- 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.
00:11Recuando no tempo para mergulhar na nossa história.
00:19Seja 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 das escolas, porque quando você é um visita, você vê essas portas secretas.
00:38Com especialistas dedicados em todo o país.
00:41Essa é realmente a melhor que eu trabalhei com.
00:44A lutarem para salvar objetos preciosos.
00:47Não quero que ele caia. Não quero que ele caia. Não tentem isso em casa.
00:53É incrível frágil.
00:54E a fazer novas descobertas.
00:59Acho que ele é bastante ansioso, na verdade.
01:01Olha lá.
01:03É maravilhoso, não é?
01:04Que contam a história de todos nós.
01:07Se as walls pudessem falar, quais conversas nós ouviríamos?
01:10Desta vez, as casas sumptuosas, onde duas grandes damas da era eduardiana reinavam na vida social.
01:23A casa extravagante da primeira mulher a ter um lugar no parlamento.
01:34E a casa que a filha de um cervejeiro ambicioso usou para entrar nos círculos reais.
01:45Com vista para o Val do Tamiza, encontra-se a moradia de 60 quartos em estilo italiano.
02:05Clevedon.
02:10A apenas 30 milhas de Westminster, Clevedon desempenhou durante muito tempo um papel fulcral nos assuntos reais, culturais e políticos.
02:22Você olha fora do parterre e não tem um lugar que eu posso pensar em este país que tem esse tipo de meio dramático.
02:29Mas ainda ainda está perto de Londres.
02:31Isso é o que faz Clevedon tão maravilhoso e o que faz ele tão atractivo para os cidadãos succesivos.
02:35Esta casa foi feita de duas vezes.
02:37Há razão por que cada vez que foi construída, por causa da sua posição.
02:41É apenas um lugar que existe para entretener.
02:46Clevedon é agora um hotel de luxo, mas o curador Ben e a coordenadora Sarah, do National Trust,
02:54continuam a supervisionar a sua coleção de objetos históricos.
02:59Você é um amigo meu?
02:59Sim, é o Edward VII.
03:01É isso que o Bill Bailey?
03:02Sim.
03:03Parece que o Bill Bailey.
03:05Então eu sempre chamo-lhe o Bill Bailey Portrait.
03:09Um dos últimos proprietários privados de Clevedon foi uma figura política pioneira,
03:14cujos pontos de vista poderiam ser decisivos.
03:17Nancy Astor.
03:18Treze anos antes de ser eleita, Clevedon foi um presidente de casamento extravagante,
03:46oferecido a Nancy e ao seu marido, Waldorf, pelo seu pai, um dos homens mais ricos do mundo.
03:57O magnata consultor imobiliário americano, William Waldorf Astor,
04:01tinha comprado Clevedon em 1893 por 1,25 milhões de dólares
04:05e não se poupou a despesas de arranjo.
04:08Ele queria criar um tipo de atmosfera histórica.
04:11Onde está todo esse tipo de pedaço de árvore, tudo carregado, tudo bem bonitinho, detalhado.
04:17É um grande lugar, cheio de maravilhosos maravilhosos.
04:19E quando Nancy e o seu marido receberam este generoso presente de casamento,
04:47tornaram-se uns anfitriões da escala épica.
05:12Como herdeira por direito, Nancy foi mais do que capaz de se manter no circuito social.
05:17Hoje, um objeto que captou esta personalidade vigorosa logo que entrou na alta sociedade
05:34está a chegar ao estúdio de conservação da Royal Oak Foundation, para um tratamento essencial.
05:39Uma fotografia da jovem Nancy, pelo retratista da Sociedade John Singer Sargent.
05:52Não, eu só gostei de tomar ela em.
05:55Eu acho que ela é maravilhosa.
05:57Sim, bonita, mas um pouco azul.
05:59Sim, bonita, mas um pouco azul.
06:29Não, eu acho que ela é uma foto.
06:31Mas o mais perto você se vê que algo como a sacada é criada com apenas alguns strokes.
06:36E eu acho que é um tipo de detalhe que você não pode apreciar.
06:39Décadas no hall de entrada, na cidade de Clevede, reduziram a beleza de Nancy.
07:08Agora a tarefa da conservadora de pinturas, Ana, é devolver o brilho ao seu retrato.
07:38Aproximar-se de Nancy dará a equipa a oportunidade de explorar um dos mistérios duradouros do retrato.
07:49Mas primeiro, Ana precisa de remover os anos de sujidade e verniz.
08:11O maior desafio de Ana é manter intacto o delicado traço de desenho.
08:41Para mulheres de alta sociedade como Nancy, o entretenimento era uma forma
09:11que o papel da hostessa era um dos primeiros políticos que realmente as mulheres poderiam acessar.
09:17Nós podemos pensar em uma mulher de grande grandeza, mas eu acho que o que realmente faz uma boa hostessa
09:23é carisma, é esperança.
09:27Eu gostaria de ouvir algumas das conversas que aconteceram,
09:30e relacionar-se com alguns dos maiores momentos da história britânica.
09:40De todas as grandes casas no redor de Londres, poucas se poderiam gabar sobre a sua lista de convidados,
09:46como a prestigiosa mansão de Paul's Dan Lacey, do Saray.
09:58Esta luxuosa moradia foi o retiro de fim de semana de Margaret Greville,
10:04que usou a sua riqueza e charme para se tornar uma das figuras mais conhecidas da sociedade da época.
10:10A gestora da casa e coleções, Naomi, mantém as normas em Paul's Dan Lacey há quatro anos.
10:23Margaret era a única e legítima filha do milionário cervejeiro escocês William McEwan.
10:44Viveu em ambientes modestos com a sua mãe até os seus pais se casarem, finalmente,
10:49quando Margaret tinha 21 anos, fazendo dela a única herdeira da fortuna de McEwan.
11:08O primeiro passo a dar foi assegurar o seu par prefeito.
11:13E em 1891, casou com Ronald Greville, herdeiro de um baronete.
11:20Foi muito beneficioso. Ele trouxe o título e ela trouxe o dinheiro.
11:25Ronald Greville foi parte do sete de Malbara House,
11:29um sete social social muito famosa que se envolvia o Príncipe de Wale, o futuro Edward VII.
11:36Então, para alguém como Margaret Greville,
11:38se casar Ronald Greville, realmente o propelou-a ao pinnacle de uma sociedade alta.
11:43Uma vez feita a lista de convidados de gala, Margaret precisava de uma casa adequada para receber a realeza.
11:54Em Paul's Dan Lacey não se poupou nas despesas, trazendo arquitetos de renome como Mavis e Davies,
12:02que já tinham tido sucesso na concessão do Hotel Ritz.
12:04Estavam indo para a sala de gala, que era o centro de paz para todas as partidas de noite.
12:11O seu parque foi para entretener maharajas e royalties.
12:16Esse foi o parque. E ela fez entretener maharajas e royalties neste espaço.
12:21É opulente. É um pouco sobre o topo.
12:27Mais de um século depois de a senhora Greville ter remodelado a casa,
12:31a equipa está agora a renovar a sua aparência sofisticada,
12:35sob a supervisão da diretora-geral, Hillary.
12:38A caffoldação está aqui para começarmos um projeto de conservação,
12:42que é tudo sobre voltar ao construção do tipo de estado que teria sido no dia da senhora Greville.
12:47Ela tinha um padrão muito alto. Ela gostava de tudo ser finito,
12:50alto-end e espalho.
12:52Além de os exteriores terem sido renovados,
12:55chegou o momento de reconstruir a imponente torre do relógio de Paul's Dan Lacey, do zero.
13:01A moça de vergonha é o que a senhora é.
13:05A moça de vergonha é pintado, se você ver,
13:08também pintado de vergonha.
13:10E do nosso peintre-scrape,
13:12nós sabemos que na dia de Mrs Greville era de gold.
13:14O course, ela foi aquela pessoa.
13:16Então, eles vão sair de um especialista conservador.
13:19O que eles vão ter 24 carat gold para a numerada e a mão.
13:23Númeras e as mãos.
13:26Nós sabemos que as velocidades não foram removidos.
13:27A delicada tarefa de remover os mostradores pela primeira vez nos seus 120 anos de história
13:36cabe aos engenheiros de relógios, Jamie e Barry.
13:57E é maravilhoso como eles continuam trabalhando, por talvez 200 anos, eles estão tiktokando, mas eles definitivamente precisam de um pouco de, o que é a palavra que eles usam? TLC, não é?
14:10Essa é a coisa que eles dizem agora, não é?
14:12Este é o John Moore Clock. Este é lindo, este é um bom estado para preparar isto.
14:19Estando o mecanismo desligado,
14:21Barry precisa de pôr as mãos na massa.
14:27First of all, we want to get under this surround if we can.
14:31But they put the scaffolds, that's an awkward place.
14:35Just bending?
14:36Yeah, come out of the way.
14:37We've got all these dolls, we've got four screws.
14:40We've got one here, one at 3 o'clock, one at 9 o'clock, one at 12 o'clock.
14:44And sometimes you get the screws,
14:47and sometimes they're missing altogether.
14:50There's lots of anxiety about removing these clock spaces, I can't deny it.
14:54We don't really know how they're fixed on,
14:57and there's possibly some kind of lead work that's holding the faces in place,
15:01but we don't know how old that is, or what kind of condition it's in.
15:07Looks like it's been in the walls, this one.
15:10This ain't a good sign, but what we're doing, we're telling it ain't coming out.
15:14We might find that one of them is stuck fast,
15:17and snaps, or chips, or breaks when we remove it.
15:20And there we have it.
15:44Com os mostradores removidos, o trabalho árduo começa por devolver os relógios
15:54ao alto padrão da lista de convidados da Sra. Greville.
15:57Whether it's diplomats, or foreign emissaries, princes, press barons,
16:02who held a lot of sway, they were all here at the house.
16:05She was a great hostess.
16:07She had the best wines, the most delicious food.
16:12She actually had variety acts from the London stage.
16:16She wanted her parties to be glittering affairs.
16:19She wanted them to be talked about in the press the following day.
16:23Até aos dias de hoje, em Paulsden-Lacy,
16:29a Sra. Greville manteve-se o centro das atenções.
16:32Here she is, painted in Paris, in 1891.
16:35I think the best thing is, is the fact that it hangs in the same place
16:39as it hung when Margaret Greville was alive.
16:44À semelhança de muitas figuras da sociedade,
16:46Margaret assegurou-se de que os seus convidados
16:49eram recebidos por um retrato espetacular de si própria.
16:53I think just looking at the painting,
16:55you can see that here she is, showing herself.
16:58At this point, she's entering society.
17:00And I think she absolutely looks like that.
17:03I think it's just the tilt of her head,
17:05how she's smiling at us.
17:07I mean, that really is the last great era of portrait painting.
17:11And I mean, he's a great society portrait painter.
17:14In the early 1890s, Carolus Durand was the go-to painter of portraits.
17:22He was a fantastic artist.
17:24Carolus did what his sitters wanted him to do.
17:28He depicted them beautifully.
17:31He created a classical sense of pose.
17:35When you commissioned a portrait from Carolus,
17:37you really knew what you were getting.
17:40She's going to have to come down to here.
17:43So we need two sets of blocks?
17:44Two sets of blocks.
17:45That's fine.
17:46And then we bring the ladder in.
17:47Yeah.
17:47Yeah.
17:48Enquanto Paul's Dunleysi está a ser renovada,
17:51não se pode deixar de olhar para a dona da casa.
17:54Por isso, também, a senhora Greville
17:56está a receber um pequeno tratamento ao restaurador.
17:59She's on chain, I think it.
18:00She's on the bottom.
18:01Remover o retrato de 100 quilos no seu lugar de destaque
18:05exige a supervisão de técnicos de arte.
18:08We can go down here on blocks.
18:10And then we'll bowl over.
18:13She hasn't moved from this landing in a very long time.
18:16I've not seen her moved.
18:17I'm not sure anyone here has.
18:19We're right at the top of the staircase,
18:20so we do need to be kind of really careful of that.
18:23Before you enter, we just want to feel the weight.
18:26Yeah, before you...
18:26It's got a bit of weight to it.
18:27It's got a fair bit of weight to it.
18:29Lisa's not glazed.
18:30Look on the bright side.
18:32It's a bit heavier than I thought it was.
18:33Yes, it is heavier.
18:35Right, you all ready?
18:37Right, one, two, three, Will.
18:38Up.
18:41We're off.
18:42We're off.
18:42We're still not off.
18:43Can I?
18:43She's not off.
18:49You do the checks before you do the doing, you know?
18:52But you always have that moment when you take pain to the wall of going,
18:55have we prepped it all right?
18:57You off?
18:57No.
18:58No.
18:58We'll take it to the chair down.
19:00That's it.
19:01Got it?
19:01Yeah.
19:02Right, let's come down.
19:03Okay.
19:04Just slowly.
19:04Okay.
19:04Just slowly.
19:18That's it.
19:18If you come round...
19:19You're all right.
19:20Come round this way more.
19:21Yep.
19:22Go on.
19:23So if you start coming in, what's your steps down?
19:27Steps come in.
19:33And down?
19:34Yep.
19:34That's good.
19:36Gosh, well done.
19:37Brilliant.
19:37That's the habit.
19:38That's good.
19:40Right.
19:40Right.
19:41Com o retrato em terreno sólido, Alice e a equipa podem fazer uma inspeção atenta à
19:46senhora Graville.
19:48The hat.
19:49I think we're going to see a lot more detail about that, aren't we?
19:52Yes, because it's so obscure.
19:53You can't really see the feathers.
19:54What are those feathers?
19:55It's all...
19:55I think it's feathers.
19:56One of the things that we've really been very curious to learn more about is the dress
20:07that Margaret Graville is actually wearing.
20:09We haven't actually got any definite makers.
20:12I think the conservation will allow us to see in far greater detail, particularly the bodice
20:18and the skirts, but also the cape in particular.
20:21I'm really excited about.
20:22One of the challenges about understanding Margaret Graville is that when she died, her team
20:36were under strict instructions to destroy a lot of her paperwork, her notes.
20:40She was famously discreet.
20:41You don't get to be friends with so many people in high-up places without them being assured
20:45of your total discretion.
20:47It's sad for us because we don't have much documentary evidence about her.
20:51We have the things, the things that were left in this house, the house itself.
20:55Keep going.
20:56That's it enough, Will?
20:57Yep.
20:59All right, let's go.
21:00Okay.
21:00As it's cleaned, we'll be able to hopefully find more information out about her dress and
21:05where she's buying it.
21:06I think that'll just give us a much richer history of her.
21:09Para a bem-sucedida Socialite, uma casa ampla com um extenso terreno era pré-requisito
21:25para atrair a elite londrina para um fim de semana no campo.
21:28A large country estate was really the only place to host weekend parties.
21:36Country houses offered not only beautifully appointed dining rooms and drawing rooms, but
21:43also the estate to hunt on and also well-manicured gardens for garden parties.
21:49In Clevedon, os jardins trabalhados, com a sua coleção de mais de uma centena de esculturas
21:58clássicas e sarcófagos romanos, constituíam o cenário para as festas de Jardim de Nancy.
22:04Has somebody been here?
22:06This looks too clean.
22:08Hoje são os voluntários encarregados da limpeza das pedras de Clevedon que se reúnem
22:15no Jardim de Nancy para enfrentar a maior escultura da propriedade, a Balaustrada Borghesi.
22:24Feita a partir de pedra de Travertino para o cardeal Borghesi de Roma no início do século XVII,
22:30a Balaustrada foi comprada por William Waldorf Astor em 1896 e transportada de Itália peça
22:37A Balaustrada é o responsável pela limpeza de pedras e trabalha como voluntário em Clevedon
23:02há 27 anos.
23:03We look after anything that's stonework.
23:07It's a fourth bridge job.
23:09We start at one end in the long garden and we gradually work our way through the whole
23:17of the system, cleaning statues as we go.
23:21I enjoy doing it.
23:23I mean, the team are really good.
23:25I've got one lady who's been with me 20 years and several of them have been with me 10 years.
23:31I don't know whether it's me or they like the job.
23:36Because of me, ancient age, I can only do the top hits.
23:46You've got one?
23:49Beautiful girl.
23:51Whereabouts?
23:52In the feet of the bench.
23:53A Balaustrada é o lar de alguns convidados indesejados que estão aqui ainda há mais tempo
24:01do que o Jan.
24:03These are the Clevedon snails.
24:06These are just the carcasses of a Clevedon snail.
24:09O caracol de Clevedon é uma espécie de molusco mediterrânico não nativo do Reino Unido.
24:20Pensa-se que tenham apanhado boleia de Roma e viveram no interior da Balaustrada durante
24:24mais de um século, antes de serem descobertos por um dos filhos de Jan em 2004.
24:29No século em que viveram aqui, o ritmo destes caracóis viajantes levou-os até ao terraço
24:50sul de Clevedon, a 26 metros de distância.
24:53Oi, that's warm.
25:00John, he's fantastically interesting to talk to.
25:04If you could get to his age and be as bright and articulate and amusing as he is, I think
25:10we'd have all done well.
25:12John, will you have the first piece?
25:14I most certainly will.
25:16Good.
25:19Will you ever lay down your tools?
25:21No.
25:21The team, they won't let me stop.
25:34No estúdio de conservação em Now, Anna está a fazer Nancy Astor destacar-se novamente.
25:41Removing the varnish is actually making such a big visual difference.
25:44We're starting to see that the dress is actually a kind of cool gray-white color.
25:49But also the skin color of the sitter is becoming much less yellow.
25:54I'm happy when the process is going smoothly.
25:58Hi, Anna.
25:59Hi, Ben.
25:59Hey, God.
26:01It looks amazing.
26:01I'm really pleased with how it's coming off, particularly the difference that we see in the dress
26:06and also the flesh tones.
26:09Mas enquanto a figura de Nancy se ilumina, a equipa continua no escuro quanto à sua pose.
26:15Ben veio encontrar-se com a conservadora de pinturas nacionais sénior e especialista em
26:19singer-sergeant Rebecca Allen, que tem estado a analisar a postura de Nancy.
26:24From what I know about Sargent and studying him, you know, he does make changes throughout
26:30his painting process.
26:32So one of the theories behind the pose is that Nancy was originally meant to be depicted
26:36holding one of her children on her back, piggyback star, as it were.
26:40It's a lovely story, it's a lovely idea, but the reality we're not sure about.
26:43Para analisar a fundo, Rebecca fez com que a pintura fosse fotografada em infravermelho.
26:49And here we have it.
26:50Ah, fantastic.
26:51I mean, he's a consummate painter of children.
26:54Okay, right.
26:55What it's not showing me is any evidence of a child.
26:59Right, yeah.
27:00Yeah.
27:01That was always, yes.
27:02No, it's a shame, but, yeah.
27:03If we can definitively say there's no evidence of a child being carried piggyback, what do
27:08you think of this idea that Nancy in this portrait is being depicted as a Gibson girl?
27:13A Gibson girl era uma representação popular do ideal feminino nas décadas de 1890 e 1900,
27:22criada pelo ilustrador Charles Dana Gibson.
27:25A Gibson girl, como é entendido, é uma imagem moderna de uma mulher jovem americana,
27:33bela, livre, e a fashion é uma fashion contemporânea.
27:37Isso é interessante.
27:38Okay, so Nancy's sister marries Charles Dana Gibson, who is responsible, the artist,
27:43responsible for this whole idea of the Gibson girl.
27:45Mm.
27:46And there is a report announcing the fact that Nancy is set to marry Waldorf Astor.
27:52And the report actually says a real Gibson girl, in inverted commas, engaged to Mr. Waldorf Astor.
27:57There are similarities with the way in which she was being photographed during this period,
28:00and also in the way she's being depicted in oil as well.
28:02So this is really fascinating because you've got the pose where the hips are back.
28:08Yes.
28:09And the chest is open and forwards is quite typical of that era.
28:13But I also think that on the other hand, Nancy's kind of a cut above the average Gibson girl.
28:18Right.
28:18Because of her status in society, so I think perhaps it's a more complex picture than that.
28:24I wonder whether Sargent's painting is a reference of a portrait of Emma Hamilton by Romney,
28:30where there's the hands behind the back.
28:34Behind the back, yes, yeah, yeah, yeah.
28:35There's Sargent saying, look, I'm just as good as the old masters.
28:38It's not just the pose.
28:42There may be another subtle homage to the famous retratist of the 18th century, George Romney.
28:48She has a hound, kind of lining up against her, with a snout in the air,
28:54and the sash that tumbles over here has got that sort of form of a dog that's sort of looking up at his mistress or her mistress.
29:05It's interesting to me you say that, you now can't unsee it.
29:07See?
29:08Woof.
29:08Woof.
29:11So no baby, but perhaps a dog.
29:14Yes, exactly.
29:16Mas se Sargent estava a buscar inspiração no passado de 200 anos,
29:20a sua modelo olhava para o futuro, abraçando uma sociedade do século XX em rápida mudança.
29:27The era of Nancy Aster and Margaret Greville is so exciting for political, social and cultural changes.
29:36We're seeing the Liberal Party come into power in 1906 and after the First World War.
29:42Women have suddenly got the vote in 1918.
29:45So throughout this period, all of those political conversations, all of the networking, quite often happening in the rooms and houses of these women.
29:55And she was walking into Parliament with 500 men and she is the only woman when she stands up, you know.
30:01making her murder in speech.
30:13Because I wanted the world to get better and I knew it couldn't get better if it's going to be ruled by men.
30:19She was walking into Parliament with 500 men and she is the only woman when she stands up, you know, making her murder in speech.
30:26To think of that as a moment in history is incredibly evocative and thought-provoking point.
30:32Aster passou 26 anos como deputada, mas acabou por ser convencida a afastar-se, à medida que se tornava uma figura cada vez mais divisiva.
30:43Embora Nancy tenha apoiado o esforço de guerra e tenha criado um hospital militar em Cleveland, na década de 1930,
31:01ela foi uma das várias figuras da alta sociedade que se socializaram com apoiantes do Partido Nazi.
31:07Outra dessas figuras foi Margaret Greville.
31:13e foi, na verdade, a presença de Von Ribbentrop para o Nuremberg Rally.
31:17Ela não foi afiliada com qualquer organização que era direitiva,
31:22mas certamente apoiou pessoas que eram dessa persuasão política em Polster-Nacy.
31:28Com os seus diários e correspondência destruídos, as opiniões políticas pessoais de Margaret permanecem pouco claras.
31:36Ela também acabou por contribuir para a causa aliada, tendo tropas alojadas na sua propriedade.
31:41Na altura em que começou a Segunda Guerra Mundial,
32:11Margaret Breville era proprietária de Polster-Nacy há mais de 30 anos,
32:16tendo feito um esforço extraordinário para criar o retiro de fim de semana perfeito para os seus hóspedes.
32:22Para além da decoração opulenta, os hóspedes tinham direito a telefones de secretária modernos
32:27e a casas de banho luxuosas com água quente.
32:30Em 1923, a hospitalidade de Margaret foi consagrada com o mais alto reconhecimento real.
33:00Quando o futuro rei Jorge VI e a rainha Isabel escolheram passar a sua lua de mel em Polster-Nacy.
33:07Mas por detrás das cenas, para proporcionar estes pequenos luxos,
33:12foi necessário um grande investimento em infraestruturas.
33:14Construída em 1903, a Torre de Água de Polster-Nacy ainda hoje abastece a casa com água potável para lavagens
33:27e inclui também um reservatório subterrâneo para regar os jardins e abastecer as casas de banho.
33:33O responsável por garantir que tudo funciona sem problemas é o assistente técnico Terry.
33:56I sense you quite enjoy this, Terry.
33:59I love it. I absolutely love it.
34:01It's really important that we take water meter readings regularly
34:05because this is how we find out if we've got leaks in the system.
34:08You could literally lose hundreds of thousands of litres a month
34:11if you have a burst pipe here, and that's not good.
34:15That's not good.
34:16Has this just started going?
34:17It's just started.
34:18So somebody somewhere has just used the toilet.
34:20So this is the main meter for the main tank.
34:29Terry começou recentemente a trabalhar em Polsden-Lacy,
34:32depois de muitos anos numa instituição bastante diferente.
34:35I've worked for the prison service.
34:37My wife particularly thought it was a good idea because I was coming home from work quite stressed.
34:41And this is where I come to relax.
34:45I'm from a council estate in Liverpool.
34:47And this is somewhere I would never come.
34:50And then my wife brought me, and I was like, oh, what am I doing here?
34:52Oh, what are posh people?
34:54And then I would never have thought, like, 15 years later, I'm working here.
34:59My perception has changed.
35:01All about, it's not just the people that come here.
35:03It's the people that work here.
35:04All the people are from all walks of life.
35:07It's still a vocation to protect all this.
35:11I love everything about this.
35:13Yeah, I mean, look where I am.
35:15You know, you're telling me I can hear the water.
35:17I can sit here with a flask of tea on a cold day.
35:20It's fantastic.
35:21It's fantastic.
35:29Now that the clock is removed from the door, the team can start to give them the brilliance.
35:39First, the clock is clean and they receive a new layer of polyuretano-resistant paint.
35:45I'm going to use it to be a new layer of polyuretano-resistant paint.
35:46I'm going to use it to be a new layer of polyuretano-resistant paint.
35:47I'm going to use it to be a new layer of polyuretano-resistant paint.
35:48I'm going to use it to be a new layer of polyuretano-resistant paint.
35:49And then, I'm going to use it to be a new layer of polyuretano-resistant paint.
35:50The painter has a new layer of polyuretano-resistant paint.
35:52And then, I'm going to use it to be a new layer of polyuretano-resistant paint.
35:57É absolutamente crucial que as marcações estão corretamente, porque quando as mãos eventualmente vão continuar, se nada está alinhado, as mãos não se alinharem com as marcações corretas.
36:07John pinta manualmente as marcações com uma cola especial dourada, chamada Size, que serve para fixar a folha de ouro.
36:14É a parte da size que requer imensa precisão.
36:21Eu vou dar um profundo antes de fazer um estrope, e então eu vou dar meu profundo antes de fazer o fiddly correntinha, ou seja, você vai ficar brilhando.
36:33Você tem que ser calmo.
36:35Se você está em um bom estado, você pode ser erratado.
36:37É só bom que você pode fazer algo que você pode ir ao lado do tempo de tempo, e você pode pensar, eu fiz isso.
36:42É só uma parte de história, realmente.
36:44Estando todos os numerais cuidadosamente pintados,
36:55É uma corrida contra o tempo para aplicar a folha de ouro de 24 quilatas.
37:05Um livro é sobre R$50,00, então é bastante caro.
37:10Se você tenta colocar a folha de ouro de ouro de ouro de ouro de ouro de ouro de ouro de ouro de ouro,
37:16mas você pode fazer um diálogo de ouro de ouro de ouro de ouro de ouro de ouro de ouro de ouro de ouro de ouro.
37:25A gold leaf shines em o sol como nada.
37:28Você pode usar gold paints, mas eles não têm o mesmo look.
37:33Então, eu vou usar a folha de ouro de ouro de ouro de ouro de ouro de ouro de ouro de ouro de ouro.
37:38Vou usar a folha de ouro de ouro de ouro de ouro de ouro de ouro.
37:45E com água de ouro de ouro de ouro.
37:56Eu estou feliz com isso.
38:00É lindo, não é?
38:01Olha isso, é um abraço.
38:03É muito bom, pessoal.
38:05Um, três, para ir.
38:15No estúdio de conservação, Anna já terminou um retrato e está prestes a iniciar o segundo.
38:25Um estudo de Margaret Graville por Carlos Duran.
38:28Tal como fez com o retrato de Nancy Astor, Anna terá primeiro de remover o verniz envelhecido pelos anos.
38:51Mas a senhora Graville representa um desafio bem mais exigente.
38:58Para conseguir retirar o verniz, sem danificar os delicados traços do pincel, Anna terá de recorrer a uma técnica mais complexa.
39:19Ela embebe pequenos pedaços de material absorvente numa mistura de solventes.
39:36Antes de os aplicar cuidadosamente sobre a tela.
39:43Se o pedaço ficar pouco tempo, o verniz não é absorvido.
40:09Mas se ficar demasiado, Anna arrisca-se a remover também a camada de tinta.
40:39A camada de tinta é fresca que a cor do pincel é, que não conseguimos ver nada antes.
40:44Em início, quando vimos a pintura, pensamos que o pincel era branco.
40:47Então, acho que o pincel vai parecer incrível com o verniz remover.
40:52Então, isso é bastante emocionante.
40:54É muito emocionante.
40:55Sim.
40:55Rebeca e Alice vieram ver se a limpeza do quadro revela algo mais sobre a escolha de vestuário de Margaret Graville.
41:03O que é isso?
41:07A sensação.
41:09Sim, a limpeza vem muito bem.
41:11O que é?
41:12O que é?
41:12Tem ainda um varnizade, mas acho que está já fazendo uma grande diferença.
41:16Então, estou só wetindo isso, que mimica o que essa área seria quando é revarnizada.
41:22Você pode ver a verde.
41:24Olha isso.
41:25Agora que está wetado, você pode ver o trim, também.
41:27E só como volume tem.
41:29Você pode ver como curva, e você pode quase sentir a furriness de essa fur.
41:35E o contraste entre... Do você acha que é velvete, a cape, no exterior?
41:39Eu acho que poderia ser, sim.
41:40Eu sempre pensava que era satin.
41:42E as frixas das pequenas flores...
41:44Sim, é muito mais visível agora.
41:46É maravilhoso.
41:48Você pode realmente ver que ela é muito fashionosa, não é?
41:51Sim, muito, muito fashionosa.
41:52A height da fashion da 1890, e eu acho que o clean tem revelado.
41:57A qualidade de essa roupa é tantalizada para pensar que ela foi pintada em Paris em 1891,
42:02e que ela foi indo para um muito alto em couturier, como House of Worth.
42:09O House of Worth, eles eram incrível Paris couturiers.
42:14Eles eram no Rue de la Paix,
42:16e, realmente, todo mundo que queria ser visto em sociedade
42:20teria suas roupas feitas por House of Worth.
42:23Ela nos diz muito sobre a Margaret Greville.
42:28É uma imagem que ela está criando,
42:30usando a roupa de algo de um couturier de Paris.
42:34Você está realmente mostrando.
42:35Aqui eu estou, olhe para mim.
42:39Ok, traz-a para trás.
42:40Sim.
42:41Ter os dois retratos juntos no estúdio de conservação
42:46oferece uma oportunidade única de observar, lado a lado, estas duas grandes damas.
42:51Isso é muito emocionante.
42:55O que é espetacular sobre esta ocasião é que nós conseguimos trazer essas duas pinturas
43:01pela primeira vez.
43:03E a grande conexão lá é que Nancy Astor é pintada por John Singer Sargent,
43:07que era estudante de Carolis Duran.
43:10É incrível.
43:12Sim, é incrível.
43:12É mestre e pupil.
43:14E John Singer Sargent becomes the much more celebrated portraitist and artist in general.
43:19So there's a tension when you're looking at the two.
43:23You pitch them both together in the 1890s.
43:27I suppose that Margaret goes to someone like Carolis,
43:30because he is that safe pair of hands.
43:32Whereas Sargent, perhaps, is an edgier choice.
43:36And I guess if she's entering into society that she wants a formal, reliable depiction.
43:43With Nancy, we're a step further on into the 1900s.
43:47I guess we're looking at the evolution of the representation of the society hostess.
43:54There's a question about modernity, I guess.
43:57And it's representing itself in each portrait.
44:00And Margaret Greville is an incredible fabergé here.
44:23We've got ten items of fabergé, and they really vary from the incredibly beautiful
44:30radonite pink egg to her and really beautiful animals.
44:36And these were obviously highly desirable.
44:40Este tesouro é agora tão precioso que só é manuseado quando absolutamente necessário.
44:46We're going to be cleaning the fabergé, and at the same time we'll just give them a quick
44:50condition check, check that nothing's happened while they've been in the display.
44:54It's not something that we kind of would undertake lightly, and a lot of thought kind of
44:59needs to go into the handling, because they are so very precious.
45:04Joelheiro da cor-de-russa, Karl Fabergé abriu uma loja em Londres em 1903, o que aumentou
45:10a procura pelas suas criações requintadas.
45:13It really was the height of Edwardian opulence to collect these incredible pieces, and what
45:21we're seeing here are pieces that were given to Margaret Greville, and that's the thing
45:25about fabergé, they were really used as a form of social currency.
45:29A little froggy.
45:31You didn't go into the fabergé shop to buy something for yourself, you were there to buy
45:37it as a gift. Would you mind just holding the stem steady just in case?
45:44Okay, perfect. It's very light, you wouldn't know.
45:49I'm just going to pop it down into this little tissue puff to keep it stable,
45:53and then I'm just going to use this really soft brush just to give it a really light dust.
45:58Oh, it's just a little clasp there. Yeah, if you can open that bit, thank you.
46:05So amazing, isn't it?
46:07So beautiful.
46:08How thin it is. I mean, it's milliliters thick, isn't it?
46:12Como qualquer convidada bem-educada, Margaret oferecia presentes com tanta frequência quanto
46:17os recebia.
46:18Margaret Greville actually purchased from Fabergé 31 times.
46:22So actually, some of those objects are now in other collections, including the Royal Collection.
46:28Pop it back into little books.
46:31Yeah, that's good. It's weird, isn't it?
46:33Yeah.
46:35Para manter o seu lugar na hierarquia social,
46:38manteve a família real no topo da sua lista de presentes, até ao fim da vida.
46:44Margaret Greville was a great collector of jewelry, wonderful items from Boucheron and from Cartier.
46:52When she died in 1942, she bequeathed her jewelry collection
46:57to the future Queen Elizabeth, the Queen Mother in its entirety, including her very famous honeycomb
47:05tiara by Boucheron. And that tiara is actually now worn by Queen Camilla.
47:11The Princess of Wales was seen only recently wearing the Greville chandelier earrings.
47:17By giving those objects, Margaret Greville knew that collection would be kept intact,
47:21and then worn by the succeeding generations of the Royal Family.
47:29No studio de conservação, há ainda uma última tarefa delicada para Hannah,
47:33antes do retrato de Nancy regressar a Clevedon.
47:36A remoção do verniz revelou zonas históricas com perda de tinta,
47:41que Hannah terá agora de retocar com todo o cuidado, sem alterar permanentemente a pintura.
47:46So my aim is to make the retouching invisible to the viewer.
47:53I don't want the eye to be drawn to my work.
47:55It can be stressful if you're on a deadline for sure.
47:58Some days it really flows, and other days it feels more challenging than others.
48:04And also some colors are just more difficult to match, so we'll see how it goes.
48:11So it's a sort of slightly greenish-brownish area.
48:16Here there's a kind of red that goes across. So I will try to reconstruct that in the way that
48:22it looks like this whole brush stroke is going to follow through.
48:27You know, I always think that your favorite painting is the one that you're currently working on.
48:32You really get to know it so intimately, and you form this relationship with the artwork.
48:37And then you move on to other projects, and then you get to know those paintings.
48:42Your exes, they're old mees then.
48:45No, you think of them very fondly, even once they've left you.
48:52Yeah, retouching is the kind of job where you can keep on tweaking forever.
49:07Para o toque final, Anna recorre ao olhar experiente do outro especialista,
49:19na esperança de perceber se há alguma diferença visível.
49:28I can't see it.
49:30That's what I like to hear.
49:32Yes, I know.
49:33If a sharp-eyed colleague like Yona can tell me that she can't find it, then I think that's good enough.
49:43In Clevedon, decorrem preparativos para receber de volta à jovem Nancy.
49:47A really technical piece of cardboard, which we'll use to catch the dust that we're brushing off the wall.
49:56Today we're preparing for the return of the John Singer Sargent Nancy Astor portrait.
50:01There's quite a buzz.
50:02I've just been walking out on the estate, and a few people, even gardeners, have sort of said,
50:05how can we come and see her?
50:07It's almost like Nancy's coming home.
50:09Quem também regressa para testemunhar o retorno de Nancy é a sua neta, Emily Astor.
50:14That's the sound that's always been here, and that evokes a lot of memories for me.
50:20Waking up, getting places on time.
50:25Emily viveu em Clevedon até aos 10 anos.
50:27You know, if we were out on our bicycles and we heard it, we were told, you know, on the second time the clock tower rings come in.
50:36And, yeah, I find it very emotional, actually, listening to the clock tower.
50:40Nancy Astor tinha 70 anos quando Emily nasceu.
50:48We called her Granny.
50:49Some times I remember we called her Funny Granny.
50:54Just because she was always joking.
50:57She probably was a little bit intimidating, but, you know, just apropos of nothing,
51:03she would be able to do a handstand or a cartwheel, you know, which was pretty amazing at 80.
51:07I think that's pretty good.
51:28I think that's pretty good.
51:34Things that were previously hidden are just now front and centre.
51:38You can see the texture of her sash and the dress, and when it's lit like this as well,
51:42it just brings it to life, and it makes it a focal point in the room.
51:46It really draws your eye.
51:47I'm really excited to see the painting again because it's something that's been there my entire life.
51:55So, you come into the hall and every time you enter the house, you know, look to your left and there it is.
52:02That's amazing.
52:04She really stands out at you, doesn't she?
52:07When you walk around the corner.
52:07The sash particularly comes alive, whereas once it was kind of hidden and slightly murky.
52:13Now, that's the first thing I noticed, a sash.
52:15Really? Okay, yeah.
52:16Yeah, yeah, yeah.
52:17I can imagine.
52:17When it was being restored, was there any evidence of why she was standing like that?
52:23There has often been a theory that she was meant to be having one of her children on her back?
52:26Absolutely.
52:27Being held pick-a-back.
52:27I've grown up my whole life knowing that that's what I've been told.
52:30Well, we've had scans done and unfortunately there's no sign of preliminary drawing showing that.
52:35Oh, but that's always what I'd believe.
52:37Yeah, yeah.
52:38That's interesting.
52:38That's so interesting to understand now that there's no reference to it or evidence at all.
52:42We can't see it.
52:44This portrait has been hung in Clifton for so long now and it has seen many events and parties and people and it's a permanent, you know, it's a permanent fixture.
52:52Yeah, she's seen a lot.
52:54She really has, yeah.
52:56Yeah.
52:56No, I think it's just a really, really special picture.
52:59A wonderful portrait.
53:13No estúdio de conservação, o retrato de Margaret Graville estará em breve de regresso a casa.
53:21Assim que Anna lhe der uma nova camada de proteção.
53:24What varnish essentially does is that it protects the surface of the painting,
53:28but it also saturates all the colors.
53:30So right now, everything looks a little bit matte.
53:33Once we apply that new layer of varnish, the colors should just pop out.
53:37Alice e a equipa voltam para admirar o acabamento do traje requintado de Margaret.
53:55Hello.
53:56Hello, Anna.
53:56Hi, Anna.
53:57Hi, how are you?
53:58Oh, wow.
53:59Wonderful.
54:00She looks amazing.
54:03It's just so much more vibrant.
54:07The beautiful silk lining.
54:08With the bodice, we're seeing that really wonderful, thick satin.
54:13The saturation of that deep black, you can actually see the structure of the bodice.
54:19It's hard to put into perspective, you know, how important that image is to our image of
54:25her and the way we tell her story.
54:28We are talking about somebody who is illegitimate, who was a brewer's daughter, was completely
54:32new money, and yet she is accepted right at the top of the upper echelons.
54:36And I think that speaks volumes about who she was.
54:40Obviously, she had the right money, but also, she must have had something more.
54:45It's a really exciting day today.
55:05It feels like the culmination of kind of a lot of work, a lot of time, a lot of investment.
55:10It's been funny, actually, not having the clock.
55:12They're not just kind of clock faces on the tower.
55:14There's a bell attached to that thing that rings out regularly.
55:17So, not to have it chiming away and just constantly there in the background, it's felt like almost
55:22like we lost a bit of a friend.
55:23So, I know we're all really looking forward to having it back.
55:28Yep, look at that.
55:31Easy up, one, easy up.
55:33You can drop the plum line down, one.
55:37Oh, that'll do ya.
55:40Comes around a bit this way.
55:41That way.
55:42A bit more.
55:45Up too much.
55:47We run the plum line down the dole so that the 12 o'clock and the motion work and the 6 o'clock
55:53are all in line.
55:55A bit old, but it works, you know what I mean?
55:57That's it.
55:58That's it.
56:05Here we go.
56:08That's good.
56:09Oh, my word.
56:20Gosh, they look stunning.
56:22Look at that.
56:23Oh, these look absolutely fantastic.
56:26What a brilliant job.
56:28Look at that.
56:29The colour.
56:30The shine on it, the sparkle in the sunlight.
56:33Now, I'm thrilled.
56:34Yeah.
56:34I can't quite believe it, to be honest.
56:36Yeah, it's nice.
56:37Well, we're beyond thrilled.
56:38It's brilliant.
56:39Thank you.
56:39Thank you so much.
56:40I'm pleased you're happy, mate.
56:41That's amazing.
56:42Good.
56:43Yeah.
56:43Yeah.
56:43I think it looks really nice.
56:46I'm sure people will be happy with it.
56:50And that's all you can ask for, really.
56:53I hope you got the numbers the right order, did you?
56:55Yeah, I'll just check that.
56:55Yeah, I'll just check it.
56:57Yeah.
56:57It's like having old friends back.
57:00I'm quite choked.
57:01Beautiful, beautiful thing.
57:03Mrs. Greville would be tickled pink, I think, to have the clock faces back.
57:06She would probably be tutting us and telling us it was about time that we did this and restored
57:10them to their former glory like that.
57:11But I have no doubt that she'd be impressed and she'd be pleased with the care we've taken
57:15to get things right, the attention to detail.
57:18I think it, yeah, it speaks for itself now.
57:28No próximo programa, duas grandes propriedades transformadas em verdadeiras obras de arte vivas.
57:35It just looks like a painting, but you're in it.
57:39Com tratamentos intensivos.
57:44Segredos há muito enterrados.
57:46How do you lose a castle?
57:47Exactly, how do you lose a castle?
57:49E a luta de um homem para salvar as casas senhoriais do nosso país.
57:54He saw them as Britain's creativity at its best.
58:09All right.
58:13Legenda Adriana Zanotto
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