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DESIGN SERVICES OF
Englands Regency is a creative and productive period for
both architecture and the decorative arts. Designers bor-
row and synthesize forms and influences from classical,
medieval, and exotic sources. Neoclassicism continues to
dominate the arts and architecture, but the Romantic and
Picturesque Movements also affect design. Consequently,
formality and symmetry through classicism shape the main
character, and eclecticism and asymmetry enliven the
building context. This mixing of influences contributes to
a unique and distinctive design image, one that offers more
variety than is evident in earlier periods.
HISTORICAL AND SOCIAL
The term Regency can refer to several periods. Politically,
it designates the time between 1811 and 1820 when
George, Prince of Wales, serves as Prince Regent for his
father who is too ill to reign. Artistically, Regency covers
the years between 1790 and 1830, although characteristics
of this style appear as early as the 1780s and continue well
past 1830.
George, Prince of Wales and eldest son of George III and
Queen Charlotte, is a great patron and collector of art and
architecture. Unlike his forebears, he sees himself as an
arbiter of taste. He gives numerous commissions to architects
and designers, including the remodeling of Carleton House
in London and the Royal Pavilion at Brighton. Hugely
unpopular, he becomes one of the most despised English
monarchs because of his excessive spending and dissolute,
immoral lifestyle. His marriage to Caroline of Brunswick
produces one daughter, Princess Charlotte.
C H A P T E R 4
English
Regency,
British Greek
Revival
1790s-1840s
Whether the house be Grecian or gothic, large or
small, it will require the same rooms for the present
habits of life, viz. a dining-room and two others, one
of which may be called a drawing-room, and the other
a book-room, if small, or the library, if large: to these
is sometimes added a breakfast room, but of late,
especially since the central hall, or vestibule, has been
in some degree given up, these rooms have been
opened into each other, en suite, by large folding
doors; the effect of this enfilade, or visto, through
a modern house, is occasionally increased by a
conservatory at one end, and repeated by a large
mirror at the opposite end.
Humphry Repton, 1816 from Regency Style,
1996, p. 29 by Steve Parissien
65
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The period is largely one of luxury, prosperity, and
growth despite social unrest, violence, and injustice. Fol-
lowing the loss of the American colonies, Great Britain
looks to the south (Africa) and east (India) for coloniza-
tion to increase trade and commerce and enhance pros-
perity. The British victories over Napoleon stimulate
nationalism and patriotism. The Congress of Vienna,
which meets in 1814 to bring order back to Europe fol-
lowing the defeat of Napoleon, increases Britains terri-
torial holdings by adding former Dutch holdings, such as
Ceylon (todays Sri Lanka).
The Industrial Revolution, which begins in the textile
industry, boosts economic prosperity. New inventions help
Britain become the largest exporter of cotton textiles in
the world by 1830 and increase her production of iron and
coal. Towns and cities grow as people move to them to take
factory jobs. London, the largest city, is a center for trade
and commerce. People are living longer, marrying younger,
and having larger families.
The nobility become wealthier as does the larger mid-
dle class (Fig. 4-1), whose demand for houses and furnish-
ings creates a building boom. Fashion begins to surpass
taste as the driving force in art and design, and fashions
change quickly. Consumers of the new commercial classes
face a vast array of stylistic choices. Numerous books and
periodicals assist them in furnishing their homes with the
latest fashions. The seeds of revivalism that will character-
ize the Victorian era are sown during this period.
CONCEPTS
During the Regency period, classicism dominates architec-
ture, interiors, and furniture and follows two paths. One
thread maintains the flow of the Neoclassical, continuing
its lightness and advocating stylistic purity and archaeo-
logical correctness. A second, later trend, adopts elements
from other classical sources, such as the Italian Renaissance.
Although often at war with France, French influences are
strong in England.
The Romantic and the Picturesque Movements influ-
ence design thinking throughout the period. Romantics
believe in the unity of reason, nature, and antiquity, and
they rigorously seek the beautiful and the sublime or the
awe-inspiring or terror-filled experience of nature. Because
feelings are supreme, Romantics esteem past styles for
their visual and symbolic associations, and they evoke an
emotional response. They regard medieval styles as equal
counterparts to classical ones. The Picturesque Movement
also admires nature and the visual qualities of landscapes,
such as asymmetry. These two movements open the door
for a broader range of design resources and greater eclecti-
cism. Their reliance upon links and relationships leads
eventually to designing in a particular style based upon
that styles historical associations, which characterizes
design throughout the Victorian period. Known as associ-
ationism, this manner of thought values a work of art
beyond beauty, which may be shown by intrinsic qualities
such as form, to the images, memories, and thoughts that it
may conjure up in the viewers mind.
Unlike European designers, the English freely borrow
from many sources besides classical, producing a unique
expression. Forms remain the same, but the details
4-1. Costumes of
women.
IMPORTANT TREATISES
Brighton, England:
Royal Pavilion, 17861787, remodeled 1815-
1821; Henry Holland, remodeled by John Nash.
English Regency.
Edinburgh, Scotland:
Royal College of Physicians, 18441846; Thomas
Hamilton. British Greek Revival.
Gloucestershire, England:
Dodington Park, 1798-1817; James Wyatt.
British Greek Revival.
Liverpool, England:
Branch Bank of England, 1845; C. R. Cockerell.
British Greek Revival.
S. Georges Hall, 1840-1854; Harvey Lonsdale
Elmes; interiors completed 18511854 by C. R.
Cockerell. British Greek Revival.
London, England:
Athenaeum, 18291830; Decimus Burton.
British Greek Revival.
Bank of England, 17881823; Sir John Soane.
English Regency.
British Museum, 1823-1846; Sir Robert Smirke.
British Greek Revival.
Carlton House Terrace, begun 1827; John Nash.
English Regency.
Cumberland Terrace, Regents Park, 1825; John
Nash. English Regency.
Hyde Park Corner, arch and screen, 1825;
Decimus Burton. British Greek Revival.
No. 13, Lincolns Inn Fields (Soanes house, now
the Soane Museum), 18121813; Sir John
Soane. English Regency.
Marble Arch, 1828; John Nash. English Regency.
Park Crescent, Regents Park, begun 1812; John
Nash. English Regency.
Regents Park, 18111830; John Nash. English
Regency.
S. Pancras Church, 18181824; H. W. Inwood.
British Greek Revival.
Oxford, England:
Cambridge University Library (Squire Law Library),
1837-1840; C. R. Cockerell. British Greek Revival.
Ashmolean Museum and Taylorian Institution,
18391845; C. R. Cockerell. British Greek Revival.
Suffolk, England:
Ickworth, 17951829; Mario Asprucci the
Younger. English Regency.
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4-8. Athenaeum, 1829-1830; London, England; Decimus Burton. British Greek Revival.
4-7. Marble Arch, 1828; London, England; John Nash.
English Regency.
4-6. Hyde Park Corner, arch and screen, 1825; London,
England; Decimus Burton. British Greek Revival.
4-5. S. Pancras Church, 18181824; London, England; H. W.
Inwood. British Greek Revival.
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4-9. Branch Bank of England, 1845; Liverpool, England;
C. R. Cockerell. British Greek Revival.
the integration of nature inside and outside. These attrib-
utes contrast with Neoclassical and for the most part char-
acterize domestic structures.
Medieval sources, important to the Picturesque, lead to
the appearance of Gothic characteristics, such as pointed
arches and tracery, applied to contemporary buildings (see
Chapter 6, Gothic Revival). Late in the period, the
Tudor and Elizabethan styles join Gothic. Elements from
such exotic sources as China, India, and Islam also appear,
although rarely are entire structures designed in these
modes. An exception is the Royal Pavilion at Brighton,
which features onion domes, foliated arches, and lattice-
work. The Italianate style also develops from Italian
vernacular buildings during this period. It features asymme-
try, towers, round arches, and large overhanging eaves on
roofs (see Chapter 7, Italianate, Renaissance Revival).
Public Buildings