Developing the Regency Brand Elegance and Decadence: The Age of the Regency


Developing the Regency Brand

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Imagine Britain in the middle of the Napoleonic Wars.

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We've been fighting the French for years.

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Napoleon tightens his grip on Europe.

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Closing us in, locking us down.

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But the Brits fight on.

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Across Europe, more than three million people die

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and then in 1815, the final struggle.

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The Battle of Waterloo was a decisive victory over Napoleon

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and the start of a new era.

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I'm at the top of a memorial

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to the Commander in Chief of Britain's triumphant army.

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The darkness and destruction of the Napoleonic wars were over.

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In 1815, Britain emerged victorious

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as the most powerful nation on Earth.

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Britannia really did rule the waves.

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Almost by accident, we'd acquired 17 new colonies.

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Our leaders and statesmen looked around them,

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asked themselves the question, "Who are we?

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"Who should we be? What should a modern Britain look like?"

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And all this...would be transformed.

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Demolished and rebuilt in some of the most ambitious metropolitan improvements ever attempted.

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Central London would be reborn,

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with Regent Street slicing through the heart of the city.

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This was an age of confidence, exuberance

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and above all, experimentation.

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It was a decade of design as wild as the '60s.

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With Ancient Greece and Rome, Egypt, China, France,

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and India all thrown into the mix.

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There was glorious light and garish colour.

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New technology mixed up with ancient art.

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In the decade of the Regency,

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between 1811 and 1820, there was an explosion of design.

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British style was lavish,

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theatrical, outrageous and brilliant!

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And at the heart of it all was George, the Prince Regent,

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whose obsession with building left an indelible stamp on Britain.

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I'm Lucy Worsley and I'm a historian.

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I'm Chief Curator at Historic Royal Palaces

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and I love poking around in Royal buildings.

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I'm fascinated by the way palaces always reflect the character

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of the person who built them.

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The biggest builder of them all was the Prince Regent.

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He had something like an addiction

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for architecture and interior decoration.

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He was constantly building and rebuilding his houses.

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He was always hungry for change.

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In 1815, he appointed the architect John Nash

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to rebuild his seaside retreat,

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the Marine Pavilion at Brighton.

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Nash took it from being an elegant neo-classical villa

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and turned it into this Indian fantasy palace.

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George started this place as soon as Waterloo was won.

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He'd defeated Napoleon, the Emperor of Europe, and now here he was,

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building a holiday home for himself as Emperor of the World.

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The pavilion captures the craziness of Regency style.

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Its clashing of cultures, its boldness,

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its willingness to try new things.

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Together, George and his architect, John Nash,

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would give us the very essence of the Regency.

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This book was commissioned by John Nash

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to celebrate his finished building and the amazing exuberance here,

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Indian on the outside, Chinese on the inside,

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was achieved with the help of some new technology.

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These domes are sealed with what Nash called his patent mastic

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and they're supported by an iron framework.

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The building's all about illusion and theatricality.

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It's by one showman for another. By John Nash for the Prince Regent,

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both of them willing to break the rules of architecture.

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Building was George's biggest passion, his main creative outlet.

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Walking through these exotic rooms,

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you get the sense that they were designed

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for the naughty, no-rules lifestyle that George longed for,

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with a room for each pleasure.

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And for his greatest pleasure, eating,

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the most luxurious rooms of all.

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Trapped indoors by his gout and hardly able to climb up stairs,

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the Regent planned his palace around his consolation - a love of grub.

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A quarter of the building is devoted to food.

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He was so pleased with his new kitchen,

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he even used it as a dining room.

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The cartoonists showed him gnawing on a greasy drumstick,

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but his taste was a lot more sophisticated.

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Is that enough wax?

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'I'm in George's kitchen with the food historian, Ivan Day.'

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So what you're doing is you're pressing it

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-into this little impression...

-I'm making an urn.

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-..of a classical urn.

-That'll be good.

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Shall I start kneading my stuff?

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-Yeah. If you get some of that out of there.

-What's it called again?

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This is called gum paste, or pastillage,

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and it's a mixture of sugar and a gum called gum tragacanth,

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which makes it very elastic, like plasticine.

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It's like edible plasticine.

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-Is it what I put on my Christmas cake?

-Not at all.

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It was used at very, very high status regal banquets,

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usually to make edible table ornaments.

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Originally, it was made for making cups and plates

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you could actually eat off.

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Once you'd finished eating,

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you could then eat the plate if you wanted to save the washing up.

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Squidge, squidge, squidge it in.

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-Right.

-You'd better start because it's drying out.

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-Quick, quick, quick!

-Now, let it touch the wood first. So push it down.

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Push it down hard, really hard.

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-Are you going to hold still while I...?

-I'm going to hold it for you.

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And then you just squeegee it backwards and forwards.

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Don't break the neck!

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-That's perfect.

-Oh, very good!

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I'm going to get the little pointy thing

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and start pulling it out.

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Work your way around the sides.

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Come out, little urn.

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This is going to be a masterpiece.

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You've done it. It's done, it'll come off.

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And just let it drop that side down onto the wood.

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Just flick it over and it'll just drop out.

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Ooh! Look how finely decorated it is.

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It's superb. And then you make another one

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and you join the two together with a bit of adhesive.

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And then I could put it on the top of a building like that.

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-Exactly, yeah.

-Brilliant!

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My urn is a tiny bit of the most spectacular part

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of a Regency Banquet - the sugar Sculpture.

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The undisputed master of this arcane art was Antonin Careme,

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the Regency's most celebrated chef.

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He'd cooked for Napoleon, which instantly attracted George,

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and in 1816 he managed to lure Careme over from France.

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It turns out the Regent and his new cook had a common interest.

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Tell me a bit about Antonin Careme.

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The interesting thing about Careme was he studied architecture.

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He went to libraries and looked at, you know, Vitruvius,

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and people like that

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so he could understand the classical orders.

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And he defined confectionary

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as being an art form because it was architecture in miniature.

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So even the Regent's cook considered himself an architect.

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His bestselling books were filled with diagrams of edible buildings,

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reflecting all the latest architectural trends.

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His style is very eclectic, and on one table

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you might get an Egyptian colossus and a Greek Temple,

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but you also might get a Swiss cottage or a Russian Orthodox church

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made out of nougat and sugar and almonds.

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And it became very much based on a really early 19th century aesthetic

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of pinching forms from all kinds of architectural and artistic genres.

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So when you look at his designs, they are caprices.

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It's a fantasy kind of world.

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Rather like this building.

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In fact, this building is rather like a big sugar Careme in its own right really.

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Sadly the perfect match between George and Careme, wasn't to last.

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But he didn't stay for long cos I think he saw the Prince Regent

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as being a little bit on the boorish side

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and not really appreciative of some of the finer details

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of French cuisine classique, and he moved on.

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Careme wasn't the only person to fall out of love with George.

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The world at large thought his pavilion looked ridiculous.

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A shoddy version of an opium smoker's dream.

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Satirists painted the Regent as a fat, debauched addict,

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ensconced in an outrageous oriental den.

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And George, oblivious, carried on building away, living the high life.

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But his government was taking a rather more cautious approach

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to honouring Waterloo.

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How do you celebrate the glorious ending of 20 years of warfare?

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Well you'd expect the government to put up a whole lot of monuments -

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triumphal arches, columns, that sort of thing.

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But two years after the Battle of Waterloo,

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they'd only finished one monument,

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and it wasn't even a proper monument at all.

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It was a bridge.

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Of course, the original Waterloo Bridge wasn't made of concrete,

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or even of sugar.

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The Regency version was a granite affair with many arches

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and on the second anniversary of the Battle of Waterloo,

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it was the scene of a huge party.

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The Bridge was opened on the 18th June 1817.

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For the occasion, there were lots of flags flying.

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The bridge was packed with veterans from the battlefield of Waterloo

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and the houses all around

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were described as looking as if they were roofed with people.

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This feat of engineering

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was proclaimed as a fitting and practical monument

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to the brilliant victory of Waterloo

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and it was described as one of the wonders of the age.

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Waterloo's victorious general, The Duke of Wellington,

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crossed over the bridge.

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Smoke filled the air as cannons fired.

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One shot for each of the 202 guns captured at Waterloo.

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In amongst this crowd was the painter, John Constable,

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and for him the occasion would turn out to be a bit of an obsession.

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Constable set out to paint his grandest canvas yet -

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a patriotic tour de force

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recording this great moment in the life of the nation.

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He slaved away at his painting for 15 years.

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Finally in 1832, it was ready to be exhibited at the Royal Academy,

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here at Somerset House.

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In the finished canvas, we see the Prince Regent getting into a barge

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up at Whitehall, with the bridge in the distance.

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I think this picture meant a lot to Constable.

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This was his chance to paint a historic moment -

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the opening of a monument

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to the greatest victory in military history.

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But poor old Constable was completely upstaged by Turner

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in the same exhibition.

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This is Turner's effort. It's a seascape.

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It's full of movement,

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although apparently it's a much simpler picture,

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and when Turner saw what Constable had done,

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he played rather a naughty trick.

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He saw how bright and busy this work was and he came back

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and added just one little red buoy on the surface of his waves there.

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When Constable saw what Turner had done, he knew

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Turner was playing a trick on him and he said in a rage,

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"Turner's been here and he's fired a gun!"

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Even without Turner's mocking,

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Constable's painting was a total flop.

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15 years on, critics couldn't remember the event he'd painted,

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or why Waterloo Bridge was supposed to be so important.

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So why did the government make all this fuss about a bridge?

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The real reason that a bridge ended up being the official monument

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to the Battle of Waterloo was that the government was broke

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and the amazing thing about Waterloo Bridge

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is that it was funded entirely by private investment.

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It may have cost members of the public

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a penny to cross over the bridge,

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but to the government, it was free.

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Something free was very desirable in a post-war recession

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with a huge national debt.

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The Tory government needed to slash spending by a quarter

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rather than spewing away public funds.

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The gout-ridden Regent stands by,

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his expensive projects propped up with the people's cash.

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It was time for cuts...

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..not for squandering money on public monuments and art...

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..which is where some broken old Greek statues come in.

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These are the Elgin Marbles, taken by Lord Elgin

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from the Parthenon in Athens at the start of the 19th century.

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These bits of somebody else's monument

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would turn out to be a real emblem for a triumphant Britain.

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But when they first arrived, not everybody was convinced.

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Their curator, Ian Jenkins, can tell me more.

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So Ian, what was new about the Elgin Marbles? Why were people excited?

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Well, when they first came to Britain

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and went on show in Lord Elgin's temporary museum in London,

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people had never seen the like before.

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They were immediately shocked

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by the almost brutal naturalism

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of these great colossal figures.

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These were ancient Greek originals

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and they weren't what people expected.

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People liked their sculpture complete, white, restored, domestic.

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These were not domestic, they were not tamed.

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They were broken, they were stained,

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they were often headless, they were unrestored

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and Lord Elgin entertained for a long time

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the possibility that they should be restored

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and consulted the great sculptor Canova,

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who said that they were real meat.

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-Real meat!

-Real flesh.

-Real flesh. I love it!

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They were avant garde.

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They represented the shock of the new, a new wave.

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Were these frightening objects

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the sort of thing we really wanted in Britain?

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In 1816, Parliament held an enquiry

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to decide whether to buy them for the nation.

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It came down to two things

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- were they any good, and what did they stand for?

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It's a defining moment when all the congnoscenti, the artists,

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the connoisseurs, were brought in,

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each interrogated in turn, and each giving his own

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account of the marbles and how they should be evaluated.

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The answer came back from most of them

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that these were the greatest works of art ever seen in Britain.

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and yes, the enquiry concluded,

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it was entirely appropriate for a triumphant Britain to own them.

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Greece was seen by Britain in the 19th century as somehow pure,

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an untainted society.

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To have the Elgin Marbles in Britain

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was to have transplanted Old Greece to London.

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Even though the Government was broke,

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it found £35,000 to buy the Elgin Marbles

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for the British Museum.

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We were the inheritors of the Greeks,

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plucky little Britain, defender of freedom.

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This was powerful stuff and it changed the way Britain looked.

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Within a few years the home of the marbles itself

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was being rebuilt as a Greek temple.

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The most modern buildings after 1815

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drew upon Ancient Greek originals,

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like St Pancras Church in London.

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Achingly cool and built for the north London intelligentsia.

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These urbanites aspired to Greekness.

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Like the Athenians, they hoped to change the world with ideas and art.

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But a city with a greater claim to this Greek inheritance

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lay north of the border - Edinburgh.

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Now London didn't have a monopoly on the idea of Ancient Greece

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and Edinburgh, too, wanted to be the New Athens.

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I'm sitting on Britain's first monument

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to the dead of the Napoleonic Wars

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and clearly there's a bit of competition going on here.

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Down in London they had the real Elgin Marbles,

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but up here in Scotland

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they were hoping to build a complete Recreation of the Parthenon.

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In 1820, someone suggested reconstructing the Greek ruin

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as a massive memorial,

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complete with its 46 giant columns.

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The Scottish people gave generously,

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at least at first, and building began.

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But it didn't last long.

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Sadly the money ran out and it never got finished.

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Construction ground to a halt after just 12 columns

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and the monument became known as Scotland's shame.

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Not that this put Edinburgh off the Greek theme.

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The city had been the home of the big brains of the Enlightenment,

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like Adam Smith, and David Hume

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- the modern heirs of Ancient Greek thought.

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After Waterloo the New Town's architects

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turned those ideas into bricks and mortar,

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earning Edinburgh its title of The Athens of the North.

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But this cold Greek purity wasn't for everybody.

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This is Sir John Soane.

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He was one of the most important architects of the age.

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A man with a very different architectural mission,

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and this is his house in London.

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Soane shared the Prince Regent's belief

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that you should express your personality through architecture.

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As we're about to see, Soane was a pretty unusual man.

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# People are strange

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# When you're a stranger

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# Faces look ugly

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# When you're alone

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# Women seem wicked

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# When you're unwanted

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# Streets are uneven

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# When you're down

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# When you're strange

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# Faces come out of the rain

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# When you're strange

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# No-one remembers your name

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# When you're strange

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# When you're strange

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# When you're strange

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# People are strange

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# When you're a stranger

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# Houses look ugly... #

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'Jerzy Kierkuc Bielinski is a curator here.'

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This is John Soane.

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-Yes.

-And what sort of a man was he?

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He was a very driven man.

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Because he was driven, I think he could also be slightly difficult.

0:22:100:22:14

He's not short of self confidence, is he?

0:22:140:22:16

Placing a bust of himself so prominently.

0:22:160:22:19

No. Well, I think it's also a comment that he's making

0:22:190:22:22

about architecture and the role of the architect

0:22:220:22:25

because if you notice,

0:22:250:22:27

there are two small figures, two statuettes beneath the bust.

0:22:270:22:30

You have Michaelangelo representing sculpture

0:22:300:22:34

and Raphael with his artist's palette representing painting,

0:22:340:22:38

and what Soane is saying here

0:22:380:22:39

is that architecture, as personified by himself of course,

0:22:390:22:43

is greater than those two arts

0:22:430:22:45

because painting and sculpture ornament architecture.

0:22:450:22:49

So it's sort of a comment about the union of painting,

0:22:490:22:53

architecture and sculpture within this house as well.

0:22:530:22:56

So he's making a wider point than, "I am the greatest!"

0:22:560:22:59

-He's saying architecture is the greatest art.

-Yes.

0:22:590:23:02

Soane, a self-made man,

0:23:020:23:04

won social status through his skill as an architect

0:23:040:23:07

and he wanted to be sure people saw architecture as a proper art.

0:23:070:23:11

Here, he made the world's first architectural museum -

0:23:110:23:14

a temple to architecture with himself as high priest.

0:23:140:23:19

# When you're strange

0:23:190:23:21

# Faces come out of the rain... #

0:23:220:23:24

He hoarded Roman, Greek, Egyptian and Gothic fragments.

0:23:240:23:29

All the stylistic influences on Regency taste.

0:23:290:23:33

And what Soane has done here is that he's created

0:23:330:23:36

a type of dictionary of architecture, if you like.

0:23:360:23:40

He's taken casts or actual fragments of the great buildings

0:23:400:23:43

and he's brought them into this London townhouse.

0:23:430:23:46

Sort of telescoping the classical past into this incredible interior.

0:23:460:23:52

So there is method behind the madness, if you like.

0:23:520:23:56

But Soane didn't take the rules and follow them to the letter.

0:23:570:24:01

He liked to experiment.

0:24:010:24:03

# When you're strange. #

0:24:030:24:04

I think that one of the reasons that modern architects

0:24:100:24:13

are so obsessed with Soane

0:24:130:24:14

is because he broke the box, if you like.

0:24:140:24:17

If you think of a room as having four walls, a ceiling and a floor,

0:24:170:24:20

Soane bursts through those constraints.

0:24:200:24:22

-Absolutely.

-And this space here, in an ideal world

0:24:220:24:25

it would be just a little square in the middle here,

0:24:250:24:27

but he's dissolved the walls and all the energy

0:24:270:24:30

is taking place beyond the boundaries

0:24:300:24:32

of the traditional room, isn't it?

0:24:320:24:35

Absolutely. He's punctured this space through the use of plate glass

0:24:350:24:39

and he's illuminated it with this amazing skylight,

0:24:390:24:42

this huge ceiling rose that seems almost about to sort of crush us.

0:24:420:24:47

There's a lot of spacial ambiguity here.

0:24:490:24:51

A lot of playfulness, I think, because of that.

0:24:510:24:53

He's a real conjurer, isn't he?

0:24:530:24:55

Yes, definitely, definitely. Light and space.

0:24:550:24:58

He's a magician of light and space really.

0:24:580:25:00

Soane liked to talk about "the poetry of architecture."

0:25:100:25:14

He thought it should stimulate the imagination.

0:25:150:25:17

So Soane treated his house as a kind of laboratory

0:25:190:25:22

for trying out different architectural ideas

0:25:220:25:25

and this room is full of what he called "fanciful effects."

0:25:250:25:29

Let's start with this weirdly truncated dome.

0:25:290:25:33

You would expect it to land in the four corners of the room,

0:25:330:25:36

but it doesn't.

0:25:360:25:37

Beyond the dome there are these slots with light coming down

0:25:370:25:40

and it's not normal light,

0:25:400:25:42

it's yellow coloured

0:25:420:25:44

because of the coloured glass that he's put into the skylights.

0:25:440:25:48

We've also got more than 100 mirrors in here.

0:25:520:25:56

So that everywhere you look,

0:25:560:25:57

there's a disconcerting reflection of yourself.

0:25:570:26:00

We're really in the hands here of an architectural wizard.

0:26:000:26:03

And he didn't stop at innovating with light and reflection.

0:26:120:26:16

Soane's also what you might call an early adopter.

0:26:160:26:19

Now, although he loved antiquity,

0:26:220:26:24

Soane also loved all mod cons

0:26:240:26:26

and this is his own little dressing room

0:26:260:26:28

where we've got all the latest gadgets.

0:26:280:26:31

Firstly, we've got a nice fitted desk and drawers.

0:26:310:26:34

Just outside the window here we've got gas lighting.

0:26:340:26:37

This is a great novelty.

0:26:370:26:39

The first gas company is only set up in 1812.

0:26:390:26:41

This square was the first in London to have a gas supply

0:26:410:26:45

and just as soon as it was available,

0:26:450:26:47

Soane installed it in his courtyard.

0:26:470:26:50

Down here we've got a hot air central heating system.

0:26:500:26:54

Over here we've got a plumbed in washbasin,

0:26:540:26:57

and over here, best of all, we've got a flushing toilet.

0:26:570:27:00

But Soane didn't just rethink interiors.

0:27:040:27:06

He was after big commissions.

0:27:060:27:10

By the start of the Regency,

0:27:100:27:11

he'd already rebuilt the Bank of England in Roman style.

0:27:110:27:15

Bloated with the profits of lending money in the Napoleonic wars,

0:27:180:27:22

the bank needed a giant new building.

0:27:220:27:24

He created the pioneering Dulwich Picture Gallery -

0:27:260:27:30

the first national art museum.

0:27:300:27:32

And he also left us a funny little surprise.

0:27:350:27:40

This is the monument he designed for his wife, Eliza,

0:27:400:27:44

when she died in 1815.

0:27:440:27:45

He eventually joined her here.

0:27:450:27:49

It has a very distinctive shape,

0:27:490:27:51

which might remind you of something else.

0:27:510:27:54

In 1924, Giles Gilbert Scott

0:28:000:28:03

entered a competition to design the new phonebox.

0:28:030:28:08

This is his winning entry, inspired by the mausoleum of Sir John Soane.

0:28:080:28:11

It must be one of the strangest architectural legacies

0:28:110:28:15

of the Regency period.

0:28:150:28:17

If he'd had his way, Soane would've left us with much more.

0:28:180:28:23

This is London, Soane style.

0:28:270:28:30

Crammed with triumphal arches,

0:28:300:28:31

a Senate House, new Royal palaces, oh, and mountains.

0:28:310:28:36

Actually, it's all a fantasy.

0:28:360:28:39

These are all the buildings Soane never got to build

0:28:390:28:42

because the biggest patron of them all always eluded him.

0:28:420:28:46

An important architect like Soane

0:28:460:28:48

might have expected to get a big job at the royal palaces,

0:28:480:28:53

but it wasn't to be.

0:28:530:28:54

Soane had a reputation for being a bit difficult,

0:28:540:28:58

for bossing his clients around

0:28:580:29:00

and only for doing his own very distinctive style.

0:29:000:29:03

This isn't what the Prince Regent was after at all.

0:29:030:29:06

He wanted an architect to help him realise his own vision.

0:29:060:29:10

As he put it, someone suited to his mind.

0:29:100:29:13

That's why he chose John Nash.

0:29:130:29:16

Nash wasn't the most original designer of his day,

0:29:190:29:22

but he was a much easier-going guy than Soane

0:29:220:29:24

and happy to design in any style that took the Regent's fancy.

0:29:240:29:28

As well as Brighton Pavilion,

0:29:310:29:33

Nash worked on the Regent's official home

0:29:330:29:36

at the heart of London - Carlton House.

0:29:360:29:38

This place had already had several facelifts,

0:29:380:29:42

but when he became Regent in 1811,

0:29:420:29:45

George spent a fortune beautifying it even more

0:29:450:29:47

to make a palace fit for, well, a Regent.

0:29:470:29:51

This a book published in 1819,

0:29:510:29:52

showing the interiors of the different Royal Residences.

0:29:520:29:56

These pages show Carlton House and you can see how it had now become

0:29:560:30:00

the most amazingly lavish and opulent interior.

0:30:000:30:04

Regrettably, Carlton House is long gone,

0:30:080:30:12

but you can get the Carlton House experience

0:30:120:30:14

at another Royal Palace, Windsor.

0:30:140:30:18

In these rooms at Windsor Castle,

0:30:180:30:20

you get a real sense of what Carlton House was actually like.

0:30:200:30:24

In the 1820s, George remodelled this suite

0:30:240:30:27

and he re-used several of the fittings from Carlton House,

0:30:270:30:31

so here you can see tantalizing traces of the Prince's lost palace.

0:30:310:30:35

Fireplaces, doors, even whole floors from Carlton House ended up here.

0:30:400:30:45

George treated his palaces like doll's houses,

0:30:450:30:48

to be constantly rearranged

0:30:480:30:50

and filled with an ever-stranger assortment of stuff.

0:30:500:30:54

I've come to meet the Deputy Surveyor of the Queen's Works of Art, Rufus Bird.

0:30:540:30:59

Paint me a picture of what it was actually like

0:30:590:31:01

to walk into Carlton House, perhaps the Crimson Room.

0:31:010:31:05

You would have walked into a room of almost unimaginable opulence...

0:31:050:31:09

..with incredible gilded ceilings,

0:31:110:31:14

fantastically rich silk velvet on the walls,

0:31:140:31:18

amazing combinations of English contemporary Giltwood furniture,

0:31:180:31:22

with French decorative works of art...

0:31:220:31:26

..amazing chandeliers, he was obsessed with lighting,

0:31:270:31:30

huge quantities of light.

0:31:300:31:32

Very bright, very, very impressive rooms.

0:31:320:31:35

The 20 or so showy rooms in Carlton House

0:31:380:31:41

were designed to project George's royal magnificence to the world,

0:31:410:31:45

in styles that ranged from the fashionable Grecian decor

0:31:450:31:48

of the Old Throne Room to Nash's Gothic Dining Room,

0:31:480:31:52

completely gilded and perfect for George's intimate dinners of 30.

0:31:520:31:58

There was a real sense of exoticism.

0:31:580:32:00

The combinations that he chose were quite adventurous.

0:32:000:32:05

We've got a pretty good example of exactly what you're talking about

0:32:050:32:08

just here. Tell us what this one is.

0:32:080:32:10

Well, this is a Chinese vase.

0:32:100:32:12

It's a very plain blue 18th century vase,

0:32:120:32:17

and then it has been completely transformed

0:32:170:32:20

by these magnificent mounts. Here you see a satyr's head,

0:32:200:32:23

and then between the satyrs' heads are these swags of vine,

0:32:230:32:28

and the horns scroll up and twist around onto the rim of the bowl.

0:32:280:32:33

And it's stood on a griffin stand.

0:32:330:32:36

Three griffins which support the top

0:32:360:32:38

and they are derived from Roman fragments.

0:32:380:32:41

So we've got a mid-18th century Chinese vase,

0:32:430:32:45

we've got late 18th century French decoration,

0:32:450:32:47

standing on a British Regency but Roman-inspired stand.

0:32:470:32:52

Absolutely and that's exactly the sort of confection

0:32:520:32:55

that creates this wonderful mixing of styles and eras,

0:32:550:32:58

and shows the eclecticism and exoticism

0:32:580:33:01

that the Regency is really all about.

0:33:010:33:04

This place may look about as grand as it gets

0:33:050:33:08

but, in fact, for their time, George's rooms are shockingly informal.

0:33:080:33:13

It's all about the furniture.

0:33:130:33:15

A generation before it would have been lined up against the walls,

0:33:150:33:18

but now chairs and tables are scattered about willy nilly.

0:33:180:33:22

And it wasn't just the furniture that was informal.

0:33:220:33:26

George was shaking up behaviour too.

0:33:260:33:29

In 1816, a scandalous new dance was seen at court for the first time...

0:33:290:33:34

the waltz.

0:33:340:33:35

Waltzing scandalous? How could this be?

0:33:410:33:44

Well, before the Regency, people danced in groups,

0:33:460:33:49

only occasionally touching each other.

0:33:490:33:52

The waltz was a very different matter,

0:33:520:33:55

as the dance historian Robin Benie shows me.

0:33:550:33:58

This is a quite nice and romantic movement too.

0:33:580:34:01

It is. But it's not as good as waltzing.

0:34:010:34:04

-And it's only for a few seconds.

-Yes.

0:34:040:34:06

In the waltz, when I take you, I have you...

0:34:060:34:09

-For the whole dance.

-..for the whole dance. Just you.

0:34:090:34:12

When this German waltz arrived, it broke all social rules.

0:34:120:34:17

It's the arms that go round rather than...

0:34:170:34:19

Don't be fooled by the plinky plonky music, this is dirty dancing.

0:34:190:34:23

And we've got this wonderful close proximity.

0:34:250:34:29

This is one of the reasons that people thought

0:34:290:34:31

the waltz was a bit iffy, dodgy.

0:34:310:34:33

Just think of the things, that I could be whispering to you.

0:34:330:34:36

Well, you could be telling me all sorts of things,

0:34:360:34:38

but unfortunately, there's a camera just six inches away, so I advise you not to tell me now!

0:34:380:34:43

For polite society, this was the Regency version of a swingers party.

0:34:450:34:50

The cartoonist Cruikshank made this print in 1816.

0:34:500:34:54

He called it "Waltzing or a Peep into the Royal Brothel".

0:34:540:34:59

The Times called the Waltz, "An indecent foreign dance"

0:35:010:35:05

and drew attention to its, "Voluptuous intertwining of the limbs".

0:35:050:35:10

Led by the Regent's courts though,

0:35:130:35:15

the waltz's close embrace was gaining acceptance.

0:35:150:35:18

And such scandalous behaviour even began to penetrate

0:35:180:35:21

the peaceful country homes of the aristocracy.

0:35:210:35:25

Take this place, Attingham Park.

0:35:280:35:30

A beautiful 18th century mansion in Shropshire

0:35:300:35:34

that got a decadent Regency makeover.

0:35:340:35:37

It's a bit of a cautionary tale

0:35:430:35:46

about a man who indulged a lascivious taste for luxury.

0:35:460:35:50

We're talking shocking pinks and garish colours and gilding aplenty.

0:35:510:35:56

This fan of soft furnishings was Thomas Hill, Lord Berwick,

0:36:050:36:08

a true follower of Regency fashion.

0:36:080:36:12

Thomas the second Lord Berwick was a typical Regency rake.

0:36:160:36:21

He went on a grand tour in the 1790s,

0:36:210:36:23

came back with a lot of these paintings and pieces of furniture,

0:36:230:36:27

and then he took this house that he'd inherited

0:36:270:36:29

and ripped the middle out of it. He carried out a major remodelling.

0:36:290:36:33

And he gave the job of making over his house

0:36:330:36:37

to the defining architect of the Regency.

0:36:370:36:40

His architect was John Nash

0:36:400:36:43

and here in the picture gallery,

0:36:430:36:45

you can see Nash at his most extraordinarily inventive.

0:36:450:36:48

It's a really rich, bold interior.

0:36:480:36:51

There's quite a few novelties here, the glass roof for example.

0:36:540:36:58

The glazing's held in place with iron glazing bars instead of wood.

0:36:580:37:03

This was all very exciting but unfortunately

0:37:030:37:05

almost immediately it started to leak.

0:37:050:37:08

How very modern.

0:37:080:37:11

For Thomas, this house was all about displaying his personality

0:37:110:37:16

as a cultured gentleman.

0:37:160:37:18

Its curator, Sarah Kay, has been delving into his decorative secrets.

0:37:180:37:24

Now, it strikes me that it's very pink in here.

0:37:240:37:26

Is this normal for a Regency man's study?

0:37:260:37:29

People are not expecting to see pink in here and we've got,

0:37:290:37:33

as you can see, sumptuous lavish use of pink in the curtains.

0:37:330:37:36

We have to explain to people that pink was not

0:37:360:37:39

an exclusively feminine colour by any means.

0:37:390:37:41

It was just another lavish, opulent statement about yourself.

0:37:410:37:44

So what we're seeing here is the room as it was in 1813.

0:37:440:37:49

That's right, yes, with all his Regency bright, bold,

0:37:490:37:53

lavish opulent colours.

0:37:530:37:56

Do you like it?

0:37:560:37:57

Well, you can see it's making me smile.

0:37:570:38:00

I think it's great fun, I think it's very challenging for us today,

0:38:000:38:04

but I think what it does is really create this impressive, bold,

0:38:040:38:08

sock-it-to-you impression

0:38:080:38:10

and that is what the second Lord Berwick wanted to do

0:38:100:38:14

and he expressed it in the way he furnished his room

0:38:140:38:16

and this room is the heart of his suite of spaces in the house,

0:38:160:38:21

so he needed to make a big impression in here and he did.

0:38:210:38:24

Thomas had another passion as well as interior decorating.

0:38:340:38:38

He was in love with a teenage courtesan named Sophia

0:38:380:38:41

and this amazing monkey music box was a gift that he got for her.

0:38:410:38:44

Sophia was actually a bit of a luxury commodity in her own right.

0:38:490:38:54

Her big sister was the famous Harriette Wilson,

0:38:540:38:57

the high class prostitute patronised by Lord Byron,

0:38:570:39:00

the Duke of Wellington etc.

0:39:000:39:02

And like her sister, Sophia was hot property in the Regent's circle.

0:39:020:39:06

She needed some persuasion to give it all up to marry Thomas.

0:39:060:39:11

She held out on him for some time

0:39:120:39:14

although he bought her a house in London to live in

0:39:140:39:17

while he was doing up Attingham Park.

0:39:170:39:19

He asked her to marry him several times.

0:39:190:39:22

Eventually she said in 1812, when he was 43 and she was 17.

0:39:220:39:27

This music box is supposed to be the gift that swayed her

0:39:300:39:35

which is a little bit creepy.

0:39:350:39:37

Thomas and Sophia were shunned by polite society

0:39:370:39:41

so they retreated to their beautiful house,

0:39:410:39:43

still splurging on paintings and furniture.

0:39:430:39:47

Lord Berwick's finances couldn't keep up

0:39:480:39:51

with all of this extravagance.

0:39:510:39:53

In 1827 he was declared bankrupt

0:39:530:39:56

and he had to retire ignominiously to Italy.

0:39:560:39:58

For people outside the Regent's charmed circle,

0:40:020:40:06

it must have seemed that Lord Berwick got what he deserved.

0:40:060:40:10

He really did live in a different world,

0:40:100:40:12

one where waltzing and courtesans and fancy furnishings were normal.

0:40:120:40:17

The top tier that included the Regent, English courtiers

0:40:220:40:26

and peers like Lord Berwick,

0:40:260:40:28

contained, according to one Regency writer, just 576 families.

0:40:280:40:34

In contrast, more than half of the rest of the population

0:40:340:40:37

were paupers or vagrants.

0:40:370:40:39

But there was a middle way,

0:40:440:40:46

a small but growing class of respectable people,

0:40:460:40:49

who might have lived in houses like this.

0:40:490:40:51

This isn't the sort of place where anyone waltzes.

0:40:590:41:02

It's the modest home of a particular heroine of mine.

0:41:020:41:06

We think the Regency's all about colour and life and vibrancy,

0:41:090:41:14

but there's another side to its style as well.

0:41:140:41:17

Simple country-dwelling people like Jane Austen

0:41:170:41:21

stitching away at very austere garments,

0:41:210:41:25

like this nice little shawl,

0:41:250:41:27

which is said to have been sewn by Jane Austen herself.

0:41:270:41:30

In her novels, Jane Austen gives us the voice of the middling sort.

0:41:320:41:37

Not poor, but definitely lacking money to burn.

0:41:370:41:41

She didn't spend all of her time in the country doing embroidery.

0:41:410:41:44

In fact, she even experienced

0:41:440:41:47

the Regent's extravagant world first-hand.

0:41:470:41:51

In 1815, Jane Austen visited Carlton House.

0:41:540:41:58

She was invited there by the Regent himself,

0:41:580:42:01

who was a big fan of her novels.

0:42:010:42:02

She didn't actually meet him face to face,

0:42:020:42:05

but he did make his mark on her next book.

0:42:050:42:08

This is the first edition of her new novel Emma

0:42:080:42:11

and she'd been invited to dedicate it to the Prince Regent.

0:42:110:42:16

The first draft of her dedication's really funny.

0:42:160:42:18

It says, "Dedicated by Permission to HRH The Prince Regent".

0:42:180:42:23

But Jane's publisher, John Murray, perhaps wisely,

0:42:230:42:26

suggested that she pep it up a bit.

0:42:260:42:28

So what was actually printed was,

0:42:280:42:31

"To His Royal Highness The Prince Regent

0:42:310:42:33

"This work is, by his Royal Highness's permission,

0:42:330:42:36

"most respectfully dedicated by his Royal Highness's dutiful

0:42:360:42:40

"and obedient humble servant, the author".

0:42:400:42:43

It's ironic that poor Jane was made to include this,

0:42:440:42:47

given her well-recorded views on the Prince Regent.

0:42:470:42:51

A couple of years before, she'd written to a friend

0:42:510:42:54

about her support of his estranged wife, Princess Caroline.

0:42:540:42:59

"Poor woman", Jane had written,

0:42:590:43:01

"I shall support her as long as I can,

0:43:010:43:04

"Because she is a woman, and I hate her husband".

0:43:040:43:08

The Regent's open separation from his wife, Caroline,

0:43:120:43:16

and his parading of a series of mistresses,

0:43:160:43:18

made him hugely unpopular with the more proper middle classes,

0:43:180:43:22

not least with Jane.

0:43:220:43:24

Although we often think of her books as a bit apolitical,

0:43:250:43:28

all romance and nice dresses,

0:43:280:43:30

her disapproving views about the morals of upper class society

0:43:300:43:34

are very much on show.

0:43:340:43:36

The Prince Regent may have been a big fan of Jane Austen's works,

0:43:380:43:42

but if he'd read them properly, he might have noticed

0:43:420:43:46

that she gave people like him a pretty hard time.

0:43:460:43:49

In Mansfield Park, the villain, Henry Crawford,

0:43:490:43:52

has quite a lot in common with the Prince Regent.

0:43:520:43:54

He'd been, "Ruined by bad examples set to him",

0:43:540:43:58

he had an uncle who openly kept a mistress.

0:43:580:44:00

He was superficially very charming

0:44:000:44:03

but this disguised a cold-blooded vanity.

0:44:030:44:06

And just like the Prince Regent, he was addicted to remodelling

0:44:060:44:10

perfectly good houses. He wanted to knock them about

0:44:100:44:13

and alter them in line with fashionable but frivolous ideas

0:44:130:44:17

of ornament and beauty.

0:44:170:44:18

For Jane, people's houses tell you an awful lot

0:44:210:44:23

about their attitude to life.

0:44:230:44:26

And in her final work, she fires a kind of parting shot

0:44:260:44:31

at some Regency trends in property development.

0:44:310:44:33

In 1817, Jane Austen wrote 12 chapters of quite an unusual book.

0:44:330:44:39

She was very ill at the time,

0:44:390:44:40

she would die later the same year and never finish it.

0:44:400:44:43

But it's not what you'd expect a dying woman to write.

0:44:430:44:46

It's not about melancholy or longing.

0:44:460:44:48

It's about the very British folly of property speculation.

0:44:480:44:52

It's a satire of Britain in the years following

0:44:520:44:54

the battle of Waterloo

0:44:540:44:55

and it's set in the fictional seaside village called Sanditon.

0:44:550:44:59

We meet the comical Mr Parker,

0:45:010:45:03

a man obsessed with building up his quiet seaside hamlet

0:45:030:45:07

into a fashionable resort.

0:45:070:45:09

He wasn't alone.

0:45:090:45:11

New seaside resorts were springing up all along the coast

0:45:110:45:15

in the Regency, with houses for middle class tourists

0:45:150:45:18

who wanted to try the health trend of sea-bathing.

0:45:180:45:22

In Sanditon, Mr Parker has traded in his honest, old family home

0:45:230:45:29

for a flimsy, fashionable residence exposed to the biting sea breezes.

0:45:290:45:33

He's called it Trafalgar House,

0:45:330:45:35

although now he regrets not calling it after the more up to date

0:45:350:45:38

Battle of Waterloo

0:45:380:45:41

His quest for modernity is clearly more than a little bit ridiculous.

0:45:410:45:44

Now you may personally agree with Jane that old-fashioned houses

0:45:460:45:50

and old fashioned values are worth preserving,

0:45:500:45:53

or you might be a modernizer, like Mr Parker.

0:45:530:45:55

Either way, what you see in the story of Sanditon

0:45:550:45:58

are the preoccupations of Regency Britain.

0:45:580:46:01

It was a country intending to transform itself

0:46:010:46:04

but also to chase after a profit.

0:46:040:46:06

The years after Waterloo saw a boom in house-building.

0:46:100:46:13

Property speculators spread their stucco-clad tentacles

0:46:130:46:17

anywhere that people might want to visit, not just the seaside.

0:46:170:46:21

Spa towns were another nice little earner.

0:46:210:46:24

There's one that really sums up the Regency building craze.

0:46:240:46:29

It's not the long established spas of Bath or Cheltenham.

0:46:290:46:33

No, in the 1810s, there was a new Spa on the rise.

0:46:330:46:36

This is a guide book to Regency Leamington Spa.

0:46:510:46:55

Leamington had been a little village but in the Regency period

0:46:550:46:59

it burst into life as this new spa town.

0:46:590:47:02

Between 1811 and 1820, its population quadrupled.

0:47:020:47:05

The guidebook says that this terrace of houses behind me

0:47:080:47:11

looked as if an invisible hand had picked it up

0:47:110:47:14

from a smart part of London and dropped it here in the fields.

0:47:140:47:18

There are all the features you'd expect from a Regency new-build.

0:47:180:47:22

Stucco facades and big windows, lots of classical details

0:47:220:47:27

these wrought iron balconies,

0:47:270:47:29

and plenty of columns.

0:47:290:47:31

The private speculators who built Leamington

0:47:320:47:36

threw up grand town houses, available to rent,

0:47:360:47:38

next door to the village's original cottages.

0:47:380:47:42

This was Leamington's very own Parthenon,

0:47:420:47:45

not a particularly Greek one.

0:47:450:47:47

It housed a library and assembly rooms

0:47:470:47:49

where you could pick up an improving book,

0:47:490:47:52

meet new people, maybe indulge in a bit of old-fashioned dancing.

0:47:520:47:56

Leamington had one of the largest hotels in Europe.

0:47:570:48:01

It had 100 rooms but only one bathroom.

0:48:010:48:04

Oh, and parking for 100 carriages.

0:48:040:48:07

One of the most spacious, splendid and complete hotels in the kingdom.

0:48:070:48:11

But, of course, the main attraction in any aspiring spa town was the water.

0:48:180:48:23

The mineral properties of the water are supposed to be excellent here,

0:48:230:48:26

much better than those at Cheltenham, that's very important,

0:48:260:48:30

and the diseases which they're supposed to be

0:48:300:48:32

particularly good for include

0:48:320:48:34

tumours...

0:48:340:48:36

piles,

0:48:360:48:38

diseases of the kidneys,

0:48:380:48:40

intestinal worms,

0:48:400:48:43

and above all,

0:48:430:48:45

obstinate constipation.

0:48:450:48:47

The pump rooms and baths where visitors paid to take the water

0:48:500:48:54

opened in 1814.

0:48:540:48:56

Now, the lucky Leamington residents get it for free.

0:48:560:48:59

Here we go.

0:49:020:49:03

Hmm.

0:49:080:49:10

That's really quite nasty.

0:49:100:49:12

It tastes like Alka Seltzer, I think.

0:49:120:49:15

I don't know if I could manage half a pint.

0:49:150:49:18

And I'm a bit worried now that it really is going to relax the bowels.

0:49:200:49:23

Fortunately, this was just what the Regency tourists were after,

0:49:250:49:29

and Leamington did very nicely for a while.

0:49:290:49:32

But then Spa towns went out of fashion

0:49:340:49:37

and when the profits dried up

0:49:370:49:39

Leamington was left with a few oddities.

0:49:390:49:41

The Regency property boom didn't last all that long

0:49:430:49:46

in Leamington Spa,

0:49:460:49:48

and when it was over, some projects got left unfinished.

0:49:480:49:51

This was supposed to be one of those long and curving Regency terraces.

0:49:510:49:56

They did this end, you can see, and down there,

0:49:560:49:59

they've also put in the other end,

0:49:590:50:01

but they didn't get round to filling in the middle,

0:50:010:50:04

so that's why, later on, the gap was filled with these Victorian villas.

0:50:040:50:08

Grand schemes for town planning didn't always work out

0:50:100:50:14

quite as intended.

0:50:140:50:16

In London, another incredibly ambitious project was under way,

0:50:180:50:22

which would really capture the tastes and aspirations

0:50:220:50:26

of the Regent and his country.

0:50:260:50:28

It all began with a farm in Marylebone.

0:50:290:50:32

Up until 1811, this whole area was covered with cow-sheds,

0:50:320:50:37

but then the lease ended and the Prince Regent

0:50:370:50:40

took the farmland here back into his own management.

0:50:400:50:43

Now his government started a really visionary piece of urban planning.

0:50:430:50:47

They created a great, new city park here

0:50:470:50:50

and they also constructed a big, new grand road, a mile long,

0:50:500:50:54

right through the heart of London.

0:50:540:50:56

The Park became Regent's Park

0:50:590:51:01

and the new road, Regent's Street,

0:51:010:51:03

London's first grand boulevard, 30 yards wide,

0:51:030:51:07

slicing through the small tangled streets of Soho

0:51:070:51:10

and linking the park straight to the Prince Regent's front door

0:51:100:51:14

at Carlton House.

0:51:140:51:15

This ceremonial route would allow the Regent, as he put it,

0:51:160:51:20

to, "Eclipse Napoleon",

0:51:200:51:22

a sign that London could equal Paris or Rome.

0:51:220:51:26

The brains behind it all was the Regent's architect John Nash.

0:51:260:51:31

First he had to design the grand urban park,

0:51:310:51:34

Surrounded by terraces like this one, Cumberland Terrace,

0:51:340:51:37

with its monumental Greek theme.

0:51:370:51:40

This is John Nash at his most theatrical.

0:51:400:51:43

Some people have laughed at this terrace

0:51:430:51:45

because there's nothing behind that pointed pediment,

0:51:450:51:48

and the plaster statues don't bear the closest of scrutiny,

0:51:480:51:51

but actually, he's done something quite remarkable here.

0:51:510:51:55

He's taken what could just be a bog standard row of terraced houses,

0:51:550:51:58

and he's turned them into a gigantic palace.

0:51:580:52:01

Nash wanted men of rank and fortune to live here,

0:52:080:52:11

creating the sort of exclusive neighbourhood

0:52:110:52:14

that would bring in plenty of cash for the Crown

0:52:140:52:16

and these people needed an easy link to the court and the Regent.

0:52:160:52:20

So this is where it starts.

0:52:260:52:28

The wealthy new tenants stepped from Park Crescent

0:52:280:52:31

onto Portland Place, already one of the best addresses in London,

0:52:310:52:35

on their way to the wonders of Regent Street.

0:52:350:52:37

Actually, before Nash had even properly begun,

0:52:430:52:47

he'd already run into problems.

0:52:470:52:49

This is John Nash,

0:52:540:52:55

and I'm not sure he would have been delighted to end up just here,

0:52:550:52:59

because this part of Regent Street gave him terrible trouble.

0:52:590:53:02

He wanted to come in a straight line down from the park,

0:53:020:53:05

but the man who lived just there,

0:53:050:53:07

called Sir James Langham,

0:53:070:53:08

he didn't want the new road going too close to his garden,

0:53:080:53:11

so he bought up land, forcing Nash to divert the line of the road.

0:53:110:53:16

He ended up with this bend but Nash made the best of a bad job.

0:53:160:53:20

He designed this church, All Souls,

0:53:240:53:28

to deal with the inconvenient bend.

0:53:280:53:30

It has a unique round portico,

0:53:300:53:32

making the whole church a kind of pivot point.

0:53:320:53:35

Characteristically, Nash completely ignored the rules.

0:53:350:53:38

He mixed different sorts of columns

0:53:380:53:40

and put a weird pointy tower where by rights there should be a dome.

0:53:400:53:45

This cartoon mocks the "Nashional Taste"

0:53:450:53:49

and the creator of a church that one MP called,

0:53:490:53:52

"A deplorable and horrible object".

0:53:520:53:54

But Nash was always better at the big picture than the detail.

0:53:570:54:02

Once the spiritual needs

0:54:020:54:03

of our wealthy Regent's Park resident were satisfied,

0:54:030:54:07

it was off across Oxford Circus to the pleasures of shopping.

0:54:070:54:10

There weren't any grand public buildings here.

0:54:190:54:21

The government didn't want to waste the cash.

0:54:210:54:25

It was a perfect example of a public/private partnership.

0:54:250:54:28

The government paid for the compulsory purchase of the land,

0:54:280:54:32

private builders put up the buildings

0:54:320:54:34

and everyone made money.

0:54:340:54:36

Nash was really clever

0:54:420:54:44

in picking this particular line for Regent's Street,

0:54:440:54:46

because it marks the boundary between the fashionable area

0:54:460:54:49

of Mayfair over here where the nobility lived,

0:54:490:54:52

and the meaner streets of Soho,

0:54:520:54:54

which were inhabited by so-called mechanics and poorer people.

0:54:540:54:58

This means the wealthy residents of Mayfair can get to the shops

0:54:580:55:01

without going outside their own zone.

0:55:010:55:03

It also meant that the cheap land over there

0:55:030:55:05

increased massively in value.

0:55:050:55:07

So the line of Regent Street marks the line of maximum profit.

0:55:070:55:12

Nash saw this as a place for the Regency elite to socialise.

0:55:160:55:20

He pictured the leisured classes window shopping

0:55:200:55:23

and buying the latest styles inspired by the Regent.

0:55:230:55:28

Here on the curved quadrant, there were once colonnades,

0:55:280:55:32

so that the rich could shop even on rainy days.

0:55:320:55:35

Above the shops there were terraces,

0:55:350:55:37

where dandy bachelors renting the upper floors could loiter

0:55:370:55:40

and chat to passers-by in their carriages.

0:55:400:55:43

Then, after all the shops, you'd reach Piccadilly Circus,

0:55:430:55:47

take a sharp bend, and it's about the proud victorious nation again,

0:55:470:55:52

with a dramatic straight approach down towards the new Waterloo Place.

0:55:520:55:57

Regent Street, Britain's grandest road,

0:55:570:56:00

taking you to the Regent himself, in Carlton House.

0:56:000:56:04

Except it doesn't.

0:56:070:56:08

Today when you reach Waterloo place, there's no Carlton House,

0:56:080:56:12

just a square filled with later monuments and parked cars.

0:56:120:56:17

So what did happen to Carlton House?

0:56:170:56:19

Was it destroyed in a fire? Was it demolished years later?

0:56:190:56:24

Well, no. Nash's grand finale to his grand street,

0:56:240:56:28

the obsession of the Prince Regent for so many years

0:56:280:56:31

was destroyed by George himself, and the reason's just over there.

0:56:310:56:35

Buckingham Palace, George's new obsession. Typical old George.

0:56:380:56:41

They'd built the grandest street in Europe to his house,

0:56:410:56:45

but he was bored with it.

0:56:450:56:47

He didn't really like living on a street.

0:56:470:56:49

In 1820, the Regent became King George IV.

0:56:510:56:56

And he commissioned Nash to create a spectacular new palace.

0:56:570:57:01

As usual though, Nash's design went a bit over budget.

0:57:010:57:05

So to help pay for it all, they pulled down Carlton House,

0:57:050:57:08

and developed the land.

0:57:080:57:09

Nash put up gentleman's clubs

0:57:090:57:12

and exclusive new houses where Carlton House had been.

0:57:120:57:16

All very nice,

0:57:160:57:18

but not really what you'd expect at the end of a ceremonial route.

0:57:180:57:21

In the end, though, perhaps it doesn't really matter

0:57:240:57:27

that Regent Street is a bit of a road to nowhere.

0:57:270:57:30

Regent Street was a hugely ambitious piece of urban design

0:57:300:57:34

and it was built at a time when London had the self-confidence

0:57:340:57:38

to try to rival Paris or Rome,

0:57:380:57:40

but Regent Street also sums up a very Regency sense of Britishness.

0:57:400:57:46

With unfinished Parthenons and demolished palaces,

0:57:480:57:52

Regency architecture can sometimes feel like a crazy experiment

0:57:520:57:55

that didn't quite work.

0:57:550:57:58

But because this was a style that was so ambitious,

0:57:580:58:01

the surviving buildings of the Regency

0:58:010:58:03

have proved to be the greatest legacy of the age.

0:58:030:58:07

Next time, the workers are revolting.

0:58:080:58:13

As Regency arrogance and excess pushes Britain

0:58:130:58:15

to the very edge of revolution.

0:58:150:58:19

And the Regent has to face down a coalition of radicals,

0:58:190:58:22

luddites and angry poets.

0:58:220:58:25

Even his own wife has it in for him.

0:58:250:58:27

Subtitles by Red Bee Media Ltd

0:58:450:58:48

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0:58:480:58:51

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