |
Up here on the skyline, it's a really nice site for it. | 0:56:52 | 0:56:55 | |
-It's a great viewing platform up here as well, isn't it? -Yeah. | 0:56:55 | 0:56:59 | |
-Nice place to sunbathe. -Yeah, exactly! | 0:56:59 | 0:57:02 | |
'My journeys on Country Tracks have explored' | 0:57:07 | 0:57:10 | |
some of the most beautiful landscapes in Britain, | 0:57:10 | 0:57:12 | |
but today's has been a different type of adventure, | 0:57:12 | 0:57:15 | |
a privileged peek through the keyholes of some amazing homes | 0:57:15 | 0:57:19 | |
and into the lives of those who've lived there, | 0:57:19 | 0:57:22 | |
characters who brought their talents to the countryside | 0:57:22 | 0:57:26 | |
and left a lasting impression on the Hertfordshire landscape. | 0:57:26 | 0:57:29 | |
Subtitles by Red Bee Media Ltd | 0:57:40 | 0:57:45 | |
E-mail [email protected] | 0:57:45 | 0:57:49 |