Browse content similar to Kent. Check below for episodes and series from the same categories and more!
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Hills with views over fields of gold. | 0:00:25 | 0:00:28 | |
A coastline that's rugged yet beautiful. | 0:00:28 | 0:00:31 | |
And vast expanses of marshland as far as the eye can see. | 0:00:31 | 0:00:34 | |
This is Kent. | 0:00:35 | 0:00:37 | |
If you're looking for isolation, | 0:00:39 | 0:00:41 | |
you can't go far wrong here on Elmley Marshes. | 0:00:41 | 0:00:44 | |
It's a haven for wildlife it's perfect for a bit of bird spotting. | 0:00:44 | 0:00:48 | |
But as these old ruins will reveal, | 0:00:48 | 0:00:50 | |
it hasn't always been a picture of tranquillity. | 0:00:50 | 0:00:53 | |
Further inland, one of the county's impressive country piles | 0:00:53 | 0:00:57 | |
is getting a 21st century make over. | 0:00:57 | 0:01:00 | |
This rather stately of homes | 0:01:00 | 0:01:02 | |
is in good nick on the outside, | 0:01:02 | 0:01:04 | |
but step inside Knole and it's rather a different story. | 0:01:04 | 0:01:08 | |
Previously unseen rooms in this magnificent house | 0:01:08 | 0:01:11 | |
are being transformed on a grand scale. | 0:01:11 | 0:01:14 | |
And I'll be one of the lucky few to get a sneak peak. | 0:01:14 | 0:01:17 | |
Helen's in the Wiltshire countryside - | 0:01:19 | 0:01:21 | |
a place that's provided inspiration for artists, | 0:01:21 | 0:01:24 | |
poets and writers for centuries. | 0:01:24 | 0:01:27 | |
One of the country's most famous war poets, Siegfried Sassoon, | 0:01:27 | 0:01:31 | |
chose to live here in Wiltshire for more than 30 years of his life. | 0:01:31 | 0:01:35 | |
He was famous for reflecting the horrors of war, | 0:01:35 | 0:01:37 | |
but when he moved here, | 0:01:37 | 0:01:39 | |
he chose to write about the beauty he found in the countryside. | 0:01:39 | 0:01:42 | |
Tom's looking into the pitfalls of mining. | 0:01:42 | 0:01:45 | |
This wet winter hasn't just meant extraordinary floods on the surface. | 0:01:45 | 0:01:49 | |
It's also waterlogged the ground, | 0:01:49 | 0:01:51 | |
making it incredibly heavy, | 0:01:51 | 0:01:54 | |
sometimes with jaw-dropping results. | 0:01:54 | 0:01:57 | |
Here, around 10,000 tons of rock and soil | 0:01:57 | 0:02:00 | |
simply fell down into an old lead mine. | 0:02:00 | 0:02:04 | |
So what can be done about the legacy of old mine workings | 0:02:04 | 0:02:08 | |
and their occasional tendency for catastrophic collapse? | 0:02:08 | 0:02:12 | |
I'll be investigating. | 0:02:12 | 0:02:13 | |
Hugging the country's south-eastern hip, Kent's a county of contrasts. | 0:02:21 | 0:02:26 | |
Patchwork fields give way to rugged coastline. | 0:02:26 | 0:02:29 | |
Stark shingle beaches hold austere beauty. | 0:02:29 | 0:02:33 | |
I'm just off the north Kent coast, | 0:02:33 | 0:02:35 | |
on the Isle of Sheppey. | 0:02:35 | 0:02:36 | |
It was once made up of three islands, | 0:02:36 | 0:02:38 | |
Sheppey, Harty and Elmley, | 0:02:38 | 0:02:40 | |
before the channel separating them silted up. | 0:02:40 | 0:02:43 | |
Now, today, we're being blasted by the wind | 0:02:43 | 0:02:46 | |
that's coming off the North Sea - the English Channel | 0:02:46 | 0:02:48 | |
and the Netherlands are just over there. | 0:02:48 | 0:02:50 | |
London is 46 miles in that direction | 0:02:50 | 0:02:52 | |
and you can just see Southend, appearing through the mist | 0:02:52 | 0:02:55 | |
on the Essex coast and there are some brilliant place names | 0:02:55 | 0:02:58 | |
around here, Halfway Houses and Horrid Hill, | 0:02:58 | 0:03:01 | |
not to mention Bedlams Bottom, | 0:03:01 | 0:03:03 | |
which you have to go down Raspberry Hill to get to. | 0:03:03 | 0:03:06 | |
But today, I am here to discover a ghost of Sheppey's past, | 0:03:06 | 0:03:10 | |
the Lost Village of Elmley. | 0:03:10 | 0:03:12 | |
I'm hoping islander Ken Ingleton can take me on an unconventional tour | 0:03:12 | 0:03:16 | |
through the wind and rain to find it! | 0:03:16 | 0:03:19 | |
Now then, Ken, are you all right? | 0:03:19 | 0:03:22 | |
Good lad, come on in. | 0:03:22 | 0:03:23 | |
KEN LAUGHS | 0:03:23 | 0:03:25 | |
It's absolutely horrendous! Very nice to see you, welcome. | 0:03:25 | 0:03:29 | |
LAUGHTER | 0:03:29 | 0:03:30 | |
-It's not exactly the day for a wander, is it? -No, | 0:03:30 | 0:03:33 | |
it's probably one of the worst days to be here, ever, I think! | 0:03:33 | 0:03:37 | |
LAUGHTER | 0:03:37 | 0:03:38 | |
So, it's hard to believe that this area, | 0:03:38 | 0:03:41 | |
it was a hive of activity, wasn't it? | 0:03:41 | 0:03:44 | |
Yes, there used to be probably just over 300 people | 0:03:44 | 0:03:47 | |
lived in the spot we're on now. | 0:03:47 | 0:03:50 | |
Right - what were they doing here, why were they here? | 0:03:50 | 0:03:52 | |
They found a stone around the Isle of Sheppey | 0:03:52 | 0:03:56 | |
that they could bake in a kiln and make it into cement. | 0:03:56 | 0:04:01 | |
And during the 1800s, it was in great demand for the new bridges... | 0:04:01 | 0:04:06 | |
-Down in London? -In London and here round the Isle of Sheppey. | 0:04:06 | 0:04:13 | |
The village of Elmley grew up around its Turkey Cement Works - | 0:04:13 | 0:04:16 | |
another great name. | 0:04:16 | 0:04:18 | |
The cement workers would beach their barges as the tides went down, | 0:04:18 | 0:04:22 | |
dig out the clay and float it round to the works. | 0:04:22 | 0:04:25 | |
There are still the remains of a boat here in the... | 0:04:25 | 0:04:29 | |
-can you see the ribs of it? -Oh! Yeah! | 0:04:29 | 0:04:32 | |
In the dock and that's where they used to bring the clay | 0:04:32 | 0:04:36 | |
and the claystone in. | 0:04:36 | 0:04:37 | |
So, all these workers that were around here, where did they live? | 0:04:40 | 0:04:43 | |
Well, the houses actually were on the road leading down to here. | 0:04:43 | 0:04:47 | |
-Right. -There were a few terraces, | 0:04:47 | 0:04:50 | |
-there were records of about 30 houses. -Uh-huh. -And a pub. | 0:04:50 | 0:04:55 | |
The Turkey Cement Works closed in 1902, | 0:04:57 | 0:05:00 | |
ground down by competition from across the water in Sittingbourne. | 0:05:00 | 0:05:04 | |
The village population dwindled dramatically, | 0:05:04 | 0:05:06 | |
as residents moved away in search of work. | 0:05:06 | 0:05:10 | |
Within a few years, the whole place was deserted. | 0:05:10 | 0:05:14 | |
Now, as it's stopped raining, | 0:05:14 | 0:05:16 | |
I've popped out to have a look at the old schoolhouse. | 0:05:16 | 0:05:18 | |
In 1919, a local newspaper reported that this, | 0:05:18 | 0:05:22 | |
the smallest school in England would be closing, | 0:05:22 | 0:05:24 | |
because it only had five children on its books. | 0:05:24 | 0:05:27 | |
And three of them were the teacher's! | 0:05:27 | 0:05:30 | |
These skeletal remains are all that's left | 0:05:30 | 0:05:33 | |
of Elmley's industrial past. | 0:05:33 | 0:05:36 | |
But what industry lost, nature has reclaimed, | 0:05:36 | 0:05:39 | |
as I will be finding out later. | 0:05:39 | 0:05:41 | |
Not all the relics of our industrial past are as visible as this. | 0:05:43 | 0:05:46 | |
Beneath the British countryside, there are thousands of disused mines | 0:05:46 | 0:05:51 | |
and, as Tom has been finding out, | 0:05:51 | 0:05:53 | |
we're still paying the price for venturing underground. | 0:05:53 | 0:05:56 | |
Two centuries ago, this stunning gorge in Shropshire | 0:06:04 | 0:06:07 | |
was at the heart of the Industrial Revolution. | 0:06:07 | 0:06:11 | |
But the revolution craved power, | 0:06:11 | 0:06:14 | |
so we went in search of this. | 0:06:14 | 0:06:18 | |
British industry was built on the backs of hundreds of thousands | 0:06:18 | 0:06:22 | |
of men, tunnelling beneath our landscape in search of this | 0:06:22 | 0:06:26 | |
precious source of energy, coal. | 0:06:26 | 0:06:30 | |
But that headlong rush for this industrial fuel | 0:06:30 | 0:06:33 | |
has left us with a potentially damaging legacy, | 0:06:33 | 0:06:36 | |
that, in places, risks taking the very ground from beneath our feet. | 0:06:36 | 0:06:41 | |
Ironbridge is claimed to be the birthplace | 0:06:44 | 0:06:46 | |
of the Industrial Revolution and now, it's a World Heritage Site. | 0:06:46 | 0:06:51 | |
But it WAS a cauldron of industry. | 0:06:51 | 0:06:55 | |
This has lead to unexpected consequences | 0:06:55 | 0:06:57 | |
and it falls to council engineer Neal Rushton to sort them out. | 0:06:57 | 0:07:02 | |
So, wow! What did happen here? | 0:07:02 | 0:07:04 | |
This hole collapsed in the road, | 0:07:04 | 0:07:06 | |
it's part of the legacy from past mining in the area. | 0:07:06 | 0:07:10 | |
Did it just open up like it is now? | 0:07:10 | 0:07:12 | |
Pretty much, it's getting steadily bigger, | 0:07:12 | 0:07:14 | |
which is what we'd expect to happen. | 0:07:14 | 0:07:16 | |
They're filling in the void, | 0:07:16 | 0:07:17 | |
but it'll keep collapsing down into the mine workings underneath. | 0:07:17 | 0:07:20 | |
15m down, there's a void and things are gradually settling in it? | 0:07:20 | 0:07:23 | |
Settling into it, exactly. | 0:07:23 | 0:07:25 | |
But the bad weather we've been having, | 0:07:25 | 0:07:27 | |
does make the risk higher and from an engineering point of view, | 0:07:27 | 0:07:31 | |
we've a period at the beginning of the year that we call shaft season, | 0:07:31 | 0:07:35 | |
when these collapses are most likely to occur. | 0:07:35 | 0:07:37 | |
If this hole is growing, I'll take one or two little steps back here! | 0:07:37 | 0:07:41 | |
Ironbridge may be particularly fragile, | 0:07:45 | 0:07:47 | |
but it's by no means the only place that has a problem with old mines. | 0:07:47 | 0:07:52 | |
'Imagine waking up to this - | 0:07:55 | 0:07:57 | |
'a hole that's swallowed your car, right outside your doorstep.' | 0:07:57 | 0:08:02 | |
There are more than 300 mine shaft collapses every year in the UK. | 0:08:02 | 0:08:08 | |
'It's at this moment, as a drill rig falls, | 0:08:08 | 0:08:11 | |
'that a workman is dragged, screaming in fear, | 0:08:11 | 0:08:13 | |
'into the exposed earth of a collapsing mineshaft.' | 0:08:13 | 0:08:16 | |
And he was holding on to my fence, screaming. | 0:08:16 | 0:08:20 | |
The recent wet weather means we've seen far more than usual | 0:08:20 | 0:08:24 | |
over the past few months. | 0:08:24 | 0:08:26 | |
We were rushing out and she was looking out the window, | 0:08:26 | 0:08:29 | |
"My car! My car! It's gone." | 0:08:29 | 0:08:32 | |
But as dramatic as these collapses are, | 0:08:32 | 0:08:34 | |
they're just one of the problems | 0:08:34 | 0:08:36 | |
caused by more than 300,000 disused mines and shafts | 0:08:36 | 0:08:40 | |
lurking beneath our feet. | 0:08:40 | 0:08:44 | |
Thank you. | 0:08:44 | 0:08:45 | |
Well, in order to understand the impact that mining can have | 0:08:45 | 0:08:48 | |
on the surface, I need to get down | 0:08:48 | 0:08:50 | |
and, quite probably, dirty, to where the problem starts. | 0:08:50 | 0:08:54 | |
Houses in the many ex-coal-mining communities like this one | 0:09:01 | 0:09:04 | |
near Wakefield are at risk, not only from the occasional collapse | 0:09:04 | 0:09:09 | |
of old shafts, but also from the more widespread problem of subsidence. | 0:09:09 | 0:09:14 | |
To find out why, I am joining mining engineer, Andy Smith. | 0:09:14 | 0:09:18 | |
So, how does coal mining actually work down here? | 0:09:20 | 0:09:22 | |
This disc spins round and cuts the coal, | 0:09:22 | 0:09:26 | |
the cowl pushes all the coal onto this chain conveyor | 0:09:26 | 0:09:30 | |
and it takes it out of the mine. | 0:09:30 | 0:09:32 | |
So those big teeth are cutting a slice of coal off there? | 0:09:32 | 0:09:35 | |
It's like a bacon slicer, yeah. | 0:09:35 | 0:09:37 | |
So, what about this lot here, all these hydraulic rams | 0:09:37 | 0:09:40 | |
and these machines? | 0:09:40 | 0:09:41 | |
These are what we call hydraulic chocks | 0:09:41 | 0:09:43 | |
and they control the roof lowering. When you bring these forward, | 0:09:43 | 0:09:46 | |
all the rock above us, all collapses because it becomes unsupported | 0:09:46 | 0:09:50 | |
-at the back. -So, the whole thing is gradually moving in this direction | 0:09:50 | 0:09:53 | |
and as you're cutting out coal over here, it's collapsing over there. | 0:09:53 | 0:09:57 | |
It's collapsing at the back, yes. | 0:09:57 | 0:09:58 | |
So all that goes up towards the surface then. | 0:09:58 | 0:10:00 | |
Really, so even down here, and we're over 100m down here, | 0:10:00 | 0:10:04 | |
will eventually have an effect on the surface? | 0:10:04 | 0:10:06 | |
It produces the sagging on the surface, yes. | 0:10:06 | 0:10:08 | |
From mineshaft collapses to subsidence, | 0:10:11 | 0:10:13 | |
the legacy of our exploits underground | 0:10:13 | 0:10:16 | |
is still being felt today. | 0:10:16 | 0:10:18 | |
So, what's the extent of the problem that mining has left behind? | 0:10:18 | 0:10:22 | |
The responsibility for managing the effects of past coal-mining | 0:10:22 | 0:10:25 | |
falls to the Coal Authority. | 0:10:25 | 0:10:28 | |
Carl Banton is the head of public safety and subsidence. | 0:10:28 | 0:10:32 | |
This is an example of the legacy of mining above ground, | 0:10:32 | 0:10:35 | |
but most of it is below ground. | 0:10:35 | 0:10:37 | |
What's the scale of that impact on the surface? | 0:10:37 | 0:10:40 | |
It's quite extensive, | 0:10:40 | 0:10:41 | |
there are 26,000 square kilometres of coalfield area | 0:10:41 | 0:10:44 | |
of which we think is around about 20 percent of that, | 0:10:44 | 0:10:47 | |
where there is potential problems. | 0:10:47 | 0:10:49 | |
What kind of scale of problem, what number of properties are involved? | 0:10:49 | 0:10:53 | |
We think eight million homes on the coalfield, | 0:10:53 | 0:10:56 | |
but, bringing that down to around about two million | 0:10:56 | 0:10:59 | |
on the shallow coalfield. | 0:10:59 | 0:11:01 | |
Two million sounds like a lot of properties, | 0:11:01 | 0:11:03 | |
how many of them are actively at risk? | 0:11:03 | 0:11:05 | |
We get reported 1,000 projects per year, | 0:11:05 | 0:11:08 | |
but when we investigate, around 40%, | 0:11:08 | 0:11:11 | |
400-odd are actually our liability | 0:11:11 | 0:11:13 | |
and they can range from a minor problem, minor cracking | 0:11:13 | 0:11:16 | |
to something a little bit larger. | 0:11:16 | 0:11:18 | |
Coal-mining accounts for more than half of the disused mines | 0:11:20 | 0:11:24 | |
and mine shafts across the UK. | 0:11:24 | 0:11:26 | |
There are also miles of tunnels that we've used to get at lead, | 0:11:26 | 0:11:30 | |
copper and the many other precious materials | 0:11:30 | 0:11:33 | |
that lie beneath the British countryside. | 0:11:33 | 0:11:35 | |
All of these can cause problems, too. | 0:11:35 | 0:11:38 | |
If you've ever read your house survey | 0:11:38 | 0:11:41 | |
and seen the word subsidence on it, you'll know it can cost you dear, | 0:11:41 | 0:11:45 | |
so with more and more homes being built on undeveloped land, | 0:11:45 | 0:11:49 | |
is this a problem we should be tackling more seriously? | 0:11:49 | 0:11:52 | |
That's what I will be investigating later. | 0:11:52 | 0:11:54 | |
It's not hard to find beauty within the Kent countryside. | 0:11:57 | 0:12:01 | |
I'm taking a wander through woodland, | 0:12:01 | 0:12:04 | |
where a quiet and peaceful retreat awaits. | 0:12:04 | 0:12:07 | |
Deer have roamed this parkland for 500 years, | 0:12:07 | 0:12:10 | |
but older still is the ancestral pile that sits at its head, | 0:12:10 | 0:12:15 | |
Knole. | 0:12:15 | 0:12:18 | |
It's been on show since the 15th century, | 0:12:18 | 0:12:21 | |
owned by former Archbishops of Canterbury | 0:12:21 | 0:12:23 | |
and later by the infamous Tudor King, Henry VIII. | 0:12:23 | 0:12:28 | |
But it's the Sackville family who have made this place their home | 0:12:28 | 0:12:32 | |
for the past 400 years. | 0:12:32 | 0:12:34 | |
What an impressive abode. | 0:12:39 | 0:12:42 | |
This place has got 365 rooms, one for every day of the year, | 0:12:42 | 0:12:47 | |
nice! | 0:12:47 | 0:12:49 | |
And 1,000 acres of prime countryside, | 0:12:49 | 0:12:51 | |
which is pretty much all the land you can see. | 0:12:51 | 0:12:55 | |
Once a private house, the National Trust took over most of the property | 0:12:59 | 0:13:03 | |
in 1946. Since then, it's opened its doors to the public. | 0:13:03 | 0:13:09 | |
But come winter, the team are painstakingly cleaning and dusting | 0:13:09 | 0:13:13 | |
every inch on show. | 0:13:13 | 0:13:14 | |
A house this size needs a lot of TLC, | 0:13:17 | 0:13:21 | |
and for the past two years it's been under renovation, | 0:13:21 | 0:13:24 | |
both outside and in. | 0:13:24 | 0:13:26 | |
But it goes way beyond your average DIY job. | 0:13:26 | 0:13:30 | |
With the exterior now wind and water tight, | 0:13:32 | 0:13:35 | |
it's down with the scaffolding as attention turns to the interior. | 0:13:35 | 0:13:40 | |
As part of the restoration project, | 0:13:40 | 0:13:42 | |
conservation volunteer, Vicky Patient is | 0:13:42 | 0:13:44 | |
working in Eddy Sackville's old tower rooms, | 0:13:44 | 0:13:47 | |
barely touched since the 1940s, and yet to be revealed to the public. | 0:13:47 | 0:13:52 | |
So, who was Eddy? | 0:13:52 | 0:13:53 | |
Well, Eddy was the fifth Lord Sackville | 0:13:53 | 0:13:56 | |
and he inherited from his father, so you can imagine a place like this, | 0:13:56 | 0:14:01 | |
it looks really grand and they were very asset-rich, | 0:14:01 | 0:14:04 | |
but running a place like this is a huge burden, financially. | 0:14:04 | 0:14:09 | |
So, a lot of them were a bit cash-poor, Eddy in particular. | 0:14:09 | 0:14:13 | |
-This is him, he had a taste for the fine tailoring. -Look at that outfit! | 0:14:13 | 0:14:18 | |
I know! | 0:14:18 | 0:14:21 | |
The Sackvilles negotiated a 200-year lease | 0:14:21 | 0:14:24 | |
to stay in Knole's private apartments, | 0:14:24 | 0:14:26 | |
but in these unoccupied tower rooms, | 0:14:26 | 0:14:28 | |
there are many thousands of items to conserve, | 0:14:28 | 0:14:31 | |
before they're opened up in 2015. | 0:14:31 | 0:14:34 | |
So, are these his love letters? | 0:14:34 | 0:14:36 | |
Sadly not, no. A lot of tailors' bills. | 0:14:36 | 0:14:40 | |
Forster and Sons of Bond Street, 1924. | 0:14:40 | 0:14:44 | |
£464! | 0:14:44 | 0:14:46 | |
-Yeah! -That's quite a lot of money. | 0:14:46 | 0:14:48 | |
Yeah, I think he had a thing for silk shirts and vests. | 0:14:48 | 0:14:52 | |
Dresscoats, lined with satin. Wow! | 0:14:52 | 0:14:55 | |
So you'd write a little description of exactly what it is | 0:14:58 | 0:15:02 | |
and there's a box to tick whether you're confident | 0:15:02 | 0:15:04 | |
in your measurements or not! | 0:15:04 | 0:15:06 | |
-Why wouldn't you be? -Well, you never know! | 0:15:06 | 0:15:10 | |
It's a very dynamic place, this house, always something to be done. | 0:15:10 | 0:15:13 | |
Yes, and with any luck, at some point, | 0:15:13 | 0:15:15 | |
we might actually get to the end of it, but I doubt it! | 0:15:15 | 0:15:18 | |
Like Eddy Sackville and his ancestors, | 0:15:20 | 0:15:23 | |
we all like to put a stamp on our homes, | 0:15:23 | 0:15:25 | |
through decorations or furnishings. | 0:15:25 | 0:15:27 | |
Everywhere you look at Knole, there's the family leopard motif. | 0:15:29 | 0:15:34 | |
But with every change of owner, and decor, | 0:15:34 | 0:15:36 | |
where does the unwanted furniture go? | 0:15:36 | 0:15:39 | |
Into the attic, of course, | 0:15:39 | 0:15:42 | |
or rather, the retainer's gallery. | 0:15:42 | 0:15:45 | |
It's here that inherited pieces or perks | 0:15:45 | 0:15:48 | |
from royal palaces have been stored over the years. | 0:15:48 | 0:15:50 | |
It's recently been handed over to the National Trust | 0:15:50 | 0:15:53 | |
and this once private space, where Sackville children | 0:15:53 | 0:15:57 | |
would have played, will soon be filled with the echo | 0:15:57 | 0:15:59 | |
of visitors' footsteps. | 0:15:59 | 0:16:02 | |
And in this house, the resident family | 0:16:02 | 0:16:04 | |
are never far from prying eyes. | 0:16:04 | 0:16:07 | |
The 7th Baron Sackville, Robert Sackville-West | 0:16:10 | 0:16:13 | |
and his family moved into a private wing six years ago, | 0:16:13 | 0:16:17 | |
inheriting his ancestors' intrigue | 0:16:17 | 0:16:20 | |
for the smouldering secrets of Knole. | 0:16:20 | 0:16:22 | |
I am now in the poets' parlour at Knole, it's our family dining room. | 0:16:26 | 0:16:30 | |
The reason I'm in this room now is because of this gentleman here. | 0:16:30 | 0:16:36 | |
A distant ancestor, Charles Sackville, 6th Earl of Dorset. | 0:16:36 | 0:16:40 | |
Charles was the patron of many, fairly distinguished | 0:16:40 | 0:16:44 | |
late 17th-century poets and playwrights. | 0:16:44 | 0:16:47 | |
Charles was something of a hellraiser. | 0:16:47 | 0:16:49 | |
He was a close friend of King Charles II, | 0:16:49 | 0:16:53 | |
who got him off two criminal charges, the first for manslaughter | 0:16:53 | 0:16:57 | |
and the second, in the words of the diarist Samuel Pepys, | 0:16:57 | 0:17:00 | |
for exposing himself indecently from the balcony | 0:17:00 | 0:17:05 | |
of a brothel in Covent Garden. | 0:17:05 | 0:17:07 | |
Living at Knole has inspired many Sackville family members | 0:17:09 | 0:17:12 | |
to put pen to paper, Robert included. | 0:17:12 | 0:17:15 | |
But perhaps the most famous was his father's cousin, | 0:17:15 | 0:17:18 | |
Vita Sackville-West. A celebrated writer and poet | 0:17:18 | 0:17:22 | |
in the early 20th century, Vita was born and raised | 0:17:22 | 0:17:25 | |
in this magnificent house. | 0:17:25 | 0:17:27 | |
As an only child, she roamed the attics | 0:17:27 | 0:17:30 | |
and used the eclectic family history to feed her imagination. | 0:17:30 | 0:17:34 | |
As a teenager, Vita wrote an impressive eight novels | 0:17:36 | 0:17:40 | |
and five plays in the summer house just behind me, | 0:17:40 | 0:17:43 | |
which was her favourite writing spot. | 0:17:43 | 0:17:46 | |
But for Vita, her time here ended on a sour note. | 0:17:51 | 0:17:54 | |
Had she been a man, she'd have inherited her beloved Knole | 0:17:54 | 0:17:58 | |
when her father passed away. | 0:17:58 | 0:18:00 | |
Sadly, it went to her uncle. | 0:18:00 | 0:18:02 | |
This was a house that probably meant more to her than any human being, | 0:18:04 | 0:18:08 | |
she absolutely loved it and was distraught to leave here. | 0:18:08 | 0:18:11 | |
Vita sought her own path and, in 1913, she married a young diplomat, | 0:18:13 | 0:18:19 | |
Harold Nicholson, in the Knole family chapel. | 0:18:19 | 0:18:22 | |
Theirs was to be a very happy, but very unconventional marriage. | 0:18:24 | 0:18:29 | |
Because over the course of their marriage, | 0:18:29 | 0:18:32 | |
each of them had a series of lovers of their own sex. | 0:18:32 | 0:18:39 | |
One of those lovers was Virginia Woolf, the novelist. | 0:18:39 | 0:18:43 | |
Woolf wrote a novel dedicated to Vita called Orlando. | 0:18:43 | 0:18:49 | |
With many references to Knole, the story ends with Orlando, | 0:18:49 | 0:18:53 | |
or Vita, taking possession of the ancestral home - | 0:18:53 | 0:18:56 | |
the only way she could inherit. | 0:18:56 | 0:18:59 | |
It was, as Vita's son, Nigel Nicholson, described, | 0:18:59 | 0:19:04 | |
the longest and most charming love letter in literature. | 0:19:04 | 0:19:08 | |
Although the sadness of losing Knole never left her, | 0:19:13 | 0:19:16 | |
Vita did find a happy home just a few years later, | 0:19:16 | 0:19:20 | |
deep in the heart of the Kent countryside she so loved | 0:19:20 | 0:19:23 | |
and that's where I will be heading. | 0:19:23 | 0:19:25 | |
JOHN: The Kentish countryside, | 0:19:33 | 0:19:35 | |
a landscape shaped by farmers and growers, | 0:19:35 | 0:19:38 | |
fertile soil and a warm climate | 0:19:38 | 0:19:40 | |
create perfect conditions for their produce. | 0:19:40 | 0:19:44 | |
Kent has long been proud of its foodie reputation. | 0:19:44 | 0:19:47 | |
There's no denying that the Kent landscape | 0:19:49 | 0:19:51 | |
really is good enough to eat - | 0:19:51 | 0:19:53 | |
it produces some fantastic food and drink as well. | 0:19:53 | 0:19:57 | |
But I am going to be finding out about a new product | 0:19:57 | 0:19:59 | |
that is produced entirely on one farm. | 0:19:59 | 0:20:03 | |
Kentish blue cheese. | 0:20:03 | 0:20:06 | |
Steve Reynolds comes from a long line of dairy farmers. | 0:20:06 | 0:20:09 | |
He bought this 250-acre farm | 0:20:09 | 0:20:12 | |
in the heart of the Kent countryside, 25 years ago. | 0:20:12 | 0:20:16 | |
It's a family business, with sons Archie and Frank | 0:20:16 | 0:20:19 | |
-helping out whenever they can. -Come on. | 0:20:19 | 0:20:22 | |
Steve keeps around 100 Holstein Friesian cows in a closed herd, | 0:20:22 | 0:20:27 | |
meaning he doesn't buy in replacement animals. | 0:20:27 | 0:20:30 | |
All of the new stock is born and bred on the farm. | 0:20:30 | 0:20:35 | |
That means that all these ladies are related, | 0:20:35 | 0:20:38 | |
mothers, aunts, sisters, daughters, even granddaughters! | 0:20:38 | 0:20:43 | |
It's a fine looking herd you've got here, Steve - | 0:20:48 | 0:20:50 | |
how important to you is it that it's a closed herd? | 0:20:50 | 0:20:54 | |
Very important, John. We keep all the disease away. | 0:20:54 | 0:20:57 | |
Vet bills become minimal and it's a much healthier herd. | 0:20:57 | 0:21:00 | |
You know everything about every animal as well. | 0:21:00 | 0:21:04 | |
We know everything about every individual animal, | 0:21:04 | 0:21:06 | |
every animal is identifiable. | 0:21:06 | 0:21:09 | |
With dairy farming having a rough ride over the past few years, | 0:21:09 | 0:21:12 | |
Steve and his wife Karen wanted to add value to the milk, | 0:21:12 | 0:21:15 | |
so they started making cheese. | 0:21:15 | 0:21:18 | |
By diversifying, they hope to secure the farm's future for the boys. | 0:21:18 | 0:21:23 | |
I think dairy farming is a good industry to be in, | 0:21:23 | 0:21:25 | |
I think dairy farmers have got to look, | 0:21:25 | 0:21:28 | |
particularly the smaller family farms, | 0:21:28 | 0:21:30 | |
we've got to look at our end product and how we sell our end product, | 0:21:30 | 0:21:33 | |
rather than just selling it to the supermarket. | 0:21:33 | 0:21:36 | |
-Why blue cheese? -Purely because I love it. | 0:21:36 | 0:21:40 | |
20% of the herd's milk is pumped straight from the udder | 0:21:40 | 0:21:44 | |
to the cheese vat, so no food miles here, just a few metres. | 0:21:44 | 0:21:48 | |
We want all that warm milk to come, | 0:21:48 | 0:21:50 | |
we use it straightaway from when it comes out of the cow, | 0:21:50 | 0:21:53 | |
it goes through the filters, straight into the cheese vat, | 0:21:53 | 0:21:55 | |
it's much better like that, it's the raw, natural product. | 0:21:55 | 0:21:59 | |
The warm milk gets mixed with a powdered culture | 0:21:59 | 0:22:02 | |
called penicillium roqueforti. | 0:22:02 | 0:22:04 | |
This is the mould that makes blue cheese blue. | 0:22:04 | 0:22:08 | |
Then, rennet is added, which curdles the milk | 0:22:08 | 0:22:12 | |
Finally, the liquid, the whey, is drained off | 0:22:12 | 0:22:15 | |
and you're left with the curds. | 0:22:15 | 0:22:18 | |
-Can I have a taste? -Have a taste. It should taste quite sweet. | 0:22:18 | 0:22:23 | |
-It's not like cheese, is it? -No. -It's more like scrambled egg. | 0:22:23 | 0:22:28 | |
-It's a cottage cheese texture. -Yes. | 0:22:28 | 0:22:32 | |
Did you know anything at all about cheesemaking before you started? | 0:22:32 | 0:22:36 | |
No, we were complete novices, | 0:22:36 | 0:22:39 | |
Steve went on a couple of cheesemaking courses, | 0:22:39 | 0:22:42 | |
but the most important thing is that you learn on the job | 0:22:42 | 0:22:46 | |
and trial and error. | 0:22:46 | 0:22:47 | |
Are you tempted to go really big-time? | 0:22:47 | 0:22:50 | |
No, we're happy as we are. | 0:22:50 | 0:22:52 | |
We don't want to be supplying supermarkets or anything like that, | 0:22:52 | 0:22:56 | |
we're a family farm, we want to be able to pass it on | 0:22:56 | 0:23:00 | |
to our children and just enjoy what we do. | 0:23:00 | 0:23:03 | |
With just the two of them making it, | 0:23:03 | 0:23:05 | |
Steve and Karen produce only around 80 wheels of cheese a week, | 0:23:05 | 0:23:09 | |
which they sell at farmers' markets and to local businesses. | 0:23:09 | 0:23:12 | |
After about seven days, | 0:23:12 | 0:23:14 | |
the culture that was added starts to work its magic, | 0:23:14 | 0:23:17 | |
but it needs a helping hand for the distinctive blue veining | 0:23:17 | 0:23:21 | |
to develop inside. | 0:23:21 | 0:23:23 | |
And that's elder son Frank's job. | 0:23:23 | 0:23:25 | |
Gosh, there's a strong smell in here, isn't there? | 0:23:25 | 0:23:28 | |
-Ammonia! -Yeah, it's not good. | 0:23:28 | 0:23:30 | |
You get used to it after a while, | 0:23:30 | 0:23:32 | |
but when you first come in, it smells quite bad. | 0:23:32 | 0:23:34 | |
What's your role in this family business? | 0:23:34 | 0:23:36 | |
Where you're standing, you put holes in the cheese to let oxygen in, | 0:23:36 | 0:23:40 | |
allows the mould in the cheese to develop. | 0:23:40 | 0:23:42 | |
How many stabs do you have to give each cheese? | 0:23:42 | 0:23:45 | |
Roughly, each one gets about 80 holes, 40 stabs, | 0:23:45 | 0:23:49 | |
so it takes quite a while. | 0:23:49 | 0:23:51 | |
How long are the cheeses in here before they're ready for sale? | 0:23:51 | 0:23:54 | |
They come in here for five weeks. | 0:23:54 | 0:23:57 | |
They develop around the outside, it gets quite furry, | 0:23:57 | 0:24:00 | |
the mould develops and after five weeks, | 0:24:00 | 0:24:03 | |
when they're eight weeks old, they go off for sale. | 0:24:03 | 0:24:06 | |
So, tell me honestly, do you just do this for a bit of pocket money, | 0:24:06 | 0:24:09 | |
or do you have a long-term interest in cheesemaking? | 0:24:09 | 0:24:12 | |
I plan to take over the business, and work on the farm | 0:24:12 | 0:24:17 | |
and cheesemake with my brother, Archie, | 0:24:17 | 0:24:19 | |
who's very interested in the animals. | 0:24:19 | 0:24:21 | |
Me and him, working together, I think will be quite good. | 0:24:21 | 0:24:24 | |
Seems that the boys' plans are, like the cheeses, maturing nicely. | 0:24:24 | 0:24:29 | |
Earlier we heard about the potential dangers | 0:24:33 | 0:24:36 | |
from hundreds of thousands of disused mines and mineshafts | 0:24:36 | 0:24:39 | |
underneath our countryside. | 0:24:39 | 0:24:41 | |
So, should we be making them safer? Here's Tom. | 0:24:41 | 0:24:45 | |
We've been digging out the rocks and minerals from under our feet | 0:24:48 | 0:24:52 | |
since the Romans were here, creating a vast void. | 0:24:52 | 0:24:56 | |
The result of that could be small earth movements | 0:24:56 | 0:24:59 | |
or sometimes catastrophic collapses, so just how firm is | 0:24:59 | 0:25:05 | |
our terra firma? | 0:25:05 | 0:25:07 | |
Here in the Peak District, the countryside was once heavily mined | 0:25:08 | 0:25:12 | |
for coal, copper, lead and other minerals. | 0:25:12 | 0:25:16 | |
The British Geological Survey estimates | 0:25:16 | 0:25:19 | |
there are around 50,000 mine shafts sunk in this area alone | 0:25:19 | 0:25:23 | |
and many more smaller workings, | 0:25:23 | 0:25:25 | |
leaving the land prone to gradual subsidence or worse. | 0:25:25 | 0:25:30 | |
And when the ground does give way, the results can be shocking, | 0:25:32 | 0:25:37 | |
especially if you live nearby. | 0:25:37 | 0:25:39 | |
At Christmas, we heard | 0:25:39 | 0:25:40 | |
a noise in the house, | 0:25:40 | 0:25:42 | |
sort of a whoosh! | 0:25:42 | 0:25:45 | |
And my wife thought she heard the central heating boiler rattle. | 0:25:45 | 0:25:48 | |
Looked round the house, couldn't find anything wrong and ignored it. | 0:25:48 | 0:25:51 | |
We looked out, and there it was. | 0:25:51 | 0:25:54 | |
Quite astonishing, something that size had appeared in the hill. | 0:25:54 | 0:25:57 | |
This gigantic hole opened up just before Christmas last year | 0:25:57 | 0:26:01 | |
and has been steadily growing ever since. | 0:26:01 | 0:26:05 | |
It was a shock, but it's something that happens in the Peak District. | 0:26:05 | 0:26:08 | |
The man who owns the land - and now a hole - is Peter Robinson. | 0:26:10 | 0:26:15 | |
That's an extraordinary great mouth opened up in the earth, isn't it? | 0:26:15 | 0:26:21 | |
I can't see the bottom. How deep does it go? | 0:26:21 | 0:26:23 | |
This is 90m deep, we survey it weekly, | 0:26:23 | 0:26:28 | |
because one of the important issues | 0:26:28 | 0:26:30 | |
is to monitor whether it's going to grow or stabilise. | 0:26:30 | 0:26:35 | |
It really is like something out of a Greek myth, the mouth of Hades. | 0:26:35 | 0:26:39 | |
What did it fall down into? | 0:26:39 | 0:26:43 | |
It's basically a build-up of surface water | 0:26:43 | 0:26:46 | |
that has created weight and it's basically slumped down | 0:26:46 | 0:26:50 | |
into the old lead workings, | 0:26:50 | 0:26:53 | |
dating back to 1600, that lie beneath this area. | 0:26:53 | 0:26:57 | |
The tunnels were timber-lined and have probably rotted | 0:26:57 | 0:27:01 | |
and collapsed many years ago | 0:27:01 | 0:27:04 | |
and it's just slumped down into the workings. | 0:27:04 | 0:27:06 | |
Work will start soon on filling this hole | 0:27:07 | 0:27:10 | |
and in a couple of months' time, you'd never know it was here. | 0:27:10 | 0:27:13 | |
But the repair may cost up to a quarter of a million pounds, | 0:27:13 | 0:27:17 | |
so is there a way to identify potential hazards before they occur? | 0:27:17 | 0:27:23 | |
This instrument you're putting in now, | 0:27:25 | 0:27:28 | |
is this to look for movement or to look for holes? | 0:27:28 | 0:27:30 | |
This is to look for the movement associated with instability | 0:27:30 | 0:27:34 | |
under the ground. | 0:27:34 | 0:27:35 | |
'Peter Styles is a specialist in geophysics | 0:27:35 | 0:27:39 | |
'and an expert in mapping disused mines. | 0:27:39 | 0:27:42 | |
'When the ground opens up, his team get called in, whatever the weather.' | 0:27:42 | 0:27:47 | |
So, how often are people like you asked to come in | 0:27:47 | 0:27:51 | |
and look at areas, what's the trigger for your arrival? | 0:27:51 | 0:27:54 | |
If you want my opinion, we're asked to come in too late, | 0:27:54 | 0:27:58 | |
because what usually happens is something becomes unstable | 0:27:58 | 0:28:01 | |
and you'll get one cavity and people will come and see it | 0:28:01 | 0:28:04 | |
and ask if there are any others. | 0:28:04 | 0:28:06 | |
It's quite clear that there are problems which we need to look at | 0:28:06 | 0:28:09 | |
in a more proactive manner. They need to take some notice | 0:28:09 | 0:28:12 | |
and start to inspect these sites before they give permission | 0:28:12 | 0:28:16 | |
for huge housing developments or large infrastructure, | 0:28:16 | 0:28:20 | |
because that's the only way we'll actually make these safe. | 0:28:20 | 0:28:23 | |
So, are we being too complacent about potentially dangerous disused mines? | 0:28:24 | 0:28:31 | |
Well, as we heard earlier, | 0:28:31 | 0:28:32 | |
the Coal Authority has responsibility for old coal mines. | 0:28:32 | 0:28:36 | |
Do you think you're doing enough to keep the homes of Britain | 0:28:36 | 0:28:39 | |
safe from falling down? | 0:28:39 | 0:28:41 | |
We are, we have to be very proportionate on risk, | 0:28:41 | 0:28:44 | |
we take risk seriously. | 0:28:44 | 0:28:47 | |
We heard from our geophysicist earlier, | 0:28:47 | 0:28:49 | |
that they thought people could be more proactive | 0:28:49 | 0:28:51 | |
in looking for potential problems | 0:28:51 | 0:28:54 | |
where they may be building a new housing estate | 0:28:54 | 0:28:56 | |
or new infrastructure - what do you think about that? | 0:28:56 | 0:28:58 | |
Although under our legislation we're reactive, | 0:28:58 | 0:29:01 | |
we've a proactive mine entry inspection programme, | 0:29:01 | 0:29:04 | |
we're inspecting 20,000 mine entries per year | 0:29:04 | 0:29:07 | |
to ensure that are any problems with these mine entries | 0:29:07 | 0:29:10 | |
that are under our responsibility | 0:29:10 | 0:29:12 | |
and we found that only 1% per year | 0:29:12 | 0:29:15 | |
is something we have to look at | 0:29:15 | 0:29:16 | |
and that's to do further investigation work. | 0:29:16 | 0:29:19 | |
The Coal Authority doesn't just deal with subsidence | 0:29:19 | 0:29:23 | |
and mine collapse, it also cleans up water contaminated by old workings. | 0:29:23 | 0:29:28 | |
Yet even with thousands of mineshaft inspections annually, | 0:29:28 | 0:29:32 | |
it'll take years to examine them all. | 0:29:32 | 0:29:36 | |
The coal authority only deals with old coal mines, | 0:29:36 | 0:29:39 | |
so what about other underground workings hidden beneath our feet? | 0:29:39 | 0:29:43 | |
Getting an answer to that question wasn't as easy as you might imagine, | 0:29:45 | 0:29:49 | |
but after being referred from one government department to another, | 0:29:49 | 0:29:53 | |
we were told that old non-coalmines | 0:29:53 | 0:29:55 | |
are mostly the responsibility of local councils. | 0:29:55 | 0:29:59 | |
That means there is no national inspection scheme | 0:29:59 | 0:30:03 | |
for well over 100,000 old workings and mineshafts. | 0:30:03 | 0:30:07 | |
We tend to think of mining, particularly coal mining, | 0:30:08 | 0:30:11 | |
as belonging to the past. | 0:30:11 | 0:30:13 | |
But what I've seen is that | 0:30:13 | 0:30:14 | |
you can't hide its consequences away from the present. | 0:30:14 | 0:30:18 | |
The land beneath our feet is likely to carry on moving a little | 0:30:18 | 0:30:22 | |
long into the future. | 0:30:22 | 0:30:23 | |
I'm on the Isle of Sheppey. | 0:30:31 | 0:30:33 | |
Earlier, I heard about the lost village of Elmley | 0:30:33 | 0:30:36 | |
that crumbled under the closure of its cement works. | 0:30:36 | 0:30:39 | |
Well, the industry may have long gone, | 0:30:40 | 0:30:42 | |
taking with it the people who lived and worked here, | 0:30:42 | 0:30:45 | |
but the neighbouring farm has managed to survive | 0:30:45 | 0:30:48 | |
in this wild and desolate place. | 0:30:48 | 0:30:50 | |
In fact, it's flourishing because not only is it a working farm, | 0:30:50 | 0:30:54 | |
but it's also a national nature reserve | 0:30:54 | 0:30:56 | |
and it really is one-of-a-kind. | 0:30:56 | 0:30:58 | |
This is the only national nature reserve in the country | 0:31:01 | 0:31:04 | |
to be run by a farming family. | 0:31:04 | 0:31:06 | |
That means they're top of the tree | 0:31:06 | 0:31:08 | |
when it comes to conservation management. | 0:31:08 | 0:31:10 | |
It's been Philip Merricks' labour of love since 1974. | 0:31:10 | 0:31:14 | |
So, Philip, was it always your intention, then, | 0:31:14 | 0:31:17 | |
to create a nature reserve here? | 0:31:17 | 0:31:19 | |
Oh, not at all. | 0:31:19 | 0:31:21 | |
-No, we came up here in the early 1970s. -Yeah. | 0:31:21 | 0:31:24 | |
And I was a very young, keen farmer | 0:31:24 | 0:31:25 | |
-and we'd farmed marshes all our lives. -Right. | 0:31:25 | 0:31:29 | |
So we were busy into farming | 0:31:29 | 0:31:30 | |
and of course it was arable farming in those days, very much so. | 0:31:30 | 0:31:33 | |
And how easy is it to farm and have a nature reserve as well? | 0:31:33 | 0:31:37 | |
Because I guess in your heart... | 0:31:37 | 0:31:39 | |
you're a farmer's son, you're a farmer yourself. | 0:31:39 | 0:31:41 | |
They are absolutely as one. | 0:31:41 | 0:31:43 | |
Don't put farming in one box and conservation in another. | 0:31:43 | 0:31:46 | |
They're completely intertwined. One is dependent on the other. | 0:31:46 | 0:31:49 | |
And I call it land management, whatever the objective is. | 0:31:49 | 0:31:52 | |
Managing the land means going with the flow. | 0:31:52 | 0:31:55 | |
Water is the key to its success. | 0:31:55 | 0:31:58 | |
As we look out here then, just give us an idea | 0:31:58 | 0:32:00 | |
of what is going on from a water management point of view. | 0:32:00 | 0:32:04 | |
Right, as you look at those rills, | 0:32:04 | 0:32:05 | |
-you'll come upon these little creeks we've created. -Yeah. | 0:32:05 | 0:32:08 | |
At the moment, of course, they're filled with winter water | 0:32:08 | 0:32:11 | |
and that will gradually drop. | 0:32:11 | 0:32:14 | |
Don't forget, although we're wet here, | 0:32:14 | 0:32:16 | |
you're in a normally dry part of England. | 0:32:16 | 0:32:18 | |
They will drop. And as they drop, they expose the wet mud, | 0:32:18 | 0:32:21 | |
which is of course a wonderful food source for the birds, | 0:32:21 | 0:32:26 | |
the breeding birds, and the chicks, the vitally important chicks. | 0:32:26 | 0:32:29 | |
I mean, the lovely thing is that nature has evolved | 0:32:29 | 0:32:32 | |
through what man has done over the years. | 0:32:32 | 0:32:35 | |
So if you actually make it more interesting, | 0:32:35 | 0:32:38 | |
then wildlife will come in straightaway. | 0:32:38 | 0:32:41 | |
And this year, they have come in record numbers. | 0:32:41 | 0:32:44 | |
The reserve has the largest concentration of breeding waders | 0:32:44 | 0:32:47 | |
in the lowlands of the UK. | 0:32:47 | 0:32:49 | |
These ducks you can see over here, they're wigeon. | 0:32:52 | 0:32:54 | |
They're fuelling themselves - they're grass-eating ducks. | 0:32:54 | 0:32:57 | |
They breed up in the Arctic Circle. | 0:32:57 | 0:32:59 | |
They come down for us in huge numbers. | 0:32:59 | 0:33:01 | |
We recorded, this year, over 27,000. | 0:33:01 | 0:33:04 | |
The whole marsh is like a giant bird table, | 0:33:11 | 0:33:13 | |
providing rich pickings for hungry beaks. | 0:33:13 | 0:33:17 | |
A lot of that is thanks to the animals that graze here. | 0:33:17 | 0:33:20 | |
Hold the doors, it's a bit blustery! | 0:33:21 | 0:33:23 | |
Looking after them is Steve Gordon's job. | 0:33:23 | 0:33:26 | |
So how many sheep would you be running here, in any one year? | 0:33:26 | 0:33:29 | |
Up to 1,000 sheep. | 0:33:29 | 0:33:31 | |
About 400 remain here all year round, until they go back for lambing, | 0:33:31 | 0:33:36 | |
and then I bring in about another 500 or 600 during the winter. | 0:33:36 | 0:33:40 | |
These Romney sheep act as living lawnmowers, | 0:33:40 | 0:33:42 | |
nibbling down the grass, | 0:33:42 | 0:33:44 | |
creating perfect conditions for ground-nesting birds | 0:33:44 | 0:33:47 | |
and the insects that they feed on. | 0:33:47 | 0:33:49 | |
But that's not all they're good for. | 0:33:49 | 0:33:52 | |
-Let's talk about poo. -OK, yeah. | 0:33:52 | 0:33:53 | |
-Because that's all part of it. -That is the integral part of it. | 0:33:53 | 0:33:56 | |
One of the most important parts of the system, actually, | 0:33:56 | 0:33:58 | |
both from the point of view of bringing in the insect life... | 0:33:58 | 0:34:01 | |
It also gives a bit of camouflage for the chicks and the eggs | 0:34:01 | 0:34:04 | |
during, sort of, April, May - for the breeding season. | 0:34:04 | 0:34:07 | |
Elmley Reserve shows | 0:34:08 | 0:34:09 | |
that farming not only works in harmony with nature, | 0:34:09 | 0:34:12 | |
but if approached in the right way, | 0:34:12 | 0:34:14 | |
positively benefits wildlife by creating ideal habitats. | 0:34:14 | 0:34:18 | |
From the marshlands of Kent to the chalklands of Wiltshire. | 0:34:25 | 0:34:29 | |
Helen's at Heytesbury House, | 0:34:29 | 0:34:31 | |
once the home of one of our greatest war poets, | 0:34:31 | 0:34:33 | |
Siegfried Sassoon. | 0:34:33 | 0:34:35 | |
Before World War I, | 0:34:36 | 0:34:38 | |
the young Sassoon lived the life of a wealthy country gentleman, | 0:34:38 | 0:34:42 | |
indulging his passions for fox hunting and writing poetry. | 0:34:42 | 0:34:46 | |
But then came The Great War. | 0:34:46 | 0:34:49 | |
At first, Sassoon's poems | 0:34:49 | 0:34:51 | |
were filled with patriotism and enthusiasm. | 0:34:51 | 0:34:53 | |
But as time went on | 0:34:53 | 0:34:55 | |
and he witnessed the horror of trench warfare first-hand, | 0:34:55 | 0:34:57 | |
they were peppered with inhumanity and brutality. | 0:34:57 | 0:35:00 | |
'Men jostle and climb to meet the bristling fire | 0:35:04 | 0:35:08 | |
'Lines of grey, muttering faces, masked with fear | 0:35:08 | 0:35:11 | |
'They leave their trenches, going over the top | 0:35:11 | 0:35:15 | |
'While time ticks blank and busy on their wrists | 0:35:15 | 0:35:19 | |
'And hope, with furtive eyes and grappling fists | 0:35:19 | 0:35:23 | |
'Flounders in mud. | 0:35:23 | 0:35:26 | |
'O Jesus, make it stop!' | 0:35:26 | 0:35:27 | |
As the country settled into peace after the war, | 0:35:31 | 0:35:35 | |
Sassoon found solace in the depths of the Wiltshire countryside | 0:35:35 | 0:35:38 | |
and bought Heytesbury House in 1933. | 0:35:38 | 0:35:41 | |
The house and grounds offered a | 0:35:41 | 0:35:43 | |
welcome relief from the pain of war. | 0:35:43 | 0:35:46 | |
Rupert Pulvertaft is the step-grandson of Sassoon. | 0:35:46 | 0:35:49 | |
He lives on a cottage on the old estate | 0:35:49 | 0:35:51 | |
and has some of the poet's very precious belongings. | 0:35:51 | 0:35:55 | |
This is Siegfried Sassoon. | 0:35:55 | 0:35:57 | |
Yeah, Siegfried Sassoon as painted by his wife Hester. | 0:35:57 | 0:36:01 | |
And she began the picture | 0:36:01 | 0:36:02 | |
when she moved to Heytesbury House with Siegfried, in the early 1930s. | 0:36:02 | 0:36:06 | |
But unfortunately, they'd divorced | 0:36:06 | 0:36:08 | |
by the time she'd actually got round to finishing it | 0:36:08 | 0:36:11 | |
so it remains unfinished. | 0:36:11 | 0:36:13 | |
-But I did manage to find the hat. -So this is the hat in the painting? | 0:36:13 | 0:36:17 | |
The very same hat that you'll see in the painting, | 0:36:17 | 0:36:20 | |
that was in a barn somewhere, | 0:36:20 | 0:36:21 | |
covered in spiders and assorted other pieces of cobweb. | 0:36:21 | 0:36:24 | |
And if you look at the family album over here... | 0:36:24 | 0:36:27 | |
..you'll see Siegfried wearing the very same hat. | 0:36:28 | 0:36:31 | |
And this is George Sassoon, who was Siegfried's only son, | 0:36:31 | 0:36:35 | |
-who's my stepfather. -Your step-father. | 0:36:35 | 0:36:37 | |
And then Siegfried looking very poetic. | 0:36:37 | 0:36:40 | |
I love that photograph. | 0:36:40 | 0:36:41 | |
Just the light and the way he's looking - | 0:36:41 | 0:36:43 | |
it's brilliant, isn't it? | 0:36:43 | 0:36:45 | |
And this is Heytesbury House, which he bought after the war. | 0:36:45 | 0:36:47 | |
Yeah, it was bought in the early 1930s, | 0:36:47 | 0:36:50 | |
with a legacy from Hester. | 0:36:50 | 0:36:52 | |
And that's when he started to write poems that were based around here? | 0:36:52 | 0:36:55 | |
-Around this general area, as well. -Is this Heytesbury Wood? | 0:36:55 | 0:36:59 | |
Yeah, that's Heytesbury Wood | 0:36:59 | 0:37:00 | |
and indeed he wrote a poem about the wood itself, | 0:37:00 | 0:37:02 | |
which he loved very much, | 0:37:02 | 0:37:04 | |
called In Heytesbury Wood, where he did quite a bit of planting. | 0:37:04 | 0:37:08 | |
-Which is just out here? -Just out here, yeah. | 0:37:08 | 0:37:10 | |
-Let's go and have a look. -I'll bring the poem with me. | 0:37:10 | 0:37:13 | |
Here, it's incredibly peaceful, isn't it? | 0:37:19 | 0:37:21 | |
Yeah, very much so. | 0:37:21 | 0:37:22 | |
It was his country retreat where he was able to lay back | 0:37:22 | 0:37:26 | |
and enjoy the peace and solitude. | 0:37:26 | 0:37:28 | |
And he wrote a sequence of poems to do with the wood, | 0:37:28 | 0:37:32 | |
call The Vigils. | 0:37:32 | 0:37:33 | |
And he also replanted the wood quite extensively. | 0:37:33 | 0:37:36 | |
The perfect setting to write a bit of poetry. | 0:37:36 | 0:37:40 | |
Indeed. "In Heytesbury Wood." | 0:37:40 | 0:37:43 | |
"Return I think, next summer | 0:37:43 | 0:37:45 | |
"And you'll find such change | 0:37:45 | 0:37:47 | |
"Walking some low-lit evening in the whispering wood | 0:37:47 | 0:37:50 | |
"As will refresh your eyes and do them ghostly good | 0:37:50 | 0:37:53 | |
"See redolence befriend | 0:37:53 | 0:37:55 | |
"Neglect, no more estrange." | 0:37:55 | 0:37:58 | |
It wasn't just the woodland that Sassoon enjoyed. | 0:37:58 | 0:38:01 | |
He was often found on the village cricket pitch, | 0:38:01 | 0:38:04 | |
also in the grounds of the great house. | 0:38:04 | 0:38:06 | |
Through his love of the game, he made lifelong friends. | 0:38:06 | 0:38:09 | |
Dennis Silk was an up-and-coming international cricketer | 0:38:09 | 0:38:13 | |
and Andrew Pinnel's grandfather played village cricket with Siegfried. | 0:38:13 | 0:38:17 | |
This picture is 1936. | 0:38:17 | 0:38:18 | |
And you've got the landowner, the owner of the big house, | 0:38:18 | 0:38:22 | |
with his team. | 0:38:22 | 0:38:25 | |
And what Siegfried was prone to do... | 0:38:25 | 0:38:27 | |
He always wanted to have a bat in the week. | 0:38:27 | 0:38:29 | |
So he'd sit up all night writing his prose and poetry | 0:38:29 | 0:38:32 | |
and one of my grandfather's first jobs every morning | 0:38:32 | 0:38:35 | |
was to go into the study. | 0:38:35 | 0:38:36 | |
And he always said it reeked of pipe smoke | 0:38:36 | 0:38:38 | |
cos Siggy would smoke his pipe all night, as he was writing. | 0:38:38 | 0:38:42 | |
Then he'd say to the garden boys, | 0:38:42 | 0:38:43 | |
"Right, guys, come and bowl at me in the nets." | 0:38:43 | 0:38:46 | |
So he had his own net in the garden. | 0:38:46 | 0:38:48 | |
So they'd stop what they were doing and they had to bowl at him... | 0:38:48 | 0:38:51 | |
but very gently! | 0:38:51 | 0:38:52 | |
They wouldn't let him have it, | 0:38:54 | 0:38:55 | |
they had to bowl at him very gently. | 0:38:55 | 0:38:57 | |
Siegfried was not going to pull a muscle or anything like that! | 0:38:57 | 0:39:03 | |
He stood at mid-on | 0:39:03 | 0:39:04 | |
and if the ball was hit straight at him, | 0:39:04 | 0:39:08 | |
he would fold his arms | 0:39:08 | 0:39:10 | |
and present his shins to it. | 0:39:10 | 0:39:13 | |
But what he looked forward to most, | 0:39:13 | 0:39:15 | |
and it's documented very well in his diaries and his notebooks, | 0:39:15 | 0:39:19 | |
was when you came along to visit | 0:39:19 | 0:39:21 | |
and you sat on the porch and you'd listen to the cricket, | 0:39:21 | 0:39:25 | |
the test matches, | 0:39:25 | 0:39:26 | |
and you just talked about cricket. | 0:39:26 | 0:39:28 | |
And particularly in his later life, that was one of his great joys. | 0:39:28 | 0:39:33 | |
Dennis and his wife Diana | 0:39:33 | 0:39:34 | |
spent lots of time with Siegfried at Heytesbury, | 0:39:34 | 0:39:37 | |
until he died in 1967. | 0:39:37 | 0:39:40 | |
The house is now apartments | 0:39:40 | 0:39:42 | |
but it still holds fond memories for both of them. | 0:39:42 | 0:39:45 | |
Dennis, you spent many hours and many nights here with Siegfried. | 0:39:46 | 0:39:50 | |
Tell me about your evenings. What did you do? | 0:39:50 | 0:39:53 | |
I did a lot of listening | 0:39:53 | 0:39:55 | |
because there was such a wonderful thing to listen to, | 0:39:55 | 0:39:58 | |
as Siegfried in full cry. | 0:39:58 | 0:40:01 | |
And mostly about World War I. | 0:40:01 | 0:40:04 | |
He talked unforgettably | 0:40:04 | 0:40:07 | |
about what it had been like to be on the Western Front. | 0:40:07 | 0:40:12 | |
And more important than anything else, | 0:40:12 | 0:40:16 | |
the lives of his men. | 0:40:16 | 0:40:19 | |
Now, you managed to persuade him to record some of his poems, | 0:40:21 | 0:40:25 | |
-didn't you? -Yes, I did. | 0:40:25 | 0:40:27 | |
Was that difficult? | 0:40:27 | 0:40:29 | |
Not difficult, | 0:40:29 | 0:40:31 | |
but I had to wait around a bit! | 0:40:31 | 0:40:34 | |
Well, luckily for us, you persisted, Dennis. | 0:40:34 | 0:40:37 | |
So this is some of your recordings. | 0:40:37 | 0:40:40 | |
'The Dug-out. | 0:40:40 | 0:40:41 | |
'Why do you lie with your legs ungainly huddled | 0:40:43 | 0:40:46 | |
'And one arm bent across your sullen, cold, exhausted face? DENNIS MOUTHS ALONG | 0:40:46 | 0:40:52 | |
'It hurts my heart to watch you | 0:40:52 | 0:40:55 | |
'Deep-shadowed from the candle's guttering gold | 0:40:55 | 0:40:59 | |
'And you wonder why I shake you by the shoulder | 0:40:59 | 0:41:02 | |
'Drowsy, you mumble and sigh and turn your head | 0:41:02 | 0:41:07 | |
'You are too young to fall asleep for ever | 0:41:07 | 0:41:10 | |
'And when you sleep, you remind me of the dead.' | 0:41:10 | 0:41:13 | |
How does it feel, Dennis, | 0:41:20 | 0:41:21 | |
to listen to your friend read some of his great poems? | 0:41:21 | 0:41:25 | |
Well... | 0:41:27 | 0:41:28 | |
I can only tell you that it was a great experience. | 0:41:28 | 0:41:34 | |
What do you think that Siegfried will be remembered for? | 0:41:34 | 0:41:37 | |
Quite honestly, | 0:41:37 | 0:41:39 | |
I think that with 1914-18 | 0:41:39 | 0:41:42 | |
already being hammered around, | 0:41:42 | 0:41:46 | |
his poems will have real meaning. | 0:41:46 | 0:41:51 | |
And, we hope, making damn sure | 0:41:51 | 0:41:56 | |
that no other country | 0:41:56 | 0:41:59 | |
is allowed to make a world war. | 0:41:59 | 0:42:02 | |
Because that would be the end of the game. | 0:42:03 | 0:42:06 | |
How did his writing change when he lived here? | 0:42:12 | 0:42:15 | |
Well, he loved the country, the trees. | 0:42:15 | 0:42:20 | |
He wrote wonderful poems about the trees. | 0:42:20 | 0:42:24 | |
He was superb at picking up | 0:42:24 | 0:42:29 | |
the really important bits of one's life. | 0:42:29 | 0:42:32 | |
One of the poems that he wrote about a tree outside | 0:42:34 | 0:42:37 | |
he named after his good friend Edmund Blunden, the great poet. | 0:42:37 | 0:42:40 | |
Would you do us the honour of reading it for us, Dennis? | 0:42:40 | 0:42:42 | |
"I named it Blunden's Beech | 0:42:44 | 0:42:48 | |
"And no-one knew that this | 0:42:48 | 0:42:50 | |
"Of local beeches | 0:42:50 | 0:42:52 | |
"Was the best | 0:42:52 | 0:42:55 | |
"Remembering lines by Clare | 0:42:55 | 0:42:59 | |
"I'd somehow rest | 0:42:59 | 0:43:02 | |
"Contentful on the cushioned moss | 0:43:02 | 0:43:05 | |
"That grew between its roots | 0:43:05 | 0:43:09 | |
"Finches, flitting crew | 0:43:09 | 0:43:12 | |
"Chirped their concern | 0:43:12 | 0:43:15 | |
"Wiltshire, from east to west, | 0:43:15 | 0:43:19 | |
"Contained my tree." | 0:43:19 | 0:43:21 | |
While Wiltshire provided inspiration for the poet Siegfried Sassoon, | 0:43:32 | 0:43:36 | |
it was the Kent countryside | 0:43:36 | 0:43:38 | |
that was a muse for writer and poet Vita Sackville-West. | 0:43:38 | 0:43:41 | |
So enamoured was she with this landscape | 0:43:44 | 0:43:46 | |
that when Sissinghurst Castle came up for sale, | 0:43:46 | 0:43:49 | |
Vita bought it. | 0:43:49 | 0:43:51 | |
And for a writer with romantic ideas, | 0:43:51 | 0:43:53 | |
this place ticked all the boxes. | 0:43:53 | 0:43:56 | |
It had land, and lots of it, | 0:43:59 | 0:44:02 | |
a pink-bricked ruin, | 0:44:02 | 0:44:04 | |
traditional Kentish oast houses | 0:44:04 | 0:44:06 | |
and this - an Elizabethan tower. | 0:44:06 | 0:44:08 | |
Together with her husband Harold Nicolson, | 0:44:13 | 0:44:15 | |
the couple slowly rebuilt the once dilapidated Sissinghurst, | 0:44:15 | 0:44:20 | |
to make it their home and her place of work. | 0:44:20 | 0:44:23 | |
Vita continued to write poetry, inspired by the new adventure. | 0:44:23 | 0:44:27 | |
"Green is the eastern sky and red the west | 0:44:29 | 0:44:32 | |
"The hop-kilns huddle under pallid hoods | 0:44:32 | 0:44:36 | |
"The waggon stupid stands with upright shaft | 0:44:36 | 0:44:39 | |
"As daily life accepts the night's arrest." | 0:44:39 | 0:44:42 | |
Although Sissinghurst looks well kept and much-loved today, | 0:44:46 | 0:44:50 | |
when Vita and Harold bought it in 1930, | 0:44:50 | 0:44:53 | |
there was a lot of work to do. | 0:44:53 | 0:44:55 | |
And it was here that Vita developed another talent - | 0:44:57 | 0:45:01 | |
gaining a reputation for garden design. | 0:45:01 | 0:45:04 | |
It was at this desk that Vita | 0:45:05 | 0:45:07 | |
wrote her popular gardening column for The Observer. | 0:45:07 | 0:45:10 | |
For 14 years, | 0:45:10 | 0:45:12 | |
her readers got to know Vita and her grand garden well. | 0:45:12 | 0:45:16 | |
And many of them became so taken with it | 0:45:16 | 0:45:18 | |
that they flocked here in their droves | 0:45:18 | 0:45:21 | |
to see it for themselves. | 0:45:21 | 0:45:22 | |
More than 80 years after Vita started planting this garden, | 0:45:25 | 0:45:29 | |
the greenhouses are full to bursting | 0:45:29 | 0:45:32 | |
with seedlings destined for the flower beds. | 0:45:32 | 0:45:34 | |
Gardner Jo Jones and senior propagator Emma Grigg | 0:45:36 | 0:45:39 | |
are following in Vita's muddy footsteps. | 0:45:39 | 0:45:42 | |
-Hiya, how are you doing? -All right, thanks. -Very good. | 0:45:43 | 0:45:46 | |
Glad to be working indoors! | 0:45:46 | 0:45:47 | |
-Yes. -Yeah, windy and rainy out there at the moment, yes. | 0:45:47 | 0:45:50 | |
So what do you have to do in the depths of winter here? | 0:45:50 | 0:45:52 | |
What's involved? | 0:45:52 | 0:45:54 | |
I'm getting the seedlings sown for use for our head gardener, | 0:45:54 | 0:45:57 | |
Troy. He's planned what plans he wants to do this year. | 0:45:57 | 0:46:01 | |
Jo, how big is this garden? | 0:46:01 | 0:46:03 | |
-It's about seven acres. -Wow! | 0:46:03 | 0:46:05 | |
So it's relatively small-sized | 0:46:05 | 0:46:07 | |
but it's very intensely planted | 0:46:07 | 0:46:10 | |
so it means it creates a lot more work for us, here. | 0:46:10 | 0:46:13 | |
Do you find yourself, as a gardener, inspired by this place? | 0:46:13 | 0:46:16 | |
It certainly was very special for Vita. | 0:46:16 | 0:46:19 | |
Oh, yeah. It's beautiful | 0:46:19 | 0:46:21 | |
to see all the different progressions through the season | 0:46:21 | 0:46:24 | |
and really nice to see different bits of the garden | 0:46:24 | 0:46:27 | |
evolving and changing, as well. | 0:46:27 | 0:46:29 | |
There are nine horticulturalists and 25 dedicated volunteers | 0:46:31 | 0:46:36 | |
dealing with the garden's very long to-do list. | 0:46:36 | 0:46:39 | |
Keeping true to Vita's experimental planting style, | 0:46:39 | 0:46:43 | |
I'm here to help assistant head gardener Wendy Tremenheere | 0:46:43 | 0:46:46 | |
reintroduce one of Vita's former flowers. | 0:46:46 | 0:46:49 | |
Hi, Wendy. | 0:46:49 | 0:46:50 | |
-I've got just the thing... -Thank you. -..for that hole here. | 0:46:50 | 0:46:53 | |
One of these...well, it's hard to identify, isn't it? | 0:46:53 | 0:46:55 | |
-It's a rose, isn't it? -Yeah, this is Empress Josephine. | 0:46:55 | 0:46:59 | |
It's a lovely gallica rose, | 0:46:59 | 0:47:01 | |
semi-double, pink, with veined petals... | 0:47:01 | 0:47:03 | |
So we're going to plant it on the edge of the path here | 0:47:03 | 0:47:06 | |
where people can actually admire the flowers | 0:47:06 | 0:47:08 | |
and smell it as they walk by. | 0:47:08 | 0:47:10 | |
-There we go. -We'll sprinkle that. | 0:47:10 | 0:47:11 | |
A bit of bone meal. | 0:47:11 | 0:47:14 | |
And what was Vita's vision for her rose garden? | 0:47:14 | 0:47:17 | |
What did she have here? How many varieties? | 0:47:17 | 0:47:19 | |
In 1953, | 0:47:19 | 0:47:21 | |
Vita's head gardener made a list of the roses in the garden | 0:47:21 | 0:47:25 | |
and came up with 194 Roses. | 0:47:25 | 0:47:27 | |
Wow! | 0:47:27 | 0:47:29 | |
Wonderful, like this lovely rose. Job done! | 0:47:29 | 0:47:32 | |
It was Harold who drew up the layout for this garden, | 0:47:35 | 0:47:38 | |
using clean lines and corridors | 0:47:38 | 0:47:40 | |
to connect different rooms for Vita's abundant blooms. | 0:47:40 | 0:47:44 | |
And its in winter, this time of year, | 0:47:44 | 0:47:46 | |
that you really get a sense of his blueprint for Sissinghurst. | 0:47:46 | 0:47:49 | |
But come the summer, when every inch is packed with flowers, | 0:47:49 | 0:47:54 | |
it's very much Vita's garden. | 0:47:54 | 0:47:55 | |
Yet Sissinghurst was more than plants and planning, | 0:48:00 | 0:48:04 | |
it was also Harold and Vita's treasured home. | 0:48:04 | 0:48:07 | |
Their grandson Adam Nicholson, also a writer, | 0:48:07 | 0:48:10 | |
spent his formative years here. | 0:48:10 | 0:48:12 | |
What was it like having visitors around and eyes everywhere? | 0:48:12 | 0:48:16 | |
Well, visitors were like weird alien creatures. | 0:48:16 | 0:48:20 | |
We used to drop eggs on them from the top of the tower. | 0:48:20 | 0:48:23 | |
-You didn't? -Yeah! | 0:48:23 | 0:48:25 | |
But it was a magical place to be a boy, you can imagine, | 0:48:25 | 0:48:28 | |
it was beautiful, a completely life-shaping time for me. | 0:48:28 | 0:48:32 | |
How would you describe Sissinghurst? | 0:48:32 | 0:48:35 | |
Well, I think that it is a garden in a ruin in a farm. | 0:48:35 | 0:48:40 | |
It's like a precious garden with this abandoned Elizabethan house, | 0:48:40 | 0:48:45 | |
the farm buildings, the fields, the woods | 0:48:45 | 0:48:48 | |
and then the wider landscape beyond. | 0:48:48 | 0:48:50 | |
Vita died in 1962 and Harold six years later. | 0:48:52 | 0:48:57 | |
Like Knole before it, the heavy weight of death duties meant | 0:48:57 | 0:49:01 | |
Adam's father Nigel gave Sissinghurst to the National Trust. | 0:49:01 | 0:49:04 | |
But with strong ties to the place, Adam's had his own ideas | 0:49:07 | 0:49:11 | |
to reinvigorate the traditional and once thriving farm. | 0:49:11 | 0:49:15 | |
Now there's a lovely herd of Sussex beef cattle, | 0:49:15 | 0:49:19 | |
there's a flock of sheep, you've got a big fruit orchard. | 0:49:19 | 0:49:23 | |
We've put in, down in that wet bottom of the valley there, | 0:49:23 | 0:49:26 | |
we've put in a lovely hay meadow. | 0:49:26 | 0:49:29 | |
There was one in the Middle Ages, | 0:49:29 | 0:49:31 | |
and there hasn't been one for the last 50, 60 years, | 0:49:31 | 0:49:35 | |
so with the idea being that this is a rich | 0:49:35 | 0:49:38 | |
and beautiful frame for the garden. | 0:49:38 | 0:49:40 | |
It's no good having the garden as a little thing | 0:49:40 | 0:49:43 | |
just with a car park attached to it, | 0:49:43 | 0:49:46 | |
you want to feel the country embracing it. | 0:49:46 | 0:49:48 | |
Sissinghurst's a hive of activity in every season. | 0:49:51 | 0:49:54 | |
It might be most famous for its stunning summer blooms, | 0:49:54 | 0:49:58 | |
but this is a place of transformation - | 0:49:58 | 0:50:01 | |
a tribute to the vision of Vita Sackville-West, | 0:50:01 | 0:50:04 | |
writer, gardener, romantic. | 0:50:04 | 0:50:07 | |
We're exploring Kent. | 0:50:22 | 0:50:24 | |
While Ellie's been on the mainland at the home of writer and gardener | 0:50:24 | 0:50:27 | |
Vita Sackville-West, | 0:50:27 | 0:50:28 | |
I've been exploring the remote Elmley Marshes | 0:50:28 | 0:50:31 | |
on the Isle of Sheppey. | 0:50:31 | 0:50:33 | |
Well, it wasn't just Vita who was inspired by this landscape - | 0:50:33 | 0:50:36 | |
Charles Dickens was pretty taken by it, too. | 0:50:36 | 0:50:39 | |
In fact, he took inspiration for Great Expectations | 0:50:39 | 0:50:42 | |
from these very marshes. | 0:50:42 | 0:50:44 | |
The marshland you see today is actually a man-made wilderness. | 0:50:46 | 0:50:49 | |
The water levels can be raised and lowered as needed | 0:50:49 | 0:50:52 | |
to create the optimum conditions for the birds. | 0:50:52 | 0:50:55 | |
And it's this delicate balance that keeps them flocking. | 0:50:55 | 0:50:59 | |
I'm joining Gareth Fulton, son-in-law of Philip the landowner, | 0:50:59 | 0:51:02 | |
who's using a nifty technique to combat the recent heavy rainfall. | 0:51:02 | 0:51:06 | |
Seems like the birds aren't the only ones wading around here. | 0:51:06 | 0:51:09 | |
What are we doing here then? What's the job? | 0:51:09 | 0:51:12 | |
We are managing the water level across the reserve. | 0:51:12 | 0:51:16 | |
What we want to do is keep just enough water in the fields, | 0:51:16 | 0:51:19 | |
to keep them moist, keep a good habitat for the breeding waders. | 0:51:19 | 0:51:21 | |
And we know there's a lot of rain coming through, | 0:51:21 | 0:51:24 | |
so we don't want any more water in this field, | 0:51:24 | 0:51:26 | |
so we'll take this top off, this pipe here, | 0:51:26 | 0:51:28 | |
and there's a tube going under this bank behind us | 0:51:28 | 0:51:31 | |
and it will drain the water out into another part that's not got as much. | 0:51:31 | 0:51:34 | |
I'll take that out now. Have you found that hole? | 0:51:43 | 0:51:45 | |
-Yeah. -Brilliant. So if you just let that lean. | 0:51:45 | 0:51:48 | |
We'll just walk out and we'll be able to see the water flowing through | 0:51:48 | 0:51:52 | |
and going out the other side. | 0:51:52 | 0:51:54 | |
This amazingly simple technique allows the water to drop to | 0:51:55 | 0:51:58 | |
the level of the pipe - gravity takes control | 0:51:58 | 0:52:02 | |
and pushes it elsewhere, just like a bath overflow. | 0:52:02 | 0:52:05 | |
How long will it take for this to get to the level that you want it? | 0:52:05 | 0:52:09 | |
It should take a couple of days, depending on how much rain we get. | 0:52:09 | 0:52:12 | |
You never really know in advance, you've just got to judge it, really. | 0:52:12 | 0:52:15 | |
-You can see that little trickle down there, can't you? -Yeah. | 0:52:15 | 0:52:18 | |
If you just see over there, | 0:52:18 | 0:52:20 | |
you see the upwelling where the water is coming up. | 0:52:20 | 0:52:22 | |
And the water going across will eventually end up through | 0:52:22 | 0:52:25 | |
the sluice and into the swale. | 0:52:25 | 0:52:28 | |
Have you thought about the miles of pipe you've got? | 0:52:28 | 0:52:31 | |
Yeah. There must be over five miles of piping in this place. | 0:52:31 | 0:52:34 | |
It's mind-boggling. | 0:52:34 | 0:52:36 | |
Managing this complex habitat so closely | 0:52:38 | 0:52:41 | |
is a huge undertaking for the family. | 0:52:41 | 0:52:43 | |
But the rewards are everywhere to be seen | 0:52:43 | 0:52:46 | |
as you drive through the watery wilderness. | 0:52:46 | 0:52:48 | |
I hear there's a view from a hide just up here that offers | 0:52:48 | 0:52:51 | |
the best of the marshes. | 0:52:51 | 0:52:52 | |
Is that some wigeon coming in? | 0:52:56 | 0:52:58 | |
Two people who love nothing more than escaping the city | 0:52:58 | 0:53:01 | |
and getting twitchy in the wilderness are amateur photographers | 0:53:01 | 0:53:04 | |
John Whitting and his son... John Whitting! | 0:53:04 | 0:53:07 | |
Now then, lads, hands up if your name's John. | 0:53:08 | 0:53:11 | |
-Good to see you, how are you? -Very good. | 0:53:13 | 0:53:15 | |
-Have you had a successful morning? -Oh, very good. Very nice day. | 0:53:15 | 0:53:19 | |
And is it a good day for bird watching? | 0:53:19 | 0:53:21 | |
Cos obviously a lot of stuff's been up and down, it's all over the shop. | 0:53:21 | 0:53:24 | |
It's a good day for what we've got here at the moment. | 0:53:24 | 0:53:27 | |
It is flocks and wildfowl and wild country, really, so today it suits. | 0:53:27 | 0:53:33 | |
You don't just obviously come down here with binoculars, | 0:53:33 | 0:53:36 | |
you come here with your camera and you have got some incredible shots. | 0:53:36 | 0:53:39 | |
John, just talk us through when you took these. | 0:53:39 | 0:53:43 | |
-These are all from here. -Yes, it's all from Elmley. | 0:53:43 | 0:53:45 | |
That's a ringtail hen harrier. | 0:53:45 | 0:53:47 | |
-Who took this shot? -I took that one. | 0:53:47 | 0:53:49 | |
Very good. | 0:53:51 | 0:53:52 | |
That's a stoat which is a deadly predator. | 0:53:52 | 0:53:55 | |
They've got all the predator fences up around the reserve, | 0:53:55 | 0:53:59 | |
but the predators still get through and that's the damage they can do. | 0:53:59 | 0:54:02 | |
Now, that is a rarity, isn't it? | 0:54:02 | 0:54:03 | |
-Yeah. -On both accounts I guess. -Marsh frog with a cattle egret. | 0:54:03 | 0:54:09 | |
You don't see many of them, but they are starting to increase now. | 0:54:09 | 0:54:11 | |
I've seen for myself the hard work involved | 0:54:13 | 0:54:16 | |
in managing this landscape - | 0:54:16 | 0:54:18 | |
judging by these photos, I'd say it's definitely worth it. | 0:54:18 | 0:54:22 | |
Well, that's all we've got time for this week. | 0:54:22 | 0:54:25 | |
Next week we're going to be in Scotland where Ellie | 0:54:25 | 0:54:27 | |
will be finding out why Perthshire is known as Big Tree Country | 0:54:27 | 0:54:30 | |
and John will be trying his hand at reed cutting on | 0:54:30 | 0:54:33 | |
the longest reed bed in Britain. | 0:54:33 | 0:54:35 | |
But from here in this cosy hide in Kent, | 0:54:35 | 0:54:38 | |
and from these two Johns, | 0:54:38 | 0:54:39 | |
-it's goodbye. Bye-bye. -Cheerio. | 0:54:39 | 0:54:41 |