:00:32. > :00:39.Everything can be sat on. Played with. And enjoyed by the visitors.
:00:39. > :00:44.Avebury Manor will be reborn to reflect 500 years of its history.
:00:44. > :00:48.But time is running out. It is taking twice as long as it should.
:00:48. > :00:52.The Trust is getting nervous. starting to get really quite
:00:52. > :00:58.anxious now. With opening day in just a month's time, can we pull it
:00:58. > :01:02.off. It is touch and go if that will go through the front door.
:01:02. > :01:07.There is an awful lot to do before we hand over.
:01:07. > :01:17.We have deadline and we are keeping that deadline.
:01:17. > :01:48.
:01:48. > :01:53.It is autumn, and with only four weeks to go before we hand the
:01:53. > :02:00.manor back to the Trust, it is not exactly a hive of activity in the
:02:00. > :02:10.house. But outside, the Trust is already
:02:10. > :02:20.
:02:20. > :02:26.Designer, Russell Sage, is out and about barring began hunting,
:02:26. > :02:34.unruffled by -- bargain hunting, unruffled by the deadline. Four
:02:34. > :02:40.weeks is a big deadline, we have to make sure everyone is focused.
:02:40. > :02:46.Russell is in is element, scouring the country for table ware and
:02:46. > :02:50.drink kits. We never know what we will -- drink kits. We never know
:02:50. > :02:55.what we will iend find. Russell hasn't got a shopping list, but he
:02:56. > :03:01.will know what he wants when he see it is. What about this Nothing can
:03:01. > :03:07.be too expensive or precious. you do �30 on it. We want visitors
:03:07. > :03:17.to be able to handle on it. Can you do 200 of those and those. �360 we
:03:17. > :03:20.
:03:21. > :03:30.are done, go on. Russell knows a thing or two about haggling. Can I
:03:30. > :03:36.have a receipt. We're down to �120, it is making me �15. Half price, go
:03:36. > :03:46.is only because it will disintegrate further. You won't
:03:46. > :04:03.
:04:03. > :04:10.make it back to London. Very Art This method uses a high lead
:04:10. > :04:20.antique look. It is much cheaper to make them than buy the real thing,
:04:20. > :04:26.
:04:26. > :04:33.hot in here. Hello. You must be Jo. What is the first thing you have to
:04:33. > :04:43.do? Picking up the blowing iron, and gech it in the water and make
:04:43. > :04:53.
:04:53. > :04:57.you pick up too much molten glass, can adjust slightly and cut the
:04:57. > :05:06.glass, it is best to get the right amount every time. I have to get
:05:06. > :05:11.the bubble in there as quickly as possible. Now I'm blowing quite
:05:11. > :05:21.gently. It's all about the turning, stopped turning everything goes off
:05:21. > :05:34.
:05:34. > :05:44.centre and goes wrong. I'm dropping out the stem in the middle of the
:05:44. > :05:48.
:05:48. > :05:58.cup. I'm ready to put the foot on. using a foot board, a hinged board,
:05:58. > :06:02.
:06:02. > :06:12.hinged together with some leather, kept in a bucket. That is so clever.
:06:12. > :06:13.
:06:13. > :06:23.That is perfect. You have got that wonderful bubblous balances trade,
:06:23. > :06:25.
:06:25. > :06:32.put into a kiln to slowly bring them down in temperature and stop
:06:32. > :06:38.making carpets for 70 years. I'm checking up on two we have
:06:38. > :06:48.commissioned for the house. One for our 1930s Art Deco sitting room,
:06:48. > :06:49.
:06:49. > :06:55.and an absolutely enormous one for our Georgian dining room.
:06:55. > :07:01.That is our carpet. Doesn't it look lovely. Sadly, of course, the
:07:01. > :07:05.dining table will be over the middle of it. We will have to move
:07:05. > :07:09.the dining table out occasionally to look at the carpet.
:07:09. > :07:13.Specially designed for Avebury, it echos the architectural detail of
:07:13. > :07:19.our dining room. Keeping an eye on quality control is Charlene. May I
:07:19. > :07:29.stand on it, to Christen it. You may. I will take my shoes off,
:07:29. > :07:29.
:07:29. > :07:39.I promise. 1234 Have I spotted something? And
:07:39. > :07:42.
:07:42. > :07:48.I haven't even got my glasses on. The next carpet to come off the
:07:48. > :07:55.machine, transports Avebury straight into the 20th century. It
:07:56. > :08:02.is inspired by Alexander Keeler, who lived at Avebury in the 1930s.
:08:02. > :08:10.Keeler was a rich Playboy, with a zest for life. Married four times,
:08:10. > :08:17.he some how found time to indulge his other great passions, fast cars,
:08:17. > :08:22.and archaeology. Keeler carried out his own historical makover, using
:08:22. > :08:30.his robust brand of archaeology, to resurrect the Avebury stones.
:08:30. > :08:36.He bank rolled his pursuits from the vast fortune he inherited from
:08:36. > :08:40.the family business, marmalade. Our striking carpet is the first
:08:40. > :08:45.completed commission to be installed in the manor. How
:08:45. > :08:55.exciting. Perfect, spot on, that is. All we
:08:55. > :08:59.
:08:59. > :09:06.need now is some furniture. Using Russell's zebra skin, Helen
:09:07. > :09:15.is upholstering the chair typical of the Art Deco period. I can't
:09:15. > :09:21.one before. This is slightly over the years. But never one like
:09:21. > :09:30.this, certainly not in a zebra skin. I think it has been shot by a
:09:30. > :09:36.Muscat, looking at the wounds here. That was the death shot. This is
:09:37. > :09:46.the creature's face just here, here is his eyes. It is surprisingly
:09:47. > :09:48.
:09:48. > :09:57.thick where the mane is. Wow. Then this side, you have a little
:09:57. > :09:59.cupboard. You can put your bottles. It is the ultimate man's chair this.
:09:59. > :10:09.Apart from without having the remote control!
:10:09. > :10:11.
:10:11. > :10:17.Back in Avebury, work is up and running again in the dining room.
:10:17. > :10:23.Corin and his brother Ashley, are applying 23 carat gold leaf to pick
:10:23. > :10:29.out the ornate Georgian mouldings. I'm pretty much using the
:10:29. > :10:36.traditional tools that the Georgians would have used. So the
:10:36. > :10:42.reason I'm covered in cold is I'm using a guilder's tip, and to get
:10:42. > :10:46.that little bit of static on the tip, I'm brushing it on to my
:10:46. > :10:56.stubble. Having a golden beard is a total fashion statement, I can't
:10:56. > :11:17.
:11:17. > :11:22.know I had one. So that's why men Gold started to fly everywhere, I'm
:11:22. > :11:26.going to get out of here, it is too much of a mess.
:11:26. > :11:30.Working alongside the boys are Chloe and Kevin, preparing the old
:11:30. > :11:39.and uneven walls for our spectacular wallpaper, coming from
:11:39. > :11:43.China. Because they are old walls, obviously there are cracks and old
:11:43. > :11:50.drips of paint, and the lining paper will give us a smoother
:11:50. > :11:57.surface to work on and hide a lot of it. I'm creating a straight edge
:11:57. > :12:01.that I will then cut and make sure it all looks nice and neat. This is
:12:01. > :12:07.often the problem with old houses, you don't get sort of totally true
:12:07. > :12:12.straight edges, the corners of buildings might have cracked over
:12:12. > :12:17.the years and been filled, you have wobbly lines. New houses aren't
:12:17. > :12:27.totally square either, but they are a lot easier to work with.
:12:27. > :12:27.
:12:28. > :12:34.It will be fine and look great. Russell's come to the upholsterers,
:12:34. > :12:38.to work out how they will cover the Queen Anne bed in silk. After the
:12:39. > :12:43.decision to go for precise much harder. Now we have ended up
:12:43. > :12:47.with a shape, which I appreciate, is absolutely beautiful, but
:12:47. > :12:53.virtually impossible to cover in fabric. You didn't realise it was
:12:53. > :12:58.going ob all this. You thought, nice easy job -- going to be all of
:12:58. > :13:03.this, you thought, nice easy job. There are 92 separate pieces to the
:13:03. > :13:08.cornice, and to emphasise the fine detail, each contoured piece has to
:13:08. > :13:12.be tightly covered in silk. It will be one hell of a job. That's our
:13:12. > :13:19.shape, we are trying to get the fabric into that corner there, it
:13:19. > :13:25.is quite tricky. Sample two coming up. You need to put a piece in
:13:25. > :13:35.there, to there, and back tape that way and that way. My faith is
:13:35. > :13:37.
:13:37. > :13:43.dropping, this is going to take you houses of hours, isn't T
:13:43. > :13:49.-- it. It is taking twice as long as it should, you know. But, it is
:13:49. > :13:54.a challenge. That's not the only challenge with
:13:54. > :14:01.the Queen Anne bed. They are worried that the dome is too big to
:14:01. > :14:05.fit through the manor doors. Once it gets there it will be tight.
:14:05. > :14:10.Try to ram it through the door. Juggle it in, I reckon. With time
:14:10. > :14:15.against us, they are going to have to start dressing the dome. We will
:14:15. > :14:20.worry about getting it into the manor later. Once it is fully
:14:20. > :14:27.upholstered, you can't grab hold of these, the only place would be
:14:27. > :14:37.its side it will make a awkward to try to get it through the doors and
:14:37. > :14:39.
:14:39. > :14:44.up the stairs. This is going to be our bill yard room, we are
:14:44. > :14:50.decorating and furnishing it in a style inspired by Edwardian sold
:14:50. > :14:55.yerb and champion sportsman, Lieutenant -- soldier, Lieutenant
:14:55. > :15:01.Colonel Genner. He lived there up until the 1980s. We wanted to
:15:01. > :15:08.reflect a time when upper-class men retired from dinner to the billiard
:15:08. > :15:17.room for manly talk, port and cigars. Restorer, Peter Ludg ate
:15:17. > :15:22.has started work on the rescued billiard table. To ensure the
:15:22. > :15:32.finest playing surface, you need Welsh slate. Originally beds of
:15:32. > :15:36.
:15:36. > :15:41.tables would have been made in parquet flooring. We have tried all
:15:41. > :15:46.sorts of different surface, like glass, but slate is the tried and
:15:46. > :15:56.tested way. It is heavy and stable and comparatively cheap. Brace
:15:56. > :16:08.
:16:08. > :16:17.yourselves, each of the four slate segments weighs more than 20 stone.
:16:17. > :16:23.That's it. Once the slate is in place, the
:16:23. > :16:30.surface is finally sanded, before the cloth is fitted.
:16:30. > :16:39.The thing has to be level, we have to get it absolutely spot on. It is
:16:39. > :16:45.like tuning an instrument, it has to be tuned to perfection. It is
:16:45. > :16:50.very nice, hello, I'm Paul, pleased to meet you. Have you put all this
:16:50. > :16:58.bit of help with the slate i thought you would help us. I have
:16:58. > :17:08.come at the right time! Do you know the ball runs beautifully, it
:17:08. > :17:15.
:17:15. > :17:20.In Northumberland, furniture makers George Smith are at work on a
:17:20. > :17:25.classical-style sofa for the dining room. It is likely to be one of the
:17:25. > :17:30.most sat on pieces of furniture, so it will need to be sturdy.
:17:30. > :17:40.This type of frame I would say is all me!
:17:40. > :17:41.
:17:41. > :17:46.It's a production line of highly- skilled craftsmen, and women.
:17:46. > :17:53.Obviously every aspect and process of the sofa is tricky. But to me
:17:53. > :18:00.the upholstery is vital because it is the finished product. Every job
:18:00. > :18:05.is a challenge, you don't realise material out, how it ends up, as
:18:05. > :18:09.the finished item. You appreciate really what you are doing.
:18:09. > :18:14.The Georgian-style sofa is the first piece of commissioned
:18:14. > :18:18.furniture to arrive on site. It is not the only piece to be delivered
:18:18. > :18:23.today. Our hand-painted wallpaper, which I saw being made in China has
:18:23. > :18:28.arrived. 25 rolls of it. This is what we have been waiting for.
:18:28. > :18:32.Chloe is only one of a handful of people in the country, skilled
:18:32. > :18:41.enough to hang this unique wallpaper. Very, very excited.
:18:41. > :18:51.has taken 12 artists over 600 hours to paint. Wow.
:18:51. > :18:53.
:18:53. > :19:03.Wow. That is amazing. Absolutely, this is really what it's all about.
:19:03. > :19:04.
:19:04. > :19:14.It really is. It's just such a massive badge of honour to be
:19:14. > :19:16.
:19:16. > :19:21.involved in this, to be working with this work. Sorry! Every step
:19:21. > :19:27.of the process is going to need absolute precision. Some people
:19:27. > :19:35.might think I'm being a bit with something of this value, I
:19:35. > :19:45.don't want to get it wrong. Just check the measurement again for the
:19:45. > :19:55.
:19:55. > :20:03.millionth time, OK, good. Just try the bottom edge as well. We have to
:20:03. > :20:07.quite quick. Obviously we don't want the glue drying out, and we
:20:07. > :20:13.don't want the paper getting too wet. Getting the position of the
:20:13. > :20:20.first piece right is key, it is a will determine how the scenes play
:20:20. > :20:29.out around the room. Gently. That's great. OK, so just let it, keep
:20:29. > :20:37.hold of it, keep it away from the wall. Now very gently, use the tip
:20:37. > :20:47.of the scissors. That's it. Very carefully, that's it, I don't know
:20:47. > :20:48.
:20:48. > :20:51.what the fuss was about! That's one down, only 24 to go, good luck
:20:51. > :20:56.Chloe. Because it is hand made and hand
:20:56. > :21:01.painted, there are, of course, going to be ve variations, so we
:21:01. > :21:07.have got to do -- to be variations, so we have to do it as best we can.
:21:07. > :21:17.If there is anything, there has to be a bit of an allowance, huhhhhhh.
:21:17. > :21:20.
:21:21. > :21:25.Camera off! That's what happens when you are talking and working at
:21:25. > :21:35.the same time, instead of concentrating. But it will be fine.
:21:35. > :21:37.
:21:37. > :21:45.That's our fault. I am very happy. I have smudged it
:21:45. > :21:50.here. If I didn't even notice that. Then no-one will, Chloe.
:21:50. > :22:00.Historian, Anna Whitelock, has arrived, with the Tudor bed spread,
:22:00. > :22:09.
:22:09. > :22:19.and the royal school of needle work's Peacock eyes. Dozens of
:22:19. > :22:24.local needle workers have joined in to help. It is Dina's job to
:22:24. > :22:31.organise the operation. I like that all the eyes are different sizes
:22:31. > :22:37.and all the hands are working on it, the Royal School hands are working
:22:37. > :22:45.on it and these hands here. In all, over 60 pairs of hands of all ages
:22:45. > :22:51.have come together to make the bed spread. I have been embroidering
:22:51. > :23:00.all my life, ever since the age of these young girls. It is fun coming
:23:00. > :23:06.in later on when it is all done and saying I did some of that.
:23:06. > :23:11.So authentic to be in a Tudor room and have a group of female
:23:11. > :23:16.embroiderers at it, stitching and chatting as they go along. Each of
:23:16. > :23:26.you is leaving your own little stitch on Avebury Manor, that will
:23:26. > :23:34.
:23:34. > :23:39.hopefully be here for years to come. There is a tonne of work to do
:23:39. > :23:49.schedule. Every room still needs its finishing touches to the paint
:23:49. > :23:50.
:23:50. > :23:55.work. For Chloe, the end is in sight. The last piece of the jigsaw
:23:55. > :24:05.puzzle, suddenly it will go, ping and everything will fall into place.
:24:05. > :24:21.
:24:21. > :24:27.That's it. All done.
:24:27. > :24:37.That's amazing, beautiful. I feel like I'm in the picture, I'm in
:24:37. > :24:38.
:24:38. > :24:48.there. In China. I feel like I'm a part of this.
:24:48. > :24:59.
:24:59. > :25:05.You need a big hug, come on. just three days we are due to open
:25:05. > :25:15.to the public, if the National Trust aproves. So work will have to
:25:15. > :25:21.
:25:21. > :25:29.go on around the clock. moved into the Mondayor. Sometimes
:25:29. > :25:34.you don't want to get out of bed. My sock says Tuesday but it is
:25:34. > :25:39.Wednesday. It would be better if it was Tuesday. Also on sight is
:25:39. > :25:44.Russell's second in commands Daniella and Cameron. We need to
:25:44. > :25:51.dress and stuff the mattresses. The rooms with the biggest wow factors
:25:51. > :26:01.are the ones that we will be working until the last minute.
:26:01. > :26:02.
:26:02. > :26:08.There is a delivery for the Tudor parlour, digital tapestrys of
:26:08. > :26:16.pieces that hang in Hampton Court. They will be hung in the paneled
:26:16. > :26:23.piece is hung on the right wall. This is V, that should be this wall.
:26:23. > :26:28.The first job is to put up batons from which to hang the taps trees,
:26:28. > :26:34.but as it is a grade I listed building, we are trying to use the
:26:34. > :26:44.existing holes. This is the really exciting bit, going on now, all the
:26:44. > :26:46.
:26:46. > :26:52.work done away from the property is Exciting, we find out if all the
:26:52. > :26:57.measures will fit. Extra weight is added to hang them properly, the
:26:57. > :27:07.creases are steamed out. Some are more stubborn than others, they
:27:07. > :27:08.
:27:08. > :27:15.just need a little bit more time. Ed pabt -- the parlour will be
:27:15. > :27:20.dressed for a Tudor meal, we need some plaipbts. As original Tudor
:27:20. > :27:30.pewter is rare and expensive, Russell has an idea. He is
:27:30. > :27:41.
:27:41. > :27:46.distressing junk shop pewter. it is being done by a hammer.
:27:46. > :27:54.the 1915s, it consisted of a lot more lead. That is probably why
:27:54. > :27:59.they all died so young! Now for some radical recycling? We will
:27:59. > :28:06.melt it down, pour it into the mould there, let it solidify, and
:28:06. > :28:16.produce a solid ingate for raw material for us to work with.
:28:16. > :28:18.
:28:18. > :28:25.Before your very eyes, old tank cards into Tudor treasures. Back at
:28:25. > :28:35.the manor, the rush matting for the Tudor parlour is here. It is thick
:28:35. > :28:36.
:28:36. > :28:46.and very heavy. OK I have got it! Yeah, slow steps.
:28:46. > :29:02.
:29:02. > :29:12.Can you see where you are going, Don't put it down. Oh! (panting) no,
:29:12. > :29:23.
:29:23. > :29:28.no! (laughing) Ewwwww. Right then! The last job is to bind
:29:28. > :29:34.the mat's edges, and then give it a good drink. It is rather like
:29:34. > :29:44.having a pet in your house, you learn when it needs to be watered.
:29:44. > :29:52.
:29:52. > :29:59.You can hear it, it sort of crunchs With 24 hours until opening day, I
:29:59. > :30:04.have come to lend a hand. Dina and her crack team of
:30:04. > :30:11.volunteers, are finishing the Tudor bed spread, by joining you will 55
:30:11. > :30:18.Peacock eyes with a web of stitching.
:30:18. > :30:23.Can I have a bash. You're doing stem stitch. Can you remember?
:30:23. > :30:29.I will kneel down, is that allowed? We have been doing that, it is the
:30:29. > :30:36.only way. I do a lot of work on my hours and hours, I hope you don't
:30:36. > :30:46.need much more of me, I will be here doing this, it is lovely.
:30:46. > :30:49.
:30:49. > :30:55.While Penelope is on her knee, some of us are humping furniture.
:30:55. > :31:05.Do you want me to pull it out! Sorry. The deliveries keep on
:31:05. > :31:09.
:31:09. > :31:19.coming. The manor is filling up fast. With work continuing in every
:31:19. > :31:20.
:31:20. > :31:27.room, we have run out-of-space. are you? Now John jee Sainsbury has
:31:27. > :31:32.arrived with a van load of Queen Anne furniture. It will have to be
:31:32. > :31:36.set out on the lawn. Russell has had them covered, so our historian,
:31:36. > :31:43.Dan Cruickshank, will get a surprise. It is the moment he's
:31:43. > :31:50.been waiting for. Ahhh. So the Queen Anne day bed. One so rarely
:31:50. > :31:56.sees day beds of that period. I have to do what I have never done
:31:56. > :32:06.before. I can throw myself, crack. Do you know what, it is comfortable.
:32:06. > :32:09.
:32:10. > :32:14.The Queen would be very happy here. Can I turn one over. This is
:32:14. > :32:19.absolutely fantastic. We have one last present for you. Of course.
:32:19. > :32:24.This is what I really need, the exercise chair. This is sensational.
:32:24. > :32:32.I mean it is based on the original, beautifully executed. I love the
:32:33. > :32:42.Gothic detail. Put your hands on this bit. More slowly. Are you
:32:43. > :32:43.
:32:43. > :32:50.feeling any healthier? I'm feeling something! I think we should leave
:32:50. > :32:58.it at that, don't you! Look at that. Try it. It is really comfortable.
:32:58. > :33:07.marble. They are so beautiful. worried about them being damaged or
:33:07. > :33:17.had them made new. Now the Trust has to protect them. They have to
:33:17. > :33:17.
:33:18. > :33:24.be used. They will be fine, robust. Come on Dan, that's the whole point.
:33:24. > :33:30.Local embroiderers Nicky and Lorraine are upholstering a foot
:33:30. > :33:38.stool for Queen Anne. And Dale is embroidering a royal Monroe know
:33:38. > :33:44.gram for the ultimate throne! are mating a toilet fit for a Queen,
:33:44. > :33:54.posher than what I have at home. Our royal loo will be covered in
:33:54. > :33:54.
:33:54. > :34:01.silk and velvet, how luxurious. I know what the chaps are like,
:34:01. > :34:04.they leave the lid up. I don't think it would do for today.
:34:04. > :34:08.gentleman might have to lift the lid. And be short!
:34:08. > :34:16.The manor has so many rooms from different periods, Russell's got
:34:16. > :34:20.his work cut out finding theg rates for the fireplaces. The chances of
:34:20. > :34:24.-- graits for the fireplaces. The chances of getting it historically
:34:24. > :34:29.right it is important the fireplaces look dressed. It doesn't
:34:29. > :34:34.matter it is not a specific date, it looks like the job. We are doing
:34:34. > :34:44.National Trust Disney, not anything else. I'm not sure Lucy agrees,
:34:44. > :34:44.
:34:44. > :34:49.Russell. That is a little bit later than I was expecting. That is a hob
:34:49. > :34:54.grate, they don't come in until later in the century. The picture
:34:54. > :35:03.on the side is classical. I don't know if it's quite right, but at
:35:03. > :35:11.happen very quickly without planning, without reference to us.
:35:11. > :35:16.I spent six months buying things, 60 seconds stealing mirrors from
:35:16. > :35:21.the toilets back at the house. is a curtesy to let you know what
:35:21. > :35:27.is happening in the house. The other thing is cross-headed screws
:35:27. > :35:31.that were used. I don't know what and whether they are correct.
:35:31. > :35:41.tell anyone. Outside, a convoy has arrived, with
:35:41. > :35:42.
:35:42. > :35:46.our two most important commissions. That is unbelievable, isn't it, it
:35:46. > :35:50.is like buses. We have the Queen Anne bed and the Tudor bed. But the
:35:50. > :35:55.problem we have got is, the dome for the Queen Anne bed. Because it
:35:55. > :36:05.is so big, is it going to get through that front door?
:36:05. > :36:11.
:36:11. > :36:17.That's one door down, two more to go. This is the bit we have been
:36:17. > :36:22.waiting for. Great look at that, nice wide Tudor
:36:22. > :36:32.front door. The bedroom door is the real test,
:36:32. > :36:34.
:36:35. > :36:40.it is much narrower. That is tight. By the skin of our teeth it is in!
:36:40. > :36:49.The bed is the centre piece of this room, but with 80 parts to assemble,
:36:49. > :36:59.it is a race against time to get it up. Let's hope the Tudor bed is
:36:59. > :37:02.
:37:02. > :37:08.easier, this is flat-pack turn furniture, Elizabethan style! While
:37:08. > :37:15.the Queen Anne bed is flash and showy, with the crimson upholstery,
:37:15. > :37:22.and golden brocade. Our Tudor four- poster has a rustic charm all of
:37:22. > :37:27.its own. I wouldn't mind a kip in several layers of mattresses, so
:37:27. > :37:33.Anna and the team get stuffing. The middle will be hollow fibre,
:37:33. > :37:36.which we have here. This is our version of flock, which was bits of
:37:36. > :37:42.wool, bits of ration, all stuffed in there. We will get pieces out
:37:42. > :37:49.and ball it up. It would sag down a little bit. The important job was
:37:49. > :37:55.to regularly tighten the ropes on could have a good night's sleep.
:37:55. > :38:01.Night, night, sleep, tight, is the whole idea of the ropes tightly
:38:01. > :38:09.strung. Both mattresses will be stuffed with feathers. That will be
:38:09. > :38:14.lovely and soft, get it in and first time I have laid on a kitchen
:38:14. > :38:20.is lying down, the curtains are going up.
:38:20. > :38:26.You are smiling through, with flowers in your button hole. What
:38:26. > :38:30.will be, will be. It is? We cut it fine, so many people running around
:38:30. > :38:36.today, we will have a late night. I keep thinking I need a bit of time
:38:36. > :38:45.in their place. You are not nervous about it? Not at the moment, you
:38:45. > :38:49.can phone me about midnight tonight. I don't think I will. We don't want
:38:49. > :38:54.a typical Stately Home kitchen, but something that reflects the tough
:38:54. > :38:58.life below stairs during the First World War. We want to create this
:38:58. > :39:01.sense of having to prepare stuff to go upstairs. It is very much the
:39:01. > :39:07.upstairs downstairs thing. What we need to be cautious of is not
:39:07. > :39:14.making it like a museum, not having tins stacked in way you might have
:39:14. > :39:18.laid for a museum, but not for a working kitchen. It is 5.00, we are
:39:18. > :39:24.handing over to the National Trust at 8.00am. All this stuff has to go
:39:24. > :39:30.out of here, all this, the lights, the ladders. Everyone is very
:39:30. > :39:39.casual about it, I'm getting really worried about it. OK are you happy?
:39:39. > :39:47.point. We do. All right, I will crack on.
:39:47. > :39:57.Just 15 hours to go and stacks to do. I think we better pick up the
:39:57. > :39:58.
:39:58. > :40:05.Put all the pieces on the desk and Russell will choose which pieces he
:40:05. > :40:15.will use. Nice to tuch, oak is always nice,
:40:15. > :40:16.
:40:16. > :40:26.you get sensitive mouldings. I think there is an awful lot to do
:40:26. > :40:30.
:40:30. > :40:40.before we hand over. It works, it works.
:40:40. > :40:40.
:40:40. > :40:46.Oh my goodness, I absolutely hate it! Most of the heavy lifting has
:40:46. > :40:56.now been done, I think. Not quite, Hannah. There is still
:40:56. > :41:03.
:41:03. > :41:07.the small matter of the large dome I don't know about you Penny, but
:41:08. > :41:11.I'm pleased to be out of there? Would you call it organised chaos.
:41:11. > :41:21.I would call it disorganised chaos. There are so many people wandering
:41:21. > :41:22.
:41:22. > :41:27.all right. Everyone is saying that and nobody is really cleaning up?
:41:27. > :41:32.Someone asked me to clean and I said I wouldn't. Of course you
:41:32. > :41:42.wouldn't? I asked Russell if he needed help he said I could make a
:41:42. > :41:48.coffee? I think he needs coffee and a drink. He's coping OK. How many
:41:48. > :41:53.people are in there? 40? Right, how many man hours does that make. It
:41:53. > :41:59.will be all right on the night. Where are we going, down the pub?
:41:59. > :42:06.Yes, I think so. I think the team are in for a very
:42:06. > :42:16.long night. Russell has still got a dozen dead animals to hang before
:42:16. > :42:16.
:42:16. > :42:19.he can go to bed. With all this stuff we sort out one
:42:19. > :42:26.problem and move on to the next problem.
:42:26. > :42:35.Time to lay my beautiful Ulster carpet. 1-2-3. Wow.
:42:35. > :42:43.Lovely. Working at night is bad enough, but things are about to get
:42:44. > :42:48.worse. What's happened, Tony. the power has gone. The whole
:42:48. > :42:58.building is out. With so many lights on, we have blown the
:42:58. > :43:00.
:43:00. > :43:10.electrics. Working in the dark, eh! Oh dear!
:43:10. > :43:14.
:43:14. > :43:17.God are you all right! Where is your light Bar? In the van! Hurray!
:43:17. > :43:27.Thank goodness, with power restored we can crack on.
:43:27. > :43:28.
:43:28. > :43:34.It looks as though things are coming together. (laughing) Well,
:43:34. > :43:39.almost. I'm so sorry. Is your foot all
:43:39. > :43:44.right? The biggest challenge now is
:43:44. > :43:51.exhaustion. I'm a little bit tired, but I'm already, everywhere you
:43:51. > :44:01.turn there is something bread rolls in an apparently Victorian kitchen.
:44:01. > :44:06.OK. Final touches to all the rooms are still being made. And our
:44:06. > :44:11.embroiderers are settling in for the rest of the night. We have been
:44:11. > :44:21.working for 11 hours solid, so that it can go on show tomorrow. Today!
:44:21. > :44:22.
:44:22. > :44:32.Sorry. While Grant, Corin and Mark will be painting until they drop.
:44:32. > :44:38.It is 4.00am and I'm knackered. think it's supposed to be Queen
:44:38. > :44:42.aank reclining in this room, not the -- Queen Anne who is supposed
:44:42. > :44:52.to be reclining in this room, not the work force.
:44:52. > :44:53.
:44:53. > :44:59.Morning has broken, it's opening day. Well, we hope it is.
:44:59. > :45:03.Morning. Good morning Penny. end. The great reveal. The handing
:45:04. > :45:10.over. It has been a lot of blood, sweat and tears. Any tears? Yes,
:45:10. > :45:15.lots of them. Now, it was a bit chaotic last night, I think the
:45:15. > :45:25.Trust are going to be here anywhere now. I will go and find them.Ly
:45:25. > :45:26.
:45:26. > :45:33.and talk to Russell. I will meet Russell. I will meet you in there.
:45:33. > :45:38.Good morning ladies, nice and early. Right, it's the big day. What are
:45:38. > :45:44.your expectations? I think we have had a lot of debate in the National
:45:44. > :45:50.Trust about Disneyfication and dumbing down, that is where we
:45:50. > :45:57.might be open to comment. What are you going to do if you don't like
:45:57. > :46:01.it? I would be surprised if we like single room. I think that would be
:46:01. > :46:11.a massive ask. But as long as people have a reaction, then I
:46:11. > :46:17.
:46:17. > :46:24.think we have really achieved something. Russell? You're up there.
:46:24. > :46:30.I'm coming to get you. What is this? This was for this lamp, but I
:46:30. > :46:35.got the wrong shape, so I have to go out here. What time did you get
:46:35. > :46:40.done? I finished at 1.00am, and back at 6.00am. Have you had
:46:40. > :46:43.breakfast? I have. The National Trust is on the way, and Paul will
:46:43. > :46:53.meek them, we will start in the billiard room, I would like you
:46:53. > :47:03.Trust don't like it we can't open. Everything rides on this viewing.
:47:03. > :47:06.
:47:06. > :47:16.Hello, good morning. The time has come. We'll go in, come in.
:47:16. > :47:17.
:47:17. > :47:22.Dan and Anna are looking nervous. The billiard room, ladies. Where
:47:22. > :47:29.the gentleman would retire after dinner for billiards and a cigar.
:47:29. > :47:37.This looks different from when we were last here, my word. What do
:47:37. > :47:43.you think? I love the cases. All the books. I have never seen books
:47:43. > :47:47.on these bookshelves. Have you not? It is lived in now. It is
:47:47. > :47:52.astonishing, it feels like it has always been here. That went down
:47:52. > :47:59.well. Next, the Tudor parlour.
:47:59. > :48:05.We're going back to 1565. The Tudor room. The Tudor parlour. Complete
:48:05. > :48:11.with wall hangings, coats of arms, and look what you are walking on.
:48:11. > :48:17.Bull rush bath matting. Sarah what do you think visitors will make of
:48:17. > :48:22.the room when they come in, it is concerned, they will be used to
:48:22. > :48:27.seeing this amount of furniture in some of our Tudor houses. What they
:48:27. > :48:33.will not be used to seeing is furniture as new. I think that is
:48:33. > :48:40.one of the really exciting things here. That here we have got new oak
:48:40. > :48:45.furniture. But made traditionally with the traditional skills.
:48:45. > :48:55.Exactly. That was good too. What about our chaotic kitchen.
:48:55. > :49:01.This is our Avebury Manor kitchen, circa 1911. We have saved some
:49:01. > :49:05.washing up for you as well. Oh my word! It was a big dinner party!
:49:05. > :49:10.This is fantastic, the amount of Victorian, beautifully laid out,
:49:10. > :49:15.pristine kitchens we have in the Trust, you rarely get a sense of
:49:15. > :49:25.the wind of labour and meanal drujry that happens in these
:49:25. > :49:26.
:49:26. > :49:30.places really give you this kind of feel. I love it. Getting exciting
:49:30. > :49:36.now. Exciting yes, but it is all going a
:49:36. > :49:45.bit too well. The Tudor bedroom, we have given it a nightime feel.
:49:45. > :49:53.go in, before you go in there, you will all need one of these. Russell.
:49:53. > :50:01.Right, so here is our intimate Tudor bedroom. Here we are.
:50:01. > :50:07.Take a look up there. I wondered about the ceiling emblems, seeing
:50:07. > :50:12.them now, particularly as they tone so well with the frieze. I think
:50:12. > :50:18.they look fantastic. Thumbs up for the painting ceiling, after all the
:50:18. > :50:21.debates and discussions. Not for me, what we did have here before, was
:50:21. > :50:25.simply white. With the spirit of the project, getting the colours
:50:25. > :50:30.together, on a really fantastic room, perhaps we can accept it.
:50:30. > :50:34.Mmmm, Lucy is obviously not converted. Now, for our most
:50:34. > :50:40.controversial room, with its vibrant colour scheme.
:50:40. > :50:48.Here we are ladies, come in, this is our Queen Anne bedroom. Wow.
:50:48. > :50:56.This is ready for her visit. Sarah, what's your gosh? Well, you know
:50:56. > :51:05.what I said when we were discussing this about marbling in bedrooms. I
:51:05. > :51:15.think you did find some. In the royal palace in the Netherlands,
:51:15. > :51:20.Queen Anne and Mary's bedrooms had marling. I'm thinking Netherlands,
:51:20. > :51:26.Avebury Manor, marbling, very aspirational!
:51:26. > :51:33.Oh dear, I think that was our first no-no. Let's hope our hand-painted
:51:33. > :51:40.Chinese wallpaper thrills them. So come in here, the governor of
:51:40. > :51:44.Jamaica's dining room. Look at our Chinese wallpaper. It is all about
:51:44. > :51:49.Georgian elagance, the trade routes are open, and everything is
:51:49. > :51:55.available. Do you know what I had in my mind's eye, it was not this.
:51:55. > :52:05.I love this. Have you seen Avebury? I have seen it, look there.
:52:05. > :52:09.
:52:09. > :52:18.Oh my goodness me. I think they like it.
:52:18. > :52:22.The public are already gathering at the gate. Well it has been a great
:52:22. > :52:32.team effort, you must have seen how many people there were here
:52:32. > :52:32.
:52:32. > :52:38.the amount that's been achieved in the last six months is absolutely
:52:38. > :52:43.astonishing. And Russell, thank you so much to you and all your
:52:43. > :52:47.craftmen for just the fantastic work that you have all done. To
:52:47. > :52:49.Anna and Dan, because actually the whole essence of this is the
:52:49. > :52:59.authenticity. And just being true to history.
:52:59. > :53:02.
:53:02. > :53:06.Well, that's thumbs up, then. Now for our real judges.
:53:06. > :53:10.Hello everyone. Hello everyone, thank you so much for waiting, I
:53:10. > :53:20.can't start to tell you how excited I am to show you the new manor, as
:53:20. > :53:28.
:53:28. > :53:38.she is truly beautiful, I hope you agree, please do come in.
:53:38. > :53:42.
:53:42. > :53:48.Wonderful trapsry, they are absolutely stunning. I love the
:53:48. > :53:56.messy kitchen. I haven't been to one room I'm disappointed with.
:53:56. > :54:02.of the day. A cup of tea mother. The table is hiding the best bit.
:54:02. > :54:09.Look. Absolutely gorgeous, isn't it. With all the gold bits as well, it
:54:09. > :54:17.does look a bit Las Vegas, isn't it. Yeah, it is really nice. Is this
:54:17. > :54:22.before or after dinner. Sit back and relax. I think I would find it
:54:22. > :54:32.overwhelming. Everything is useful and tactile, thankfully, no.
:54:32. > :54:33.
:54:33. > :54:38.doesn't like to go behind closed single object, in every single room,
:54:38. > :54:47.there is a story to tell. engaging with the craftsmen and the
:54:47. > :54:51.all been enriched by the process. people, tears, crying, from the
:54:51. > :54:56.National Trust, seeing the rooms, the beauty, coming back from the
:54:56. > :55:06.grave, it is like the dead rising, it is a resurrection, it is. This
:55:06. > :55:06.
:55:06. > :57:38.Apology for the loss of subtitles for 151 seconds
:57:38. > :57:44.magic stuff going on, it is as I What an exhausting day? Well that's
:57:44. > :57:49.it, it's all over. Everybody's gone home. Isn't it lovely and quiet.
:57:50. > :57:56.What a day. What a day, and when you think what this room looked
:57:56. > :58:02.house. It is extraordinary. Cast your mind back six months, I can