- 24/06/2025
As casas mais belas e históricas do Reino Unido e as pessoas que cuidam deste património inestimável.
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00:00Todos os anos, milhões de pessoas visitam as casas e os jardins do National Trust,
00:10recuando no tempo para mergulhar na nossa história.
00:18Seja na residência mais grandiosa,
00:24ou numa casa mais humilde.
00:30Mas fora da vista, há um mundo escondido.
00:43Com especialistas dedicados em todo o país.
00:49A lutarem para salvar objetos preciosos.
00:52E revelando segredos...
01:03Que contam a história de todos nós.
01:20Desta vez, duas casas palacianas nas Midlands.
01:24Um jardim temático globalmente maravilhoso.
01:26E um retrato com um passado escondido.
01:34Há tantas histórias humanas em um lugar como o Baltham.
01:39No alto de uma colina em Derbyshire, rodeado por 809 hectares de parque,
02:04encontra-se o magnífico Ardwick Hall.
02:06Esta casa espetacular foi encomendada pessoalmente em 1590
02:24pela famosa e formidável Bess de Ardwick.
02:29Ela é uma mulher que se levanta de um meio-class background.
02:33A sua força de carácter, inteligência e diversos casamentos
02:41para uma posição muito alta na sociedade britânica.
02:45Ela é quase como a Queen do Norte.
02:48Encarregada de cuidar do grande palácio de Bess,
02:53está a curadora de propriedades, Liz.
03:18Ardwick Hall era uma afirmação da riqueza e do poder de Bess.
03:24Cada uma das suas torres de 30 metros de altura
03:27tem gravadas as iniciais do seu título.
03:30Elizabeth de Shrewsbury.
03:31Bess encheu Ardwick Hall com mais de 8 mil obras de arte e artefactos preciosos.
03:57Mas talvez o mais valioso para ela fosse uma das suas amizades mais próximas.
04:04Elizabeth I está no final,
04:06então você pode ver-a.
04:07De um distante, ela lhe traz para a galeria.
04:13Este é chamado de portátil do Seamonster,
04:16por causa dos maravilhosos seamonsters que você pode ver na sua dressa.
04:19E isto teria sido comissionado por Bess
04:20como um signo de lojalidade para a Queen.
04:24Isso mostra-lhe a alegiência e a amizade com a Queen.
04:26As duas mulheres conheceram-se
04:31quando o casamento levou Bess para os círculos reais.
04:35Bess de Hardwick conheceu Elizabeth
04:37antes de ser a Queen, como princesa.
04:39E eles tinham uma relacionação próximas
04:41durante a vida da Queen Elizabeth.
04:44Então, houve bastante confiança
04:46entre Elizabeth e Bess.
04:48Hoje é um grande dia para a Isabel I.
04:57Porque, depois de ter olhado para a longa galeria
05:00durante mais de 400 anos,
05:02está prestes a embarcar na sua viagem inaugural pelo Atlântico.
05:05Isso particular trabalho está indo ao longo,
05:09começando a The Met em New York.
05:11Então, vamos olhar para a frente
05:12para garantir que é estabele para transporte.
05:14Porque, obviamente, é um trabalho importante
05:16na coleção.
05:17Para garantir que Isabel está suficientemente forte
05:41para enfrentar a sua aventura americana,
05:43estão aqui a conservadora de pinturas Nicole
05:46e a conservadora nacional sénior Rebeca.
05:58Mas, para inspecionar de perto,
06:03Isabel precisa de descer.
06:05Embora este retrato pareça estar em bom estado,
06:29as luzes UV conseguem ver para além do olho nu.
06:32A pintura de Isabel, com 400 anos,
06:48tem de sobreviver a um voo de cerca de 6.440 quilómetros.
06:55Mas Rebeca e Nicole têm algo na manga.
06:57Para garantir que a pintura é amortecida
07:03na parte de trás.
07:04É, tem que ser tauta.
07:08Nós packamos as pinturas muito carregadas.
07:10Eles são usos de descanso para transportar artes.
07:15Mas um pouco extra de medida
07:17é a stretch bar lining.
07:18E é um pouco mais fácil de fazer
07:20uma espécie de acusão, em uma forma.
07:23Então, você está dando a pintura
07:25um pouco extra de suporte.
07:27É meio que quando atunas um violino, a frequência do canvás muda um pouco,
07:35e a quantidade de vibração que ela passa, calma um pouco.
07:41Me senta... Me senta bem.
07:47Time to go on.
07:52Isabel não é o único dos tesouros de Hardwick que vai em digressão.
07:57Escolhida para acompanhar a rainha, está uma das peças de mobiliário mais notáveis de Bess.
08:04A ornamentada e elaborada Sea Dog Table.
08:12Às vezes a Sea Dog Table é chamada a table mais importante na Inglaterra.
08:15A craftsmanship e o processo de design que passou na table,
08:20e também o fato de que ela ainda sobrevive hoje em quase sua forma completa,
08:24faz-la uma peça muito significativa.
08:27Intricadamente esculpida por artesãos franceses e decorada com uma incrustação de mármore italiano,
08:34a Sea Dog Table tem algumas características surpreendentemente modernas.
08:39pode ser alargada para mais pessoas e desmontada.
08:46Mas antes de poder ser declarada apta para viajar, a mesa tem de ser desmontada.
08:51E cuidadosamente verificada pelo conservador de mobiliário sénior, Jerry.
08:58O Sea Dog Table é um lindo design, que é um sucesso tão raro.
09:05O Sea Dog Table é um sucesso tão raro.
09:07É um sucesso tão raro.
09:11O Sea Dog
09:17The Sea Dog é um…
09:18they're interesting.
09:19They're made up of a dog's face.
09:20They've got acanthus leaves of ears.
09:21They've got female breasts and sort of a dolphin tail.
09:24Então, sim, eles são bem...
09:27Eles são bem-cachos, eu diria, definitivamente.
09:29Esse é um pouco de esticinho.
09:31Não parece que ele comeu muito fácil.
09:33Tem um pouco de jiggle.
09:35Tem um pouco de jiggle.
09:36Tem um pouco de jiggle.
09:38Sim, é um pouco de jiggle.
09:40A lot de pessoas comentam sobre os seadogs.
09:43Eles são bem-tactos, mas não deixam ninguém a tocar.
09:48Bess tem uma boa sensação de humor,
09:50então, eu acho que ela gostaria de ver com as faces de pessoas quando eles olhavam a table.
09:58Mas para Bess de Hardwick, os seadogs podem não ter sido apenas uma peça de conversa para um banquete obsceno.
10:06No período isabelino, as criaturas marinhas míticas tinham muitas vezes um certo significado.
10:14Quando Bess adquiriu a Seadog Table, na década de 1570,
10:18Isabel I não tinha dinheiro para financiar uma marinha completa para enfrentar a poderosa frota espanhola.
10:28Por isso, recrutou um grupo de elite de marinheiros exploradores ingleses,
10:32entre os quais Walter Rayleigh e Francis Drake.
10:38Ficaram conhecidos como os seadogs.
10:40e tinham a autoridade total de Isabel para atacar frotas estrangeiras à vontade e colher os despojos.
10:48A idade Elizabeth é uma de uma exploração extraordinária
10:52ao todo o globo,
10:54e, em particular, se tornando um poder marítimo marítimo.
10:58Os seadogs também expandiram os horizontes do mundo isabelino,
11:04ao estabelecer as primeiras colónias inglesas nas Américas.
11:13Agora, quase 450 anos depois,
11:15os seadogs de Bess of Hardwick estão prestes a fazer a sua viagem transatlântica inaugural.
11:21Mas o seu primeiro porto da escala é o Royal Oak Foundation Conservation Studio,
11:28em Knoll House, Kent.
11:32No interior deste celeiro do século XV,
11:34os tesouros mais delicados do Trust
11:36recebem cirurgias e tratamentos pioneiros
11:39dos melhores consultores de conservação do país.
11:42Jérrie tem de garantir que todas as partes da extraordinária mesa de Bess
11:51são suficientemente fortes para viajar.
11:53Estamos levando-a separadamente
11:55só para garantir que a mesa esteja
11:57materialmente
11:58para a sua viagem emocionante
12:00para a América,
12:02para a exposição.
12:03É um pedaço um pouco pequeno
12:05para ela ainda ser quase totalmente intacta.
12:09É bem remarcável
12:10e só aconteceu assim
12:12porque foi cuidada por centenas de anos.
12:15mas por muito bem conservada que a mesa esteja,
12:22há uma coisa que pode estragar a digressão,
12:28o caruncho.
12:30é um pouco mais claro e meio.
12:32É porque a larvae estão com a ver
12:36o timbre dentro.
12:37Não se come à parte da parte
12:39quando eles estão comendo as larvas
12:41porque é um pouco brilhante para eles
12:43e não gostam da forma de polícia
12:45e a parte da árvore
12:46e a parte da árvore,
12:47então eles ficam dentro.
12:48É apenas quando eles estão comendo a forma de ir para voar
12:51que você tem um problema
12:53e você é mais consciente de eles.
12:54E aí, você tem um descoço
12:56de descoço
12:57porque tanto é feito em uma forma
12:59Então, poderia falhar bastante significativamente.
13:29No coração das Midlands, escondido num vale frondoso de Staffordshire,
13:57encontra-se o Jardim Labiríntico de Biddulph Branch.
14:16Este jardim de 8 hectares foi criado por James Bightman,
14:20que herdou uma fortuna de família e a gastou num país das maravilhas hortícolas.
14:24Concebido para levar os visitantes vitorianos numa viagem global.
14:35E surpreendê-los com as maravilhas da natureza.
14:41A bit of Bightman's fantasy, a tree upside-down with the roots.
14:47I don't see that in any gardens.
14:52I just think it's fabulous.
14:55Other people might say more eccentric.
14:57You know, what's going on here with these stumps, these spikes sticking out?
15:01People must have visited.
15:02Oh, he's crazy, James Bightman, this.
15:05Atualmente, o jardim é mantido por uma pequena equipa de funcionários e 40 voluntários.
15:19Liderada pelo jardineiro-chefe, Paul.
15:24When I left school, I actually wanted to be a sign writer.
15:28And my sister was working in the tea room here, and I used to come along and pick her up.
15:33And I just saw this fabulous gardener, thought, that's what I wanted to do.
15:37I started off as a trainee for a couple of years.
15:41Then assistant gardener, then gardener, then garden manager, and now head gardener.
15:46I go home, love my family, my family and my life.
15:50But second to that, it's the middle.
15:56No centro da grande visão de Bightman está o exuberante e opulento Jardim da China.
16:03Mas falta-lhe uma parte fundamental.
16:05Desde os tempos vitorianos que existia uma ponte que atravessava este lago.
16:29Construída à mão por artesãos locais por volta de 1855, era a peça central do Jardim da China.
16:35Tendo suportado o peso de muitos milhares de visitantes ao longo dos anos,
16:55a ponte tornou-se perigosamente instável e teve de ser removida.
16:59A sua ausência é também muito sentida pelos voluntários de Bidolf.
17:21I think it's just somewhere where, traditionally, when you come as a family,
17:27there's always a photograph taken on that bridge.
17:31A neta de Elaine, Mia, estava igualmente ligada à ponta.
17:34Ao longo de um mês, Mia correu cerca de 84 quilómetros, angariando quase 1700 euros.
18:02Com a ponte agora irreparável, a única opção é uma reconstrução completa.
18:19Na oficina de conservação em Nottinghamshire, o mercenário Sam está agora a enfrentar esta tarefa assustadora.
18:27This piece here is the original, so I've taken that out for my benefit, just to get my head round.
18:35What on earth I've got to do to make that work?
18:38Because if you look at it in a whole, it's like, how on earth am I going to make that?
18:41I came to the National Trust as a apprentice, so I got a six-month contract.
18:51And I've been there 10 years, I think they've just forgotten and realized.
18:57The contract's over.
18:58This is one of the most awkward parts.
19:02As you can see on here, it twists in two directions at once.
19:08Para reproduzir a ponte, Sam tem de trabalhar à mão centenas destas peças complexas.
19:13So you just try and concentrate on one curve at a time, so this curve will match this curve here.
19:21And then once I'm happy with the shape of that, I will move on to the other curve.
19:25And I'm looking at it from this point of view now.
19:27I know this curve's right, and now looking at this profile, so I'll draw that onto there.
19:36So I'll cut that out now.
19:43Não é apenas a escala desta construção que está a pesar sobre Sam.
19:49Não é apenas a escala desta construção que está a pesar sobre Sam.
20:13Sam conseguiu fabricar com sucesso mais uma peça de ponte.
20:17Just a little part of the jigsaw, basically.
20:21Mas ainda há centenas de outras para construir e montar.
20:25E a reabertura prevista está a poucas semanas de distância.
20:30It's extremely time consuming.
20:32It's a marathon, really.
20:35Every time you think you're getting closer to finishing, there's another piece that he's doing.
20:43The work that they're doing can reveal stories that haven't been told during centenas of years.
21:01Em Lincolnshire, há uma grande propriedade, National Trust, repleta de tesouros recolhidos em todo o mundo ao longo de quatro séculos.
21:15Belton House
21:16This always reminds me of a hospital, for some reason.
21:23When you get wheeled down for an operation, that might just be my local hospital.
21:31Shablot is the curator of the cultural patrimonio of Midland.
21:34I love telling the histories that may have been overlooked.
21:39Somewhere like Belton, whose history and the history of the family is usually quite well documented.
21:44But then when you dig beneath, there are all sorts of other narratives within the collection and within the archives.
21:51Esta propriedade rural foi construída pelos Brownlow, uma dinastia rica de advogados e deputados.
21:57This is the corridor that connects with the kitchens.
22:06And you can see they've got all sorts of innovations, this sort of pulley system.
22:10So you could put an object or trays and have them sent down.
22:17We can see all the very prominent members of the family.
22:21We can see how they wanted to present themselves.
22:23I'm always interested in or who worked here, who haven't we recorded.
22:28There's just so many human stories, a place like Belton.
22:36Hoje, a limpeza começa no salão, nos retratos Brownlow do século XVII.
22:43A começar por um que tem a sua própria história oculta.
22:53A moving a 300-year-old painting is always a complex process.
23:02Moving a painting which is in its historic position is even more complex because we have to negotiate things like the wings of the dead gangbirds.
23:12Margaret Brownlow foi uma das cinco filhas de Sir John Brownlow, que construiu a Belton House.
23:27Este quadro não foi limpo desde que o National Trust tomou conta da casa em 1984.
23:33Mas retirá-lo permite que a equipa de conservação se concentre na outra pessoa do quadro.
23:42So as well as Margaret Brownlow, you can see in the corner, somewhat hidden now in the shadows, an attendant.
23:51And we believe that the attendant, probably due to their dress, was a servant child.
23:56Um século depois de as primeiras colónias inglesas terem sido criadas pelos Seadogs de Isabel,
24:03as plantações estavam bem estabelecidas nas Índias Ocidentais.
24:07By the 1690s, England and Scotland were slave-trading countries.
24:15And there were also populations of free black people or people of African heritage living within Europe and Northern Europe at that time.
24:24But the presence of an African attendant in the portrait may link to the family's wealth and status.
24:31It's a fashion that we see emerging in Britain from about the middle of the 17th century.
24:38And it would usually be something you'd see in a portrait of a very prominent aristocratic woman.
24:44So what the inclusion of this figure does is elevate her status to that level of society.
24:50Mas é sobre o estatuto do jovem criado que a equipa está interessada em saber mais.
24:55Embora os Brownlow tivessem ligações às plantações 200 anos mais tarde,
25:02não há provas da existência de escravos em Belton quando este retrato foi pintado.
25:05I do this work with that knowledge that some of my ancestors were enslaved African people.
25:13And seeing African people portrayed in a subjugated pose in the visual language of the country house
25:19is a really important thing to acknowledge.
25:22It's history, it's our past, and it's here represented in our material culture.
25:28A responsável pela limpeza do retrato é a conservadora de quadros Poli.
25:38I'm just looking at the level of varnish and I suspect that at some point this painting
25:44has probably been partially cleaned.
25:46The easiest way to make a painting look better is to clean the lightest areas.
25:50So the flesh tones of the girl, they just look as if they might have less layers of varnish on them.
25:56So the figure of the girl is very prominently forward, and this figure is almost completely lost.
26:04Poli irá trabalhar na pintura no seu estúdio fora do local.
26:09Enquanto estiverem em Belton, Charlotte e John ocupar-se-ão de outra parte importante da sua história.
26:15We don't know the identity, unfortunately, of this child.
26:20So as well as very physically trying to bring this figure and this child out of the shadows,
26:25we also need to do the research to understand who was this child.
26:29Were they actually an attendant here at Belton,
26:32or was it actually something that was introduced by the artist,
26:36which is something we do see sometimes in portraiture.
26:40I think we have a duty to these figures that were often left out of history,
26:45that were left in the shadows and in the corner.
26:46So, was this a real person?
26:49If we could find that out, that would be wonderful.
26:51Yeah, there's somewhere already out here, Matt.
27:02So I've got number 10 there.
27:08Na oficina de conservação em Nottinghamshire, tem havido progressos na ponte da China.
27:13Let's be careful with that.
27:15Sam e a sua equipa construíram a maioria dos painéis laterais.
27:19Mas agora, ele tem de ter a certeza de que todos se vão encaixar.
27:23Each one of these null posts has a pad that it sits into.
27:28So there's not really any room for getting it wrong.
27:31It needs to come together and slot pretty much exactly where the last one did.
27:38And that's, you know, slightly worrying.
27:42No, it's not worrying.
27:44It's...
27:44It's gonna be right.
27:48Yeah, it's gonna be right.
27:49Cada painel lateral tem as tradicionais juntas de encaixe,
27:57que devem encaixar sem pregos ou parafusos.
28:01Ok, so that one's ready to go together.
28:05Hoje, Sam e o aprendiz Matt estão a testá-las pela primeira vez.
28:09I'm quietly confident.
28:1195% sure it will just slot together.
28:1695%, there's 5% doubt in there.
28:18There's 5%, that's why we've got a big hammer.
28:20All right.
28:24So we're topping a bit more.
28:29It's just catching on there.
28:30We're always trying to use traditional techniques, but they're not necessarily as fast or as calculated.
28:39Shall we try a different one?
28:40Shall we try a different one?
28:41It's that way around.
28:42It is, isn't it, I think?
28:44When I said they fit together 95%, we're gonna change that to 70.
28:48I think you need a bit of faith, that's all.
28:49Right.
28:50Hopefully that'll do it.
28:51That's it.
28:52Hey.
28:53There you go.
28:54OK.
28:55OK.
28:56OK.
28:57OK.
28:58OK.
28:59OK.
29:00OK.
29:01OK.
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29:28OK.
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29:37OK.
29:38OK.
29:39OK.
29:40OK.
29:41OK.
29:42OK.
29:43OK.
29:44OK.
29:45projeto agora liderado pelo jardineiro-chefe Paul.
30:15A grande visão de James Bateman não consistia apenas em trazer plantas exóticas do Império
30:32Vitoriano para as Midlands.
30:35Ele também tinha um fascínio pelos mistérios do mundo antigo.
30:39E a oficina de conservação de pedra em Somerset acabou de receber algumas das suas
30:45antigüidades, os mármores romanos de Bateman.
31:09Ninguém sabe como Bateman adquiriu estes artefactos, alguns dos quais podem ter dois mil anos.
31:17Mas ele tinha tanto orgulho neles que os expôs na entrada do jardim.
31:22A sua magnífica galeria geológica.
31:29Ellen tem estado em carregue do restauro da galeria há mais de 15 anos.
31:32Mas ainda há uma tarefa vital a concluir.
31:37Guardados em armazém há mais de duas décadas, por serem demasiado delicados para serem expostos,
32:03os mármores romanos de Bateman são seis fragmentos de estátuas que representam figuras mitológicas antigas,
32:10como Golias e Heráclas.
32:15O conservador Douglas trabalha com pedra, gesso e mármore.
32:24E juntamente com o chefe da oficina, Tom, idealizou uma forma inteligente de voltar a colocar os mármores
32:30nas paredes da galeria geológica.
32:33O plano é criar réplicas perfeitamente moldadas.
32:48A começar por Heráclos, mais conhecido pelo seu nome romano de Hércules.
32:55Mas o famoso semideus forte parece ter uma falha.
32:58Se Douglas se enganar no molde, pode causar danos significativos a Heráclas.
33:15O risco é que qualquer área de frágil de frágil, que pode ser vulnerável, pode ser pulled-o.
33:23Você pode tirar a roupa de frágil de roupa.
33:25A Heráclas, his nose, é particularmente frágil.
33:28Você não pode fazer nada, isso é o primeiro passo.
33:31Para criar o molde, Douglas está a usar várias camadas de silicone.
33:53E para saber quantas camadas aplicou, faz cada uma com uma cor ligeiramente diferente.
34:00Mantendo-se fiel ao seu tema culinário, Douglas tem um ingrediente secreto para aperfeiçoar o seu molde.
34:29Eu vou parar de fazer o molde.
34:31Eu vou pegar o potato, Douglas.
34:33O potato?
34:35Eu vou pegar o potato.
34:41Eu quero o molde, o molde, ser bastante fácil.
34:45E a maneira mais fácil de fazer isso é a smoothidade.
34:48Você pode usar várias coisas diferentes.
34:50Mas, neste caso, eu vou usar a bacto.
34:53O potato é um tipo de coisa que você ouve sobre, então é um pouco de experimento para mim, mas eu acho que vai ser tudo bem.
35:01Douglas tem muito experiência com esse tipo de coisa, então eu confio com o julgamento.
35:05Isso vai ser bom, não é?
35:07Opa!
35:10O teorio é que o starch no potato significa que o rubro não vai ficar ao do do do do do do do do do do do do do do do do do do do do do?
35:23Do you keep a store of potatoes here for this task?
35:26No, the corner shop sells them.
35:29Yeah, sometimes I have a pot noodle lunch from the corner shop, it's great.
35:34Ah, there's a little bit of potato in it now.
35:37Well, it's just a tiny bit there, I'm just going to leave it.
35:41I think it's just part of the history of that.
35:42Don't film that bit of potato.
35:44Underneath the surface, there's a great myriad of areas which are potentially quite weak.
35:56Nos cuidados intensivos de conservação, em Now, Jerry está a estudar a melhor forma de tratar os danos causados pelos carunchos,
36:04nos Sea Dogs de Bess de Hardwick.
36:08Chamou a curadora nacional de mobiliário, Megan, para dar uma segunda opinião sobre uma radiografia da mesa.
36:14So, the faces seem to have been particularly attacked by worm.
36:19Yeah, you can see the flight holes all over the object.
36:22And what's a little alarming about this is that the dowel is surrounded by very degraded wood.
36:29Timber.
36:30So, it's really quite weak.
36:32Right.
36:32This is historic, but nevertheless, the damage is done.
36:35Preocupados com o facto de os Sea Dogs poderem não ser suficientemente fortes para sobreviver à sua digressão americana,
36:47Jerry e Megan decidem fazer uma intervenção cirúrgica.
36:49Using a hypodermic needle to try and introduce the consolidant below the surface.
36:57There's obviously a network of tunnels from when it was infested.
37:01So, it's using those to move it around inside the timber, so it can soak in and consolidate the general area.
37:09Ao injetar delicadamente uma resina acrílica nos túneis do caruncho, Jerry espera reforçar as figuras a partir do interior.
37:20Mas se não penetrar suficientemente fundo na madeira, pode causar ainda mais danos.
37:50At the end of the building, It has the most significant area of damage on any of them, I think, actually,
38:08so hopefully that's okay for that now.
38:16It's been a very special piece to work on.
38:18It's been great to feel part of a continuum of treatment on the table over hundreds of years
38:23and you hope your own work is sufficiently robust and of quality
38:28that it's a useful addition to the whole piece.
38:34I think Bess would be delighted that a piece that she obviously loved
38:38is still with us so long after her death
38:42and is a famous piece which is worthy of a tour that she could never have imagined
38:48in her time. I'm sure she'd be pleased about that.
38:55Com a sua força interior restaurada, os Seadogs com 450 anos
39:00estão aptos a entrar na sua caixa de viagem, prontos para a sua viagem a Nova York.
39:08Mas tirar Isabel I de Hardwick Hall é uma tarefa mais complicada.
39:18Normally you would pack a painting on the spot
39:22so we would put it in its crate here in the long gallery.
39:26However this painting is too big to get through the doors
39:28so we have to take it just wrapped in poly to protect it.
39:32It's quite an intricate journey that this painting has to go on through the house
39:35and then down a huge amount of stairs.
39:37It's a little bit nerve-wracking and so yeah hopefully between us and the professionals
39:40it'll all happen safely and all go out safely on loan.
39:44So we'll be going through that middle door
39:46Yeah
39:47In and then changing direction into the high-grade chamber
39:51Yeah
39:52Ready?
39:53Yeah
39:54No, no, no, no, no, no, no, no, no, no, no, no, no, no, no
39:57It's still from there
39:59Yeah, it will
39:59But
40:00It's still from there
40:01Is that me?
40:02Yeah
40:02Right
40:03Just watch the back end
40:18Yeah
40:18Sorry
40:22We're going to face backwards
40:23I'm going to walk downstairs backwards
40:24Five
40:25Yeah
40:26I'm just going to alternate here
40:27Rhys, if you're going, go
40:28Five, two, three
40:29Yeah
40:31There's a great sense of achievement that we're coming to the end of this project
40:57I think we'll be very relieved when the objects get to the Met and are taken out of their crates
41:05and condition checked and put back together just to make sure that they are safe
41:09and I'm very much looking forward to seeing photos or, you know, images of them sat in the gallery looking wonderful
41:16Thank you, you made it look easy by the way
41:19Thank you
41:19Not stressful at all, which is good
41:21We will miss them when they're gone
41:24but I think it is really important that they get seen by other people as well
41:28so I'm kind of happy that they've gone on their little trips as long as they come back safely
41:33I've put on
41:41I think this is a third layer of plaster
41:45and hopefully it comes up
41:48Well, it's time to take the mold off
42:13Feeling confident then?
42:15I'm feeling hopeful
42:18O pior cenário possível é que o nariz de Heracles se solte com o molde
42:26Am I an optimist?
42:35You have to be optimistic, don't you?
42:38I mean, if you're pessimistic, I don't think conservation would be the job for you
42:42Yeah
42:48That's fine
42:56There's no damage
42:59All of the head is still on the head
43:03which is probably the most important part of mold making
43:08Phew
43:11Phew
43:12Thank gold
43:15Agora que já fez o molde
43:22Douglas pode misturar a sua fórmula de mármore falsa e fazer a sua réplica
43:27Our work is generally fairly labour intensive
43:33It could be considered a labour of love
43:35Good
43:39It looks good
43:41It's all there
43:42Looks great
43:44It's satisfying to see them together
43:48I mean, it's a lovely piece of sculpture
43:50So now there's two lovely bits of sculpture
43:53Just the other five, just the more complicated ones to do
43:58For those 400 volunteers, the Belton House, to maintain a vast collection of treasure
44:10It's a huge task of hercúlea
44:13Somebody has been nibbling away
44:16The damage that can be inflicted upon
44:20A peaceful loving little book
44:22Encarregados de catalogar uma das maiores bibliotecas do Trust
44:29São os bibliófilos Eileen e Rob
44:31The crux of the project is to get a formal assessment of each of the books
44:37And given that there are 18,000 on the shelves
44:40It takes some time
44:42It's quite a task
44:43Eileen is going to record anything that we find out about this little book
44:50And what I've noticed
44:51And for me, it really makes this a special little book
44:55Is it bears the signature of Sir Richard Brownlow
44:58And Richard Brownlow is the man I regard as being the founder of the dynasty
45:05He was chief proto-notary to Elizabeth I and James I
45:09And he was a lawyer that Elizabeth trusted
45:12And it's the money that he accrued
45:14Which led, 100 years later, virtually
45:17To the building of this house in the 1680s
45:21By one of his descendants
45:22So for me, this is an important little book
45:26I think it's wonderful
45:28It's like holding history
45:29Yeah
45:31It's lovely
45:37I mean, obviously I love it
45:38Because I've done 10 years here now
45:40I'm in my 11th
45:41And I'm also in the research group
45:43Which is wonderful
45:45I love researching
45:46I love being a detective
45:47I do have a passion for the place
45:51My husband says I'm obsessed
45:52And he said
45:54I should go on Mastermind
45:55And answer questions about Belton
45:57A equipa de conservação de Belton
46:05Está também numa viagem de detetive
46:07Para descobrir a identidade da figura escondida
46:11No retrato de Margaret Brownlow
46:13Com o assistente desconhecido
46:15De Henry Tilson
46:16De finais do século XVII
46:18O quadro está prestes a ser objeto
46:23De uma limpeza completa
46:24Mas entretanto
46:27Nas salas de arquivo de Belton
46:29O conservador de pinturas
46:30John
46:31Está a tentar descobrir
46:32Se o assistente
46:32Trabalhou na casa
46:33What we find is that in parish records
46:38Or household accounts
46:39You find evidence of the people
46:41Who worked in houses like Belton
46:43So that material might be
46:45Registers of birth and marriages
46:47Wages of servants
46:49Just any household accounts
46:51Which would tell us something
46:53About who lived here
46:54Beyond the members of the family
46:57My hunch is that this attendant figure
47:00Is not drawn from another artistic composition
47:03Whether it's a drawing
47:04A painting or a print
47:05But that Tilson actually painted
47:07From a real person
47:08Whether or not they're a model
47:10That he employed himself
47:11Or a member of the household
47:13Of the Brownlowes
47:14Is less clear
47:15So they show you just how far afield
47:24The servants of the Brownlowes
47:26Came over time
47:27So at this point
47:27We see Eliza Cox
47:29Was born in Devon
47:30Anne Grimsley
47:31Was born in Oxfordshire
47:33Lancashire as you'd expect
47:36And then as far afield
47:39As London and St Paul's
47:41So on this list
47:43I can't see anyone
47:44Who's from overseas
47:45The conclusions of our research
47:51Haven't shown any evidence
47:53So far
47:54That this attendant
47:56Was a member of our household
47:58So it would only be
47:59If there was any correspondence
48:00With the artist
48:01If that ever came to light
48:03But in the archive
48:04Within records
48:06People's heritage
48:08And ethnicity
48:09Wasn't always mentioned
48:11Or noted
48:12So it would really
48:14We may never know
48:15Por agora
48:20Quem é exatamente
48:20O jovem assistente
48:21Permanece o mistério
48:23Mas ao remover
48:26Centenas de anos de verniz
48:27A conservadora Paula
48:29Pode ser capaz
48:30De dar a esta figura
48:31Mais identidade
48:32Dentro do retrato
48:33A very quick way
48:37To make a painting
48:37That better
48:38Is to clean the light areas
48:39That are considered important
48:41By the person
48:42Cleaning at that time
48:43So obviously
48:44He was very much
48:45Or the person
48:46Was very much focused
48:47On the figure
48:48Of Margaret Brownlow
48:49And probably cleaned her
48:50The areas of her flesh paint
48:52More than other areas
48:54So the attendant figure
48:55In the background
48:56Has multiple layers
48:57Of varnish
48:58And again this is why
48:59At the moment
49:00In its current state
49:01That figure is lost
49:02Really in the background
49:03So it's going to be quite exciting
49:04To open up that cleaning test
49:06And see if we can
49:06Bring that figure forward
49:08In the composition
49:09Antes de começar a trabalhar
49:14No assistente
49:15Polly faz um teste
49:16Noutra parte da pintura
49:17So I've just got a tiny bit
49:20Of this gel
49:21And this is solvent
49:22Mixed with a methyl cellulose
49:24And as I manipulate the brush
49:26You can start to see now
49:28The gel is changing colour
49:29But also on the brush as well
49:32You can see that's really
49:33Picking up that very degraded
49:36Dirty varnish
49:36So we're just gonna
49:39Start rolling the swab
49:42So that is centuries of dirt
49:45Coming off the surface there
49:47I'm really pleased
49:49I think it's gonna clean up
49:50Beautifully
49:51It's gonna be good
49:52Sendo o teste bem sucedido
49:58Polly começa a limpar
49:59Delicadamente as feições
50:00Do assistente
50:01So I'm just gonna gently
50:03Put this across the surface
50:04To wet the surface
50:06And you can see
50:07It's a solvent works
50:09It sort of resaturates
50:10The paint layers
50:11So you can finally start
50:14Seeing the flesh tones
50:15Coming through the mercury
50:17Of the old varnish
50:18If I just wet this whole area up
50:23I'm really pleased with how that's come out
50:35Yeah, it'll be a proper figure
50:37Now
50:38Embora a identidade deste jovem
50:44Possa nunca ser conhecida
50:46Depois de centenas de anos
50:47Nas sombras
50:48O trabalho de conservação
50:50De Polly conseguiu
50:51Pelo menos
50:51Trazer o assistente de novo
50:53Para o primeiro plano
50:54E agora completamente limpo
50:58Este retrato com 330 anos
51:00É trazido de volta à Belton
51:02It's just a really exciting moment
51:06To see a painting for the first time
51:08After it comes back from a conservation treatment
51:10Sometimes it's like having a new work of art
51:17It's kind of
51:18It's one of those remarkable things
51:20Because you're seeing it much closer to how it appeared in the 17th century
51:25It's also just much clearer that there are two figures in the composition as well
51:29Before it seemed like a picture of one person
51:32And now it's very clearly a picture of two people
51:35Portraits like this are really special because they're a reminder of both that
51:41There are all different kinds of lives that were lived in these houses
51:46Not only those who own them and enjoy the fruits of these estates
51:50But the people who are working there and having very different kinds of experiences under the same roof
51:56Potentially they had their own history, they had descendants, they had a life at Belton
52:01Which we should be shedding light on and sharing with our visitors
52:06Although the conservation work has come to an end now
52:09And we have the work back in place looking splendid
52:13This is really just the beginning of our process to understand this object, this portrait
52:19How it fits into the history of Belton, the family and the wider history of society at this time
52:31In Staffordshire, the Bedolph Grands teams prepare to receive a series of objects that return from the restauro
52:42There's a lot going on
52:45There's a lot going on
52:46There's a lot going on
52:47There's a lot going on
52:48It is a bit crazy, it's going to be a bit of a mad day
52:51The China Bridge coming back is absolutely huge
52:54And with the Roman marbles as well
52:56Both happening together on the same day
52:59Is just absolutely brilliant
53:01We like a challenge
53:02We like a big job, don't we?
53:04We like a big job
53:05Yeah
53:06Enquanto o conservador de pedra Douglas
53:10Começa a trabalhar na instalação da sua réplica de mármores romanos na galeria geológica
53:15That's where he wants to search
53:17A ponte da China acabada de pintar está a chegar ao jardim
53:22This is the new bridge, yeah
53:24This is the flat-pack bridge
53:29It's so narrow, especially through the stumpery
53:44And it only takes one just snag
53:46And it's, you know, it'll soon break off some of the fretwork
53:49So yeah, I'll be glad when it's all there
53:51Finalmente, todos os componentes da ponte estão no jardim da China
53:58Mas infelizmente, para o carpinteiro Sam, o tempo não está do seu lado
54:07That's it
54:09Se todos os cálculos da Sam estiverem corretos, a ponte deve encaixar precisamente nas suas bases vitorianas originais
54:19Too tight
54:24Yeah
54:31Not done it
54:34So what did you put that down to?
54:36Oh, I don't like that question
54:41I don't know, to be honest
54:42It's exactly the same as the old one
54:45And the old one went in
54:51Yeah, start with God, shall we?
54:52In English, because he's higher
54:53God stroke Goliath
54:54De volta à galeria geológica
54:57Douglas está agora a certificar-se de que os mármores estão seguros nas suas posições originais
55:02Yeah, that's good
55:03Is it good?
55:04Yeah
55:05You happy?
55:06If it doesn't fall out, I'm happy
55:11Sam e a equipa da ponte aumentaram o espaço nas bases para que os postes possam caber
55:16E com a chuva a abrandar estão todos a trabalhar
55:22What are we doing now?
55:23The cameraman is going to get involved
55:25And stick that underneath that leg
55:27O desafio agora é manobrar a pesada secção de passadiço da ponte para fora das bancadas de trabalho em que está equilibrada
55:34Com o máximo de cuidado humanamente possível
55:55What came off?
55:56This came off
55:57It came off with my hand
55:59Go away with it
56:01Go away with it
56:02That wasn't meant to happen
56:05E com o último levantamento
56:07Three, two, one
56:09E um pouco mais de trabalho suave com o martelo
56:13There we go
56:15I think that is in
56:17A ponte está de novo no seu lugar de direito, como peça central do Jardim da China
56:23Definitely glad to see it go in
56:28Yeah, I'm really pleased that it's dropped down where we want to go
56:32I am happy about that
56:35Could say we are over the bridge
56:40Could you?
56:41No
56:42Após quase 35 anos, o restauro de todos os elementos do Jardim das Maravilhas de James Bateman está finalmente concluído
56:53Really, really good job, really good job
56:57Thank you very much
56:58I'm just a little bit overwhelmed by it because for me it's part of the wider gallery restoration and finishes it off completely, so yeah
57:07This is what we're famous for really, you know, that can't wait for you to get the visitors back on it
57:13You know, stood there and the photo taken from the temple
57:17Os primeiros a testar a ponte são a angariadora de fundos Mia e a sua avó Aileen
57:21Right man, nice smile
57:24Look at all the colour
57:26It's amazing, like it's very beautiful
57:29It will be something that I'll look back on and say
57:31I helped raise some money to fund the bridge
57:37Looking back during the last 30 years I've been there
57:39I'm really proud of what we've achieved
57:42Every element of it has been so big that I think
57:46We might just have a little bit of a sit back and just enjoy this one before we move on to the next
57:53No próximo programa
57:55Dois retiros de escritores bem conhecidos no sudeste de Inglaterra
57:59This is where Kipling wrote probably the nation's favorite poem
58:02Onde os conservadores lutam contra a devastação do tempo por dentro
58:06We had a section of seed and collapse
58:10E por fora
58:12Okay, this is gone
58:14Revelando capítulos totalmente novos
58:17He's a father looking for his lost son
58:36A lye
58:39A lye
58:42D besoin
58:44τα
58:47A lye
58:49A lye
58:52Better
58:54Off
58:55Squeeze
58:57Mod
58:59Aqui
59:01Leave
59:03dentro
58:51
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