0:00:03 > 0:00:06'We're halfway through our mission to reinvent Avebury Manor.'
0:00:06 > 0:00:10Mind the plants. You can tread on anything else except the plants.
0:00:10 > 0:00:13'We want to change the way we visit stately homes,
0:00:13 > 0:00:16'so everything can be sat on...
0:00:16 > 0:00:19'played with...and enjoyed by visitors.'
0:00:19 > 0:00:22Is this before or after you've had dinner?!
0:00:24 > 0:00:29'We're making things from scratch, with just a few antiques in the mix.
0:00:29 > 0:00:33'This will be a National Trust property like no other.'
0:00:33 > 0:00:34Wow!
0:00:34 > 0:00:40This one is all about complete interaction with people.
0:00:40 > 0:00:42'This week...'
0:00:42 > 0:00:44I'm not terribly good at this.
0:00:44 > 0:00:47'..silk furnishings by royal appointment.
0:00:47 > 0:00:50'Off to China to commission hand-painted wallpaper...'
0:00:50 > 0:00:53This is just mind-blowing.
0:00:53 > 0:00:56'..and a porcelain tea service.'
0:00:56 > 0:01:00- I'm not happy with this design. - 'Passions run high about what's right...'
0:01:00 > 0:01:03- Time and time again... - '..and what's wrong.
0:01:03 > 0:01:08'Coming face to face with the queen who came to Avebury.
0:01:08 > 0:01:12'And a slimy invasion of the garden threatens to shut us down.'
0:01:12 > 0:01:16At this late stage it's really not what we wanted.
0:01:16 > 0:01:19'Will our Victorian kitchen garden ever open?'
0:01:21 > 0:01:23I got him!
0:01:48 > 0:01:52Sunrise over the hop fields of Worcestershire
0:01:52 > 0:01:54and our head gardener, David Howard,
0:01:54 > 0:01:57is here to sort out the beer for our garden opening day,
0:01:57 > 0:02:00just six weeks away, if we're to beat the first frost.
0:02:00 > 0:02:05I have to say, I haven't got up at 4am for a long, long time.
0:02:05 > 0:02:09But it's wonderful being here, seeing the sunrise.
0:02:09 > 0:02:11Truly special experience.
0:02:20 > 0:02:24Hops first became popular in England under Henry VIII,
0:02:24 > 0:02:27so it's a perfect plant for Tudor Avebury Manor.
0:02:29 > 0:02:33It was my intention that I would put it on the walls of the garden,
0:02:33 > 0:02:37on those wires that normally we'd reserve for fruit trees and roses.
0:02:37 > 0:02:40And I'd like to have it on view, because there's an awful lot
0:02:40 > 0:02:44of members of the public who've never actually seen a hop.
0:02:47 > 0:02:51Who knows? Before long we could be brewing our own beer at Avebury.
0:02:51 > 0:02:54For now we'll have to buy it in for opening day.
0:02:56 > 0:02:59David's also got his eye on some empty beer barrels
0:02:59 > 0:03:02for water butts in our organic garden.
0:03:08 > 0:03:12Back at the manor, David and the volunteers face a hard day's graft.
0:03:12 > 0:03:14It's time to get building.
0:03:15 > 0:03:17Volunteers!
0:03:17 > 0:03:22Could you assist, please? We've got 25 minutes to put a shed up.
0:03:25 > 0:03:28Mind the plants. You can tread on anything else except the plants.
0:03:28 > 0:03:31David's donated his second-best shed to the garden.
0:03:36 > 0:03:39There we are. Spot on.
0:03:39 > 0:03:42- Just take our time, we'll be all right.- There's a courgette.
0:03:42 > 0:03:46You can go through the courgette bed, just don't step on the plants.
0:03:47 > 0:03:50It may not be beautiful,
0:03:50 > 0:03:53but you can't have a working garden without a potting shed.
0:03:54 > 0:03:58And it's time for the Victorian glasshouse to go up,
0:03:58 > 0:03:59replacing one lost years ago.
0:03:59 > 0:04:03Our brick foundations will sit on exactly the same spot.
0:04:03 > 0:04:07It will enable the growing of seedlings throughout the year.
0:04:09 > 0:04:11We'll put the top on before we put it up,
0:04:11 > 0:04:15then we'll put the top on the other end, then we can get the roof on.
0:04:16 > 0:04:20Jo, up the ladder. OK?
0:04:20 > 0:04:22OK.
0:04:24 > 0:04:25Let me have one leg.
0:04:25 > 0:04:28Steady. We don't want to lose a man.
0:04:31 > 0:04:33One up, one to go.
0:04:33 > 0:04:36Our west-facing Victorian glasshouse will retain
0:04:36 > 0:04:39the heat of the afternoon long after the sun has set.
0:04:48 > 0:04:54It was the Victorians who came up with the idea of pre-fabricated glasshouses.
0:04:54 > 0:04:57Gardeners were no longer ruled by the unpredictability
0:04:57 > 0:04:58of the British climate.
0:05:01 > 0:05:04All it needs now is David's approval.
0:05:04 > 0:05:06Ooh.
0:05:09 > 0:05:11It's looking good.
0:05:11 > 0:05:15I can see a 21st-century Victorian glasshouse.
0:05:15 > 0:05:16It's looking fantastic.
0:05:19 > 0:05:23The house is going to open a month after the garden, but we're still up against it.
0:05:23 > 0:05:25In the Queen Anne bedroom,
0:05:25 > 0:05:28we're designing our most ambitious piece of furniture,
0:05:28 > 0:05:30a bed fit for a queen.
0:05:30 > 0:05:33It's going to have an immense dome.
0:05:33 > 0:05:36Designer Russell Sage has to get the measurements absolutely right.
0:05:36 > 0:05:41So now show us the back of the bed kicked in underneath this cornice.
0:05:41 > 0:05:45- We need to let the carpenter know the height of the bed.- There.
0:05:45 > 0:05:48Down, cos that's the measurement I can work with David quite easily.
0:05:48 > 0:05:50It's tricky, because the bed must sit against the wall
0:05:50 > 0:05:53but also fit neatly beneath the curve of the ceiling.
0:05:53 > 0:05:57Getting the arc of the dome right is crucial.
0:05:57 > 0:06:00- How high do you want this bit?- Well, that's what we're determining now.
0:06:00 > 0:06:05- If we take this over here... - If we make the bedpost 250.
0:06:05 > 0:06:08No, that that definitely has to fit under there,
0:06:08 > 0:06:11because those bedposts will kick in underneath that.
0:06:11 > 0:06:148.7 foot. 2.6 metres.
0:06:14 > 0:06:15Put it through and then tell me
0:06:15 > 0:06:19how accurate it is above the dome to the ceiling.
0:06:19 > 0:06:24The most worrying thing is, we won't really know if our calculations are correct
0:06:24 > 0:06:27until the bed's put together, and in the room.
0:06:29 > 0:06:34Just down the road in Chippenham, Arthur Cole's blacksmiths are already at work on the dome.
0:06:37 > 0:06:41The steel frame will be six feet across,
0:06:41 > 0:06:43and just under three feet high.
0:06:46 > 0:06:48With everything riding on the measurements,
0:06:48 > 0:06:52Russell's understandably nervous, so he's keeping a close eye on things.
0:06:54 > 0:06:55Hi, all.
0:06:55 > 0:06:57Hello, Russell.
0:06:57 > 0:06:58God, it's...huge.
0:07:01 > 0:07:06- Is that really the right size? - That is the right size.- Oh, my God.
0:07:06 > 0:07:10- Well, it's certainly going to be impressive.- Made to your drawing.
0:07:10 > 0:07:12I know, I know, I know, it's just kind of...
0:07:14 > 0:07:16Well, as long as it fits it's going to be amazing.
0:07:16 > 0:07:19Gosh, I'm really scared now it's not going to fit,
0:07:19 > 0:07:21but I'm sure it is, we've done our maths, it's fine.
0:07:21 > 0:07:26- You can use my tape measure if you like.- No, I'm sure it's the right size, it just looks massive.
0:07:26 > 0:07:30If it's not right, turn it upside down and use it as a hanging basket.
0:07:30 > 0:07:33Yeah, exactly, the world's biggest hanging basket.
0:07:33 > 0:07:36Hanging basket or dome? We'll see.
0:07:36 > 0:07:40Now it's off to the carpenter to find out if it fits the bed frame.
0:07:42 > 0:07:47On the journey, some easy listening, courtesy of none other than Penelope.
0:07:47 > 0:07:49BBC Wiltshire.
0:07:49 > 0:07:51RADIO JINGLE PLAYS
0:07:51 > 0:07:55The time now is exactly half past three. It's BBC Wiltshire.
0:07:55 > 0:08:00I'm Sue Davies, and actress Penelope Keith joins us live in the studio this afternoon.
0:08:00 > 0:08:04- It is...Penelope Keith! Welcome. - Thank you very much. Thank you.
0:08:04 > 0:08:06- What a lovely day. - It is a lovely day, isn't it?
0:08:06 > 0:08:11Tell us about your connection with Avebury Manor. What were your first impressions of it?
0:08:11 > 0:08:14Well, first impression going in... It was totally empty.
0:08:14 > 0:08:16The fascinating thing about it is,
0:08:16 > 0:08:19we are transforming it for four definite periods.
0:08:19 > 0:08:23There's Tudor, Georgian, pre-war and post-war.
0:08:23 > 0:08:25I mean, pre-First World War.
0:08:25 > 0:08:27And the important thing as well is,
0:08:27 > 0:08:30you want people to get involved in this too,
0:08:30 > 0:08:34and there's going to be, I think, a quite glamorously titled Pots and Pans Day.
0:08:34 > 0:08:38It's a really good title, that, isn't it? Pots and Pans Day.
0:08:38 > 0:08:41This is 3rd September, so explain what Pots and Pans Day actually is.
0:08:41 > 0:08:47Well, there's this very large kitchen, and of course we need equipment from pre-1914.
0:08:47 > 0:08:49Pots, pans, jelly moulds, baskets,
0:08:49 > 0:08:52all those sorts of things that are pre-1914.
0:08:52 > 0:08:58On the 3rd of September there's going to be a marquee in the grounds of Avebury
0:08:58 > 0:09:03and from 10am to 5pm there will be people there to receive and look at all the equipment.
0:09:03 > 0:09:07It'll also be filmed, so people could be on the television if they really wanted to.
0:09:07 > 0:09:12- I'm thinking get dressed up for that.- Wearing your best bib and tucker, because you will be on film.
0:09:12 > 0:09:16And perhaps some make-up, in my case, is the best we can hope for.
0:09:16 > 0:09:20- Oh, just a little.- Thank you so much for joining us this afternoon.
0:09:20 > 0:09:21SUE MOUTHS
0:09:21 > 0:09:23- Travel.- BBC Wiltshire.
0:09:23 > 0:09:26Let's see what's happening on Wiltshire's roads now,
0:09:26 > 0:09:28coming up after Fleetwood Mac.
0:09:28 > 0:09:32# You can go your own way
0:09:32 > 0:09:35# Go your own way... #
0:09:35 > 0:09:37I hope that does the trick.
0:09:37 > 0:09:41It's quite a tall order to ask people to bring us stuff for free,
0:09:41 > 0:09:43but it's all hands on deck at the moment.
0:09:46 > 0:09:49It's crunch time. Will it fit?
0:09:49 > 0:09:53The frame has been made from old bedposts, while the rest is new wood,
0:09:53 > 0:09:57and it won't matter a bit, because it'll all end up covered in silk.
0:09:59 > 0:10:01It's enormous and weighs four stone,
0:10:01 > 0:10:06but carpenter Dave has got Mrs Lyons in to do the heavy work.
0:10:06 > 0:10:09Behind every strong man...
0:10:09 > 0:10:11You go in the middle.
0:10:11 > 0:10:15It's a good job we brought our chief technician.
0:10:15 > 0:10:19- What happens when it all goes wrong and it slices...- Steady.
0:10:19 > 0:10:21..slices Dave into six?
0:10:25 > 0:10:26Got it?
0:10:30 > 0:10:33- Are you all right to take the weight from it?- Yep.
0:10:33 > 0:10:35Shall I go behind you?
0:10:35 > 0:10:38Steady on, steady on.
0:10:38 > 0:10:41- I'm still all right to stand on this frame, aren't I?- No.- No?
0:10:41 > 0:10:45- Don't stand on it.- Why? - What do you mean?
0:10:45 > 0:10:48That's nice faith in your husband's workmanship!
0:10:48 > 0:10:50Here we go.
0:10:50 > 0:10:52See, it's not reaching, is it?
0:10:52 > 0:10:54Unscrew it from that end.
0:10:54 > 0:10:57Just a bit, just a bit more...
0:10:57 > 0:11:00Keep it on edge, because it'll buckle.
0:11:03 > 0:11:07If we just turn it around so that bit is there...
0:11:07 > 0:11:10- No, I don't know why it's not reaching either.- Ooh, dear.
0:11:10 > 0:11:13Just lay it down on its side now,
0:11:13 > 0:11:17- and walk it down.- All together? - Yeah.
0:11:17 > 0:11:20Are you sure? I'm a bit nervous.
0:11:20 > 0:11:23Oh! There we go.
0:11:23 > 0:11:25We're done. It's fine.
0:11:25 > 0:11:27Fits a treat. Look at that.
0:11:29 > 0:11:31Dave, get out from under it now.
0:11:31 > 0:11:32Well done.
0:11:34 > 0:11:37So, with the bed frame complete, it's on to the silk weavers.
0:11:45 > 0:11:49In Suffolk, Gainsborough make silk by royal appointment.
0:11:49 > 0:11:53Where better to get our hangings for the Queen Anne bed?
0:11:56 > 0:11:59This virgin silk is being dyed crimson
0:11:59 > 0:12:02to give the bed its majestic look.
0:12:04 > 0:12:06And who chose this colour?
0:12:06 > 0:12:09That was me. And I love it. I do love it.
0:12:10 > 0:12:14After dying, the silk must be stretched, untangled and smoothed.
0:12:16 > 0:12:19- So you're responsible for these? - Yeah.
0:12:19 > 0:12:24- Because it's been dyed, all the skeins have been tangled up. - So what do you have to do?
0:12:24 > 0:12:27- We call this a banger. - Because you bang it?
0:12:27 > 0:12:30- Because it bangs.- That's very good.
0:12:31 > 0:12:33Take it off and hold it at both ends.
0:12:33 > 0:12:35- Right.- Because the silk's very static.
0:12:35 > 0:12:39I understand. Gosh, well, I think I understand.
0:12:39 > 0:12:43This green silk will make our dining room curtains.
0:12:43 > 0:12:45Want to have a go?
0:12:45 > 0:12:46So you lift that up.
0:12:46 > 0:12:49I've caught it in a ring.
0:12:49 > 0:12:52You've got your hand on the wrong side. You need it on this side.
0:12:52 > 0:12:57- Right. Now I start banging? - Get it to the middle.- Yes.
0:12:57 > 0:13:01And as you're springing it, keep pulling it towards you.
0:13:01 > 0:13:03That's it. Lovely.
0:13:03 > 0:13:04Look at that!
0:13:10 > 0:13:13Oh! God, I'm cack-handed.
0:13:14 > 0:13:18'Avebury will be furnished with 540 square yards of new silk.'
0:13:18 > 0:13:21I'm not terribly good at this.
0:13:21 > 0:13:25I haven't been doing it for very long, Sue. Don't laugh at me.
0:13:25 > 0:13:27I've done it.
0:13:27 > 0:13:29I've done it!
0:13:29 > 0:13:31You're a winder.
0:13:32 > 0:13:35I'm a winder at last!
0:13:44 > 0:13:47In an artist's studio in trendy north London,
0:13:47 > 0:13:51Thomasina Smith is painting a royal portrait.
0:13:51 > 0:13:53Queen Anne may have been dead for 300 years,
0:13:53 > 0:13:57but Thomasina is not deterred. Her pictures are known to millions.
0:13:57 > 0:14:01They hang in the halls of Hogwarts in the Harry Potter films.
0:14:01 > 0:14:04As inspiration,
0:14:04 > 0:14:06Thomasina is using the triple-headed portrait
0:14:06 > 0:14:09of Charles I by van Dyck.
0:14:10 > 0:14:13The photocopy is really there as a drawing.
0:14:13 > 0:14:17All that's there will be covered by paint eventually.
0:14:17 > 0:14:18So it's like a base drawing.
0:14:18 > 0:14:23It's a technique that I sometimes use when I'm doing film design.
0:14:23 > 0:14:26Obviously I don't have Queen Anne in front of me,
0:14:26 > 0:14:30so it's useful that I'm using old paintings as a starting point.
0:14:36 > 0:14:41I just need to get rid of this horrible white modern canvas!
0:14:41 > 0:14:44Historically, I'm not painting it in the right order.
0:14:44 > 0:14:48I'm just blocking this out so that then I can start to paint the faces.
0:14:48 > 0:14:53The effect I want to get is the faces kind of coming out of the darkness.
0:14:53 > 0:14:58I want the background to play, but not too strongly.
0:14:58 > 0:15:01We've discussed just putting in a sort of van Dyck-type landscape.
0:15:01 > 0:15:04So I'll work on that...
0:15:05 > 0:15:09..probably towards the end as well, putting in the foliage and stuff.
0:15:17 > 0:15:20The River Nene in Northamptonshire.
0:15:22 > 0:15:25I've come to go punting with Russell,
0:15:25 > 0:15:26but this is no leisurely day out.
0:15:26 > 0:15:29We're about to start work on our Tudor rush matting.
0:15:29 > 0:15:32We'll be in the capable hands of expert Felicity Irons.
0:15:32 > 0:15:35Hello!
0:15:35 > 0:15:37- Can I introduce you to Felicity? - What a lovely tan.
0:15:37 > 0:15:41- I see we're dressed properly for it. - I'm almost dressed properly for it.
0:15:41 > 0:15:46Typical interior designer, that's all I can say. An artist.
0:15:48 > 0:15:50'Felicity harvests bulrushes
0:15:50 > 0:15:55'throughout the summer months, and her team is already hard at work.'
0:15:58 > 0:16:01- What's your dog called? - Her name's Molly.
0:16:01 > 0:16:03Oh, bless!
0:16:03 > 0:16:06I've only had her for three weeks, so it's all a bit new for her.
0:16:06 > 0:16:08The dog may well jump on.
0:16:09 > 0:16:11Hello!
0:16:11 > 0:16:15- What a beautiful dog. - Yes, she is quite sweet. Molly!
0:16:15 > 0:16:19Right, Felicity, you've got two attentive pupils here. Lesson one.
0:16:19 > 0:16:23How do we cut the bulrushes? What are we going to use?
0:16:23 > 0:16:25We have a two-to-three-foot-long blade,
0:16:25 > 0:16:27on a very long handle,
0:16:27 > 0:16:33because often, we're cutting four or five foot below the waterline.
0:16:33 > 0:16:34So you cut as low as possible.
0:16:34 > 0:16:37Yeah, you need to get the blade right on the river bed.
0:16:37 > 0:16:43So if I just put the blade in and go round, you can feel the riverbed.
0:16:43 > 0:16:48- Yeah.- And you make one cut, and then carefully drag in,
0:16:48 > 0:16:51without cutting them again,
0:16:51 > 0:16:53with the other side of the blade.
0:16:53 > 0:16:57- So there's a dexterity and a skill involved, isn't there?- Yeah.
0:16:57 > 0:16:59- OK, who's going to have a go?- Paul? OK.
0:16:59 > 0:17:01What I want you to do is stand upright.
0:17:01 > 0:17:04Use the full length of the handle,
0:17:04 > 0:17:07get the blade right on the riverbed and pull.
0:17:07 > 0:17:10HE LAUGHS
0:17:10 > 0:17:15You knew that was going to happen! Let's get some weight behind it.
0:17:15 > 0:17:16It is not as easy as it looks, is it?
0:17:16 > 0:17:19- Pull yourself in. - Yeah, I was too far out.
0:17:19 > 0:17:21OK, now try. That's better.
0:17:21 > 0:17:23No!
0:17:23 > 0:17:25THEY LAUGH
0:17:25 > 0:17:28I was very disappointing with my cutting efforts there.
0:17:28 > 0:17:31It was poor, wasn't it, Russell?
0:17:31 > 0:17:34I'm just impressed that you actually did it, not me.
0:17:34 > 0:17:35I just had the hot water bottle.
0:17:42 > 0:17:46Once harvested, the bulrushes are put out to dry.
0:17:47 > 0:17:51Now Felicity is about to weave her magic.
0:17:52 > 0:17:55What a beautiful building.
0:17:55 > 0:17:57It is fantastic, isn't it?
0:17:57 > 0:18:00I call this my cathedral to rush, because by the end of harvest,
0:18:00 > 0:18:02it is absolutely full.
0:18:04 > 0:18:08Right, if you could hold on to that for me,
0:18:08 > 0:18:10you always work from the outside edge in,
0:18:10 > 0:18:13and you're always adding in,
0:18:13 > 0:18:16so we need to add in rush straightaway
0:18:16 > 0:18:19so that you keep this width.
0:18:19 > 0:18:22Push in, and then you work in from the outside edge.
0:18:22 > 0:18:24So it's over, under.
0:18:24 > 0:18:28Over, under, and you're in the middle.
0:18:28 > 0:18:31You're going over, under.
0:18:31 > 0:18:35I couldn't do that. You make that look so easy.
0:18:39 > 0:18:43Arriving at the house is painter extraordinaire Mark Sands.
0:18:43 > 0:18:44He's going to bring
0:18:44 > 0:18:48one of the smallest rooms in the house back to life.
0:18:48 > 0:18:50It's just off the Queen Anne bedroom,
0:18:50 > 0:18:52so it's getting a right royal makeover.
0:18:52 > 0:18:54We are copying a wallpaper
0:18:54 > 0:18:56of the early 1700s,
0:18:56 > 0:18:59but we are going to stencil and paint
0:18:59 > 0:19:02the design directly onto the walls.
0:19:05 > 0:19:09The first task is to do what every teenager dreams of doing to their bedroom -
0:19:09 > 0:19:11painting the walls black.
0:19:15 > 0:19:18Don't worry, it's all part of the plan.
0:19:21 > 0:19:24Mark practises the design first.
0:19:28 > 0:19:31This is how it should look when it's finished.
0:19:31 > 0:19:33There'll be some added extras.
0:19:33 > 0:19:35Mark wants to include details
0:19:35 > 0:19:39from our kitchen garden, as well as other parts of Avebury.
0:19:41 > 0:19:45This is an old herb flower called borage.
0:19:45 > 0:19:48Beautiful colour. Definitely would have been around
0:19:48 > 0:19:49in the time period of this room.
0:19:49 > 0:19:51Quite a nice form.
0:19:54 > 0:19:58Not forgetting, of course, the Avebury Stones.
0:20:01 > 0:20:04It's a very grand design for a small room.
0:20:14 > 0:20:18Ever since it's been decided that this marvellous Georgian room
0:20:18 > 0:20:21is going to be the Governor of Jamaica's dining room,
0:20:21 > 0:20:24Russell has been rather excited. He wants to wow the visitors
0:20:24 > 0:20:26and I'm sure he will.
0:20:26 > 0:20:29This room is going to be a major player in the whole house.
0:20:29 > 0:20:32His intention is to line all of these walls
0:20:32 > 0:20:36with a handmade, bespoke Chinese wallpaper.
0:20:36 > 0:20:38Back in Adam Williams' day, in the late 1700s,
0:20:38 > 0:20:44there was nothing more fashionable, luxurious and exotic.
0:20:50 > 0:20:53So, I've come to Shanghai in China, on my way
0:20:53 > 0:20:56to see the paper Russell's commissioned.
0:20:58 > 0:21:00Our wallpaper will be a mix of old and new -
0:21:00 > 0:21:04images of ancient China, the Silk Route
0:21:04 > 0:21:07and the trades of tea and porcelain.
0:21:07 > 0:21:11Modern China has a very urban feel to it.
0:21:12 > 0:21:16But you can find old China if you venture out beyond the big cities.
0:21:29 > 0:21:32My journey brings me to Wuxi in the Xiang Su province.
0:21:34 > 0:21:37I'm meeting up with Tim Butcher, whose Fromental studio
0:21:37 > 0:21:41is making the hand-painted wallpaper for Avebury Manor,
0:21:41 > 0:21:44using traditional Chinese methods.
0:21:44 > 0:21:47I'm now where the magic really happens.
0:21:47 > 0:21:49Gosh... And this is...
0:21:49 > 0:21:52Hello. Ni hao. What's this chap...?
0:21:52 > 0:21:55He's just painting in the first layer.
0:21:55 > 0:21:57You can see, we've marked out some of the figures
0:21:57 > 0:22:02- and we're just starting to build up the first detail.- Fluid brush strokes.- You can see the precision.
0:22:02 > 0:22:05Painting figures is a particular skill,
0:22:05 > 0:22:08and he is one of our better artists of this type of work.
0:22:08 > 0:22:11There's a lot of confidence in that brush stroke.
0:22:11 > 0:22:14Absolutely. That comes from years of practice in craft.
0:22:14 > 0:22:17The artist will work with two or three brushes at a time,
0:22:17 > 0:22:20shifting from one colour to another or between the water and the paint.
0:22:20 > 0:22:23The brush has to flow and go exactly where you want it to,
0:22:23 > 0:22:26and you're in control and part of it.
0:22:26 > 0:22:29And he is a true master of his genre, with years of experience.
0:22:29 > 0:22:32A very, very talented chap.
0:22:32 > 0:22:35- Would he mind if I had a go? - Not at all.
0:22:35 > 0:22:41- Come on. OK, maybe Paul can have a trial?- Thank you.
0:22:41 > 0:22:44- Thank you very much. - You only get one shot!
0:22:46 > 0:22:48Shall I just carry on shading here?
0:22:48 > 0:22:51Just underneath the hand there, and just filling in the pink.
0:22:53 > 0:22:56You get an idea of the scale
0:22:56 > 0:23:00of the project - this is one garment
0:23:00 > 0:23:05of one figure of one panel, and this is just the first layer of paint.
0:23:05 > 0:23:10'Layer upon layer of paint is built up on each of our 25 panels.
0:23:10 > 0:23:13'Every painter specialises in a different aspect of the work.
0:23:13 > 0:23:16'Some paint trees, others paint figures, and so on,
0:23:16 > 0:23:19'until they have created an entire scene.'
0:23:21 > 0:23:23Have you got a full drop, yet?
0:23:23 > 0:23:26We can take a look at one which we, er, prepared earlier.
0:23:26 > 0:23:29Oh, my gosh! This is the first time I've seen
0:23:29 > 0:23:32our Avebury wallpaper!
0:23:32 > 0:23:37I cannot believe how beautiful that is!
0:23:37 > 0:23:41- I'm tingling inside! This is just one drop?- Just one piece.
0:23:41 > 0:23:45That would be about...80 hours of painting time.
0:23:45 > 0:23:48You walk in and see the drama of the broader painting,
0:23:48 > 0:23:52but then you walk up and you've got the secondary level of detail
0:23:52 > 0:23:54in every face, every feature.
0:23:54 > 0:23:56It's just so exciting.
0:23:56 > 0:23:58There's so much vitality and life here.
0:23:58 > 0:24:01In 100 years' time, I hope people
0:24:01 > 0:24:05are still walking into the dining room at Avebury and gasping at its beauty.
0:24:05 > 0:24:09The wallpaper is an exquisite piece of Chinese artistry,
0:24:09 > 0:24:12and I can't wait to see it on the walls of our manor
0:24:12 > 0:24:14back in rural Wiltshire.
0:24:20 > 0:24:24In our Victorian kitchen garden,
0:24:24 > 0:24:27David and his volunteers are hard at work
0:24:27 > 0:24:29preparing for garden open day,
0:24:29 > 0:24:31now only four weeks away.
0:24:31 > 0:24:34It's time for our first harvest.
0:24:44 > 0:24:47But there's one little helper in the garden David is missing...
0:24:49 > 0:24:52..and I'm going to bring that helper back.
0:24:52 > 0:24:56It's the most important insect for any garden,
0:24:56 > 0:24:58and they're not exactly flourishing at the moment.
0:24:58 > 0:25:01'I'm here to meet local bee expert,
0:25:01 > 0:25:03'Fi Robinson.'
0:25:03 > 0:25:05It is lovely, isn't it?
0:25:05 > 0:25:08- Yes, isn't it? - Come down and see our bees.
0:25:08 > 0:25:10So this is part of your domain, is it?
0:25:10 > 0:25:12These are part of our club bees, yes.
0:25:12 > 0:25:15Why are you so interested in bees?
0:25:15 > 0:25:18Originally, because of the honey, I love honey,
0:25:18 > 0:25:21and it's the only food source we get from insects,
0:25:21 > 0:25:24but the more you get into it, the more you learn and the more fascinating they are.
0:25:24 > 0:25:26Pollination is a big issue for us.
0:25:26 > 0:25:28If we didn't have bees,
0:25:28 > 0:25:31we wouldn't have as much interesting food as we have now.
0:25:31 > 0:25:32Yes. Could I have a look in a hive?
0:25:32 > 0:25:36Of course, yes, but I think we'll get you suited up, first.
0:25:36 > 0:25:41'Well, I won't be winning any prizes for THIS ensemble.'
0:25:42 > 0:25:45We lift it up... The hive is made up...
0:25:45 > 0:25:46We've got a brood box,
0:25:46 > 0:25:49where the queen bee lives and lays all her eggs.
0:25:49 > 0:25:52- PENELOPE GASPS - Look at them all!
0:25:52 > 0:25:53How many bees in a hive?
0:25:53 > 0:25:56At this time of year, easily 60,000
0:25:56 > 0:25:57in a full colony.
0:25:57 > 0:25:59How much honey can you get from one comb?
0:25:59 > 0:26:02From a comb, you're looking at 2-3 lbs,
0:26:02 > 0:26:04but each bee, in its lifetime,
0:26:04 > 0:26:07will only collect about a twelfth of a teaspoon.
0:26:07 > 0:26:10- When you put your honey on your toast...- You must think...
0:26:10 > 0:26:14- ..a lot of bees went into making it. - Yes, of course.
0:26:14 > 0:26:16Wow! Isn't that wonderful?!
0:26:16 > 0:26:18- These are all worker bees? - All workers.
0:26:18 > 0:26:20And how far would they fly?
0:26:20 > 0:26:24Your hive will travel something like 90,000 miles,
0:26:24 > 0:26:26three times round the world, in bee miles,
0:26:26 > 0:26:28- to make a kilogram of honey.- Gosh.
0:26:28 > 0:26:30We must appreciate honey more.
0:26:30 > 0:26:34That's baby bees, in there, lava waiting to come out.
0:26:34 > 0:26:35I see.
0:26:35 > 0:26:39- She has been doing her job, Mrs Queen, hasn't she?- Oh, she has.
0:26:39 > 0:26:40There she is.
0:26:40 > 0:26:42- Gosh, there she is!- If we lose her,
0:26:42 > 0:26:45we've got a problem.
0:26:45 > 0:26:49- So we'd better put her back to sleep.- Safely back in the hive.
0:26:49 > 0:26:52We would like bees in our garden at Avebury.
0:26:52 > 0:26:54Could you install a hive for us?
0:26:54 > 0:26:58We could. We've got a couple of nucleus hives over there that we could use.
0:26:58 > 0:27:01That would be lovely, to put them into Avebury.
0:27:01 > 0:27:03'Excellent. We'll take them both.'
0:27:09 > 0:27:11This is the Tudor parlour,
0:27:11 > 0:27:14and a big challenge to get right. We want to reflect
0:27:14 > 0:27:17the personality of Avebury Manor's first occupant,
0:27:17 > 0:27:21William Dunch, a self-made man of the 1560s,
0:27:21 > 0:27:23who rose from minor official
0:27:23 > 0:27:24to royal courtier.
0:27:24 > 0:27:29We need colour, and, let's be honest, a bit of Tudor bling.
0:27:31 > 0:27:33The Church of St Peter's in Little Wittenham,
0:27:33 > 0:27:39Oxfordshire, where Anna has come to look William Dunch in the face.
0:27:43 > 0:27:48This brass is from the tomb of William Dunch, and it's really important
0:27:48 > 0:27:52because it's the only surviving picture that we have of him and his family.
0:27:52 > 0:27:57It's really great, because finally, I get to meet him, or at least see him.
0:27:57 > 0:28:00We have Mary, his wife, here, kneeling in prayer,
0:28:00 > 0:28:04and behind him, his two sons Edmund and Walter.
0:28:04 > 0:28:06And this is William himself -
0:28:06 > 0:28:09short hair, a big beard, a ruff,
0:28:09 > 0:28:11all the rage in Tudor England.
0:28:11 > 0:28:16This brass was commissioned towards the end of William's extraordinary life,
0:28:16 > 0:28:20a life in which he'd managed to survive turbulent Tudor times,
0:28:20 > 0:28:24and literally managed to keep his head when so many were losing theirs.
0:28:24 > 0:28:27He would raise himself up from a position of obscurity
0:28:27 > 0:28:30to one of wealth, power and status
0:28:30 > 0:28:32in Tudor high society.
0:28:32 > 0:28:34It was quite an achievement.
0:28:34 > 0:28:36'For a style-conscious courtier,
0:28:36 > 0:28:38'we're going to pull out all the stops.
0:28:38 > 0:28:43'Fine tapestries were the most showy and expensive of possessions in the Tudor age.
0:28:43 > 0:28:48'Where better to go than the home of Henry VIII?'
0:28:55 > 0:28:59Hampton Court Palace houses the finest tapestries in Britain.
0:28:59 > 0:29:03Owned by Her Majesty The Queen, the Abraham Tapestries
0:29:03 > 0:29:05are part of the Royal Collection.
0:29:05 > 0:29:10I don't think Anna is expecting to borrow these incredibly fragile tapestries,
0:29:10 > 0:29:14but maybe there is a way Avebury can have a piece of them.
0:29:16 > 0:29:18Kate, tell me what we've got here.
0:29:18 > 0:29:20Glorious tapestry - what does it depict?
0:29:20 > 0:29:24We've got six of a set of ten tapestries
0:29:24 > 0:29:27- from the 1540s...- Henry VIII. - ..commissioned by Henry VIII
0:29:27 > 0:29:29for this very great hall.
0:29:29 > 0:29:33They depict the story of Abraham, which is the narrative that
0:29:33 > 0:29:38Henry chose to cement his new role as head of the Church of England.
0:29:38 > 0:29:40So these would have been in here...
0:29:40 > 0:29:43- These would have been in here in... - ..in the 16th century.
0:29:43 > 0:29:45..for special occasions - coronations,
0:29:45 > 0:29:47weddings, births, etc.
0:29:47 > 0:29:49Very special occasions.
0:29:49 > 0:29:53They look gorgeous, however things are not exactly what they seem.
0:29:53 > 0:29:54They're not,
0:29:54 > 0:29:59because they're in fact facsimiles of the famous Abraham tapestry set.
0:29:59 > 0:30:01It's the ultimate photocopy.
0:30:01 > 0:30:05- It's the ultimate photocopy printed onto linen.- Why on earth...?
0:30:05 > 0:30:09- But we have the originals? - We have the originals behind.- OK.
0:30:09 > 0:30:13And the reason we have these facsimiles is to protect
0:30:13 > 0:30:16the tapestries for this ten-month period
0:30:16 > 0:30:18when we're doing the building works.
0:30:18 > 0:30:20Gosh. So who did you get to do this? How did they do it?
0:30:20 > 0:30:23We approached a company called Zardi & Zardi
0:30:23 > 0:30:27that specialises in creating modern prints of historic textiles.
0:30:27 > 0:30:32And they took a photograph of each of the six tapestries.
0:30:32 > 0:30:37They printed this photograph image onto linen to create these
0:30:37 > 0:30:41- facsimiles of the original tapestry. - So what do the visitors make of it?
0:30:41 > 0:30:45- Are they fooled?- Unexpectedly, they are fooled, I think.
0:30:45 > 0:30:49It's amazing, it's a stunning impression and, you know,
0:30:49 > 0:30:52if it's good enough for here, it's good enough for Avebury. Thank you.
0:30:54 > 0:30:59So. off to Lancashire to get our very own Abraham tapestries.
0:30:59 > 0:31:05Amazingly, high-resolution digital technology means, in some ways,
0:31:05 > 0:31:10the copies will end up even better than the 500-year-old originals.
0:31:10 > 0:31:12We've picked up a thread here on the screen.
0:31:12 > 0:31:16We can take this out and hopefully be back to the original,
0:31:16 > 0:31:18how the original was.
0:31:18 > 0:31:24It's the moment heritage meets 21st-century technology -
0:31:24 > 0:31:26perfect for Avebury.
0:31:26 > 0:31:28We can make it as good as new.
0:31:28 > 0:31:34When all the adjustments are done, the artwork is printed onto linen.
0:31:34 > 0:31:37On the machine we've got six heads which allows us to use six colours.
0:31:37 > 0:31:42From each of those nozzles we have 54,000 nozzles in-between there
0:31:42 > 0:31:45so that that's how fine it is.
0:31:45 > 0:31:49With the software we have two blues, a red, a yellow and a black,
0:31:49 > 0:31:52and from there we have a colour book of 10,000 colours.
0:31:52 > 0:31:55That allows us to print over 16 million colours on an image file,
0:31:55 > 0:31:57such as the tapestries.
0:31:57 > 0:32:01Originally, it was over eight years to do one of these tapestries
0:32:01 > 0:32:03and we've narrowed that down with technology
0:32:03 > 0:32:06and the speed of the machines, down to six weeks, which is amazing
0:32:06 > 0:32:09if you think about that, what we can do today.
0:32:09 > 0:32:12Amazing indeed. The wonders of modern technology.
0:32:19 > 0:32:24Meanwhile at Avebury, it's back to good old-fashioned pencil and paper.
0:32:24 > 0:32:28Grant is recreating the Dunche family coats of arms.
0:32:28 > 0:32:33Rather than paint directly onto the walls - a no-no from the Trust -
0:32:33 > 0:32:37he's using a matching piece of salvaged panelling.
0:32:37 > 0:32:39So this is an ingenious solution.
0:32:41 > 0:32:44Complementing our tapestries hanging on the walls
0:32:44 > 0:32:48the heraldic panelling will sit above the fireplace,
0:32:48 > 0:32:52proclaiming to the world that William Dunche has arrived.
0:32:58 > 0:33:02Last thing on our Tudor parlour shopping list is the furniture.
0:33:02 > 0:33:06In rural Herefordshire is the workshop of master carpenter,
0:33:06 > 0:33:07Guy Butcher.
0:33:07 > 0:33:11Russell and Dan are here to commission chairs, benches,
0:33:11 > 0:33:13stools and a table.
0:33:13 > 0:33:16It will be the oldest-style furniture in the house
0:33:16 > 0:33:17and all brand new.
0:33:17 > 0:33:22The point being that it's really hard to get furniture of the 1560s,
0:33:22 > 0:33:26the authentic stuff is rare, expensive, so...
0:33:26 > 0:33:30And also if it was there, the public couldn't sit in it.
0:33:30 > 0:33:34So the object is to make new in the spirit.
0:33:34 > 0:33:37I think also it's to explore how it was made originally,
0:33:37 > 0:33:39that's the most interesting thing for me.
0:33:39 > 0:33:42Use people today who would have been doing
0:33:42 > 0:33:44exactly the same crafts 500 years ago.
0:33:44 > 0:33:48So it's material, means of construction and the ornamentation.
0:33:48 > 0:33:52- Yes.- Get that right.- Absolutely. - There we go.- Guy, hi, how are you?
0:33:52 > 0:33:56- Nice to see you again. - And you.- This is Dan Cruickshank.
0:33:56 > 0:34:00- Pleased to meet you. - He's my historical expert.
0:34:00 > 0:34:05Guy very helpfully sent me some images of pieces he liked
0:34:05 > 0:34:08and that you were aware of that had some locality to Avebury.
0:34:08 > 0:34:11This is really just the starting point to work from.
0:34:11 > 0:34:13This is the blueprint.
0:34:13 > 0:34:16What is intriguing is looking at to what degree you can reduce
0:34:16 > 0:34:21the ornamentation without actually diminishing the whole thing.
0:34:21 > 0:34:24Make it not a parody.
0:34:24 > 0:34:28I've started with this one, and this has a very intricately carved, what
0:34:28 > 0:34:32I think were called, Romayne work, which is typical of that period.
0:34:32 > 0:34:33I've taken that away,
0:34:33 > 0:34:37but kept this construction pretty much the same
0:34:37 > 0:34:40and just replaced the panelling at the back with a raised field panel,
0:34:40 > 0:34:43which I've found in chairs of hat period.
0:34:43 > 0:34:45You'll make these things come to life
0:34:45 > 0:34:48through your joy in making them, joy in labour.
0:34:48 > 0:34:50If you love making it, then it lives.
0:34:50 > 0:34:54If it's a merely slavish copy and boring, then it won't.
0:34:54 > 0:34:56But you feel that you will...?
0:34:56 > 0:34:59I want to make them look as authentic as possible for the period
0:34:59 > 0:35:02partly but I also want them to be beautiful things.
0:35:02 > 0:35:05- I don't want them to look right but be...- They'll be made with love.
0:35:05 > 0:35:09I can do it, no problem.
0:35:09 > 0:35:11COCK CROWS
0:35:13 > 0:35:14On the other side of the world,
0:35:14 > 0:35:19Paul's continuing his quest for Oriental treasures.
0:35:20 > 0:35:22My trip to China is not over yet.
0:35:22 > 0:35:26I'm heading further south to the Yangtze province in search
0:35:26 > 0:35:29of more exotic luxuries to bring back to Avebury Manor.
0:35:40 > 0:35:45This time my journey takes me to what the Chinese call the Porcelain City.
0:35:50 > 0:35:53This is Jingdezhen, and they've been making porcelain here
0:35:53 > 0:35:56for 1,000 years. Basically ever since it was invented.
0:35:56 > 0:36:00It's known in China and throughout the world as the Porcelain capital
0:36:00 > 0:36:03and now I'm here I understand why. I'm surrounded by it.
0:36:03 > 0:36:07It's on sale everywhere, from period pieces to modern-day pieces.
0:36:07 > 0:36:12There are even handcarts moving around this busy corner, transporting it.
0:36:12 > 0:36:16In fact, even the street lamps are made of porcelain.
0:36:18 > 0:36:21It wasn't until the middle of the 18th century that the British
0:36:21 > 0:36:24discovered the secret of making porcelain,
0:36:24 > 0:36:28and even today there's nothing quite like the real thing from China.
0:36:28 > 0:36:32I'm heading for one of the many porcelain workshops
0:36:32 > 0:36:34in the old part of the town to commission
0:36:34 > 0:36:37a tea service for Avebury's Adam Williamson.
0:36:38 > 0:36:43Over here you can see Mr Wang carving your Avebury sugar bowl.
0:36:43 > 0:36:45Wonderful, absolutely wonderful.
0:36:45 > 0:36:48Turning it down to the exact shape that would be
0:36:48 > 0:36:50typical of a 1790s piece.
0:36:50 > 0:36:52- Getting it down to that thinness. - And the right shape.
0:36:52 > 0:36:55- Hello, Mr Wang. Hello.- Hi.
0:36:55 > 0:36:57I don't want to disturb him, I might put him off.
0:36:57 > 0:37:00It takes a lot of skill, this.
0:37:00 > 0:37:04Mr Wang actually owns this workshop and has been in the porcelain
0:37:04 > 0:37:07trade, starting with sculpture, for almost 30 years now.
0:37:07 > 0:37:12Wow. And you can tell, look at that. And all of this is just done by feel.
0:37:12 > 0:37:15Feel and sound and occasionally he pick it up and tap it to see
0:37:15 > 0:37:17if he's got the right thickness.
0:37:17 > 0:37:19- Would you like to give it a try? - If Mr Wang doesn't mind.
0:37:19 > 0:37:22THEY SPEAK CHINESE
0:37:22 > 0:37:24He says that's fine. Give it a whirl.
0:37:24 > 0:37:27Will you tell him it would be an honour, I'd love to have a go?
0:37:27 > 0:37:28I really would.
0:37:28 > 0:37:30HE EXPLAINS IN CHINESE
0:37:30 > 0:37:33Yes? Can I sit on your little chair?
0:37:35 > 0:37:37Thank you. CLATTERING
0:37:37 > 0:37:41That's a good start, I fall over everything!
0:37:41 > 0:37:44OK. At least I didn't fall on this!
0:37:44 > 0:37:46Do you need a hand?
0:37:46 > 0:37:48No, I'm fine, thanks, Ben.
0:37:48 > 0:37:49Gosh.
0:37:52 > 0:37:54Thank you.
0:37:55 > 0:37:58This feels marvellous.
0:37:58 > 0:38:02It really does. With what feels like that blade
0:38:02 > 0:38:05of an old sword rubbing against the side of my cheek.
0:38:08 > 0:38:13How's that? Good? Thank you. Thank you very much.
0:38:13 > 0:38:15Mr Wang, you are a genius.
0:38:18 > 0:38:22- He does it everyday.- Wow.
0:38:27 > 0:38:30It'll be at least a month before the Chinese wallpaper
0:38:30 > 0:38:33and the porcelain are ready to ship home.
0:38:33 > 0:38:36Let's hope it arrives in time, fingers crossed,
0:38:36 > 0:38:40or as they say here... HE SPEAKS CHINESE
0:38:50 > 0:38:51Back in Avebury,
0:38:51 > 0:38:55our Victorian kitchen garden is once again a battlefield.
0:38:55 > 0:38:59The rabbits are back and David is on the warpath.
0:39:03 > 0:39:05Where is the furry fellow?
0:39:05 > 0:39:08He's in there! Get him out! Get him out!
0:39:09 > 0:39:12Get him out! There he goes.
0:39:12 > 0:39:13He's back in here.
0:39:17 > 0:39:18Oh, here he is.
0:39:18 > 0:39:21- Whoa!- Where is it now?
0:39:21 > 0:39:23He's right in front of you.
0:39:23 > 0:39:24There.
0:39:28 > 0:39:30Wait, wait, wait, wait.
0:39:30 > 0:39:31Be careful, run for it.
0:39:33 > 0:39:35Oh, now treat him gently.
0:39:37 > 0:39:38Careful, David!
0:39:48 > 0:39:52- Little thing! - Not necessary, I've got him!
0:39:52 > 0:39:54I've got him! I've got him!
0:39:57 > 0:39:58He's not happy.
0:39:58 > 0:40:02I'm not sure what its name is, but it's going out of the garden.
0:40:02 > 0:40:06We're going to give it a new life, so let's go and put it out in the field.
0:40:09 > 0:40:11Eviction order!
0:40:11 > 0:40:14Ah, no, you stay there! You're not going anywhere!
0:40:16 > 0:40:18So, little rabbit, new lease of life.
0:40:18 > 0:40:20Off we go.
0:40:26 > 0:40:30- Go on.- He'll be back.
0:40:31 > 0:40:33Up and down the country,
0:40:33 > 0:40:38craftsmen and women are working round the clock for Avebury Manor.
0:40:38 > 0:40:43In Gloucester, Amir is well ahead with our Tudor furniture.
0:40:45 > 0:40:49Felicity is weaving and stitching our rush matting.
0:40:51 > 0:40:55In Somerset, Dave is working on the mouldings for the top
0:40:55 > 0:40:56of our Queen Anne bed.
0:40:58 > 0:41:00And the dome is fitting nicely.
0:41:03 > 0:41:05In London, Thomasina is putting the final touches
0:41:05 > 0:41:08to the Queen Anne portrait.
0:41:08 > 0:41:10Very regal.
0:41:12 > 0:41:17And there are new residents in our kitchen garden.
0:41:17 > 0:41:19It's fantastic, getting bees back.
0:41:19 > 0:41:22It's all part of the harmony that exists here in the garden.
0:41:22 > 0:41:25It's all part of the organic approach,
0:41:25 > 0:41:27and I look forward to the honey!
0:41:33 > 0:41:36At last, it's Pots And Pans Day. How exciting.
0:41:39 > 0:41:42We've called in an antiques A-Team.
0:41:42 > 0:41:44Penny Brittain from Antiques Roadshow is here.
0:41:44 > 0:41:47Ivan Day, food historian extraordinaire.
0:41:47 > 0:41:50And our very own kitchen-range restorer, Neville Griffiths.
0:41:52 > 0:41:54There's just one problem.
0:41:56 > 0:42:00Nobody's here, not one person. But it's early days!
0:42:00 > 0:42:03This could be slightly worrying!
0:42:19 > 0:42:23Wahey! An hour and a half in, and someone's turned up!
0:42:23 > 0:42:24- Chris, you're first in the queue. - I am!
0:42:24 > 0:42:27- Is that because you're working here today?- It is, yes!
0:42:27 > 0:42:29- Look at this! Lovely.- Yeah.
0:42:29 > 0:42:31It's rather heavy. It's not full of toffees,
0:42:31 > 0:42:33- but it says "Toffees" on the outside.- Yeah.
0:42:33 > 0:42:34Ooh, look at that!
0:42:34 > 0:42:36- Is that a mincer? - It is a mincer, yeah.
0:42:36 > 0:42:38I've brought it in on behalf of Ro Smith,
0:42:38 > 0:42:40one of the volunteers I work with here.
0:42:40 > 0:42:45"Chops every kind of meat, raw or cooked, vegetables, fruit and nuts."
0:42:45 > 0:42:47- Amazing, eh?- At last, we're up and running.
0:42:47 > 0:42:48BELL RINGS
0:42:50 > 0:42:53- Where did you find that? - From the local antique shop.
0:42:53 > 0:42:55- It's not a family heirloom?- No.
0:42:55 > 0:42:57You didn't have a housekeeper or a butler in the family?
0:42:57 > 0:42:59No, I'm more below stairs, myself.
0:42:59 > 0:43:03One thing I would say, it's in very, very good condition, isn't it?
0:43:03 > 0:43:05Yes, it has been used quite a lot.
0:43:05 > 0:43:08- And you used to put your beans into this?- Absolutely right.
0:43:08 > 0:43:10- A bean slicer?- Yes.
0:43:10 > 0:43:11You've looked after it really well,
0:43:11 > 0:43:14apart from the spider that's trapped inside.
0:43:14 > 0:43:15Spider?!
0:43:15 > 0:43:19- Those are some scales with imperial weights.- With imperial weights!
0:43:19 > 0:43:21- How wonderful!- Bought in the village 30 years ago.
0:43:21 > 0:43:23Really? Oh, do come through.
0:43:23 > 0:43:25I remember my son finding some of mine.
0:43:25 > 0:43:28He and his friend were playing ping-pong with them!
0:43:29 > 0:43:30Sacrilege!
0:43:30 > 0:43:32- Fabulous. Isn't it pretty? - Yes, fond of,
0:43:32 > 0:43:36but they're just sitting around at home and nobody sees them.
0:43:36 > 0:43:37I like this bucket very much.
0:43:37 > 0:43:41'I've persuaded my family to bring along a rather fine fire bucket,
0:43:41 > 0:43:44'just in case the range goes up in flames.'
0:43:44 > 0:43:47If there was a fire, you'd put the water in the bucket
0:43:47 > 0:43:49and put the fire out.
0:43:49 > 0:43:52The basic bucket dates from the late 18th century.
0:43:53 > 0:43:57- It's perfect for our house here! - It's perfect for the house.
0:43:57 > 0:44:00- I want to go home! - He wants to go home!
0:44:03 > 0:44:06Oh, well! It's quality, not quantity!
0:44:06 > 0:44:10And we've got some lovely pieces, for which we're very grateful.
0:44:13 > 0:44:17Well, Paul shouldn't be surprised, should he?
0:44:17 > 0:44:23Don't you think that programmes like yours make people think
0:44:23 > 0:44:26about how much items are worth?
0:44:26 > 0:44:29I do think that today, looking at what we've got...
0:44:29 > 0:44:32- Jolly nice. - ..we have got away with it.
0:44:32 > 0:44:34- Just.- Just.
0:44:38 > 0:44:42Things are going a lot better for David.
0:44:42 > 0:44:46We will see hops in the garden. The Victorians would have loved that.
0:44:47 > 0:44:52And there's a delivery for garden opening day, just a week away.
0:44:54 > 0:44:56- Some beer on the back.- Some beer?
0:44:56 > 0:44:59- Yep.- That sounds interesting! Hello!
0:45:02 > 0:45:05But, as everything seems to be coming together,
0:45:05 > 0:45:06there's a major setback.
0:45:06 > 0:45:08Oh.
0:45:11 > 0:45:12There's something in here.
0:45:19 > 0:45:20Now, that's interesting.
0:45:28 > 0:45:31Work has stopped here on the glasshouse for the moment.
0:45:31 > 0:45:33We can't put the floor in the glasshouse,
0:45:33 > 0:45:36we can't put the paving down, because we have newts.
0:45:36 > 0:45:40We're not quite sure yet what will happen next.
0:45:40 > 0:45:42We're waiting for advice.
0:45:42 > 0:45:44This close to the completion of the garden,
0:45:44 > 0:45:46it's really not what we wanted.
0:45:46 > 0:45:49The big question is, are they common newts
0:45:49 > 0:45:52or the protected crested newts?
0:45:52 > 0:45:55If they're crested, they will shut us down,
0:45:55 > 0:45:58and garden opening day is off.
0:45:58 > 0:46:02So, it's down tools till we find out the identity
0:46:02 > 0:46:04of our slimy, uninvited guests.
0:46:08 > 0:46:11In the house, Grant is working late on the Tudor heraldry.
0:46:15 > 0:46:20It's half ten, and I don't have to be working this late really, but...
0:46:22 > 0:46:25..I'd just rather get on top of it.
0:46:25 > 0:46:26Try and hit the deadline.
0:46:28 > 0:46:31We've got other things to do after this.
0:46:33 > 0:46:35And time's ticking a little bit.
0:46:35 > 0:46:39Just blocking some of the main shapes, and then varnish it all,
0:46:39 > 0:46:42ready to possibly do some lining in the morning.
0:46:44 > 0:46:50Touch up some of these dodgy bits on the wood, before I varnish it.
0:46:50 > 0:46:52See what the wood will look like.
0:46:55 > 0:46:59And in the small room, Mark is also trying to catch up.
0:46:59 > 0:47:01The stencilling is intense work.
0:47:01 > 0:47:03Here we are, little doodle.
0:47:05 > 0:47:08This process would be a lot quicker and easier nowadays
0:47:08 > 0:47:11if we just had a spray can.
0:47:11 > 0:47:16Sprayed it, within a few strokes we could have this all done.
0:47:16 > 0:47:20But because we're trying to keep authentic to the period,
0:47:20 > 0:47:23we're using the more traditional techniques.
0:47:24 > 0:47:27Once they've dried and we've glazed them,
0:47:27 > 0:47:30we can bring in some quite stronger colours
0:47:30 > 0:47:34that would have been used in those days, over the top.
0:47:34 > 0:47:38It gives them a nice luminosity. OK.
0:47:43 > 0:47:46OK. So, we can see it's quite a crude stencil,
0:47:46 > 0:47:48but it does the effect.
0:47:55 > 0:47:58It looks as though the boys are in for a long night.
0:48:13 > 0:48:18Senior ecologist Gina Reynolds is here to identify our visitors.
0:48:29 > 0:48:32Yeah, we've found a great crested newt, female.
0:48:32 > 0:48:35You can tell it's a great crested newt
0:48:35 > 0:48:37by the size and also by the colour.
0:48:37 > 0:48:41Great crested newts also have very orange underbellies, as you can see,
0:48:41 > 0:48:43and these lovely orange painted toenails.
0:48:45 > 0:48:47I'm going to pop it back where we found it,
0:48:47 > 0:48:50and we're going to contact the regulators, Natural England,
0:48:50 > 0:48:54to find out how we need to proceed, legally, with the works.
0:48:56 > 0:48:58It's disastrous news.
0:48:58 > 0:49:01Our only hope now is to prove to the regulators
0:49:01 > 0:49:05the newts are only in the glasshouse and not the rest of the garden.
0:49:05 > 0:49:09With only days to go until opening, we'll be forced to delay.
0:49:19 > 0:49:23In Denham, in Buckinghamshire, Russell has brought
0:49:23 > 0:49:25the top of the Queen Anne bed to show Dan.
0:49:25 > 0:49:29They disagree on the details of the moulding.
0:49:29 > 0:49:31Dan wants to be historically precise
0:49:31 > 0:49:35while Russell prefers a theatrical interpretation.
0:49:35 > 0:49:37The problem is that the cornice is not quite right...
0:49:37 > 0:49:39But it doesn't matter.
0:49:39 > 0:49:42- Um...- It doesn't matter because...
0:49:42 > 0:49:45You know, it's an interesting discussion cos, to me,
0:49:45 > 0:49:47we've done everything we can...
0:49:47 > 0:49:52- There's a problem with language, Russell...- Yeah.
0:49:52 > 0:49:55..which means we need to add a moulding or two to our design.
0:49:55 > 0:49:58- We've done our research...- You just didn't get it right, Russell.
0:49:58 > 0:50:01I totally agree, but we've done all our research and actually,
0:50:01 > 0:50:03we've got to a point where...
0:50:03 > 0:50:06As we stand, this isn't a classical profile for a Queen Anne bed.
0:50:06 > 0:50:09How much does it matter?
0:50:09 > 0:50:11- It matters 100%...- To you.
0:50:11 > 0:50:14To...the house, to history.
0:50:14 > 0:50:19OK, we're not recreating anything in this house truly authentically
0:50:19 > 0:50:20because we can't afford to.
0:50:20 > 0:50:22Our standard, you have to adhere to.
0:50:22 > 0:50:25- We've done everything we were asked to do.- My dear...
0:50:25 > 0:50:28- I've checked with National Trust and they're happy.- They're not.
0:50:28 > 0:50:31- They are happy. - They can't be happy...
0:50:31 > 0:50:33- I worked with Lucy yesterday. - They can't be happy!
0:50:33 > 0:50:37I showed her and she's happy because they're not expecting anything authentic.
0:50:37 > 0:50:41- Well, I'm not happy with this design.- Therefore, we're saying...
0:50:41 > 0:50:43Illiterate is not a classical...
0:50:43 > 0:50:47Are we saying Queen Anne beds that don't adhere to your idea...
0:50:47 > 0:50:49- It's the language...- ..is incorrect?
0:50:49 > 0:50:52- It's a classical language. - I need to check what you're saying.
0:50:52 > 0:50:56- Russell, this is not the classical language.- It doesn't matter!
0:50:56 > 0:50:59- It doesn't matter because these things don't matter.- Russell...
0:50:59 > 0:51:01We're trying to create the atmosphere.
0:51:01 > 0:51:04- OK, humour me.- We're trying to create the atmosphere
0:51:04 > 0:51:05of a Queen Anne room.
0:51:05 > 0:51:08It's important to you and I'm trying to respect it
0:51:08 > 0:51:10- and I will do as you ask me to do. - Exactly, Russell.
0:51:10 > 0:51:14That is fine but something will have to go to pay for it.
0:51:17 > 0:51:20Relations on the team have never been so tense,
0:51:20 > 0:51:24but Russell agrees to go with Dan's knowledge and work starts again.
0:51:47 > 0:51:49It's decision day in the garden.
0:51:49 > 0:51:52Will the newts mean the opening is cancelled?
0:51:54 > 0:51:57Gina is back to break the news to David.
0:51:57 > 0:52:00We spoke to the regulators
0:52:00 > 0:52:03and they agree that we can continue with the paving at the front here.
0:52:03 > 0:52:07- Right.- That's on the basis that newts are unlikely to be present
0:52:07 > 0:52:08on such hard, compacted ground.
0:52:08 > 0:52:11In order to legally proceed, we need to create them
0:52:11 > 0:52:14- an alternative site to spend the winter.- I see.
0:52:14 > 0:52:17So the alternative site could be anywhere in the garden?
0:52:17 > 0:52:19Yeah, and we can create a nice refuge
0:52:19 > 0:52:22for them using the rubble that you've already got here
0:52:22 > 0:52:24and perhaps covering it in topsoil,
0:52:24 > 0:52:27and make a nice place for newts and other amphibians and reptiles too.
0:52:27 > 0:52:30OK. Well, thank you.
0:52:30 > 0:52:31That's marvellous.
0:52:31 > 0:52:36Garden opening can go ahead. Laying the brick path can continue
0:52:36 > 0:52:40and the volunteers have to pick up the pace to make up for lost time.
0:52:44 > 0:52:46The central bed is dug over and laid to lawn.
0:52:46 > 0:52:52The fruit trees arrive, wicker boards to contain out compost
0:52:52 > 0:52:54and the last of the plants are going in.
0:53:00 > 0:53:03OK.
0:53:03 > 0:53:06Next time, I'll buy someone a drink!
0:53:07 > 0:53:10Over the last six months, the volunteers have put in
0:53:10 > 0:53:15over 6,00 work hours and more than 3,000 plants.
0:53:26 > 0:53:28Nearly there. Not many to go now.
0:53:28 > 0:53:31Working up towards a cup of tea.
0:53:35 > 0:53:38And finally, the last pot goes down.
0:53:50 > 0:53:54It's the evening before opening day and for David,
0:53:54 > 0:53:56it's time for a moment of reflection.
0:53:56 > 0:54:00When I walked in here, I thought it was a bit of a disaster zone
0:54:00 > 0:54:02because the garden hadn't been looked after.
0:54:02 > 0:54:06It was a bit of a wilderness and to even think about transforming it
0:54:06 > 0:54:11into a walled garden within six months was a very, very tall order.
0:54:11 > 0:54:13But we've done it. We've done it.
0:54:17 > 0:54:22Sleep well, David because tomorrow the public will deliver its verdict.
0:54:29 > 0:54:33It's six months since I first set foot in the garden.
0:54:33 > 0:54:37It was overgrown, uncared for, looked fairly disastrous really
0:54:37 > 0:54:40and we've had the most amazing summer.
0:54:40 > 0:54:45Dry in April then rain, hardly any sun and now,
0:54:45 > 0:54:48the most beautiful day, a heat wave.
0:54:48 > 0:54:52However, David and his band of trusty volunteers have been working
0:54:52 > 0:54:54throughout the so-called summer
0:54:54 > 0:54:56and I can't wait to see the finished result.
0:55:25 > 0:55:30Villagers and visitors have turned out in their hundreds,
0:55:30 > 0:55:32all impatient to get their first glimpse
0:55:32 > 0:55:34of our Victorian kitchen garden.
0:55:34 > 0:55:38I'm going to hand the honours to Jan from the National Trust.
0:55:38 > 0:55:41So here we are, after six months,
0:55:41 > 0:55:44the first stage complete - the garden.
0:55:44 > 0:55:47- So we're handing it back to you! - Thank you so much.
0:55:47 > 0:55:49You can only do it once.
0:55:51 > 0:55:53Bravo! Let's go!
0:55:53 > 0:55:55APPLAUSE
0:55:58 > 0:56:00That's lovely!
0:56:11 > 0:56:13- Stunned. Wow!- Absolutely staggered.
0:56:13 > 0:56:16I'm looking for the absolute wilderness that it was
0:56:16 > 0:56:18to what it is now.
0:56:18 > 0:56:20- Welcome.- Very impressive.
0:56:20 > 0:56:22We hope so. We hope you're impressed.
0:56:22 > 0:56:25- I'm very impressed by the grass. - Yes, I wish mine was that green.
0:56:25 > 0:56:27It's come on a lot.
0:56:27 > 0:56:30The finishing touches have come together really nicely.
0:56:30 > 0:56:33It's a feast for the eyes as well as a feast for the plate.
0:56:45 > 0:56:49The food is going down well and so is the green hop beer.
0:56:49 > 0:56:52- Have you tried it? - I haven't tried it yet.
0:56:52 > 0:56:53Thank you. Cheers.
0:56:53 > 0:56:58- Hugh, hello.- Hello.- What do you think? What do you think?
0:56:58 > 0:57:02Well, I think it's remarkable, the way it's been transformed.
0:57:02 > 0:57:03It's very impressive.
0:57:03 > 0:57:05- Is that what it was like? - That's what it was like.
0:57:05 > 0:57:08- You see there's the house there...- Oh, yeah!
0:57:08 > 0:57:12..and your mum was digging there. It's extraordinary, isn't it?
0:57:12 > 0:57:15- That's amazing.- It is amazing. - How much work you've done.
0:57:15 > 0:57:18- Exactly.- ..within a really short space of time.
0:57:26 > 0:57:28The hope is that the garden will provide fruit and veg
0:57:28 > 0:57:32to the manor as it would have in Victorian times.
0:57:32 > 0:57:35Let's hope it flourishes for the next 100 years.
0:57:55 > 0:57:58Well, this is a great success, the garden.
0:57:58 > 0:58:03Wonderful, but we have five weeks to go till we open the house.
0:58:03 > 0:58:05Let's hope we get the same reaction.
0:58:07 > 0:58:10Next time on The Manor Reborn...
0:58:11 > 0:58:13'Running out of time.'
0:58:13 > 0:58:17It's taking twice as long as it should.
0:58:17 > 0:58:19'The crust get tetchy.'
0:58:19 > 0:58:24I am starting to get really quite anxious now.
0:58:24 > 0:58:26'The beds go up...
0:58:26 > 0:58:29'but will everything come together?'
0:58:29 > 0:58:33It's touch and go whether that's going to go through the front door!
0:58:33 > 0:58:35'Last-minute deliveries.'
0:58:40 > 0:58:43Can you see where you're going, Ivor?!
0:58:43 > 0:58:45- 'Carpet capers.'- Oh, God!
0:58:45 > 0:58:47'Working through the night.'
0:58:47 > 0:58:50'Tears and laughter.'
0:58:52 > 0:58:55'But we will ever get finished on time?!'
0:58:55 > 0:58:56Oh!
0:59:09 > 0:59:11Subtitles by Red Bee Media Ltd
0:59:11 > 0:59:13E-mail subtitling@bbc.co.uk