The books by Nash and Brayley on the Pavilion--Description and history
of the building--Its exterior--Entrance hall--Red Drawing-room.
He left behind him a more abiding monument of his 'folly' than the
building itself in a magnificent folio volume of etchings, plain
and coloured, a task which he entrusted to Nash, the architect, who
employed the artistic assistance of Wilks, Moore, and the elder Pugin,
especially the latter, and it took five years (1820 to 1825) to
complete.
I have reserved the description of this building until the end of my
book, because it ended only with the King's life. The Lord alone knows
what it might have become had he lived longer! And I transcribe the
best description, that of E. W. Brayley,[101] who in the spring of
1836 made a careful survey of the Pavilion, which had but very slightly
been altered since the death of George IV.
'THE ROYAL PALACE AT BRIGHTON,
'FORMERLY THE PAVILION.
'This Edifice, which, in respect to architectural form, has no parallel
in Europe, nor perhaps on the globe, is indebted for its origin to his
late Majesty GEORGE THE FOURTH, who, when Prince of Wales, first went
to Brighton in the autumn of the year 1782 (?), on a visit to his uncle
the late Duke of Cumberland, then residing at his house, near the south
end of the Steyne, and not far from the cliff. The consequences of that
visit have been extraordinary.
* * * * *
'The greatly increased and still augmenting prosperity of this town,
however, is almost wholly due to the patronage which it received from
the late Prince of Wales, who, whilst the guest of his uncle, as above
noticed, became so pleased with the situation and air, and the bold,
open, and diversified character of the downs and neighbouring country,
that he, again, visited Brighton in the following summer, and in the
next year (1784) the Prince commenced the erection of the _Marine
Pavilion_, now the Royal Palace, for the purpose of forming a distinct
and appropriate habitation for himself and suite.
'The _éclat_ attending the residence of such an illustrious person as
the Heir apparent to the Crown, attracted a great resort of company
to Brighton, and numerous respectable mansions and rows of houses
were quickly built for the accommodation and entertainment of those
continually flocking thither. The impulse thus given cannot be said to
have yet ceased; and, though the town has been so greatly extended,
that it already covers full six times as much ground as when it
first engaged the notice of the Prince of Wales, scarcely a year
passes without a considerable augmentation, both in the number of its
inhabitants, and of its buildings. A still further increase is also
contemplated, to which the projected _Railway_ from the metropolis
(that occasioned so much controversial enquiry during the sitting of
Parliament in 1837) is expected essentially to contribute, by the
superior accommodation it will afford for speedy intercourse. Having,
thus, briefly adverted to the vast change in the state of Brighton,
which has resulted from princely patronage and abode, we shall proceed
to the immediate object of this work, _viz._, the description of the
Palace itself.
'The _Marine Pavilion_, as it was originally called, was commenced in
1784, under the superintendence of the late Henry Holland Esq^{re},
architect, whose professional talents were, afterwards, so eminently
displayed by the magnificent Drury Lane Theatre, which was destroyed by
fire in February, 1809. In its first state, the Pavilion, as completed
by Mr. Holland in 1787, consisted of a circular edifice, attached by
semicircular projections to two adjoining buildings, forming wings.
The central part (which was crowned by a dome, or cupola, and fronted
by an Ionic colonnade and entablature, supporting statues), and the
north wing, were new erections, but the south wing was merely altered
from the villa which had been first hired for the occasional residence
of the Prince of Wales, and was, subsequently, purchased by his Royal
Highness. In succeeding years, and, particularly, in 1801 and 1802,
additional buildings were raised by the same architect, or, rather,
by his pupil, Mr. F. P. Robinson, F.S.A., who was stationed at the
Pavilion, and, during Mr. Holland's absence on some mining affairs in
Cornwall, had the special direction of the works in progress.
'Whilst the improvements were going on, in the year 1802, several
pieces of very beautiful Chinese paper were presented to the Prince,
who, for a time, was undecided in what way to make use of them. As the
Eating room and the Library, which were between the Saloon and the new
Northern wing, were no longer required for their original purposes, Mr.
Robinson, on being consulted, advised the Prince to have the partition
removed, and the interior formed into a Chinese gallery. This was
immediately agreed to; the walls were hung with the paper described,
and the other parts of the Gallery were painted and decorated in a
corresponding style. About the same time, the passage room between what
was, then, called the Small Drawing Room, and the New Conservatory,
or Music room, at the south end of the Pavilion, was constructed in a
singular manner. A space was enclosed within it, measuring twelve feet
by eight, the sides and upper part of which were entirely formed of
stained glass, of an oriental character, and exhibiting the peculiar
insects, fruits, flowers, etc., of China. It was illuminated from
without; and through it, as through an immense Chinese lantern, the
communication was carried on; its effect is stated to have been
extremely beautiful. Such, then, were the circumstances under which the
Eastern style of decoration was first adopted at the Pavilion; and,
soon afterwards, between the years 1803 and 1805, the same principle
was extended to its architecture; the new Stables, which were then
erected by Mr. William Porden, being considered as designed in the
Hindû style.
'Although the Pavilion itself had been much enlarged, and had,
recently, undergone extensive alterations, the Prince had still further
changes in contemplation; and, in 1805, he issued his commands to
Mr. H. Repton (who was much celebrated for his judicious practice in
landscape gardening, and had already been employed in improving the
grounds at Brighton), to deliver his opinion "concerning what style
of architecture would be most suitable for the Pavilion." The result
was made known to the Prince early in the ensuing year; and, in the
spring of 1808, was communicated to the public in a folio work of
much interest, which includes a series of coloured plates of proposed
improvements, both in the House and Grounds. Though Mr. Repton's
designs in respect to the Pavilion were never carried into effect,
the arguments which he employed for giving it an Eastern character,
had, doubtless, considerable influence over its present form; a short
extract from his work will, therefore, be admissible.
'Mr. Repton ingenuously owns that his knowledge of the various forms
of Hindû architecture was derived from communications first made to
him by the proprietor of Sesincot, in Gloucestershire (Sir Charles
Cockerell, who had been long resident in the interior of India); and,
afterwards, corroborated by the accurate sketches and drawings made on
the spot by his ingenious friend, Mr. Thomas Daniell. He then says,
"Immediately after I had reconciled my mind to the adoption of this new
style at Sesincot, I received the Prince's commands to visit Brighton,
and there saw, in some degree, realised, the new forms which I had
admired in the drawings. I found, in the Gardens of the Pavilion, a
stupendous and magnificent building, which, by its lightness, its
elegance, its boldness of construction, and the symmetry of its
proportions, does credit both to the genius of the Artist, and the good
taste of his Royal employer. Although the outline of the Dome resembles
rather a Turkish Mosque than the buildings of Hindûstan, yet, its
general character is distinct from either Grecian or Gothic, and must
both please and surprise every one not bigoted to the forms of either.
'"When, therefore, I was commanded to deliver my opinion concerning
the style of architecture best adapted to the additions and Garden
front for the Pavilion, I could not hesitate in agreeing that neither
the Grecian, nor the Gothic style could be made to assimilate with
what had so much the character of an Eastern building. I considered
all the different styles of different countries, from a conviction of
the danger of attempting to invent anything entirely new. The Turkish
was objectionable, as being a corruption of the Grecian; the Moorish,
as a bad model of the Gothic; the Egyptian, as too cumbrous for the
character of a Villa; the Chinese, too light and trifling for the
outside; however it may be applied to the interior; and specimens from
Ava were still more trifling and extravagant. Thus, if any known style
were to be adopted, no alternative remained, but to combine from the
architecture of Hindûstan such forms as might be rendered applicable to
the purpose."
'Acting on this principle, Mr. Repton produced the series of drawings
which have been referred to; and it is but just to add, that his
designs for the Pavilion evince a clearness of conception, and a
boldness and accuracy of outline, and combination of forms in the Hindû
style, which far surpass the anomalous conceptions that determined the
external character of the present edifice.
'The Plan of Brighton, published in 1809, shews that the Pavilion was
still in a state of progressive enlargement. Several neighbouring
houses had been previously bought, and annexed to the premises, and the
whole assumed, in a great measure, the form and arrangement represented
by the Ground Plan in Plate I., in which state it remained until the
late John Nash, Esq^{re}, architect, commenced his alterations in the
year 1817. Those alterations were carried on during a considerable
time, under the direct _surveillance_ of the Prince himself, whose own
facility of invention, and correctness of taste, tended greatly to
increase the elegance of the interior. Numerous additions were also
made to the buildings, until, at length, about the year 1824, the
edifice was completed in the manner in which it now appears. Instead
of the plain and humble character of a _Marine_ abode, it assumes, in
its external architecture, the varied characteristics of an Oriental
style, and domes, and cones, and minarets spring from its roofs to a
considerable altitude.
'In the general design of this _unique_ edifice, much fancy is
exhibited, and great ingenuity and professional skill are displayed
in the construction of its domes and conical cupolas; yet there is
little in the composition, exteriorly, that would elicit praise from an
admirer of classic elegance. There is, however, ornament in profusion,
and this, in combination with the singular aspect of the entire fabric,
makes a considerable impression on the eye, and especially so, if the
spectator be unacquainted with the details of classic architecture;
this effect would, doubtless, be stronger, if the Pavilion stood upon
elevated ground. With the exception of the minarets, pinnacles, and
minor ornaments, which are of Bath stone, nearly the whole building is
of brick, stuccoed.
'The expense of completing and furnishing this building was very great;
and, independently of many lavish sums issued for those purposes from
the Civil List, upwards of £100,000 was paid from the Privy purse
of its magnificent founder in aid of the charges for furniture and
decorations. On the accession of the Prince Regent to the Crown, after
the decease of his father, in January, 1820, the Pavilion became a
Royal Palace; and, on his own decease, in 1830, it descended, together
with the succession, to his brother, the Duke of Clarence, the late
King William the Fourth. It, afterwards, became a favourite residence
of this sovereign (and his now dowager, Queen Adelaide), who passed
some portion of every year there until his death in June, 1837. During
a few weeks in the past autumn, the Palace was inhabited by his
successor, VICTORIA, her present Majesty; WHOM GOD PRESERVE!
'EXTERIOR OF THE PALACE.
'The Ground-plot forms a long parallelogram; the extent of the building
from north to south being 480 feet, and from east to west, about 125
feet: of this space, upwards of two thirds is occupied by the Royal
apartments and their appendages; and the remainder by the great
kitchen, chapel, servants' rooms, and domestic offices.
'Since the Pavilion was first built, it has been greatly and
progressively enlarged, as above detailed, and, together with the
adjoining grounds and stabling, it now occupies an extensive plot of
ground, nearly in the centre of the town, and immediately contiguous to
the far famed Steyne and Parade. The whole of the demesne comprises ten
acres, the principal part of which was obtained by purchase, and the
rest by grant from the manorial owners and town's people.
'The principal, or eastern front of the Palace, opens on to a lawn,
which is merely separated from the Steyne Parade by a low wall and
dwarf enclosure, at the distance, from the building, of 170 feet.
On the north side are shrubberies; and, on the west, which includes
the main entrance, are the pleasure grounds and carriage drive. The
southern extremity, comprehending the Chapel Royal and offices,
projects into Castle Square.
'From this Plate, it would seem that this front might be described as
consisting of seven parts; namely, a centre, of a curvilinear form,
connected by adjoining divisions to two wings, and those again flanked
by square buildings, forming returns to the north and south: yet
this is not strictly the case, the southern return never having been
completed. In all other respects the Elevation is correct.
'The Centre division which includes the _Rotunda_, or _Saloon_, and has
a semicircular arcade in front, is crowned by a vast dome, presenting
the appearance of an inverted balloon, tapering upwards into a lofty
pinnacle, the point of which is more than one hundred feet from the
ground. The dome is surrounded by a horizontal band of twenty eight
conjoined ovals (crossing a similar number of vertical ribs), most of
which are pierced as windows to the several small apartments contained
in its concavity. It is also flanked by two octagonal minarets, and
appears to rise from a basement cone, faced with scale work. Smaller
domes, of a more compressed form, surmount the semicircular recesses
which adjoin the Saloon; these have ornamental bands and vertical ribs,
but no windows. The arcade spandrils are filled up with curvilinear
trellis work, inclosing quatrefoils; and, over the middle part, is the
Prince of Wales's crest, and this inscription:
'"H.R.H. GEORGE. P.W.
A.D. MDCCCXI."
'Similar domes to those last described, surmount the _Green_ and
_Yellow Drawing Rooms_ (as they are now called), which connect the
Saloon with the wings, and are each curved at the ends. The upper
chambers recede, and before each range is a balcony and pierced
parapet. The wings, which are of a square form, are surmounted by
lofty cones, rising to the height of about ninety feet; at the angles
are minarets. In front of both wings is an open arcade, composed of
seven arches, separated from each other by octagonal columns, and
ornamented by similar trellis work to that of the Saloon arcade. The
Southern extremity terminates in a square tower crowned by a dome, and
minarets corresponding with those already described. A sort of running
battlement, with very narrow embrasures, surmounts the upper line of
the whole building.
[Illustration: WEST FRONT OF THE PAVILION, 1825.]
'The _West Front_ of this edifice is shewn in all its variety of
detail. In its general character it corresponds with the Steyne front,
but there are many differences in the minor ornaments. The Perspective
View (drawn from a North West point) exhibits this front in nearly its
entire length; the octagon tower in the distance is that which encloses
the water reservoir.
'The principal entrance to the palace is constituted by a Porch and
Vestibule, which open from the drive on the western side of the
building. The Porch, which forms a square of about twenty two feet,
is supported at each angle by three oriental columns, and crowned by
a small dome in the general style of those already described. Over
the cornice is the following inscription, recording the date when the
alterations at the Pavilion were commenced by Mr. Holland:
'"H.R.H. GEORGE. P.W.
A.D. MDCCLXXXIV."
'The Porch leads directly to the Vestibule, which is of an octagonal
form, and about twenty feet in diameter. It is surmounted by a tented
roof, neatly decorated, and a Chinese lantern is suspended from the
centre.
'The Entrance Hall forms a square of twenty six feet, exclusive of an
angular recess which slopes to the Vestibule. The recess has a tented
roof, supported by two columns in the oriental style, and pierced by
a horizontal sky light, illumined, in parts by tinted glass; there
are also two side windows in the recess, independently of its glazed
doors. The square of the Hall is surmounted by an ornamental cornice,
supporting the ceiling, which resembles an azure sky, diversified by
fleecy clouds. On the entrance side, below the cornice, is neatly
painted a long range of dragonish forms and other devices; and four
globular lamps, similarly embellished, are suspended from the angles
of the ceiling. The walls are of a delicate pale green, relieved by
circular and vertical compartments, in which dragons and serpents are
depicted in subdued colouring. The chimney piece is of white marble,
neatly executed.
'The RED DRAWING ROOM, which is chiefly used as a Breakfast Room,
adjoins the Entrance Hall on the south side; its length is about thirty
feet, and its breadth twenty two feet, independently of a considerable
recess towards the north. The timbers which cross the ceiling are
sustained by reeded columns in imitation of bamboo. A number of small
Chinese pictures, mostly of a bluish tone, exhibiting domestic or
family scenes, ornament the walls, which are painted in resemblance of
the crimson japan.'
[Illustration: Decorative motif]
FOOTNOTES:
[101] 'Illustrations of Her Majesty's Palace at Brighton, formerly the
Pavilion; executed by command of King George the Fourth, under the
superintendence of John Nash, Esq., architect. To which is prefixed a
History of the Palace by Edward Wedlake Brayley, Esq., F.S.A.' London,
1838, fol.
[Illustration: Decorative panel]