John Nash, Designer of Regency London

by Regina Jeffers

John Nash was the man responsible for the shape and development of London. Under Nash's plan, Londoners embraced the concept of Regent's Park in the northern sections and St James's Park in the south, as well as Regent's Street, which connected the two. Trafalgar Square came into being, as did the reconstruction of the Strand. The Regent's Canal was cut, along with its branch to service Regent's Park.

According to most experts, the reversion of Marylebone Park from the Duke of Portland to the Crown in 1811 opened the door to the "metropolitan improvements."

The original idea for the development came from John Fordyce, who had been appointed to the Surveyor General of His Majesty's Land Revenues. Fordyce drew up several plans, but the one from 1809 suggests the need for a new street from Marylebone Park to Carlton House. Fordyce reasoned that the nobility and professional classes required a means to conduct business and that these groups would settle north of the New Road. His creation would provide easier access to Westminster, Parliament, the Law Courts, and the Public Offices.

Fordyce requested development plans from two pairs of architects: Messrs Leverton and Chawner, of the Land Revenue Office, and Messrs Nash and Morgan, of the Office of Woods and Forests. Leverton and Chawner's plans simply extended the Bloomsbury pattern of streets. Meanwhile, Nash and Morgan suggested a landscaped park with peripheral ring of villas and fine houses.

Nash's connection to the Prince Regent is not clearly defined. Nash caught the Prince's attention after he formed a partnership with Humphry Repton, a landscape gardener. Although his partnership with Repton ended in 1800, Nash's career bloomed. In 1806, the Foxite Whig, Lord Robert Spencer, helped Nash secure a position with the Surveyor of the Office of Woods and Forests.

In his personal life, Nash attempted to obtain a divorce from his first wife after he went bankrupt in his business dealings because Mrs Nash did little to economize. His case was refused, but he remarried in 1798, presumably after the first Mrs Nash's death. It was with this second marriage that Nash came to notice of the nobility. He became a member of the Carlton House set.

John Summerson in Georgian London says, "On the strength of a scurrilous cartoon dated 1820, in which the new king [George IV] is shown making love to Mrs Nash on the royal yacht, it has been supposed that a liaison existed  between the two and that Nash's marriage twenty-two years earlier had been arranged for the prince's convenience. Speculation has even gone so far as to suggest that the Pennethorne children whom Nash adopted were in fact the progeny of the prince. All this can safely be discounted, but Nash's accession to wealth and princely favour at a period coincident with his second marriage in 1798 does remain something of a mystery."

Nash's plans sparked the Prince's interest. The future king had grand schemes to outshine Napoleon's Paris. From 1809 - 1826, Nash worked largely for the Prince.

Nash's original plans showed a rectangular layout of streets, anchored by Marylebone Park and St James's on either end. Eventually, the master plan for the area stretched from St James's northwards and included Regent Street, Regent's Park and its neighboring streets, terraces and crescents of elegant town houses and villas.

Nash did not design all the buildings himself, in some instances, these were left in the hands of other architects such as James Pennethorne and Decimus Burton. Nash re-landscaped St James's Park, reshaping the formal canal into the present lake, and giving the park its present form. Regent Street, which linked Portland Place in the north with Carlton House, followed an irregular path. Park Crescent, which frames Portland place, opens into Nash's Park Square. With terraces on the east and west, the north end of the plan opens into Regent's Park.

Around Regent's Park, Nash designed terraces, which conformed to the earlier form of appearing as a single building, as developed by John Wood, the Elder. However, Nash ignored the earlier examples and did not employ orthogonality in relationship to one another.

In Park Village East and Park Village West, completed between 1823-1834, Nash placed a mixture of detached villas, semi-detached houses, both symmetrical and asymmetrical in their design. They are set in private gardens railed off from the street, the roads loop and building are both classical and Gothic in style. No two buildings were the same, and or even in line with their neighbors. The park Villages are often considered a prototype for the Victorian suburbs.

Set up in 1812, Nash became the director of the Regent's Canal Company, which was to provide a canal link from west London to the River Thames in the east. Nash's design had the canal running around the northern edge of Regent's Park. His assistant James Morgan executed the plan, and the Regent's Canal was completed in 1820.

As part of his new position as an official architect to the Office of Works in 1813, Nash advised the Parliamentary Commissioners on the building of new churches from 1818 forward. He produced the design for ten churches, each estimated to cost £10,000 and offered seating for 2000. The plans for these ten churches incorporated both classical and gothic styles. Nash oversaw the building of both the classical All Souls Church, Langham Place (1822-1824) at the northern end of Regent Street and the gothic St Mary's Haggerston (1825-1827), which was bombed during The Blitz in 1941.

Nash was also involved in the building of The King's Opera House (now rebuilt as Her Majesty's Theatre) and the Theatre Royal Haymarket. Nash and George Repton remodeled The King's Opera House between 1816-1818. They added arcades and shops around three sides of the building, the fourth being the still surviving Royal Opera Arcade. The Theatre Royal Haymarket, which was finished in 1821. Although Nash's interior no longer survives, the Theatre Royal Haymarket sports a fine hexastyle Corinthian order portico, facing down Charles II Street to St James's Square.

Nash oversaw the remodeling of Buckingham House to create Buckingham Palace from 1825-1830 and the Royal Mews from 1822-1824, as well as the Marble Arch in 1828. Originally designed as a triumphal arch to stand at the entrance to Buckingham Palace, the Marble Arch was moved at the request of Queen Victoria, who had commissioned Edward Blore to build an addition to the east wing of the palace to meet the needs of her growing family. Marble Arch became the entrance to Hyde Park and The Great Exhibition.

With the death of George IV in 1830, the Treasury began to question the extravagant cost of Buckingham Palace. Nash's original estimate of the building's cost had been £252,690, but by 1829, the cost had risen to £496,169. Although unfinished, the actual cost was £613,269. Nash was denied the Knighthood promised to him. Finally, he retired to his home, East Cowes Castle, on the Isle of Wight. He died on 13 May 1835 and is buried at St James's Church, East Cowes, where the monument to him takes the form of a stone sarcophagus.
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Regina Jeffers loves all things Austen and is the author of several novels, including Darcy’s Temptation, Captain Wentworth’s Persuasion, The Disappearance of Georgiana Darcy and Second Chances: The Courtship Wars .

Her website is: www.rjeffers.com

Regency Era Wallpaper, or Decorating your Drawing Rooms

by David W. Wilkin

One thing I find when writing my Regency Romances, or reading others, is that they invariably have many scenes in a drawing room. And why not, the art of calling on ones friends and neighbors was a central point of many of the Ton’s days. Or when in the country, the men may have been off sporting about the grounds of the great manor house, but our Heroines were back at the house, ensconced, in a drawing room.

Now, I bring this up because when I sit down and am madly typing away, I am much more concerned with what takes place in the scene, then the setting, and this I fault myself for. I have watched enough BBC dramas to know exactly what these rooms look like in my mind. I have visited several of the great houses and know how they look as well. I just take the short cut that relies on my psychic ability to project what I see in my mind's eye to be inherent in my writing and know that my readers need nothing from me to guide them to a similar view.

Now I shall remove my tongue from my cheek. It is easy enough to type with it planted there, but not so easy to speak should I want to hold a conversation.

As I fault myself for not providing enough detail about the rooms, I begin to add either in first draft, or second, details about furniture, and the layout of a room where a scene is set. Sometimes I create detail about the color schemes. But I still fall short, I am sure of it. (Though my action, which takes place often times through dialogue, starts off quickly in these drawing rooms, and my Hero’s being manly men, take little notice of the decor when they are about to offer for the Heroine.)

During the Regency our rooms could be decorated with a few materials, and they could use more than one at a time to ornament their rooms. Prior to our period, in Late Georgian times, the fashionable set would have had fabric hangings stretched between chair rail and cornice. Expensive and opulent fabrics made of silk, velvet and wool damasks.

By the 1770s wallpaper came into general use. These comprised patterned flock and printed designs. As late Georgian merged into our Regency, we see an increase in the wealth of many during the times. Despite the war, affluence was growing. And as it did so, the use of wallpapers took over, though silk and some other fabrics remained a luxury to adorn one’s walls.

The motifs employed were classical, Neo-Grecian, created in bas relief or as trompe l’oeil. The surviving wall paintings from Pompeii became vogue as they were unearthed the previous century. Making a room all over in the theme of Chinese, Turkish, Egyptian of Gothic was quite common, but few of these survive for study.

So before continuing the discussion of wallpapers what we know as they come into their own is that the rooms of the older established houses, whose owners might not have enough of the ready to keep up with the times, will have walls that are painted, or covered with fabrics. That alone can set the tone for your drawing rooms. The Duke of Wellington famously attempted shades of yellow at Apsley House, causing controversy.

Gold, however, was not allowed for your run of the mill members of the Ton, and even amongst the first circle. Save that for Prinny and his brothers.

And by no means do we ever wish to gaze upon the unadorned white wall. That is something that was not done. And though not wallpaper, during our period, as we transitioned from the coverings of fabric, we find entire walls fauxed to look like marble, or fake wood graining. Entire guides such as Nathaniel Whitcock’s Decorative Painter and Glazier’s Guide showed just how to achieve these effects.

By 1790 wallpaper was in common usage, but not necessarily for the entire wall. The chair rail, made of wood, was still a divider of the surface. At the end of the period it might be considered fashionable to remove the chair rail and run wallpaper the entire length of the wall. This was the practice in the 1830s, but earlier the use of the chair rail dividing the upper and lower parts of the wall was still very much the practice.

At the time, wallpaper was designed as we see with block printed patterns on pearwood blocks to produce rolls of 11 1/2 yards in length. In the 1830s the blocks were replaced by mechanized cylinders. In 1783 there is a patent for a machine that will emboss the paper, but there was an import ban on French paper until 1825. When this was lifted it led to lighter, cheaper paper flooding the market. In order to hang the paper, a specialist was needed. It was an art under the upholstery branch. By the 1820s wallpaper retailing was so sophisticated that manufacturers were making their own, illustrated order books. There is a copy in the Victoria and Albert of Cowtan’s Order Book.

Popular designs were often flock paper, with powdered wool, or other fabric refuse on glued patterns to give a cut-pile effect. These were also used for borders. Imitation of marble or dressed stone was often used in hallways or passages (not a drawing room, I know, but my research uncovered this tidbit.) Pin ground papers were used for practical reasons in rooms. Flies would soil the paper and so having this would cover the fly marks. Somehow though, my interpretation of the idealized Ton won’t have dead fly spots on the papers of their drawing room. A good vigorous cleanse by the servants will of course take care of such things. (These are historical novels I turn my hand to, not totally historically accurate novels, but now the vision of one of those not of the First Stare, energetically scrubbing at her wall before someone like Austen's Lady Catherine de Burgh is expected to visit has come into my head and I just may have to use it.)

Gothic papers were available from the manufacturers, bedrooms got ‘moire papers’, which was made to look like watered silk, or to suggest drapery. Floral patterns in bedrooms which had small repeats in the pattern and also used in the rooms of the servants.

For the rich, as was the craze in all things oriental, Chinese wallpapers were sought. These could be hand painted which naturally would appeal to all of the first circle. Understated bragging rights to a pattern that no one else had.

With this exploration of what was done in period, one can easily then take the knowledge and adapt that to building a unique drawing room. Any young heroine given the chance can remodel the wool and silk covered walls of her husbands mother to the more modern wall paper. A trip to look at the manufacturers book, or to speak to a specialist who can procure a one of a kind paper surely can be recounted in a paragraph or two to add to the setting of the next Regency drawing room you read about, or that I remember to write about.


Research
Stephen Calloway The Elements of Style, 1991
Steven Parissien Regency Style, 1992
Susan Watkins Jane Austen in Style, 1990

Mr. Wilkin writes Regency Historicals and Romances, Ruritanian and Edwardian Romances, Science Fictions and Fantasy. He is the author of the very successful Pride & Prejudice continuation; Colonel Fitzwilliam’s Correspondence.

His work can be found for sale at: David’s Books, and at various Internet and real world bookstores including the iBookstore, Amazon, Barnes and Noble, Smashwords.
He is published by Regency Assembly Press
And he maintains his own blog called The Things That Catch My Eye