- 03/07/2025
2ª temporada da série documental que revela as casas mais belas e históricas do Reino Unido e as pessoas que cuidam desse 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 templo para mergulhar na nossa história.
00:18Seja na residência mais grandiosa.
00:24Ou numa casa mais humilde.
00:26Quando eu abri a porta, era como uma máquina de tempo.
00:29Mas fora da vista, há um mundo escondido.
00:32Eu amo ir atrás da escena.
00:34Porque quando você é um visita, você vê essas portas secretas.
00:38Com especialistas dedicados em todo o país.
00:41Isso realmente é o melhor que eu trabalho com.
00:44A lutarem para salvar objetos preciosos.
00:47Não quero que ele caia. Não na nossa história.
00:50Não provoquem isso em casa.
00:53É incrível frágil.
00:54E a fazer novas descobertas.
00:59Acho que ele é bem bonitinho, na verdade.
01:01Olha lá.
01:03É maravilhoso, não é?
01:04Que contam a história de todos nós.
01:07Se as portas pudessem falar, quais conversas nós ouviríamos?
01:10Desta vez, duas casas que serviram de rampa de lançamento para ambições elevadas.
01:23Uma mansão em Devon, usada por uma noiva georgiana para deixar a sua marca na sociedade.
01:28E o edifício gótico que ajudou a impulsionar um forasteiro até ao topo.
01:37Ele é o clima social.
01:39Ele é o clima social.
01:39Ele, na verdade, coinge a frase, o clima grisoso.
01:41A sua vida toda é sobre o clima grisoso.
01:44No alto do rio Pelim, no sul de Devon, ergue-se uma derradeira casa georgiana espetacular.
02:04Saltram House
02:07Saltram era a casa ancestral de John Parker,
02:34Em 1769, este rico deputado, do círculo eleitoral rural de 34 anos, arranjou uma noiva jovem cosmopolita, Teresa Robinson.
02:47Teresa era uma das mulheres pioneirosas de Saltram.
02:51Muito moderna e pensada em direção.
02:55Chegou a Devon com uma fortuna que atualmente valeria mais de um milhão de euros.
03:00Teresa, de 24 anos, começou a transformar Saltram com uma remodelação completamente moderna.
03:07Teresa was born in Vienna, an aristocratic upbringing, a very international cultured one.
03:15Sometimes she felt that the social circle around her husband at Saltram was a bit provincial.
03:22As a woman at that time, marrying into this family, her role would have been very much about creating those interiors and those collections and the influence that all of that would have had on John Parker's social standing.
03:34She was determined to make her home so fashionable, so trendy, if you like.
03:41Teresa commissioned the best of the best of the day, really.
03:44Chippendale furniture, Wedgwood ceramics.
03:46These were all really key designers and architects of their day, so yeah, they were aiming for the best.
03:53Back in the 18th century, there were limited ways that women could actually make an impact on society in the same way as you can now.
04:02And I think you can really see through Teresa her ambition in that, you know, she wanted Saltram to epitomize what she valued, which was high fashion, different designers, the finest craftsmanship.
04:15Mas Teresa não pensava só em aparências.
04:20Como mecenas das artes, também promoveu os talentos de um artista britânico que nasceu a apenas um quilómetro de distância, Joshua Reynolds.
04:32Reynolds foi o melhor dos melhores quando veio à portraiture.
04:35Ele era quase como o Lucian Freud do 18º.
04:39Ele procurava novos pigmentos.
04:41Ele procurava combinações de mídias realmente não convencionais de mídias.
04:45Reynolds e Teresa se tornaram uma amizade muito próxima e pessoal naquela época.
04:50Foi uma reunião genuínea de mentes, parece-se.
04:53Ele não conseguia-lhe prazer para o seu gosto, sua gentileza e sua compaixão.
05:01Reynolds retribuiu a amizade ao pintar Teresa numa tela, criando um luminoso retrato de corpo inteiro.
05:09Mas depois de 250 anos a presidir a sua propriedade, Teresa vai deixar Saltram como obra-prima de uma grande retrospectiva de Reynolds.
05:23E para garantir que ela deslumbra quando estiver em exposição, o seu retrato foi levado para o estúdio de conservação da Royal Oak Foundation em Kent, o centro do National Trust para velhos mestres que precisam de ser reavivados.
05:39A tarefa da conservadora de quadros, Sarah, é devolver a Teresa o seu brilho.
05:59I love to just get up really close and personal with a painting, really, really getting to know it.
06:06And I don't think any other job allows you to do that in quite the same way.
06:11Reynolds is a particularly tricky artist when it comes to cleaning his paintings.
06:18He had a tendency to mix all sorts of weird and wonderful materials in with his paint.
06:24Waxes, resins, gums.
06:27In terms of portraits, this really is one of the finest I've worked on in my career, if not quite possibly the finest I've worked on.
06:40There's a reason why Reynolds is such a celebrated painter.
06:45You're a fan.
06:47I'm a big fan, yeah, yeah.
06:50I was always quite a big fan, but I think I'm a really big fan now.
06:56This is my favorite bit.
06:57She looks spectacular.
06:59It's a very, very fine mist of varnish, and that allows me to be very, very controlled about the amount of varnish I put on.
07:28And also the level of gloss that we get.
07:31The spray coat is a super indulgent moment.
07:35My favorite part, almost, of conservation, because it really kind of transforms the painting.
07:43This isn't elegant, because I'm not used to doing this.
07:48I love it, but some conservators really hate it.
07:52I find it incredibly stressful.
07:55So it depends on your kind of level of experience and maybe a little bit with your personality.
08:02For this precise procedure, Teresa is placed in the painting room of National Trust.
08:09The things that can go wrong include you can go to matte, or what we call orange peeling, where you go too close and the surface becomes quite drippy.
08:20You might be in a position where you have to undo quite a lot of the procedures that you've just spent many, many hours just doing.
08:28It can be a bit nerve wracking, but very exciting.
08:45What Sarah's doing is she's trying to overlap each spray, so that she's creating a film, which is a continuous piece of varnish, so that the light will refract in exactly the way we wanted to, showing the picture to its best.
09:04It definitely matters, isn't it?
09:09Definitely.
09:10It's good.
09:11I mean, we need to leave it settled, but I'm quite pleased with that.
09:16I think it'll look lovely by tomorrow morning, won't it?
09:20Yeah.
09:21Yeah.
09:22You develop a sense of attachment to portraits as you work on them, so when they go away it's almost like an old friend leaving.
09:39It's a little bit sad in a way, so I know I'll miss her.
09:43It's one of Britain's finest early Georgian interiors, and also one of the most significant rooms that Robert Adam designed.
10:06I always think of it as a total artwork.
10:10He designed almost every aspect of the room.
10:15Robert Adam era o arquiteto mais procurado da época.
10:20Por isso, naturalmente, teve de projetar a sala de exposições de Teresa, que estava atenta à moda.
10:27The saloon was designed as a room to really show off to your friends and your family.
10:32And, you know, to host all your parties and your gatherings.
10:35It does have that wow factor.
10:37Being able to afford to cut out an entire room designed by Robert Adam was quite a feat.
10:42But, for many years, the carpet that Robert Adam posed to be the main piece of this room,
10:48was not an object of special attention.
10:51The Axminster carpet in the saloon is the most significant carpet in the care of the Trust.
11:00Because it was hand knotted, it would have taken years to originally produce.
11:06In the moment, as you can see, we've got this red runway Hollywood style carpet going through the middle,
11:13which actually obscures the central medallion, beautiful motif in the center of the carpet.
11:20So, really, we can't appreciate the full design, all the way it mirrors the ceiling.
11:25Numa tentativa de banir o tapete de Hollywood, a equipa de Salt Run encomendou um dos seus projetos mais ambiciosos de sempre.
11:33Uma nova réplica da carpet, que será colocada por cima da original para a proteger.
11:40We hope that for the first time, in over 250 years, people will really be stepping in the footsteps of John and Theresa Parker.
11:58Axminster, a mesma empresa local cujo fundador fez a obra-prima de Theresa,
12:03assumiu a elaborada tarefa de criar uma réplica de cortar a respiração.
12:08So, Thomas Whitty invented carpet manufacturing in the town of Axminster, in 1755.
12:13Hence, that's where the name Axminster Carpets came from, named after the town.
12:17But I think the Salt Run rug in there is probably his best piece.
12:21The detail of it, the floral work, and the way it's designed.
12:26Para criar a nova carpet, Gary e a sua equipa tiveram primeiro de construir um tiar mecânico gigantesco.
12:32Depois, tiveram de combinar com precisão numerosos fios de lante ingidos diferentes,
12:38antes de poderem começar a tecer durante seis semanas.
12:41A melhoria refletir o que é que é?
12:43That mixure of superbly excited and deeply concerned,
12:47how could we do a good enough job?
12:49The biggest challenge was getting as many colours into this carpet as we can,
12:53because modern looms are limited to the number of colours they can use.
12:56Em breve, a equipa de Saltram irá descobrir se a nova carpeta é adequada.
13:26Mas primeiro têm de preparar o salão para a sua grande chegada e mudar de sítio o mobiliário Shippendale de Teresa.
14:26Assim que a carpeta original é revelada, é submetida a um exame minucioso, em preparação para uma limpeza ligeira, à maneira do National Trust.
14:44É um processo muito importante, então é trabalhar em mãos e mãos, com uma espécie de espécie de espécie de espécie de espécie de espécie de espécie de espécie.
14:52Mas Kathy ainda mal pôs a fórmula em prazer.
15:22E já descobriu algo preocupante.
15:29A pior das hipóteses é que se trata de um besouro dos tapetes, cuja larva, conhecida como urso de lã, acabaria com a carpeta de Teresa.
15:50Se fosse uma peta de espécie de espécie de espécie, isso iria comer o tapete.
15:55Eles veem-o como comida.
15:57Uma peta de espécie de espécie é uma espécie que aprecia um risco para a coletividade.
16:00Então, encontrar uma dessas em uma peta de espécie de espécie de espécie de espécie realmente envia-se alarm.
16:06Se tivermos uma infestação, isso seria um enorme problema.
16:11Isto exige um diagnóstico urgente com a ajuda de um microscópio de bolso.
16:17Com este pequeno problema resolvido, as equipas podem continuar a sua aspiração de precisão.
16:36Mas o novo tecido vai chegar em breve e ainda há centenas de metros quadrados de carpete para limpar.
16:45Ao renovar a sua casa de campo com os estilos mais na berra,
16:57Teresa Parker estava a marcar a sua posição como criadora de tendências.
17:02Mas não era a primeira a fazê-lo.
17:05As grandes casas sempre foram declarações de poder, política e estatuto.
17:09Históricamente, famílias famílias foram não apenas lugares onde você poderia mostrar o que você tinha e a sua fama.
17:16Também era um lugar para mostrar suas conexões, quem você conhecia.
17:21Algumas pessoas usam o ambiente de construção para obter sua ideia de identidade.
17:26E para outras pessoas, é uma oportunidade de fazer essa sensação de verdadeirão.
17:31Em uma casa clássica clássica, há diferentes formas de mostrar e de se manter com os joneses.
17:39O que é o momento que você está em casa em casa?
17:48O que é o momento que você está em casa?
17:49O que é o momento que eu estou em casa?
17:51O que é o momento que eu estou em casa?
17:52Porque eu não posso assistir a horror film, mas eu posso mais feliz em uma gotha.
17:59O que é?
18:01O que é?
18:01O que é o dia?
18:02O que é o dia?
18:02O que é muito mais gothic do que isso.
18:06É o momento que é meu favorito para estar em casa.
18:09É muito quieto, não tem ninguém mais ao redor, é só você e o cheiro das coisas.
18:21No meio das colinas de Shiltern, em Buckinghamshire, encontra-se uma magnífica casa,
18:27cujo proprietário tinha aspirações muito para além de se manter a par dos Jones.
18:33Ewan Dunn Manor.
18:39Esta mansão gótica ajudou a abrir as portas de Downing Street para a estrela política vitoriana em Ascensão.
18:55Benjamin Disraeli.
18:56Já visto como o intruso, por ser de origem judaica e de classe média,
19:12Disraeli sabia que para progredir na política, tinha de se tornar um deputado de um condado e proprietário de terras.
19:19Para comprar esta casa de 100 divisões, Disraeli contraiu um empréstimo no valor de 3,5 milhões de libras na moeda atual.
19:48E tornou-se deputado por Buckinghamshire.
19:52Mas Ewan Dunn era muito mais do que um requisito a preencher numa lista.
19:57Ewan Dunn é um setor de escala.
20:00Ele o designa para mostrar um objeto.
20:05E é ele.
20:08Esta casa imponente declarou ao mundo a chegada de Disraeli,
20:13uma declaração que foi proclamada nos portões da propriedade.
20:18Mas com esta entrada agora fora de uso,
20:45os portões de Disraeli precisam de ser restaurados.
20:49E Rob quer torná-los adequados para um primeiro-ministro mais uma vez.
21:15Para restaurar os portões, ao seu esplendor dourado, chegaram os ferreiros, David e Matt.
21:33Supervisionados pela jardineira Sénior Clare.
21:35Os portões ainda têm uma camada de pintura vitoriana,
22:04que a equipa está empenhada em preservar.
22:06E aí, você vai começar a ir para o pintor,
22:10e então só fechar isso em
22:12porque você quer que todo o papel
22:14que não precisa de sair.
22:16Sim, então nós ainda temos um record
22:18de um pouco de historicidade
22:20que ainda está na porta.
22:22O desafio seria finding
22:24o melhor método de limpar de sound
22:26e não tirar todo o papel
22:28até o bare metal, se podemos evitar.
22:30Se os gatos
22:32não precisam ter cuidado e atenção
22:34rapidamente, eles chegam a ponto
22:36onde o arrago seria
22:38a parte de limpar de sombra
22:40e a parte de limpar de sombra
22:42e devem ter que ser cortado e
22:44deslizadas.
22:46Tem mais mais
22:48de que eu esperava.
22:50O que é?
22:52O que é?
22:54O que é?
22:56O que é?
22:58O que é?
23:00O que é?
23:02O que é?
23:04O que é?
23:06o que é?
23:08O que é?
23:10O que é本当に
23:11trying to do
23:12brasileiro
23:14tır as much
23:14of the original material
23:16as possible.
23:17I'm looking and feeling for bubbles
23:19where there's bubbles
23:19lifted a way.
23:21Matt, are you finding a lot
23:22coming off?
23:24I've got a lot in support bar here.
23:26there's quite a bit on the pair.
23:29O castelo era uma característica fundamental do brasão da família,
23:37que Disraeli criou para si próprio.
23:56Agora que a primeira camada de tinta foi removida,
23:59David pode começar uma limpeza profunda,
24:03mas está a retirar muito mais do que apenas sujidade e líquenes.
24:06O castelo vai precisar de uma limpeza profunda agora,
24:10onde temos todos os fracos.
24:10O castelo vai precisar de uma limpeza profunda.
24:11Oh, sim.
24:12E nós exprimimos um pouco de novos livros.
24:14Só um pouco?
24:16Nós vamos ter que, certamente,
24:17passar-nos novamente com o fio,
24:19e depois rinçar e repetir até que estamos felizes.
24:22Este é o problema.
24:23Preocupado por poderem precisar de remover toda a pintura histórica solta,
24:38deve-se parar para pensar.
24:40As você clean off,
24:41você tem que ter whole chunks de pintura de pintura de pintura.
24:43O que nós temos que fazer é um compromisso.
24:47Em metalwork,
24:47o trick é saber quando se stop e pegar a stockagem de onde você está.
24:51Para que os portões de Disraeli sobrevivam mais 160 anos,
25:18David terá de encontrar uma forma de proteger e preservar a sua preciosa pintura.
25:31Tal como Disraeli,
25:33Teresa Parker também tinha grandes ambições para os seus jardins em Saltram.
25:48Uma parte dos jardins de Saltram significava tanto para Teresa e para o seu marido,
26:00que encomendaram um quadro para imortalizar a sua grande chegada ao local.
26:03A painting by Tom Kins of the Amphitheatre at Saltram
26:11é um incrível significativo para o property.
26:16It tells the story of the arrival of Teresa when she married.
26:22She arrived on a barge by water,
26:24and when she arrived,
26:25French horns were playing in Saltram Wood to greet her rival.
26:29and there would have been cannons being blasted
26:33from the battery next to Saltram overlooking the estuary.
26:38So it really tells a very significant story for us.
26:43Com vista para o rio Plym,
26:45o Amphitheatre continua a ser uma das partes mais populares de Saltram
26:49e tornou-se um local muito apreciado por outro casal,
26:52que passou muitos anos a fazer voluntariado em Saltram.
26:55Mas o passar dos anos tem-se notado na vista preferida de Teresa e de Janet.
27:13The sky is absolutely beautiful still,
27:16but the bottom half of the picture is very, very dark
27:20and it's incredibly difficult to see the detail without putting a strong torch on it.
27:29Janet e o seu marido John fizeram voluntariado juntos durante 23 anos.
27:35John faleceu recentemente,
27:37mas deixou um legado no seu testamento para devolver o brilho a este quadro.
27:41John and I felt we would love to be able to see the detail in it.
27:57It's got very dark with age
27:59and the legacy John left in his will
28:03is to be spent on the cleaning of the picture
28:07and we hope that it will enable us to see the detail of the picture
28:13and we'll help preserve the picture for generations to come
28:17for other people to enjoy.
28:19For 23 years
28:22the number of friends we've made
28:25and kept
28:26people who I've worked with here at Saltram
28:28have moved on
28:29I'm still in touch with a lot of them
28:31it's a friendship thing
28:34it's really meant to me
28:36friends, fun, fulfilment.
28:40A responsabilidade de realizar os últimos desejos de John
28:54recaiu sobre a conservadora de quadros Alison
28:56que está prestes a dar a esta grande paisagem
28:59a sua primeira limpeza completa em 180 anos.
29:03Uma lâmpada UV
29:10revela rapidamente as áreas com as camadas mais espessas de verniz antigo.
29:14This area has less varnish on it than this area
29:18it's got a green film on
29:21and that is the varnish fluorescing.
29:24The varnish is really quite a lot thicker
29:26on the water and the landscape
29:29so much so down the bottom here
29:31you can barely see the figures in the boat
29:34it just gives you an idea of where the cleaning is going to be.
29:38This painting is quite high on the enjoyability scale
29:46I know I'm going to get lots more detail out of it
29:50it's going to be a good before and after
29:52ao usar um solvente ligeiro
29:55para remover delicadamente as camadas irregulares de verniz antigo
29:59I think we can see a lot more detail
30:01now in the amphitheater and the figure on the grass
30:06Alison está a revelar características da pintura que foram obscurecidas
30:11Yeah, that's quite rewarding that bit, isn't it?
30:23It's an incredibly generous gesture of John
30:26to make this donation
30:28so that the painting can be cleaned and conserved
30:31I'm hoping that his widow will find that it was a worthwhile project
30:37In Uendam, o ferreiro David está a revelar pormenores ocultos
30:51a uma escala mais industrial
30:53sob a pintura antiga dos portões da propriedade de Disraeli
30:57David preservou as secções que conseguiu da pintura original
31:04Agora está a aplicar uma nova camada
31:08com a cor correspondente à original da época de Disraeli
31:11para proteger os portões durante os próximos anos
31:14Uma vez pintados, os portões precisam de um último retoque
31:42antes de ficarem novamente impecáveis para os visitantes de Uendam
31:46They look great, brilliant
31:49and they haven't lost that subtle sheen as well
31:52Right, so, next stage
31:55Gold
31:56Gold
31:57You've got some artwork to show
32:00I've actually drawn it up
32:01Obviously the yellow is where the gold is going to go
32:04And that's based on the 1931 photograph that we got
32:08And obviously there's meant to be gold there
32:09So it's just that the highlighter pen ran out
32:14Durante o seu segundo mandato como o Primeiro-Ministro
32:17Os portões dourados de Disraeli deram lugar ao seu momento de coroação
32:21e à sua visitante mais notável
32:23A Rainha Vitória
32:25The room's actually set for when the Queen came for lunch in 1977
32:30He got himself worked up
32:32He was aware she was maybe a bit short
32:34So he chopped the bottom off a chair for her
32:38This chair is two inches shorter than all the rest
32:41It's very thoughtful
32:43It's very thoughtful of him
32:44Her chin was in the soup
32:46But her feet were on the floor
32:48The Queen to lunch
32:50Doesn't sound like much
32:52But that's the first time since the beginning of her reign
32:55That she's visited the country home of the Prime Minister
32:57When Benjamin buys Hewenden
33:00He knows he can barely afford it
33:03But by the end
33:05I don't think you could argue it hasn't worked
33:08His Prime Minister
33:10Arguably the most powerful man in the world
33:12He's a senior statesman of Europe
33:14A Queen is probably his best friend
33:18Was the final box to be ticked
33:21In greasy pole ascension done
33:25The Queen has come for lunch
33:27So, sort of, that's the way you drop the mic, I suppose
33:32Disraeli não se limitou a ter sucesso na política
33:39Nos seus tempos livres
33:40Escreveu alguns dos romances de maior sucesso da era vitoriana
33:44If he was a North London Jewish boy
33:49Who became Prime Minister
33:50You'd say, wow
33:51That's impressive in the Victorian period
33:53But he also pushes through huge amounts
33:57Of really transformative legislation
33:59He writes a series of best-selling novels
34:01He's not just a bit alright at politics
34:05He's literally knocking the ball out of the park
34:07Wherever he chooses to
34:09What have we got?
34:11Throw a little bit light on the situation
34:14Mas Disraeli nem sempre foi um homem de sucesso
34:19Everyone's very familiar with him succeeding at every single turn
34:25But actually, right at the beginning
34:27Is just failure after failure
34:30Hoje, Rob e o curador de património cultural Ben
34:35Estão no armazém à procura de artigos inéditos
34:38Para uma nova exposição sobre as primeiras tentativas de Disraeli
34:41Para entrar na política
34:43A campanha de Rosetta
34:45This shows his election colors
34:48Pink and the white
34:49It's amazing, it survived
34:50It's the kind of thing that just gets thrown away
34:52Slung in the street
34:53After he'd finished
34:54Shouting from the red lion
34:55Com 28 anos, Disraeli apresentou-se pela primeira vez como candidato radical independente em 1832
35:06Perdeu-o, depois de os seus adversários o terem atacado por uma série de negócios falhados
35:11E pelas suas enormes dívidas
35:14Mas, acima de tudo, atacaram o seu património
35:18When he's standing
35:20An awful lot of really unpleasant anti-Semitism comes his way
35:23People don't know him
35:25They know the name
35:26But it's sort of synonymous with otherness and foreignness and Jewishness
35:31And people are suspicious of him
35:33People are going into the press and putting up posters around the town
35:38Saying that he is too Jewish
35:41It's an unbelievably aggressive version of politics
35:45People are actually going for the jugular
35:48Because, I mean, at this point as well
35:50It's important to me
35:51You could not be Jewish and stand for parliament
35:53No
35:53So it was actually, it wasn't, it just wasn't possible
35:56Até 1858, os deputados só podiam fazer um juramento de fidelidade cristã
36:03Excluindo-os de outras religiões de ocuparem lugares no parlamento
36:07Mas, sem o conhecimento de alguns, Disraeli tinha sido batizado na Igreja de Inglaterra em criança
36:13Após um desentendimento entre o seu pai e a sua sinagoga
36:17He stands for three times in Wickham, loses every time
36:22It's very strange for a man who spends so much of his life collecting this sort of thing
36:27Things given to him by important people
36:29Freedom of cities and things from the heads of the state
36:32And gifts from the monarch
36:34That somewhere there's a little wee box that he keeps
36:36That speaks to bankruptcy and failure and rejection
36:42Yeah
36:42His Jewishness was a really clear marker of his otherness
36:48There are other things, his hair, his countenance, the way he spoke, the way he dressed
36:54But he chose those things, the Jewishness, he can't escape
36:58He must have been unbelievably strong to put up with that for years and years and years
37:04And never let it dent or diminish his thought
37:10Actually I'm better than you, I'm cleverer than you, I will be better than you
37:14I think that's what I really like about him
37:16He strikes quite a kind of exuberant figure
37:21Which I think some people found slightly, you know, jarring
37:24There's a picture looking very ironic and dandy-ish
37:28This is sort of pre-fame
37:29Yeah
37:30I would be super keen for this one
37:32Nice subtle frame as well
37:33He would have loved it
37:36Mas um dos símbolos mais significativos das primeiras lutas políticas de Disraeli
37:45Está a precisar de atenção antes de poder ser exibido
37:49Portanto foi enviado para os especialistas em móveis no estúdio de conservação em Noo
37:55Nos tempos vitorianos, os deputados recém-eleitos eram frequentemente içados numa cadeira
38:10para celebrar a sua vitória
38:11Mas ao não conseguir conquistar o eleitorado de High Wycombe
38:15a cadeira de Disraeli permaneceu no chão e ficou conhecida como a sua cadeira de reserva
38:20It's a really wonderful item
38:26It tells us a lot about his character
38:29It tells us, A, the hubris of someone who thinks
38:31I'm going to stand, I'm going to win, I'm going to have a chair made
38:34To celebrate my victory
38:36He then loses on three occasions
38:39The fact it's kept and the fact he didn't go into the garden and smash it up and burn it
38:44In a fit of rage because he was rejected by the people of High Wycombe
38:48Is an important thing
38:49Here's a fascinating window into Benjamin Disraeli's character
38:53A conservadora de móveis Nicola decidiu encarregar-se desta tarefa
38:58This area at the front is particularly unsightly
39:04I'm happy not to replace the cane because it is the original cane
39:08It's a wonderful job to have
39:11I definitely can lose myself in my work
39:17And that's all I need to focus on
39:19And it's very calming
39:21It's very calming
39:22My intention is to stabilise all of the strands that are still here holding those front sections
39:31back into the rest of the seat
39:32When I first saw the chair I thought it was really quite sad looking
39:38It's not intrinsically beautiful or expensive in and of itself
39:43The value is in its significance to Benjamin Disraeli
39:49The hopes and dreams that it carried
39:53That's what makes this chair important
39:55You can see this diagonal comes through and goes over
40:01O primeiro desafio de Nicola é descobrir como é que esta teia delicadamente tecida de raton se liga
40:08It's really quite twisted
40:11This one needs to go under that one
40:16So I will need to repair this one first
40:20E para consertar as roturas mais graves
40:24Nicola precisa de fazer algumas microcirurgias
40:28I'm going to be using a Japanese tissue for making these repairs
40:32Manila hemp tissue
40:33It's very strong when it's wet
40:36I've painted them with conservation grade acrylic paints
40:40And then I'm going to use these to make tiny bandages that I can wrap around the cane
40:46This is a dry starch paste that acts as an adhesive
40:50So I need to slide this under here
41:00This is really fiddly
41:03Usually I do cabinet making
41:07This is more like surgery
41:09I don't want to tear the tissue
41:14But I need to fold it over
41:16It's gone a bit baggy
41:22I don't think that's particularly successful
41:27I don't think I so much have sleepless nights
41:30But I definitely dream about furniture a lot
41:33Pieces of furniture that I'm working on
41:36Sometimes just churn around in my mind
41:39But then I'm very often will wake up with the answer to a tricky problem
41:43I definitely take my work home with me in that sense
41:47Nicola pode precisar de alguma inspiração noturna
41:53Para garantir que a cadeira de Disraeli
41:55Seja entronizada na próxima exposição
41:57Em Saltram, a equipa da casa está pronta
42:07Para retomar o seu projeto de conservação mais ambicioso de sempre
42:11Uma vez que a réplica da carpeta do século XVIII
42:14Está prestes a ser desenrolada
42:16Very exciting day
42:17It's been in the making for a long, long time
42:19So we're really, really happy
42:20It's finally here
42:21We'll be leaving the fitting to the professionals
42:24And we can't wait to actually place our feet on the railway
42:29Yeah, really exciting
42:30Oh, I think they're here
42:33Great
42:34Os instaladores de carpetas de património Dewey e Dilwey
42:43São responsáveis por esta grande instalação
42:47O criador da réplica, Gary, está aqui hoje para garantir que o seu trabalho, feito com humor, fica perfeitamente instalado
42:55I've been in the industry 40 years
42:5942 years actually
43:01And I've never known any manufacturer taking a job of this complexity
43:05Keep coming, keep coming, keep coming
43:07To say I'm nervous is a bit of an understatement of the year
43:09Because I will see it being good or bad at the time
43:12Everybody else does as well
43:13So that's probably the most nerve-wracking moment of my career
43:17By a long, long, long way
43:18For action, more
43:19That is 30 inches
43:22Oh, right, okay
43:23Can you see?
43:24Yeah, yeah
43:24I thought there was more of it actually
43:26Mas antes de poderem deserbolar a réplica da carpete
43:30Gary e a sua equipa precisam de ter a certeza de que vai ficar no lugar certo
43:34So we gave ourselves a little bit of tolerance
43:36That's why I was thinking, I think
43:37We have to position it down
43:38Because once it's enrolled, it's very heavy and clumsy to try and move carpet once it's enrolled
43:4430 there, mate
43:45Yeah
43:46Bear in mind these are textiles, it's not steel
43:48So when you make something in a fabric, something 10 metres long, it might come out 10.2
43:53So the problem where we've got it is, we don't want it 10.2, we want it 10 metres
43:56Ready? Yeah, just gently
43:59Well, going out a bit
44:02That was probably the most nerve-wracking part, we've seen it rolled out
44:05Not knowing if it's going to be any good or not
44:14A réplica foi concebida para cobrir dois terços da carpete existente
44:29Com o original de Robert Adams por baixo
44:32Mas o padrão intrincado da réplica não bate completamente bem com o que está por baixo
44:39This was the first project we do when you want a seamless view
44:45Because we've never done a project before
44:47Where the original one has been left next to the reweave
44:52And when we've measured this rug, we've found out that one half of it is one length
44:56And the other half is two inches shorter
44:58Because it's been moved by people walking on it
45:00How do we lay this carpet? How do we get this carpet to fit?
45:03Felizmente, Dewey e Dillwyn vêm preparados com armas secretas
45:10We're just creating a small bubble
45:13And then using the poles just to move that, almost like a wave, to the other end
45:19And hopefully we get a better alignment in the sense of motif
45:22It fits
45:25Gary, are you relieved?
45:28Yeah, five years
45:30Tell me, tell me
45:31The hardest job I've done by a long, long, long way
45:35Mind-blowingly difficult it was
45:36Now I've seen it rolled out
45:39I've got to say
45:40The pride of it is immense
45:43Yeah, I'm really proud of what we've all done
45:46It's really exciting, it's so beautiful to see it
45:50People can properly appreciate, for the first time in 40 years
45:54What Adam envisioned here in terms of his total artwork of this room
45:58250 years later
46:02Depois de Theresa Parker ter deixado a sua marca no mapa social
46:06O seu salão georgiano está pronto a abrir as suas portas a uma nova geração de visitantes
46:11Também de regresso a Saltrum está um objeto mais pequeno, mas não menos importante
46:22E Janet faz parte da festa de boas-vindas
46:26Antes da limpeza, o verniz antigo da pintura de Tompkins tinha-se degradado, escurecendo as figuras históricas
46:43Mas o legado de John deu a oportunidade para todos os pormenores terem agora tão claros como o artista pretendia
46:52What is... What is...
46:56That's a chap on a horse
46:57Oh, yes, it is
46:59I like the little dog person
47:00I like the little dog
47:01He's very sweet
47:02It's good to be able to see people on that boat
47:08It was worth waiting for
47:10And John would be very pleased, wouldn't he?
47:14I think he would be very pleased
47:15It's a very well-loved picture and I think it could look even more loved in that
47:20Yeah, it does a lot
47:21Yes, it does, yes
47:23It's really, really lovely to see Janet's reaction because obviously this has been quite long in the making
47:26And we knew John really, really well, we knew Janet really, really well
47:30And it's just lovely to see the sort of final result
47:32It really does pay tribute to John and his lasting legacy here at Saltrum
47:36Para conservar o legado de Benjamin Disraeli em Uandan
47:53David enfrenta alguns ventos contrários
47:56Trazendo de volta o brilho aos outror impressionantes portões da frente
48:00So we've got here 24.5 carat gold
48:03Incredibly thin
48:05The wind can actually blow the gold off the sheet
48:07I'm a bit muddlesome and chaotic in every other day life
48:13But in my field of blacksmithing
48:15I know what I'm going to be doing
48:16How I'm going to do it
48:18And I have a good understanding that it'll probably end up how I want it to
48:22But gold leaf doesn't behave in a predictable manner
48:28When there's a wind blowing on it
48:30What can happen
48:34You've got the glue all tacky
48:36Just at the right point for putting the gold on
48:39And if you put the gold on in, say, a little bubble or a raised bit
48:43When the glue's dried
48:44If you brush it, that bubble will just burst
48:46And you've got a little crater
48:47I'm just pushing it down
48:49And that hopefully has engaged all the gold with the glue
48:53Gold is expensive
48:55We've had torrential rain and extraordinarily strong winds
49:01And I was worried before the job started
49:04Once it started, you're in the zone
49:05You become the machine
49:07Pick up, place, cut, pick up, place
49:09Or at least that's the idea
49:12And then the important squirrel brush
49:15It's so fine
49:17And all it does is remove the loose, fuzzy bits
49:20And polishes the gold
49:21Whereas if I did that with the other brushes
49:23It would tear the gold
49:24Com o último floreado aplicado
49:30Os portões de Disraeli, recentemente restaurados
49:33Estão prontos para receber o selo de aprovação
49:35It's just the angle of dangle, isn't it?
49:38Catching the light
49:39It's just right
49:40It's lovely
49:40Benjamin, if he wandered out
49:43He'd absolutely love it
49:45His very special castle in the middle
49:47Yeah, there you go
49:48Shining
49:48His best friend is the queen
49:52He's the most powerful man in the country
49:55Maybe even the world
49:56And there's that little symbol in the middle
49:58That just tells everyone
49:59You didn't want me at the beginning
50:01I was the bloke that you said was other
50:04And foreign and untrustworthy
50:05And here I am
50:07And I don't want you to forget
50:08You're left in no doubt
50:10That through these gilded gates
50:11There is someone of significance
50:12So it's all part of theatre
50:14We brought it back to that kind of sense of pride
50:16And that sense of, you know
50:17Great, extravagant display
50:26In Knoll, Nicola está com dificuldades
50:31Em consertar a cadeira de Disraeli
50:33The tissue is floppy
50:37The cane is a bit stiff
50:39If you let yourself worry too much
50:42About the importance
50:43Or significance of a piece of furniture
50:46You might become tongue-tied
50:48But tool-tied, maybe
50:51We have to feel very confident in our processes
50:54And confident in our skills
50:56Oh, fiddle
50:58Ok, I'm going to leave that one
51:01Nicola tem de manter a calma
51:04E as delicadas ligaduras
51:05Têm de se manter firmas
51:07I'm just going to try putting a bit of
51:11Already rolled tissue behind it
51:14As a tiny splint
51:15I've got it wrapped around
51:23I just need to tuck it back under
51:24So I'm quite happy with that one
51:30Com as ligaduras finalmente retiradas
51:35Nicola pode começar a esconder o seu trabalho manual
51:38I'm just going to do that with watercolors
51:42I'm just adding in some little markings on the new pieces of cane
51:48Just to distract the eye from the repair
51:51I'm really pleased with it
51:55I think it's going to be very effective
51:57The front of the cane seat should no longer be the first thing you look at
52:03And think, oh, that's a bit broken
52:04I don't want to go anywhere near that chair
52:06It's very satisfying
52:07Yes, it is
52:08It's very satisfying
52:09A cadeira que ficou em segundo plano após os fracassos eleitorais de Disraeli
52:16Pode agora tomar o seu lugar como parte de uma nova exposição em U&N
52:20Se esta conseguir ganhar o voto de Rob
52:27There it is
52:30We've not had it cleaned or conserved before
52:33This will be, for us, quite an exciting, great reveal
52:37It's still a black moment
52:38A lot of the packing for what's a really thin little chair
52:46But it's a lot brighter
52:48It's an awful lot brighter and cleaner
52:52Rob e Ben reuniram uma série de objetos
53:04Para contar a história das tentativas frustradas do jovem Disraeli de se tornar político
53:09I think that looks great
53:11Yeah?
53:12Yeah, yeah, that works
53:13Are you content with that?
53:14Yeah, definitely
53:14Let me see
53:18Great, put the lid on
53:20Content?
53:21Yeah, yeah
53:21Yeah
53:21Incluindo a sua cadeira de reserva
53:24Finalmente eleita como o vencedora
53:27There it is?
53:27Yeah
53:28Yeah
53:35Yeah, perfect
53:38Great
53:38In line, in line?
53:39I think so
53:40This one thing
53:42Because it was never used
53:43For what it was intended
53:44It speaks to failure
53:45Yeah
53:45It's the only thing in the whole house
53:47That shows us that he didn't get it right
53:49Yeah
53:50Every single time
53:51No
53:51You can't have a seat
53:52In parliament
53:54But have a pink and white chair
53:55I have a nice pink and white chair
53:56Yeah
53:56It's the most striking
54:01Almost humorous
54:03Example
54:04Of Benjamin engaging with failure
54:06In a way that he doesn't
54:08For the rest of his life
54:09This is how it started
54:11And it didn't start well
54:12And that story is
54:15Sort of Benjamin
54:17It is most human
54:18Least polished
54:20Numa galeria em Plymouth
54:31Está prestes a ter lugar
54:32Outra grande inauguração
54:33Recém restaurado
54:37Pronto para fazer parte
54:39De uma grande exposição
54:40De Joshua Reynolds
54:41Está o retrato
54:42Do corpo inteiro
54:43Da sua amiga e mecenas
54:44Teresa Parker
54:45O conservador regional
54:51Neil
54:51Está a presidir
54:52A sua instalação
54:53Sendo a atração principal
55:05Desta exposição
55:06Teresa
55:06Será a primeira
55:07A ser vista
55:08Pelos visitantes
55:09Mas antes da chegada
55:13Das multidões
55:14A curadora
55:14Da propriedade
55:15De Saltram
55:16Zoe
55:17Faz uma inspeção final
55:18She looks really
55:28Beautiful
55:29Neil
55:29Doesn't she
55:30It's nice isn't it
55:31Yeah
55:31Seen at this height
55:32She's really shiny
55:34So beautiful
55:35Really wonderful
55:36To see her
55:37In this different context
55:38She's been at Saltram
55:42For a long time
55:42So it's good
55:43That she gets out
55:44And sees the town
55:46Again
55:46She's kind of
55:49Very assertive
55:50But also very serene
55:52Incredibly beautiful
55:53She became pregnant
55:58With her first child
55:59While this painting
55:59Was being painted
56:00Because it took so long
56:02And then
56:03Yeah
56:04Sadly passed away
56:04After her second child
56:06Teresa Parker
56:09Morreu com apenas 30 anos
56:10Depois de dar à luz
56:12A sua filha
56:12O seu amigo íntimo
56:15Joshua Reynolds
56:16Deu-lhe o derradeiro epitáfio
56:18Reynolds and Teresa
56:21Were friends
56:22And he held her
56:23In great esteem
56:24Even writing her
56:26Obituary
56:26When she died
56:27And you know
56:29That's a sign of esteem
56:30In its own right
56:31No curto espaço de tempo
56:36Em que esteve em Saltram
56:37Teresa Parker
56:38Transformou-o
56:39Numa das mais belas
56:40Casas do país
56:41O trabalho que dedicou
56:44À criação desta casa
56:45Espetacular
56:46Valeu a pena
56:47Quando o rei
56:47Jorge III
56:48Veio a Saltram
56:49Embora infelizmente
56:51Só 14 anos
56:52Após a sua morte
56:53What we see
56:56Today
56:56Is what she achieved
56:57In terms of
56:58Working with
56:59Artists and
57:00Designers and
57:01Craftspeople
57:01She achieved so much
57:04In that six years
57:05It's quite mind-boggling
57:07Really
57:07How much
57:08Influence she had
57:09Saltram was
57:11A physical manifestation
57:13Of her significance
57:14But it was very much
57:16About promoting
57:17Your husband's
57:18Political
57:18Social ambitions
57:19And the social ambitions
57:20Of the entire family
57:22And I think that
57:23That's an incredible
57:25Legacy as well
57:26No próximo programa
57:41Três fortalezas
57:42Com histórias enterradas
57:43Que estão a ser trazidas
57:44De volta à luz
57:45A história de um mestre
57:47E seu misterioso servo
57:49There may be some
57:50Little clues hidden
57:52Beneath the dirt
57:53Uma família
57:54Perseguida
57:55Pelas suas crenças
57:56For me
57:56The real spirit
57:58Of Oxford
57:58Is its survival
57:59E o castelo
58:01No centro
58:01De uma amarga disputa
58:03It completely
58:04Tore the community apart
58:05And it's still
58:06Something that people
58:07Feel very strongly
58:08About to this day
58:10Música
58:11Música
58:12Música
58:12Legenda Adriana Zanotto
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