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Every year, countless thousands of ordinary buildings are demolished, | 0:00:03 | 0:00:07 | |
smashed down to make way for the new. | 0:00:07 | 0:00:10 | |
For many, this fate is unavoidable. | 0:00:10 | 0:00:13 | |
But some are so special, they're saved. | 0:00:14 | 0:00:18 | |
Carefully taken down piece by piece, | 0:00:18 | 0:00:21 | |
stored away until a new home for them can be found | 0:00:21 | 0:00:24 | |
and they can be lovingly and painstakingly rebuilt. | 0:00:24 | 0:00:29 | |
These are not grand buildings | 0:00:30 | 0:00:32 | |
or exceptional pieces of architecture. | 0:00:32 | 0:00:36 | |
But preserved within their fabric are extraordinary stories, | 0:00:36 | 0:00:40 | |
stories about who we are as a nation | 0:00:40 | 0:00:42 | |
and what we have achieved. | 0:00:42 | 0:00:44 | |
About the materials and the techniques we use... | 0:00:44 | 0:00:47 | |
It's not as easy as it looks. | 0:00:47 | 0:00:48 | |
And why we build the way we do. | 0:00:48 | 0:00:51 | |
It feels like you're making it the way it should be made. | 0:00:51 | 0:00:54 | |
In this series, I'm going to uncover the hidden history | 0:00:54 | 0:00:58 | |
behind these seemingly humble buildings, | 0:00:58 | 0:01:00 | |
to reveal that it's not just the houses of the great and rich | 0:01:00 | 0:01:04 | |
that have remarkable stories to tell. | 0:01:04 | 0:01:06 | |
My grandfather was probably the first airman to die | 0:01:06 | 0:01:09 | |
in the First World War. | 0:01:09 | 0:01:10 | |
Goodness me. | 0:01:10 | 0:01:12 | |
I'll be seeing how these huge, incredibly complex jigsaw puzzles, | 0:01:12 | 0:01:16 | |
that were once buildings, | 0:01:16 | 0:01:18 | |
are actually put back together again. | 0:01:18 | 0:01:20 | |
I'm on the quay of Haverfordwest in Pembrokeshire. | 0:01:40 | 0:01:43 | |
It's hard to believe it now but 500 years ago, | 0:01:43 | 0:01:46 | |
this was the heart of one of the biggest and richest ports | 0:01:46 | 0:01:51 | |
in South Wales. | 0:01:51 | 0:01:52 | |
Indeed, a commercial hub of national importance. | 0:01:52 | 0:01:56 | |
Sadly, no buildings survive now from the place's medieval heyday, | 0:01:58 | 0:02:02 | |
but 30 years ago, there was one. | 0:02:02 | 0:02:05 | |
A structure, enigmatic, strange and mysterious | 0:02:05 | 0:02:09 | |
and was tucked away over there. | 0:02:09 | 0:02:12 | |
In 1983, that last surviving building | 0:02:13 | 0:02:15 | |
on the Haverfordwest quayside was falling apart. | 0:02:15 | 0:02:19 | |
But it was saved by four young apprentices | 0:02:19 | 0:02:22 | |
who painstakingly dismantled it stone by stone | 0:02:22 | 0:02:26 | |
and it's here, in these bags. | 0:02:26 | 0:02:29 | |
Now, nearly three decades later, | 0:02:29 | 0:02:31 | |
I'm going to join those four same men | 0:02:31 | 0:02:34 | |
as they try and put it back together again in a museum | 0:02:34 | 0:02:38 | |
100 miles from where it originally stood. | 0:02:38 | 0:02:41 | |
I'm going to try and find out what this unusual building actually was. | 0:02:41 | 0:02:45 | |
Who lived in it? Who worked in it? | 0:02:45 | 0:02:47 | |
I've studied buildings for years and I must say, | 0:02:47 | 0:02:49 | |
this one, I find particular baffling. | 0:02:49 | 0:02:51 | |
It was here, just behind this pub. | 0:02:51 | 0:02:54 | |
The strange tower-like structure was incredibly sturdy | 0:02:57 | 0:03:02 | |
with exceptionally thick walls. | 0:03:02 | 0:03:04 | |
Most intriguingly of all, the ground floor | 0:03:04 | 0:03:07 | |
consisted of a vaulted chamber and above it, on the first floor, | 0:03:07 | 0:03:12 | |
was a single-room dwelling that originally could be accessed | 0:03:12 | 0:03:16 | |
only from the outside by a ladder. | 0:03:16 | 0:03:19 | |
It dates to the 15th century and, unofficially, | 0:03:19 | 0:03:22 | |
has been called the Merchant's House. | 0:03:22 | 0:03:25 | |
This terrain makes things a little bit complicated | 0:03:26 | 0:03:29 | |
but the building stood just about here, | 0:03:29 | 0:03:33 | |
with its back, as it were, to the cliff in front of me. | 0:03:33 | 0:03:37 | |
Its site is now occupied by these ladies' lavatories. | 0:03:37 | 0:03:42 | |
I have a photograph of the building just before it was dismantled. | 0:03:42 | 0:03:47 | |
I'm standing now roughly here, almost at the door. | 0:03:47 | 0:03:50 | |
Incredible transformation, but what on earth was this building? | 0:03:50 | 0:03:55 | |
Was it related to the port just over there, | 0:03:55 | 0:03:58 | |
or since it had a vaulted ground floor, | 0:03:58 | 0:04:02 | |
I wonder if it was a fortification of some sort? | 0:04:02 | 0:04:04 | |
Perhaps related to the castle which is just there. | 0:04:04 | 0:04:07 | |
Maybe the building itself will hold some clues. | 0:04:11 | 0:04:14 | |
It's going to be reconstructed here, | 0:04:14 | 0:04:16 | |
at St Fagans Natural History Museum in Cardiff, | 0:04:16 | 0:04:20 | |
where buildings from across a nation have been preserved. | 0:04:20 | 0:04:23 | |
I'm meeting Gerallt Nash. | 0:04:26 | 0:04:28 | |
He was part of the original team | 0:04:28 | 0:04:30 | |
who dismantled the Haverfordwest house | 0:04:30 | 0:04:32 | |
and is now project manager of the rebuild. | 0:04:32 | 0:04:34 | |
Who are these guys taking the building down? | 0:04:36 | 0:04:39 | |
These were taken 30 years ago and they're still here, | 0:04:39 | 0:04:41 | |
-still working with us today. -All of them? -Yes. | 0:04:41 | 0:04:45 | |
So you're like the fab four rebuilding this building. | 0:04:45 | 0:04:47 | |
What can I say? | 0:04:47 | 0:04:49 | |
This is Ian, our head carpenter today. | 0:04:49 | 0:04:52 | |
This is Mike and Andrew, stonemasons and yours faithfully in the middle. | 0:04:52 | 0:04:57 | |
It's almost unique that that length of time has passed | 0:04:57 | 0:05:00 | |
and those guys are still here, still working on it. | 0:05:00 | 0:05:03 | |
That's wonderful, isn't it? | 0:05:03 | 0:05:05 | |
30 years on, those same three craftsmen are beginning work | 0:05:06 | 0:05:11 | |
on the reconstruction. | 0:05:11 | 0:05:13 | |
-So this is the team. -This is the team. -Hello. | 0:05:13 | 0:05:17 | |
I feel like I've met you all before. | 0:05:17 | 0:05:19 | |
Maybe slightly younger, slightly hairier. | 0:05:19 | 0:05:23 | |
Slightly leaner. | 0:05:23 | 0:05:25 | |
-I'm Charlie. -How are you? | 0:05:25 | 0:05:27 | |
What are you actually doing here? | 0:05:27 | 0:05:29 | |
These are the actual stones from the Haverfordwest house. | 0:05:29 | 0:05:32 | |
We've bagged them up in storage and they're ready to be taken down, | 0:05:32 | 0:05:36 | |
bag by bag and split open and used. | 0:05:36 | 0:05:40 | |
It's not that every stone goes back into exactly the same position? | 0:05:40 | 0:05:44 | |
No, it'll just be cornerstones, window stones, door stones. | 0:05:44 | 0:05:51 | |
So all of the edges go back? | 0:05:51 | 0:05:53 | |
All the arch stones will go in as arch stones | 0:05:53 | 0:05:56 | |
and it's building in between, just filling in. | 0:05:56 | 0:05:59 | |
Do you think the fact that you were there when it came down | 0:05:59 | 0:06:02 | |
is going to help you putting it back together, | 0:06:02 | 0:06:04 | |
or could anyone follow those instructions? | 0:06:04 | 0:06:06 | |
It helps immensely, | 0:06:06 | 0:06:07 | |
because there may be little quirks in the walls or the roof. | 0:06:07 | 0:06:10 | |
You get that in your memory and you'll be able to put it back. | 0:06:10 | 0:06:14 | |
I'll be interested to see where they all go | 0:06:14 | 0:06:16 | |
because it's quite a puzzle from where I'm standing. | 0:06:16 | 0:06:20 | |
But before the stonemasons can get to work, | 0:06:24 | 0:06:27 | |
an artificial cliff needs to be constructed. | 0:06:27 | 0:06:31 | |
In a secluded glade in the museum grounds, | 0:06:31 | 0:06:34 | |
a hillside is dug away and huge boulders lifted into position. | 0:06:34 | 0:06:40 | |
This is to replicate the location where the building | 0:06:40 | 0:06:43 | |
originally stood. | 0:06:43 | 0:06:44 | |
I have an idea of what the building will look like eventually. | 0:06:47 | 0:06:50 | |
This is a cut through the building, a section, | 0:06:50 | 0:06:52 | |
and it's got a vaulted ceiling, a floor structure. | 0:06:52 | 0:06:57 | |
You can see, the building is built up against this rockface. | 0:06:57 | 0:07:00 | |
So it's hard up against a cliff? | 0:07:00 | 0:07:03 | |
-That didn't put you off at all? -No, no, no. | 0:07:03 | 0:07:05 | |
You're not just trying to rebuild a medieval building, | 0:07:05 | 0:07:10 | |
you had to make one | 0:07:10 | 0:07:11 | |
where you've got to rebuild a medieval environment? | 0:07:11 | 0:07:14 | |
-Medieval bit of landscape? -Yes, we do. It's the whole package. | 0:07:14 | 0:07:17 | |
-You don't make things easy. -No, we don't. | 0:07:17 | 0:07:19 | |
The exceptionally sturdy construction | 0:07:22 | 0:07:25 | |
of the mysterious cliffside building, | 0:07:25 | 0:07:27 | |
leads me to believe it could be a fortification | 0:07:27 | 0:07:30 | |
connected to Haverfordwest's castle. | 0:07:30 | 0:07:32 | |
The castle was built in the early 12th century by the Normans | 0:07:34 | 0:07:39 | |
during their conquest and settlement of South Wales. | 0:07:39 | 0:07:42 | |
This became a gateway into South Wales | 0:07:42 | 0:07:46 | |
with the town and the port growing around the mighty castle. | 0:07:46 | 0:07:50 | |
I'm meeting Simon Hancock, curator of the town's museum, | 0:07:53 | 0:07:57 | |
to if the Norman/English settlement of Haverfordwest | 0:07:57 | 0:08:01 | |
could offer some clue to the purpose of our 15th century building. | 0:08:01 | 0:08:06 | |
The Normans began with the settlement of Pembroke in 1093. | 0:08:06 | 0:08:10 | |
They removed the native population who were disbursed north. | 0:08:10 | 0:08:13 | |
It became known as Little England, this part of Wales. | 0:08:13 | 0:08:17 | |
William Camden, writing in the reign of Elizabeth I, | 0:08:17 | 0:08:20 | |
described Pembrokeshire as Anglia Transwalliana, | 0:08:20 | 0:08:23 | |
Little England beyond Wales and that name has always stuck. | 0:08:23 | 0:08:26 | |
It was absolutely a beacon of the power of the English kings | 0:08:26 | 0:08:30 | |
in South West Wales and it attracted enormous hostility. | 0:08:30 | 0:08:33 | |
It was a war zone. You were talking of a 150 year timespan. | 0:08:33 | 0:08:37 | |
The troubles continue into the 15th Century | 0:08:37 | 0:08:39 | |
and the town and castle, they were attacked by Owain Glyndwr | 0:08:39 | 0:08:43 | |
during his uprising in 1405. | 0:08:43 | 0:08:45 | |
That's correct, isn't it? | 0:08:45 | 0:08:46 | |
That's right. We know they took the town. | 0:08:46 | 0:08:48 | |
There was no Geneva Convention | 0:08:48 | 0:08:50 | |
so any civilians would've been either captured, enslaved | 0:08:50 | 0:08:54 | |
or put to the sword. | 0:08:54 | 0:08:56 | |
We know the castle withstood assault. | 0:08:56 | 0:08:59 | |
This is fascinating. | 0:08:59 | 0:09:01 | |
The town's destroyed 1405, our building was erected maybe 80 years later yet. | 0:09:01 | 0:09:08 | |
The memory of the destruction | 0:09:08 | 0:09:09 | |
and the centuries of destructive attacks on the town | 0:09:09 | 0:09:12 | |
before 1405, inspire, inform, | 0:09:12 | 0:09:16 | |
encourage the builders of our little house | 0:09:16 | 0:09:19 | |
to be very, very conscious of attack. | 0:09:19 | 0:09:21 | |
The psychology of defence would've been paramount. | 0:09:21 | 0:09:25 | |
It's now September, four months since building work began. | 0:09:33 | 0:09:37 | |
Stonemasons Mike and Andrew are completing the vertical base walls, | 0:09:37 | 0:09:41 | |
using traditional lime mortar to bind together the tonnes of stone. | 0:09:41 | 0:09:47 | |
Soon they'll face their greatest challenge, | 0:09:47 | 0:09:50 | |
the construction of the vault. | 0:09:50 | 0:09:53 | |
In a way, you've basically recreated a little corner of Haverfordwest | 0:09:53 | 0:09:57 | |
and this is the cliff face. | 0:09:57 | 0:10:00 | |
Because of the vaulted arch, | 0:10:00 | 0:10:03 | |
we need something substantial to hold it. | 0:10:03 | 0:10:05 | |
Are you excited about the next stage because this is, up till now, | 0:10:05 | 0:10:08 | |
a relatively traditional building. | 0:10:08 | 0:10:10 | |
You're about to get medieval, aren't you? | 0:10:10 | 0:10:12 | |
It'll get exciting when we come to the vault. | 0:10:12 | 0:10:15 | |
Because we don't build them often, it's going to be good. | 0:10:15 | 0:10:19 | |
That's the exciting bit. | 0:10:19 | 0:10:21 | |
That's exciting, what we look forward to. | 0:10:21 | 0:10:23 | |
For me, the biggest mystery about our little building is that vault. | 0:10:28 | 0:10:34 | |
A vault takes an awful lot of time, of labour, of materials, | 0:10:34 | 0:10:39 | |
basically expense to build. | 0:10:39 | 0:10:41 | |
Normally, you'd find them in the buildings of the great and the good, | 0:10:41 | 0:10:44 | |
in churches, castles, places like this. | 0:10:44 | 0:10:48 | |
This is the Bishop's Palace in Lamphey, near Haverfordwest. | 0:10:48 | 0:10:52 | |
Much of the palace dates to the 15th century, the same as our building. | 0:10:57 | 0:11:03 | |
It's fortified with high walls, battlements and gate houses. | 0:11:03 | 0:11:07 | |
This is for protection | 0:11:07 | 0:11:09 | |
but it's also a statement of power and status. | 0:11:09 | 0:11:13 | |
This is one of the Bishop's great halls, built in the 14th century | 0:11:16 | 0:11:21 | |
and if you just ignore the scale of it for a second, | 0:11:21 | 0:11:24 | |
there's something very familiar about it. | 0:11:24 | 0:11:26 | |
If you look, there's a staircase leading up to the first floor | 0:11:26 | 0:11:29 | |
where the living quarters are. | 0:11:29 | 0:11:32 | |
This is where the Bishop would hold court. | 0:11:32 | 0:11:34 | |
Down below, you have this magnificent vaulted chamber. | 0:11:34 | 0:11:38 | |
Look at this, isn't this incredible? | 0:11:41 | 0:11:44 | |
This is a barrel vault just like ours | 0:11:44 | 0:11:47 | |
and it's the most simple kind of vault that there is. | 0:11:47 | 0:11:49 | |
It's the kind of thing that the Egyptians used underground | 0:11:49 | 0:11:53 | |
for drainage and for tombs. | 0:11:53 | 0:11:56 | |
Actually, it took the ingenuity of the Romans | 0:11:56 | 0:11:59 | |
to really master the vault and start using it above ground. | 0:11:59 | 0:12:03 | |
That's because it's actually a lot harder to build a vault | 0:12:03 | 0:12:07 | |
then you might at first think. | 0:12:07 | 0:12:09 | |
The thing about a vault | 0:12:15 | 0:12:17 | |
is it's just a whole series of arches next to each other | 0:12:17 | 0:12:21 | |
and I'm going to try and make an arch out of some bricks | 0:12:21 | 0:12:25 | |
and show you the principles. | 0:12:25 | 0:12:27 | |
To start off with, you have to build your side walls. | 0:12:27 | 0:12:30 | |
It's very simple when you're building straight - sided walls | 0:12:30 | 0:12:35 | |
because gravity does a lot of the work for you, | 0:12:35 | 0:12:37 | |
it holds them in place as long as you don't get too tall. | 0:12:37 | 0:12:41 | |
Now, we want to start bringing an arch. | 0:12:41 | 0:12:45 | |
This is where we'll spring it from. | 0:12:45 | 0:12:47 | |
We're need to use either lots of different bits of stone | 0:12:47 | 0:12:50 | |
with wedges in between them, or we'll be using a brick. | 0:12:50 | 0:12:52 | |
We need to use cut brick. | 0:12:52 | 0:12:55 | |
Then, you can imagine, if you start stacking these up, | 0:12:55 | 0:12:59 | |
gravity is going to want to start pulling them in. | 0:12:59 | 0:13:03 | |
You need a former, something like this. | 0:13:04 | 0:13:08 | |
This is really the secret to all arch and vault buildings. | 0:13:08 | 0:13:12 | |
This is part of the reason why it's so much work, | 0:13:12 | 0:13:14 | |
because not only do you have to build a vault, | 0:13:14 | 0:13:16 | |
you have to build a former before you can build a vault or arch. | 0:13:16 | 0:13:21 | |
This former is going to take all of the load | 0:13:25 | 0:13:29 | |
until you finish the arch. | 0:13:29 | 0:13:31 | |
The former has to be incredibly strong and take tonnes | 0:13:31 | 0:13:34 | |
and tonnes of masonry on a full-size vault. | 0:13:34 | 0:13:37 | |
You've also got to make sure that they're going to meet. | 0:13:37 | 0:13:42 | |
Right, in a way, this is the most important brick, | 0:13:42 | 0:13:47 | |
because this is basically the keystone and in principle, | 0:13:47 | 0:13:51 | |
it should lock our arch. | 0:13:51 | 0:13:54 | |
The bit you've got to do now is the do or die bit. | 0:13:54 | 0:13:57 | |
You have to drop the former | 0:13:57 | 0:14:00 | |
and then transfer the load off the former into the arch. | 0:14:00 | 0:14:03 | |
In principle, it should stand up but I have a sneaking suspicion... | 0:14:03 | 0:14:08 | |
well, who knows. Let's give it a go. | 0:14:08 | 0:14:10 | |
OK, right, that's positive. | 0:14:16 | 0:14:19 | |
Whoa! | 0:14:21 | 0:14:22 | |
Don't say anything too soon. | 0:14:26 | 0:14:28 | |
No way. | 0:14:30 | 0:14:32 | |
Woo hoo! Hey hey! | 0:14:32 | 0:14:34 | |
That is how you build an arch. | 0:14:37 | 0:14:40 | |
You get a sense of how hard it is to make an arch | 0:14:41 | 0:14:45 | |
and that's just a little section of a vault. | 0:14:45 | 0:14:48 | |
It reinforces that question. | 0:14:48 | 0:14:49 | |
Why did they go to all the effort of making a miniature version | 0:14:49 | 0:14:53 | |
of a bishop's great hall on the quayside at Haverfordwest? | 0:14:53 | 0:14:58 | |
Vault building was also expensive. | 0:15:03 | 0:15:05 | |
The reason why can be seen back at the museum, | 0:15:05 | 0:15:09 | |
where Ian, the carpenter, is finishing the substantial formwork | 0:15:09 | 0:15:12 | |
they need for the reconstruction. | 0:15:12 | 0:15:15 | |
-Is that the last piece? -Yes. | 0:15:15 | 0:15:19 | |
Ian has made six sturdy trusses | 0:15:19 | 0:15:22 | |
which have to be strong enough to support the massive weight | 0:15:22 | 0:15:26 | |
of the vault stonework. | 0:15:26 | 0:15:28 | |
The frame needs to be self-supporting, | 0:15:30 | 0:15:33 | |
sitting within the building's walls. | 0:15:33 | 0:15:35 | |
You've only gone halfway. | 0:15:37 | 0:15:38 | |
That's right. We found in medieval times, with vaulted arches, | 0:15:38 | 0:15:42 | |
there's a straight joint in the middle of the vault. | 0:15:42 | 0:15:45 | |
Some say it was an expansion joint, things like that. Total rubbish. | 0:15:45 | 0:15:49 | |
It was because the timber was expensive, | 0:15:49 | 0:15:52 | |
so they only made the formwork in sections. | 0:15:52 | 0:15:54 | |
We've done this halfway. | 0:15:54 | 0:15:57 | |
This is all wedged up in place. | 0:15:57 | 0:15:59 | |
The masons will do the stonework over it, | 0:15:59 | 0:16:02 | |
-when that's set, we'll drop it on the wedges. -Knock out those wedges? | 0:16:02 | 0:16:06 | |
Knock the folding wedges out so it drops | 0:16:06 | 0:16:07 | |
and we'll move it over and wedge it back into place again. | 0:16:07 | 0:16:11 | |
Thank you. | 0:16:11 | 0:16:12 | |
It's quite amazing to think that 400 or 500 years ago, | 0:16:17 | 0:16:23 | |
they were making it exactly this shape. | 0:16:23 | 0:16:26 | |
-The same size, same shape. -Same principles. | 0:16:26 | 0:16:29 | |
-Slightly different timber. -Slightly, yes. | 0:16:29 | 0:16:32 | |
My research is leading me to believe | 0:16:39 | 0:16:41 | |
that our sturdy vaulted structure | 0:16:41 | 0:16:43 | |
may have been some sort of fortified building. | 0:16:43 | 0:16:45 | |
But its design and location here, | 0:16:47 | 0:16:50 | |
right by the quayside at Haverfordwest, | 0:16:50 | 0:16:52 | |
have led many to think it was in fact a merchant's house. | 0:16:52 | 0:16:56 | |
Over there was Haverfordwest's medieval quay. | 0:16:58 | 0:17:02 | |
Incredible - some warehouses survive but from the 19th century | 0:17:02 | 0:17:05 | |
and indeed the quays and the port remained active | 0:17:05 | 0:17:09 | |
until the railways arrived in 1853 and it all went into decline. | 0:17:09 | 0:17:13 | |
Incredible, here I've got this rather tantalising photograph | 0:17:13 | 0:17:17 | |
taken about 1900 and from roughly where I'm standing now. | 0:17:17 | 0:17:21 | |
I can see a number of the warehouses in this photograph still survive. | 0:17:21 | 0:17:25 | |
This ramp and steps, that survived, | 0:17:25 | 0:17:27 | |
as does this warehouse at the top of the ramp now with green shutters. | 0:17:27 | 0:17:32 | |
Very striking. These large ships tied up to the quay. | 0:17:32 | 0:17:36 | |
Of course in middle ages, many ocean-going craft here | 0:17:36 | 0:17:40 | |
bringing in goods from all over Western Europe. | 0:17:40 | 0:17:44 | |
This is the oldest picture of the port I can find. | 0:17:46 | 0:17:48 | |
There's a 1748 engraving. | 0:17:48 | 0:17:52 | |
Although made 300 years after our building was constructed, | 0:17:52 | 0:17:56 | |
many of the medieval harbour buildings are still standing. | 0:17:56 | 0:18:00 | |
Large seagoing vessels crowd the port | 0:18:00 | 0:18:03 | |
and there are many substantial warehouses. | 0:18:03 | 0:18:05 | |
At high tide, | 0:18:06 | 0:18:08 | |
the river was navigable for ships up to 250 tons, | 0:18:08 | 0:18:12 | |
which arrived from London, Bristol, France and Spain. | 0:18:12 | 0:18:16 | |
With its vaulted ground floor which could be used for storage | 0:18:22 | 0:18:25 | |
and its proximity to the harbour, | 0:18:25 | 0:18:27 | |
our building could well have been a merchant's house. | 0:18:27 | 0:18:31 | |
Here on the coast of Tenby, 20 miles away from Haverfordwest, | 0:18:31 | 0:18:35 | |
is a famous merchant's house that dates from the late 15th century | 0:18:35 | 0:18:39 | |
and has been fully restored by the National Trust. | 0:18:39 | 0:18:42 | |
I've come to see if this building has anything in common with ours. | 0:18:44 | 0:18:48 | |
The first obvious difference | 0:18:50 | 0:18:52 | |
is that the ground floor isn't vaulted in masonry. | 0:18:52 | 0:18:55 | |
It's a big timber-beamed joist, a timber structure. | 0:18:55 | 0:19:00 | |
Here, an absolutely huge fireplace. Wonderful. | 0:19:00 | 0:19:06 | |
This presumably would've been a kitchen originally | 0:19:06 | 0:19:10 | |
and perhaps a shop, | 0:19:10 | 0:19:12 | |
because it was separate, here, this level, from the level above. | 0:19:12 | 0:19:17 | |
That staircase has been added quite recently. | 0:19:17 | 0:19:20 | |
Well, very different. | 0:19:27 | 0:19:28 | |
The first-floor living area, a great hall really. | 0:19:28 | 0:19:33 | |
Light, large scale and terrific details. | 0:19:33 | 0:19:37 | |
Look at this, for example. | 0:19:37 | 0:19:39 | |
Very ornamental mullioned window, beautifully carved, | 0:19:39 | 0:19:43 | |
light flooding in from three sides, a sense of space. | 0:19:43 | 0:19:48 | |
But, although different, | 0:19:48 | 0:19:49 | |
I have observed something here which is intriguing. | 0:19:49 | 0:19:52 | |
Look, below the corbel is a blocked doorway. | 0:19:52 | 0:19:58 | |
This would seem to be the door leading to the street. | 0:19:58 | 0:20:01 | |
This house was originally entered at first-floor level | 0:20:01 | 0:20:04 | |
like our humble building, with a staircase through this door | 0:20:04 | 0:20:07 | |
down to the street, the ground level there. | 0:20:07 | 0:20:11 | |
This house, unlike our building, has a third floor | 0:20:17 | 0:20:21 | |
and quite a room it is indeed. | 0:20:21 | 0:20:24 | |
A tremendous roof structure of a sort | 0:20:24 | 0:20:28 | |
that I have only seen in Pembrokeshire. | 0:20:28 | 0:20:31 | |
It creates a lovely interior, very light, very habitable, | 0:20:31 | 0:20:35 | |
it does really feel like the home of a rich, Tudor merchant. | 0:20:35 | 0:20:40 | |
The high status of merchants who lived in houses like this | 0:20:46 | 0:20:49 | |
in the late 15th century, | 0:20:49 | 0:20:51 | |
suggest very strongly that our humble building | 0:20:51 | 0:20:54 | |
was not a merchant's house. | 0:20:54 | 0:20:57 | |
Although, of course, | 0:20:57 | 0:20:59 | |
it could've been the home of a lower status trader | 0:20:59 | 0:21:02 | |
or perhaps it had a different function entirely. | 0:21:02 | 0:21:06 | |
With a supporting formwork now complete, | 0:21:11 | 0:21:14 | |
stonemasons Andrew and Mike have started work on the vault. | 0:21:14 | 0:21:17 | |
You have to lay it on on the flat edge. That would go... | 0:21:19 | 0:21:24 | |
-Just like a sandwich. -Like that. | 0:21:24 | 0:21:25 | |
That's your facing edge underneath, | 0:21:25 | 0:21:27 | |
so when you come in from under the building, | 0:21:27 | 0:21:30 | |
that's what you'll see, just flat. | 0:21:30 | 0:21:35 | |
After you've got that first arch, | 0:21:35 | 0:21:37 | |
do you then have to backfill to get weight on top before the formwork comes out? | 0:21:37 | 0:21:41 | |
We've taken the arch up. | 0:21:41 | 0:21:43 | |
We get tonnes and tonnes of slate, knock it in, in every joint. | 0:21:43 | 0:21:46 | |
-To pre-stress it? -Yes, that's right. | 0:21:46 | 0:21:49 | |
It really tightens it up | 0:21:49 | 0:21:50 | |
and with a bit of luck, we can take that formwork down. | 0:21:50 | 0:21:54 | |
-With a bit of luck! -We need a bit of that now. | 0:21:54 | 0:21:57 | |
You saw it before it came down. Was it really well built? | 0:21:57 | 0:22:04 | |
Was the quality of the masonry on the arch? | 0:22:04 | 0:22:06 | |
-Solid. -Was it well done? -It was very, very well built. | 0:22:06 | 0:22:10 | |
We had a bit of trouble knocking it down, to be honest. | 0:22:10 | 0:22:12 | |
We were there for six weeks and every day we worked hard. | 0:22:12 | 0:22:15 | |
It's a huge amount of effort. | 0:22:15 | 0:22:18 | |
First of all, you almost make a timber building. | 0:22:18 | 0:22:20 | |
That's strong enough. You could build another floor on top. | 0:22:20 | 0:22:24 | |
Then, you go to all the effort of building the stonework | 0:22:24 | 0:22:27 | |
and then you take out the wood. | 0:22:27 | 0:22:29 | |
In a way, why didn't they just build a wooden floor? | 0:22:29 | 0:22:32 | |
All this work must have been for some reason. | 0:22:32 | 0:22:34 | |
I think it's done for security reasons. | 0:22:34 | 0:22:37 | |
Now we've begun work on the building, | 0:22:37 | 0:22:40 | |
it's become clear just what a simple structure it is | 0:22:40 | 0:22:44 | |
and this pile of stones tells a very interesting story. | 0:22:44 | 0:22:47 | |
It's called random rubble, it's what the building is built of, | 0:22:47 | 0:22:51 | |
but what's interesting about these stones, | 0:22:51 | 0:22:53 | |
is they've come from different sources. | 0:22:53 | 0:22:56 | |
It's all local to Haverfordwest but this one here, that's a river stone. | 0:22:56 | 0:23:00 | |
They've gone around the local area scavenging materials | 0:23:00 | 0:23:03 | |
wherever they could find them. | 0:23:03 | 0:23:06 | |
What's fascinating, is you've got to remember | 0:23:06 | 0:23:08 | |
this is the medieval period, | 0:23:08 | 0:23:09 | |
when stonemasonry is a really refined art form | 0:23:09 | 0:23:13 | |
and beautiful cathedrals are springing up all over the country. | 0:23:13 | 0:23:17 | |
It makes our building pretty low rent. | 0:23:18 | 0:23:22 | |
The few medieval buildings that survive in Haverfordwest | 0:23:26 | 0:23:29 | |
are all built of stone. | 0:23:29 | 0:23:31 | |
There's the castle, of course, and three churches. | 0:23:31 | 0:23:35 | |
The fact that the town | 0:23:35 | 0:23:36 | |
could afford to build and maintain three churches | 0:23:36 | 0:23:39 | |
reveals how wealthy it was in the Middle Ages. | 0:23:39 | 0:23:42 | |
A wealth that came from trade. | 0:23:42 | 0:23:44 | |
The stonework in St Mary's reveals just how skilful | 0:23:49 | 0:23:53 | |
medieval masons could be. | 0:23:53 | 0:23:55 | |
On this arcade that dates from the early 13th century, | 0:23:55 | 0:23:58 | |
is a wonderful examples of the work, the skill, the genius of masons. | 0:23:58 | 0:24:04 | |
This work is in contrast | 0:24:04 | 0:24:06 | |
to our rather rough and ready rubble masonry in our little building. | 0:24:06 | 0:24:12 | |
The oldest parts of the church are 12th century, | 0:24:13 | 0:24:16 | |
but many of the more elaborate and expensive features | 0:24:16 | 0:24:19 | |
were added around the time our building was constructed. | 0:24:19 | 0:24:23 | |
These include the clerestory windows and the wonderful oak roof. | 0:24:23 | 0:24:29 | |
What's fascinating is at the same time, | 0:24:29 | 0:24:31 | |
the second half of the 15th century, | 0:24:31 | 0:24:33 | |
other churches in the town were being embellished. | 0:24:33 | 0:24:36 | |
Clearly, there was a building boom underway, | 0:24:36 | 0:24:39 | |
and wealth was flooding into the town. | 0:24:39 | 0:24:41 | |
Does this boom offer a clue to the use of our building? | 0:24:41 | 0:24:45 | |
I'm hoping architectural historian Tom Lloyd may have an answer. | 0:24:49 | 0:24:53 | |
Hello. Nice to see you. | 0:24:53 | 0:24:55 | |
This is a wonderful church and I was wondering, | 0:24:55 | 0:24:58 | |
why was it embellished in such a wonderful way | 0:24:58 | 0:25:02 | |
in the late 15th century? | 0:25:02 | 0:25:04 | |
I presume it's because the town went up in status, something like that? | 0:25:04 | 0:25:08 | |
It did. Something incredibly important happened in 1479. | 0:25:08 | 0:25:12 | |
It received a charter from the Prince of Wales | 0:25:12 | 0:25:15 | |
who was Lord of Haverford. | 0:25:15 | 0:25:16 | |
That charter set this town on a course to prosperity | 0:25:16 | 0:25:20 | |
that carried it through for centuries. | 0:25:20 | 0:25:23 | |
The charter of 1479 established a Mayor, bailiffs, a sheriff, | 0:25:23 | 0:25:29 | |
24 councillors and that really meant, | 0:25:29 | 0:25:32 | |
apart from anything else, that it was free of feudal overlordship. | 0:25:32 | 0:25:35 | |
The place had self-government. The Mayor had his own pew. | 0:25:35 | 0:25:38 | |
You can see the new boss of Haverfordwest, | 0:25:38 | 0:25:40 | |
the feudal overlord had gone, the place had self determination | 0:25:40 | 0:25:45 | |
and of course, the Common Council, the bailiffs, | 0:25:45 | 0:25:48 | |
were the merchants of the town. | 0:25:48 | 0:25:49 | |
They were the heads of the trade guilds and it prospered. | 0:25:49 | 0:25:52 | |
By 1577, it was described as the best built | 0:25:52 | 0:25:56 | |
and most civil town in south Wales. | 0:25:56 | 0:25:58 | |
These people were free, they were rich | 0:25:58 | 0:26:00 | |
they'd got their independence and they were going to show it. | 0:26:00 | 0:26:03 | |
-New elite, new men for the new age. -Absolutely. | 0:26:03 | 0:26:07 | |
It seems possible that the construction of our building | 0:26:07 | 0:26:10 | |
was connected to this enrichment of Haverfordwest's merchant elite | 0:26:10 | 0:26:14 | |
in the 15th century. | 0:26:14 | 0:26:15 | |
But, the medieval layout of the town again indicated | 0:26:16 | 0:26:20 | |
it wasn't one of their homes. | 0:26:20 | 0:26:22 | |
In front of us, the high street, | 0:26:24 | 0:26:26 | |
this was the heart of the merchant's town. | 0:26:26 | 0:26:29 | |
It got richer as you came up the hill, I suspect, to the high town. | 0:26:29 | 0:26:34 | |
The bottom would've been smelly and busy | 0:26:34 | 0:26:37 | |
and that's where the port was happening. | 0:26:37 | 0:26:39 | |
You wanted to get away from that. | 0:26:39 | 0:26:41 | |
Down there, Quay Street, that was the rough end, wasn't it? | 0:26:41 | 0:26:45 | |
Like all ports, rough and prosperous. | 0:26:45 | 0:26:47 | |
That seals it for me. | 0:26:51 | 0:26:52 | |
Our sturdy tower wasn't a merchant's house | 0:26:52 | 0:26:55 | |
but I still suspect it's somehow connected to their trade. | 0:26:55 | 0:26:59 | |
It's now five months into the build and stonemasons Mike and Andrew | 0:27:05 | 0:27:09 | |
have completed work on their vault. | 0:27:09 | 0:27:12 | |
Morning. | 0:27:13 | 0:27:14 | |
I'm back visiting site on what promises to be a momentous day, | 0:27:17 | 0:27:22 | |
because today, the art of the stonemason | 0:27:22 | 0:27:24 | |
is really going to be put to the test. | 0:27:24 | 0:27:27 | |
We're going to remove the formwork, | 0:27:27 | 0:27:29 | |
the wooden support upon which the vault of the undercroft | 0:27:29 | 0:27:33 | |
has been built. | 0:27:33 | 0:27:35 | |
As of course, the big question is, will be vault stay standing | 0:27:35 | 0:27:38 | |
when the supports are removed? | 0:27:38 | 0:27:40 | |
-Hello guys. Look at this. It's a bit like a hedgehog, isn't it? -Yes. | 0:27:44 | 0:27:49 | |
-Which side did you do, Mike? -The best side. The good side. | 0:27:50 | 0:27:55 | |
Competition. | 0:27:55 | 0:27:56 | |
The thing about it, neither side is going to work without the other, | 0:27:56 | 0:28:00 | |
so I hope they both work. | 0:28:00 | 0:28:04 | |
Have you stress tested it at all? | 0:28:04 | 0:28:07 | |
You've just done it for us. | 0:28:07 | 0:28:09 | |
It's actually a pretty thin structure. | 0:28:09 | 0:28:13 | |
I was very confident but I'm realising it's more delicate. | 0:28:13 | 0:28:16 | |
Are you confident? That's pretty thin. | 0:28:16 | 0:28:20 | |
You build the arch and you stand underneath it | 0:28:20 | 0:28:23 | |
when you take out the formwork. | 0:28:23 | 0:28:25 | |
That's right, it's called having faith in a fellow tradesmen. | 0:28:25 | 0:28:29 | |
Right, what's the plan then? | 0:28:33 | 0:28:35 | |
You take that side, I'll take this side. | 0:28:35 | 0:28:38 | |
-What are you two doing? -We'll just watch in case it goes wrong. | 0:28:38 | 0:28:42 | |
Good. | 0:28:42 | 0:28:43 | |
-Right, just tap that back? Like that? -Just tap it. | 0:28:46 | 0:28:51 | |
Right. | 0:28:54 | 0:28:55 | |
We'll get the boys in now and undo the props | 0:28:55 | 0:28:58 | |
and hopefully, it'll just drop. | 0:28:58 | 0:29:01 | |
Don't use the word "drop". Not the word "drop". | 0:29:01 | 0:29:04 | |
Are you ready then, gents? | 0:29:04 | 0:29:06 | |
Yep. | 0:29:06 | 0:29:08 | |
Mine is a bit tight. | 0:29:08 | 0:29:11 | |
-It's wobbling. -Good. | 0:29:11 | 0:29:16 | |
Mine is out. | 0:29:16 | 0:29:18 | |
Do you want to come out so it doesn't drop on your head? | 0:29:18 | 0:29:22 | |
Good idea, Charlie. | 0:29:22 | 0:29:23 | |
-That's still... right, now what do we do? -Is it loose? | 0:29:23 | 0:29:26 | |
No, it's all the way down though. | 0:29:26 | 0:29:28 | |
When it comes out, what do I do when it comes out? | 0:29:31 | 0:29:35 | |
Don't do a thing. | 0:29:35 | 0:29:38 | |
-It's out. -Whoa! -How's that? | 0:29:38 | 0:29:40 | |
-That's clear. -A good few inches there. -That's a vault. -That's it. | 0:29:41 | 0:29:47 | |
The foreman has done his job. Masons have done their job. | 0:29:47 | 0:29:49 | |
Well done. | 0:29:49 | 0:29:51 | |
I don't think the mediaeval owner | 0:29:52 | 0:29:54 | |
would have gone to all the trouble of building a vault like that, | 0:29:54 | 0:29:58 | |
unless it was for protection. | 0:29:58 | 0:29:59 | |
Although I don't now believe | 0:29:59 | 0:30:01 | |
our building was connected to the castle, | 0:30:01 | 0:30:03 | |
it does remind me of fortified farms called bastles. | 0:30:03 | 0:30:08 | |
There's an example I'm looking at here, | 0:30:09 | 0:30:11 | |
it's remarkably similar. | 0:30:11 | 0:30:13 | |
Barrel-vaulted ground floor. | 0:30:13 | 0:30:16 | |
One room above. | 0:30:16 | 0:30:18 | |
Entrance only via a first-floor door. | 0:30:18 | 0:30:21 | |
In its scale and its status, humble, modest. | 0:30:21 | 0:30:26 | |
So, it's sort of uncanny, really, the similarity, | 0:30:26 | 0:30:28 | |
and a very good pointer | 0:30:28 | 0:30:30 | |
to what our building could have been. | 0:30:30 | 0:30:32 | |
But, unfortunately, | 0:30:32 | 0:30:33 | |
as far as I know, these bastles, | 0:30:33 | 0:30:35 | |
these fortified farms, exist only in one place - | 0:30:35 | 0:30:39 | |
on the border of England and Scotland, | 0:30:39 | 0:30:41 | |
and not in Pembrokeshire. | 0:30:41 | 0:30:44 | |
500 years ago, in the lawless Scottish Borders, | 0:30:46 | 0:30:49 | |
marauding bands of raiders, known as reivers, | 0:30:49 | 0:30:53 | |
terrorised the countryside. | 0:30:53 | 0:30:54 | |
They stole and often murdered on a massive scale. | 0:30:55 | 0:31:00 | |
In response, wealthier families built bastles - | 0:31:00 | 0:31:03 | |
defendable farmhouses. | 0:31:03 | 0:31:05 | |
Their livestock could be secured in the vaulted chamber | 0:31:06 | 0:31:09 | |
while the family retreated to the first floor, | 0:31:09 | 0:31:11 | |
pulling the ladder up behind them. | 0:31:11 | 0:31:14 | |
I'm looking at the area of the English-Scottish border | 0:31:18 | 0:31:21 | |
and it shows a whole range of bastles. | 0:31:21 | 0:31:24 | |
They're shown as red triangles. | 0:31:24 | 0:31:26 | |
There's lots of them. | 0:31:26 | 0:31:28 | |
And then, as one goes south, they fall away. | 0:31:28 | 0:31:30 | |
Virtually no bastles. | 0:31:30 | 0:31:33 | |
But, here's Wales, | 0:31:33 | 0:31:36 | |
and, as you would imagine, | 0:31:36 | 0:31:37 | |
lots of fortifications of different types. | 0:31:37 | 0:31:40 | |
But seemingly no bastles, | 0:31:40 | 0:31:42 | |
except, much to my amazement, | 0:31:42 | 0:31:44 | |
one comes right to the south, | 0:31:44 | 0:31:46 | |
south-west into Pembrokeshire, | 0:31:46 | 0:31:48 | |
there are bastles, | 0:31:48 | 0:31:49 | |
and they're shown here as dark-blue inverted triangles, | 0:31:49 | 0:31:53 | |
around the region of Haverfordwest. | 0:31:53 | 0:31:55 | |
Indeed, could our building be one of these bastles? | 0:31:55 | 0:32:01 | |
Two of those South Pembrokeshire buildings described as bastles | 0:32:03 | 0:32:07 | |
are tucked away down this bumpy track at Carswell Farm, | 0:32:07 | 0:32:11 | |
and I'm fascinated to see | 0:32:11 | 0:32:13 | |
if they bear any resemblance to our building. | 0:32:13 | 0:32:16 | |
This is it, and, to be honest with you, it's quite extraordinary, | 0:32:19 | 0:32:24 | |
I mean, it's the same sort of size, | 0:32:24 | 0:32:25 | |
it's built with similar stone, | 0:32:25 | 0:32:27 | |
it's got a very similar pitch to the roof, | 0:32:27 | 0:32:29 | |
and first-floor access. | 0:32:29 | 0:32:31 | |
I mean, it's pretty uncanny, actually. | 0:32:31 | 0:32:33 | |
Yeah. There's a vault. | 0:32:36 | 0:32:38 | |
Look at that. I mean, almost identical to ours. | 0:32:38 | 0:32:41 | |
Extraordinary. | 0:32:43 | 0:32:45 | |
This is the first floor above the vault | 0:32:48 | 0:32:50 | |
and this is the original entrance here. | 0:32:50 | 0:32:54 | |
One entrance. Defendable. | 0:32:54 | 0:32:55 | |
There are windows, but they're sort of arrow-slit windows. | 0:32:55 | 0:33:00 | |
You know, they're defendable. | 0:33:00 | 0:33:02 | |
And, it seems to me, | 0:33:02 | 0:33:03 | |
given the fact that our building was only 15 miles from here, | 0:33:03 | 0:33:07 | |
that it must have been some kind of defendable structure, | 0:33:07 | 0:33:11 | |
some kind of bastle. | 0:33:11 | 0:33:14 | |
'I'm meeting Richard Suggett | 0:33:14 | 0:33:17 | |
'from the Royal Commission | 0:33:17 | 0:33:18 | |
'On The Ancient And Historical Monuments Of Wales, | 0:33:18 | 0:33:21 | |
'to discover what he knows about this ruin.' | 0:33:21 | 0:33:23 | |
-Hello. -Hello, Charlie. -Hello, Richard, how are you? | 0:33:23 | 0:33:26 | |
-Thanks for coming down. -Good to see you. | 0:33:26 | 0:33:28 | |
It's a wonderful little building, this, isn't it? | 0:33:28 | 0:33:30 | |
-Absolutely wonderful. -Now, it's a defensible structure, isn't it? | 0:33:30 | 0:33:33 | |
-I'm right in thinking that. -I think that's fair enough to say, yes. | 0:33:33 | 0:33:36 | |
And it's a bastle, right? | 0:33:36 | 0:33:39 | |
It's similar to a bastle. | 0:33:39 | 0:33:40 | |
A bastle is a kind of vertical longhouse, | 0:33:40 | 0:33:44 | |
with the cattle underneath and the people on top. | 0:33:44 | 0:33:47 | |
This is formally similar, but it's got a fireplace down below. | 0:33:47 | 0:33:50 | |
Yeah. | 0:33:50 | 0:33:51 | |
I think we have to think of it as a refuge | 0:33:51 | 0:33:53 | |
more than a permanent dwelling. | 0:33:53 | 0:33:55 | |
A place where you could take refuge in an emergency. | 0:33:55 | 0:33:59 | |
So it's a mediaeval panic room. | 0:33:59 | 0:34:01 | |
That's a really good way of looking at it. | 0:34:01 | 0:34:03 | |
What kind of emergency? | 0:34:03 | 0:34:04 | |
I mean, what is out there, | 0:34:04 | 0:34:06 | |
roaming these hills back in those days that you want to hide from? | 0:34:06 | 0:34:10 | |
-We are in the Englishry, so... -Which is... | 0:34:10 | 0:34:14 | |
Which is the English-speaking part of Pembrokeshire. | 0:34:14 | 0:34:17 | |
Are we talking about tribes, or bands? | 0:34:17 | 0:34:19 | |
Groups of men coming from Mid and North Wales | 0:34:19 | 0:34:22 | |
to kind of see what they could get out of the Englishry? | 0:34:22 | 0:34:26 | |
We're talking about people only a few miles away to the North. | 0:34:26 | 0:34:29 | |
By the 16th century, it's pretty clear there wasn't aggression, | 0:34:29 | 0:34:32 | |
there was avoidance. | 0:34:32 | 0:34:34 | |
So, I think we have to think of another sort of threat. | 0:34:34 | 0:34:37 | |
All these little vaulted structures are located near the sea. | 0:34:37 | 0:34:41 | |
I think it's at least plausible | 0:34:41 | 0:34:43 | |
that the people who had these houses as refuges, | 0:34:43 | 0:34:46 | |
were anxious about pirates. | 0:34:46 | 0:34:48 | |
And there are some late-medieval references to piracy | 0:34:48 | 0:34:51 | |
in the Bristol Channel. | 0:34:51 | 0:34:53 | |
Now, we have a little building that came from Haverfordwest. | 0:34:53 | 0:34:56 | |
-You do, indeed. -That's on a river. So, do you think - | 0:34:56 | 0:34:59 | |
because I'm beginning to wonder - | 0:34:59 | 0:35:02 | |
is our Haverfordwest building a defensible building? | 0:35:02 | 0:35:05 | |
Is a little bastle kind of structure? | 0:35:05 | 0:35:08 | |
Well, it certainly has defensive features. | 0:35:08 | 0:35:11 | |
It's formally, structurally similar, to this sort of building. | 0:35:11 | 0:35:15 | |
I don't like the sound of your tone of voice. | 0:35:15 | 0:35:18 | |
What is it, then? | 0:35:18 | 0:35:19 | |
Well, we do have a clue | 0:35:19 | 0:35:20 | |
in this drawing of Edward VI's Coronation procession. | 0:35:20 | 0:35:24 | |
-Where is this? -This is the commercial heart of London | 0:35:24 | 0:35:27 | |
and you can see various shops and things here. | 0:35:27 | 0:35:30 | |
But moving along here you can see some buildings, | 0:35:30 | 0:35:32 | |
which are not unlike... | 0:35:32 | 0:35:33 | |
-These. These. -Yes, exactly. | 0:35:33 | 0:35:36 | |
So, vaulted ground floor with half timbering, more decorative, | 0:35:36 | 0:35:41 | |
with a half-timbered building above. | 0:35:41 | 0:35:44 | |
-Sort of similar layout. -Oh, yes. -A bit grander. | 0:35:44 | 0:35:48 | |
So, what do we think these buildings are? | 0:35:48 | 0:35:50 | |
Well, it's pretty certain that they were warehouses. | 0:35:50 | 0:35:53 | |
You have shops here, | 0:35:53 | 0:35:55 | |
warehouses here. | 0:35:55 | 0:35:56 | |
So, your theory | 0:35:56 | 0:35:58 | |
would be that it's a secure lock-up. | 0:35:58 | 0:36:00 | |
Exactly. A secure lock-up. | 0:36:00 | 0:36:02 | |
Maybe it's not a romantic theory, | 0:36:02 | 0:36:04 | |
but it in fact explains the evidence there. | 0:36:04 | 0:36:07 | |
With its quayside location, it does make sense that our building | 0:36:12 | 0:36:15 | |
was some sort of mediaeval strongroom. | 0:36:15 | 0:36:19 | |
To discover if any of the goods | 0:36:19 | 0:36:20 | |
that were imported into Haverfordwest | 0:36:20 | 0:36:22 | |
could warrant such high security, | 0:36:22 | 0:36:25 | |
I've come to the town's record office. | 0:36:25 | 0:36:27 | |
Now, on the screen in front of me | 0:36:29 | 0:36:30 | |
is a copy of a document held in the National Archives in Kew. | 0:36:30 | 0:36:35 | |
It's a petition, dated 1327, | 0:36:35 | 0:36:38 | |
directed towards the King from a body of merchants in Haverfordwest. | 0:36:38 | 0:36:42 | |
They are complaining about having to pay duty more than once | 0:36:42 | 0:36:46 | |
on their goods, | 0:36:46 | 0:36:47 | |
because they got blown to the wrong port before arriving here. | 0:36:47 | 0:36:50 | |
But, the key thing is, | 0:36:50 | 0:36:52 | |
these chaps proclaim that they have brought wine many times. | 0:36:52 | 0:36:58 | |
Obviously, it's a big business bringing wine here from France, | 0:36:58 | 0:37:01 | |
and wine of very high value. | 0:37:01 | 0:37:03 | |
A commodity. | 0:37:03 | 0:37:05 | |
So, it occurs to me that our vaulted cellar, our little building, | 0:37:05 | 0:37:08 | |
was probably part of this industry, | 0:37:08 | 0:37:10 | |
the importation of wine into Wales through Haverfordwest. | 0:37:10 | 0:37:14 | |
Wine would have been stored in the vaulted ground floor, | 0:37:14 | 0:37:17 | |
would have been kept safe from thieves, from fire. | 0:37:17 | 0:37:21 | |
So, vaulted structure, made out of stone, | 0:37:21 | 0:37:24 | |
very good atmosphere for storing wine. | 0:37:24 | 0:37:27 | |
Some further delving in the town archives | 0:37:30 | 0:37:33 | |
has uncovered another record, | 0:37:33 | 0:37:35 | |
which I believe could be the crucial breakthrough in my investigation. | 0:37:35 | 0:37:39 | |
Now, this really is quite a discovery. | 0:37:42 | 0:37:45 | |
It's a manorial record of the Voyles, | 0:37:45 | 0:37:47 | |
who are very distinguished merchant family of Haverfordwest. | 0:37:47 | 0:37:52 | |
It's dated 1584 with clearly 20th-century reprint. | 0:37:52 | 0:37:58 | |
And, on this page, | 0:37:58 | 0:38:00 | |
you can see that they had a tenement. | 0:38:00 | 0:38:03 | |
It says, in Ship Street, the old name for Quay Street. | 0:38:03 | 0:38:08 | |
And next to this tenement, a property, owned by them, | 0:38:08 | 0:38:11 | |
described as "one cellar and a chamber." | 0:38:11 | 0:38:15 | |
Surely, that's our building. | 0:38:15 | 0:38:17 | |
One cellar, the vaulted ground floor with a chamber above. | 0:38:17 | 0:38:20 | |
What's fantastic, in my view, | 0:38:20 | 0:38:22 | |
is that it says "This building is in my own hands, | 0:38:22 | 0:38:26 | |
"valued at ten shillings yearly." | 0:38:26 | 0:38:29 | |
I take that to mean that they own the building. | 0:38:29 | 0:38:31 | |
It's not let. It's value if it were let is ten shillings a year. | 0:38:31 | 0:38:35 | |
But they have it in their own hands, | 0:38:35 | 0:38:37 | |
because they are letting someone live there. | 0:38:37 | 0:38:41 | |
So, presumably, John Martin is the retainer of the family, | 0:38:41 | 0:38:44 | |
a servant, living in the chamber above the cellar. | 0:38:44 | 0:38:48 | |
Absolutely amazing. | 0:38:48 | 0:38:49 | |
It's now spring | 0:38:59 | 0:39:01 | |
and stonemasons Andrew and Mike | 0:39:01 | 0:39:02 | |
have resumed work on the first-floor walls, following a winter hiatus. | 0:39:02 | 0:39:07 | |
They've also built some steps, | 0:39:08 | 0:39:10 | |
which probably weren't a feature of the original building, | 0:39:10 | 0:39:13 | |
but are necessary for public access. | 0:39:13 | 0:39:16 | |
'With the stonework shooting up, | 0:39:21 | 0:39:23 | |
'Ian the carpenter has begun pre-fabricating the roof.' | 0:39:23 | 0:39:26 | |
He is using modern machinery to cut everything to size, | 0:39:31 | 0:39:34 | |
but then a traditional adze to finish. | 0:39:34 | 0:39:37 | |
-So, what's the plan? -Well, the plan is... -Yeah? | 0:39:41 | 0:39:43 | |
You're going to sit there and strap that to your leg. | 0:39:43 | 0:39:47 | |
And what does this do? | 0:39:47 | 0:39:48 | |
That's a bit of leather that's going to protect your thigh. | 0:39:48 | 0:39:51 | |
I like the, sort of, simple technology. | 0:39:51 | 0:39:54 | |
This is what they would have used, isn't it? | 0:39:54 | 0:39:56 | |
We try and keep things nice and easy. | 0:39:56 | 0:39:58 | |
I mean, this is commitment to the kind of restoration cause, isn't it? | 0:39:58 | 0:40:02 | |
The plan now is to adze this joist. | 0:40:02 | 0:40:04 | |
OK, so what do you do? | 0:40:04 | 0:40:06 | |
All you do... | 0:40:06 | 0:40:07 | |
just skin the top of the timber, nice and easy. | 0:40:07 | 0:40:13 | |
And all you've got to worry about is if the grain changes. | 0:40:13 | 0:40:18 | |
Then you just go from the opposite way. | 0:40:18 | 0:40:20 | |
Is the key to let the weight of the adze do the work? | 0:40:20 | 0:40:23 | |
You have the weight with a little bit of power on it, | 0:40:23 | 0:40:25 | |
and try not to dig it in too much. | 0:40:25 | 0:40:27 | |
-That's digging, isn't it? So, come round. -Come round a bit. | 0:40:27 | 0:40:30 | |
-That's not as easy as it looks. -It isn't, is it? -No. | 0:40:33 | 0:40:35 | |
I thought I'd be... | 0:40:37 | 0:40:38 | |
You thought you would have had that finished by now, didn't you? | 0:40:38 | 0:40:41 | |
I thought I'd be, "I can do that!" | 0:40:41 | 0:40:43 | |
Another full day on it and you should be all right. | 0:40:43 | 0:40:46 | |
So, that's much better than that. | 0:40:48 | 0:40:50 | |
But, it is going to look amazing. | 0:40:50 | 0:40:51 | |
Oh, it will. It is a lovely finish, an adze. | 0:40:51 | 0:40:54 | |
It's going to look great. | 0:40:54 | 0:40:55 | |
By May, the walls are complete. | 0:41:00 | 0:41:01 | |
All the wood has been cut and the construction of the roof has began. | 0:41:01 | 0:41:06 | |
-Morning, guys. -ALL: Morning. | 0:41:07 | 0:41:10 | |
'The original roof had been replaced | 0:41:10 | 0:41:12 | |
'long before the building was dismantled. | 0:41:12 | 0:41:15 | |
'So, the reconstruction is based on a local medieval design.' | 0:41:15 | 0:41:18 | |
This is really old technology, isn't it? | 0:41:19 | 0:41:21 | |
Yeah. I mean, mortise and tenons have been around since the Roman times. | 0:41:21 | 0:41:25 | |
-Should we get on and get this up? -Yep. Bring the collar over now, boys. | 0:41:25 | 0:41:29 | |
-You've got to put the whole thing together at once. -Yep. | 0:41:29 | 0:41:34 | |
Let's start putting it in. | 0:41:34 | 0:41:35 | |
-Is it going to fit? -Yeah, it's going to fit. | 0:41:38 | 0:41:40 | |
You've got to literally just tip it into place? | 0:41:40 | 0:41:44 | |
Just tip it into place, really, yeah. | 0:41:44 | 0:41:46 | |
One, two, three. | 0:41:53 | 0:41:54 | |
-We're in. -Lovely. -All right? | 0:41:57 | 0:42:00 | |
-How was that, Charlie? -It's quite heavy, isn't it? | 0:42:00 | 0:42:04 | |
This is a really wonderful simple roof. | 0:42:06 | 0:42:11 | |
A beautiful piece of design | 0:42:11 | 0:42:12 | |
with nice attention to detail as well, | 0:42:12 | 0:42:14 | |
because it's very traditional. | 0:42:14 | 0:42:16 | |
This is a peg joint. There's two things that's brilliant about it. | 0:42:16 | 0:42:20 | |
One is that as the building dries, as these timbers dry, | 0:42:20 | 0:42:23 | |
it gets tighter and stronger. | 0:42:23 | 0:42:25 | |
And what's amazing, | 0:42:25 | 0:42:27 | |
is that the Romans used to use nails to hold their buildings together. | 0:42:27 | 0:42:29 | |
The problem with oak is that it's got this tannin in it, | 0:42:29 | 0:42:32 | |
which is what this black staining is | 0:42:32 | 0:42:34 | |
and it will eat through metal, | 0:42:34 | 0:42:35 | |
everything other, really, than stainless steel. | 0:42:35 | 0:42:38 | |
So, the Roman's buildings used to fall apart in a few decades, | 0:42:38 | 0:42:41 | |
but if you use a timber peg, this will stay up for hundreds of years. | 0:42:41 | 0:42:47 | |
Now, beyond that, there's this lovely bracket, | 0:42:47 | 0:42:50 | |
and this wonderful, sort of, curved shape. | 0:42:50 | 0:42:51 | |
Now, this is really unique. I've never seen this before. | 0:42:51 | 0:42:54 | |
And it's unique to Pembrokeshire. | 0:42:54 | 0:42:56 | |
Very beautiful because of the way it makes this curve | 0:42:56 | 0:42:59 | |
and brings the roof down onto the walls of the building. | 0:42:59 | 0:43:02 | |
And references the lovely stone vault below. | 0:43:02 | 0:43:06 | |
As our building at the Museum nears completion, | 0:43:11 | 0:43:13 | |
my investigations into its Haverfordwest origins | 0:43:13 | 0:43:16 | |
are also nearly concluded. | 0:43:16 | 0:43:19 | |
The Voyle family, | 0:43:19 | 0:43:20 | |
the rich merchants who seemed to have owned our building, | 0:43:20 | 0:43:23 | |
are recorded as having lived at number 15 the High Street. | 0:43:23 | 0:43:28 | |
It's thought that inside, | 0:43:28 | 0:43:30 | |
the family's great heraldic fireplace survives. | 0:43:30 | 0:43:33 | |
'But it's not been seen in living memory. | 0:43:33 | 0:43:37 | |
'So, I've met up again with Tom Lloyd | 0:43:37 | 0:43:40 | |
'to see if we can uncover it | 0:43:40 | 0:43:41 | |
'and find more clues about the strange little building | 0:43:41 | 0:43:45 | |
'they may have owned.' | 0:43:45 | 0:43:46 | |
So, shall we go and see if we can have a look. After you, go on. | 0:43:46 | 0:43:50 | |
The door's open. | 0:43:50 | 0:43:52 | |
'The house is now a shop with flats at the rear. | 0:43:52 | 0:43:54 | |
'In the 18th century, it was given a new facade. | 0:43:54 | 0:43:59 | |
'But, behind it, much of the medieval building survives.' | 0:43:59 | 0:44:03 | |
Ah, ooh! | 0:44:03 | 0:44:06 | |
Well, that is quite a surprise. | 0:44:06 | 0:44:09 | |
What clearly appears to be a medieval vast window, | 0:44:09 | 0:44:13 | |
sort of like from a church. | 0:44:13 | 0:44:16 | |
I suppose it would have lit a double-height great hall. | 0:44:16 | 0:44:18 | |
Well, it must have done. | 0:44:18 | 0:44:19 | |
It gives you some indication | 0:44:19 | 0:44:21 | |
of how high the status of this house really was. | 0:44:21 | 0:44:24 | |
And we do have this reference to the Voyle family | 0:44:24 | 0:44:28 | |
who had stained glass in a big window in their house. | 0:44:28 | 0:44:32 | |
This is a reference to George Owen | 0:44:32 | 0:44:35 | |
who described the house in the 1570s. | 0:44:35 | 0:44:38 | |
He described the house as having the stained glass in the window | 0:44:38 | 0:44:40 | |
showing the arms of Morgan Voyle, | 0:44:40 | 0:44:42 | |
who was then the occupant of the house. | 0:44:42 | 0:44:45 | |
The Voyles were big players on a national level. | 0:44:45 | 0:44:47 | |
The Voyles were a very significant Pembrokeshire family. | 0:44:47 | 0:44:50 | |
Morgan Voyle was Sheriff and Mayor of Haverfordwest in the 1580s. | 0:44:50 | 0:44:55 | |
He was a proud and very rich man | 0:44:55 | 0:44:58 | |
and this window is astonishing evidence of it, | 0:44:58 | 0:45:02 | |
and we believe as well, | 0:45:02 | 0:45:03 | |
that he had some chimney pieces carved with heraldry on them too. | 0:45:03 | 0:45:08 | |
'The building's changed so much | 0:45:09 | 0:45:12 | |
'that no-one is quite sure where the fireplace is, | 0:45:12 | 0:45:15 | |
'or if it has survived at all. | 0:45:15 | 0:45:17 | |
'But Tom has his suspicions.' | 0:45:17 | 0:45:20 | |
-Ian. -Hello. | 0:45:20 | 0:45:22 | |
Ian's the agent for the owner of the property, | 0:45:22 | 0:45:23 | |
whose very kindly let us come in here to do our worst. | 0:45:23 | 0:45:27 | |
Now, here's the wall. | 0:45:27 | 0:45:29 | |
Now, is behind this wall that we think, | 0:45:29 | 0:45:32 | |
this hollow wall, we think the chimneypiece is. | 0:45:32 | 0:45:36 | |
And were basing that on this plan we have here | 0:45:36 | 0:45:39 | |
from the Royal Commission Of Ancient Monuments | 0:45:39 | 0:45:42 | |
done some while ago, | 0:45:42 | 0:45:43 | |
which shows the chimney piece here. | 0:45:43 | 0:45:45 | |
We're in this room now. | 0:45:45 | 0:45:47 | |
OK, so it's in the centre of this wall. That's good to know. | 0:45:47 | 0:45:50 | |
And we know from old photographs what we're looking for. | 0:45:50 | 0:45:53 | |
This large chimneypiece with this heraldic mantle, | 0:45:53 | 0:45:57 | |
which I would think is about five-foot high. | 0:45:57 | 0:46:00 | |
You have to find the middle. So, four and a half feet. | 0:46:00 | 0:46:02 | |
One, two, three, four and a half there. | 0:46:02 | 0:46:06 | |
That's about the middle as I can work out. | 0:46:06 | 0:46:08 | |
You should have your finger on the Royal Arms Of England, there. | 0:46:08 | 0:46:13 | |
And no-one in living memory has seen it. | 0:46:13 | 0:46:15 | |
It's a bit like Tutankhamen's tomb, isn't it? One of the great... | 0:46:15 | 0:46:18 | |
But more exciting! | 0:46:18 | 0:46:20 | |
Treasures of Haverfordwest is perhaps a few inches away | 0:46:20 | 0:46:23 | |
and yet no-one has ever seen it. | 0:46:23 | 0:46:26 | |
We will see wonderful things. | 0:46:26 | 0:46:27 | |
'We decide to first cut a peephole | 0:46:33 | 0:46:35 | |
'to see if the fireplace really is behind this wall.' | 0:46:35 | 0:46:39 | |
Tantalising, tantalising. | 0:46:47 | 0:46:49 | |
It is. | 0:46:49 | 0:46:51 | |
By God, it is. By God, it is. | 0:46:51 | 0:46:53 | |
And it is the Royal Coat Of Arms, just where we thought it was. | 0:46:53 | 0:46:56 | |
Exact height. You've got it perfectly. | 0:46:56 | 0:46:59 | |
Isn't this fantastic? | 0:47:00 | 0:47:02 | |
-Something of astonishing architectural and artistic importance. -Really exciting. | 0:47:02 | 0:47:06 | |
Absolutely amazing. And it is just bizarre, look at it. | 0:47:06 | 0:47:09 | |
It's so unexpected in this very simple room. | 0:47:09 | 0:47:11 | |
But the thing now, of course, is if we can reveal more, | 0:47:11 | 0:47:14 | |
then we can start decoding the heraldry. | 0:47:14 | 0:47:16 | |
Yes. | 0:47:16 | 0:47:18 | |
And get the connections back to the Voyles, if possible, | 0:47:18 | 0:47:21 | |
and to our little building if possible. | 0:47:21 | 0:47:23 | |
And confirm this really is created by the people | 0:47:23 | 0:47:26 | |
who made our little structure. | 0:47:26 | 0:47:28 | |
-Gosh! -It's front-page news. | 0:47:28 | 0:47:31 | |
Now the position of the fireplace is known, | 0:47:33 | 0:47:36 | |
the builders can use power tools | 0:47:36 | 0:47:38 | |
to quickly cut away the remainder of the wall. | 0:47:38 | 0:47:41 | |
Well, Tom, here it is. | 0:47:58 | 0:48:00 | |
It's quite as good, or better, than we expected, in a way. | 0:48:00 | 0:48:03 | |
I love the fact that it has lime wash. | 0:48:03 | 0:48:04 | |
Amazing. I'm astonished to see paintwork, still. | 0:48:04 | 0:48:08 | |
I think I can see a bit of red there. | 0:48:08 | 0:48:10 | |
I mean, it's absolutely extraordinary. | 0:48:10 | 0:48:12 | |
What does the heraldry tell us, in terms of dates and meaning? | 0:48:12 | 0:48:15 | |
This appears to be a religious symbolic coat. | 0:48:15 | 0:48:20 | |
I think we have knots - knotted ropes and initials. | 0:48:20 | 0:48:24 | |
Now, that was going to suggest the flail, which Jesus was beaten with. | 0:48:24 | 0:48:29 | |
The passion. | 0:48:29 | 0:48:31 | |
It has to be, presumably, before 1530s. | 0:48:31 | 0:48:35 | |
-So this is Catholic imagery? -It would appear so. | 0:48:35 | 0:48:38 | |
Oh, Lord above! Well, this is so incredibly moving. | 0:48:38 | 0:48:40 | |
Also we've captured the moment just before the Protestant reformation. | 0:48:40 | 0:48:44 | |
This is still a Catholic family with Catholic imagery. | 0:48:44 | 0:48:47 | |
And then we have the Royal Arms, of course, here. | 0:48:47 | 0:48:49 | |
As always, at this date | 0:48:49 | 0:48:50 | |
with the French quartering before the English quartering. | 0:48:50 | 0:48:53 | |
So the owner of this chimneypiece | 0:48:53 | 0:48:55 | |
is proclaiming his allegiance to the Royal Family, the King, | 0:48:55 | 0:48:58 | |
and the Catholic Church. | 0:48:58 | 0:49:00 | |
Very important to the status of this chimneypiece. | 0:49:00 | 0:49:02 | |
OK, and that's Henry VIII just before the Reformation, | 0:49:02 | 0:49:05 | |
when he's still a Catholic monarch. | 0:49:05 | 0:49:06 | |
-Indeed. -Wow! -Presumably. -Yes. | 0:49:06 | 0:49:08 | |
Then we have this coat, which is very distinctive Pembrokeshire coat, | 0:49:08 | 0:49:11 | |
which belonged to the Owens of Henllys, | 0:49:11 | 0:49:13 | |
North Pembrokeshire, | 0:49:13 | 0:49:15 | |
but very important here in this town. | 0:49:15 | 0:49:18 | |
It seems that what the owner of this house is doing | 0:49:18 | 0:49:20 | |
is using the arms, putting up the arms of important people, | 0:49:20 | 0:49:23 | |
both nationally and locally, to claim allegiance | 0:49:23 | 0:49:27 | |
or respect towards them. | 0:49:27 | 0:49:28 | |
It is amazing. These stones really do speak, don't they? | 0:49:28 | 0:49:32 | |
They absolutely do. | 0:49:32 | 0:49:33 | |
You know, we are witnesses to the most exciting discovery. | 0:49:33 | 0:49:36 | |
Who would have thought that such a modest, modern looking room | 0:49:43 | 0:49:48 | |
could contain this early Tudor wonder. | 0:49:48 | 0:49:52 | |
This is a beautiful thing. | 0:49:52 | 0:49:54 | |
It's a window into a forgotten world. | 0:49:54 | 0:49:56 | |
It tells us so much about Haverfordwest and about our family, | 0:49:56 | 0:49:59 | |
the Voyles, that built, we think, our humble structure. | 0:49:59 | 0:50:04 | |
And a family who created a lavish fireplace like this | 0:50:07 | 0:50:10 | |
are certainly one who would require a secure vault | 0:50:10 | 0:50:13 | |
to protect their goods. | 0:50:13 | 0:50:16 | |
It's been over a year since the start of this build, | 0:50:32 | 0:50:35 | |
and part of the reason that it's taken that long | 0:50:35 | 0:50:38 | |
is because of the incredible attention to detail | 0:50:38 | 0:50:41 | |
and authenticity that the team have gone through | 0:50:41 | 0:50:44 | |
to build it in the right way for the period. | 0:50:44 | 0:50:47 | |
But at last they are on the home stretch, | 0:50:47 | 0:50:51 | |
so I've come up to give them a hand | 0:50:51 | 0:50:53 | |
with some of those finishing touches. | 0:50:53 | 0:50:55 | |
Hello, mate. How are you? Are you all right? | 0:50:57 | 0:51:01 | |
-Oh, these are lovely slates. -Yes. | 0:51:01 | 0:51:03 | |
-Beautiful! -Yeah, tidy slate. They're very good. -Where are they from, then? | 0:51:03 | 0:51:07 | |
They're from Pembrokeshire. | 0:51:07 | 0:51:08 | |
-So, they didn't come off the building? -No. | 0:51:08 | 0:51:11 | |
When we took the building down it hardly had any, | 0:51:11 | 0:51:15 | |
so we've got some tiles from a farm in Pembrokeshire. | 0:51:15 | 0:51:17 | |
'The hundreds of slates need to be sorted by size, | 0:51:17 | 0:51:21 | |
'but first, most of them need to be reshaped.' | 0:51:21 | 0:51:24 | |
-There you go. -That's your ten-inch tile. -So, could I have a go? | 0:51:26 | 0:51:28 | |
Yeah, sure. | 0:51:28 | 0:51:30 | |
-How hard? -Make sure you've got it firmly on there. | 0:51:33 | 0:51:35 | |
I don't want to break it. You told me I'm going to be charged. | 0:51:39 | 0:51:42 | |
There we go. Look at that. | 0:51:42 | 0:51:43 | |
-So you get this lovely sort of riven edge. -Yes. | 0:51:43 | 0:51:45 | |
So, this is what we're trying to do, is it? | 0:51:47 | 0:51:49 | |
-That's beautiful. -Yeah. That's the finish. One side finished. | 0:51:49 | 0:51:52 | |
That's absolutely wonderful. I love it with this diminishing coursing. | 0:51:52 | 0:51:55 | |
Started off with 16s, finishing off with sevens at the top. | 0:51:55 | 0:51:59 | |
That's wonderful. | 0:51:59 | 0:52:00 | |
-So, what are we doing? -We're going to hang some tiles now. | 0:52:03 | 0:52:07 | |
So this is literally just hung? | 0:52:07 | 0:52:09 | |
Yes. Pegged and hung. | 0:52:09 | 0:52:11 | |
But I thought they were supposed to be done with wooden pegs. | 0:52:11 | 0:52:14 | |
Well, they were, years ago, | 0:52:14 | 0:52:16 | |
but we're using aluminium | 0:52:16 | 0:52:18 | |
because the wooden ones would just rot, split, | 0:52:18 | 0:52:21 | |
and after 10, 15 years, | 0:52:21 | 0:52:22 | |
they'd all start slipping and falling off the roof. | 0:52:22 | 0:52:25 | |
-And so just pop that through? -Peg it and hang it. | 0:52:25 | 0:52:27 | |
-That's it? -Yeah. | 0:52:27 | 0:52:28 | |
The further up the roof you go, | 0:52:28 | 0:52:31 | |
the tighter they actually become, you know? | 0:52:31 | 0:52:34 | |
-So it's the weight. -Yeah, the weight of tiles on top of them. | 0:52:34 | 0:52:37 | |
That's not going anywhere, is it? | 0:52:37 | 0:52:38 | |
And it's amazing how much coverage you're getting, isn't it? | 0:52:38 | 0:52:42 | |
You end up with almost three layers of slate, don't you? | 0:52:42 | 0:52:44 | |
-It must be very heavy. -Very heavy. | 0:52:44 | 0:52:46 | |
And I suppose that's exactly why they're such big trusses | 0:52:46 | 0:52:48 | |
in a little roof like this. | 0:52:48 | 0:52:51 | |
-Massive trusses. -Exactly, yeah. | 0:52:51 | 0:52:54 | |
The building is also being painted with traditional lime wash, | 0:52:57 | 0:53:01 | |
just as it would have been 500 years ago. | 0:53:01 | 0:53:04 | |
Five weeks later, all major construction work is complete. | 0:53:11 | 0:53:16 | |
The house can now be furnished | 0:53:22 | 0:53:26 | |
and the fire can be lit. | 0:53:26 | 0:53:28 | |
'Dan and I have returned to see it in all its glory.' | 0:53:31 | 0:53:35 | |
Well, it's very sculptural, isn't it? Abstract, simple. | 0:53:35 | 0:53:39 | |
It's very sculptural, it's also in the most beautiful setting | 0:53:39 | 0:53:43 | |
with this wonderful mature woodland around it. | 0:53:43 | 0:53:45 | |
That's strange. | 0:53:45 | 0:53:46 | |
Originally it stood on the town quay in the bad part of town. | 0:53:46 | 0:53:48 | |
It's rather odd, now, for me to see it, you know, | 0:53:48 | 0:53:51 | |
uprooted and planted in the countryside. | 0:53:51 | 0:53:53 | |
From the armpit of Haverfordwest to here. | 0:53:53 | 0:53:57 | |
What a wonderful... Well, I say barrel vault, | 0:54:04 | 0:54:06 | |
it's actually slightly pointed, isn't it? | 0:54:06 | 0:54:08 | |
-It's a very nicely-shaped arch, this. -Of the period. -Really lovely. | 0:54:08 | 0:54:13 | |
Of the 16th century. So, incredibly strong, wonderfully well built. | 0:54:13 | 0:54:17 | |
Security for one's goods, one's wine or brandy, whatever it might be. | 0:54:17 | 0:54:21 | |
Security from fire. | 0:54:21 | 0:54:22 | |
It's a wonderful little portrait, isn't it, of Tudor Britain? | 0:54:22 | 0:54:26 | |
The new merchant class, the new men. | 0:54:26 | 0:54:28 | |
Their wealth is in goods and trade. | 0:54:28 | 0:54:30 | |
The nobles had their, you know, castles, | 0:54:30 | 0:54:32 | |
their fortified manors, their armies to guard their possessions. | 0:54:32 | 0:54:35 | |
These merchants, what do they have? | 0:54:35 | 0:54:37 | |
They have warehouses like this, | 0:54:37 | 0:54:39 | |
secure warehouses and a storekeep above. | 0:54:39 | 0:54:41 | |
And this is the upstairs. Look at that. Isn't it lovely? | 0:54:42 | 0:54:47 | |
I must say, didn't expect it to be furnished in mid-16th century style. | 0:54:47 | 0:54:50 | |
Yes! | 0:54:50 | 0:54:52 | |
Obviously, it's been dressed to be evocative of the period. | 0:54:52 | 0:54:56 | |
It's not totally finished. | 0:54:56 | 0:54:57 | |
There's a few little bits to finish, like a bed platform up here. | 0:54:57 | 0:55:00 | |
The toilet, the long-drop, | 0:55:00 | 0:55:02 | |
-Still needs... -A curtain. | 0:55:02 | 0:55:04 | |
A bit of privacy. Exactly. | 0:55:04 | 0:55:06 | |
And then the underside of the lovely, beautiful slate, | 0:55:06 | 0:55:09 | |
will be plastered. | 0:55:09 | 0:55:10 | |
It's wonderful being in this space, | 0:55:10 | 0:55:12 | |
cos you know the Voyles, for example, | 0:55:12 | 0:55:14 | |
the family owned a building like this, | 0:55:14 | 0:55:17 | |
perhaps even this one. | 0:55:17 | 0:55:19 | |
We also know from the documents that they didn't let it out, | 0:55:19 | 0:55:23 | |
but they had one of their men living in it | 0:55:23 | 0:55:24 | |
to guard their property. | 0:55:24 | 0:55:26 | |
There was no police force at that time. | 0:55:26 | 0:55:28 | |
It's down to them, isn't it, | 0:55:28 | 0:55:29 | |
to fight off the robbers. | 0:55:29 | 0:55:31 | |
So they put their ladder down, | 0:55:31 | 0:55:32 | |
they'd go downstairs or they'd just look through the window... | 0:55:32 | 0:55:36 | |
-And Yell. -A hue and cry! | 0:55:36 | 0:55:38 | |
-Just shout your head off. -Human burglar alarm. | 0:55:38 | 0:55:42 | |
That's basically what all of this is for - a human burglar alarm. | 0:55:42 | 0:55:45 | |
'To celebrate the completion of the reconstruction, | 0:55:49 | 0:55:53 | |
'the head of the museum, Bethan Lewis, | 0:55:53 | 0:55:55 | |
'has brought her team together | 0:55:55 | 0:55:57 | |
'to perform an ancient building ceremony.' | 0:55:57 | 0:56:00 | |
I would like to take this opportunity | 0:56:00 | 0:56:02 | |
to thank you all for coming | 0:56:02 | 0:56:04 | |
and also to pay a big tribute | 0:56:04 | 0:56:06 | |
to our historic buildings unit, | 0:56:06 | 0:56:08 | |
who have been instrumental | 0:56:08 | 0:56:09 | |
in recreating the building that we've got behind us. | 0:56:09 | 0:56:12 | |
So, a big round of applause to them. | 0:56:12 | 0:56:14 | |
APPLAUSE | 0:56:14 | 0:56:18 | |
In order to ensure that there are no evil spirits | 0:56:18 | 0:56:21 | |
going to invade our new house, | 0:56:21 | 0:56:23 | |
we've got an opportunity now to do a topping-out ceremony | 0:56:23 | 0:56:27 | |
and Geraltt Nash, our buildings curator, | 0:56:27 | 0:56:31 | |
will take a piece of yew tree to do the topping-out ceremony. | 0:56:31 | 0:56:33 | |
So, good health. Yeh-chid dah. Thank you. | 0:56:33 | 0:56:37 | |
-Well done, mate. Looking lovely. Are you pleased with it? -Yeah. | 0:56:57 | 0:57:03 | |
Genuinely, I think the building is beautiful. | 0:57:03 | 0:57:05 | |
I think you've done a really fantastic job. Thank you very much. | 0:57:05 | 0:57:07 | |
Thanks for putting up with me and my cack-handed attempts to help you. | 0:57:07 | 0:57:10 | |
Been a pleasure. | 0:57:10 | 0:57:12 | |
Well done. Thank you very much. Cheers, guys. Cheers, boys. | 0:57:12 | 0:57:15 | |
Thanks very much. | 0:57:15 | 0:57:18 | |
Who'd have thought such a humble building | 0:57:22 | 0:57:25 | |
could embody so much history. | 0:57:25 | 0:57:27 | |
These rough stone walls | 0:57:27 | 0:57:30 | |
speak of a remarkable transition in British society, | 0:57:30 | 0:57:34 | |
our emergence from medieval feudalism | 0:57:34 | 0:57:39 | |
and the ascent of the new rich merchant class. | 0:57:39 | 0:57:43 | |
Men of great ambition, | 0:57:43 | 0:57:45 | |
who sailed across the oceans to open the New World | 0:57:45 | 0:57:49 | |
and who laid the foundation of the modern age. | 0:57:49 | 0:57:52 | |
While the men that carefully demolished this building 30 years ago | 0:57:54 | 0:57:58 | |
may have aged somewhat, | 0:57:58 | 0:58:00 | |
it is through their determination and craft | 0:58:00 | 0:58:03 | |
that this building has really been rejuvenated, | 0:58:03 | 0:58:06 | |
eradicating centuries of neglect, | 0:58:06 | 0:58:10 | |
and I think, from the beautiful vault | 0:58:10 | 0:58:12 | |
to that wonderful slate roof, | 0:58:12 | 0:58:14 | |
the result is quite stunning. | 0:58:14 | 0:58:16 | |
And, for me, it teaches a very important lesson, | 0:58:16 | 0:58:18 | |
that it is through the humble and everyday buildings | 0:58:18 | 0:58:23 | |
that you truly get an insight | 0:58:23 | 0:58:24 | |
into the way that the majority of our ancestors would have lived. | 0:58:24 | 0:58:29 | |
Subtitles by Red Bee Media Ltd | 0:58:52 | 0:58:56 |