0:00:04 > 0:00:09500 years ago, England was emerging into a new era.
0:00:10 > 0:00:13After years of war, plague and famine,
0:00:13 > 0:00:15the Kingdom was enjoying peace and prosperity
0:00:15 > 0:00:19under the reign of the first Tudor King, Henry VII.
0:00:22 > 0:00:27A new class of business-savvy farmer was thriving,
0:00:27 > 0:00:29boosting food production...
0:00:29 > 0:00:31And then over she goes.
0:00:31 > 0:00:35..while wool from their sheep was generating half the nation's wealth.
0:00:38 > 0:00:41Many of the nation's farms were under the control
0:00:41 > 0:00:45of the biggest landowner in England after the King - the monasteries.
0:00:47 > 0:00:51Their influence could be felt in every aspect of daily life.
0:00:51 > 0:00:53They were not just places of religion.
0:00:53 > 0:00:58They were at the forefront of technology, education and farming.
0:01:00 > 0:01:03But with the daily lives of monks devoted to prayer,
0:01:03 > 0:01:07they depended increasingly on tenant farmers
0:01:07 > 0:01:09who worked and tended their lands.
0:01:09 > 0:01:11There thee go.
0:01:13 > 0:01:14PIGS SQUEAL
0:01:14 > 0:01:17Now, historian Ruth Goodman
0:01:17 > 0:01:20and archaeologists Tom Pinfold and Peter Ginn
0:01:20 > 0:01:24are turning the clock back to Tudor England,
0:01:24 > 0:01:27here at Weald and Downland in West Sussex
0:01:27 > 0:01:29to work as ordinary farmers
0:01:29 > 0:01:32under the watchful eye of a monastic landlord.
0:01:36 > 0:01:37Here.
0:01:37 > 0:01:39That's the way, nice.
0:01:39 > 0:01:43To succeed, they'll have to master long-lost farming methods...
0:01:43 > 0:01:45Watch those flanks, they're going again.
0:01:45 > 0:01:48..and get to grips with Tudor technology...
0:01:49 > 0:01:51THEY SCREAM
0:01:51 > 0:01:53Quite noisy.
0:01:53 > 0:01:55Wow, it's a really violent process!
0:01:55 > 0:01:58..while immersing themselves in the beliefs...
0:01:58 > 0:02:00ALL: Amen.
0:02:00 > 0:02:01..customs...
0:02:01 > 0:02:02THEY MOAN
0:02:02 > 0:02:05..and rituals that shaped the age.
0:02:05 > 0:02:10This is merry England for heaven's sake, so to speak, let's enjoy it.
0:02:10 > 0:02:11THEY CHUCKLE
0:02:11 > 0:02:13THEY LAUGH
0:02:13 > 0:02:18This is the untold story of the monastic farms of Tudor England.
0:02:28 > 0:02:30It's July.
0:02:30 > 0:02:33Ruth, Peter and Tom are more than halfway through
0:02:33 > 0:02:35their time on the farm.
0:02:35 > 0:02:37The pea crop has flowered
0:02:37 > 0:02:40and very soon, it should be producing a harvest.
0:02:41 > 0:02:44I am flabbergasted with just how many peas are on each plot.
0:02:44 > 0:02:46It's staggering, isn't it?
0:02:46 > 0:02:50The barley cereal crop is also thriving,
0:02:50 > 0:02:53as are the sheep and the pigs.
0:02:53 > 0:02:56- Are you all right?- Yeah.
0:02:56 > 0:02:58But farming was not the only way monastic land
0:02:58 > 0:03:01was exploited to make money.
0:03:01 > 0:03:04The monasteries encouraged other enterprises
0:03:04 > 0:03:07and would send representatives to meet with tenants
0:03:07 > 0:03:10who wanted to expand into new areas.
0:03:10 > 0:03:14Professor James Clark, an expert in medieval history,
0:03:14 > 0:03:16has come to meet Tom and Peter
0:03:16 > 0:03:20to explain the abundant opportunities on the land.
0:03:20 > 0:03:22Of course, it's important to remember the monastery's
0:03:22 > 0:03:26economic interests are not just confined to farming.
0:03:26 > 0:03:29The monastery owns a huge diversity of landscape and it's especially
0:03:29 > 0:03:33interested in the natural resources that that landscape contains.
0:03:33 > 0:03:38And perhaps the pre-eminent interest in this period in that regard
0:03:38 > 0:03:40is lead, lead mining.
0:03:40 > 0:03:43Would farmers like us be involved in these commercial processes then?
0:03:43 > 0:03:45We know that just prior to the Dissolution,
0:03:45 > 0:03:49a number of tenants are beginning to branch off into those areas.
0:03:49 > 0:03:55They can't rely for a secure income on the produce of farming alone.
0:04:00 > 0:04:04The Church imposed itself on the landscape of medieval England.
0:04:04 > 0:04:08Great abbeys and cathedrals were built to stamp the Church's
0:04:08 > 0:04:10authority across the country.
0:04:10 > 0:04:13Vital to their construction was lead.
0:04:13 > 0:04:18Its malleability and resistance to corrosion made it perfect
0:04:18 > 0:04:20for roofing, guttering and windows.
0:04:20 > 0:04:23This created huge demand for the material.
0:04:24 > 0:04:26Following in the footsteps of Tudor farmers,
0:04:26 > 0:04:29the boys are heading off to mine their own lead.
0:04:31 > 0:04:34Areas around the Pennines, Derbyshire and Shropshire
0:04:34 > 0:04:37were the biggest centres of lead mining in the Tudor period.
0:04:39 > 0:04:43The mines are now long-abandoned and overgrown.
0:04:43 > 0:04:46Tom and Peter are meeting with experts Colin Richards
0:04:46 > 0:04:48and Nick Southwick to reopen one.
0:04:50 > 0:04:52Right, Peter, here's your lead mine.
0:04:52 > 0:04:53PETER GROANS
0:04:53 > 0:04:54Brilliant, Colin.
0:04:54 > 0:04:58It looks a bit more like a rabbit warren or something.
0:04:58 > 0:05:01Yes, we've got to do a little bit of digging to actually get into
0:05:01 > 0:05:07the mine, but the mines in this area haven't been operated for 130 years.
0:05:11 > 0:05:13Would farmers be doing this sort of thing?
0:05:13 > 0:05:17Oh, yes, because, in any age, if you could sort of gain extra money,
0:05:17 > 0:05:19you could improve your life, you could get a better horse,
0:05:19 > 0:05:21better clothes, better wine...
0:05:21 > 0:05:25So it could make all the difference between a subsistence existence
0:05:25 > 0:05:27and one where you could have a few luxuries.
0:05:27 > 0:05:30I suppose it was a metal very much in demand,
0:05:30 > 0:05:33especially with the monasteries, all they were using it for.
0:05:33 > 0:05:35You could sell all you could extract,
0:05:35 > 0:05:41so, you know, you could turn your labour into money very easily.
0:05:41 > 0:05:45Farmers who turned their hand to mining in the summer months
0:05:45 > 0:05:47could earn up to £4 in extra income -
0:05:47 > 0:05:51the equivalent of buying 80 extra sheep for the farm.
0:05:51 > 0:05:54I think it's getting big!
0:05:54 > 0:05:57- Shovel this out, Pete.- Yeah. - Then I think we can get a body in.
0:05:57 > 0:06:00Shall I do that? I'm a bit svelter than you are, Peter.
0:06:00 > 0:06:03You are a little homunculus, Tom, we can get you down there.
0:06:03 > 0:06:04THEY LAUGH
0:06:06 > 0:06:08Here he goes.
0:06:11 > 0:06:12Give him a little push.
0:06:13 > 0:06:17- It opens up quite a lot, actually. - Yeah, it should do.
0:06:17 > 0:06:20- Is there room for another one? - I reckon. Just follow on.
0:06:23 > 0:06:24Oh, dear...
0:06:25 > 0:06:28It widens up a bit, so we'd probably fit that wheelbarrow in,
0:06:28 > 0:06:30if you like. Thank you.
0:06:30 > 0:06:33- All right, here we go. - Are you lads OK?
0:06:37 > 0:06:40As one of the kingdom's largest landowners,
0:06:40 > 0:06:43monasteries owned vast waterways that were full
0:06:43 > 0:06:46of another valuable resource - fish.
0:06:46 > 0:06:50The Church encouraged people to fast from meat three days a week,
0:06:50 > 0:06:53creating a high demand for fish.
0:06:54 > 0:06:58Ruth's setting out to catch one of the most popular fish of the day -
0:06:58 > 0:07:00eels.
0:07:00 > 0:07:02The first job is to make an eel trap
0:07:02 > 0:07:05with help from basket maker Simon Cooper.
0:07:09 > 0:07:11Whoops! I nearly lost that.
0:07:11 > 0:07:13SHE CHUCKLES
0:07:14 > 0:07:17- Lovely and soaked and bendy. - Well-soaked.
0:07:17 > 0:07:19Yeah, nice and bendy.
0:07:21 > 0:07:22Look at that.
0:07:22 > 0:07:26They're using willow, a tree commonly found beside streams.
0:07:26 > 0:07:27So we're using the twining technique,
0:07:27 > 0:07:30- which means we're using two at once, yeah?- That's it.
0:07:30 > 0:07:33Weaving one over the other around there.
0:07:33 > 0:07:35We twist them each time they go around.
0:07:35 > 0:07:37Go around...stave, yes.
0:07:37 > 0:07:41Just get it tight, otherwise we'll lose anything we might be catching.
0:07:41 > 0:07:46The traps are made from two woven cones, one slotted inside the other.
0:07:47 > 0:07:50- Oh, yeah, you can see it in that one...- This is a very open-design one
0:07:50 > 0:07:54- and you can see the eel will go in through the front here.- Right.
0:07:54 > 0:07:57So the eel swims in, gets through that gap nice and easily,
0:07:57 > 0:08:00but because it's all spiky, it can't turn round and go back through it.
0:08:00 > 0:08:02It can't turn round and go out, no.
0:08:02 > 0:08:05This method of laying traps for fish is a technique that goes back
0:08:05 > 0:08:09thousands of years and it's even mentioned in the Magna Carta.
0:08:09 > 0:08:12And, of course, one thing with the eel as well,
0:08:12 > 0:08:15it's very easy to keep alive out of water.
0:08:15 > 0:08:17As long as it's damp and cool...
0:08:17 > 0:08:20So you could transport them in damp sacking.
0:08:20 > 0:08:24Sacking or straw, yes, you didn't really need refrigeration
0:08:24 > 0:08:29because they almost breathe, can almost breathe through their skin.
0:08:32 > 0:08:35- This then is going to be dropped into here.- Yeah.
0:08:36 > 0:08:40And then, we need to...
0:08:40 > 0:08:42- Try and weave the whole lot together. - Weave the whole lot together.
0:08:42 > 0:08:45Yeah, I see what you mean about needing to be really firm.
0:08:45 > 0:08:48Yeah, we hope our basketwork isn't too open so the eel will
0:08:48 > 0:08:51find the way out, cos they're very, very good at finding little holes.
0:08:51 > 0:08:53SHE LAUGHS
0:08:59 > 0:09:03With the mine reopened, the team are navigating the passages
0:09:03 > 0:09:05that should take them to the lead ore.
0:09:07 > 0:09:09Monasteries granted leases to those
0:09:09 > 0:09:11who wanted to mine for lead on their land.
0:09:11 > 0:09:13PETER GROANS
0:09:15 > 0:09:17"Come to a mine," you said, Tom.
0:09:17 > 0:09:19"It'll be fun."
0:09:20 > 0:09:22So, Colin, how far are we going in at the moment?
0:09:22 > 0:09:28Well, we need to go in about sort of...300, 400 yards.
0:09:30 > 0:09:32PETER GROANS
0:09:33 > 0:09:36That is fantastic.
0:09:36 > 0:09:38This is a lot bigger than I thought it would be.
0:09:38 > 0:09:40So when it was in sort of full production,
0:09:40 > 0:09:44there would have been men on platforms all over this space.
0:09:44 > 0:09:49This is the first time the mine has been worked for over a century.
0:09:49 > 0:09:52So what are we actually looking for, Colin?
0:09:52 > 0:09:54You're looking for those silver specks in the rock
0:09:54 > 0:09:57which are the sort of galena, the lead,
0:09:57 > 0:09:59to see where you've got a concentration,
0:09:59 > 0:10:02where you've got the richer soil deposits.
0:10:02 > 0:10:04And then, work from there.
0:10:04 > 0:10:06Miners worked in pairs
0:10:06 > 0:10:10and removed the lead ore by hand using hammers and chisels.
0:10:10 > 0:10:15The skill is hitting the chisel without hitting the holder.
0:10:15 > 0:10:16- Oh...- Did you hear that?
0:10:16 > 0:10:18THEY LAUGH
0:10:18 > 0:10:19Ooh!
0:10:19 > 0:10:21THEY LAUGH
0:10:21 > 0:10:23- Remember, it's not a race. - How would I?
0:10:26 > 0:10:31The veins of lead ore were often set at 45-degree angles in the rock,
0:10:31 > 0:10:33making for tough working conditions.
0:10:33 > 0:10:36I feel like we're going quite far in, is this...?
0:10:36 > 0:10:39Yeah, I think you've broken off a decent piece there.
0:10:39 > 0:10:41The weight of the rock was the key indication
0:10:41 > 0:10:43of lead ore being present.
0:10:43 > 0:10:44What are you thinking, Tom?
0:10:44 > 0:10:48- How does it feel weight-wise? - No. Have a feel.
0:10:48 > 0:10:50It's like a feather.
0:10:50 > 0:10:52(I don't think we'd have made very good miners.)
0:10:52 > 0:10:54We're just getting our iron.
0:11:01 > 0:11:03Oh! Look at that.
0:11:05 > 0:11:08That's actually a lot heavier. Feel that.
0:11:08 > 0:11:11You can feel the extra weight, can you, compared to the other bit?
0:11:11 > 0:11:13What does that look like?
0:11:13 > 0:11:15Oh, yeah, that's, that's what we're looking for.
0:11:15 > 0:11:18Are we finished then? Is that, is that enough?
0:11:18 > 0:11:19THEY LAUGH
0:11:19 > 0:11:23You know, when you're looking at about 50 bars of lead a day...
0:11:23 > 0:11:24THEY LAUGH
0:11:24 > 0:11:28..we've got one lump in the bottom at the moment.
0:11:28 > 0:11:29We better pick up the pace.
0:11:33 > 0:11:36Let's give that a go.
0:11:36 > 0:11:38Oh, no, that's what I'm talking about, Tom.
0:11:38 > 0:11:41Look at that, that is a piece of lead ore.
0:11:41 > 0:11:44Whole families often worked in the mines.
0:11:44 > 0:11:47Every day they faced dangers from flooding
0:11:47 > 0:11:50and long-term inhalation of poisonous lead dust.
0:11:53 > 0:11:55Every little bit counted,
0:11:55 > 0:11:58so, you know, the small children would be down here sort of,
0:11:58 > 0:12:01as bits were flying off, putting them in the barrows
0:12:01 > 0:12:03and taking them to the surface.
0:12:03 > 0:12:07There was, you know, nothing wasted.
0:12:07 > 0:12:08Lift with your legs.
0:12:08 > 0:12:10Straight back.
0:12:11 > 0:12:12CREAKING
0:12:12 > 0:12:15Was that a creak in the barrow or you?
0:12:15 > 0:12:19It's amazing how much they must have had to have shifted, Colin.
0:12:19 > 0:12:22This is hard, hard work.
0:12:23 > 0:12:26Why am I doing it and not Tom?
0:12:35 > 0:12:38To exploit their natural resources above ground,
0:12:38 > 0:12:41monasteries leased out the fishing rights on rivers.
0:12:43 > 0:12:45Their traps complete, the next job
0:12:45 > 0:12:48is for Ruth and Simon to set them in the water.
0:12:48 > 0:12:51It's best to set these traps in the evening,
0:12:51 > 0:12:54because the eels through the heat of the day,
0:12:54 > 0:12:57they tend just to lurk in the shadows, in the cold,
0:12:57 > 0:13:00- cos they don't like getting too hot, really, so...- Right.
0:13:00 > 0:13:02So that just drops in.
0:13:02 > 0:13:04That should drop in
0:13:04 > 0:13:08and we need to just tie a marker to a reed somewhere.
0:13:08 > 0:13:13Eels are drawn to dark places, so the traps must be left in the shade.
0:13:13 > 0:13:17I wonder if we perhaps headed off over there under that shady tree,
0:13:17 > 0:13:20cos it looks, you know, a good place where eels might lurk.
0:13:20 > 0:13:23So we weight these pots so it sits in the bottom, yeah?
0:13:23 > 0:13:27Yes, so that the eels can swim straight into it.
0:13:29 > 0:13:32That's it, parallel to the bank, that's lovely.
0:13:32 > 0:13:35The ends of the traps are filled with dead fish,
0:13:35 > 0:13:37an eel's favourite food.
0:13:37 > 0:13:41Nice stinky fish. The stinkier the better, so they can smell it.
0:13:41 > 0:13:43- My God, that's just... - That'll attract them.
0:13:45 > 0:13:46Wet...
0:13:46 > 0:13:48just plugged at the top, so...
0:13:50 > 0:13:51..the fish can't get out.
0:13:51 > 0:13:53It's not just to keep the bait in,
0:13:53 > 0:13:54but it's to stop the eels getting out.
0:13:54 > 0:13:56I always want to call them pots,
0:13:56 > 0:13:58but that's not the right name for them, is it?
0:13:58 > 0:14:01Down here, we tend to call them putcheons,
0:14:01 > 0:14:05but I know all around the country there's grigs, weels...
0:14:05 > 0:14:08It's almost an indication, really, of a truly ancient craft, isn't it,
0:14:08 > 0:14:11when the tools have all these regional names?
0:14:11 > 0:14:13Of course. They all had different shapes as well,
0:14:13 > 0:14:15depending on the maker, really.
0:14:16 > 0:14:18- Down you get.- It's beginning to sink.
0:14:18 > 0:14:20Is this branch going to hold it? I think so.
0:14:24 > 0:14:28The lead ore has been brought to the surface of the mine.
0:14:28 > 0:14:32Now, it must be smelted to extract the metal from the rock.
0:14:34 > 0:14:38This is done by heating the ore to 600 degrees Fahrenheit.
0:14:40 > 0:14:42To achieve these temperatures,
0:14:42 > 0:14:45the Tudor smelter would make use of their natural environment.
0:14:51 > 0:14:56Furnaces were placed on windy hilltops to help fan the flames.
0:14:56 > 0:15:00A super fuel known as white coal was used.
0:15:00 > 0:15:04It was made by simply drying out wood in a kiln.
0:15:04 > 0:15:06So it's like any kind of oven, really, you know,
0:15:06 > 0:15:08- like a bread oven or anything? - Very much.
0:15:08 > 0:15:11It's very similar to a bread oven in that you heat the stone up
0:15:11 > 0:15:16and then it's the heat in the mass of the oven which dries the wood.
0:15:16 > 0:15:20Heating the wood removes moisture and impurities,
0:15:20 > 0:15:22allowing it to burn hotter.
0:15:22 > 0:15:25That's the one we've been looking for.
0:15:25 > 0:15:29The kiln must be airtight, so gaps are filled with clay.
0:15:36 > 0:15:40So I'll put a little fire in here
0:15:40 > 0:15:42and then, if it's completely sealed,
0:15:42 > 0:15:45the only smoke will be coming out the entrance.
0:15:45 > 0:15:48Right, if I was you, Tom, I'd get a handful of clay.
0:15:48 > 0:15:50I'm not sure I need to, but sure.
0:15:50 > 0:15:52I'll indulge you, Colin. OK.
0:15:52 > 0:15:54TOM LAUGHS
0:15:54 > 0:15:56I think we've got a few gaps here, Tom.
0:15:56 > 0:15:58I can still rescue this quickly.
0:15:58 > 0:16:00It's very atmospheric.
0:16:03 > 0:16:04I might owe you an eel.
0:16:06 > 0:16:10The best wood to convert into white coal is oak.
0:16:12 > 0:16:13Ooh!
0:16:13 > 0:16:15I almost lost my fingers.
0:16:16 > 0:16:19- You've got plenty of wood there, I see.- Here we go.
0:16:19 > 0:16:21Is this going to change much colour?
0:16:21 > 0:16:23No, it won't change appearance much,
0:16:23 > 0:16:25but any residual moisture will be driven off
0:16:25 > 0:16:27through the heat in the stones.
0:16:27 > 0:16:30To help the lead melt more quickly,
0:16:30 > 0:16:33the ore is smashed into small pieces.
0:16:33 > 0:16:35Give it a whack!
0:16:35 > 0:16:37Put your arms into it.
0:16:37 > 0:16:38You have to smelt it.
0:16:42 > 0:16:45- There we go. - See, there you go, brilliant.
0:16:45 > 0:16:47- So how much of this is going to be lead?- 80%.
0:16:47 > 0:16:49- That high?- That high.
0:16:49 > 0:16:51So it's a good return on that effort.
0:16:51 > 0:16:53Absolutely, very good, very good.
0:16:53 > 0:16:56The wood, having dried for four hours in the kiln,
0:16:56 > 0:16:58is now white coal.
0:16:58 > 0:17:01- Is it hot?- I'm not going to lie to you, it looks pretty similar.
0:17:01 > 0:17:03Well, it's incredibly dry.
0:17:04 > 0:17:08The next job is to build a furnace to smelt the lead ore.
0:17:08 > 0:17:12At the base, Colin is making a hearth where the lead will collect.
0:17:14 > 0:17:15So we just need to spread it
0:17:15 > 0:17:18so that it goes up the slope a little bit more.
0:17:21 > 0:17:27So this clay lining is going to firm up during the firing process
0:17:27 > 0:17:31and it will actually be a ball of lead at the end of the smelting.
0:17:32 > 0:17:37On top of the hearth, a fire is built by stacking layers of timber.
0:17:37 > 0:17:40- And we'll lay these as close together as we can.- Right.
0:17:40 > 0:17:44The furnace is finished with layers of hot-burning white coal
0:17:44 > 0:17:46onto which the lead ore is placed.
0:17:46 > 0:17:49Crush the ore up, yeah...
0:17:49 > 0:17:51- OK?- That is pretty heavy.
0:17:51 > 0:17:54Excellent. Well done, lads.
0:17:54 > 0:17:56Gosh, there's some weight in there.
0:17:56 > 0:17:59So we just leave it in the sack?
0:17:59 > 0:18:01Yeah, look at that, glinting in the sunlight.
0:18:01 > 0:18:05We fold this over and we put the white coal over the top.
0:18:05 > 0:18:09And that heat wrapped round our ore is going to be the final
0:18:09 > 0:18:13sort of almost turbo boost to smelt it and melt it
0:18:13 > 0:18:16and be the conclusion of this big inferno.
0:18:25 > 0:18:29Eels were staple food in monasteries that owned rivers.
0:18:29 > 0:18:30But for lay people,
0:18:30 > 0:18:33who needed permission to access these rivers,
0:18:33 > 0:18:34they were a luxury.
0:18:37 > 0:18:41Simon and Ruth are heading out to check the traps.
0:18:41 > 0:18:44Do you have to change the places you put the traps
0:18:44 > 0:18:46or do you just use the same spot?
0:18:46 > 0:18:48If it hasn't caught anything for a day or so,
0:18:48 > 0:18:50we'd look for somewhere else, because after a while,
0:18:50 > 0:18:54you tend to find the places where the eels like to run.
0:18:54 > 0:18:56- No, I can't see anything there. - Nothing?
0:18:56 > 0:18:58I'm pretty certain that's empty.
0:18:58 > 0:19:00One down, six more to check.
0:19:00 > 0:19:03Let's hope we have a bit more luck on the next one.
0:19:05 > 0:19:08Fishermen were expected to give a proportion of what
0:19:08 > 0:19:09they caught to the monasteries.
0:19:09 > 0:19:11Anything else, they could keep.
0:19:13 > 0:19:16Just there, I can see the string entering the water there.
0:19:17 > 0:19:21- We're going to be lucky this time, I think.- Yeah, that's my hope.
0:19:22 > 0:19:25- Oh, gosh, there are! Hurrah! - Eels, eels, eels?- Yeah!
0:19:27 > 0:19:29Come on out...
0:19:29 > 0:19:32- Are they keen?- There's one, there it is, look!
0:19:32 > 0:19:36Gosh, it's hard to see, this one, there it is!
0:19:36 > 0:19:38Yes, there's two. Oh, three!
0:19:39 > 0:19:41- Oh, my goodness, three!- Three!
0:19:41 > 0:19:43Is it safe in there?
0:19:43 > 0:19:45I need something to knock them back! I can't!
0:19:45 > 0:19:47SHE YELLS
0:19:47 > 0:19:51Sorry, it's too snake-like, I can't. I was going to try to be all hard.
0:19:52 > 0:19:54SHE SIGHS
0:19:54 > 0:19:57- There you go.- It was pretty sweet when it came out though.
0:19:57 > 0:20:00- No, there was nothing sweet about it! - He likes you.
0:20:00 > 0:20:03Oh, my toes are all curled now.
0:20:03 > 0:20:06So you're looking forward to catching some more now, are you?
0:20:06 > 0:20:08SHE LAUGHS
0:20:08 > 0:20:12- We've only got two more pots left, haven't we?- I think so, yes, yeah.
0:20:19 > 0:20:21Tudor farmers relied on the landscape
0:20:21 > 0:20:23to provide them with their tools.
0:20:26 > 0:20:29Cotton grass and other dry plants such as moss
0:20:29 > 0:20:31were used for tinder on fires.
0:20:36 > 0:20:37As night falls,
0:20:37 > 0:20:41the natural tinder is put to the test on the smelting furnace.
0:20:41 > 0:20:44- So this can light our kiln, can it? - I would think so.
0:20:44 > 0:20:46- Shall we just try it?- Yeah.
0:20:48 > 0:20:54- Whoa!- That will do the trick. Let's put a good handful in there.
0:20:56 > 0:21:01- Look at that. That's amazing. - It's starting to take hold now, Tom.
0:21:02 > 0:21:07It's going to go from 20 degrees up to 600 degrees.
0:21:07 > 0:21:10Could we achieve that kind of temperature with just wood?
0:21:10 > 0:21:12Not so quickly.
0:21:12 > 0:21:17You know, that extra boost with the white coal is going to be
0:21:17 > 0:21:21the icing on the cake for that final boost to take it from a rock
0:21:21 > 0:21:23to a molten metal.
0:21:23 > 0:21:26As the temperature rises, the lead should melt from the rock
0:21:26 > 0:21:29and trickle down into the hearth at the base.
0:21:29 > 0:21:31I tell you what, this is fierce.
0:21:31 > 0:21:34This is one of the fiercest fires I've ever felt.
0:21:34 > 0:21:35When you're smelting,
0:21:35 > 0:21:38can you tell from the colour of the flame what's happened to the ore?
0:21:38 > 0:21:40Oh, yes, very much so.
0:21:40 > 0:21:44As it starts to drop down, the various gases come off it.
0:21:44 > 0:21:47- Can you see that blue?- Oh, yes, just forming up on the right-hand side.
0:21:47 > 0:21:50Yeah. It's really visible, actually.
0:21:52 > 0:21:56But after a promising start, things begin to go dangerously wrong.
0:21:56 > 0:21:58That wind coming up the hill,
0:21:58 > 0:22:03it's making the fire burn hotter on one side and it's starting to tilt.
0:22:03 > 0:22:06We're trying to rectify it with a couple of timbers
0:22:06 > 0:22:09but we may not end up smelting all our lead.
0:22:09 > 0:22:12If they don't work fast, all their hard work will be destroyed.
0:22:12 > 0:22:16Whoa, whoa, whoa, whoa, don't disturb the top.
0:22:27 > 0:22:29The fire has been rescued for now.
0:22:31 > 0:22:33You know, it's collapsing,
0:22:33 > 0:22:37but more or less within its own footprint, which is what we wanted.
0:22:37 > 0:22:39It's definitely reducing as well, isn't it?
0:22:39 > 0:22:44As they reduce in size, there's greater opportunity for the lead
0:22:44 > 0:22:48to actually go through the gaps into our bowl that we've created.
0:22:48 > 0:22:52At the moment, I'm quite happy with the way it's going.
0:22:52 > 0:22:54The fire will continue to burn overnight.
0:22:54 > 0:22:57Only in the morning will they find out if it's worked.
0:23:08 > 0:23:12Lead was one of the most important materials in building medieval
0:23:12 > 0:23:17cathedrals and churches, and integral to making stained glass.
0:23:17 > 0:23:22Christians saw light as symbolic of God's power and aimed to build
0:23:22 > 0:23:25churches that would be open to as much light as possible.
0:23:27 > 0:23:32Ruth's come to Lincoln Cathedral to meet glazier Richard Still,
0:23:32 > 0:23:34who's making stained glass.
0:23:34 > 0:23:37- Let's play about with this piece. - Right.
0:23:37 > 0:23:41The first thing that they did was score the glass with a flint.
0:23:41 > 0:23:45So we've got a bit of wood, we've rubbed it with powdered chalk
0:23:45 > 0:23:49and the design is drawn out with just some charcoal.
0:23:49 > 0:23:52So you can just trace through, because glass being
0:23:52 > 0:23:53so helpfully see-through.
0:23:55 > 0:23:58It is very crude and hard to control.
0:24:00 > 0:24:05Then some little moon-shaped crosshatching just to
0:24:05 > 0:24:10- encourage the glass to break the way we'd like it to break.- OK.
0:24:12 > 0:24:15Lots of little nibbly sort of...
0:24:15 > 0:24:20Actually, when glaziers' workshops have been excavated, they've found
0:24:20 > 0:24:24- fragments of glass with these little crosshatch marks on.- Have they?
0:24:24 > 0:24:26So we can be quite sure...
0:24:26 > 0:24:29- This really is the technique that was used.- That really happened.
0:24:32 > 0:24:36- OK.- The next technique is even cruder
0:24:36 > 0:24:40and it is simply breaking the glass.
0:24:40 > 0:24:44It's a case of using this tool. This is a grozing iron.
0:24:44 > 0:24:47Grozing, meaning to crush.
0:24:47 > 0:24:51That's really all we're doing, crushing the edge of the glass.
0:24:51 > 0:24:55- Nibbling away at it.- Nibbling away. - That way up.- That's right.
0:24:55 > 0:25:00Fingers in close to the edge that we've marked and just nibble.
0:25:00 > 0:25:04Glass was expensive in Tudor England,
0:25:04 > 0:25:08because producing it was so slow and labour-intensive.
0:25:08 > 0:25:11I'm doing very tiny nibbles because I'm scared stiff.
0:25:12 > 0:25:14You're right to be scared.
0:25:14 > 0:25:18You can't really put it back once you've taken it away, can you?
0:25:18 > 0:25:19You can't.
0:25:19 > 0:25:24It's a once-and-forever process, it's so unpredictable,
0:25:24 > 0:25:26so hard to control.
0:25:26 > 0:25:27A lot of glass must have been broken
0:25:27 > 0:25:29where you didn't want it to be broken.
0:25:29 > 0:25:33- I can imagine many an apprentice getting a severely clipped ear.- Yes.
0:25:33 > 0:25:35For breaking an important piece.
0:25:35 > 0:25:39And it always breaks just right at the last minute
0:25:39 > 0:25:41when you think everything is almost perfect.
0:25:42 > 0:25:46- That is looking pretty good, isn't it?- It was slow.
0:25:46 > 0:25:50But it is a slow process. Pretty impressed.
0:26:00 > 0:26:05In the 1500's, England was producing up to 500 tonnes of lead a year.
0:26:05 > 0:26:08Tom and Peter are returning to see
0:26:08 > 0:26:12whether the smelting fire has been successful in producing lead.
0:26:12 > 0:26:14- Oh, wow!- Steady.
0:26:16 > 0:26:19Well, this is the remains of our kiln. It's just burnt down to ash.
0:26:19 > 0:26:22Our clay bowl at the bottom, I thought was going to break up
0:26:22 > 0:26:25in the heat but that's actually just gone solid.
0:26:25 > 0:26:28- That's amazing. Look at the colour.- That is metal.
0:26:28 > 0:26:32Look, we've got loads of lead there, Tom. Have you got a bag there?
0:26:32 > 0:26:36- I have. I came prepared. - At least one of us did.
0:26:36 > 0:26:41Whoa, look at that. Look at that.
0:26:41 > 0:26:44Put that down and get it in the middle.
0:26:49 > 0:26:51The lead must now be refined.
0:26:54 > 0:26:57Colin has made a refining kiln in the woods.
0:26:57 > 0:26:59This process requires a much more controlled temperature
0:26:59 > 0:27:02than smelting, so it must be sheltered from draughts.
0:27:05 > 0:27:06- Just tip it in?- Yes.
0:27:10 > 0:27:16These are called black-working hearths or black-working ovens
0:27:16 > 0:27:19because the lead that you brought, it's got a bit of ash mixed in
0:27:19 > 0:27:22and there's a dark tinge to it.
0:27:22 > 0:27:25The first burn is taking it from the rock.
0:27:25 > 0:27:28Here, we're getting rid of the impurities.
0:27:28 > 0:27:31The main impurity that's removed is sulphur,
0:27:31 > 0:27:34driven off as hazardous fumes.
0:27:34 > 0:27:38OK, Colin. The moment of truth, hey?
0:27:38 > 0:27:42It's like Christmas as I unwrap it here. Here we go.
0:27:44 > 0:27:46Nice.
0:27:46 > 0:27:48While the lead is being refined,
0:27:48 > 0:27:51the team make moulds for ingots using wet sand.
0:27:52 > 0:27:53I'll be gentle, yes?
0:28:00 > 0:28:03Tom is pumping the bellows and we're taking it in turns to get this
0:28:03 > 0:28:07furnace absolutely raging, and the lead, it's coming out the bottom.
0:28:07 > 0:28:09It's trickling out like a silver stream
0:28:09 > 0:28:13and he's collecting it in an iron crucible.
0:28:13 > 0:28:16He's just about pouring it into the moulds.
0:28:16 > 0:28:19So, you don't want it spilling all over the place
0:28:19 > 0:28:22because it burns and it sticks, as well.
0:28:24 > 0:28:27Not wishing to put any pressure, but you're in the hot seat.
0:28:31 > 0:28:35- OK, there's a fair old weight in this.- In there?- Yeah.
0:28:40 > 0:28:45- OK.- Fast and loose with our lead here.
0:28:45 > 0:28:46The quality appears so much better.
0:28:46 > 0:28:49It looks cleaner, it looks more polished, even,
0:28:49 > 0:28:52than it did before it was refined.
0:28:52 > 0:28:54In my mind, lead is not silver.
0:28:54 > 0:28:57Lead is a dull colour, but I suppose that's oxidisation
0:28:57 > 0:28:58with the air, isn't it?
0:28:58 > 0:29:01It is, and looking at this though, it's shiny and it's bright
0:29:01 > 0:29:03and it looks like it is worth money.
0:29:04 > 0:29:08The ingots will weighed just over two pounds and will go towards
0:29:08 > 0:29:12making a fother, the unit for just over a tonne of lead.
0:29:12 > 0:29:13It was worth up to £8.
0:29:15 > 0:29:20Right, I suppose take our ingots out. They might actually be cold.
0:29:21 > 0:29:23They're warm.
0:29:23 > 0:29:27They've got that kind of rough sand indentation on the side.
0:29:27 > 0:29:31This is one of the characteristics of sand-casted metal.
0:29:31 > 0:29:35You get that sort of indentation of the sand which gives it
0:29:35 > 0:29:39a slightly rougher surface and it's one of the means of identifying
0:29:39 > 0:29:43Medieval leadwork really.
0:29:43 > 0:29:44That has come from that.
0:29:46 > 0:29:49That was hard work. These were tricky, but ultimately a success.
0:29:49 > 0:29:51I think we need to get this to the monastery.
0:30:00 > 0:30:03At the cathedral, Ruth's shaped the pieces of stained glass
0:30:03 > 0:30:06and is returning to complete the panel.
0:30:06 > 0:30:08Some of the largest and most elaborate windows
0:30:08 > 0:30:11were commissioned during the medieval period,
0:30:11 > 0:30:13all held together with lead.
0:30:17 > 0:30:20A survey at the time estimated that monasteries held
0:30:20 > 0:30:23some 20,000 fothers of lead.
0:30:23 > 0:30:27In the 1530s, Henry VIII targeted this valuable material
0:30:27 > 0:30:30during the dissolution of the monasteries.
0:30:30 > 0:30:33It was ripped out, melted and sold.
0:30:34 > 0:30:39- So, here's the panel that we're working on.- Uh-huh.
0:30:39 > 0:30:42We've got our horseshoe nails around.
0:30:42 > 0:30:47You've cut this piece, this last piece to go in...
0:30:47 > 0:30:49beautifully, I have to say.
0:30:49 > 0:30:51So what you're going to do is take a piece of lead
0:30:51 > 0:30:56and this is the scaffolding that holds the window together.
0:30:56 > 0:31:02Strips of lead made from ingots were then melted and poured over reeds.
0:31:02 > 0:31:04- This is called... - RUTH GASPS
0:31:04 > 0:31:07- So soft! - ..lead came, C-A-M-E.
0:31:07 > 0:31:12- I know this sounds odd, but it's like modelling in marzipan.- Yes.
0:31:12 > 0:31:13BOTH LAUGH
0:31:13 > 0:31:15It's sort of got that...
0:31:15 > 0:31:18When marzipan's cold, it seems to behave in much the same way.
0:31:18 > 0:31:22- There's a resistance... - There's a resistance, but not that much.- ..but it will give.
0:31:22 > 0:31:25So presumably, I need to get an angle on that corner first.
0:31:25 > 0:31:28- You need to take an angle of 45 degrees.- Just there?- Yep.
0:31:35 > 0:31:38And then...in. It is just so soft.
0:31:38 > 0:31:41- Is that close enough as a fit? - That looks fantastic.
0:31:41 > 0:31:42Now, what we need to do...
0:31:42 > 0:31:44- Let me help here because I'll put a finger here.- Right.
0:31:44 > 0:31:46- What you're going to do... - Ooh, nails, yes.
0:31:46 > 0:31:49..is use a couple of nails...
0:31:49 > 0:31:52- To hold.- ..just to hold. Yep.
0:31:52 > 0:31:57- And then we have to...solder it? - We have to solder it.
0:31:57 > 0:32:00To fuse the lead together, it is soldered by melting
0:32:00 > 0:32:03another metal onto the join.
0:32:03 > 0:32:07Animal fat, known as tallow, is applied to the joints first.
0:32:07 > 0:32:09- Yep, perfect.- Gosh, it's not much, is it?
0:32:09 > 0:32:13It's not much, just enough for the tallow to melt
0:32:13 > 0:32:17and form a layer between the air and the lead.
0:32:18 > 0:32:21- Okey-doke.- You'll probably find it easier...- A little bit of warming.
0:32:21 > 0:32:25Then touch and let it melt through.
0:32:25 > 0:32:28- That's it.- Ooh, that melted through fairly quickly.
0:32:28 > 0:32:30- That's nice. - Hold...and come straight up.
0:32:30 > 0:32:34- Straight up. That's beautiful.- OK. - Fantastic.- Iron back in the fire.
0:32:34 > 0:32:37- That's made quite a nice little round bead, hasn't it?- Yes.
0:32:37 > 0:32:40What you've got to remember is that this joint is
0:32:40 > 0:32:43an integral part of the structure of the window.
0:32:43 > 0:32:46If this comes apart in five years, or ten years,
0:32:46 > 0:32:50- or 50 years or 100 years, the window falls apart.- Disaster.
0:32:50 > 0:32:55OK, moment of truth, I suppose. Oooh!
0:32:55 > 0:32:57Is it actually going to hold together?
0:32:57 > 0:32:59Yeah, there we go.
0:33:01 > 0:33:03- RUTH LAUGHS - What do you think?
0:33:03 > 0:33:06Do you like it? Is it a thing of beauty?
0:33:06 > 0:33:10It's funny - down flat on the board, it looks rather dead and plain.
0:33:10 > 0:33:12- Mm.- But as soon as you've got light coming through it,
0:33:12 > 0:33:15- it seems to come to life. - Comes alive, doesn't it?
0:33:15 > 0:33:17- It does, it's completely different. - Yep.
0:33:17 > 0:33:20And this handmade glass with its ripples and its bubbles
0:33:20 > 0:33:23- and its imperfections are a part of that.- Yeah.
0:33:23 > 0:33:27It's not just a slab of transparent stuff,
0:33:27 > 0:33:29and that's the beauty of the material.
0:33:36 > 0:33:40After three days away at the mine, the boys are returning to the farm.
0:33:42 > 0:33:46- That lead mining's knackered me. - Yeah.- I'm a broken man.
0:33:46 > 0:33:50- Yeah, you and me both. Over we go.- Over.
0:33:51 > 0:33:52Good girls.
0:33:55 > 0:33:59On long journeys, travellers would stop to spend the evening at an inn,
0:33:59 > 0:34:02where their animals could also be housed for the night.
0:34:04 > 0:34:06Monks saw it as their Christian duty
0:34:06 > 0:34:09to provide hospitality to travellers.
0:34:09 > 0:34:12Monasteries with land on major pilgrimage
0:34:12 > 0:34:16and trade routes also seized this as a business opportunity,
0:34:16 > 0:34:19building inns which could be leased out for revenue.
0:34:20 > 0:34:25Welcome to the inn. What's your drinks order, water? Water?
0:34:25 > 0:34:26Water? Ale!
0:34:26 > 0:34:30- I think I'll have to come in with you, aren't I?- You are.
0:34:30 > 0:34:33OK, girls. You've done well. Going to the back in a bit.
0:34:33 > 0:34:35We're going to see how much parking costs.
0:34:37 > 0:34:40INDISTINCT CHATTER
0:34:41 > 0:34:45Inns were busy places, bringing together the old and the young.
0:34:47 > 0:34:51Sometimes, preachers could hope to capture an audience.
0:34:51 > 0:34:55Priests give themselves to feasting and banqueting,
0:34:55 > 0:34:58spend themselves in vain babbling.
0:34:58 > 0:35:03Woe unto them, for they have gone in the way of Cain.
0:35:03 > 0:35:06Inns like this were originally designed to be
0:35:06 > 0:35:09accommodation blocks, but having built them for that purpose,
0:35:09 > 0:35:13they quickly became spaces that really lent themselves
0:35:13 > 0:35:18to public speaking, such as our friar is doing,
0:35:18 > 0:35:21and to entertainments, too.
0:35:21 > 0:35:26And this shape forms a sort of natural auditorium that informs
0:35:26 > 0:35:29the architecture of theatres for generations to come.
0:35:29 > 0:35:32..are drowned in the delights of this world,
0:35:32 > 0:35:35patronise those who cater for their pleasure.
0:35:40 > 0:35:44A wide range of social functions would take place at the inn.
0:35:44 > 0:35:49From religious to commercial, it was a microcosm of Tudor life.
0:35:49 > 0:35:54- Cheers. Cheers, Ruth.- Cheers. - Well, it's good to be in a pub.
0:35:54 > 0:35:58- It's such a familiar sort of thing to be doing, too, isn't it?- Mm.
0:35:58 > 0:36:00It's like going to a hotel in a pub, all rolled into one.
0:36:00 > 0:36:04If you could hire a room at a place like this for your private party,
0:36:04 > 0:36:06you could have your wedding reception here,
0:36:06 > 0:36:08your christening party... business meetings.
0:36:08 > 0:36:11Loads of people came to inns for business meetings
0:36:11 > 0:36:12which really makes sense, doesn't it?
0:36:12 > 0:36:15I guess they're on the same route as trade, trade routes.
0:36:15 > 0:36:18- Exactly, they're on all the major roads.- So, constant.
0:36:18 > 0:36:20They're in the hearts of major towns and market centres
0:36:20 > 0:36:23where people are coming together anyway so of course
0:36:23 > 0:36:25you have your business meeting at these sorts of place.
0:36:25 > 0:36:27It's a conference centre.
0:36:29 > 0:36:32Inns were also places to have fun, and drinking games
0:36:32 > 0:36:35were popular, such as the puzzle cup.
0:36:35 > 0:36:38Can you drink out of that without spilling it?
0:36:38 > 0:36:40It looks like men's work!
0:36:40 > 0:36:41RUTH LAUGHS
0:36:43 > 0:36:44Ooh!
0:36:44 > 0:36:46ALL LAUGH AND APPLAUD
0:36:46 > 0:36:50- Ha-ha! For a second there I thought...- You have a go.
0:36:50 > 0:36:53- Oh!- That doesn't work, no.
0:36:53 > 0:36:56- No.- Is there a hole under there as well? There ruddy is.
0:36:56 > 0:37:00- OK, so these puzzle cups.- Yeah? - Here we go.
0:37:00 > 0:37:02- LADY:- There's a little hole on the side.
0:37:02 > 0:37:05- I found that bit.- You have to cover up with your hands.
0:37:05 > 0:37:10- I managed to do that. - That creates a vacuum.- Yeah. - And then...ready?- We're ready.
0:37:10 > 0:37:11ALL LAUGH AND JEER
0:37:11 > 0:37:13Ha-ha, you as well!
0:37:13 > 0:37:15- Epic fail! - RUTH SLAPS THE TABLE
0:37:15 > 0:37:18Oh, I've got beer everywhere now!
0:37:19 > 0:37:21WHISTLE MUSIC PLAYS
0:37:21 > 0:37:23PEOPLE BANG TABLE RHYTHMICALLY
0:37:23 > 0:37:25ALL BEING TO SING ALONG
0:37:25 > 0:37:26# Bring us in good ale
0:37:26 > 0:37:30# For our blessed Lady's sake Bring us in good ale
0:37:30 > 0:37:32# Bring us in good ale, good ale
0:37:32 > 0:37:35# Bring us in good ale. #
0:37:35 > 0:37:38CHEERING, LAUGHTER AND TABLE-BANGING
0:37:43 > 0:37:45- (Shush!)- (Shush!)
0:37:45 > 0:37:47RUTH GIGGLES
0:37:47 > 0:37:50Accommodation could vary depending on your budget,
0:37:50 > 0:37:53from communal rooms to private suites.
0:37:56 > 0:37:58(Shush!)
0:37:58 > 0:38:01- This is nice.- Oh, no! - LAUGHTER
0:38:01 > 0:38:04- There's only two beds! - I'm having the little bed.
0:38:04 > 0:38:07- One's big and one's little. - Most inn rooms were
0:38:07 > 0:38:11crowded places, and if you were a single chap travelling,
0:38:11 > 0:38:14you would expect to share the bed with somebody else,
0:38:14 > 0:38:18- who might be a complete stranger. - If only I had that luxury!
0:38:18 > 0:38:20- THEY LAUGH - Get off!
0:38:20 > 0:38:23They're not exactly bouncy, are they, these beds?
0:38:23 > 0:38:24They're all right, though.
0:38:24 > 0:38:27- What kind of quality are we dealing with?- This is pretty good
0:38:27 > 0:38:30- for an inn, this is.- How many stars are we looking at here?
0:38:30 > 0:38:33- Four.- Four?- I can see them through the roof!
0:38:33 > 0:38:34THEY LAUGH
0:38:34 > 0:38:37- Go on, move over. Move over. - PETER SIGHS
0:38:37 > 0:38:39Very Morecambe and Wise.
0:38:41 > 0:38:43DEEP BREATH
0:38:43 > 0:38:46Make a wish, Tommo. It's your lucky night.
0:38:46 > 0:38:50- Peter, get your knee out of my back. - RUTH: Shut up, over there!
0:38:56 > 0:39:00It's late July, a time when farmers needed to keep a close eye
0:39:00 > 0:39:03on their crops as they neared harvest.
0:39:03 > 0:39:06Tudor farmers would also use this time for hay-making,
0:39:06 > 0:39:10weeding, and checking the progress of young animals who would
0:39:10 > 0:39:13provide valuable income later in the year.
0:39:13 > 0:39:17The woodlands owned by monasteries were a perfect place
0:39:17 > 0:39:18to rear young pigs.
0:39:18 > 0:39:21Tenants would seek rights from their monastic landlords
0:39:21 > 0:39:25to pasture pigs in the forest, known as pannage.
0:39:25 > 0:39:28The team's six piglets have been foraging in the woods
0:39:28 > 0:39:30for a couple of weeks.
0:39:30 > 0:39:33Peter and big farmer Neal Careswell have come to check
0:39:33 > 0:39:36- on their progress. - Pig-pig-pigs!
0:39:36 > 0:39:39- Do you reckon they'll come to our call?- I think so, I think so.
0:39:39 > 0:39:42- Hey, piggies. - You've got to go, "Piggy!"
0:39:42 > 0:39:46- Piggies! Pig-pigs.- Try up there.
0:39:46 > 0:39:48- Look how big they've become. - They have grown up fast.
0:39:48 > 0:39:52- Fantastic! God, they've done well. - They've done a good job
0:39:52 > 0:39:53of clearing this woodland.
0:39:53 > 0:39:56Not only do the acorns and roots provide
0:39:56 > 0:39:58rich sustenance for the piglets,
0:39:58 > 0:40:01but their foraging also clears the undergrowth,
0:40:01 > 0:40:04allowing young trees in the woodland to thrive.
0:40:04 > 0:40:06That's what they would've used them for.
0:40:06 > 0:40:08They're fantastic excavators.
0:40:08 > 0:40:11They would've pushed them into land like this
0:40:11 > 0:40:13and you've noticed that they've not touched
0:40:13 > 0:40:16any of the coppicing wood so they'll clear everything else
0:40:16 > 0:40:19and then the woodmen used to be able to come in
0:40:19 > 0:40:21and it was ready for them.
0:40:21 > 0:40:24Pork was in great demand by both the monasteries
0:40:24 > 0:40:26and the lay community,
0:40:26 > 0:40:30as pigs were inexpensive to keep and the meat easy to preserve.
0:40:30 > 0:40:32Keeping pigs was a useful money-spinner
0:40:32 > 0:40:34for the ambitious Tudor farmer.
0:40:34 > 0:40:37- Our Tudor farming Bible. - I see you've got your Bible.
0:40:37 > 0:40:39A book of husbandry.
0:40:39 > 0:40:42- What does it say, then? - You tell me! I find it hard to read.
0:40:42 > 0:40:46- Right, OK.- "For it is an old saying..."- Mm-hmm.
0:40:46 > 0:40:52- "..that he hath both sheep... - "Swine and bees."
0:40:52 > 0:40:55"Sheep, swine and bees" - got, got, got. "He may thrive,
0:40:55 > 0:40:58"because he hath these things that most..."
0:40:58 > 0:41:02"profit of in shortest space of time."
0:41:02 > 0:41:05This is basically saying we'll get the most amount of profit
0:41:05 > 0:41:08- out of these guys..- Yep.- ..for the least amount of investment.
0:41:09 > 0:41:13By scavenging like this, a piglet could grow quickly,
0:41:13 > 0:41:16allowing the farmer to slaughter them young.
0:41:16 > 0:41:19So a Tudor farmer couldn't sustain these pigs through winter
0:41:19 > 0:41:23on feed, but a Tudor farmer could sustain himself,
0:41:23 > 0:41:26- I suppose, on the meat from the pigs.- Definitely.
0:41:26 > 0:41:29They would've looked at trying to get as much slaughtered
0:41:29 > 0:41:33and as much preserved, dried, smoked and stored
0:41:33 > 0:41:36ready for the winter rather than feed the animal through the winter.
0:41:36 > 0:41:38- Yeah.- Definitely. These guys, I mean...
0:41:38 > 0:41:40Are they ready to slaughter yet?
0:41:40 > 0:41:42You can check, you can have a feel of their spine.
0:41:42 > 0:41:45If you go along their spine and just have a feel
0:41:45 > 0:41:46- of the two fillets either side. - Yeah.
0:41:46 > 0:41:48If the spine's very, very protruding,
0:41:48 > 0:41:50then you know it's underweight.
0:41:50 > 0:41:54- These guys are fine. There's no bones sticking out.- Yeah?
0:41:54 > 0:41:58They're a good size. They're very...boisterous!
0:41:58 > 0:42:01That's always a good sign. But no, I think we've got a while to go yet.
0:42:01 > 0:42:03- Ow! - NEAL LAUGHS
0:42:03 > 0:42:04Obviously still hungry, though.
0:42:04 > 0:42:06I feel a bit like the witch out of Hansel and Gretel.
0:42:06 > 0:42:08BOTH LAUGH
0:42:08 > 0:42:09- HIGH-PITCHED:- "How fat are you?"
0:42:09 > 0:42:13I call it "going on holiday," so we'll maybe use that term
0:42:13 > 0:42:15- from now on so they don't hear us! - Hey, chaps.
0:42:15 > 0:42:19I think we're really, really on target, they're looking fantastic.
0:42:24 > 0:42:29The farmhouse was not just where the farmer, his family and staff lived.
0:42:29 > 0:42:32It was also a business centre where deals were made
0:42:32 > 0:42:38and meetings were held. So Ruth's considering some home improvements.
0:42:38 > 0:42:42Appearances were important, and aspirational farmers would want
0:42:42 > 0:42:46to emulate the tastes of wealthy Tudors through their decorations.
0:42:47 > 0:42:51At the top end of society, people really enjoyed
0:42:51 > 0:42:53bold, strong colour and pattern
0:42:53 > 0:42:59and they covered their walls in fabrics, in paintings.
0:42:59 > 0:43:03The most expensive thing that you could have in your palace,
0:43:03 > 0:43:07in your castle, in your abbot's lodging was a tapestry.
0:43:07 > 0:43:11So as somebody of more modest means, imitating tapestry
0:43:11 > 0:43:16was a really socially upwardly mobile thing to do.
0:43:16 > 0:43:21So many people went to the painters or stainers in order to
0:43:21 > 0:43:25achieve it, and a stainer is somebody who paints on cloth.
0:43:25 > 0:43:27To produce a wall-hanging for the farmhouse,
0:43:27 > 0:43:31Ruth's visiting artist Mark Goodman in his workshop.
0:43:32 > 0:43:37The materials used by stainers were sourced from their surroundings.
0:43:37 > 0:43:39So the pigments, they vary.
0:43:39 > 0:43:42So you've got cheap ones.
0:43:42 > 0:43:45For example, that's just a red ochre, that's just a clay.
0:43:45 > 0:43:47That's actually just dug out of the ground, it's relatively cheap.
0:43:47 > 0:43:50Right, so I can have any sort of brown colours for very little?
0:43:50 > 0:43:53Yeah, reds, browns, yellows, those sorts of colours
0:43:53 > 0:43:57and a more interesting one is lead white.
0:43:57 > 0:43:59- So, obviously lead - mined.- Mm.
0:43:59 > 0:44:03But then to get it into that form there, soaking it in vinegar
0:44:03 > 0:44:06and making sure it's coated in vinegar steam
0:44:06 > 0:44:08for about three to four weeks and then white...
0:44:08 > 0:44:11- You get those little white crystals on the top.- Yeah.
0:44:11 > 0:44:15Pigments were mixed with glue made from boiled animal fat
0:44:15 > 0:44:17known as size or distemper.
0:44:17 > 0:44:20Once the paint has been made, it needs to be kept warm
0:44:20 > 0:44:23to prevent the glue from solidifying.
0:44:23 > 0:44:26It seems really weird, doesn't it, having to keep your glue,
0:44:26 > 0:44:28- your paint hot?- Mm, yes.
0:44:31 > 0:44:34You notice when it's not, cos it just doesn't work.
0:44:34 > 0:44:35It doesn't flow, does it?
0:44:35 > 0:44:37You are more or less putting one layer on
0:44:37 > 0:44:39- and staining the canvas.- Yes.
0:44:39 > 0:44:42You're not sort of building up layers like an oil painter would do.
0:44:42 > 0:44:46- So these can be just churned out? - These can be created very quickly.
0:44:46 > 0:44:50Scenes from mythology and folklore were popular on wall-hangings.
0:44:50 > 0:44:54Ruth's helping Mark produce a stain of George and the Dragon.
0:44:54 > 0:44:58- It's a bit paint-by-numbers, this, isn't it?- Yes, it's a cartoon.
0:44:58 > 0:44:59We're not going to do it so...
0:44:59 > 0:45:02We won't try and make it realistic or put a lot of effort
0:45:02 > 0:45:04into making it realistic.
0:45:04 > 0:45:07That takes time, obviously, and hence it costs more
0:45:07 > 0:45:09so this one's just going to be some nice, bright colours.
0:45:09 > 0:45:12We'll put a bit of shading in in various places
0:45:12 > 0:45:13and that's about it, really.
0:45:17 > 0:45:18In the 1500s,
0:45:18 > 0:45:22portraiture was moving away from stylised caricatures.
0:45:22 > 0:45:26This period saw a transition where more realistic art developed
0:45:26 > 0:45:29and flourished during the Renaissance.
0:45:29 > 0:45:32It also brought about advancements in technology.
0:45:32 > 0:45:36Changes were made to the ancient camera obscura.
0:45:36 > 0:45:40Tom is sitting for the artist Sigrid Holmwood
0:45:40 > 0:45:42to experiment with this technique.
0:45:43 > 0:45:47OK, Tom, so I think you might have to come a little bit closer,
0:45:47 > 0:45:50- if you can.- A little bit closer? - Yeah...
0:45:50 > 0:45:53Oh, no, too close. A bit further away. That's it.
0:45:53 > 0:45:56OK, great. Stay still.
0:45:56 > 0:45:58OK, so, what you need to make a camera obscure
0:45:58 > 0:46:03is firstly a darkened room. "Camera obscura" actually means "dark room".
0:46:03 > 0:46:08And then you block out the window and you put a hole in it.
0:46:08 > 0:46:13Daylight bounces off Tom and passes through a lens which flips
0:46:13 > 0:46:15the image upside-down on to the parchment.
0:46:16 > 0:46:20Early camera obscuras used a pinhole to project
0:46:20 > 0:46:23the image onto the canvas, but in the Tudor period,
0:46:23 > 0:46:26lenses were adopted for the first time,
0:46:26 > 0:46:28making the image brighter and clearer.
0:46:28 > 0:46:32Even the tiniest movement shows up a lot on this.
0:46:32 > 0:46:35I'm going to see how this looks soon,
0:46:35 > 0:46:40but I've got a feeling that we might have to try it again. OK, Tom.
0:46:40 > 0:46:43- The thing is, you moved a bit. - Can I move now?
0:46:43 > 0:46:46- Yeah, you can move now! - Just checking!
0:46:46 > 0:46:48We didn't manage to get your nose, it's gone all weird.
0:46:48 > 0:46:51- Looks a bit like a witch or something.- Exactly!
0:46:51 > 0:46:53And your whole head's a bit compressed
0:46:53 > 0:46:56because you probably moved in one direction after I'd done that.
0:46:56 > 0:47:00- I've been trying to lose weight. - SHE GIGGLES
0:47:00 > 0:47:01This isn't the way to do it.
0:47:01 > 0:47:05They need a way of keeping Tom still.
0:47:05 > 0:47:07And we're sure this is my fault, this one?
0:47:07 > 0:47:08THEY LAUGH
0:47:08 > 0:47:11- Stick that down.- It's just like Victorian photography,
0:47:11 > 0:47:14you need to be as still as possible.
0:47:14 > 0:47:17OK, great, that's looking much better now. OK, keep still.
0:47:17 > 0:47:20It's like a race against time.
0:47:20 > 0:47:22OK, so in this case we've got his nose
0:47:22 > 0:47:26and his eyes and his mouth really nicely in focus
0:47:26 > 0:47:29but actually his ear and the top of his head
0:47:29 > 0:47:31and his hat are kind of receding and quite fuzzy.
0:47:31 > 0:47:33You've got this area of focus in the centre
0:47:33 > 0:47:36and then this area around the outside which gets out of focus
0:47:36 > 0:47:38and this creates distortions in scale.
0:47:39 > 0:47:42It's quite controversial amongst art historians
0:47:42 > 0:47:45how much the camera obscura was used by artists in the past.
0:47:45 > 0:47:49There's a lot of resistance to the idea cos people think it's cheating.
0:47:49 > 0:47:52I certainly feel that it was used more than people think.
0:47:55 > 0:47:57- STRAINED:- This is a bit like being at the dentist.
0:47:57 > 0:48:00The moment you're told not to move, everything itches,
0:48:00 > 0:48:03you can feel insects on your face that probably aren't there.
0:48:03 > 0:48:07You want to cough but, er...yeah, it's nice to sit down
0:48:07 > 0:48:10on the farm rather than be working. Sort of!
0:48:18 > 0:48:22In the last few weeks, the farm's kitchen garden has burst into life.
0:48:22 > 0:48:25But unlike modern gardens, the Tudor farmer would have let
0:48:25 > 0:48:30the weeds thrive as well because they, too, had their uses.
0:48:30 > 0:48:33Now, this little patch here is actually my crop.
0:48:33 > 0:48:38It may look like a weed patch, but it isn't. This is cleavers,
0:48:38 > 0:48:40and I'm deliberately growing it.
0:48:42 > 0:48:45I know for many people who spend half their lives trying to take it
0:48:45 > 0:48:47out of their garden, this may seem madness,
0:48:47 > 0:48:50but this is my cleavers crop and it's useful because...
0:48:50 > 0:48:52Well, you can eat it. Again, it's not delicious
0:48:52 > 0:48:58but it's all right. But it's also really useful as a filter or sieve.
0:48:58 > 0:49:00If you lay the stems one way and then the other,
0:49:00 > 0:49:03you get a really useful filter which you can use in the dairy,
0:49:03 > 0:49:05you can use in your brewing, in the kitchen.
0:49:05 > 0:49:09Ruth is also letting the weeds flourish amongst her vegetables.
0:49:09 > 0:49:12Think about this lovely set of beans.
0:49:12 > 0:49:16If only half of them had germinated, and I'd done a really good job
0:49:16 > 0:49:19of the weeding, I'd end up with some empty, dead ground.
0:49:19 > 0:49:21But I need to eat all year,
0:49:21 > 0:49:25I need a meal out of this patch every single day of the year.
0:49:25 > 0:49:28Many of the weeds that have grown are edible,
0:49:28 > 0:49:31particularly important to the Tudor farmer when the main food crops
0:49:31 > 0:49:34aren't yet ready to be harvested.
0:49:34 > 0:49:38The fat hen, this one's not just put-up-able with,
0:49:38 > 0:49:41this one's actually quite nice. I quite like fat hen.
0:49:41 > 0:49:43There's also land cresses in amongst all here.
0:49:43 > 0:49:45Quite a lot of land cress, actually.
0:49:45 > 0:49:49And the point is that early on in the process,
0:49:49 > 0:49:52I allowed the weeds a little bit of leeway.
0:49:52 > 0:49:55And only when I know I've got an established crop
0:49:55 > 0:49:57will I start taking them out.
0:50:00 > 0:50:04The land cress and fat hen Ruth's picking will become a Tudor salad.
0:50:10 > 0:50:12With the outline of the image completed,
0:50:12 > 0:50:14Sigrid can now paint the portrait.
0:50:15 > 0:50:19If the camera obscura doesn't actually give you the whole picture,
0:50:19 > 0:50:22as it were, how come you don't just paint me from scratch?
0:50:22 > 0:50:24Well, it's a lot easier to correct something
0:50:24 > 0:50:27that's already down there than start entirely from scratch.
0:50:27 > 0:50:31But, most importantly, is the relationship between your eyes,
0:50:31 > 0:50:34your nose and your mouth, and the very subtle little shapes there
0:50:34 > 0:50:37that really make the difference in getting your likeness.
0:50:37 > 0:50:39So, the camera obscura is almost like a stencil
0:50:39 > 0:50:42from which you start your work.
0:50:42 > 0:50:43Yeah. It's a starting point.
0:50:43 > 0:50:46You really need to still have lots of drawing skills,
0:50:46 > 0:50:50lots of artistic judgement, to be able to use it properly.
0:50:50 > 0:50:52It's not like taking a snapshot.
0:50:52 > 0:50:54It isn't that easy to use.
0:50:54 > 0:50:58Painting was viewed as an art rather than craft in Tudor England,
0:50:58 > 0:51:02but that would change with the influx of artists from Europe.
0:51:02 > 0:51:04So, would artists travel from village to village
0:51:04 > 0:51:06looking for work or...?
0:51:06 > 0:51:08In terms of portraiture, there would actually be artists
0:51:08 > 0:51:10would travel from country to country,
0:51:10 > 0:51:12so there were a lot of artists from the low countries that
0:51:12 > 0:51:15travelled to London and were commissioned to do portraits.
0:51:15 > 0:51:17A good example is Holbein.
0:51:17 > 0:51:19So, he's a little bit later than our period,
0:51:19 > 0:51:23more active around the 1530s, but he was from Germany and came to London.
0:51:23 > 0:51:25And when I look at Holbein's drawings, I think
0:51:25 > 0:51:28probably were done using a camera obscura.
0:51:28 > 0:51:30There's little telltale signs.
0:51:30 > 0:51:32For instance, there's a very large head
0:51:32 > 0:51:35and then with incredibly small shoulders coming off it.
0:51:36 > 0:51:40During this period, the Mona Lisa was completed.
0:51:41 > 0:51:45And artists strove to mirror the soul of the sitter in their work.
0:51:48 > 0:51:50During this time, you start to get a shift towards the more
0:51:50 > 0:51:55humanist philosophy, where you start to look for God in nature...
0:51:55 > 0:51:58and start to look for God in man.
0:51:58 > 0:52:01And so therefore it becomes much more important to try
0:52:01 > 0:52:04and capture what things look like naturally.
0:52:04 > 0:52:07It's actually much more people's views changing
0:52:07 > 0:52:09and then it makes their art change.
0:52:11 > 0:52:14Art would decorate the walls of Tudor dining rooms
0:52:14 > 0:52:17and fish would dominate the tables.
0:52:17 > 0:52:20Ruth has brought her eels back to the farm house
0:52:20 > 0:52:22to make the most of this delicacy.
0:52:22 > 0:52:25Now I've got to get the slime off my eels.
0:52:25 > 0:52:30Like all freshwater fish, they have a sort of protective slime coating.
0:52:30 > 0:52:33Salt, rubbing and water. I hate this bit. Eww.
0:52:33 > 0:52:36SHE SIGHS
0:52:36 > 0:52:39I don't know why it is, but the slime on freshwater fish
0:52:39 > 0:52:41makes me more squeamish...
0:52:43 > 0:52:45I think, than anything else.
0:52:45 > 0:52:47Look at that. Eww.
0:52:48 > 0:52:52Fresh water fish was hard to come by for people living away from rivers
0:52:52 > 0:52:55and was only eaten on feast days.
0:52:55 > 0:52:56It's one of those differences, really,
0:52:56 > 0:52:59between the monastic community and the lay community.
0:52:59 > 0:53:02People like us, eels are an occasional treat.
0:53:02 > 0:53:05In the monasteries, they are almost a staple.
0:53:05 > 0:53:09For us, fish means salt fish, salt cod.
0:53:09 > 0:53:12It means pickled fish. It means pickled herring.
0:53:12 > 0:53:16In the monasteries, fresh fish is possible and, indeed,
0:53:16 > 0:53:20quite probable on a daily basis.
0:53:20 > 0:53:24Ruth is cooking the eels as part of a stew known as bruit.
0:53:24 > 0:53:27She makes a sauce from parsley, breadcrumbs and beer,
0:53:27 > 0:53:29which gives the dish its name.
0:53:31 > 0:53:34Getting the texture right is half the battle.
0:53:35 > 0:53:39The eels are cooked separately and added to the sauce later.
0:53:39 > 0:53:42Cooked like this, you can see why I've left the skin on.
0:53:42 > 0:53:47It gives me perfect, organised little gobbets.
0:53:47 > 0:53:49I love that word.
0:53:49 > 0:53:50SHE LAUGHS
0:53:50 > 0:53:52It is the period word.
0:53:55 > 0:53:59The stock from the eels is added for flavour.
0:53:59 > 0:54:01It does upset me that when you're watching this
0:54:01 > 0:54:04you'll be judging this entirely on what it looks like,
0:54:04 > 0:54:07as opposed to what it tastes and smells like.
0:54:07 > 0:54:10This isn't posey telly food.
0:54:10 > 0:54:15This is real food and it tastes great, and it smells fantastic.
0:54:15 > 0:54:18Fresh fish may have been a treat for the farmer,
0:54:18 > 0:54:24but pork was widely eaten at both the top and bottom of Tudor society.
0:54:24 > 0:54:28Fat was an essential commodity, particularly for monasteries
0:54:28 > 0:54:32that used it for cooking, candle making and even shining their shoes.
0:54:32 > 0:54:35To make money and keep up with demand,
0:54:35 > 0:54:38the farm must have a continuous supply of pigs.
0:54:38 > 0:54:43A few weeks ago, their boar Turkish was introduced to the sows.
0:54:43 > 0:54:47Does Turkish here have to fancy the pigs he mates with?
0:54:47 > 0:54:49No, not necessarily.
0:54:49 > 0:54:53A bore will follow his red-blooded primeval instincts.
0:54:53 > 0:54:57A sow would be introduced to a boar before reaching a year old
0:54:57 > 0:55:01and a farmer would regularly check for signs of pregnancy.
0:55:01 > 0:55:03A positive indicator is
0:55:03 > 0:55:06when she doesn't show signs of wanting to mate.
0:55:06 > 0:55:09This is easily tested by the farmer.
0:55:10 > 0:55:13There's the standing heat test... Do you know anything about that?
0:55:13 > 0:55:17..which is putting all your weight on their back hips,
0:55:17 > 0:55:20which sort of simulates the mounting of the boar.
0:55:20 > 0:55:23And they will stand, so they will sort of position themselves,
0:55:23 > 0:55:27get themselves in a position where they're ready to be served.
0:55:27 > 0:55:28So, shall we give it a go?
0:55:28 > 0:55:30We can give it a go, yeah.
0:55:30 > 0:55:31Are you comfortable with that?
0:55:31 > 0:55:34So, we don't want them to stand if we put our weight here.
0:55:34 > 0:55:38Yeah. If you put your weight there and they... Oh.
0:55:38 > 0:55:41See, I don't think she is. I mean, she's... Ooh, sorry.
0:55:41 > 0:55:42She's not comfortable.
0:55:42 > 0:55:46She's looking for her food. She's not really interested in what I'm doing.
0:55:46 > 0:55:49Have a go with George. I think George is...
0:55:49 > 0:55:51looking a bit more of a sure fire.
0:55:51 > 0:55:54- Are you all right?- Yeah.
0:55:54 > 0:55:57What do you think about that then? Eh?
0:55:57 > 0:56:00- I'm after your women, Turkish. - Turkish is a bit confused now.
0:56:00 > 0:56:01Competition.
0:56:01 > 0:56:03BOTH LAUGH
0:56:03 > 0:56:06A sow is pregnant for just under four months,
0:56:06 > 0:56:09and the farmer would want her to give birth before winter
0:56:09 > 0:56:11to give the piglets a better chance of survival.
0:56:11 > 0:56:14Timing was critical.
0:56:14 > 0:56:16Oh... He's a good boy, and I think you're probably right.
0:56:16 > 0:56:18- I think he's done his job.- Yeah.
0:56:18 > 0:56:22I think he has done his job. Keep an eye on it.
0:56:26 > 0:56:28After all their exertions,
0:56:28 > 0:56:31the team has returned to the newly decorated farm house.
0:56:33 > 0:56:36Supper was usually served at 5pm
0:56:36 > 0:56:40and was normally a simple affair of pottage with vegetables,
0:56:40 > 0:56:42but tonight the boys are in for a treat.
0:56:43 > 0:56:47- Here we go, a bit of a treat, eel. - Ooh! Freshwater fish.
0:56:47 > 0:56:48Freshwater fish.
0:56:48 > 0:56:50Got to get involved. Lots of protein - good for the brain.
0:56:50 > 0:56:52Yeah. What brain?
0:56:54 > 0:56:57Something of a luxury. Here we go.
0:56:58 > 0:57:01- This is lovely. - Yeah, it's good.
0:57:01 > 0:57:04- I like bruit. - It's a nice change.
0:57:04 > 0:57:08It is a nice change, and it also represents quite a luxury dish,
0:57:08 > 0:57:09really, for lay people.
0:57:09 > 0:57:14Because to own the fish, you have to own the rights to the ponds
0:57:14 > 0:57:17and the rivers, and tenants very rarely do.
0:57:17 > 0:57:20That's all landowners, not tenants like us. Don't you think,
0:57:20 > 0:57:23everything we've sort of done in the last couple of weeks,
0:57:23 > 0:57:25it's all been under monastic control, hasn't it?
0:57:26 > 0:57:30- Yeah...- Even that inn we stayed at was owned by the monastery.
0:57:30 > 0:57:33Yeah. I thought that was one of the best things we've done.
0:57:33 > 0:57:36I really enjoyed that. And all the stresses of the farm
0:57:36 > 0:57:38and the pressure from the monastery wasn't quite there,
0:57:38 > 0:57:41but we were still part of that monastic picture.
0:57:41 > 0:57:44Well, I can't help notice that, while I've been away,
0:57:44 > 0:57:47you've adorned the place with some beautiful artwork.
0:57:47 > 0:57:49Very effeminate knight there.
0:57:50 > 0:57:53- Is that you?- I think I look noble. - Yeah. Well, you certainly...
0:57:53 > 0:57:56You've got that... You're staring off into the distance.
0:57:56 > 0:58:00- Thousand-yard stare. - Thinking about farming.
0:58:00 > 0:58:01HE LAUGHS
0:58:03 > 0:58:06Next time on Tudor Monastery Farm...
0:58:06 > 0:58:09the team go to work for the monastery,
0:58:09 > 0:58:11restoring accommodation...
0:58:11 > 0:58:15This is going to be a fantastic floor, I can feel it.
0:58:15 > 0:58:18..washing their linens...
0:58:18 > 0:58:19It's the bashing that does it.
0:58:19 > 0:58:23..and learning the art of monastic hospitality.
0:58:23 > 0:58:27I want to stress, I did not drop the custard castle.
0:58:27 > 0:58:29ALL LAUGH
0:58:30 > 0:58:32Subtitles By Red Bee Media Ltd
0:58:32 > 0:58:35accessibility@bskyb.com