Great British Railway Journeys - Season 16 Episode 5 -
Chichester to Amberley
Chichester to Amberley
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00:00I'm setting out on a new series of railway adventures.
00:05How exciting!
00:06To explore some of Britain's most beautiful and historic regions.
00:10Oh, hold the shot.
00:12From Epping Forest to the Black Country.
00:15We have achieved locomotion.
00:17And from the Lake District to the Weald.
00:20This is beyond all expectation.
00:23I'll uncover how nature and history have shaped life in settings
00:28that are both scenic and intriguing.
00:31I'm so happy I could whistle!
00:58As I conclude my study of the Weald, my mind will be on history.
01:10The Romans landed in Kent and in West Sussex bequeathed us a villa rich in mosaics.
01:16I'll immerse myself in the past as I move amongst buildings that span a millennium.
01:21And in one of the Weald's grandest buildings, I'll brush up against a humble-born painter.
01:29The Weald is a wooded region located between the North and South Downs,
01:35which stretches across Kent, East and West Sussex and Surrey,
01:39and is made up of the High Weald and the Low Weald.
01:42I've been using its extensive rail network to explore and discover this fine terrain.
01:48We are now approaching Chichester, our final destination.
01:57The final part of my tour of the Weald begins in West Sussex.
02:02I'm making for Chichester, once an important Roman settlement,
02:07and now a pretty cathedral city sitting on the southwestern edge of the Weald.
02:11Though still green and leafy, the Weald has changed enormously
02:27since medieval forests stretched across its rolling landscape.
02:32I'd like to imagine how people lived in past eras,
02:36and today, at a living museum, I hope to immerse myself in their daily experience.
02:50I've come to the Weald and Downland Living Museum,
02:53where a collection of historic buildings is set in 40 acres
02:57of the South Downs National Park.
03:00Its curator is Julian Bell.
03:09What a wonderful view over the village.
03:12Isn't it? Yes.
03:12Over the living museum.
03:15You've brought buildings, what, from far and wide, haven't you?
03:18Yeah. In essence, they're wheeled in the Downland area of the southeast of England.
03:22The museum was set up in the mid-60s by a guy called Roy Armstrong.
03:26It was his idea. He was an educationalist, historian.
03:29He was completely alarmed by the wholesale destruction of the built environment
03:33post-World War II, culminating in an image he saw of the centre of Crawley,
03:39the town centre, where they basically bulldozed timber-framed buildings
03:43and set fire to them.
03:44So he wanted to make an impact, try and save as many buildings
03:48from the Weald and the Downland area as he could.
03:50All of the 53 buildings rescued by the museum were at risk of dereliction
03:55or were casualties of developments, such as road-widening schemes or reservoirs.
04:02It's an astonishing grouping which spans from 950 AD up to 1910
04:08and represents aspects of rural life in the Weald.
04:12It feels like here you've recreated the centre of a small town.
04:16It's meant to look like that. We always try and look at where a building was originally situated.
04:22If it was a farmhouse that was located on its own somewhere, we'll try and give it a bit of space.
04:27But all these buildings would have been from a more urban setting.
04:30This one is quite intriguing.
04:32It's a market hall. It's very distinctive of a market hall.
04:35Some were bigger, some were smaller, but they generally had the two levels.
04:38This 16th-century market hall came to the museum from Titchfield in Hampshire,
04:44where on market day it would have been bustling with activity, both good and bad.
04:50So this is our small jail for market day offenders.
04:54Oh, my goodness.
04:55Oh.
04:57It's got straw on the floor and it's got a pail.
05:01Please, let me out.
05:08Please, I repent.
05:10And please, give me some water and change my pail.
05:22As well as public buildings, there are houses, working and farm buildings,
05:26and farm animals, all telling the story of Wealdon life.
05:33Agriculture was a key part of the local economy, producing food and wealth.
05:41Well, Julian, this is a splendid building, isn't it?
05:43Yes, it's the centrepiece of the museum.
05:45This is Bayleaf, our Tudor Wealdon house.
05:47It's from Chiddingston in Kent.
05:49As with all the other buildings we've got on site, it was rescued.
05:52This would now be 30 feet under Bow Beach Reservoir.
05:54The first owner would have been what sort of person?
05:57He would have been a yeoman farmer.
05:58So the top of the sort of low status population, he would have had about 100 acres.
06:05The museum has painstakingly preserved the house and recreated the interior.
06:12Oh, wow, this is...
06:14This is majestic.
06:17Lots of surprising things about this building to me.
06:20There isn't an upper storey as I thought there would be.
06:22And the fireplace is in the middle of the hall.
06:26That's right.
06:26Either end, there are two floors.
06:29But this is the central hall, fireplace in the middle, primarily for heating.
06:33And the smoke, obviously no chimney, but we've got double height windows behind us here,
06:38which the smoke is designed to go out.
06:40Helping visitors to connect with the buildings and the lives of their inhabitants is a team of historical interpreters.
06:51Aaron, hello, I'm Michael.
06:52Hello.
06:53And you are in the costume of what?
06:56The master of bay leaf, the yeoman farmer who may have lived in this house in the mid-16th century.
07:02How wealthy is that yeoman farmer, do you think?
07:05The best way to describe him is he is farming for profit.
07:09Yes.
07:09So he has got money behind him.
07:12He can afford good clothes.
07:13We know quite a bit about the resident that lived here in the first half of the 16th century because he has money.
07:19That's the way it was in those days.
07:20If you have money, you are leaving a record.
07:23His house is rented from his manorial lord.
07:26He has got a household probably of 10 or 11 people.
07:29There will be at least a couple of servants living in here.
07:31Servants are very different to what you think of servants today, the Downton Abbey type servant.
07:36They are very much part of their household.
07:37They are junior members of the family, if you like, and maybe cousins, distant relatives who have come here to learn.
07:46The buildings are maintained using traditional materials and methods.
07:51And one building technique has endured for centuries.
07:55Julian, wattle and daub.
07:59Indeed.
08:00What is it?
08:00Wattle is the wooden panel or the wooden struts that form the background of the panel.
08:05Daub is the old-fashioned plaster that goes on top of it.
08:08And there's a section of wattle that needs its daub.
08:12Do we have a stick to mix it with?
08:13I'm afraid not.
08:14That's down to your feet.
08:16In you get.
08:18First thing we need is some water.
08:25Next is regular dirt.
08:27This is when you start the stamp around.
08:33There.
08:34And a bit of straw.
08:35Put the interesting bit in now.
08:37The interesting bit?
08:39Is cow dung.
08:40Which is why I'm putting some gloves on.
08:44It's quite dry.
08:50There's a certain fragrance.
08:52Not one of the world's leading brands, but it's up there.
08:55And then all we're going to do is just pop it on.
08:59So push it right in.
09:02And try and get it in between the cracks formed by the wattles.
09:09So it's got something to grip on when it dries.
09:11I learned about wattle and daub at primary school.
09:16I'm sure it was in one of my lessons.
09:17Yeah.
09:18But I've never actually seen it.
09:20And, you know, it's one thing to hear about it in class.
09:23Another thing to see it.
09:25And it's a third thing altogether, actually, to do it.
09:28This is indicative of what we do at the museum.
09:30We really like people that have a go at things.
09:32I'm absolutely loving it.
09:33I'm as happy as a pig in daub.
09:35The next stop on my tour will be Pullborough Station.
09:50It's connected to Chichester by the West Coastway line,
09:54running eastwards to Brighton,
09:56and then the main line north that connects the south coast to the capital.
10:00The route passes through the stunning landscape
10:02of the South Downs National Park.
10:07I'm headed to a place with strong ties to an artist
10:10who's not immediately associated with the Weald.
10:15The painter, J.M.W. Turner, was born in London.
10:19And although he was successful as an artist,
10:22in later life he became morose and eccentric and lived in squalor.
10:26So it may seem odd to look for his legacy
10:29in one of Britain's best-known stately homes.
10:32He enjoyed the patronage of aristocrats.
10:36And so one of the finest private collections of his work
10:39remains today in the Weald at Petworth House.
10:42We are approaching Pullborough.
10:53Pullborough is today the nearest station to the town of Petworth,
10:57a very pretty market town five miles away.
11:04Petworth used to have its own station
11:06on a branch line from Pullborough to Midhurst,
11:09and I've managed to track it down, just outside the town.
11:15Well, I have been to many railway premises in my time,
11:19but few buildings as beautiful as old Petworth station.
11:24Isn't that gorgeous?
11:26With just the minor disadvantage
11:28that no trains depart from here.
11:33Petworth was a single-platform station,
11:35part of the London-Brighton and South Coast Railway,
11:39but passenger services ended in 1955.
11:43And now it's a bed and breakfast.
11:47Hello!
11:48Hello, welcome.
11:49Thank you. Welcome to the old railway station, Michael.
11:52You're Jenny, aren't you?
11:53I am, yes. Nice to meet you.
11:55Jenny, this is such a beautiful place.
11:57Thank you very much. Should we take a walk along the platform?
11:59Absolutely. I'll step outside with you.
12:02Jenny, this building dates back to when?
12:04So this building was built in 1892.
12:07It replaced the original Petworth station
12:10that was built in 1859, I believe.
12:13And now, ahead of us,
12:15all these, what, Pullman cars, aren't they?
12:18Yes, original Pullman carriages.
12:21I believe it's the largest collection of Pullmans
12:23in private ownership,
12:25dating from 1912, is our earliest,
12:29and 1923, Flora and Montana.
12:32All the Pullman carriages have en-suite bathrooms.
12:36Some of them have got their original marquetry.
12:39The restoration work extends from the carriages to the buildings.
12:44How lovely.
12:47Its old waiting room has been put to good use as a dining room.
12:51As I know to my advantage,
12:57the railway buff is an insatiable beast.
13:02Never to be satisfied with any number of journeys
13:05across countless countries by day and by night.
13:09But then must be accommodated in a Pullman carriage
13:12and served an English cream tea in an old waiting room.
13:16Petworth station surely had to be of quality,
13:23as it was built to serve visitors
13:25travelling to one of the grandest stately homes in the country,
13:29Petworth House.
13:33In the Middle Ages,
13:35it was owned by the Percy family,
13:37the Earls of Northumberland.
13:39And today, it's in the stewardship of the National Trust.
13:42I'm meeting the house's curator, Emily Knight.
13:48Emily, hello.
13:49Hello. Hi. Welcome to Petworth.
13:51It's great to be at Petworth.
13:52And what a stunning house it is, isn't it?
13:54It's an amazing house.
13:56I mean, there's a very long history at Petworth.
13:57But this building is really the result
13:59of a major rebuilding project in the late 17th century.
14:03At the time, the gardens here were very formal,
14:05but it was all swept away by Capability Brown in the mid-18th century.
14:08And that's what we see today.
14:10And tell me, please, about some of the owners.
14:12I'm interested in an Egremont,
14:15who apparently was a great collector of art.
14:17Yes, the third Earl of Egremont
14:18is perhaps the best known of the owners of Petworth.
14:21And he was a very passionate collector
14:24and patron of contemporary British art.
14:26And he often invited artists to come to Petworth
14:29to spend time looking at the collection,
14:31absorbing the landscape.
14:33So we have artists like Thomas Phillips,
14:35the sculpture of Francis Leggett Chantry,
14:37and perhaps most famously, J.M.W. Turner,
14:40who came here every year from 1827 to 1837,
14:44which was the year that the third Earl died.
14:45I'm rather hoping you're going to tell me
14:47that those artists left something behind here.
14:50Yes, there's a lot to see inside.
14:55The 17th century remodelling of Petworth
14:58created opulent French-baroque-style interiors
15:01meant to display wealth and taste.
15:05In the 18th century,
15:06the third Earl of Egremont
15:07used his tenure to collect and exhibit great art.
15:13My word, Emily.
15:15What an extraordinary room.
15:17What a sight this is.
15:19The paintings are stacked three high.
15:21There's hardly a square inch of wall that isn't covered.
15:24Is this Egremont's gallery?
15:25Yes, this is the Norse gallery,
15:27and really it says a lot about the third Earl
15:30and his collecting, but also his father.
15:32So his father, the second Earl of Egremont,
15:34he was a huge collector of ancient statuary.
15:38I'm stunned.
15:41The third Earl collected
15:43and also patronised artists such as Turner,
15:48whose most important commissions are hung
15:50in what is known as the carved room.
15:53This carving is largely by Grinling Gibbons,
15:57and he was really the most important carver
16:00in 17th century England.
16:01I think you could probably study these carvings
16:04for weeks and months
16:05and not come to the end
16:07of seeing everything that's on offer.
16:09We're here in particular to see the turners,
16:11which, at least in size, are quite modest.
16:14Here they are.
16:15They're pretty recognisable.
16:16Yes, here they are.
16:18So these were commissioned
16:19by the third Earl of Egremont in 1827.
16:23And so we see here Petworth Park.
16:26What's beyond our windows, this is it.
16:28This is right up by the lake.
16:29All of the views that we have here are of sunset scenes.
16:33We can see the deer.
16:34We have a huge herd of fallow deer
16:36to this day in the park,
16:37and it gives it a sense of the sort of calm
16:39of the end of the day
16:41with that amazing way
16:42that Turner was able to capture light
16:44from a single source in the centre of the canvas.
16:46Yeah.
16:47It's very familiar,
16:48what I call a weepy sun
16:50that Turner was so fond of painting.
16:52Magnificent.
16:54The third Earl also commissioned Turner
16:56to paint projects
16:58into which he had put financial investments.
17:01Brighton Suspension Chain Pier
17:03opened in 1823
17:04and Chichester Canal in 1822.
17:08And then finally,
17:09we have this painting of Petworth Park.
17:11We can see a cricket match over here,
17:13fallow deer gazzard,
17:15sheep running down the hill,
17:17again, all suffused
17:18in this very soft sunset light.
17:20And the idea with these paintings
17:22was that this was a dining room.
17:24They're unusually wide and hung low.
17:26And the idea was that as you sat down at dinner,
17:29this was at your eye level.
17:30So you could look out to the landscape
17:32on one side,
17:33Capability Brown's landscape,
17:34and then turn around
17:36and see Turner's interpretation of it.
17:37So it was a very immersive experience
17:39being in this room.
17:41The Earl hosted many artists
17:43at Petworth House,
17:44including Turner,
17:46who stayed on the estate
17:47and dined with him in the evenings.
17:50And away from the formal rooms,
17:52Turner and others
17:53were given studio space.
17:59Ooh.
17:59What a surprise.
18:05Emily, I feel you're showing me
18:06behind the scenes of Petworth,
18:09and not a room I expect
18:10that many people see.
18:12This is the old library,
18:13but it's got this amazing window
18:15bringing in all this easterly light.
18:17So it's a very attractive place
18:19for artists to come and work
18:20and to paint.
18:20And Turner was one of those artists.
18:22He came in here.
18:23We've got records of watercolours
18:25that he painted here,
18:25particularly showing other artists at work.
18:28Now, which other artists
18:29that I might have heard of were here?
18:31One of the most famous artists
18:33who came to Petworth
18:33was John Constable.
18:35And in fact,
18:35his work was never acquired
18:36by the Third Earl,
18:38much to his dismay.
18:39You're giving me an impression
18:40that there was a collection
18:41of people here,
18:42almost like a school of art.
18:44It was a sort of unusually relaxed environment
18:47where they could all mingle
18:48and talk about this great house
18:50and collection.
18:52Turner created over 100 works
18:54at Petworth,
18:5620 of which are hung here,
18:58making this one of the largest
18:59Turner collections outside London.
19:02And you as curator,
19:03with your responsibility
19:04for all the works of art
19:05across many centuries,
19:06do you feel some special draw
19:08towards this little episode
19:10in the 19th century?
19:11Hugely.
19:11I mean, it's a fascinating story,
19:13that relationship
19:14between the Third Earl and Turner.
19:16And when we're standing
19:16in spaces like this,
19:17literally in the footsteps
19:18of those artists,
19:19it's forever inspiring.
19:34I'm now heading south of Pullborough
19:36on a section of rail
19:38known as the Arran Valley Line
19:40to Amberley Station
19:41for my final stop.
19:44And the rich landscape
19:45that seems to have changed little
19:47in centuries continues.
19:51In most respects,
19:52the inhabitants of these islands
19:54must have struck the Roman invaders
19:56as primitive.
19:57Their government and society
19:59were chaotic
20:00compared with the well-ordered structures
20:02of the empire.
20:03Here in the Weald,
20:04the incomers chose to show off
20:07their superior skills
20:08in architecture and art.
20:13Amberley sits on the River Arran
20:15and boasts a stunning
20:18900-year-old castle.
20:21I'm heading northwest
20:22to an even older place.
20:25The vast villa at Bignor
20:27was built
20:27because the Romans
20:29had found such bounty
20:30in the Weald.
20:38James Kenny
20:39is the archaeologist
20:41at Chichester District Council.
20:44Hello, good morning.
20:46James, when the Romans
20:47invade in 43 AD,
20:49arriving probably in Kent,
20:51what do they find here?
20:53They find
20:54a fairly well-established,
20:57well-managed
20:58agricultural system.
21:00They had coins.
21:01They were exchanging goods
21:02and services.
21:03The principal thing
21:04that the Romans bring
21:04is their market economy.
21:06They build cities,
21:08towns
21:08within which
21:09commerce develops,
21:11such as Chichester,
21:11which is about 10 miles
21:12to the southwest.
21:14The Romans brought
21:14bricks and window glass
21:16and they brought locks
21:18and they brought doors
21:19and they brought bathhouses
21:20and they brought aqueducts.
21:22So they brought
21:23a sophistication of society
21:25that this country
21:27had never seen.
21:28What use did the Romans
21:29make of the natural resources,
21:30the trees and the iron?
21:31Further up into the Weald,
21:33there is iron stone
21:34and the Iron Age population,
21:36they utilised it
21:37on a small scale.
21:38The Romans came along
21:39and utilised it
21:40on a vast scale.
21:41Let's think about lifestyles.
21:42Britons and Romans,
21:44what were the lifestyles?
21:45So very few Romans
21:47would have come to Britain.
21:48What they did was
21:49they Romanised the population
21:50they persuaded the local elite
21:52to become Romans.
21:54So they bathed in bathhouses.
21:56They wanted mosaic floors,
21:57they wanted to drink wine,
21:58they wanted to eat
21:59the finest Roman food.
22:01James, I see here
22:02a pattern of maybe foundations.
22:03Tell me about this.
22:04So these are tarmac
22:05laid out on the surface,
22:07but directly on top
22:08of where we know
22:09from archaeological evidence
22:10that there were walls.
22:11So we have here
22:12picked out the walls
22:13of part of the west wing
22:14of the Roman villa
22:15that seems to have been built
22:17in about 200 AD.
22:19Then, of course,
22:20come the early 4th century,
22:22they start to establish
22:24another wing along
22:25the north side,
22:26one along the south,
22:27and then a corridor
22:28between the two.
22:29So you're then forming
22:29a complete courtyard.
22:31So what we know now
22:33is that this really was
22:34quite a spectacular house.
22:36Yes.
22:36At its greatest development
22:37in the first half
22:38of the 4th century AD,
22:39it's one of the biggest
22:41Roman villas
22:42that we have in the country.
22:43It has the finest mosaics
22:44that we have in the country.
22:46So it's going to be
22:47one of the richer people,
22:49one of the people
22:50who did best out of the Romans.
22:54Over the years,
22:56the occupants created
22:57a magnificent villa.
23:00The museum's assistant manager
23:02is Liz Leggert.
23:04Liz, you have here
23:06beautiful Roman mosaics,
23:07colourful, large, sophisticated.
23:10How were they discovered?
23:11Well, they were discovered
23:12in July 1811
23:14by a local farmer
23:15by the name of George Tupper.
23:17Very exciting day for him.
23:19Not necessarily for what
23:20he was about to discover,
23:22but he just got himself
23:23a brand new plough.
23:25And this new plough
23:26just dug a little bit deeper
23:27than anything he had before.
23:29And so when trying it out,
23:31he actually struck
23:33this stone here,
23:34which we now know
23:35to be a piscina,
23:36which is an ornamental
23:37water basin.
23:38What room do we imagine
23:39we're in here?
23:40We believe this to be
23:42their summer dining room.
23:43They were all for
23:44their seasonal rooms.
23:46This one, there is no evidence
23:47of a hypercourced,
23:48which is an underfloor
23:49heating system.
23:52The basin there
23:53would have been
23:53a focal point,
23:54and of course,
23:56also the highly decorated
23:57mosaic floor here
23:58itself would have formed
23:59part of the entertainment
24:01when our family were dining.
24:03Surrounding the water basin here,
24:05we have got some fragments
24:06of some dancing ladies.
24:08Not any old ladies,
24:09though.
24:09These are my nads,
24:10who are the followers
24:11of the god Bacchus.
24:12Of course, Bacchus
24:13was the god of wine,
24:15and of course,
24:15fertility and partying.
24:17To protect these remarkable
24:23remains,
24:24in the early 19th century,
24:25buildings of local
24:26flint and thatch
24:27were erected above them
24:29and still stand today.
24:36Whoa, what a splendid room
24:38with noble dimensions.
24:40What is it?
24:41This is our winter dining room.
24:43The hole in the middle
24:44of the floor here
24:45is our hypercourse,
24:46which is, of course,
24:47the underfloor heating system.
24:49There is a pit
24:50outside the building here
24:51with a tunnel,
24:52a tunnel which connects
24:54to this chamber here,
24:56which would have had
24:57a mosaic over the top,
24:58therefore invisible to the eye.
25:00In the entrance to that tunnel,
25:02there would have been a fire,
25:03and all the heat and the smoke
25:04would have been drawn
25:05into this area,
25:06and as the heat was rising,
25:08it would warm up the floor.
25:09Underfloor heating.
25:10It's quite extraordinary,
25:11isn't it?
25:12But it doesn't stop there.
25:13The smaller tunnels
25:14leading off the main chamber
25:16will carry the heat
25:17through the rest of the floor,
25:19and then it will go up
25:21through the walls
25:22out of little chimney pots above.
25:24And actually,
25:25in the chimneys,
25:26there would have been
25:26some small holes
25:27enabling some of the heat
25:28to be absorbed into the walls,
25:30like an invisible radiator.
25:33Superb technology.
25:34Tell us about
25:35the beautiful mosaic.
25:36The main image
25:37at the top there
25:38is the head
25:39of the goddess Venus,
25:42and she is flanked
25:43by some rather beautiful birds.
25:45These birds are unusual,
25:46because unlike
25:47the rest of the mosaics
25:49that have been laid
25:50using local natural stone,
25:52those birds
25:53have been laid
25:53with glass,
25:54which was an incredibly
25:55expensive material
25:56at the time,
25:57and really showed
25:58how wealthy and powerful
25:59our family here
26:00would have been.
26:01And what's the frieze
26:02across there?
26:03Ah, yes,
26:04our gladiators,
26:05but they're not
26:06any old gladiators.
26:07These are our
26:07Cupid gladiators.
26:09So they are performing
26:10a gladiatorial battle,
26:11but when you look
26:12closely at them,
26:13you'll see they all
26:13have wings.
26:17The mosaics
26:18are some of the most
26:18complete and intricate
26:20in the country.
26:22And at its peak,
26:24the villa at Bignor
26:25had 65 rooms.
26:27After three centuries
26:28of habitation,
26:29it was abandoned,
26:31likely coinciding
26:32with the Roman withdrawal
26:33from Britain
26:34in the early
26:35fifth century.
26:38What a beautiful
26:39and sumptuous bathhouse.
26:41Isn't that extraordinary?
26:43This would have been
26:43enclosed in a building,
26:44I suppose.
26:45It would.
26:46There would have been
26:46a lovely, large,
26:47domed roof
26:48over the top.
26:50This bath that you see here
26:51is the cold plunge
26:52or frigidarium.
26:54There were two other baths
26:55which have been covered
26:56over to protect them.
26:57And although this building
26:58would have been enclosed
26:59at the time,
26:59you and I now
27:00can enjoy this
27:01fantastic view
27:02and pay tribute
27:04to the Romans
27:04on top of all
27:05their other achievements.
27:07They were early
27:07appreciators
27:08of the wield.
27:09This investigation of the wield
27:38has opened my eyes
27:39to a region
27:40whose identity
27:41precedes the invention
27:42of counties.
27:43its people made the most
27:45of their natural blessings
27:47of wood and iron
27:49and introduced pigs
27:51and sheep
27:51and fruits of the forest
27:53to become wealthy.
27:55It remains prosperous today.
27:58Its trees are still
28:00its outstanding feature,
28:02crowding the green slopes
28:03and valleys.
28:05And its beauty
28:06overwhelms the visitor.
28:08next time
28:10I'm on the locomotive
28:13which is going to make
28:13contact now
28:14with the flat wagons
28:16that move
28:16spent nuclear fuel
28:18around Britain.
28:22What are the native species
28:23that are important
28:24to you in particular?
28:25Ah, it looks like
28:26after me
28:27who's my favourite child.
28:31Skimming across the tops
28:32of those hills
28:33watching the tiny people
28:35at the top of the summits
28:36who've gone up
28:37the hard way.
28:39Or maybe I've gone up
28:40the hard way,
28:40I don't know.
28:41The End
28:42of the Wild