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Britain's landscape is littered with fascinating buildings. | 0:00:31 | 0:00:34 | |
From follies | 0:00:36 | 0:00:37 | |
to beach huts | 0:00:37 | 0:00:40 | |
and ancient ruins. | 0:00:40 | 0:00:42 | |
On this edition of Countryfile, | 0:00:46 | 0:00:48 | |
we're going to be celebrating the architecture of our countryside. | 0:00:48 | 0:00:52 | |
We'll be camped out at one of Britain's | 0:00:54 | 0:00:57 | |
thousand-odd stately homes. | 0:00:57 | 0:00:58 | |
What better way to get underneath the skin of this place | 0:00:58 | 0:01:02 | |
than by becoming a tour guide for the day here at Sudeley Castle? | 0:01:02 | 0:01:07 | |
There's about 1,000 years worth of history. | 0:01:07 | 0:01:10 | |
How hard can that possibly be to learn(?) | 0:01:10 | 0:01:12 | |
And we'll be rummaging around in the archives to look back | 0:01:16 | 0:01:19 | |
at the most memorable, grand and humble designs | 0:01:19 | 0:01:22 | |
the teams visited. | 0:01:22 | 0:01:23 | |
Matt's in a Northumberland dwelling | 0:01:25 | 0:01:27 | |
that kept the locals safe from invasion. | 0:01:27 | 0:01:30 | |
Can you imagine what it would have been like to live here, | 0:01:30 | 0:01:32 | |
with 300 Armstrongs charging towards you on horseback, | 0:01:32 | 0:01:36 | |
screaming at you to give them everything that you owned? | 0:01:36 | 0:01:39 | |
Julia's exploring a seaside des res. | 0:01:41 | 0:01:43 | |
-There's the Fog House. -I can see a roof. There she is. | 0:01:45 | 0:01:49 | |
And John's sampling the Georgian good life. | 0:01:50 | 0:01:53 | |
You would have spent time looking out over the sea, | 0:01:53 | 0:01:56 | |
contemplating the beauty of nature and how good life was | 0:01:56 | 0:02:00 | |
-when you have this amount of money. -Yeah! | 0:02:00 | 0:02:02 | |
Hello, everybody, and welcome to Sudeley Castle. My name's Nicola. | 0:02:21 | 0:02:25 | |
I'm going to be your guide for today. | 0:02:25 | 0:02:27 | |
Sudeley Castle sits in the heart of the Cotswolds. | 0:02:28 | 0:02:31 | |
This site has been passed down through royal hands | 0:02:34 | 0:02:37 | |
since the Middle Ages, from Richards to Henrys to Edwards. | 0:02:37 | 0:02:41 | |
The mid-15th century in England, the Wars of the Roses broke out. | 0:02:42 | 0:02:47 | |
I've been told the best way to get to grips | 0:02:47 | 0:02:49 | |
with this place's rich history | 0:02:49 | 0:02:51 | |
is to step into the guide's shoes. | 0:02:51 | 0:02:53 | |
..on this site... | 0:02:53 | 0:02:55 | |
(That's going to be me later. I'd better pay attention.) | 0:02:55 | 0:02:58 | |
(And I want a name badge while I'm at it!) | 0:02:58 | 0:03:01 | |
At some point in its history.... | 0:03:01 | 0:03:03 | |
These ruins were once a grand banqueting hall | 0:03:03 | 0:03:06 | |
built by the Duke of Gloucester in the 1400s. | 0:03:06 | 0:03:09 | |
This would have been the most important and magnificent room | 0:03:09 | 0:03:12 | |
in the castle, where all of the monarchs were feted and entertained. | 0:03:12 | 0:03:17 | |
Now, the Duke of Gloucester wasn't always known | 0:03:17 | 0:03:19 | |
as the Duke of Gloucester. | 0:03:19 | 0:03:21 | |
He went on to become something a lot grander. | 0:03:21 | 0:03:25 | |
It was Richard III, "the king in the car park", | 0:03:25 | 0:03:28 | |
as he's probably going to be well known forever now. | 0:03:28 | 0:03:31 | |
Famous visitors to these grounds include Henry VIII and Elizabeth I, | 0:03:35 | 0:03:40 | |
but it was these royal connections | 0:03:40 | 0:03:42 | |
that put the estate in the firing line during the Civil War. | 0:03:42 | 0:03:45 | |
OK, if you all want to just come and stand around here, | 0:03:45 | 0:03:48 | |
that would be great. | 0:03:48 | 0:03:49 | |
Oliver Cromwell's forces ransacked the castle, leaving it in ruins. | 0:03:49 | 0:03:54 | |
The centrepiece is obviously the bed. | 0:03:57 | 0:03:59 | |
Some of you might have spotted the royal coat of arms | 0:03:59 | 0:04:03 | |
in the centre there, and that's because the upper portion of the bed, | 0:04:03 | 0:04:06 | |
including the canopy, formed part of Charles I's campaign bed. | 0:04:06 | 0:04:12 | |
So everywhere that Charles went during the Civil War, | 0:04:12 | 0:04:14 | |
this went too on a horse and cart. | 0:04:14 | 0:04:18 | |
No sleeping bags for him! | 0:04:18 | 0:04:20 | |
This was actually discovered in a cowshed in the 19th century, | 0:04:20 | 0:04:25 | |
so he obviously did flee in a bit of a hurry, didn't he? | 0:04:25 | 0:04:28 | |
Is this room used now by anyone? | 0:04:28 | 0:04:31 | |
Yes, believe it or not, this is still in use as a guest bedroom, | 0:04:31 | 0:04:35 | |
so people do really sleep here. | 0:04:35 | 0:04:37 | |
So there's plenty of history here, then, Nicola. | 0:04:41 | 0:04:43 | |
There certainly is, Ellie. Over 1,000 years of history here. | 0:04:43 | 0:04:46 | |
So it's not just history, it's actually quite juicy history, | 0:04:46 | 0:04:49 | |
isn't it? The good stuff. | 0:04:49 | 0:04:50 | |
Absolutely, yes. We like to keep it real. | 0:04:50 | 0:04:54 | |
Now, I've got my next tour coming up at three o'clock. | 0:04:54 | 0:04:57 | |
-Do you fancy giving it a go? -No! | 0:04:57 | 0:05:00 | |
I mean, yes, of course I do. | 0:05:01 | 0:05:03 | |
Plenty of homework to be getting on with. | 0:05:03 | 0:05:05 | |
Oh, my word! You're kidding me. | 0:05:05 | 0:05:07 | |
-I've got some reading to do. -Yeah. | 0:05:07 | 0:05:09 | |
Well, while Richard III was putting the finishing touches | 0:05:11 | 0:05:14 | |
on this once rather spectacular banqueting hall, | 0:05:14 | 0:05:17 | |
a little bit further up north in the Scottish Borders, | 0:05:17 | 0:05:20 | |
the locals were battening down the hatches | 0:05:20 | 0:05:22 | |
on a fortress of a different kind, as Matt discovered. | 0:05:22 | 0:05:25 | |
I'm in the Northumberland National Park, | 0:05:32 | 0:05:34 | |
the most northern National Park in England. | 0:05:34 | 0:05:37 | |
But for all of its beauty, | 0:05:38 | 0:05:40 | |
Northumberland has been the site of endless wars. | 0:05:40 | 0:05:43 | |
Its landscape is scattered with reminders of the bloody battles. | 0:05:43 | 0:05:48 | |
As evidence of this violent history, | 0:05:50 | 0:05:53 | |
the area has more castles than any other county in England. | 0:05:53 | 0:05:56 | |
Today, I'm going to find out a little bit more about its turbulent past, | 0:05:57 | 0:06:01 | |
and I'm starting my journey here in the Northumberland National Park, | 0:06:01 | 0:06:04 | |
in a place called Tarset, | 0:06:04 | 0:06:06 | |
which is one of the largest parishes in England | 0:06:06 | 0:06:09 | |
with one of the smallest populations. | 0:06:09 | 0:06:13 | |
And you don't say! | 0:06:13 | 0:06:14 | |
There's hardly anybody here. | 0:06:14 | 0:06:16 | |
For its 125 square miles, there are only 120 households. | 0:06:17 | 0:06:21 | |
It may be peaceful now, but for three centuries, | 0:06:21 | 0:06:25 | |
this area was a lawless and violent place to live. | 0:06:25 | 0:06:29 | |
Gangs of Scottish and English families called the Border Reivers | 0:06:29 | 0:06:32 | |
marauded and pillaged in order to survive. | 0:06:32 | 0:06:35 | |
This was a time of bloodshed, of cruelty, of brutality. | 0:06:35 | 0:06:40 | |
A fight for survival, and sudden death. | 0:06:40 | 0:06:45 | |
These neighbours from hell launched bitter feuds | 0:06:45 | 0:06:47 | |
on each other's territory, | 0:06:47 | 0:06:49 | |
pinching their livestock, committing murder, | 0:06:49 | 0:06:51 | |
and generally tearing up the neighbourhood. | 0:06:51 | 0:06:54 | |
These brutes made the cowboys of the Wild West looked like right softies. | 0:06:54 | 0:06:59 | |
The people here had to work hard to earn a living from the land, | 0:06:59 | 0:07:03 | |
and even harder to ward off attackers. | 0:07:03 | 0:07:06 | |
Rob Young's ancestors lived amongst them. | 0:07:06 | 0:07:08 | |
How violent was it? | 0:07:08 | 0:07:09 | |
Yeah, there were a lot of people killed | 0:07:09 | 0:07:11 | |
and lots of animals taken away. I think the statistics... | 0:07:11 | 0:07:15 | |
between 1504 and 1603, | 0:07:15 | 0:07:19 | |
there were something like 1,400 raids recorded. | 0:07:19 | 0:07:22 | |
When did this become a lovely place to live? | 0:07:22 | 0:07:24 | |
In 1609, there was a mass hanging of people over in Carlisle, | 0:07:24 | 0:07:28 | |
I think, and that was when the King put the stamp on the area, really. | 0:07:28 | 0:07:31 | |
Things calmed down after that, | 0:07:31 | 0:07:33 | |
but it's always flared up and there was always trouble. | 0:07:33 | 0:07:35 | |
It was all clan-based, basically, kinship-based, | 0:07:35 | 0:07:38 | |
so if your kinship ties called you out to do a certain job, | 0:07:38 | 0:07:41 | |
you had to go. | 0:07:41 | 0:07:42 | |
-My lot, the Youngs, we were just small bit players. -Right. | 0:07:42 | 0:07:46 | |
But Armstrongs and the Percys and the Dodds, | 0:07:46 | 0:07:50 | |
the whole range of family names still around here, | 0:07:50 | 0:07:52 | |
-that were kicking lumps off one another. -Charlton? | 0:07:52 | 0:07:55 | |
-Charlton's very... Yeah, Armstrong. -Yeah, yeah. | 0:07:55 | 0:07:58 | |
-All good footballing names as well. -Indeed, yeah! | 0:07:58 | 0:08:00 | |
It might have something to do with that, you know. | 0:08:00 | 0:08:02 | |
Remnants of the violent border past can still be seen | 0:08:02 | 0:08:06 | |
in the Northumberland landscape today. | 0:08:06 | 0:08:09 | |
Well, back then, this area was right on the front line. | 0:08:11 | 0:08:15 | |
Can you imagine what it would have been like to live here | 0:08:15 | 0:08:18 | |
with 300 Armstrongs charging towards you on horseback, | 0:08:18 | 0:08:22 | |
screaming at you to give them everything that you owned? | 0:08:22 | 0:08:25 | |
Well, I'm sure you'd agree, you'd batten down the hatches | 0:08:25 | 0:08:28 | |
and you would do on one of these. | 0:08:28 | 0:08:30 | |
It's called a bastle house, | 0:08:30 | 0:08:31 | |
and Alistair Murray is king of the bastle, | 0:08:31 | 0:08:34 | |
and hopefully he's in. | 0:08:34 | 0:08:36 | |
Alistair? | 0:08:36 | 0:08:38 | |
-How you doing, all right? -Hello, Matt. Nice to see you. | 0:08:38 | 0:08:41 | |
Well, Alistair, I've got to start with the thickness of the walls. | 0:08:41 | 0:08:44 | |
Yeah, the upstairs was actually thinner than downstairs. | 0:08:44 | 0:08:47 | |
-Most of the downstairs was actually in excess of four feet thick. -Right. | 0:08:47 | 0:08:51 | |
Now, the obvious thing with this building, it's all about defence. | 0:08:51 | 0:08:55 | |
It was defending your animals and your family. | 0:08:55 | 0:08:59 | |
And how old is this bastle house that we're in now? | 0:08:59 | 0:09:01 | |
Most of them in this valley were built in the late 1500s | 0:09:01 | 0:09:05 | |
through probably to about 1625. | 0:09:05 | 0:09:08 | |
Where would the animals be? | 0:09:08 | 0:09:09 | |
Well, the animals would be down on the ground floor. | 0:09:09 | 0:09:12 | |
The actual farmers would actually live on the first floor, | 0:09:12 | 0:09:15 | |
and the reason being for that | 0:09:15 | 0:09:16 | |
that the heat from the animals down below | 0:09:16 | 0:09:18 | |
-worked like a central heating system. -Where's the windows? | 0:09:18 | 0:09:21 | |
Well, they deliberately didn't put windows in | 0:09:21 | 0:09:23 | |
because the windows are the weak point. That's a way in. | 0:09:23 | 0:09:27 | |
You had to reduce the number of places | 0:09:27 | 0:09:29 | |
where you could actually get into the building. | 0:09:29 | 0:09:31 | |
'There'd be just one door in the gable end, | 0:09:31 | 0:09:34 | |
'the strongest part of the bastle.' | 0:09:34 | 0:09:37 | |
-Right, yes. Let's have a look at this, then. -Now, as you can see... | 0:09:37 | 0:09:39 | |
-It's not very wide. -No, well, the cattle were very small then, | 0:09:39 | 0:09:43 | |
you see, and so were the people. | 0:09:43 | 0:09:44 | |
So a smaller door means there's less opportunity to get in. | 0:09:44 | 0:09:47 | |
Exactly. It's much harder to get into a small doorway. | 0:09:47 | 0:09:51 | |
That's what it's all about, defence. | 0:09:51 | 0:09:53 | |
One of the defensive systems would have been | 0:09:53 | 0:09:55 | |
this thing called a quench hole. | 0:09:55 | 0:09:57 | |
-Quench hole? -A quench hole. -OK. | 0:09:57 | 0:09:59 | |
Now, what would happen is, at night-time when they went to bed, | 0:09:59 | 0:10:03 | |
they would actually take water up there in buckets, | 0:10:03 | 0:10:05 | |
and if someone tried to set a fire here to burn the door off... | 0:10:05 | 0:10:09 | |
Because this would have been wood. | 0:10:09 | 0:10:10 | |
A wooden door in here, oak door, very thick oak door. | 0:10:10 | 0:10:15 | |
What they would do is, they would pour water in | 0:10:15 | 0:10:17 | |
from the first floor up above, | 0:10:17 | 0:10:20 | |
and it would come down through here, | 0:10:20 | 0:10:22 | |
through the quench hole, and put the fire out. | 0:10:22 | 0:10:24 | |
-Clever. -Brilliant piece of defensive engineering. | 0:10:24 | 0:10:28 | |
Sudeley Castle in Gloucestershire was also built for defence. | 0:10:34 | 0:10:38 | |
It's a historical gem, but it's no museum. | 0:10:38 | 0:10:41 | |
The whole castle is lived in by the Dent-Brocklehurst family - | 0:10:41 | 0:10:45 | |
three generations, including five grandchildren, | 0:10:45 | 0:10:48 | |
all under one large roof. | 0:10:48 | 0:10:51 | |
So who better to give us the grand tour | 0:10:51 | 0:10:54 | |
than the lady of the manor herself, Lady Ashcombe? | 0:10:54 | 0:10:57 | |
We're just coming into the stone drawing room. | 0:11:06 | 0:11:09 | |
Well, this is one of the most interesting rooms in the house. | 0:11:12 | 0:11:15 | |
What I love about it, first of all, is the view, it's spectacular, | 0:11:15 | 0:11:19 | |
and it's so light and it's a beautiful proportion. | 0:11:19 | 0:11:22 | |
This is our worst family room. We meet with our friends here. | 0:11:22 | 0:11:28 | |
We're delighted to have the tour groups come through here. | 0:11:28 | 0:11:31 | |
Sometimes when my grandchildren are here on half term, | 0:11:31 | 0:11:35 | |
they even join the tour groups. | 0:11:35 | 0:11:37 | |
Lucy and my grandsons have been known to show them | 0:11:37 | 0:11:40 | |
his bedroom, which is not all that tidy, but I mean, his train set. | 0:11:40 | 0:11:44 | |
People will see me coming and going through the rooms. | 0:11:44 | 0:11:47 | |
It all feels very reasonably natural and I think, you know, | 0:11:47 | 0:11:51 | |
most people tolerate us, because they know that we live here. | 0:11:51 | 0:11:56 | |
This is our home. | 0:11:56 | 0:11:58 | |
Now, if I hear a tour coming, | 0:11:58 | 0:12:00 | |
I usually beat a bit of a hasty retreat. | 0:12:00 | 0:12:03 | |
And if you follow me, I'll show you where I go, | 0:12:03 | 0:12:06 | |
to my own private sitting room. | 0:12:06 | 0:12:08 | |
This is where I spend most of my time. | 0:12:11 | 0:12:16 | |
When the tours come down the staircase, I can hear them, | 0:12:22 | 0:12:26 | |
particularly because I always hear them laughing, and I wonder, | 0:12:26 | 0:12:32 | |
"What are they laughing about?" | 0:12:32 | 0:12:34 | |
And I finally asked the guide, | 0:12:34 | 0:12:35 | |
"What's so funny when they're coming down the staircase?" | 0:12:35 | 0:12:38 | |
And of course, it's this big life-size baby elephant, | 0:12:38 | 0:12:41 | |
and the guides say that that gives everybody a big chuckle. | 0:12:41 | 0:12:44 | |
This is our family kitchen. | 0:12:54 | 0:12:57 | |
You'll notice that it's filled with family photographs and paintings. | 0:12:57 | 0:13:03 | |
I think it's very cosy. | 0:13:03 | 0:13:05 | |
I think when one lives in a historic house | 0:13:05 | 0:13:09 | |
and a property that's been around for over 1,000 years, | 0:13:09 | 0:13:15 | |
one feels an enormous responsibility towards its preservation, | 0:13:15 | 0:13:20 | |
its...maintaining its integrity, | 0:13:20 | 0:13:23 | |
but it has to be balanced, for me anyway, | 0:13:23 | 0:13:27 | |
that it is our family home, | 0:13:27 | 0:13:30 | |
and that really is very important to me. | 0:13:30 | 0:13:33 | |
It's always nice to have a nosy round someone's house, | 0:13:34 | 0:13:37 | |
like when Julia travelled to Anglesey last November | 0:13:37 | 0:13:40 | |
to take a peek behind the doors of a rather more modest abode. | 0:13:40 | 0:13:44 | |
At Anglesey's western edge lies the Port of Holyhead. | 0:13:49 | 0:13:52 | |
Every year, two million passengers make the crossing | 0:13:55 | 0:13:57 | |
to and from Ireland. Just a few miles away, | 0:13:57 | 0:14:00 | |
the famous South Stack Lighthouse protects it all. | 0:14:00 | 0:14:04 | |
But the lighthouse has a noisy younger brother, | 0:14:05 | 0:14:09 | |
a fog house on the North Stack. | 0:14:09 | 0:14:11 | |
For decades, it's been privately owned, | 0:14:11 | 0:14:13 | |
but recently it's come up for sale, and as it happens, | 0:14:13 | 0:14:16 | |
I'm in the market for something unusual and craggy. | 0:14:16 | 0:14:19 | |
I've arranged a viewing with Philippa Jacobs, who owns the house. | 0:14:22 | 0:14:25 | |
-Hiya, Philippa. -Hello, hello. -Hello, hello. | 0:14:25 | 0:14:28 | |
-Suitably miserable weather! -Absolutely! | 0:14:28 | 0:14:30 | |
And I understand we got a bit of a journey. | 0:14:30 | 0:14:32 | |
You have, and it's going to be a slippery one for the first bit. | 0:14:32 | 0:14:35 | |
'It's a 20 minute drive from civilisation to get there, | 0:14:35 | 0:14:38 | |
'along a track, if that's what you want to call it.' | 0:14:38 | 0:14:41 | |
-So, how many times do you think you've made this journey? -Hundreds. | 0:14:43 | 0:14:47 | |
Hundreds and hundreds. Because you've been at the fog house for how long? | 0:14:47 | 0:14:50 | |
Nearly 24 years. | 0:14:50 | 0:14:51 | |
-24 years! -Yes, so quite a few journeys, | 0:14:51 | 0:14:55 | |
but I try to limit it these days to about three a week. | 0:14:55 | 0:14:57 | |
-So, 24 years and now you decide it's time to sell? -Well, yes. | 0:15:02 | 0:15:06 | |
I mean, it's my age. I don't want to go, obviously. | 0:15:06 | 0:15:09 | |
I mean, I love it here. I've loved every minute of being here. | 0:15:09 | 0:15:11 | |
-How old are you? I know it's rude to ask. -73. -73. | 0:15:11 | 0:15:16 | |
-This is the most bumpy bit. -OK. | 0:15:20 | 0:15:22 | |
-Oops! Sorry. -THEY LAUGH | 0:15:23 | 0:15:26 | |
For me, there's still no sign of the fog house. | 0:15:26 | 0:15:29 | |
Oh, you will see it in a moment. | 0:15:29 | 0:15:30 | |
This is becoming quite ridiculous! | 0:15:34 | 0:15:37 | |
Philippa, look at this! | 0:15:37 | 0:15:39 | |
-There's the fog house. -I can see a roof. | 0:15:40 | 0:15:43 | |
-There she is. -There she is. | 0:15:43 | 0:15:45 | |
'The signal station was built in the 1850s | 0:15:45 | 0:15:48 | |
'to send out warning blasts to ships on foggy days. | 0:15:48 | 0:15:52 | |
'Nowadays, Philippa uses it as a studio for her artwork.' | 0:15:54 | 0:15:58 | |
Have a cup of tea, yes. | 0:15:58 | 0:16:00 | |
-Oh, lovely. -We need it today. | 0:16:00 | 0:16:02 | |
So, I'm very impressed with your kitchen. | 0:16:02 | 0:16:05 | |
You've got everything in it. It's very cosy. I'm loving the Aga. | 0:16:05 | 0:16:08 | |
I can see electricity, so you've got power, you've got water. | 0:16:08 | 0:16:11 | |
Yes. But the water is from the roof. You realise that? | 0:16:11 | 0:16:16 | |
We're not on mains water here. | 0:16:16 | 0:16:18 | |
-It's rainwater. -It's rainwater. | 0:16:18 | 0:16:20 | |
But this water is bought water, | 0:16:20 | 0:16:22 | |
because I didn't want to give you rainwater, because, you know, | 0:16:22 | 0:16:26 | |
the seagulls defecate on the... | 0:16:26 | 0:16:28 | |
SHE LAUGHS Eurgh! | 0:16:28 | 0:16:30 | |
But in the old days of the fog people, | 0:16:30 | 0:16:33 | |
they drank water from the roof all the time. | 0:16:33 | 0:16:36 | |
'With great views, period features and privacy guaranteed, | 0:16:37 | 0:16:41 | |
this three-bed character property is enough | 0:16:41 | 0:16:43 | |
to make any estate agent drool, | 0:16:43 | 0:16:45 | |
and it's a snip at just under £600,000. | 0:16:45 | 0:16:48 | |
Philippa moved into the living quarters in 1989. | 0:16:50 | 0:16:54 | |
I've lived in Hampshire on a farm for many years, | 0:16:54 | 0:16:58 | |
and my husband became terminally ill, sadly, | 0:16:58 | 0:17:01 | |
and so we moved to the town, and though I didn't have a studio, | 0:17:01 | 0:17:05 | |
you see, in the town, and so when, sadly, he died, | 0:17:05 | 0:17:08 | |
I saw this place, an aerial shot of it in the magazine, | 0:17:08 | 0:17:13 | |
in a property magazine, and came up | 0:17:13 | 0:17:16 | |
and immediately fell in love with it | 0:17:16 | 0:17:17 | |
and realised that this was the place. | 0:17:17 | 0:17:19 | |
I was 50 years old at the time, | 0:17:19 | 0:17:21 | |
and I realised that if I didn't do it then, | 0:17:21 | 0:17:23 | |
I wasn't going to do it in another ten years' time, so go for it. | 0:17:23 | 0:17:27 | |
Continuing my tour, Philippa's taking me to the heart of the house. | 0:17:29 | 0:17:33 | |
In the cold way! I don't like it too hot in the studio. | 0:17:33 | 0:17:36 | |
-So this is your place of... -Work. -..work and play and meditation. | 0:17:38 | 0:17:42 | |
-No, not a place of play. -Not a place of play. -No. | 0:17:42 | 0:17:46 | |
So you don't consider there to be any play in your artistry? | 0:17:47 | 0:17:51 | |
There's no play in the art. There is enjoyment, of course. | 0:17:51 | 0:17:54 | |
You love doing it, but it's a struggle. It's quite a.... | 0:17:54 | 0:17:58 | |
You know, you've got to get up every morning | 0:17:58 | 0:18:00 | |
and know that you're going to work, | 0:18:00 | 0:18:02 | |
because a painter, I think, should work as hard as anybody else. | 0:18:02 | 0:18:05 | |
I can't be in the room and not be drawn to that. | 0:18:05 | 0:18:09 | |
This one is of.... | 0:18:09 | 0:18:11 | |
This part here is North Stack, is the island, | 0:18:11 | 0:18:15 | |
and this is the race between the island, | 0:18:15 | 0:18:18 | |
and this is the mainland. | 0:18:18 | 0:18:19 | |
And the sea for me is also about an idea. | 0:18:19 | 0:18:23 | |
You can't paint a painting unless you've got an idea behind it. | 0:18:23 | 0:18:26 | |
There's no point in painting something, | 0:18:26 | 0:18:28 | |
and the currents of the sea again are about our lives, | 0:18:28 | 0:18:31 | |
the way we go in this direction, or that. | 0:18:31 | 0:18:34 | |
-Or get pulled in this direction or that. -Yes, exactly. | 0:18:34 | 0:18:37 | |
-And is that where you rest or where you sleep? -That's where I sleep. | 0:18:37 | 0:18:40 | |
I live in this room. I sleep, work, read, eat, | 0:18:40 | 0:18:46 | |
and the dogs also sleep in here at the same time. | 0:18:46 | 0:18:48 | |
So you like to sleep with your art? | 0:18:48 | 0:18:49 | |
I like to sleep with my paintings, yes. | 0:18:49 | 0:18:51 | |
Phillipa is leaving her mark on the history of the house, | 0:18:53 | 0:18:56 | |
like the fog people before her. | 0:18:56 | 0:18:58 | |
A bank of redundant speakers sit dormant in the fog station. | 0:18:58 | 0:19:02 | |
Now silent, they're a reminder that this place was built to be heard. | 0:19:02 | 0:19:07 | |
I'm not sure I could live here, | 0:19:10 | 0:19:12 | |
but of course, it never used to be a choice. It was a lifestyle. | 0:19:12 | 0:19:15 | |
The man in the picture here is called Derek Lewis, | 0:19:15 | 0:19:18 | |
and he used to be the assistant keeper, | 0:19:18 | 0:19:20 | |
and he's on his way back for a visit for the first time in 50 years. | 0:19:20 | 0:19:25 | |
I wonder what he'll make of the place now. | 0:19:25 | 0:19:27 | |
-Hello, Philippa. -Oh, lovely to meet you, Mr Lewis. Do come in. | 0:19:28 | 0:19:31 | |
Hello. You couldn't have picked a better day for it. Come on in. | 0:19:31 | 0:19:35 | |
Derek, this is a real first for you, isn't it? | 0:19:35 | 0:19:38 | |
Because you're in the house as well. That's right. | 0:19:38 | 0:19:40 | |
-You weren't allowed in the house? -No. | 0:19:40 | 0:19:42 | |
Well, first time to be in the house | 0:19:42 | 0:19:44 | |
was in the little shed at the back here. | 0:19:44 | 0:19:47 | |
I used to go down to the fog station about 12 o'clock at night, | 0:19:47 | 0:19:52 | |
down this path, you know, it's very, very... | 0:19:52 | 0:19:55 | |
The lethal path. | 0:19:55 | 0:19:57 | |
And if it was foggy, then I'd start firing, | 0:19:57 | 0:20:00 | |
and I'd be firing, say, till eight o'clock in the morning, | 0:20:00 | 0:20:04 | |
and then I'd stop then and I used to go to sleep | 0:20:04 | 0:20:07 | |
and then the next keeper would take charge then. | 0:20:07 | 0:20:11 | |
-Hard work. -Well, yes, yes. | 0:20:11 | 0:20:13 | |
And not only that, but you have to have these guns blasting away | 0:20:13 | 0:20:18 | |
while you're trying to sleep! | 0:20:18 | 0:20:19 | |
-Yeah, not very restful. -No. | 0:20:19 | 0:20:22 | |
-How's your hearing now? -Not very good. | 0:20:22 | 0:20:25 | |
Philippa's nearing the end of her time at North Stack, | 0:20:27 | 0:20:30 | |
and so am I, but before I leave, | 0:20:30 | 0:20:32 | |
she wants to show me one more painting. | 0:20:32 | 0:20:34 | |
-Oh, yeah! -There it is. | 0:20:36 | 0:20:38 | |
It's not very artistic, Philippa. | 0:20:38 | 0:20:40 | |
Well, that's what my son said. | 0:20:40 | 0:20:43 | |
I sent him a photograph of it, and he had the audacity to say, | 0:20:43 | 0:20:46 | |
"You didn't do it very neatly, did you, Mother?" | 0:20:46 | 0:20:48 | |
'Well, it could catch a passing sailor's eye.' | 0:20:49 | 0:20:52 | |
Well, I think the people who are looking at this kind of house | 0:20:53 | 0:20:56 | |
are looking for peace, | 0:20:56 | 0:20:57 | |
are looking to get away from the scrum of everyday life. | 0:20:57 | 0:21:01 | |
Here I can see the horizon. | 0:21:02 | 0:21:04 | |
I can see the clouds disappearing below the horizon, | 0:21:04 | 0:21:08 | |
so I know that I'm living on a globe, | 0:21:08 | 0:21:11 | |
and part of a much bigger system. | 0:21:11 | 0:21:13 | |
But in the town, you don't have that sense | 0:21:13 | 0:21:16 | |
of this extraordinary place called Earth. | 0:21:16 | 0:21:18 | |
Philippa's fog house is still looking for a new owner. | 0:21:20 | 0:21:24 | |
But back at Sudeley Castle, I'm off to visit its most famous resident. | 0:21:24 | 0:21:29 | |
She lies in this beautiful 15th century church. | 0:21:29 | 0:21:33 | |
You've all heard of her - | 0:21:37 | 0:21:39 | |
divorced, beheaded, died, divorced, beheaded, survived. | 0:21:39 | 0:21:42 | |
She is the one that survived. | 0:21:42 | 0:21:44 | |
Catherine Parr, sixth wife of Henry VIII. | 0:21:50 | 0:21:53 | |
How was it that Catherine Parr came to be here? | 0:21:53 | 0:21:56 | |
Well, Henry VIII died at the beginning of 1547, | 0:21:56 | 0:22:01 | |
and only a couple of months later, | 0:22:01 | 0:22:04 | |
Catherine secretly married Thomas Seymour, | 0:22:04 | 0:22:07 | |
and Thomas Seymour was the uncle | 0:22:07 | 0:22:09 | |
of the new nine-year-old king, Edward VI. | 0:22:09 | 0:22:13 | |
And Edward granted Sudeley Castle to Thomas Seymour, | 0:22:13 | 0:22:17 | |
and Thomas Seymour decided that he was going to bring Catherine | 0:22:17 | 0:22:20 | |
to live here, so he had to hastily carry out some building work here | 0:22:20 | 0:22:25 | |
to accommodate a queen dowager, effectively, and her household. | 0:22:25 | 0:22:30 | |
-So how many people did she come with? -Well, at least 200 people. | 0:22:30 | 0:22:33 | |
-200! -Yes. | 0:22:33 | 0:22:35 | |
Why was the marriage kept secret? | 0:22:37 | 0:22:40 | |
Well, basically, because Catherine was technically | 0:22:40 | 0:22:42 | |
still in mourning for Henry VIII. | 0:22:42 | 0:22:44 | |
-A bit too soon. -Exactly, yes. -It wasn't the done thing. | 0:22:44 | 0:22:47 | |
-It wasn't the done thing at all, no. -So was it a great love affair, then? | 0:22:47 | 0:22:51 | |
Is that why they married so quickly? | 0:22:51 | 0:22:53 | |
Absolutely. There'd been talks of marriage before Henry VIII | 0:22:53 | 0:22:57 | |
arrived on the scene. Got this original letter here | 0:22:57 | 0:23:00 | |
that as written by Catherine to Thomas Seymour. | 0:23:00 | 0:23:03 | |
In this, we really do get a glimpse of Catherine's true feelings | 0:23:03 | 0:23:06 | |
towards Seymour, because she says here, | 0:23:06 | 0:23:09 | |
"For as truly as God is God, my mind was fully bent | 0:23:09 | 0:23:13 | |
"the other time I was at liberty to marry you, | 0:23:13 | 0:23:16 | |
"before any man I know. | 0:23:16 | 0:23:18 | |
"Howbeit, God withstood my will most vehemently." | 0:23:18 | 0:23:21 | |
So there, she's really saying, | 0:23:21 | 0:23:24 | |
"Before Henry VIII came along, I really wanted to marry you, | 0:23:24 | 0:23:27 | |
"but God told me I had to do my duty and marry the king." | 0:23:27 | 0:23:31 | |
Her marriage to Thomas Seymour was short-lived. | 0:23:34 | 0:23:36 | |
Less than 18 months after the wedding, | 0:23:36 | 0:23:39 | |
she died after giving birth to a daughter, here at Sudeley Castle. | 0:23:39 | 0:23:42 | |
And Thomas Seymour, did he mourn his marriage greatly? | 0:23:45 | 0:23:48 | |
To be honest, no. | 0:23:48 | 0:23:51 | |
-What a romantic(!) -I know. Exactly. | 0:23:51 | 0:23:54 | |
He didn't even hang around at Sudeley for the funeral. | 0:23:54 | 0:23:58 | |
And what about her legacy? | 0:23:58 | 0:24:00 | |
She was quite exceptional for the time, wasn't she? | 0:24:00 | 0:24:02 | |
Absolutely. Catherine is highly overlooked | 0:24:02 | 0:24:05 | |
in a lot of respects, I think. | 0:24:05 | 0:24:07 | |
-She wrote two books, and we've got one of them here. -Wow. | 0:24:07 | 0:24:10 | |
So this one dates from 1546, | 0:24:10 | 0:24:14 | |
and it's called Prayers Or Meditations, | 0:24:14 | 0:24:18 | |
and it's the first book to be written in English | 0:24:18 | 0:24:20 | |
by a Queen of England, and it's aimed at the mass market, | 0:24:20 | 0:24:25 | |
-and it quite quickly becomes a bestseller. -Wow. | 0:24:25 | 0:24:28 | |
And Henry had also written a book in defence of the Catholic Church, | 0:24:28 | 0:24:33 | |
but that sold zero copies, so... | 0:24:33 | 0:24:35 | |
-How awkward! -Exactly. | 0:24:35 | 0:24:37 | |
Catherine remains the only English queen | 0:24:37 | 0:24:40 | |
to be buried on a private estate. | 0:24:40 | 0:24:43 | |
It's incredible to think the remains of a queen | 0:24:47 | 0:24:49 | |
I've heard so much about lie right here. | 0:24:49 | 0:24:51 | |
So while I absorb the atmosphere in the church, | 0:24:51 | 0:24:54 | |
here's what else is coming up in tonight's programme. | 0:24:54 | 0:24:57 | |
Adam's flirting with his betters. | 0:25:01 | 0:25:03 | |
He hasn't kissed me yet, so I'm waiting! | 0:25:03 | 0:25:06 | |
-THEY LAUGH -I can't imagine why not. | 0:25:06 | 0:25:08 | |
I'm having an art lesson in a paper mill. | 0:25:08 | 0:25:11 | |
-Looks like a magic moment. -There it is. -Oh, that's lovely! | 0:25:11 | 0:25:15 | |
-Look at that. -Put that to one side... | 0:25:15 | 0:25:17 | |
And of course, we'll be finding out if spring is in the air, | 0:25:17 | 0:25:20 | |
with the Countryfile weather forecast. | 0:25:20 | 0:25:23 | |
First, though, last summer | 0:25:25 | 0:25:27 | |
John went on the trail of our current queen, | 0:25:27 | 0:25:30 | |
visiting the sites that she saw | 0:25:30 | 0:25:31 | |
on her post-Coronation trip to the Northern Irish coast. | 0:25:31 | 0:25:35 | |
Mile after mile of golden sands, craggy headlands, | 0:25:42 | 0:25:46 | |
ancient ruins and gorse-topped cliffs. | 0:25:46 | 0:25:49 | |
It's a haven for wildlife and walkers alike, | 0:25:52 | 0:25:55 | |
with plenty of lovely spots to stop and enjoy the view. | 0:25:55 | 0:25:59 | |
Like Downhill Beach, which stretches for nearly 10 miles, | 0:26:00 | 0:26:04 | |
making it one of the longest beaches in Europe, | 0:26:04 | 0:26:07 | |
and when the Queen passed by here back in 1953 | 0:26:07 | 0:26:10 | |
on her first official tour of Northern Ireland, | 0:26:10 | 0:26:13 | |
the Royal Train stopped at Downhill so Her Majesty could have a picnic. | 0:26:13 | 0:26:18 | |
And as the Queen enjoyed her picnic in the sunshine, | 0:26:19 | 0:26:22 | |
she must have noticed that temple-like building over there, | 0:26:22 | 0:26:26 | |
perched high on the cliff. | 0:26:26 | 0:26:28 | |
But I wonder if anybody told her the fascinating story behind it? | 0:26:28 | 0:26:31 | |
It balances ever closer to the eroding cliffs, | 0:26:32 | 0:26:35 | |
and was built more than 200 years ago by a remarkable man, | 0:26:35 | 0:26:40 | |
Frederick Augustus Hervey, the Protestant Bishop of Derry. | 0:26:40 | 0:26:43 | |
He was much admired locally, | 0:26:43 | 0:26:46 | |
but upset his entire family and the establishment. | 0:26:46 | 0:26:50 | |
He treated his religious duties very lightly, | 0:26:50 | 0:26:52 | |
pursuing the finer things in life, | 0:26:52 | 0:26:54 | |
including the ladies, and building a large art collection. | 0:26:54 | 0:26:58 | |
He then inherited an enormous sum of money, and an earldom. | 0:26:58 | 0:27:03 | |
In a very, very short space of time, | 0:27:03 | 0:27:05 | |
he went from being a humble English clergyman in Suffolk | 0:27:05 | 0:27:08 | |
to being incredibly wealthy, | 0:27:08 | 0:27:10 | |
Richard Branson-esque levels of wealth. | 0:27:10 | 0:27:12 | |
So he had as much money as he wanted | 0:27:12 | 0:27:14 | |
and he could do what he wanted, and what he wanted to do was this. | 0:27:14 | 0:27:17 | |
And why a temple-like building? | 0:27:17 | 0:27:19 | |
He'd been on the grand tour in Italy, | 0:27:19 | 0:27:21 | |
going around admiring architecture and paintings | 0:27:21 | 0:27:23 | |
and buying quite a lot of it, and he spotted a temple in Tivoli, | 0:27:23 | 0:27:27 | |
the Temple of Vesta, | 0:27:27 | 0:27:28 | |
and he decided that he wanted a temple, | 0:27:28 | 0:27:31 | |
and he was going to take it down brick by brick | 0:27:31 | 0:27:33 | |
and bring it back and build it here, but the Pope at the time said no, | 0:27:33 | 0:27:36 | |
-you can't have the Temple of Vesta in Tivoli. -Understandably! | 0:27:36 | 0:27:38 | |
So he got his architect to copy it | 0:27:38 | 0:27:40 | |
and this is a close copy of the Temple of Vesta in Tivoli. | 0:27:40 | 0:27:43 | |
'Named the Mussenden Temple | 0:27:43 | 0:27:45 | |
'as a memorial to female cousin who died while it was being built, | 0:27:45 | 0:27:49 | |
'it became a dominant feature on the bishop's estate, | 0:27:49 | 0:27:51 | |
'and was used mainly for entertaining.' | 0:27:51 | 0:27:54 | |
Wow. This is impressive, isn't it? | 0:27:54 | 0:27:58 | |
Wonderful harp music to greet us as well! | 0:27:58 | 0:28:00 | |
-Fantastic acoustics. -Very atmospheric, isn't it? | 0:28:01 | 0:28:05 | |
And how would it have looked in the bishop's day? | 0:28:05 | 0:28:07 | |
What you're seeing now is the bare brick that would have been | 0:28:07 | 0:28:10 | |
underneath lovely plasterwork. | 0:28:10 | 0:28:12 | |
There would have been columns, pillars, bookshelves, | 0:28:12 | 0:28:15 | |
paintings, fine furnishing. | 0:28:15 | 0:28:17 | |
It would have been very, very opulent and luxurious. | 0:28:17 | 0:28:19 | |
So it certainly wasn't a folly, | 0:28:19 | 0:28:21 | |
it was a building that was put to use? | 0:28:21 | 0:28:23 | |
Yes, you could have come here and read your books | 0:28:23 | 0:28:26 | |
and enjoyed whatever music was being played. | 0:28:26 | 0:28:29 | |
You would have spent time looking out over the sea, | 0:28:29 | 0:28:31 | |
contemplating the beauty of nature | 0:28:31 | 0:28:33 | |
and how good life was when you had this amount of money. | 0:28:33 | 0:28:36 | |
Yeah! | 0:28:36 | 0:28:37 | |
Bishop Hervey spent much of his later life travelling around Europe, | 0:28:37 | 0:28:41 | |
but when he was here at Downhill, | 0:28:41 | 0:28:43 | |
his guests would have been serenaded much like this. | 0:28:43 | 0:28:47 | |
This harp looks very familiar. | 0:28:47 | 0:28:49 | |
Well, you obviously take a drink if you've spotted that, because... | 0:28:49 | 0:28:52 | |
-Little bit of Irish stout now and again. -Indeed, indeed. | 0:28:52 | 0:28:55 | |
The shape of this harp is very, very typical of this area, | 0:28:55 | 0:28:58 | |
and what was called the Downhill harp, | 0:28:58 | 0:29:00 | |
a harp left by one of the harpists who actually used to play here | 0:29:00 | 0:29:04 | |
ended up in Dublin at quite a famous brewery, | 0:29:04 | 0:29:08 | |
and ended up as the symbol of a certain beverage. | 0:29:08 | 0:29:12 | |
So that's the harp on the label, is it? | 0:29:12 | 0:29:14 | |
Yes, indeed. Makes you feel quite thirsty looking at it, doesn't it? | 0:29:14 | 0:29:17 | |
It certainly does. | 0:29:17 | 0:29:19 | |
The temple stands in splendid isolation just a short distance | 0:29:23 | 0:29:27 | |
from the grand house that the bishop built for himself, | 0:29:27 | 0:29:31 | |
and from the back here, it looks rather like a fortified castle. | 0:29:31 | 0:29:34 | |
'But from the front, there's a surprise - | 0:29:35 | 0:29:38 | |
'it's in the style of a Georgian mansion. | 0:29:38 | 0:29:41 | |
'Now it's just a shell, | 0:29:41 | 0:29:42 | |
'and it really is hard to imagine how grand | 0:29:42 | 0:29:45 | |
'this place used to be in its heyday. | 0:29:45 | 0:29:48 | |
'Luckily, these university students | 0:29:49 | 0:29:51 | |
'have been meticulously gathering information | 0:29:51 | 0:29:54 | |
'about every tiny corner of the house | 0:29:54 | 0:29:56 | |
'to help us get a better picture of two centuries ago. | 0:29:56 | 0:30:00 | |
The house has been in ruins for years now. | 0:30:00 | 0:30:02 | |
The roof was taken off, more's the pity, | 0:30:02 | 0:30:04 | |
because it's pouring down now. | 0:30:04 | 0:30:06 | |
This, would you believe, used to be the drawing-room. | 0:30:06 | 0:30:09 | |
So Peter, how on earth are you and your team restoring this place? | 0:30:09 | 0:30:13 | |
Well, first of all, on a computer. | 0:30:13 | 0:30:15 | |
The students went out, they did a lot of research, photography, | 0:30:15 | 0:30:20 | |
and they drew sketches, plans, floor plans. | 0:30:20 | 0:30:23 | |
Another one of the students collated all that into... | 0:30:23 | 0:30:26 | |
Wow, that's really impressive, isn't it? | 0:30:26 | 0:30:28 | |
..research, which I would then build on the computer. | 0:30:28 | 0:30:30 | |
So that's the house as it was in the bishop's time. | 0:30:30 | 0:30:33 | |
-That's the house as it was around the 1800s. -What about the inside? | 0:30:33 | 0:30:36 | |
Well, this shot here is the gallery, | 0:30:36 | 0:30:38 | |
which is just looking down towards the sea. | 0:30:38 | 0:30:41 | |
And that's where he kept all his fine paintings? | 0:30:41 | 0:30:43 | |
All his paintings, statues, | 0:30:43 | 0:30:45 | |
his whole art collection was housed in there, in fact. | 0:30:45 | 0:30:48 | |
And he had Titians, I think, and Rembrandts... | 0:30:48 | 0:30:50 | |
-You name it. -..Caravaggios... -Everything. | 0:30:50 | 0:30:52 | |
-And now it's just in ruins. -It's just four walls, really. | 0:30:52 | 0:30:56 | |
With his keen eye for the arts and for science, | 0:31:00 | 0:31:03 | |
as well as for the ladies, | 0:31:03 | 0:31:05 | |
Bishop Hervey certainly used his vast wealth | 0:31:05 | 0:31:07 | |
to enjoy life to the full, but he could never have guessed | 0:31:07 | 0:31:10 | |
that his extravagant monument would one day serve as a backdrop | 0:31:10 | 0:31:15 | |
for a queen having a picnic down on the beach. | 0:31:15 | 0:31:18 | |
Tending to Sudeley Castle gardens is all about preserving their history, | 0:31:25 | 0:31:30 | |
nowhere more so than in the ruins of Richard III's banqueting hall. | 0:31:30 | 0:31:34 | |
And when you've got friends in high places, as does Lady Ashcombe, | 0:31:37 | 0:31:41 | |
you can call in the big guns to sculpt your lawns. | 0:31:41 | 0:31:44 | |
'Like star garden designer Sir Roddy Llewellyn.' | 0:31:45 | 0:31:48 | |
-Sir Roddy, hello. -Hello. -Very nice to meet you. | 0:31:49 | 0:31:52 | |
So tell me what are your plans for this amazing site? | 0:31:52 | 0:31:55 | |
Well, now, it's a very romantic place, Sudeley Castle. | 0:31:55 | 0:31:59 | |
It's got a fantastically rich history, | 0:31:59 | 0:32:02 | |
and one of the most important historical events | 0:32:02 | 0:32:05 | |
actually took place where we stand. | 0:32:05 | 0:32:06 | |
This is where Lord Chandos, who owned the place at the time, | 0:32:06 | 0:32:10 | |
was sitting in his chair, OK? | 0:32:10 | 0:32:13 | |
And he heard in the background the hooves of Cromwell's troops... | 0:32:13 | 0:32:20 | |
-Wow. -..arriving, and so he ran away, | 0:32:20 | 0:32:25 | |
but he left his cloak on the back of the chair, | 0:32:25 | 0:32:28 | |
-which is represented by this red rose... -Oh, wow! | 0:32:28 | 0:32:32 | |
-..which comes out in the summer. -How fabulous! | 0:32:32 | 0:32:34 | |
Also, this fireplace, we're going to... | 0:32:36 | 0:32:38 | |
Over here? | 0:32:38 | 0:32:40 | |
..we're going to bring to life again. We're going to re-enact flames... | 0:32:40 | 0:32:43 | |
Oh, wow. | 0:32:43 | 0:32:45 | |
..with nasturtiums and other flowers | 0:32:45 | 0:32:47 | |
-with a sort of flame red, strong red flowers. -Gosh. | 0:32:47 | 0:32:52 | |
I'm going to lay this down to look like a rug. Rather fun. | 0:32:52 | 0:32:56 | |
-It's brilliant. -I've never seen it done before. | 0:32:56 | 0:32:58 | |
Gardening's sort of theatre, actually. It should be. | 0:33:00 | 0:33:04 | |
And we're going to re-enact.... | 0:33:04 | 0:33:06 | |
We're going to bring a lot of theatre back into the place | 0:33:06 | 0:33:09 | |
to tell its history. | 0:33:09 | 0:33:11 | |
The oldest and best of all the landscape philosophies | 0:33:11 | 0:33:16 | |
is the ancient Chinese, who said, | 0:33:16 | 0:33:20 | |
"A walk around a garden should prove to be an exciting journey." | 0:33:20 | 0:33:24 | |
And that's exactly what happens when you come here. | 0:33:24 | 0:33:28 | |
So we'll see some blooms, hopefully, this summer, | 0:33:28 | 0:33:30 | |
if we get some good weather. | 0:33:30 | 0:33:32 | |
Yes. Gosh, I hope we don't have a summer like last summer. | 0:33:32 | 0:33:35 | |
I cried for about 12 months. | 0:33:35 | 0:33:40 | |
It was very expensive on handkerchiefs. | 0:33:40 | 0:33:42 | |
I feel your pain! | 0:33:42 | 0:33:44 | |
-Please, let's do a sundance, shall we? -Shall we?! | 0:33:44 | 0:33:47 | |
'I can't imagine a nicer back garden.' | 0:33:49 | 0:33:51 | |
Well, Adam also got a taste of the good life | 0:33:53 | 0:33:56 | |
when he put on his Sunday best and went to visit | 0:33:56 | 0:33:58 | |
the lady of the house in Derbyshire's grand Renishaw Hall. | 0:33:58 | 0:34:02 | |
This was once a green oasis surrounded by industrial workings. | 0:34:06 | 0:34:11 | |
There were ironworks and coal mines, and as they closed down, | 0:34:11 | 0:34:15 | |
it returned to its green glory. | 0:34:15 | 0:34:17 | |
The hall was built by George Sitwell in the 17th century. | 0:34:19 | 0:34:24 | |
He'd made his money from the local industry | 0:34:24 | 0:34:26 | |
as an ironmaster, mining, casting | 0:34:26 | 0:34:29 | |
and exporting products around the world. | 0:34:29 | 0:34:31 | |
The hall is open to visitors, | 0:34:32 | 0:34:34 | |
but it's still very much a family home, | 0:34:34 | 0:34:35 | |
with all the personal touches and some quirky stuff too. | 0:34:35 | 0:34:38 | |
Take a look at this - someone left their glasses behind in 1969, | 0:34:38 | 0:34:41 | |
and he's never been back to pick them up. | 0:34:41 | 0:34:43 | |
Renishaw has been owned by the same family | 0:34:48 | 0:34:50 | |
since it was built nearly 400 years ago. | 0:34:50 | 0:34:53 | |
The latest owner is Alexandra Sitwell. | 0:34:53 | 0:34:55 | |
What a remarkable dining room! You could have some parties in here. | 0:34:59 | 0:35:02 | |
Well, we certainly have done. | 0:35:02 | 0:35:04 | |
We've had some really good parties in here. | 0:35:04 | 0:35:06 | |
And how long has the family been here? | 0:35:06 | 0:35:08 | |
Well, the family has been here in this current house since 1600, | 0:35:08 | 0:35:11 | |
but Sitwells have always been wandering around this area, | 0:35:11 | 0:35:14 | |
and this particular room was the first addition | 0:35:14 | 0:35:17 | |
to the old house in 1793, and it was built by my ancestor over there, | 0:35:17 | 0:35:21 | |
Sir Sitwell Sitwell, the one on the right. | 0:35:21 | 0:35:24 | |
Wonderful portraits. And these are mainly family members, are they? | 0:35:24 | 0:35:27 | |
These are all family members, and in fact, | 0:35:27 | 0:35:29 | |
the boy in pink up there, | 0:35:29 | 0:35:30 | |
Sacheverell, closely related to the Sitwell family, | 0:35:30 | 0:35:33 | |
and he is supposed to haunt the house, and he supposed to | 0:35:33 | 0:35:36 | |
kiss the ladies with cold, wet kisses from beyond the grave. | 0:35:36 | 0:35:39 | |
Oh, goodness me! Does that worry you? | 0:35:39 | 0:35:42 | |
Not at all. He hasn't kissed me yet, so I'm waiting. | 0:35:42 | 0:35:44 | |
THEY LAUGH I can't imagine why! | 0:35:44 | 0:35:46 | |
Renishaw has quite a literary history. | 0:35:48 | 0:35:51 | |
It was the setting for DH Lawrence's controversial novel | 0:35:51 | 0:35:54 | |
Lady Chatterley's Lover. | 0:35:54 | 0:35:56 | |
It was also home to the Sitwell Trio. | 0:35:56 | 0:35:58 | |
Siblings Edith, Osbert and Sacheverell were prolific writers, | 0:35:58 | 0:36:01 | |
poets and patrons of the arts. | 0:36:01 | 0:36:03 | |
So, this is the library, | 0:36:09 | 0:36:10 | |
where we spend most of our time in the evenings. | 0:36:10 | 0:36:13 | |
And we've got something like 3,000 books in this room. | 0:36:13 | 0:36:17 | |
-There are about 25,000 in the whole house. -Goodness! | 0:36:17 | 0:36:20 | |
On these shelves, these are all first edition books | 0:36:20 | 0:36:24 | |
by Edith, Osbert and Sacheverell. | 0:36:24 | 0:36:27 | |
Now, I'm no literary expert, | 0:36:27 | 0:36:28 | |
but even I've heard of the Sitwell name, | 0:36:28 | 0:36:31 | |
and they were very important in their time, weren't they? | 0:36:31 | 0:36:33 | |
Well, they were very avant-garde, | 0:36:33 | 0:36:35 | |
and they were really leaders of the 20th century movement | 0:36:35 | 0:36:38 | |
of not only, obviously, literature and poetry, | 0:36:38 | 0:36:41 | |
but also the arts, so great collectors, | 0:36:41 | 0:36:43 | |
and they supported the ballet and music, | 0:36:43 | 0:36:45 | |
and they sort of blazed a trail. | 0:36:45 | 0:36:47 | |
Another of Alexandra's ancestors holds a unique British record. | 0:36:52 | 0:36:56 | |
Around a couple of hundred years ago, a Royal Bengal tiger escaped | 0:36:58 | 0:37:02 | |
from someone's private zoo collection in Sheffield | 0:37:02 | 0:37:04 | |
and Sitwell Sitwell got together his gardeners and local farmers | 0:37:04 | 0:37:08 | |
and they set off on horseback with the hounds | 0:37:08 | 0:37:11 | |
to track it down and kill it. | 0:37:11 | 0:37:12 | |
It's the only recorded tiger hunt on British soil. | 0:37:12 | 0:37:15 | |
No tigers in the woods today, | 0:37:18 | 0:37:20 | |
but head gardener David and his team are in there, | 0:37:20 | 0:37:22 | |
clearing an invasive rhododendron from the woodland | 0:37:22 | 0:37:25 | |
to help a spring favourite. | 0:37:25 | 0:37:26 | |
-Hi. -Hello there. -What are you trying to achieve here, then? | 0:37:30 | 0:37:32 | |
I'm trying to get back to a native bluebell wood. | 0:37:32 | 0:37:35 | |
And is that what you've done up this part of the wood? | 0:37:35 | 0:37:37 | |
Yeah. Over the years, we've steadily cleared down | 0:37:37 | 0:37:39 | |
through Broxhill Wood to make space | 0:37:39 | 0:37:41 | |
-for the native bluebells to take over. -Are they quite a good attraction for the visitors? | 0:37:41 | 0:37:45 | |
Yeah, I mean, it's a beautiful time of year anyway, | 0:37:45 | 0:37:47 | |
and, yes, they bring people to Renishaw, | 0:37:47 | 0:37:49 | |
-because it's a fantastic wood. -And are they predictable? | 0:37:49 | 0:37:52 | |
Do you have a certain few weeks that there are in flower? | 0:37:52 | 0:37:55 | |
Oh, they're a nightmare. | 0:37:55 | 0:37:56 | |
They're in flower for about three weeks, | 0:37:56 | 0:37:59 | |
but what three weeks, it can vary. | 0:37:59 | 0:38:00 | |
So people might get here too early or they might get here too late. | 0:38:00 | 0:38:03 | |
-Best to ring in advance. -THEY LAUGH | 0:38:03 | 0:38:06 | |
And how quickly will the bluebells move into this area? | 0:38:06 | 0:38:09 | |
Some have survived. | 0:38:09 | 0:38:10 | |
There's some here that were underneath the rhododendron canopy, | 0:38:10 | 0:38:13 | |
but they self-seed pretty freely. I'd say about three to four years, | 0:38:13 | 0:38:16 | |
you won't know it from the rest of it. | 0:38:16 | 0:38:18 | |
Chick, chick, chick! | 0:38:29 | 0:38:32 | |
Wow. Wow. | 0:38:32 | 0:38:35 | |
I know what you're thinking - | 0:38:35 | 0:38:36 | |
I'm not cramming for my guiding exams, | 0:38:36 | 0:38:39 | |
but I can assure you, | 0:38:39 | 0:38:40 | |
this is all part of the Sudeley Castle experience. | 0:38:40 | 0:38:43 | |
As well as the 11 family members, | 0:38:47 | 0:38:50 | |
the estate is also home to 15 rare breeds of pheasant | 0:38:50 | 0:38:53 | |
from all over Asia. | 0:38:53 | 0:38:54 | |
Oh, and an eagle owl. | 0:38:56 | 0:38:57 | |
And these two beautiful snowy owls. | 0:38:59 | 0:39:02 | |
This is Tom Seymour and Catherine Parr, of course. | 0:39:04 | 0:39:09 | |
Gary Cope has trained them, | 0:39:11 | 0:39:12 | |
much like a hawk or falcon, to come to the glove for food. | 0:39:12 | 0:39:16 | |
-Tom is a bit lazy, you see. -Oh! | 0:39:19 | 0:39:22 | |
Gary, that's fabulous. | 0:39:22 | 0:39:24 | |
I've had a go at this sort of thing before, but never with owls. | 0:39:24 | 0:39:27 | |
Why have you trained them in this way, to do this? | 0:39:27 | 0:39:29 | |
Well, I haven't trained them, really. They're just conditioned. | 0:39:29 | 0:39:32 | |
I'm the keeper for the owls, and we had these at six weeks old, | 0:39:32 | 0:39:37 | |
and they've just got used to me coming in every day and feeding them. | 0:39:37 | 0:39:42 | |
I think they've basically become partially imprinted on me. | 0:39:42 | 0:39:46 | |
-They look upon me as Mummy. -I see. -So that's what you're hearing. | 0:39:46 | 0:39:50 | |
-They're just food digging. -Wow, what a gem to have them here. | 0:39:50 | 0:39:52 | |
Lucky for the people to come and see them. | 0:39:52 | 0:39:54 | |
Sudeley's proportions are grand, but on Countryfile, | 0:39:55 | 0:39:59 | |
it's not all about size. | 0:39:59 | 0:40:01 | |
Last spring, Matt travelled to the Suffolk coast | 0:40:01 | 0:40:04 | |
to see some seaside posh pads, | 0:40:04 | 0:40:06 | |
with rather more humble dimensions. | 0:40:06 | 0:40:08 | |
Southwold. | 0:40:09 | 0:40:10 | |
A pretty special seaside town. | 0:40:12 | 0:40:14 | |
No "kiss me quick" hats here. | 0:40:15 | 0:40:17 | |
Rather, the refined air you'd expect from somewhere | 0:40:17 | 0:40:19 | |
that's made its name as an expensive retreat | 0:40:19 | 0:40:22 | |
for the well-heeled and wealthy. | 0:40:22 | 0:40:24 | |
Sounds delightful, doesn't it? A lovely place to live. | 0:40:27 | 0:40:29 | |
And apparently, there's a right little gem of a property | 0:40:29 | 0:40:32 | |
just along here. Bags of character, far-reaching views, | 0:40:32 | 0:40:36 | |
and buyers are dying to get hold of it, | 0:40:36 | 0:40:39 | |
but I've got the details, and I've booked myself | 0:40:39 | 0:40:42 | |
an appointment with the estate agent. | 0:40:42 | 0:40:44 | |
So, Aidan, here we are at beach hut 98B. | 0:40:46 | 0:40:51 | |
-That's the one. -£55,000. | 0:40:51 | 0:40:55 | |
But look where it is! | 0:40:55 | 0:40:56 | |
Steps up to the town, you're right on the beach, | 0:40:56 | 0:41:00 | |
the outlook is stunning, and it's Southwold. | 0:41:00 | 0:41:03 | |
What more do you want for your holiday? | 0:41:03 | 0:41:05 | |
-Yeah, I agree, the location is pretty special. -Oh, yeah. | 0:41:05 | 0:41:08 | |
-Are we allowed to have a look inside? -Indeed. | 0:41:08 | 0:41:11 | |
Most of the huts are sold with contents. They vary, of course. | 0:41:11 | 0:41:16 | |
Oh, right! That's quite a nice surprise, that. | 0:41:16 | 0:41:19 | |
-Very spacious. -Do come in. | 0:41:20 | 0:41:22 | |
It's quite deceiving from the outside. | 0:41:22 | 0:41:25 | |
They are TARDIS-like. Don't we always hear that? | 0:41:25 | 0:41:28 | |
But you get the day bed, there's usually a little Calor stove, | 0:41:28 | 0:41:31 | |
-as we've got here. -Where's the nearest loo? | 0:41:31 | 0:41:34 | |
Only about 100 yards in either direction. | 0:41:35 | 0:41:37 | |
100 yards, I mean, it's nothing, really, is it? | 0:41:37 | 0:41:40 | |
Right, well, here's you giving me the hard sell, but actually, | 0:41:40 | 0:41:43 | |
you don't have to, because you've got a waiting list for these things. | 0:41:43 | 0:41:46 | |
They go so quickly, usually. | 0:41:46 | 0:41:48 | |
Very often they don't even come to the market, in fact, | 0:41:48 | 0:41:50 | |
because they'll change hands within families, | 0:41:50 | 0:41:53 | |
family groups, social groups. Lots of people are waiting for them. | 0:41:53 | 0:41:56 | |
And you'll get this pretty close to the asking price at 55,000? | 0:41:56 | 0:41:59 | |
Yeah, yeah. Three price bands, really, in the town. | 0:41:59 | 0:42:02 | |
If you go to the prime location... | 0:42:02 | 0:42:03 | |
-Don't tell me, there's more. -Oh, there's more. | 0:42:03 | 0:42:05 | |
Right up there, Gun Hill, prime Southwold, | 0:42:05 | 0:42:09 | |
and they've changed hands for 120,000. | 0:42:09 | 0:42:11 | |
-For a shed this big?! -What a bargain(!) | 0:42:13 | 0:42:16 | |
Shall I get the contract? | 0:42:16 | 0:42:18 | |
-Er, not just yet. -HE LAUGHS | 0:42:18 | 0:42:20 | |
'I might not be sold, | 0:42:22 | 0:42:23 | |
'but there's no denying the enduring appeal of these huts. | 0:42:23 | 0:42:26 | |
'For some of Southwold's residents, | 0:42:28 | 0:42:30 | |
'they've been a lifetime love affair | 0:42:30 | 0:42:32 | |
'since their very first incarnations.' | 0:42:32 | 0:42:35 | |
I tell you what, Jack. You were a bonny lad. | 0:42:35 | 0:42:37 | |
How old were you here? | 0:42:37 | 0:42:39 | |
Well, I was one. 1919. | 0:42:40 | 0:42:44 | |
-A bit before your time. -A little bit! | 0:42:44 | 0:42:47 | |
And that was my mother and I | 0:42:47 | 0:42:49 | |
-in a bathing machine. -Right. | 0:42:49 | 0:42:53 | |
Was that on this beach somewhere, then? | 0:42:53 | 0:42:55 | |
Yes, it was down near the old pier. | 0:42:55 | 0:42:58 | |
In the days when the bathing machine | 0:42:59 | 0:43:02 | |
was taken down to the edge of the sea by a horse. | 0:43:02 | 0:43:05 | |
These bathing machines were the forerunners of beach huts, | 0:43:06 | 0:43:09 | |
and were designed to protect the modesty of changing swimmers. | 0:43:09 | 0:43:12 | |
But as more relaxed attitudes brought in mixed bathing, | 0:43:12 | 0:43:16 | |
they began to be used for shelter and storage instead. | 0:43:16 | 0:43:19 | |
Eventually, they disappeared from the shoreline altogether, | 0:43:20 | 0:43:23 | |
evolving into the static huts on the promenade that we know today. | 0:43:23 | 0:43:27 | |
They haven't really changed that much, have they? | 0:43:29 | 0:43:32 | |
Is that part of the magic for you, then, how basic they are? | 0:43:32 | 0:43:36 | |
Yes, I think it's... | 0:43:36 | 0:43:38 | |
Well, it's just part of Southwold. | 0:43:38 | 0:43:40 | |
There's a lot of hassle and a lot of expense | 0:43:40 | 0:43:44 | |
in connection with a beach hut nowadays, | 0:43:44 | 0:43:47 | |
but once you get in that hut, | 0:43:47 | 0:43:49 | |
when the sun is shining from the east into the hut, | 0:43:49 | 0:43:53 | |
you enter another world. | 0:43:53 | 0:43:54 | |
'Back in 1919, when Jack first visited Southwold, | 0:43:54 | 0:43:58 | |
'there were only a handful of beach huts here. | 0:43:58 | 0:44:01 | |
'It's a testament to their timeless charm that today | 0:44:01 | 0:44:04 | |
'there are 300 of them, and counting. | 0:44:04 | 0:44:06 | |
'And with summer fast approaching, | 0:44:06 | 0:44:08 | |
'proud owners like Ken Waters | 0:44:08 | 0:44:10 | |
'are busy preparing for a season in the sun.' | 0:44:10 | 0:44:13 | |
-Now then, Ken, how you doing? -Hi. Fine, thank you. -You well? | 0:44:14 | 0:44:17 | |
-Yes, indeed, thank you. -What a bonny beach hut you've got here. | 0:44:17 | 0:44:19 | |
It's lovely, yeah. | 0:44:19 | 0:44:21 | |
We've enjoyed this hut for many, many years. | 0:44:21 | 0:44:23 | |
Is this annual maintenance, then? Because, obviously... | 0:44:23 | 0:44:26 | |
About every other year. It's pretty harsh. | 0:44:26 | 0:44:29 | |
There were quite a few lost a few years ago. | 0:44:29 | 0:44:31 | |
We had a big storm, which came up | 0:44:31 | 0:44:33 | |
and swept about 12 of them away totally. | 0:44:33 | 0:44:36 | |
Some of them landed up in Dunwich. | 0:44:36 | 0:44:37 | |
-Did they really? -But otherwise in bits. | 0:44:37 | 0:44:40 | |
But we were lucky. | 0:44:40 | 0:44:41 | |
So here we are, we're painting this white | 0:44:41 | 0:44:42 | |
-and you've got some black wood stain as well. -Yes, that's right. | 0:44:42 | 0:44:46 | |
Are you restricted with the colours? | 0:44:46 | 0:44:47 | |
-Are there any guidelines from the council? -Not really. | 0:44:47 | 0:44:50 | |
Some people have them candy striped, | 0:44:50 | 0:44:52 | |
and some people have them just in pastel colours. | 0:44:52 | 0:44:56 | |
Little children come along and they shout out all the names | 0:44:56 | 0:44:58 | |
as they come along, which is also very nice. | 0:44:58 | 0:45:01 | |
-And what's the name of yours? -It's called Watershed. -OK. | 0:45:01 | 0:45:04 | |
Which was...my name being Waters, and it is a shed. | 0:45:04 | 0:45:08 | |
And so, hearing these ridiculous prices these days, | 0:45:09 | 0:45:12 | |
-are you tempted to sell? -Not a chance. No, no. -Not a chance. | 0:45:12 | 0:45:15 | |
-I think the children wouldn't forgive me. -Yeah. | 0:45:15 | 0:45:18 | |
So she's part of the family, then? | 0:45:18 | 0:45:20 | |
Yes, I think that's right, yes, yes. | 0:45:20 | 0:45:22 | |
It would be desperate times if we ever had to sell this. | 0:45:22 | 0:45:25 | |
'I might not have been tempted into buying my own beach hut, | 0:45:25 | 0:45:28 | |
'but I've certainly bought into the simple pleasures | 0:45:28 | 0:45:31 | |
'that owning one can bring. | 0:45:31 | 0:45:33 | |
'Beautiful views, and your own piece of the great British seaside. | 0:45:33 | 0:45:37 | |
'What could be better?' | 0:45:37 | 0:45:39 | |
Willy, Willy, Harry, Ste, Harry, Dick, John, Harry III... | 0:45:44 | 0:45:48 | |
Well, it's nearly time for me to step up to the plate | 0:45:48 | 0:45:51 | |
as Sudeley tour guide, and I have to say, | 0:45:51 | 0:45:53 | |
I'm really nervous. | 0:45:53 | 0:45:55 | |
So while I do all this last-minute cramming, | 0:45:55 | 0:45:58 | |
let's find out what the weather has in store for the week ahead. | 0:45:58 | 0:46:01 | |
Willy, Willy, Harry, Ste... | 0:46:02 | 0:46:04 | |
How does this help you remember anything? Who's Ned the Lad? | 0:46:04 | 0:46:06 | |
Who's Bessie? | 0:46:08 | 0:46:09 | |
This week's Countryfile is celebrating | 0:49:12 | 0:49:15 | |
our countryside's fascinating architecture. | 0:49:15 | 0:49:18 | |
I've been set the challenge of leading a tour group | 0:49:18 | 0:49:21 | |
here at Sudeley Castle, and there's no delaying it any longer. | 0:49:21 | 0:49:26 | |
Just time, though, for one last-minute transformation. | 0:49:26 | 0:49:30 | |
There you go. | 0:49:32 | 0:49:33 | |
Not quite standard Countryfile uniform, but it'll do, I think. | 0:49:33 | 0:49:37 | |
-Hi, Ellie. -Hello. -Looking great. | 0:49:37 | 0:49:39 | |
-I've got your badge here for you. -Oh, look at that! | 0:49:39 | 0:49:42 | |
You're now officially a guide. | 0:49:42 | 0:49:44 | |
-Novice guide. -Yeah. How are you feeling? | 0:49:44 | 0:49:47 | |
-Terrified, actually. -You'll be fine. | 0:49:47 | 0:49:49 | |
-I'm dreading it, honestly. -Just stick to the facts. | 0:49:49 | 0:49:51 | |
Don't embellish anything, and if you don't know the answer, | 0:49:51 | 0:49:55 | |
don't be afraid to say, "I'm not sure about that." | 0:49:55 | 0:49:57 | |
-No making it up? -No making it up. | 0:49:57 | 0:49:59 | |
That's what novels are for. | 0:49:59 | 0:50:01 | |
-Top tips all round. -Absolutely. | 0:50:01 | 0:50:03 | |
Oh, I just want to get it over with. | 0:50:03 | 0:50:05 | |
-Let's crack on. -OK. | 0:50:05 | 0:50:07 | |
'Well, the crowds are gathering, so as I steady my nerves, | 0:50:07 | 0:50:11 | |
'there's just time to see me in somewhat calmer days, | 0:50:11 | 0:50:14 | |
'when I took a trip to an Exmoor mill | 0:50:14 | 0:50:16 | |
'dealing in flowers, not flour.' | 0:50:16 | 0:50:18 | |
-Hello! -Do you mind if I pick a few bits and pieces? -Yeah, that's fine. | 0:50:23 | 0:50:27 | |
I've come to a local herb farm to gather some ingredients. | 0:50:30 | 0:50:34 | |
'The natural environment here is providing the materials | 0:50:35 | 0:50:38 | |
'for a cottage industry making something you'd least expect.' | 0:50:38 | 0:50:42 | |
This borage is in flower now. | 0:50:42 | 0:50:44 | |
A bit of rosemary. That should liven things up. | 0:50:47 | 0:50:50 | |
Check out the haul I've got. Not bad, eh? | 0:50:53 | 0:50:56 | |
'Believe it or not, I'm going to turn these herbs | 0:50:58 | 0:51:01 | |
'into something we use every day.' | 0:51:01 | 0:51:03 | |
Paper. | 0:51:03 | 0:51:04 | |
But this is no ordinary paper you'd write your shopping list on. | 0:51:06 | 0:51:10 | |
At this old wood mill, Neil Hopkins makes top-quality paper | 0:51:10 | 0:51:13 | |
using strictly traditional methods. | 0:51:13 | 0:51:16 | |
-Neil, how you doing? -Hello, Ellie. | 0:51:16 | 0:51:17 | |
I brought the ingredients you suggested. | 0:51:17 | 0:51:19 | |
I heard you were bringing something. | 0:51:19 | 0:51:21 | |
Can you really do something with that and turn it into paper? | 0:51:21 | 0:51:23 | |
-We certainly can. Very lovely smelling herbs. -Yeah. | 0:51:23 | 0:51:26 | |
Well, I've also got this, but I'm very unsure about this - | 0:51:26 | 0:51:29 | |
a pair of jeans. | 0:51:29 | 0:51:30 | |
This is actually a very good ingredient to put into paper. | 0:51:30 | 0:51:34 | |
It will make a lovely sheet of blue watercolour paper | 0:51:34 | 0:51:38 | |
that a watercolourist would be so happy to work on. | 0:51:38 | 0:51:41 | |
'First, we pick the florets and pretty leaves from the herbs. | 0:51:45 | 0:51:49 | |
'Then, in a matter of seconds, | 0:51:52 | 0:51:54 | |
'these unloved denims have been torn and cut into pieces.' | 0:51:54 | 0:51:58 | |
There goes my pair of jeans. | 0:51:58 | 0:52:00 | |
The jeans are shredded in the rag breaker | 0:52:02 | 0:52:05 | |
and turned into a jean soup, | 0:52:05 | 0:52:06 | |
which is added to a mix of cotton, linen and water. | 0:52:06 | 0:52:10 | |
Whoa! A grey, mushy pulp. | 0:52:10 | 0:52:13 | |
The next job is the hard bit, which I think you ought to do, don't you? | 0:52:13 | 0:52:16 | |
We've got to mix it round. | 0:52:16 | 0:52:18 | |
-With this oar? -Yes, just an old canoe paddle. | 0:52:18 | 0:52:20 | |
So the paper that we're going to produce now, | 0:52:20 | 0:52:22 | |
how does that differ from the paper that most people ordinarily use? | 0:52:22 | 0:52:26 | |
We make a lot of papers for artists, and if they're selling paintings, | 0:52:26 | 0:52:30 | |
some of them do sell paintings, they're very valuable. | 0:52:30 | 0:52:33 | |
Over time, if you make them on wood pulp, | 0:52:33 | 0:52:35 | |
they will actually self-destruct, | 0:52:35 | 0:52:37 | |
-so we make a paper that's archival, and it will last 2,000 years. -Oh, OK. | 0:52:37 | 0:52:43 | |
-So what's next? -Next is... | 0:52:43 | 0:52:45 | |
-..those lovely flowers and herbs jealous morning. -Oh, yes. | 0:52:45 | 0:52:48 | |
So what do we do with these? | 0:52:48 | 0:52:49 | |
Just sprinkle a few over the top | 0:52:49 | 0:52:51 | |
where we're going to make the sheet in a moment. | 0:52:51 | 0:52:53 | |
So this is kind of artistic merit in the paper, isn't it? | 0:52:53 | 0:52:56 | |
It doesn't change the construction of the paper, particularly? | 0:52:56 | 0:52:59 | |
No, it doesn't. You could have an interesting effect | 0:52:59 | 0:53:01 | |
that some painter might want to work upon. | 0:53:01 | 0:53:04 | |
-Have I put too many in? -Yeah, that's about right, actually. | 0:53:04 | 0:53:06 | |
-There's quite a few. -OK. | 0:53:06 | 0:53:08 | |
The next thing is making the paper, and to make the paper, | 0:53:08 | 0:53:10 | |
you need one of these. | 0:53:10 | 0:53:12 | |
It's a papermaking mould, and it's just a mesh. It's a sieve. | 0:53:12 | 0:53:16 | |
Dip it underneath those flowers | 0:53:16 | 0:53:18 | |
and then just bring it up in a smooth action. | 0:53:18 | 0:53:20 | |
-OK, yeah. -That's it. Now get it straight and bring it up. | 0:53:20 | 0:53:23 | |
-It's pretty heavy, isn't it? -It's heavier than you think, isn't it? | 0:53:23 | 0:53:26 | |
Really heavy, actually. | 0:53:26 | 0:53:27 | |
And then we need to move over here, because this table is a vacuum table, | 0:53:27 | 0:53:31 | |
and it will suck the water out of there. | 0:53:31 | 0:53:33 | |
-This is like a magic moment. -There it is. -Oh, that's lovely! | 0:53:39 | 0:53:42 | |
-Look at that. -Put that to one side. | 0:53:42 | 0:53:43 | |
It's really rather attractive already. | 0:53:43 | 0:53:46 | |
'This is the last commercial hand paper mill in the country, | 0:53:48 | 0:53:52 | |
'so Neil's keeping a tradition alive. | 0:53:52 | 0:53:54 | |
'The paper is still too damp to handle, | 0:53:56 | 0:53:59 | |
'so most of the remaining water is pressed out of it.' | 0:53:59 | 0:54:02 | |
I'm looking forward to seeing this. The moment of truth. | 0:54:16 | 0:54:19 | |
-Lift the blanket. -A-ha! | 0:54:19 | 0:54:21 | |
Oh, well, that's lovely, isn't it? Gosh, how pretty. | 0:54:22 | 0:54:25 | |
Can you touch it yet? | 0:54:25 | 0:54:26 | |
You can, and I think if you flip that sheet over, | 0:54:26 | 0:54:29 | |
I think you'll get a nice surprise when you see the other side. | 0:54:29 | 0:54:33 | |
Oh, yeah, isn't that pretty, all the flowers coming through? | 0:54:33 | 0:54:36 | |
Oh, that's delightful. | 0:54:36 | 0:54:38 | |
'Artist Jennie Hale's been using Neil's paper for many years.' | 0:54:40 | 0:54:44 | |
-Hi, Jennie. -Oh, hi. -Mind if I join you? -Yeah, do, do. | 0:54:46 | 0:54:49 | |
-Have a seat. -What are you painting? | 0:54:49 | 0:54:50 | |
-Primroses. -Oh, yes. What a good spot for it, too. | 0:54:50 | 0:54:53 | |
Oh, it's fantastic, isn't it? Beautiful with a stream beside it. | 0:54:53 | 0:54:57 | |
-And that's Neil's paper. -And what about Neil's paper? | 0:54:57 | 0:55:00 | |
How is that for you as an artist? | 0:55:00 | 0:55:02 | |
It really makes the colours stand out. | 0:55:02 | 0:55:04 | |
The way he makes it makes the colours really sparkle. | 0:55:04 | 0:55:07 | |
It's just beautiful paper to work on. | 0:55:07 | 0:55:10 | |
-These pictures are gorgeous. -Thank you, thank you. | 0:55:10 | 0:55:12 | |
'At Sudeley Castle, it's time to face the troops. Here goes.' | 0:55:26 | 0:55:31 | |
Hello, everybody, and welcome to Sudeley Castle | 0:55:35 | 0:55:38 | |
on this fine, spring weather day. | 0:55:38 | 0:55:40 | |
So, shall we head off? | 0:55:40 | 0:55:43 | |
Really scared! | 0:55:43 | 0:55:44 | |
So, Sudeley Castle was a stronghold during the Civil War. | 0:55:47 | 0:55:52 | |
Lord Chandos, who owned the place at the time, | 0:55:52 | 0:55:56 | |
decided to side with the king. | 0:55:56 | 0:55:58 | |
Turns out that was a bad move, because before long, | 0:55:58 | 0:56:02 | |
Oliver Cromwell's men became... | 0:56:02 | 0:56:05 | |
galloping, ransacking castles. | 0:56:05 | 0:56:07 | |
They could hear them up the drive, | 0:56:07 | 0:56:09 | |
shouts and screams and dogs and women screaming. | 0:56:09 | 0:56:12 | |
Yeah. Ellie, remember what I said about not embellishing. | 0:56:12 | 0:56:15 | |
Not sure about that bit. | 0:56:15 | 0:56:16 | |
If you imagine that bit, that might have happened. | 0:56:16 | 0:56:19 | |
'Oops! Not off to the best of starts.' | 0:56:19 | 0:56:22 | |
Another nice feature about the stone being exposed | 0:56:24 | 0:56:28 | |
is that there are some masons' marks just above the doorway over there. | 0:56:28 | 0:56:32 | |
Masons would leave their own mark as a way of... | 0:56:32 | 0:56:36 | |
-(So that their employer would know how much to pay them. -That's it.) | 0:56:37 | 0:56:41 | |
..as a way of invoicing their employer, | 0:56:41 | 0:56:43 | |
so they knew how much to pay them. | 0:56:43 | 0:56:45 | |
27 varieties of flower. | 0:56:48 | 0:56:50 | |
17th century pornography. Shall we move on? | 0:56:53 | 0:56:57 | |
So what would have happened if I was the butler | 0:57:01 | 0:57:03 | |
and this was a table with fine diners eating is, | 0:57:03 | 0:57:06 | |
I could have stood discreetly here, | 0:57:06 | 0:57:08 | |
and without being rude and peering over shoulders | 0:57:08 | 0:57:11 | |
to see what was going on on plates, | 0:57:11 | 0:57:13 | |
I could have checked in the mirror to see whether they'd finished | 0:57:13 | 0:57:16 | |
their meal and knew that it was time to have the table cleared. | 0:57:16 | 0:57:19 | |
I'm really glad that's over, Nicola! | 0:57:22 | 0:57:24 | |
Oh, Ellie. I thought you did a really fantastic job. Thank you so much. | 0:57:24 | 0:57:27 | |
You're very kind. Your job is safe forever and ever, | 0:57:27 | 0:57:29 | |
as far as I'm concerned. | 0:57:29 | 0:57:30 | |
-Are you sure? -Yeah. I'll keep this as a memento, though. | 0:57:30 | 0:57:33 | |
-Yes, please do. -Thank you very much. | 0:57:33 | 0:57:35 | |
Well, thankfully for me, that's it | 0:57:35 | 0:57:36 | |
for this special edition of Countryfile, | 0:57:36 | 0:57:38 | |
and next week I'll be at Newmarket, the home of racing, | 0:57:38 | 0:57:41 | |
to get a sneak peek behind the scenes. | 0:57:41 | 0:57:43 | |
And John will be finding out about John Clare, | 0:57:43 | 0:57:45 | |
England's first green poet. | 0:57:45 | 0:57:48 | |
See you then. Bye-bye. | 0:57:48 | 0:57:49 | |
Subtitles by Red Bee Media Ltd | 0:58:09 | 0:58:12 |