The National Gallery’s new entry system is impressive and safe booking online is easy, the queue outside minimal and there’s hand gel, too.
But by late August, with case numbers falling, it felt safe enough to emerge from my rural Scottish lockdown, and I agreed to rejoin the crew Anthony van Dyck’s Equestrian Portrait of Charles I (around 1637-38) © The National Gallery, London.īefore filming, however, I felt the need to see some art, and there was only one place to go. Seven months and 40,000-plus deaths later, we know better. I remember assuming, naively, that the UK would be safe. The last time the crew was together was in Florence, in February, scrambling for flights to escape Europe’s first outbreak. This month we finally restarted production of Britain’s Lost Masterpieces for the BBC.
