|
National Geographic Treasures from the Past
|
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Skilled hands bring |
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and reach back to rescue treasures |
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Snatched from oblivion, |
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priceless treasures from the past |
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The paths that lead to treasure |
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are often found |
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As a child, |
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Today he is an airline pilot. |
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Ken Hyde lives in rural Virginia. |
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Here, with his wife and daughter |
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and each day that dream |
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Nestled safely in its hangar |
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an aeronautical wonder from |
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Bearing the colors of |
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it is a Curtiss JN-4D, |
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that first took to the skies |
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after the United States |
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With advanced designs, |
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to train young American fliers. |
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Though she never fought in combat |
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the Jenny helped redefine |
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she taught a generation of pilots |
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After the War in the roaring 20th |
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cause the bomb stormer |
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Surplus Jennys were expendable prompts |
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which sometimes ended in tragedy. |
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Today, only fragments remain. |
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From such meager clues |
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Ken Hyde has learned |
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It basically was a |
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They had some automation but |
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I didn't see any reason why |
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if I followed the old procedures |
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and did it pretty much as they did. |
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And it was a test. |
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Ken Hyde is returning his Jennys |
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when this man put her together |
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To recover a lost technology |
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Searching through manuals |
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Here, he finds evidence |
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to help him reconstruct a wild-shield |
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Fifteen years ago, Ken Hyde found |
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in a building set for demolition. |
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Before long |
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And there was a time when we had |
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of this little 1500-square-foot |
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I just remember things everywhere |
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I knew it was an airplane but |
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you know, when you're that small, |
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that all these little parts and pieces are |
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really going to go into something that |
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It almost seems like a dream. |
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J just remember it being a |
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something that you looked at. |
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You didn't touch. |
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You wanted to help, |
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and you were politely told |
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Out of Ken Hyde's dream, |
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He has spent months on small details |
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to ensure the historic accuracy of |
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for the Jenny must be authentic |
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When I started the airplane |
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a lot of the workmanship at that time |
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was geared to just being airworthy. |
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And over the years |
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it's getting more into museum quality |
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And the value of the airplane is |
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as you possibly can make it. |
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It's very easy and it's a lot |
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with modern materials and modern techniques |
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But more than anything else, |
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as a museum piece, |
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it came from the factory. |
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Fifteen years of work now |
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To cover just one wing |
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the Irish linen by hand. |
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The family spent endless nights |
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that cover the seams. |
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Even the varnish formula |
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All clear. |
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Okay, it's coming off the lip now. |
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To be authentic |
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Before she can fly, |
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Real easy as it comes off. |
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Kenny, it's turning. |
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Okay, choke on. |
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Choke on. |
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The principle behind flying, |
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we shouldn't fly the airplane, |
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then all that work is for nothing. |
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But we've been fortunate in that |
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we have most of the parts and pieces, |
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and we can manufacture anything |
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on the airplane with the |
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So hopefully, knock on wood, |
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but if we do, we can restore that. |
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So that's why we want to fly |
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Contact. |
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Contact. |
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Choke off. |
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Choke off. |
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Contact. |
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Contact. |
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Throttle closed. |
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Throttle closed. |
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Way to go, baby! |
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On a summer afternoon, family and |
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Okay, contact. |
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I did have stage fright that day |
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because Murphy's Law says that |
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it's going to happen right there |
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But it's really exciting |
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It's just great when things |
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It's been a long time, |
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A lot of frustration sometimes, |
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It really lifts off in a hurry, too. |
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Isn't it beautiful? |
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It's gotta be exciting. |
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It is really exciting for him. |
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At 65 miles an hour, she soars again, |
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one of four airworthy Jennys |
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Forgotten skills have been relearned, |
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and in the skies over |
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a priceless treasure from |
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In Auburn, Indiana, |
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its value to be determined by |
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You now have one of the rarest |
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in your lifetime to purchase |
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one of the finest restored Duesenbergs |
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in the history of the world... |
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One of the greatest Duesenbergs |
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and one of the finest restoration |
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ever sampled on the Duesenberg automobile |
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right here in Auburn, Indiana. |
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How much do you want to bid? |
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Who will give one million |
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Who will give... |
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A model J Duesenberg glitters on |
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and wealthy collectors who wish to |
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I got 500, |
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Anybody wants to bid |
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I got 500 now, |
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I got 600, and now 700. |
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I got 600, |
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Lorance, you want to |
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And 700. Now we 800. |
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Now 900. There. 900. |
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And 900. You'd better bid |
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And 900. You'd better bid |
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And 900. |
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Would you get 950? |
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Going once, 950. |
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going twice, 950,000. |
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I close the bidding right |
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In the presence of a Model J, |
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It's part of a legacy left by |
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who grew up on a farm |
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just before the turn of the century. |
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Mechanically minded as young boys, |
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they became innovators |
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But their first love was racing, |
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the Indianapolis Speedway |
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where new designs were put to the test. |
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In the 1920s, |
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their engineering genius brought |
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In 1928, at their Indianapolis plant, |
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they created the ultimate |
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The owner of a super-charged Model J |
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at 115 miles an hour. |
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In Hollywood, the Duesenberg became |
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Clark Gable owned two. |
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Gary Cooper's was goldenrod yellow |
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James Cagney smiled behind the wheel. |
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But the Depression finally caught up |
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Less than 500 had been built when the |
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Duesenberg owners form |
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In Auburn, Indiana, |
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they gather every Labor Day weekend |
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before an admiring crowd |
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Owners love their Duesenbergs |
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Many obsessed to perfections. |
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Others simply enjoyed |
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And pride, the showing off their |
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Some restored their Duesenbergs |
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Auburn native Phil Allison judges |
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Growing up around classic cars, |
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he restores them today |
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One of the best descriptive terms |
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and it's not mine |
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And the title of his book is |
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Morning, Ron. Have they brought the |
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Yes. |
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And I think that it so neatly defines |
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whether it be the Duesenberg |
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They were such unique cars, |
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I know for years I was always hoping |
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get to do a Duesenberg. |
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Now we have three in our shop. |
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And so... |
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Now we have arrived. |
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Today, let's get started on |
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Once owned by movie actor |
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has just been purchased for $610,000. |
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Spruced up for the cheap coat of paint |
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No.391 will now be restored to |
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We will probably spend around |
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Maybe not quite that long, |
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And there is a lot of things |
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but unsuggested can be hurried |
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Several missing parts |
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go to find them and there be several |
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and we can find them have to be fabricative. |
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To do a total restoration, |
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dismantling the car completely. |
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Then the rear end, |
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will be totally gone through. |
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The engine and transmission will |
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The exhaust manifolds will |
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The Duesenberg engine has an |
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which has to be highly polished. |
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There's a lot of hours of just |
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The chroming itself is a |
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It's a triple plating. |
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You first cover it with copper and |
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then it's nickled, then it's buffed, |
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Then it's chromed, |
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A lot of times |
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for four to six weeks just in primer. |
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Then it's blocked. |
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Then we put on maybe four to five |
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and let it set for another |
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Once it's totally cured, |
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three of four of those coats of paint |
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And then we'll put on another |
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let it set for another |
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and we'll probably end up sanding |
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And that's how we get the |
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It takes obviously a fair amount of |
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and a lot of people are not in a |
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until they're on in years. |
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And some customers express concern |
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enough to see the finished product. |
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I think in most cases they are being |
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but I can appreciate that when you |
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in your later years, |
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Restored for the pleasure of those |
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the Duesenberg lives on |
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But in a city for away, |
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the treasures of a nation |
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for all the world to see. |
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Through the heart of Leningrad |
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Along these banks nearly |
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one man created a great city |
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St. Petersburg |
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which became the capital of imperial Russia. |
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Today, Peter the Great still |
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With watchful eye he gazes |
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...grand and exuberant visions |
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who like his country, was strong and proud |
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...fairy-tale places sprung up |
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...country playgrounds for the |
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and his successors... |
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...designed by the great |
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created from exquisite materials |
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by a multitude of craftsmen |
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On long winter nights, |
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by candlelight reflected a |
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Light danced on paintings overhead |
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Light burned in gilded faces, |
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as costumed nobility |
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They waltzed on parquet floors of |
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of Europe and Asia, designed |
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Surrounded by their treasures, |
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the stars and their court waltzed |
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The dance ended with the |
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but the palaces lived on as museums. |
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Then distant rumblings in Europe |
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In 1941 Nazi forces |
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Hitler planned to level the city, |
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During the siege, the Nazis occupied |
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After 900 days they withdrew, |
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When the fires died, |
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At the Catherine Palace, |
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Statues-victims of bombshells |
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Stillness filled the Great Hall. |
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Parquet floors lay charred |
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A soldier in the Soviet Army, |
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Alexander Kedrinsky |
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After the Nazi retreat, |
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On this spot in the Great Hall, |
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at the winter sky. |
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Inside the palace, the interiors |
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Pictures had been viciously |
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only the outer edges remained. |
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Doors were broken away. |
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Paintings were on the floor, cut to pieces. |
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That's one thing. |
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The other thing is that there were |
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and the palace itself |
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Beneath it was a series of |
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to go up in a single blast. |
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It's a miracle that the first |
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after the German retreat |
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The park around the palace |
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with trenches and gun emplacements. |
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And in the middle lay the |
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The palace decorations were strewn |
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Sculpture marms, head, torsos |
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lay all about. |
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The picture was so terrible |
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that one's first impression was |
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that resurrecting it would be impossible. |
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On the other hand, |
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to blotting out a page of history, |
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the glorious history |
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And so we decided |
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Pieces of the ruined palaces were |
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hastily hidden before the siege. |
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From fields, from secret vaults, |
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even from the Neva River, |
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Restoration could now begin. |
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A painter and engineer, |
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at the Catherine Palace. |
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We long to re-create these monuments, |
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he said at the time, |
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Under his direction, |
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began to rebuild the palace. |
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Today Alexander Kedrinsky works with |
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who use original architectural drawings |
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that miraculously survived |
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From an old black-and-white |
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a painted ceiling comes to life. |
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The design is rendered in color, |
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by artists trained in period |
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Designs are modified and approved |
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For hours at a time they |
| 00:28:08 |
Standing so close to the ceiling, |
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these artists are unable |
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Skill and planning guide them |
| 00:28:24 |
After three years of work, |
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Parts of a statue were retrieved |
| 00:28:35 |
From these shattered limbs |
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A wood carver creates anew |
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With clay, he models a missing twin |
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that he will later replicate in wood. |
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On the statue's chest, |
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and a wound is healed. |
| 00:29:45 |
Once again, |
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Though each leaf weighs |
| 00:29:52 |
nearly 20 pounds of gold were needed |
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Guided into place by human breath |
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and held there by rabbit-skin glue, |
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the gold is burnished |
| 00:30:20 |
Gilded faces blaze again. |
| 00:30:23 |
The palaces are reborn. |
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The glory that was imperial Russia |
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but today it shines |
| 00:31:14 |
Reflected in the symmetry of |
| 00:31:18 |
modern craftsmen who have saved |
| 00:31:38 |
In 1944, Peter's portrait was found |
| 00:31:41 |
in shredded fragments, |
| 00:31:45 |
Today, the scars are almost invisible. |
| 00:32:02 |
We rebuild these palaces to celebrate |
| 00:32:04 |
those who built them long ago, |
| 00:32:08 |
but we need another 20 years |
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before our work is finished. |
| 00:32:21 |
Today, from atop his horse, |
| 00:32:24 |
Peter the Great gazes on a miracle. |
| 00:32:27 |
Through heroic endeavors |
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The farming country of eastern |
| 00:32:46 |
but the passion to save a treasure |
| 00:32:50 |
Compared to the Russian court, |
| 00:32:52 |
life in Burlington, Colorado, is basic |
| 00:32:55 |
but on the county fairground stands |
| 00:32:59 |
have delighted the Russian nobility. |
| 00:33:09 |
How you doing? |
| 00:33:09 |
All right. |
| 00:33:11 |
Local citizens brought this treasure |
| 00:33:15 |
and today it is the pride of |
| 00:34:02 |
In the morning light, |
| 00:34:05 |
what many herald as the |
| 00:34:10 |
Because it was the sixth machine built |
| 00:34:14 |
it is known as PTC #6. |
| 00:34:23 |
Caring for this |
| 00:34:25 |
an art conservator named Will Morton. |
| 00:34:35 |
In recent years, |
| 00:34:37 |
from decades of deterioration |
| 00:34:39 |
and unveiled whimsical piece |
| 00:34:46 |
PTC #6 was built in 1905 |
| 00:34:49 |
when carousels spun their |
| 00:34:53 |
In 1928, it was bought second-hand |
| 00:34:56 |
for $1,250 by Kit Carson County. |
| 00:35:01 |
At the fair that year, |
| 00:35:04 |
for a five-minute ride, |
| 00:35:06 |
but this frivolous purchase |
| 00:35:07 |
would cost the county |
| 00:35:16 |
Dust storms and the Depression |
| 00:35:18 |
brought hard times |
| 00:35:21 |
Homeless families lived |
| 00:35:24 |
The carousel building was used to |
| 00:35:27 |
and became infested with rats and snakes. |
| 00:35:30 |
There was talk of burning it down. |
| 00:35:33 |
Somehow PTC #6 survived, |
| 00:35:37 |
but it was never quite the same. |
| 00:35:39 |
Its magic vanished, |
| 00:35:41 |
and as each year passed, |
| 00:35:44 |
to the edge of ruin. |
| 00:35:48 |
In 1979 a group of concerned citizens |
| 00:35:53 |
to preserve and restore it. |
| 00:36:01 |
A lot of carousels have been |
| 00:36:05 |
but this is the first one |
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conserved and restored as a work |
| 00:36:13 |
that is, Where we have made |
| 00:36:17 |
preserve the original material |
| 00:36:21 |
and to protect it |
| 00:36:24 |
as you would with a piece of fine art. |
| 00:36:28 |
As he lifts the veil of time, |
| 00:36:30 |
Morton finds traces of |
| 00:36:33 |
whose pencil marks look as though |
| 00:36:35 |
they were drawn only moments ago. |
| 00:36:42 |
Surrounded by their creations, |
| 00:36:43 |
will senses the spirit of |
| 00:36:51 |
I spend days here alone |
| 00:36:55 |
Your mind is going a mile a minute |
| 00:36:58 |
even though your hand |
| 00:37:01 |
doesn't seem to be going all that fast. |
| 00:37:03 |
Nevertheless, |
| 00:37:05 |
And so you're picturing the people |
| 00:37:09 |
what they were thinking. |
| 00:37:11 |
I think part of doing a good job |
| 00:37:13 |
is discovering the people |
| 00:37:15 |
trying to put yourself in their place. |
| 00:37:18 |
And that's why I insist on doing |
| 00:37:26 |
Will Morton has preserved more than |
| 00:37:30 |
Now he restores |
| 00:37:42 |
The Wallitzer monster military band organ |
| 00:37:45 |
is the heart and soul of the PTC #6 |
| 00:37:49 |
Over the year |
| 00:37:50 |
Water damage, heat, humidity |
| 00:37:52 |
and hungry rats all play habit |
| 00:37:57 |
After 1200 hours of restoration |
| 00:38:23 |
Good afternoon and welcome to our |
| 00:38:27 |
Kit Carson County Fair and Rodeo. |
| 00:38:31 |
Every year in early August, |
| 00:38:33 |
people come from all over |
| 00:38:35 |
to ride PTC #6 once again. |
| 00:38:39 |
Today a ride costs 25 cents, |
| 00:39:56 |
I would like to look down from |
| 00:40:01 |
and feel that I'm being complimented |
| 00:40:06 |
saying that the man who did this |
| 00:40:10 |
and I'm pleased with what he did. |
| 00:40:21 |
On the plains of eastern Colorado |
| 00:40:27 |
On a summer night, |
| 00:40:31 |
that will not be forgotten in years to come |
| 00:40:43 |
The Age of Sail reached |
| 00:40:46 |
when global voyages |
| 00:40:55 |
The forces of nature were |
| 00:40:58 |
but when canvas was replaced by steam, |
| 00:41:01 |
the tall ships and a maritime |
| 00:41:13 |
In the port of Athens |
| 00:41:17 |
is destined for the scrapyard. |
| 00:41:20 |
In her hundred-year life-span, |
| 00:41:22 |
she sailed under many names |
| 00:41:25 |
Now Elissa will be reborn. |
| 00:41:31 |
She was launched in Aberdeen, |
| 00:41:35 |
In 1979, |
| 00:41:39 |
and she is towed across the Atlantic |
| 00:41:43 |
which has adopted Elissa |
| 00:41:46 |
of its maritime past. |
| 00:41:50 |
Long ago she sailed into Galveston, |
| 00:41:52 |
and it is here on |
| 00:41:55 |
that Elissa's reconstruction begins. |
| 00:41:58 |
And a course of America people |
| 00:42:02 |
Since about 19 century commode life |
| 00:42:18 |
A new deck is caulked with hemp |
| 00:42:32 |
Self-taught riveters add plates |
| 00:42:36 |
Tree trunks are turned into masts. |
| 00:42:39 |
Costs rise into the millions, |
| 00:42:54 |
With a iron and wood renewed |
| 00:42:58 |
and carried in her figure-head |
| 00:43:09 |
In 1986, Elissa is bound for New York |
| 00:43:15 |
Galveston's mayor being the group farewell. |
| 00:43:18 |
terrigenous Ellisa project, David Brink. |
| 00:43:21 |
and all of you to be vault with Ellisa. |
| 00:43:25 |
your dream has truly grown to a miracle. |
| 00:43:55 |
broaching the yellow rose to Texas. |
| 00:43:58 |
Ellisa's figure head points away |
| 00:44:04 |
100 years ago |
| 00:44:08 |
Today she is sailed by |
| 00:44:12 |
Let's go, guys. Let's go to the sails. |
| 00:44:15 |
Their footing is less sure, |
| 00:44:19 |
because they have helped to |
| 00:44:26 |
Executive secretary and grandmother, |
| 00:44:28 |
Judy Peters became |
| 00:44:31 |
And I didn't know anything |
| 00:44:35 |
so they like to teach me |
| 00:44:38 |
I came down literally scared to death |
| 00:44:41 |
but I knew I wanted to help |
| 00:44:44 |
And I was willing and I was able. |
| 00:44:46 |
Some of the job that could be hard |
| 00:44:49 |
but I'll do for free for cause of Ellisa |
| 00:44:55 |
Steady it on 115. |
| 00:44:57 |
OK. That was sided to the left. |
| 00:45:03 |
Fine, uh... |
| 00:45:05 |
Pier, what we do is that you always |
| 00:45:09 |
Overseeing Elissa's restoration |
| 00:45:11 |
has been the responsibility |
| 00:45:14 |
Why don't you always help Pierre |
| 00:45:16 |
I think the key idea of |
| 00:45:19 |
this ship is not so much an artifact |
| 00:45:23 |
We're not so much concerned with her past |
| 00:45:25 |
as we are with our future. |
| 00:45:27 |
What we're interested in is |
| 00:45:29 |
the values and the crafts |
| 00:45:33 |
that gave the world this beauty. |
| 00:45:35 |
We'd like to be a part of our lives |
| 00:45:38 |
So the Elissa is as much a process |
| 00:45:51 |
Under gray skies, |
| 00:45:53 |
Elissa sails north along |
| 00:46:58 |
Go as far as you can till you get |
| 00:47:03 |
John Elder, a business executive, |
| 00:47:07 |
with project director, David Brink. |
| 00:47:12 |
Big step over to that little |
| 00:47:14 |
Grab the chain with your right hand. |
| 00:47:17 |
Swing over. |
| 00:47:18 |
That's it. Good. |
| 00:47:20 |
Now before you hit the foot ropes, |
| 00:47:23 |
All the way over to the yard. |
| 00:47:25 |
Great. |
| 00:47:26 |
Okay, I did it. |
| 00:47:29 |
Okay. It would help if I came over, |
| 00:47:32 |
Just let that fall. |
| 00:47:33 |
Now pass that under. |
| 00:47:35 |
Double back over. |
| 00:47:36 |
No, no, don't pull. |
| 00:47:39 |
No, no, don't pull |
| 00:47:53 |
As she approaches New York, |
| 00:47:57 |
From all over the world, |
| 00:47:58 |
tall ships are coming to |
| 00:48:01 |
of the Statue of Liberty |
| 00:48:08 |
We've got the battleship Iowa |
| 00:48:11 |
overtaking us on the port. |
| 00:48:13 |
Traffic. |
| 00:48:15 |
Cars. |
| 00:48:20 |
An urban world emerges through |
| 00:48:25 |
The sight brings mixed emotions. |
| 00:48:28 |
I think there is |
| 00:48:29 |
a sense of possibly |
| 00:48:34 |
The crew thinks of Elissa as their own |
| 00:48:36 |
and rightfully so. |
| 00:48:38 |
We're the folks that have maintained |
| 00:48:43 |
We don't mind sharing her |
| 00:48:45 |
but there is a little bit of a |
| 00:48:48 |
After the rest of this weekend, |
| 00:48:53 |
she's not going to belong to |
| 00:48:56 |
She's going to belong to the world. |
| 00:49:11 |
Elissa last entered New York Harbor |
| 00:49:14 |
just two years before |
| 00:49:19 |
Today a crew of volunteers has |
| 00:49:23 |
and after a century, |
| 00:49:24 |
two ladies greet each other |
| 00:49:27 |
for the very first time. |
| 00:49:32 |
The moment is savored by the crew, |
| 00:49:35 |
but the celebration is about to begin. |
| 00:50:01 |
The spectacle unfolds, |
| 00:50:05 |
She is the oldest of the large square |
| 00:50:32 |
Not long ago, |
| 00:50:34 |
from around the world |
| 00:50:38 |
Today, one by one, |
| 00:50:43 |
as America renews her past. |
| 00:50:57 |
Elissa has earned |
| 00:51:00 |
and now her moment has come. |
| 00:51:04 |
It's amazing just to think how it |
| 00:51:08 |
Here you are. |
| 00:51:10 |
Everybody knows. |
| 00:51:12 |
It's a great, great feeling. |
| 00:51:16 |
She passes the reviewing stands |
| 00:51:56 |
Everybody was so proud of her |
| 00:52:00 |
she was volunteers had done it. |
| 00:52:04 |
And it made everybody see that |
| 00:52:09 |
You don't have to be a somebody. |
| 00:52:11 |
It takes all the |
| 00:52:21 |
Volunteers have brought life to a |
| 00:52:24 |
and have restored the knowledge |
| 00:52:29 |
Revived with the human spirit, |
| 00:52:33 |
become our treasures. |
| 00:52:35 |
They mirror who we are. |
| 00:52:43 |
They become living monuments |
| 00:52:47 |
and living testaments |
| 00:52:52 |
Passing though the hands of |
| 00:52:55 |
a tall ship is on a |
| 00:52:59 |
Perhaps in years to come |
| 00:53:01 |
the sight of her sails will |
| 00:53:05 |
to fulfill their destinies... |
| 00:53:09 |
as they cross new horizons to places |
| 00:53:12 |
that live today only in our dreams. |
