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Exmoor, a bleak and remote place, | 0:00:26 | 0:00:28 | |
where moorland and farmland give way to a spectacular coastline. | 0:00:28 | 0:00:33 | |
For centuries, its wild beauty | 0:00:33 | 0:00:35 | |
has inspired writers, painters and poets. | 0:00:35 | 0:00:38 | |
About 100 years ago, a little-known photographer called Alfred Vowles | 0:00:38 | 0:00:41 | |
cycled all across Somerset, | 0:00:41 | 0:00:43 | |
taking thousands of photographs of life on Exmoor, | 0:00:43 | 0:00:47 | |
everything from villages to hunting scenes. | 0:00:47 | 0:00:50 | |
I'll be finding out about the man behind the picture, | 0:00:50 | 0:00:53 | |
as well as putting his techniques to the test, | 0:00:53 | 0:00:55 | |
and trying to recreate one of his images. | 0:00:55 | 0:00:57 | |
Vowles wasn't the only one captivated by the landscape here. | 0:01:00 | 0:01:04 | |
Writer RD Blackmore quite literally put this place on the map | 0:01:04 | 0:01:08 | |
when he penned the novel Lorna Doone. | 0:01:08 | 0:01:10 | |
But, is Lorna Doone country more fact than fiction? | 0:01:10 | 0:01:14 | |
-MAN WHISTLES -Come on! | 0:01:14 | 0:01:15 | |
Tom's in Leicestershire, | 0:01:19 | 0:01:21 | |
investigating the return of a farming nightmare. | 0:01:21 | 0:01:24 | |
Schmallenberg is back, | 0:01:24 | 0:01:26 | |
a disease causing birth defects for sheep and cows, | 0:01:26 | 0:01:30 | |
distress and financial loss for farmers. | 0:01:30 | 0:01:33 | |
And, as the lambing and calving season continues, | 0:01:33 | 0:01:36 | |
we'll find out quite how bad it is. | 0:01:36 | 0:01:38 | |
'Meanwhile, Adam's making sure his animals are well behaved.' | 0:01:40 | 0:01:44 | |
These are my Exmoor foals. | 0:01:46 | 0:01:48 | |
They're are a little bit wild and feisty at the moment. | 0:01:48 | 0:01:51 | |
Later on, I'm taking them to see some experts, | 0:01:51 | 0:01:54 | |
who are going to give me some tips on how to quieten them down. | 0:01:54 | 0:01:57 | |
Want a bit of hay? | 0:01:57 | 0:01:59 | |
These are the bleak days of winter, | 0:02:20 | 0:02:22 | |
the landscape gripped by its icy hand. | 0:02:22 | 0:02:24 | |
There's little colour, an absence of life... | 0:02:28 | 0:02:31 | |
the unyielding earth like iron. | 0:02:31 | 0:02:32 | |
But there's still beauty to be enjoyed. | 0:02:36 | 0:02:38 | |
Just take a stroll, see for yourself. | 0:02:38 | 0:02:40 | |
Where better than Exmoor National Park? | 0:02:42 | 0:02:45 | |
Straddling the border between Devon and Somerset | 0:02:47 | 0:02:50 | |
is almost 300 square miles of moorland, | 0:02:50 | 0:02:53 | |
dotted with jumbled rocks and deep-cut river valleys. | 0:02:53 | 0:02:56 | |
This clapper bridge would have looked almost exactly the same | 0:02:59 | 0:03:02 | |
100 years ago. | 0:03:02 | 0:03:03 | |
This photograph, taken by a man you've probably never heard of, | 0:03:03 | 0:03:06 | |
called Alfred Vowles, shows just that. | 0:03:06 | 0:03:09 | |
A.V. made it his life's mission | 0:03:09 | 0:03:11 | |
to capture the essence and beauty of Exmoor in all its forms. | 0:03:11 | 0:03:15 | |
And it's just as well he did. | 0:03:16 | 0:03:18 | |
Days after we filmed here, | 0:03:18 | 0:03:19 | |
this ancient clapper bridge was swept away by winter flooding. | 0:03:19 | 0:03:23 | |
Luckily, A.V.'s pictures will provide a valuable reference | 0:03:25 | 0:03:28 | |
for the rebuild, planned for the end of this month. | 0:03:28 | 0:03:31 | |
Alfred Vowles grew up in the West Country. | 0:03:35 | 0:03:37 | |
The land and its people was his passion, | 0:03:37 | 0:03:40 | |
and in photography, he found the perfect means to express it. | 0:03:40 | 0:03:43 | |
He was still a young man when he became a full-time photographer, | 0:03:43 | 0:03:46 | |
and his work was to take him all over the world. | 0:03:46 | 0:03:49 | |
But it was Exmoor that really captured his eye and his heart. | 0:03:50 | 0:03:54 | |
So, Margaret, who was Alfred Vowles? | 0:03:54 | 0:03:57 | |
Looking back now, I suppose we would say that Alfred Vowles | 0:03:58 | 0:04:01 | |
is the man who left a big treasury of photographs for Exmoor. | 0:04:01 | 0:04:06 | |
We realise that he covered so much of the history of Exmoor, | 0:04:07 | 0:04:11 | |
but so much more of the life of Exmoor, as it was lived at that time. | 0:04:11 | 0:04:15 | |
So, he was a man in love with the culture, | 0:04:15 | 0:04:19 | |
the scenery, the landscape...? | 0:04:19 | 0:04:21 | |
Oh, absolutely. He was a countryman at heart. | 0:04:21 | 0:04:24 | |
He was born a countryman. | 0:04:24 | 0:04:26 | |
He was a restless spirit, | 0:04:26 | 0:04:27 | |
and he would go to a farm, take a photograph, develop it in their barn, | 0:04:27 | 0:04:32 | |
-say, "Three and six for a full plate copy..." -Thank you very much. | 0:04:32 | 0:04:35 | |
..and cycle on to the next job. Indeed. | 0:04:35 | 0:04:37 | |
And, eventually, he based himself in a caravan in Minehead. | 0:04:37 | 0:04:41 | |
But these, these are of the Exmoor life, | 0:04:41 | 0:04:45 | |
and they're just very lovely, aren't they? | 0:04:45 | 0:04:47 | |
I mean, that is a wonderful scene. | 0:04:47 | 0:04:49 | |
It is, and it shows you what an event fox hunting, or stag hunting, was. | 0:04:49 | 0:04:55 | |
And he photographed a lot of the hunting scene, | 0:04:55 | 0:04:57 | |
-the hunting set, didn't he? -Yes. | 0:04:57 | 0:04:59 | |
He, himself, says he invented stag hunting photography, | 0:04:59 | 0:05:03 | |
and there are some wonderful shots showing everything about the event, | 0:05:03 | 0:05:09 | |
through to the finished, slaughtered animal. | 0:05:09 | 0:05:13 | |
I notice he even indicates the size of the spread of the antlers. | 0:05:13 | 0:05:17 | |
"Head of the big Haddon stag. Spread 34 and three quarter inches." | 0:05:17 | 0:05:23 | |
This is his autobiography. | 0:05:23 | 0:05:24 | |
I found a page here, and he's written this, | 0:05:24 | 0:05:26 | |
but he writes about himself in the third person, so he said, | 0:05:26 | 0:05:29 | |
"It can be said that A.V. founded stag hunting photography on Exmoor," | 0:05:29 | 0:05:33 | |
as you said. | 0:05:33 | 0:05:34 | |
"He did an extensive business in private portraits | 0:05:34 | 0:05:37 | |
"and groups in the open, school and wedding groups..." | 0:05:37 | 0:05:40 | |
-V/O: -..copies of old prints and photographs, hunting horses, | 0:05:40 | 0:05:43 | |
hounds, dogs, cats and other pets, scenes on the farm..." | 0:05:43 | 0:05:46 | |
"..old country customers, meets of hounds (stag, fox, hare and otter) | 0:05:46 | 0:05:50 | |
"and badger digging. | 0:05:50 | 0:05:51 | |
"In fact, he took anything that brought business." | 0:05:51 | 0:05:53 | |
That's absolutely true. | 0:05:53 | 0:05:55 | |
Taking work wherever he could took Alfred all over Exmoor. | 0:05:57 | 0:06:00 | |
And he didn't get around the easy way. | 0:06:03 | 0:06:05 | |
When he started out, he cycled around Exmoor on one of these. | 0:06:05 | 0:06:10 | |
It's pretty hilly around here. | 0:06:10 | 0:06:12 | |
And remember, he would have had his camera, his tripod, film... | 0:06:12 | 0:06:15 | |
Remember what that is? | 0:06:15 | 0:06:17 | |
What he needed, of course, was one of these. | 0:06:17 | 0:06:19 | |
No such luck. | 0:06:20 | 0:06:22 | |
But, for his dramatic action shots, Alfred would ditch the bike | 0:06:22 | 0:06:25 | |
and chase a hunt on foot, carrying all his kit with him. | 0:06:25 | 0:06:29 | |
"The hounds and huntsman came down from the valley, | 0:06:32 | 0:06:35 | |
"followed by the leading riders of the field, | 0:06:35 | 0:06:37 | |
"who had galloped hell for leather. | 0:06:37 | 0:06:38 | |
"At the kill, some seemed staggered to find A.V. there in front, | 0:06:38 | 0:06:42 | |
"for they had last seen him 11 miles away, running out of Doone Valley." | 0:06:42 | 0:06:46 | |
'Today, some of those hunts are still going, | 0:06:47 | 0:06:50 | |
'like the Minehead Harriers, a local pack of foxhounds. | 0:06:50 | 0:06:54 | |
'Nowadays, they still meet, but hunt scent trails, rather than foxes. | 0:06:54 | 0:06:58 | |
'Almost a century ago, they would need here at Hindon, | 0:06:58 | 0:07:01 | |
'and little has changed on the farm since then. | 0:07:01 | 0:07:04 | |
'Angela and Tim, like many members of the Harriers, | 0:07:04 | 0:07:07 | |
'have connections going back a long way.' | 0:07:07 | 0:07:09 | |
Angela, Tim, nice to see you. | 0:07:09 | 0:07:11 | |
I do have a photograph of the Harriers, | 0:07:11 | 0:07:14 | |
when they met here at Hindon. | 0:07:14 | 0:07:15 | |
And why have you got these rare photographs? | 0:07:15 | 0:07:18 | |
My grandfather farmed here at Hindon, my father was born here, | 0:07:18 | 0:07:22 | |
and, yeah, so, that's the connection. | 0:07:22 | 0:07:25 | |
And Tim, what's your connection? | 0:07:25 | 0:07:27 | |
Well, I have a collection of A.V. photographs, | 0:07:27 | 0:07:32 | |
and the reason for that is, my father was with a local pack, | 0:07:32 | 0:07:36 | |
and so, Alfred Vowles used to go and take photographs of all the meets. | 0:07:36 | 0:07:40 | |
At home, I've got these pictures hanging all around the walls. | 0:07:40 | 0:07:45 | |
My father is in all of them. | 0:07:45 | 0:07:46 | |
-So, fond memories? -Absolutely. | 0:07:46 | 0:07:48 | |
Alfred was remarkable, not just for the pictures he produced, | 0:07:49 | 0:07:53 | |
but the way he worked. He was a one-man mobile photo booth. | 0:07:53 | 0:07:57 | |
"He did all his own developing, printing, finishing, and mounting. | 0:07:58 | 0:08:03 | |
"It was really hard work, usually done in an unused chicken house, | 0:08:03 | 0:08:07 | |
"a stable, or a shed of sorts." | 0:08:07 | 0:08:08 | |
That gives me an idea. | 0:08:12 | 0:08:14 | |
Alfred took this photograph of the Minehead Harriers | 0:08:14 | 0:08:16 | |
right here at Hindon Farm. | 0:08:16 | 0:08:18 | |
I wonder if the present-day Harriers | 0:08:18 | 0:08:20 | |
would be up for recreating that scene. | 0:08:20 | 0:08:23 | |
Later, we'll be giving it a go. | 0:08:23 | 0:08:25 | |
Alfred Vowles's talents weren't limited to photography. | 0:08:26 | 0:08:29 | |
He was also a prolific writer. | 0:08:29 | 0:08:31 | |
He created this guide to Exmoor, | 0:08:31 | 0:08:33 | |
using places featured in the Lorna Doone novel. | 0:08:33 | 0:08:35 | |
-Angela, I need you to do me a favour, please. -OK. | 0:08:35 | 0:08:38 | |
This book needs to get to Matt Baker. | 0:08:38 | 0:08:41 | |
He's quite a long way in that direction, | 0:08:41 | 0:08:43 | |
and I thought, perhaps, you'd be faster than me. | 0:08:43 | 0:08:46 | |
-Right, I'll take my horse, yes. -I thought you might go on the bike? | 0:08:46 | 0:08:49 | |
-Certainly not! Much safer, much quicker on my horse. -OK. | 0:08:49 | 0:08:52 | |
-See you later. -See you. | 0:08:52 | 0:08:53 | |
Now, all Julia has told me is to come here and find Mother Meldrum. | 0:08:58 | 0:09:03 | |
Mother Meldrum was the legendary soothsayer | 0:09:06 | 0:09:09 | |
in RD Blackmore's famous 1869 novel Lorna Doone. | 0:09:09 | 0:09:13 | |
It's said you could find her here at Lynton's Valley of the Rocks. | 0:09:14 | 0:09:18 | |
I'm guessing these days, this is what Julia means. | 0:09:18 | 0:09:21 | |
The Lorna Doone Country: Notes by Alfred Vowles. | 0:09:22 | 0:09:25 | |
"Those of us who are complete strangers to it | 0:09:27 | 0:09:29 | |
"can find in Lorna Doone much beauty and truth | 0:09:29 | 0:09:32 | |
"concerning Exmoor scenery." | 0:09:32 | 0:09:34 | |
And Julia has left me a note, which is stuck in here. | 0:09:34 | 0:09:38 | |
Let me have a look. | 0:09:38 | 0:09:40 | |
"Do as Alfred Vowles tells you. | 0:09:40 | 0:09:41 | |
"Go and explore Exmoor through the pages of Lorna Doone. | 0:09:41 | 0:09:45 | |
"Your mission is to separate fact from fiction." | 0:09:45 | 0:09:48 | |
Whoops! Better go and find the note again! | 0:09:48 | 0:09:51 | |
Thanks, Julia. Just the day for reading a book on the moors(!) | 0:09:53 | 0:09:57 | |
Blackmore's famous novel Lorna Doone is set here, | 0:09:57 | 0:10:00 | |
in the wilds of Exmoor. | 0:10:00 | 0:10:02 | |
It's a rural Romeo and Juliet. | 0:10:02 | 0:10:05 | |
So, here's the plot. Boy meets girl, Lorna Doone. | 0:10:05 | 0:10:09 | |
But it turns out that Lorna | 0:10:09 | 0:10:10 | |
is related to the family who killed the boy's father. | 0:10:10 | 0:10:13 | |
Well, actually, not. | 0:10:13 | 0:10:14 | |
It turns out that she was kidnapped at birth by the Doone family. | 0:10:14 | 0:10:18 | |
Anyway, back to the story. | 0:10:18 | 0:10:19 | |
They get married, but she is shot by the Doone family at the wedding. | 0:10:19 | 0:10:23 | |
Anyway, she doesn't die, and they both live happily ever after. | 0:10:23 | 0:10:27 | |
'But how much of this romantic tale | 0:10:33 | 0:10:35 | |
'was borrowed from real Exmoor life? | 0:10:35 | 0:10:38 | |
'I think I'm going to need some help.' | 0:10:38 | 0:10:40 | |
Well! | 0:10:40 | 0:10:42 | |
What a sight! | 0:10:45 | 0:10:46 | |
-Morning, you must be Mr Baker. -I am! Hello. | 0:10:46 | 0:10:49 | |
-Do come in and join me. -What's your name? | 0:10:49 | 0:10:51 | |
I'm Jenny. I'm from the Exmoor Society. | 0:10:51 | 0:10:54 | |
-Well, this is something, Jenny! -Yeah! -Where are we going? | 0:10:54 | 0:10:57 | |
This is Malmsmede, which could have originally been | 0:10:57 | 0:11:02 | |
-where the hero of the novel Lorna Doone lived. -Oh, right. | 0:11:02 | 0:11:06 | |
Oh, hang about, this is quite exciting! | 0:11:06 | 0:11:08 | |
We are travelling as Lorna might have travelled back in the 1680s, | 0:11:09 | 0:11:17 | |
and probably how Blackmore himself still travelled | 0:11:17 | 0:11:20 | |
when his book was published. | 0:11:20 | 0:11:22 | |
And how popular was it then, back in the day? | 0:11:22 | 0:11:25 | |
To start with, when it was first published in 1869, it didn't sell. | 0:11:25 | 0:11:29 | |
I think it sold 500 copies worldwide. | 0:11:29 | 0:11:33 | |
'A second print run in 1870 did rather better, though. | 0:11:33 | 0:11:37 | |
'Helped by the imminent royal marriage | 0:11:37 | 0:11:39 | |
'between Queen Victoria's fourth daughter, Louise, | 0:11:39 | 0:11:41 | |
'and the Marquess of Lorne.' | 0:11:41 | 0:11:43 | |
One of the reviewers said that the Marquess of Lorne | 0:11:43 | 0:11:47 | |
was distantly related to this notorious family of Doones, | 0:11:47 | 0:11:52 | |
and, suddenly, the book took off. | 0:11:52 | 0:11:54 | |
'Since then, thousands of tourists have made this trip | 0:11:54 | 0:11:57 | |
'from the North Devon coast to the heart of the moors, | 0:11:57 | 0:12:00 | |
'on the trail of the Doones. | 0:12:00 | 0:12:02 | |
'They were ferried around these parts in horse-drawn carriages, | 0:12:02 | 0:12:05 | |
'even after cars came into fashion. | 0:12:05 | 0:12:07 | |
'Far easier to navigate these tiny lanes.' | 0:12:07 | 0:12:09 | |
Do you think that they were a real family? | 0:12:09 | 0:12:12 | |
I mean, is there any evidence of any Doones in these parts? | 0:12:12 | 0:12:15 | |
There was apparently a gang of outlaws | 0:12:15 | 0:12:18 | |
who lived somewhere over on the moor, | 0:12:18 | 0:12:21 | |
-and it could be that they were the Doones... -Oh, right. | 0:12:21 | 0:12:24 | |
-And I'm going to throw you out in a minute... -Are you? | 0:12:24 | 0:12:28 | |
Because we're reaching the scene of one of the most famous events | 0:12:28 | 0:12:32 | |
-in the whole of the book. -Oh! | 0:12:32 | 0:12:35 | |
Here you are at Oare Church. | 0:12:35 | 0:12:37 | |
'In Blackmore's novel, this remote village church | 0:12:43 | 0:12:45 | |
'is, in fact, the scene of tragedy. | 0:12:45 | 0:12:48 | |
'It's where Lorna Doone is shot at the altar | 0:12:48 | 0:12:50 | |
'as she marries her sweetheart, John Ridd.' | 0:12:50 | 0:12:53 | |
Oh, Colin, you've got some visitors' book, haven't you? | 0:12:53 | 0:12:55 | |
Look at this! Japan, New South Wales, Australia... | 0:12:55 | 0:12:59 | |
it's quite remarkable. | 0:12:59 | 0:13:01 | |
It's rather fun, because it shows how many people come, | 0:13:01 | 0:13:03 | |
and how far afield interest has been shown. | 0:13:03 | 0:13:08 | |
And many believe that this was the place that she was shot. | 0:13:08 | 0:13:12 | |
Do you think that it is this church? | 0:13:12 | 0:13:14 | |
Well, Blackmore was connected with this church. | 0:13:14 | 0:13:18 | |
His grandfather was rector here. | 0:13:18 | 0:13:20 | |
And so, it's quite possible that this is the church | 0:13:20 | 0:13:22 | |
that Blackmore had in mind when he was writing the story. | 0:13:22 | 0:13:25 | |
Where do you think that she was shot, then? | 0:13:25 | 0:13:27 | |
I mean, where would she have been getting married? | 0:13:27 | 0:13:30 | |
'Till death us do part...' | 0:13:30 | 0:13:32 | |
The altar would have been here, and Lorna would have been standing | 0:13:32 | 0:13:36 | |
-roughly where your cameraman is at this very moment. -Oh, right. | 0:13:36 | 0:13:39 | |
-How vulnerable. Watch out. -And John would be beside her. | 0:13:39 | 0:13:42 | |
The shot that rang out, | 0:13:42 | 0:13:44 | |
some people say it came from the window up there. | 0:13:44 | 0:13:47 | |
But I have a nasty feeling that whoever was shooting | 0:13:47 | 0:13:50 | |
would have a better view from the back of the church. | 0:13:50 | 0:13:54 | |
There is a much clearer line of sight for anyone to be shot. | 0:13:54 | 0:13:58 | |
GUNSHOT | 0:13:58 | 0:14:00 | |
You've spent quite a bit of time thinking about this, | 0:14:01 | 0:14:04 | |
haven't you, Colin? | 0:14:04 | 0:14:05 | |
Well, I've had quite a few years to think about it, | 0:14:05 | 0:14:07 | |
-with all the people who come to find out. -Yes. | 0:14:07 | 0:14:10 | |
And are people quite keen to get married here? | 0:14:10 | 0:14:12 | |
I guess they are, or are people put off? | 0:14:12 | 0:14:14 | |
Oh, no, they would like to be married here, | 0:14:14 | 0:14:17 | |
and I could spend just about every weekend marrying people | 0:14:17 | 0:14:20 | |
if I said yes to everyone. | 0:14:20 | 0:14:22 | |
BELL TOLLS | 0:14:22 | 0:14:23 | |
(Oh, hang on.) | 0:14:23 | 0:14:26 | |
(The bell's chiming.) Lorna Doone. | 0:14:26 | 0:14:29 | |
She's looking down. | 0:14:29 | 0:14:31 | |
-No, it's 12 o'clock, that's all. -Oh. | 0:14:31 | 0:14:33 | |
Colin, I was tried to get some atmosphere then! | 0:14:33 | 0:14:36 | |
Be honest about it. | 0:14:36 | 0:14:38 | |
Oh, lovely. Well, it must be time for tea, then. | 0:14:38 | 0:14:40 | |
-Lunchtime, yes. -Sandwiches. Come on, then. | 0:14:40 | 0:14:42 | |
'There's plenty of evidence round here | 0:14:51 | 0:14:53 | |
'of the family name of leading man John Ridd. | 0:14:53 | 0:14:56 | |
'But the Doones? | 0:14:56 | 0:14:58 | |
'Well, they remain elusive. | 0:14:58 | 0:15:00 | |
'Even in the church register.' | 0:15:00 | 0:15:02 | |
I can't see any. | 0:15:02 | 0:15:04 | |
Whilst I continue my search for the evil Doone clan on a wintry Exmoor, | 0:15:10 | 0:15:15 | |
Tom has been up in Leicestershire, finding out why some farmers | 0:15:15 | 0:15:18 | |
are already dreading the thought of spring, | 0:15:18 | 0:15:21 | |
and his report contains some upsetting images. | 0:15:21 | 0:15:24 | |
The fields may be empty now, but with the new year, | 0:15:32 | 0:15:37 | |
the promise of new life has arrived on our farms. | 0:15:37 | 0:15:41 | |
The fields will soon be filled with spring lambs gambolling | 0:15:41 | 0:15:44 | |
and calves suckling. | 0:15:44 | 0:15:46 | |
But beneath these bucolic scenes, | 0:15:47 | 0:15:50 | |
there's a bubonic undercurrent. | 0:15:50 | 0:15:53 | |
Schmallenberg is back, a disease causing birth defects | 0:15:53 | 0:15:57 | |
for sheep and cows, | 0:15:57 | 0:15:59 | |
distress and financial loss for farmers. | 0:15:59 | 0:16:02 | |
Last year, it visited the country. | 0:16:02 | 0:16:05 | |
This year, it seems to have got a foothold. | 0:16:05 | 0:16:08 | |
And as the lambing and calving season continues, | 0:16:08 | 0:16:11 | |
we'll find out quite how bad it is. | 0:16:11 | 0:16:14 | |
We reported last year on how the disease, | 0:16:16 | 0:16:19 | |
carried by midges from Europe, | 0:16:19 | 0:16:21 | |
infected some sheep, cattle and goats bitten during pregnancy, | 0:16:21 | 0:16:25 | |
resulting in deformed or dead foetuses. | 0:16:25 | 0:16:29 | |
A year on, the power of its resurgence is becoming clear. | 0:16:29 | 0:16:33 | |
The virus has spread. | 0:16:35 | 0:16:36 | |
It's like a tsunami effect, a tidal wave of infection. | 0:16:36 | 0:16:40 | |
Vet Mike Thorne is on his way to tend some pregnant cattle | 0:16:40 | 0:16:44 | |
in Leicestershire. It's a job he does often at this time of year, | 0:16:44 | 0:16:48 | |
and one that should be pleasant. At the moment, it's anything but. | 0:16:48 | 0:16:52 | |
We've scanned routinely on dairy farms, fortnightly or weekly, | 0:16:52 | 0:16:56 | |
and we noticed that the conception rates were poor, | 0:16:56 | 0:17:01 | |
so either they didn't hold to the insemination | 0:17:01 | 0:17:04 | |
or they lost the pregnancies very early on. | 0:17:04 | 0:17:08 | |
But, in simple terms, that drop in conception rates | 0:17:08 | 0:17:11 | |
and early loss of the embryos | 0:17:11 | 0:17:14 | |
you think is likely to be linked to Schmallenberg? | 0:17:14 | 0:17:17 | |
Oh, most definitely. Yeah. | 0:17:17 | 0:17:19 | |
Last season, 276 farms reported infections. | 0:17:19 | 0:17:23 | |
So far, this season, there have been three times that amount. | 0:17:23 | 0:17:27 | |
Today, dairy farmer Nick Sercombe is going to learn his fate. | 0:17:27 | 0:17:30 | |
His milk has already tested positive for Schmallenberg antibodies | 0:17:30 | 0:17:35 | |
meaning although it's still safe to sell, | 0:17:35 | 0:17:37 | |
the cows have been producing less of it. | 0:17:37 | 0:17:40 | |
The big question is, has the virus spread to the unborn calves? | 0:17:40 | 0:17:45 | |
Well, we're about to get on to the business end of this, | 0:17:46 | 0:17:49 | |
-the actual scanning, yeah? -That's it. | 0:17:49 | 0:17:51 | |
Hopefully, she'll be in calf and we'll see what we see. | 0:17:51 | 0:17:57 | |
'Mike will see everything with these high-tech goggles, | 0:17:59 | 0:18:02 | |
'while I'm watching on a monitor | 0:18:02 | 0:18:05 | |
'and Nick waits anxiously to find out the results.' | 0:18:05 | 0:18:09 | |
OK. | 0:18:11 | 0:18:12 | |
The calf's really viable in there. | 0:18:16 | 0:18:18 | |
When I touched it, or pick up a foot to pinch it... | 0:18:18 | 0:18:21 | |
Legs! I can see legs. | 0:18:22 | 0:18:24 | |
'Things start off well, but a few cows in, Mike discovers a problem.' | 0:18:24 | 0:18:30 | |
That fluid in there is not quite right. | 0:18:30 | 0:18:33 | |
Unfortunately, it's not good news. | 0:18:35 | 0:18:38 | |
She has been in calf, | 0:18:38 | 0:18:41 | |
and I can see on the scan that she has lost this pregnancy. | 0:18:41 | 0:18:46 | |
-Could this be to do with Schmallenberg? -It could be. | 0:18:46 | 0:18:50 | |
But equally, high-yielding daily cows will often lose pregnancies. | 0:18:50 | 0:18:55 | |
For Nick, there's relief that only one calf has been lost, | 0:18:55 | 0:18:59 | |
and Schmallenberg may not be the culprit. | 0:18:59 | 0:19:02 | |
But he knows there's still a long way to go. | 0:19:02 | 0:19:05 | |
When will you have complete peace of mind? | 0:19:05 | 0:19:08 | |
When all the cows are calved and we start serving again, really, | 0:19:08 | 0:19:11 | |
when all the March, April, May cows are all calved. | 0:19:11 | 0:19:13 | |
It could be a very nervous time. | 0:19:13 | 0:19:16 | |
For the Sercombe family as a whole, | 0:19:18 | 0:19:21 | |
though, Schmallenberg's impact is hitting hard. | 0:19:21 | 0:19:24 | |
It is a 2010 ewe, | 0:19:24 | 0:19:27 | |
so March 2010. | 0:19:27 | 0:19:29 | |
Nick's brother Charles looks after sheep on the other side of the farm, | 0:19:29 | 0:19:33 | |
where early lambing is in full swing. | 0:19:33 | 0:19:37 | |
So, who have we got in here? | 0:19:39 | 0:19:41 | |
These are my December-lambing flock of Charollais ewes | 0:19:41 | 0:19:45 | |
that we have here. | 0:19:45 | 0:19:46 | |
I see that they've got different colours on their backsides, | 0:19:46 | 0:19:49 | |
some of them blue, some of them red. What does that mean? | 0:19:49 | 0:19:52 | |
The numbers on the sides are to indicate the ewes and lambs. | 0:19:52 | 0:19:55 | |
The ones with the red stripes across their backsides, | 0:19:55 | 0:19:58 | |
they are the ones that, unfortunately, | 0:19:58 | 0:19:59 | |
we got no lambs on at the minute. | 0:19:59 | 0:20:01 | |
They've had lambs born with Schmallenberg disease. | 0:20:01 | 0:20:03 | |
-There are quite a few of those. -Yeah, yeah. | 0:20:03 | 0:20:05 | |
Unfortunately, there are far too many for my liking. | 0:20:05 | 0:20:08 | |
Nearly 15% to 20% of the ewes, | 0:20:08 | 0:20:11 | |
and it's affected about 40% of the lambs so far. | 0:20:11 | 0:20:14 | |
Last season, this farm was Schmallenberg-free, | 0:20:14 | 0:20:18 | |
but the disease has now spread right across the UK. | 0:20:18 | 0:20:22 | |
In the last six months, | 0:20:22 | 0:20:23 | |
the number of affected farms has risen from less than 300 | 0:20:23 | 0:20:27 | |
to more than 1,200, and more cases are being reported every week. | 0:20:27 | 0:20:32 | |
This morning's lambs are a vivid illustration | 0:20:32 | 0:20:34 | |
of how bad the problem can be. | 0:20:34 | 0:20:36 | |
-Here they are. -Not what you want to see first thing. | 0:20:36 | 0:20:39 | |
No, I'm afraid it's not. | 0:20:39 | 0:20:40 | |
There is a better start to a day | 0:20:40 | 0:20:42 | |
than having to give birth to lambs like these. | 0:20:42 | 0:20:46 | |
What are the actual deformities here? | 0:20:46 | 0:20:48 | |
These are fairly classic of the symptoms. | 0:20:48 | 0:20:50 | |
As you can see, this one has got a leg that is completely bent round | 0:20:50 | 0:20:54 | |
in opposite directions and the joint is fused. | 0:20:54 | 0:20:57 | |
The neck is round the wrong way and there's a twisted spine there. | 0:20:57 | 0:21:01 | |
We've had several cases where we've got one perfectly healthy live lamb | 0:21:01 | 0:21:04 | |
and then one very small mummified one, | 0:21:04 | 0:21:07 | |
between a golf ball and a tennis ball size. | 0:21:07 | 0:21:09 | |
-What does that mean in terms of money? -I've estimated between | 0:21:09 | 0:21:13 | |
£12,000 and £15,000 in lost output this year. | 0:21:13 | 0:21:15 | |
'Unlike diseases such as bovine TB, Charles can't claim any compensation. | 0:21:17 | 0:21:22 | |
'His business is suffering.' | 0:21:22 | 0:21:24 | |
A bit of a grim sight. Too grim, really. | 0:21:24 | 0:21:28 | |
'In the long term, though, Schmallenberg's impact | 0:21:28 | 0:21:31 | |
'may be more limited. | 0:21:31 | 0:21:33 | |
'Infected animals become immune once they've been bitten, | 0:21:33 | 0:21:36 | |
'and a vaccine could be released later this year. | 0:21:36 | 0:21:40 | |
'But that's all too late for the Sercombe family | 0:21:40 | 0:21:43 | |
'and thousands of other farmers waiting to see | 0:21:43 | 0:21:46 | |
'how bad this year will be. | 0:21:46 | 0:21:48 | |
'And, as I'll be finding out later, | 0:21:48 | 0:21:50 | |
'this may just be the tip of the iceberg, | 0:21:50 | 0:21:52 | |
'as a new wave of diseases makes its way towards our shores.' | 0:21:52 | 0:21:57 | |
Exmoor - a land that feels the full force of the seasons. | 0:22:04 | 0:22:08 | |
But that never stopped Alfred Vowles, a West Country photographer | 0:22:09 | 0:22:13 | |
who braved all weathers to capture Exmoor life in all its guises. | 0:22:13 | 0:22:18 | |
And today, we're going to recreate this picture | 0:22:21 | 0:22:24 | |
taken by Alfred nearly 100 years ago. | 0:22:24 | 0:22:26 | |
We've got the same location, the same hunt... | 0:22:26 | 0:22:31 | |
All we need now is a modern-day Alfred. | 0:22:33 | 0:22:36 | |
Cue Ray Turner. | 0:22:36 | 0:22:38 | |
At the tender age of 80, he's up for the challenge. | 0:22:38 | 0:22:41 | |
Best of all, Ray takes photos the Alfred way - using film. | 0:22:41 | 0:22:46 | |
And just like Alfred, we've set up a darkroom to develop our pictures | 0:22:46 | 0:22:50 | |
right next to where we'll be taking them. | 0:22:50 | 0:22:54 | |
All we've got to do now is get our subjects into position. | 0:22:54 | 0:22:58 | |
'That's nine horses...' | 0:22:59 | 0:23:01 | |
Hello! Scoot along. | 0:23:01 | 0:23:04 | |
We need a couple at this end. | 0:23:04 | 0:23:06 | |
'..32 hounds...' | 0:23:06 | 0:23:09 | |
Hup, hup, hup! | 0:23:09 | 0:23:12 | |
'..and ten foot followers. Easy!' | 0:23:12 | 0:23:15 | |
That man there should be a lady. But there we go! | 0:23:15 | 0:23:20 | |
Well, I am prettier than you! | 0:23:20 | 0:23:22 | |
INDISTINCT REPLY | 0:23:22 | 0:23:23 | |
Roger, we need these people now. | 0:23:23 | 0:23:25 | |
-No, they're just coming into it now. -OK. | 0:23:25 | 0:23:27 | |
-Otherwise they're going to get all mixed up in the melee. -Right. | 0:23:27 | 0:23:30 | |
Let's do it. | 0:23:31 | 0:23:32 | |
I'll come in here. | 0:23:32 | 0:23:34 | |
'Not only are we recreating Alfred's original photograph, | 0:23:34 | 0:23:37 | |
'many of the people here have a connection with | 0:23:37 | 0:23:40 | |
'those in the picture and the place it was taken.' | 0:23:40 | 0:23:43 | |
I'm Angela and I'm in the same position as my grandfather is | 0:23:45 | 0:23:49 | |
in the photograph, when he farmed at Hindon. | 0:23:49 | 0:23:53 | |
I am Richard, the huntsman of the Minehead Harriers. | 0:23:53 | 0:23:56 | |
I have the same position as a gentleman all those years ago. | 0:23:56 | 0:24:00 | |
I'm Penny Webber. I have lived this farmhouse for 37 years. | 0:24:00 | 0:24:04 | |
I'm Roger Webber. I was born here at Hindon, | 0:24:04 | 0:24:07 | |
and I'm the third generation of the family to live and farm here. | 0:24:07 | 0:24:11 | |
Even the hounds are direct descendants of the pack | 0:24:11 | 0:24:14 | |
shown in the photo. | 0:24:14 | 0:24:16 | |
-Right, Ray, are you set? -OK. | 0:24:19 | 0:24:21 | |
OK, three, two, one, smile! | 0:24:23 | 0:24:25 | |
CAMERA SHUTTER CLICKS | 0:24:25 | 0:24:27 | |
Lovely. That's fine. | 0:24:27 | 0:24:29 | |
-Ray, have we recreated history? -We certainly have. -Excellent. | 0:24:29 | 0:24:33 | |
ALL CHEER | 0:24:33 | 0:24:35 | |
After the chaos, the calm of Ray's darkroom beckons. | 0:24:37 | 0:24:41 | |
Now to develop our photos just as Alfred would've done | 0:24:41 | 0:24:44 | |
in his makeshift dark room nearly 100 years ago. | 0:24:44 | 0:24:49 | |
-Ray, have you ever done this before? -Yes. -In a barn? | 0:24:51 | 0:24:54 | |
No, not in a barn, no. | 0:24:54 | 0:24:55 | |
Nervous, or is it all going to work out? | 0:24:55 | 0:24:57 | |
I think it'll work out OK, but I'm a little apprehensive about it. | 0:24:57 | 0:25:00 | |
Some of the younger Countryfile viewers will never have seen | 0:25:00 | 0:25:04 | |
this setup - the negative. | 0:25:04 | 0:25:06 | |
-It's just all digital these days. -It is. | 0:25:06 | 0:25:08 | |
I get a huge satisfaction from doing it this way. | 0:25:08 | 0:25:11 | |
-You've got to work for it. -That's right. | 0:25:11 | 0:25:14 | |
What's first in the process, then? | 0:25:14 | 0:25:15 | |
The first in the process is to make a test | 0:25:15 | 0:25:19 | |
-to establish the correct time. -So you've got to do a tester first? | 0:25:19 | 0:25:22 | |
-Yes. -Right. Lights off for that? -Lights off, yes. -You ready? | 0:25:22 | 0:25:26 | |
-Shall I do it now? -Yes, OK. -So this is just a test. | 0:25:26 | 0:25:29 | |
This is how dark it is going to be, everyone. | 0:25:29 | 0:25:32 | |
'Time for the Countryfile night-vision camera.' | 0:25:32 | 0:25:35 | |
And why do we have to do all of this in the dark, Ray? | 0:25:35 | 0:25:38 | |
Because this paper is sensitive to light. | 0:25:38 | 0:25:41 | |
-Do you think there's a particular negative that's got the shot? -I do. | 0:25:41 | 0:25:44 | |
-Are you happy with one? -Yes, I think I've got the right one. | 0:25:44 | 0:25:47 | |
How long have you got to expose it for? | 0:25:47 | 0:25:49 | |
I'm going to give this one nine seconds. You'll see. | 0:25:49 | 0:25:52 | |
-It's started. -There's too much light coming in. -Is there? | 0:25:54 | 0:25:59 | |
-We're not in a dark enough dark room? -We'll see what we've got. | 0:25:59 | 0:26:03 | |
Here it goes, in the developer. | 0:26:03 | 0:26:06 | |
It's getting a faint image now, | 0:26:06 | 0:26:08 | |
but I think it's not long enough. | 0:26:08 | 0:26:11 | |
-Let it go for a moment. -How long do you need in each tray? | 0:26:11 | 0:26:14 | |
In this one, about two minutes, but here it's gone black, | 0:26:14 | 0:26:18 | |
so it means I've overexposed the thing, so we'll try another one. | 0:26:18 | 0:26:22 | |
There is always a bit of trial and error in this process. | 0:26:24 | 0:26:27 | |
Getting the exposure just right is tricky. | 0:26:27 | 0:26:30 | |
Undaunted, we give it one more go. | 0:26:30 | 0:26:33 | |
I think the spirit of AV is watching over us | 0:26:37 | 0:26:40 | |
and sending us good luck vibes. | 0:26:40 | 0:26:42 | |
We can see something starting to develop now. | 0:26:42 | 0:26:45 | |
It is going to be a reasonable image, I think. | 0:26:45 | 0:26:48 | |
Is that coming along as you'd hoped? | 0:26:48 | 0:26:50 | |
It's coming along much better, I think, this time. | 0:26:50 | 0:26:53 | |
I'll let that drain a moment. | 0:26:54 | 0:26:56 | |
Everything is about timing, getting the right timing. | 0:26:56 | 0:26:59 | |
Put it face down in there, stop it. | 0:26:59 | 0:27:02 | |
-Right - develop, stop, fix. -That's it. You've got it. | 0:27:02 | 0:27:07 | |
So you're stopping the development now. | 0:27:07 | 0:27:10 | |
-You halting it in the place that you think... -That's right. | 0:27:10 | 0:27:13 | |
Put the lights on, please, and we'll see what sort of image we've got. | 0:27:13 | 0:27:18 | |
-We have light. -Whoo! -We've got an image! | 0:27:18 | 0:27:22 | |
-Ray, that is fabulous. -It's OK, I think, isn't it? | 0:27:22 | 0:27:25 | |
What are you not happy with?! | 0:27:25 | 0:27:28 | |
-Look, we're in a barn, it's not completely dark! -Right! | 0:27:28 | 0:27:31 | |
Recreating a little bit of history from the early 1900s. | 0:27:31 | 0:27:35 | |
-It's wonderful, isn't it? -Isn't that lovely! Top, top work. | 0:27:35 | 0:27:38 | |
One of the nicest things I've ever done. | 0:27:38 | 0:27:41 | |
I've always wanted to do this! | 0:27:41 | 0:27:43 | |
Absolute magic. | 0:27:45 | 0:27:47 | |
I'm sure Alfred Vowles would have been proud of our efforts, | 0:27:49 | 0:27:52 | |
and it's amazing to think that he produced | 0:27:52 | 0:27:55 | |
thousands of photographs this way, capturing Exmoor life for ever. | 0:27:55 | 0:28:00 | |
Last year, Adam's favourite bull, Eric, | 0:28:05 | 0:28:09 | |
became a proud father for the first time. | 0:28:09 | 0:28:12 | |
Now two of his offspring are moving into adulthood, | 0:28:12 | 0:28:15 | |
which means they're due a lesson in how to be a good bull. | 0:28:15 | 0:28:19 | |
These are two of Eric's calves. | 0:28:34 | 0:28:37 | |
The females are still in the yard - Maisie and Mavourna - | 0:28:37 | 0:28:39 | |
then we've got McGee here, and then one was that born a little later, | 0:28:39 | 0:28:43 | |
Mick, and McGee is one of my favourites. | 0:28:43 | 0:28:47 | |
Eric was an expensive breeding bull | 0:28:47 | 0:28:49 | |
and hopefully, these young fellas will be sold in the Highland sales | 0:28:49 | 0:28:54 | |
and they'll pay back for some of Eric's cost. | 0:28:54 | 0:28:57 | |
McGee here is a young bull, he's been weaned off his mother, | 0:28:57 | 0:29:01 | |
so he's now entering adult life, | 0:29:01 | 0:29:04 | |
and what I've got to do is get him nice and quiet. | 0:29:04 | 0:29:07 | |
When you're choosing young bulls for breeding, | 0:29:19 | 0:29:22 | |
they've got to be correct in every way, because one bull will | 0:29:22 | 0:29:25 | |
serve around 20 cows, so you don't need very many of them to sell. | 0:29:25 | 0:29:29 | |
It is quite a competitive market and McGee here is well made up, | 0:29:29 | 0:29:33 | |
he's got a good body, he walks well, | 0:29:33 | 0:29:35 | |
but one of the most important things I think about breeding bulls | 0:29:35 | 0:29:40 | |
is their temperament. So it's about treating them | 0:29:40 | 0:29:44 | |
to respect the halter and to respect you at a young age, | 0:29:44 | 0:29:48 | |
and then they grow up with manners, really. | 0:29:48 | 0:29:51 | |
These are testosterone-filled beasts. Come on, then, mate. | 0:29:51 | 0:29:55 | |
You could have a rodeo on your hands, but, actually, little McGee here | 0:29:55 | 0:29:58 | |
has got a good temperament. I'm really pleased with him. | 0:29:58 | 0:30:01 | |
Because if it had turned out that he was vicious | 0:30:01 | 0:30:04 | |
and bit mad, it would have been beefburgers. So, you're a lucky boy. | 0:30:04 | 0:30:09 | |
You might go on to be a dad one day. | 0:30:09 | 0:30:13 | |
Highland calves are pretty easy to train. | 0:30:17 | 0:30:20 | |
I rarely have problems with them, | 0:30:20 | 0:30:22 | |
so I'm quite happy to halter train them myself, | 0:30:22 | 0:30:24 | |
but there are other animals on my farm that are a bit trickier. | 0:30:24 | 0:30:28 | |
These are my Exmoor foals. | 0:30:34 | 0:30:37 | |
The Exmoors are a very lovely, strong, hardy breed. | 0:30:37 | 0:30:40 | |
I'm just loading them into this trailer. | 0:30:40 | 0:30:43 | |
Go on, then, little babies. Up you go. | 0:30:43 | 0:30:45 | |
Very good. The Exmoor makes a great riding pony and for driving. | 0:30:45 | 0:30:50 | |
You can put it in a cart, but to do that they need to be quiet, | 0:30:50 | 0:30:54 | |
halter trained. You need to be able to work with them. | 0:30:54 | 0:30:57 | |
That takes expertise and time to be able to get a pony in that | 0:30:57 | 0:31:01 | |
sort of condition and it's something I've got very little of, | 0:31:01 | 0:31:04 | |
so I'm taking them up to the college in Cheshire | 0:31:04 | 0:31:07 | |
where they're going to do the job for me. | 0:31:07 | 0:31:10 | |
I'm off to Reaseheath College, where they teach various | 0:31:15 | 0:31:18 | |
aspects of agriculture and have a world-class equine centre. | 0:31:18 | 0:31:22 | |
Transporting horses and foals like this is quite common | 0:31:22 | 0:31:25 | |
and generally safe. | 0:31:25 | 0:31:26 | |
The foals have already been fed and watered | 0:31:26 | 0:31:29 | |
and as the journey is only a couple of hours, they should be fine. | 0:31:29 | 0:31:33 | |
'I'm being met by Caroline Booth, head of the Equine Department.' | 0:31:37 | 0:31:41 | |
-Hi. -Hi, Adam. -Goodness me, it's chucking it down. | 0:31:41 | 0:31:45 | |
-Welcome to Reaseheath College Equestrian Centre. -Thank you. | 0:31:45 | 0:31:49 | |
Well, they've had a lovely journey down. | 0:31:49 | 0:31:51 | |
I've got them in there as four loose. | 0:31:51 | 0:31:53 | |
They're obviously not broken at all, so they're not tied up, | 0:31:53 | 0:31:56 | |
-so I think we just drop the tailboard and let them out. -Yes. | 0:31:56 | 0:32:00 | |
They were keen to run down the tailboard. | 0:32:04 | 0:32:06 | |
They're obviously pleased to be here. So what's the plan with them now? | 0:32:06 | 0:32:10 | |
We'll let them settle into this corral area for a few hours, | 0:32:10 | 0:32:13 | |
then we'll open up the stable door adjacent the to the corral, | 0:32:13 | 0:32:16 | |
and get you them used to going in and out the stable. | 0:32:16 | 0:32:19 | |
From here, either this evening, possibly tomorrow, | 0:32:19 | 0:32:22 | |
we'll separate them and get them used to being handled individually. | 0:32:22 | 0:32:26 | |
We'll get the halters on them, get them used to be led in hand, | 0:32:26 | 0:32:28 | |
stopping and starting, so hopefully when you come back in a few weeks, | 0:32:28 | 0:32:33 | |
they'll be leading in hand and be confident little foals. | 0:32:33 | 0:32:36 | |
It sounds amazing. I can hardly believe it. | 0:32:36 | 0:32:38 | |
Reaseheath has more than 60 horses. | 0:32:41 | 0:32:43 | |
Students here learn all aspects of horsemanship, | 0:32:43 | 0:32:46 | |
including grooming, yard management and riding. | 0:32:46 | 0:32:49 | |
So I think my foals are in good hands for their first night away from home. | 0:32:49 | 0:32:54 | |
It's first thing in the morning and, like the farming world, | 0:33:01 | 0:33:04 | |
the equine people get started early. | 0:33:04 | 0:33:06 | |
There's lots of action going on | 0:33:06 | 0:33:08 | |
and I'm keen to see how the foals have settled in. | 0:33:08 | 0:33:11 | |
It was their first night away from home so it's probably a bit strange. | 0:33:11 | 0:33:15 | |
Morning, Chris. | 0:33:15 | 0:33:16 | |
Good morning. | 0:33:16 | 0:33:18 | |
Goodness me, they've got a halter on one already. Hi, Caroline. | 0:33:18 | 0:33:23 | |
-Morning, Adam. -Wow, you're doing so well. How have they settled in? | 0:33:23 | 0:33:27 | |
They settled in very well. | 0:33:27 | 0:33:29 | |
We managed to work with two of the foals last night | 0:33:29 | 0:33:32 | |
and we managed to separate them. | 0:33:32 | 0:33:34 | |
It's the first time they've been away on their own, individually, | 0:33:34 | 0:33:37 | |
and we managed to get a halter on two of the foals, | 0:33:37 | 0:33:41 | |
-which is really good. -How long did that take? | 0:33:41 | 0:33:43 | |
With this little chap, it took about 20 to 30 minutes. | 0:33:43 | 0:33:46 | |
We took our time. We wanted to make sure we gained his trust | 0:33:46 | 0:33:50 | |
-and comfortable with us working with him. -Horse psychology, really. -Yes. | 0:33:50 | 0:33:54 | |
-Very much so. -It's definitely working. | 0:33:54 | 0:33:57 | |
I feel quite emotional. | 0:33:57 | 0:33:59 | |
It's really great that you've done so well so quickly. | 0:33:59 | 0:34:02 | |
Ah, that's lovely. | 0:34:02 | 0:34:03 | |
My foals are off to a great start. | 0:34:05 | 0:34:07 | |
It's going to be a game of patience, though, but while I'm here, | 0:34:07 | 0:34:11 | |
I'm keen to see what's in store for them over the coming months. | 0:34:11 | 0:34:15 | |
What's that got to do with horses? | 0:34:18 | 0:34:20 | |
I don't know. | 0:34:20 | 0:34:21 | |
Some people think you just jump on a horse and off you go, | 0:34:25 | 0:34:29 | |
but there is an awful lot of work involved before you can ride one. | 0:34:29 | 0:34:32 | |
Here, horses are being worked through different scenarios | 0:34:32 | 0:34:36 | |
so they become acclimatised to various environments. | 0:34:36 | 0:34:39 | |
I'm hoping to get involved so a bit of health and safety. | 0:34:42 | 0:34:45 | |
I'm just getting a riding hat on...which I never look good in. | 0:34:45 | 0:34:49 | |
Right, I've got a horse, so walk it forward? | 0:34:49 | 0:34:53 | |
We're going to walk over the tarpaulin | 0:34:53 | 0:34:55 | |
so look where you're going and a positive walk. Well done. | 0:34:55 | 0:34:59 | |
-If she wants to look at it, she can do. -Whoa... -Well done. | 0:34:59 | 0:35:04 | |
Just let her get used to the feel of the tarp underneath her feet. | 0:35:04 | 0:35:08 | |
So you're setting up a scenario of strange surfaces? | 0:35:08 | 0:35:12 | |
Yes, absolutely, so when the horse starts to | 0:35:12 | 0:35:15 | |
load into the trailer, it's more familiar to them, putting their feet | 0:35:15 | 0:35:19 | |
on strange surfaces, and also the noise the trailer ramp will make. | 0:35:19 | 0:35:22 | |
-She had a little look at it, but she was OK. -She is. -Walk on. -Well done. | 0:35:22 | 0:35:26 | |
And just give her all the time she needs... And stop. Well done. | 0:35:30 | 0:35:34 | |
-Give her a stroke and let her know she's done well. -That's brilliant. | 0:35:34 | 0:35:37 | |
So what we're doing here is that we're mimicking the horse stepping | 0:35:37 | 0:35:41 | |
onto something when we are preparing the horse to go into the trailer. | 0:35:41 | 0:35:46 | |
-So we're de-sensitising the horses. -Walk on, then. Walk on. | 0:35:46 | 0:35:49 | |
Well done. | 0:35:51 | 0:35:52 | |
This obstacle looks a bit scary. What's this about? | 0:35:54 | 0:35:57 | |
Some horses are frightened of going into horseboxes with low ceilings. | 0:35:57 | 0:36:00 | |
This helps to build their confidence in going through something | 0:36:00 | 0:36:04 | |
-that's different. -So, will my Exmoors be doing stuff like this? | 0:36:04 | 0:36:07 | |
-All going according to plan, in a few weeks, yes, they will. -Great. | 0:36:07 | 0:36:11 | |
Well, it's been a fascinating day here in the college, | 0:36:18 | 0:36:21 | |
and the foals have settled in so well. | 0:36:21 | 0:36:23 | |
I've come to say goodbye to them. | 0:36:23 | 0:36:25 | |
They tell me, when I come back and get them in March, | 0:36:25 | 0:36:28 | |
they'll be fully trained. Well, we'll have to wait and see! | 0:36:28 | 0:36:31 | |
Next week, I'm heading to Bury St Edmunds to learn all about sugar. | 0:36:32 | 0:36:37 | |
The exposed open spaces of Exmoor... | 0:36:48 | 0:36:51 | |
the perfect place for one of our most beautiful silent hunters. | 0:36:51 | 0:36:56 | |
The barn owl. | 0:36:57 | 0:36:59 | |
But in the last 50 years, they've struggled to survive. | 0:37:02 | 0:37:06 | |
Devon and Somerset used to be real strongholds for the birds, | 0:37:09 | 0:37:12 | |
but since the '60s, the numbers have plummeted, | 0:37:12 | 0:37:15 | |
in some places by as much as 70%. | 0:37:15 | 0:37:18 | |
So what's the problem? | 0:37:19 | 0:37:21 | |
Well, it's thought a loss of habitat | 0:37:21 | 0:37:24 | |
and a lack of prey are to blame. | 0:37:24 | 0:37:26 | |
But the kind of weather we've had for the last 12 months can't | 0:37:26 | 0:37:29 | |
have helped. Barn owls, like us, don't like the rain. | 0:37:29 | 0:37:33 | |
Their feathers are built to be stealthy and silent, | 0:37:33 | 0:37:36 | |
but they're not 100% waterproof, | 0:37:36 | 0:37:38 | |
which means hunting in the pouring rain is not ideal. | 0:37:38 | 0:37:41 | |
I mean, look at it up here on this high ground. | 0:37:41 | 0:37:43 | |
It's still absolutely sodden underfoot. | 0:37:43 | 0:37:46 | |
Jonathan Webber and his family haven't seen barn owls | 0:37:48 | 0:37:51 | |
-on their farmland for years. How are you? -Very well. | 0:37:51 | 0:37:55 | |
-Do you want me to catch you? -I'll risk it. | 0:37:55 | 0:37:57 | |
Friend or foe, the barn owl, to the farmer? | 0:37:57 | 0:38:01 | |
I see them as a friend, really. | 0:38:01 | 0:38:03 | |
They control vermin, they don't cause any damage that I know to what we | 0:38:03 | 0:38:08 | |
do, but it would be nice to have them around to keep the balance going. | 0:38:08 | 0:38:12 | |
-So you'd like to see them back? -Yeah, definitely. | 0:38:12 | 0:38:14 | |
-I might have a plan for you. I'll be back later. -All right. | 0:38:14 | 0:38:18 | |
'Help is at hand for Jonathan and other farmers on Exmoor, | 0:38:18 | 0:38:21 | |
'thanks to a project run by the Somerset Wildlife Trust. | 0:38:21 | 0:38:25 | |
'Their aim - to put up 335 barn owl boxes. | 0:38:26 | 0:38:30 | |
'One for every parish in the county. | 0:38:32 | 0:38:34 | |
'And in each of those parishes, | 0:38:35 | 0:38:37 | |
'they're spreading the word on how everyone can get involved.' | 0:38:37 | 0:38:40 | |
-Hello, hello. -Hello! -Hello, everyone. | 0:38:40 | 0:38:43 | |
-CHILDREN: Hello! -Nice to see you. | 0:38:43 | 0:38:46 | |
-She's beautiful, isn't she? -Yes. -Very lovely. Gorgeous colours. | 0:38:46 | 0:38:51 | |
So, how are these guys getting involved? | 0:38:51 | 0:38:55 | |
We've actually had some schools which have | 0:38:55 | 0:38:57 | |
used some of their own playing areas to recreate | 0:38:57 | 0:39:00 | |
the habitat of the barn owl, | 0:39:00 | 0:39:02 | |
but the other thing that they can do is that we collect lots of | 0:39:02 | 0:39:05 | |
barn owl pellets from the wild, and we analyse the prey, | 0:39:05 | 0:39:09 | |
so we've brought pellets today | 0:39:09 | 0:39:11 | |
and will get the children to analyse those pellets for us. | 0:39:11 | 0:39:14 | |
-I'm going to have a look in the pellets, then. -Yeah, do. | 0:39:14 | 0:39:17 | |
-Hello. -Hello. -Right, what have we got going on here? | 0:39:17 | 0:39:20 | |
-We're dissecting owl pellets. -How lovely(!) | 0:39:20 | 0:39:22 | |
Just how I like spending a morning. | 0:39:22 | 0:39:25 | |
-And what are you finding inside these pellets? -Skulls and jaws. | 0:39:25 | 0:39:28 | |
-Skulls and jaws?! -Leg bones. -And leg bones. | 0:39:28 | 0:39:31 | |
We found a water vole skull. | 0:39:31 | 0:39:34 | |
Voles tend to make up most of the pellet, | 0:39:34 | 0:39:37 | |
because that's favourite food of the barn owl. | 0:39:37 | 0:39:40 | |
In the wild, barn owls eat an average of nearly | 0:39:42 | 0:39:45 | |
1,500 small mammals a year. | 0:39:45 | 0:39:47 | |
And that's where farmers can play their part. | 0:39:47 | 0:39:50 | |
Rough grassland on the edge of fields is ideal habitat | 0:39:50 | 0:39:54 | |
for voles, mice and shrews - perfect owl dinner. | 0:39:54 | 0:39:57 | |
So, I'm going back to Jonathan's family farm with Chris Sperring. | 0:40:00 | 0:40:04 | |
-Afternoon. -Hello there. | 0:40:04 | 0:40:07 | |
We're going to see if his old barn has what it takes to become | 0:40:07 | 0:40:09 | |
the perfect barn owl abode. | 0:40:09 | 0:40:11 | |
Now, I've got a good feeling about this, gentlemen. | 0:40:11 | 0:40:14 | |
It could be a union made in heaven. | 0:40:14 | 0:40:17 | |
-Show us the spot we were at earlier, please. -Come with me. | 0:40:17 | 0:40:19 | |
-The area has to be surveyed to make sure it's suitable. -This is it. | 0:40:19 | 0:40:24 | |
It's looking quite barn owl cosy. | 0:40:24 | 0:40:27 | |
-Fingers crossed that Chris gives it the thumbs-up. -This is very nice. | 0:40:27 | 0:40:32 | |
We've got the holes there, so the barn owls can go in and out. | 0:40:32 | 0:40:35 | |
And what I really like here - look at this - this pillar is ready made. | 0:40:35 | 0:40:39 | |
-We could just stick the box on the top. -Of the chimney? | 0:40:39 | 0:40:41 | |
Why not? I reckon that would be pretty good there. | 0:40:41 | 0:40:43 | |
And this would provide shelter, wouldn't it, Jonathan? | 0:40:43 | 0:40:46 | |
I hope so. It gets quite exposed up here. | 0:40:46 | 0:40:49 | |
But, burning issue I've got, Jonathan, is habitat. | 0:40:49 | 0:40:52 | |
What we're trying to do is to unlock the vole population, | 0:40:52 | 0:40:56 | |
and that means putting a little grassland margin around. | 0:40:56 | 0:40:59 | |
Is there any chance you could leave a margin around the edge? | 0:40:59 | 0:41:02 | |
-Yeah, I don't see why not... -Stop there! -You've got your box. -Done! | 0:41:02 | 0:41:07 | |
I feel like Cilla Black in the good old days of Blind Date. | 0:41:07 | 0:41:11 | |
-It's beautiful. Let's get the box. -Let's go. -Mind your head. | 0:41:11 | 0:41:15 | |
'Now, that's what I call cosy. | 0:41:23 | 0:41:25 | |
'Let's hope the owls think so too.' | 0:41:25 | 0:41:28 | |
Gentlemen, I think my work here is done, | 0:41:28 | 0:41:31 | |
so I shall leave you with your barn and your barn owl box | 0:41:31 | 0:41:34 | |
and I shall return at some time in the future, | 0:41:34 | 0:41:37 | |
hopefully to see the fruits of your labour. | 0:41:37 | 0:41:39 | |
-Goodbye. -Bye. -Thank you. | 0:41:39 | 0:41:42 | |
Earlier, we heard how the killer disease Schmallenberg | 0:41:44 | 0:41:47 | |
has returned to the UK with devastating effects for farmers, | 0:41:47 | 0:41:50 | |
but as Tom has been finding out, | 0:41:50 | 0:41:52 | |
there may be even more trouble on the horizon. | 0:41:52 | 0:41:55 | |
'Lambing should be a joyful task, but not on this farm.' | 0:41:57 | 0:42:00 | |
The ones with the straight stripe across their backside, | 0:42:00 | 0:42:03 | |
they're the ones that,unfortunately, | 0:42:03 | 0:42:05 | |
we've got no lambs on at the moment because | 0:42:05 | 0:42:07 | |
they've had Schmallenberg lambs born. | 0:42:07 | 0:42:09 | |
-There are quite a few of those. -Yeah, yeah. | 0:42:09 | 0:42:11 | |
Unfortunately, there's far too many for my liking. | 0:42:11 | 0:42:14 | |
'Charles Sercombe has lost 40% of his lambs to Schmallenberg, | 0:42:14 | 0:42:19 | |
'and he worries that more diseases like this may be on the way.' | 0:42:19 | 0:42:23 | |
Schmallenberg has followed bluetongue and has followed | 0:42:23 | 0:42:27 | |
foot and mouth in the last 10, 12 years. | 0:42:27 | 0:42:30 | |
There's a strong possibility that we will have to face | 0:42:30 | 0:42:32 | |
an increased challenge from more exotic diseases. | 0:42:32 | 0:42:35 | |
It's similar to Schmallenberg, that we have totally... | 0:42:35 | 0:42:39 | |
beyond our control. | 0:42:39 | 0:42:41 | |
Many scientists share the fears of farmers like Charles. | 0:42:43 | 0:42:46 | |
That's why at Pirbright, one of the UK's top research centres, | 0:42:46 | 0:42:51 | |
they're looking into the potential diseases of tomorrow. | 0:42:51 | 0:42:54 | |
I've been granted access to their strange and skin-crawling world. | 0:42:54 | 0:42:59 | |
Welcome to the insectary. | 0:43:00 | 0:43:03 | |
I hope they're not that big for real! | 0:43:03 | 0:43:06 | |
They've been rearing colonies of insects here since the 1970s - | 0:43:07 | 0:43:11 | |
midges and mosquitoes. | 0:43:11 | 0:43:13 | |
Experts agree that the biggest threat we face is from another | 0:43:15 | 0:43:20 | |
vector-borne disease - something that's brought in by insects, | 0:43:20 | 0:43:24 | |
like Schmallenberg or bluetongue. | 0:43:24 | 0:43:27 | |
-Wow. It looks like a static swarm of bees under here. -Absolutely. | 0:43:27 | 0:43:32 | |
They are focusing their efforts on probing the mild-mannered midge, | 0:43:32 | 0:43:37 | |
which carried both these diseases to this country. | 0:43:37 | 0:43:40 | |
So, we've seen really unprecedented outbreaks | 0:43:41 | 0:43:45 | |
of biting-midge-borne viruses, particularly. | 0:43:45 | 0:43:47 | |
There was no recorded events prior to 2006 of these things happening. | 0:43:47 | 0:43:51 | |
So other things that might be influencing this | 0:43:51 | 0:43:53 | |
are things like globalisation, so the globalisation of trade is | 0:43:53 | 0:43:57 | |
moving these viruses around the world through one means or another. | 0:43:57 | 0:44:00 | |
That's actually making it a lot more important to understand | 0:44:00 | 0:44:03 | |
how these insects behave in the field. | 0:44:03 | 0:44:06 | |
So, understanding the carriers of the disease helps us | 0:44:06 | 0:44:09 | |
-guard against their spread? -Absolutely, it's key. | 0:44:09 | 0:44:12 | |
I think, in terms of midge-borne diseases, the door is still open | 0:44:12 | 0:44:15 | |
because we don't understand | 0:44:15 | 0:44:16 | |
how these viruses are moving into Europe, | 0:44:16 | 0:44:19 | |
and into the UK specifically. | 0:44:19 | 0:44:21 | |
So there is a big risk of future biting-midge-borne outbreaks. | 0:44:21 | 0:44:25 | |
-It sounds a little bit alarming. -Absolutely. | 0:44:25 | 0:44:28 | |
It's something that we have a lot experience of dealing with, | 0:44:28 | 0:44:31 | |
but the unprecedented nature of these outbreaks makes it | 0:44:31 | 0:44:34 | |
something which we have to respond to rapidly, and with no notice. | 0:44:34 | 0:44:37 | |
But as the race to identify the diseases of tomorrow continues, | 0:44:40 | 0:44:44 | |
more than £50 million is being lost | 0:44:44 | 0:44:47 | |
from the UK's animal health budget. | 0:44:47 | 0:44:51 | |
So, how have these cuts affected the fight against Schmallenberg | 0:44:51 | 0:44:55 | |
and other diseases? | 0:44:55 | 0:44:56 | |
I'm on my way to ask the Government's Chief Vet, | 0:44:56 | 0:44:59 | |
Nigel Gibbons. | 0:44:59 | 0:45:01 | |
Schmallenberg, in effect, came out of a bit of a clear blue sky. | 0:45:05 | 0:45:10 | |
What concerns do you have about future diseases | 0:45:10 | 0:45:12 | |
coming to this country? | 0:45:12 | 0:45:14 | |
There are always threats out there. | 0:45:14 | 0:45:16 | |
We do our best to keep them out, but if they occur, | 0:45:16 | 0:45:19 | |
we got find them quickly. | 0:45:19 | 0:45:20 | |
Farmers need to tell us of changes, and vets be alert too. | 0:45:20 | 0:45:23 | |
Given that risk, does it help that the Government | 0:45:23 | 0:45:26 | |
is trimming off £51 million from its animal health budget? | 0:45:26 | 0:45:29 | |
Along with all of Government, | 0:45:29 | 0:45:31 | |
we've got to live within the means we have | 0:45:31 | 0:45:33 | |
and that's difficult for everybody, | 0:45:33 | 0:45:35 | |
but we're giving priority to the most important areas | 0:45:35 | 0:45:38 | |
and we are absolutely committed to both surveillance, | 0:45:38 | 0:45:41 | |
to enable us to spot disease early, and our ability to respond. | 0:45:41 | 0:45:44 | |
Won't those cuts make us more vulnerable to animal diseases? | 0:45:44 | 0:45:48 | |
We are always at risk. | 0:45:48 | 0:45:50 | |
You can never say a disease incursion won't happen, but | 0:45:50 | 0:45:53 | |
we are going to maintain our ability | 0:45:53 | 0:45:55 | |
to respond to disease when it occurs. | 0:45:55 | 0:45:57 | |
While the Government assures us that all will be well, | 0:45:59 | 0:46:02 | |
even with less cash to spread around, at the moment, | 0:46:02 | 0:46:04 | |
farmers don't even to have to report cases of Schmallenberg - | 0:46:04 | 0:46:08 | |
a fact that is concerning some. | 0:46:08 | 0:46:10 | |
Are the authorities doing the right thing, as far as you can tell? | 0:46:10 | 0:46:14 | |
Obviously, it's a new disease, | 0:46:14 | 0:46:16 | |
they decided not to make it notifiable | 0:46:16 | 0:46:19 | |
so there is no compulsion on any farmers to report it. | 0:46:19 | 0:46:22 | |
-What do you think about that? -I'm a bit nervous about that. | 0:46:22 | 0:46:25 | |
I think they could take it more seriously, | 0:46:25 | 0:46:27 | |
especially to determine where the disease has spread to | 0:46:27 | 0:46:30 | |
and the likely impact moving forward. | 0:46:30 | 0:46:32 | |
As I understand, this is not a notifiable disease, | 0:46:32 | 0:46:34 | |
Schmallenberg, why not? | 0:46:34 | 0:46:36 | |
Because...we understand the disease. | 0:46:36 | 0:46:40 | |
Although it can be very impactful on individual farmers, | 0:46:40 | 0:46:43 | |
who can have reasonably high losses, overall, it's not a huge impact. | 0:46:43 | 0:46:47 | |
It doesn't affect people, and there's very little | 0:46:47 | 0:46:49 | |
we can do to impede the spread of the disease, so making it notifiable | 0:46:49 | 0:46:53 | |
doesn't really allow us to do anything to change what will happen. | 0:46:53 | 0:46:57 | |
How we handle current and future threats | 0:46:59 | 0:47:03 | |
will continue to be the subject of much debate, | 0:47:03 | 0:47:06 | |
but what everyone does agree on is that in the next few years, | 0:47:06 | 0:47:09 | |
something new and unexpected is likely to land on these shores. | 0:47:09 | 0:47:14 | |
Maybe Schmallenberg should serve as a warning of things to come. | 0:47:16 | 0:47:20 | |
Here in the winter wilds of Exmoor, | 0:47:29 | 0:47:32 | |
I'm on the trail of the Doones, | 0:47:32 | 0:47:34 | |
the outlaw villains of Blackmore's famous novel, Lorna Doone. | 0:47:34 | 0:47:38 | |
The stronghold of the Doone family was in Glen Doone, | 0:47:38 | 0:47:41 | |
and that's where I'm heading. The question is, how do I find it? | 0:47:41 | 0:47:46 | |
It's a fictional place, after all. Or is it? | 0:47:46 | 0:47:49 | |
Can you believe it? | 0:47:49 | 0:47:50 | |
It's even made it onto the Ordnance Survey map. | 0:47:50 | 0:47:54 | |
Look, there it is. Doone Country. | 0:47:54 | 0:47:56 | |
There is a little bit of controversy as to | 0:47:56 | 0:47:58 | |
whether or not it is in exactly the right spot, | 0:47:58 | 0:48:01 | |
but one thing is for sure, that the characters | 0:48:01 | 0:48:04 | |
and the places in the novel have become so integral to the landscape | 0:48:04 | 0:48:07 | |
that even the cartographers cannot ignore it. | 0:48:07 | 0:48:10 | |
Very shortly, we're going to be heading out into the wilds to try | 0:48:10 | 0:48:13 | |
and get to the stronghold of the Doone family, which is no mean feat | 0:48:13 | 0:48:17 | |
in this weather, let me tell you, | 0:48:17 | 0:48:19 | |
but while we get sorted out and packed up, why don't you see | 0:48:19 | 0:48:22 | |
what the Countryfile weather forecast has got in store | 0:48:22 | 0:48:25 | |
for the week ahead? | 0:48:25 | 0:48:27 | |
. | 0:50:50 | 0:50:57 | |
Exmoor - wet, windy, pretty bleak at this time of year - | 0:51:11 | 0:51:15 | |
just how RD Blackmore pictured these moors | 0:51:15 | 0:51:18 | |
when he wrote his famous novel, Lorna Doone. | 0:51:18 | 0:51:21 | |
I'm heading out into the heart of this wilderness in search | 0:51:21 | 0:51:24 | |
of the place reputed to be home to Blackmore's villains. | 0:51:24 | 0:51:28 | |
This is outlaw land, and where we're going is no easy ride. | 0:51:28 | 0:51:33 | |
The place that was to be the setting of Blackmore's Doone village | 0:51:33 | 0:51:38 | |
is an hour's trek that way, on a good day, | 0:51:38 | 0:51:41 | |
but with weather like this and with all of our camera equipment, | 0:51:41 | 0:51:44 | |
the chances are we'd never get there, | 0:51:44 | 0:51:46 | |
so we've enlisted the help of this 4x4. | 0:51:46 | 0:51:49 | |
We got special permission from the landowners to make this journey | 0:51:57 | 0:52:00 | |
in a 4x4, and I'm in good company, because our driver, | 0:52:00 | 0:52:04 | |
Ben Williams, knows this gnarled landscape like his own back garden. | 0:52:04 | 0:52:08 | |
Also hitching a lift is archaeologist Rob Wilson-North. | 0:52:08 | 0:52:12 | |
So, it's quite remote, this spot that we're heading towards? | 0:52:12 | 0:52:14 | |
It's about as remote as it gets on Exmoor, yeah. | 0:52:14 | 0:52:18 | |
Are we going up there? | 0:52:22 | 0:52:23 | |
-Yes, down in the bottom and then up the other side. -Classic. | 0:52:23 | 0:52:26 | |
This looks pretty, Ben. Good luck! | 0:52:26 | 0:52:29 | |
This bit here is the hairiest bit. | 0:52:29 | 0:52:31 | |
MATT LAUGHS | 0:52:31 | 0:52:33 | |
Whoo-hoo! | 0:52:38 | 0:52:39 | |
I started out with a carriage and horses, Rob, and now, now this! | 0:52:39 | 0:52:43 | |
I've had some pretty extreme journeys today. | 0:52:43 | 0:52:46 | |
Oh, there we go! | 0:52:46 | 0:52:48 | |
Pedal to the floor. | 0:52:48 | 0:52:51 | |
It's a beauty. | 0:52:51 | 0:52:52 | |
Yes! | 0:52:58 | 0:53:00 | |
Rob's been out to this site many times, | 0:53:01 | 0:53:04 | |
so what can he tell me about the Doones? | 0:53:04 | 0:53:08 | |
-Is this the Doone stronghold? -No, definitely not. | 0:53:08 | 0:53:11 | |
This is the medieval village. | 0:53:11 | 0:53:13 | |
It's a deserted medieval village, so it was gone by the 1400s, | 0:53:13 | 0:53:17 | |
so gone long before the Doones were meant to have been here. | 0:53:17 | 0:53:20 | |
This was not where the Doones lived? | 0:53:20 | 0:53:22 | |
-Lots of people are crying, watching the show. -Well... -There you are. | 0:53:22 | 0:53:27 | |
-Archaeology is tough sometimes. -That's it. | 0:53:27 | 0:53:30 | |
But the way to look at it, I think, is that Blackmore, | 0:53:30 | 0:53:33 | |
when he was thinking about Lorna Doone and the novel, | 0:53:33 | 0:53:37 | |
he came to this place and he looked at the village, | 0:53:37 | 0:53:40 | |
he saw the remains of the buildings, | 0:53:40 | 0:53:41 | |
-and that was his inspiration for the Doone village. -Yeah. | 0:53:41 | 0:53:44 | |
So, he walked around buildings we're going to see... | 0:53:44 | 0:53:47 | |
-I wonder how HE got there! -On horse. It's a lot easier on a horse. | 0:53:47 | 0:53:51 | |
You're doing well, Ben! | 0:53:51 | 0:53:53 | |
We're all right in the back, don't worry about us! | 0:53:53 | 0:53:55 | |
-You all happy? -Yes! Now I know what it feels like to be a spaniel. | 0:53:55 | 0:53:59 | |
ALL LAUGH | 0:53:59 | 0:54:01 | |
This is probably the end of the road here. | 0:54:04 | 0:54:06 | |
-I think we have to get out and walk now. This is the village. -Brilliant. | 0:54:06 | 0:54:11 | |
Ben, superb driving. Thank you very much. | 0:54:11 | 0:54:13 | |
We'll have a quick look round. Will you give us a lift back?! | 0:54:13 | 0:54:16 | |
-Certainly will. We'll try. -Good. | 0:54:16 | 0:54:18 | |
Did you bring the travel sickness pills? | 0:54:18 | 0:54:21 | |
It's taken us a good half hour across rough terrain | 0:54:24 | 0:54:28 | |
and, at first glance, | 0:54:28 | 0:54:30 | |
it's hard to imagine why anyone would choose to live out here. | 0:54:30 | 0:54:33 | |
But look closer, and there's water, | 0:54:33 | 0:54:35 | |
shelter and land to graze animals. | 0:54:35 | 0:54:38 | |
It even has its own microclimate. | 0:54:38 | 0:54:40 | |
You do notice a difference in the temperature. | 0:54:40 | 0:54:43 | |
Yeah. It's definitely grim today, | 0:54:43 | 0:54:45 | |
but it's a lot warmer down here than it is up there. | 0:54:45 | 0:54:47 | |
Yes, what a difference. Let's go and have a look. | 0:54:47 | 0:54:51 | |
Matt, it looks like the trees are covered in leaves but they're not. | 0:54:54 | 0:54:59 | |
-It's lichen. -Is it really? -That's because of air quality out here. | 0:54:59 | 0:55:03 | |
So, give us an idea of what would have been where. | 0:55:03 | 0:55:06 | |
-Well, you're in the middle of about 14 houses, I guess. -OK. | 0:55:06 | 0:55:09 | |
So, big community, and then beyond that, | 0:55:09 | 0:55:12 | |
you've got terraced fields on the hills, | 0:55:12 | 0:55:15 | |
where they grew arable crops, and then, beyond that, the grazing. | 0:55:15 | 0:55:18 | |
Matt, we've got a house here, just perched above the river, | 0:55:20 | 0:55:23 | |
and you can see traces of the walls either side of us, | 0:55:23 | 0:55:27 | |
and we might as well walk in through the door. | 0:55:27 | 0:55:29 | |
And we'd open out into what, do you think? | 0:55:29 | 0:55:32 | |
Well, you've got a longhouse with a family living at one end | 0:55:32 | 0:55:35 | |
-and their animals living at the other. That's the most likely. -OK. | 0:55:35 | 0:55:38 | |
Originally, it would probably have had some earth, some mud, cob | 0:55:38 | 0:55:42 | |
built on top of the stone, | 0:55:42 | 0:55:44 | |
so still low walls, then a kind of thatched roof. | 0:55:44 | 0:55:46 | |
-So a single storey? -Yes. | 0:55:46 | 0:55:49 | |
No windows, because they didn't have glass then, | 0:55:49 | 0:55:51 | |
so you've got no windows at all. | 0:55:51 | 0:55:53 | |
The only light comes in through the door, | 0:55:53 | 0:55:55 | |
and an open hearth and a fire burning all year round, really. | 0:55:55 | 0:55:59 | |
Badgworthy, as this spot is known, | 0:55:59 | 0:56:00 | |
is one of the finest pieces of undisturbed medieval landscape | 0:56:00 | 0:56:03 | |
in Southwest England, so it's not surprising it inspired Blackmore. | 0:56:03 | 0:56:08 | |
"Deep in the quiet valley there, away from noise, and violence, | 0:56:08 | 0:56:13 | |
"and brawl, save that of the rivulet, | 0:56:13 | 0:56:15 | |
"any man would have deemed them homes of simple mind and innocence, | 0:56:15 | 0:56:19 | |
"yet not a single house stood there but was the home of murder." | 0:56:19 | 0:56:23 | |
Seems incredible to me, | 0:56:23 | 0:56:25 | |
Rob, that Blackmore could come here and make this the stronghold | 0:56:25 | 0:56:28 | |
of an evil family, because it feels like there's no malice here at all. | 0:56:28 | 0:56:32 | |
-It's almost Hobbit-like. -It is, isn't it? | 0:56:32 | 0:56:35 | |
Well, it's the end of my journey, and I can't exactly say | 0:56:35 | 0:56:39 | |
that I have managed to crack the mystery of the Doones. | 0:56:39 | 0:56:42 | |
My last hope is driver Ben. Surely he's got the local gossip. | 0:56:42 | 0:56:45 | |
Well, Ben, this seems like a lovely way to finish the day. | 0:56:45 | 0:56:49 | |
-Cheers. -Yes, proper end to an Exmoor day. | 0:56:49 | 0:56:51 | |
The Doones, then. Fact or fiction? Come on. I can't work it out. | 0:56:51 | 0:56:56 | |
They're fact. There are lots of Doones still living here, | 0:56:56 | 0:56:59 | |
round and about Exmoor. | 0:56:59 | 0:57:00 | |
They probably don't think of themselves as Doones, but they are. | 0:57:00 | 0:57:03 | |
-But Lorna Doone? -Well, she might be here. -Oh, come on! | 0:57:03 | 0:57:06 | |
Tell you what, if there are any Doones out there, | 0:57:06 | 0:57:09 | |
get in contact via the website and shed a bit of light on the subject! | 0:57:09 | 0:57:12 | |
Anyway, that is all we've got time for from Exmoor. | 0:57:12 | 0:57:15 | |
Next week, we'll be in South Wales | 0:57:15 | 0:57:17 | |
finding out about the Welsh great escape, | 0:57:17 | 0:57:19 | |
and heading out to the coast | 0:57:19 | 0:57:21 | |
to see what's being done to rejuvenate the sand dunes. | 0:57:21 | 0:57:24 | |
I hope you can join us then. | 0:57:24 | 0:57:25 | |
Subtitles by Red Bee Media Ltd | 0:57:47 | 0:57:49 |