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Imagine Britain in the middle of the Napoleonic Wars. | 0:00:03 | 0:00:07 | |
We've been fighting the French for years. | 0:00:09 | 0:00:12 | |
Napoleon tightens his grip on Europe. | 0:00:12 | 0:00:15 | |
Closing us in, locking us down. | 0:00:15 | 0:00:18 | |
But the Brits fight on. | 0:00:18 | 0:00:20 | |
Across Europe, more than three million people die | 0:00:22 | 0:00:26 | |
and then in 1815, the final struggle. | 0:00:26 | 0:00:30 | |
The Battle of Waterloo was a decisive victory over Napoleon | 0:00:36 | 0:00:41 | |
and the start of a new era. | 0:00:41 | 0:00:43 | |
I'm at the top of a memorial | 0:00:47 | 0:00:49 | |
to the Commander in Chief of Britain's triumphant army. | 0:00:49 | 0:00:54 | |
The darkness and destruction of the Napoleonic wars were over. | 0:00:56 | 0:01:00 | |
In 1815, Britain emerged victorious | 0:01:00 | 0:01:03 | |
as the most powerful nation on Earth. | 0:01:03 | 0:01:06 | |
Britannia really did rule the waves. | 0:01:06 | 0:01:08 | |
Almost by accident, we'd acquired 17 new colonies. | 0:01:08 | 0:01:12 | |
Our leaders and statesmen looked around them, | 0:01:12 | 0:01:14 | |
asked themselves the question, "Who are we? | 0:01:14 | 0:01:17 | |
"Who should we be? What should a modern Britain look like?" | 0:01:17 | 0:01:21 | |
And all this...would be transformed. | 0:01:21 | 0:01:24 | |
Demolished and rebuilt in some of the most ambitious metropolitan improvements ever attempted. | 0:01:24 | 0:01:29 | |
Central London would be reborn, | 0:01:33 | 0:01:35 | |
with Regent Street slicing through the heart of the city. | 0:01:35 | 0:01:38 | |
This was an age of confidence, exuberance | 0:01:39 | 0:01:43 | |
and above all, experimentation. | 0:01:43 | 0:01:46 | |
It was a decade of design as wild as the '60s. | 0:01:46 | 0:01:50 | |
With Ancient Greece and Rome, Egypt, China, France, | 0:01:57 | 0:02:02 | |
and India all thrown into the mix. | 0:02:02 | 0:02:05 | |
There was glorious light and garish colour. | 0:02:07 | 0:02:10 | |
New technology mixed up with ancient art. | 0:02:10 | 0:02:13 | |
In the decade of the Regency, | 0:02:15 | 0:02:18 | |
between 1811 and 1820, there was an explosion of design. | 0:02:18 | 0:02:22 | |
British style was lavish, | 0:02:22 | 0:02:24 | |
theatrical, outrageous and brilliant! | 0:02:24 | 0:02:28 | |
And at the heart of it all was George, the Prince Regent, | 0:02:33 | 0:02:37 | |
whose obsession with building left an indelible stamp on Britain. | 0:02:37 | 0:02:43 | |
I'm Lucy Worsley and I'm a historian. | 0:03:01 | 0:03:03 | |
I'm Chief Curator at Historic Royal Palaces | 0:03:03 | 0:03:06 | |
and I love poking around in Royal buildings. | 0:03:06 | 0:03:10 | |
I'm fascinated by the way palaces always reflect the character | 0:03:13 | 0:03:16 | |
of the person who built them. | 0:03:16 | 0:03:18 | |
The biggest builder of them all was the Prince Regent. | 0:03:21 | 0:03:24 | |
He had something like an addiction | 0:03:24 | 0:03:26 | |
for architecture and interior decoration. | 0:03:26 | 0:03:28 | |
He was constantly building and rebuilding his houses. | 0:03:28 | 0:03:31 | |
He was always hungry for change. | 0:03:31 | 0:03:34 | |
In 1815, he appointed the architect John Nash | 0:03:34 | 0:03:37 | |
to rebuild his seaside retreat, | 0:03:37 | 0:03:39 | |
the Marine Pavilion at Brighton. | 0:03:39 | 0:03:41 | |
Nash took it from being an elegant neo-classical villa | 0:03:41 | 0:03:45 | |
and turned it into this Indian fantasy palace. | 0:03:45 | 0:03:48 | |
George started this place as soon as Waterloo was won. | 0:03:56 | 0:04:00 | |
He'd defeated Napoleon, the Emperor of Europe, and now here he was, | 0:04:00 | 0:04:04 | |
building a holiday home for himself as Emperor of the World. | 0:04:04 | 0:04:09 | |
The pavilion captures the craziness of Regency style. | 0:04:20 | 0:04:23 | |
Its clashing of cultures, its boldness, | 0:04:25 | 0:04:29 | |
its willingness to try new things. | 0:04:29 | 0:04:32 | |
Together, George and his architect, John Nash, | 0:04:32 | 0:04:34 | |
would give us the very essence of the Regency. | 0:04:34 | 0:04:37 | |
This book was commissioned by John Nash | 0:04:44 | 0:04:46 | |
to celebrate his finished building and the amazing exuberance here, | 0:04:46 | 0:04:50 | |
Indian on the outside, Chinese on the inside, | 0:04:50 | 0:04:53 | |
was achieved with the help of some new technology. | 0:04:53 | 0:04:56 | |
These domes are sealed with what Nash called his patent mastic | 0:04:56 | 0:05:00 | |
and they're supported by an iron framework. | 0:05:00 | 0:05:03 | |
The building's all about illusion and theatricality. | 0:05:05 | 0:05:08 | |
It's by one showman for another. By John Nash for the Prince Regent, | 0:05:08 | 0:05:12 | |
both of them willing to break the rules of architecture. | 0:05:12 | 0:05:15 | |
Building was George's biggest passion, his main creative outlet. | 0:05:19 | 0:05:23 | |
Walking through these exotic rooms, | 0:05:30 | 0:05:33 | |
you get the sense that they were designed | 0:05:33 | 0:05:35 | |
for the naughty, no-rules lifestyle that George longed for, | 0:05:35 | 0:05:39 | |
with a room for each pleasure. | 0:05:39 | 0:05:41 | |
And for his greatest pleasure, eating, | 0:05:45 | 0:05:49 | |
the most luxurious rooms of all. | 0:05:49 | 0:05:51 | |
Trapped indoors by his gout and hardly able to climb up stairs, | 0:05:51 | 0:05:56 | |
the Regent planned his palace around his consolation - a love of grub. | 0:05:56 | 0:06:01 | |
A quarter of the building is devoted to food. | 0:06:01 | 0:06:04 | |
He was so pleased with his new kitchen, | 0:06:07 | 0:06:09 | |
he even used it as a dining room. | 0:06:09 | 0:06:11 | |
The cartoonists showed him gnawing on a greasy drumstick, | 0:06:13 | 0:06:15 | |
but his taste was a lot more sophisticated. | 0:06:15 | 0:06:19 | |
Is that enough wax? | 0:06:19 | 0:06:22 | |
'I'm in George's kitchen with the food historian, Ivan Day.' | 0:06:22 | 0:06:29 | |
So what you're doing is you're pressing it | 0:06:29 | 0:06:32 | |
-into this little impression... -I'm making an urn. | 0:06:32 | 0:06:34 | |
-..of a classical urn. -That'll be good. | 0:06:34 | 0:06:36 | |
Shall I start kneading my stuff? | 0:06:36 | 0:06:38 | |
-Yeah. If you get some of that out of there. -What's it called again? | 0:06:40 | 0:06:42 | |
This is called gum paste, or pastillage, | 0:06:42 | 0:06:44 | |
and it's a mixture of sugar and a gum called gum tragacanth, | 0:06:44 | 0:06:47 | |
which makes it very elastic, like plasticine. | 0:06:47 | 0:06:50 | |
It's like edible plasticine. | 0:06:50 | 0:06:52 | |
-Is it what I put on my Christmas cake? -Not at all. | 0:06:52 | 0:06:54 | |
It was used at very, very high status regal banquets, | 0:06:54 | 0:07:00 | |
usually to make edible table ornaments. | 0:07:00 | 0:07:03 | |
Originally, it was made for making cups and plates | 0:07:03 | 0:07:05 | |
you could actually eat off. | 0:07:05 | 0:07:07 | |
Once you'd finished eating, | 0:07:07 | 0:07:08 | |
you could then eat the plate if you wanted to save the washing up. | 0:07:08 | 0:07:11 | |
Squidge, squidge, squidge it in. | 0:07:12 | 0:07:15 | |
-Right. -You'd better start because it's drying out. | 0:07:16 | 0:07:19 | |
-Quick, quick, quick! -Now, let it touch the wood first. So push it down. | 0:07:19 | 0:07:21 | |
Push it down hard, really hard. | 0:07:21 | 0:07:24 | |
-Are you going to hold still while I...? -I'm going to hold it for you. | 0:07:24 | 0:07:26 | |
And then you just squeegee it backwards and forwards. | 0:07:26 | 0:07:29 | |
Don't break the neck! | 0:07:29 | 0:07:32 | |
-That's perfect. -Oh, very good! | 0:07:32 | 0:07:34 | |
I'm going to get the little pointy thing | 0:07:36 | 0:07:38 | |
and start pulling it out. | 0:07:38 | 0:07:39 | |
Work your way around the sides. | 0:07:39 | 0:07:41 | |
Come out, little urn. | 0:07:41 | 0:07:43 | |
This is going to be a masterpiece. | 0:07:43 | 0:07:46 | |
You've done it. It's done, it'll come off. | 0:07:46 | 0:07:48 | |
And just let it drop that side down onto the wood. | 0:07:48 | 0:07:53 | |
Just flick it over and it'll just drop out. | 0:07:53 | 0:07:54 | |
Ooh! Look how finely decorated it is. | 0:07:54 | 0:07:59 | |
It's superb. And then you make another one | 0:07:59 | 0:08:01 | |
and you join the two together with a bit of adhesive. | 0:08:01 | 0:08:03 | |
And then I could put it on the top of a building like that. | 0:08:03 | 0:08:06 | |
-Exactly, yeah. -Brilliant! | 0:08:06 | 0:08:08 | |
My urn is a tiny bit of the most spectacular part | 0:08:08 | 0:08:12 | |
of a Regency Banquet - the sugar Sculpture. | 0:08:12 | 0:08:15 | |
The undisputed master of this arcane art was Antonin Careme, | 0:08:17 | 0:08:21 | |
the Regency's most celebrated chef. | 0:08:21 | 0:08:24 | |
He'd cooked for Napoleon, which instantly attracted George, | 0:08:24 | 0:08:28 | |
and in 1816 he managed to lure Careme over from France. | 0:08:28 | 0:08:32 | |
It turns out the Regent and his new cook had a common interest. | 0:08:32 | 0:08:36 | |
Tell me a bit about Antonin Careme. | 0:08:36 | 0:08:39 | |
The interesting thing about Careme was he studied architecture. | 0:08:39 | 0:08:43 | |
He went to libraries and looked at, you know, Vitruvius, | 0:08:43 | 0:08:46 | |
and people like that | 0:08:46 | 0:08:48 | |
so he could understand the classical orders. | 0:08:48 | 0:08:51 | |
And he defined confectionary | 0:08:51 | 0:08:52 | |
as being an art form because it was architecture in miniature. | 0:08:52 | 0:08:55 | |
So even the Regent's cook considered himself an architect. | 0:08:55 | 0:09:01 | |
His bestselling books were filled with diagrams of edible buildings, | 0:09:01 | 0:09:04 | |
reflecting all the latest architectural trends. | 0:09:04 | 0:09:07 | |
His style is very eclectic, and on one table | 0:09:09 | 0:09:12 | |
you might get an Egyptian colossus and a Greek Temple, | 0:09:12 | 0:09:16 | |
but you also might get a Swiss cottage or a Russian Orthodox church | 0:09:16 | 0:09:21 | |
made out of nougat and sugar and almonds. | 0:09:21 | 0:09:24 | |
And it became very much based on a really early 19th century aesthetic | 0:09:25 | 0:09:31 | |
of pinching forms from all kinds of architectural and artistic genres. | 0:09:31 | 0:09:37 | |
So when you look at his designs, they are caprices. | 0:09:37 | 0:09:41 | |
It's a fantasy kind of world. | 0:09:41 | 0:09:43 | |
Rather like this building. | 0:09:43 | 0:09:46 | |
In fact, this building is rather like a big sugar Careme in its own right really. | 0:09:46 | 0:09:51 | |
Sadly the perfect match between George and Careme, wasn't to last. | 0:09:51 | 0:09:57 | |
But he didn't stay for long cos I think he saw the Prince Regent | 0:09:57 | 0:10:01 | |
as being a little bit on the boorish side | 0:10:01 | 0:10:04 | |
and not really appreciative of some of the finer details | 0:10:04 | 0:10:08 | |
of French cuisine classique, and he moved on. | 0:10:08 | 0:10:10 | |
Careme wasn't the only person to fall out of love with George. | 0:10:10 | 0:10:16 | |
The world at large thought his pavilion looked ridiculous. | 0:10:18 | 0:10:21 | |
A shoddy version of an opium smoker's dream. | 0:10:21 | 0:10:25 | |
Satirists painted the Regent as a fat, debauched addict, | 0:10:32 | 0:10:36 | |
ensconced in an outrageous oriental den. | 0:10:36 | 0:10:39 | |
And George, oblivious, carried on building away, living the high life. | 0:10:39 | 0:10:44 | |
But his government was taking a rather more cautious approach | 0:10:47 | 0:10:51 | |
to honouring Waterloo. | 0:10:51 | 0:10:53 | |
How do you celebrate the glorious ending of 20 years of warfare? | 0:11:03 | 0:11:08 | |
Well you'd expect the government to put up a whole lot of monuments - | 0:11:08 | 0:11:10 | |
triumphal arches, columns, that sort of thing. | 0:11:10 | 0:11:14 | |
But two years after the Battle of Waterloo, | 0:11:14 | 0:11:16 | |
they'd only finished one monument, | 0:11:16 | 0:11:17 | |
and it wasn't even a proper monument at all. | 0:11:17 | 0:11:19 | |
It was a bridge. | 0:11:19 | 0:11:21 | |
Of course, the original Waterloo Bridge wasn't made of concrete, | 0:11:23 | 0:11:26 | |
or even of sugar. | 0:11:26 | 0:11:28 | |
The Regency version was a granite affair with many arches | 0:11:28 | 0:11:31 | |
and on the second anniversary of the Battle of Waterloo, | 0:11:31 | 0:11:35 | |
it was the scene of a huge party. | 0:11:35 | 0:11:37 | |
The Bridge was opened on the 18th June 1817. | 0:11:41 | 0:11:45 | |
For the occasion, there were lots of flags flying. | 0:11:46 | 0:11:48 | |
The bridge was packed with veterans from the battlefield of Waterloo | 0:11:48 | 0:11:51 | |
and the houses all around | 0:11:51 | 0:11:52 | |
were described as looking as if they were roofed with people. | 0:11:52 | 0:11:55 | |
This feat of engineering | 0:11:56 | 0:11:58 | |
was proclaimed as a fitting and practical monument | 0:11:58 | 0:12:01 | |
to the brilliant victory of Waterloo | 0:12:01 | 0:12:03 | |
and it was described as one of the wonders of the age. | 0:12:03 | 0:12:07 | |
Waterloo's victorious general, The Duke of Wellington, | 0:12:10 | 0:12:13 | |
crossed over the bridge. | 0:12:13 | 0:12:15 | |
Smoke filled the air as cannons fired. | 0:12:15 | 0:12:17 | |
One shot for each of the 202 guns captured at Waterloo. | 0:12:17 | 0:12:22 | |
In amongst this crowd was the painter, John Constable, | 0:12:24 | 0:12:27 | |
and for him the occasion would turn out to be a bit of an obsession. | 0:12:27 | 0:12:30 | |
Constable set out to paint his grandest canvas yet - | 0:12:35 | 0:12:39 | |
a patriotic tour de force | 0:12:39 | 0:12:41 | |
recording this great moment in the life of the nation. | 0:12:41 | 0:12:44 | |
He slaved away at his painting for 15 years. | 0:12:44 | 0:12:49 | |
Finally in 1832, it was ready to be exhibited at the Royal Academy, | 0:12:49 | 0:12:53 | |
here at Somerset House. | 0:12:53 | 0:12:55 | |
In the finished canvas, we see the Prince Regent getting into a barge | 0:12:58 | 0:13:02 | |
up at Whitehall, with the bridge in the distance. | 0:13:02 | 0:13:05 | |
I think this picture meant a lot to Constable. | 0:13:07 | 0:13:10 | |
This was his chance to paint a historic moment - | 0:13:10 | 0:13:13 | |
the opening of a monument | 0:13:13 | 0:13:14 | |
to the greatest victory in military history. | 0:13:14 | 0:13:17 | |
But poor old Constable was completely upstaged by Turner | 0:13:19 | 0:13:23 | |
in the same exhibition. | 0:13:23 | 0:13:24 | |
This is Turner's effort. It's a seascape. | 0:13:24 | 0:13:26 | |
It's full of movement, | 0:13:26 | 0:13:27 | |
although apparently it's a much simpler picture, | 0:13:27 | 0:13:31 | |
and when Turner saw what Constable had done, | 0:13:31 | 0:13:33 | |
he played rather a naughty trick. | 0:13:33 | 0:13:35 | |
He saw how bright and busy this work was and he came back | 0:13:35 | 0:13:38 | |
and added just one little red buoy on the surface of his waves there. | 0:13:38 | 0:13:42 | |
When Constable saw what Turner had done, he knew | 0:13:42 | 0:13:45 | |
Turner was playing a trick on him and he said in a rage, | 0:13:45 | 0:13:48 | |
"Turner's been here and he's fired a gun!" | 0:13:48 | 0:13:51 | |
Even without Turner's mocking, | 0:13:54 | 0:13:56 | |
Constable's painting was a total flop. | 0:13:56 | 0:13:58 | |
15 years on, critics couldn't remember the event he'd painted, | 0:14:00 | 0:14:04 | |
or why Waterloo Bridge was supposed to be so important. | 0:14:04 | 0:14:09 | |
So why did the government make all this fuss about a bridge? | 0:14:09 | 0:14:12 | |
The real reason that a bridge ended up being the official monument | 0:14:14 | 0:14:18 | |
to the Battle of Waterloo was that the government was broke | 0:14:18 | 0:14:21 | |
and the amazing thing about Waterloo Bridge | 0:14:21 | 0:14:24 | |
is that it was funded entirely by private investment. | 0:14:24 | 0:14:27 | |
It may have cost members of the public | 0:14:27 | 0:14:29 | |
a penny to cross over the bridge, | 0:14:29 | 0:14:31 | |
but to the government, it was free. | 0:14:31 | 0:14:33 | |
Something free was very desirable in a post-war recession | 0:14:35 | 0:14:39 | |
with a huge national debt. | 0:14:39 | 0:14:41 | |
The Tory government needed to slash spending by a quarter | 0:14:46 | 0:14:51 | |
rather than spewing away public funds. | 0:14:51 | 0:14:54 | |
The gout-ridden Regent stands by, | 0:14:54 | 0:14:56 | |
his expensive projects propped up with the people's cash. | 0:14:56 | 0:15:00 | |
It was time for cuts... | 0:15:02 | 0:15:04 | |
..not for squandering money on public monuments and art... | 0:15:06 | 0:15:09 | |
..which is where some broken old Greek statues come in. | 0:15:11 | 0:15:14 | |
These are the Elgin Marbles, taken by Lord Elgin | 0:15:24 | 0:15:27 | |
from the Parthenon in Athens at the start of the 19th century. | 0:15:27 | 0:15:33 | |
These bits of somebody else's monument | 0:15:33 | 0:15:36 | |
would turn out to be a real emblem for a triumphant Britain. | 0:15:36 | 0:15:40 | |
But when they first arrived, not everybody was convinced. | 0:15:40 | 0:15:44 | |
Their curator, Ian Jenkins, can tell me more. | 0:15:47 | 0:15:50 | |
So Ian, what was new about the Elgin Marbles? Why were people excited? | 0:15:50 | 0:15:56 | |
Well, when they first came to Britain | 0:15:56 | 0:15:58 | |
and went on show in Lord Elgin's temporary museum in London, | 0:15:58 | 0:16:01 | |
people had never seen the like before. | 0:16:01 | 0:16:03 | |
They were immediately shocked | 0:16:03 | 0:16:06 | |
by the almost brutal naturalism | 0:16:06 | 0:16:09 | |
of these great colossal figures. | 0:16:09 | 0:16:12 | |
These were ancient Greek originals | 0:16:17 | 0:16:19 | |
and they weren't what people expected. | 0:16:19 | 0:16:21 | |
People liked their sculpture complete, white, restored, domestic. | 0:16:27 | 0:16:30 | |
These were not domestic, they were not tamed. | 0:16:30 | 0:16:33 | |
They were broken, they were stained, | 0:16:33 | 0:16:35 | |
they were often headless, they were unrestored | 0:16:35 | 0:16:38 | |
and Lord Elgin entertained for a long time | 0:16:38 | 0:16:40 | |
the possibility that they should be restored | 0:16:40 | 0:16:42 | |
and consulted the great sculptor Canova, | 0:16:42 | 0:16:44 | |
who said that they were real meat. | 0:16:44 | 0:16:46 | |
-Real meat! -Real flesh. -Real flesh. I love it! | 0:16:46 | 0:16:50 | |
They were avant garde. | 0:16:50 | 0:16:51 | |
They represented the shock of the new, a new wave. | 0:16:51 | 0:16:55 | |
Were these frightening objects | 0:16:55 | 0:16:56 | |
the sort of thing we really wanted in Britain? | 0:16:56 | 0:16:59 | |
In 1816, Parliament held an enquiry | 0:17:02 | 0:17:05 | |
to decide whether to buy them for the nation. | 0:17:05 | 0:17:09 | |
It came down to two things | 0:17:09 | 0:17:10 | |
- were they any good, and what did they stand for? | 0:17:10 | 0:17:14 | |
It's a defining moment when all the congnoscenti, the artists, | 0:17:17 | 0:17:20 | |
the connoisseurs, were brought in, | 0:17:20 | 0:17:21 | |
each interrogated in turn, and each giving his own | 0:17:21 | 0:17:26 | |
account of the marbles and how they should be evaluated. | 0:17:26 | 0:17:30 | |
The answer came back from most of them | 0:17:30 | 0:17:33 | |
that these were the greatest works of art ever seen in Britain. | 0:17:33 | 0:17:37 | |
and yes, the enquiry concluded, | 0:17:37 | 0:17:39 | |
it was entirely appropriate for a triumphant Britain to own them. | 0:17:39 | 0:17:43 | |
Greece was seen by Britain in the 19th century as somehow pure, | 0:17:43 | 0:17:48 | |
an untainted society. | 0:17:48 | 0:17:51 | |
To have the Elgin Marbles in Britain | 0:17:51 | 0:17:54 | |
was to have transplanted Old Greece to London. | 0:17:54 | 0:17:58 | |
Even though the Government was broke, | 0:17:58 | 0:18:01 | |
it found £35,000 to buy the Elgin Marbles | 0:18:01 | 0:18:04 | |
for the British Museum. | 0:18:04 | 0:18:07 | |
We were the inheritors of the Greeks, | 0:18:07 | 0:18:09 | |
plucky little Britain, defender of freedom. | 0:18:09 | 0:18:11 | |
This was powerful stuff and it changed the way Britain looked. | 0:18:14 | 0:18:19 | |
Within a few years the home of the marbles itself | 0:18:19 | 0:18:22 | |
was being rebuilt as a Greek temple. | 0:18:22 | 0:18:24 | |
The most modern buildings after 1815 | 0:18:29 | 0:18:32 | |
drew upon Ancient Greek originals, | 0:18:32 | 0:18:34 | |
like St Pancras Church in London. | 0:18:34 | 0:18:37 | |
Achingly cool and built for the north London intelligentsia. | 0:18:37 | 0:18:42 | |
These urbanites aspired to Greekness. | 0:18:43 | 0:18:47 | |
Like the Athenians, they hoped to change the world with ideas and art. | 0:18:47 | 0:18:52 | |
But a city with a greater claim to this Greek inheritance | 0:18:55 | 0:18:58 | |
lay north of the border - Edinburgh. | 0:18:58 | 0:19:01 | |
Now London didn't have a monopoly on the idea of Ancient Greece | 0:19:12 | 0:19:16 | |
and Edinburgh, too, wanted to be the New Athens. | 0:19:16 | 0:19:20 | |
I'm sitting on Britain's first monument | 0:19:20 | 0:19:23 | |
to the dead of the Napoleonic Wars | 0:19:23 | 0:19:25 | |
and clearly there's a bit of competition going on here. | 0:19:25 | 0:19:27 | |
Down in London they had the real Elgin Marbles, | 0:19:27 | 0:19:30 | |
but up here in Scotland | 0:19:30 | 0:19:32 | |
they were hoping to build a complete Recreation of the Parthenon. | 0:19:32 | 0:19:36 | |
In 1820, someone suggested reconstructing the Greek ruin | 0:19:42 | 0:19:46 | |
as a massive memorial, | 0:19:46 | 0:19:48 | |
complete with its 46 giant columns. | 0:19:48 | 0:19:51 | |
The Scottish people gave generously, | 0:19:51 | 0:19:54 | |
at least at first, and building began. | 0:19:54 | 0:19:56 | |
But it didn't last long. | 0:19:56 | 0:19:57 | |
Sadly the money ran out and it never got finished. | 0:19:57 | 0:20:01 | |
Construction ground to a halt after just 12 columns | 0:20:02 | 0:20:06 | |
and the monument became known as Scotland's shame. | 0:20:06 | 0:20:10 | |
Not that this put Edinburgh off the Greek theme. | 0:20:16 | 0:20:19 | |
The city had been the home of the big brains of the Enlightenment, | 0:20:19 | 0:20:23 | |
like Adam Smith, and David Hume | 0:20:23 | 0:20:25 | |
- the modern heirs of Ancient Greek thought. | 0:20:25 | 0:20:28 | |
After Waterloo the New Town's architects | 0:20:31 | 0:20:33 | |
turned those ideas into bricks and mortar, | 0:20:33 | 0:20:36 | |
earning Edinburgh its title of The Athens of the North. | 0:20:36 | 0:20:41 | |
But this cold Greek purity wasn't for everybody. | 0:20:47 | 0:20:51 | |
This is Sir John Soane. | 0:20:51 | 0:20:53 | |
He was one of the most important architects of the age. | 0:20:53 | 0:20:56 | |
A man with a very different architectural mission, | 0:20:56 | 0:20:59 | |
and this is his house in London. | 0:20:59 | 0:21:01 | |
Soane shared the Prince Regent's belief | 0:21:03 | 0:21:05 | |
that you should express your personality through architecture. | 0:21:05 | 0:21:09 | |
As we're about to see, Soane was a pretty unusual man. | 0:21:09 | 0:21:13 | |
# People are strange | 0:21:14 | 0:21:17 | |
# When you're a stranger | 0:21:17 | 0:21:20 | |
# Faces look ugly | 0:21:20 | 0:21:22 | |
# When you're alone | 0:21:22 | 0:21:23 | |
# Women seem wicked | 0:21:23 | 0:21:26 | |
# When you're unwanted | 0:21:26 | 0:21:28 | |
# Streets are uneven | 0:21:28 | 0:21:30 | |
# When you're down | 0:21:30 | 0:21:32 | |
# When you're strange | 0:21:32 | 0:21:33 | |
# Faces come out of the rain | 0:21:33 | 0:21:36 | |
# When you're strange | 0:21:38 | 0:21:40 | |
# No-one remembers your name | 0:21:40 | 0:21:42 | |
# When you're strange | 0:21:44 | 0:21:46 | |
# When you're strange | 0:21:46 | 0:21:48 | |
# When you're strange | 0:21:48 | 0:21:50 | |
# People are strange | 0:21:52 | 0:21:54 | |
# When you're a stranger | 0:21:54 | 0:21:56 | |
# Houses look ugly... # | 0:21:56 | 0:21:59 | |
'Jerzy Kierkuc Bielinski is a curator here.' | 0:21:59 | 0:22:03 | |
This is John Soane. | 0:22:03 | 0:22:06 | |
-Yes. -And what sort of a man was he? | 0:22:06 | 0:22:08 | |
He was a very driven man. | 0:22:08 | 0:22:10 | |
Because he was driven, I think he could also be slightly difficult. | 0:22:10 | 0:22:14 | |
He's not short of self confidence, is he? | 0:22:14 | 0:22:16 | |
Placing a bust of himself so prominently. | 0:22:16 | 0:22:19 | |
No. Well, I think it's also a comment that he's making | 0:22:19 | 0:22:22 | |
about architecture and the role of the architect | 0:22:22 | 0:22:25 | |
because if you notice, | 0:22:25 | 0:22:27 | |
there are two small figures, two statuettes beneath the bust. | 0:22:27 | 0:22:30 | |
You have Michaelangelo representing sculpture | 0:22:30 | 0:22:34 | |
and Raphael with his artist's palette representing painting, | 0:22:34 | 0:22:38 | |
and what Soane is saying here | 0:22:38 | 0:22:39 | |
is that architecture, as personified by himself of course, | 0:22:39 | 0:22:43 | |
is greater than those two arts | 0:22:43 | 0:22:45 | |
because painting and sculpture ornament architecture. | 0:22:45 | 0:22:49 | |
So it's sort of a comment about the union of painting, | 0:22:49 | 0:22:53 | |
architecture and sculpture within this house as well. | 0:22:53 | 0:22:56 | |
So he's making a wider point than, "I am the greatest!" | 0:22:56 | 0:22:59 | |
-He's saying architecture is the greatest art. -Yes. | 0:22:59 | 0:23:02 | |
Soane, a self-made man, | 0:23:02 | 0:23:04 | |
won social status through his skill as an architect | 0:23:04 | 0:23:07 | |
and he wanted to be sure people saw architecture as a proper art. | 0:23:07 | 0:23:11 | |
Here, he made the world's first architectural museum - | 0:23:11 | 0:23:14 | |
a temple to architecture with himself as high priest. | 0:23:14 | 0:23:19 | |
# When you're strange | 0:23:19 | 0:23:21 | |
# Faces come out of the rain... # | 0:23:22 | 0:23:24 | |
He hoarded Roman, Greek, Egyptian and Gothic fragments. | 0:23:24 | 0:23:29 | |
All the stylistic influences on Regency taste. | 0:23:29 | 0:23:33 | |
And what Soane has done here is that he's created | 0:23:33 | 0:23:36 | |
a type of dictionary of architecture, if you like. | 0:23:36 | 0:23:40 | |
He's taken casts or actual fragments of the great buildings | 0:23:40 | 0:23:43 | |
and he's brought them into this London townhouse. | 0:23:43 | 0:23:46 | |
Sort of telescoping the classical past into this incredible interior. | 0:23:46 | 0:23:52 | |
So there is method behind the madness, if you like. | 0:23:52 | 0:23:56 | |
But Soane didn't take the rules and follow them to the letter. | 0:23:57 | 0:24:01 | |
He liked to experiment. | 0:24:01 | 0:24:03 | |
# When you're strange. # | 0:24:03 | 0:24:04 | |
I think that one of the reasons that modern architects | 0:24:10 | 0:24:13 | |
are so obsessed with Soane | 0:24:13 | 0:24:14 | |
is because he broke the box, if you like. | 0:24:14 | 0:24:17 | |
If you think of a room as having four walls, a ceiling and a floor, | 0:24:17 | 0:24:20 | |
Soane bursts through those constraints. | 0:24:20 | 0:24:22 | |
-Absolutely. -And this space here, in an ideal world | 0:24:22 | 0:24:25 | |
it would be just a little square in the middle here, | 0:24:25 | 0:24:27 | |
but he's dissolved the walls and all the energy | 0:24:27 | 0:24:30 | |
is taking place beyond the boundaries | 0:24:30 | 0:24:32 | |
of the traditional room, isn't it? | 0:24:32 | 0:24:35 | |
Absolutely. He's punctured this space through the use of plate glass | 0:24:35 | 0:24:39 | |
and he's illuminated it with this amazing skylight, | 0:24:39 | 0:24:42 | |
this huge ceiling rose that seems almost about to sort of crush us. | 0:24:42 | 0:24:47 | |
There's a lot of spacial ambiguity here. | 0:24:49 | 0:24:51 | |
A lot of playfulness, I think, because of that. | 0:24:51 | 0:24:53 | |
He's a real conjurer, isn't he? | 0:24:53 | 0:24:55 | |
Yes, definitely, definitely. Light and space. | 0:24:55 | 0:24:58 | |
He's a magician of light and space really. | 0:24:58 | 0:25:00 | |
Soane liked to talk about "the poetry of architecture." | 0:25:10 | 0:25:14 | |
He thought it should stimulate the imagination. | 0:25:15 | 0:25:17 | |
So Soane treated his house as a kind of laboratory | 0:25:19 | 0:25:22 | |
for trying out different architectural ideas | 0:25:22 | 0:25:25 | |
and this room is full of what he called "fanciful effects." | 0:25:25 | 0:25:29 | |
Let's start with this weirdly truncated dome. | 0:25:29 | 0:25:33 | |
You would expect it to land in the four corners of the room, | 0:25:33 | 0:25:36 | |
but it doesn't. | 0:25:36 | 0:25:37 | |
Beyond the dome there are these slots with light coming down | 0:25:37 | 0:25:40 | |
and it's not normal light, | 0:25:40 | 0:25:42 | |
it's yellow coloured | 0:25:42 | 0:25:44 | |
because of the coloured glass that he's put into the skylights. | 0:25:44 | 0:25:48 | |
We've also got more than 100 mirrors in here. | 0:25:52 | 0:25:56 | |
So that everywhere you look, | 0:25:56 | 0:25:57 | |
there's a disconcerting reflection of yourself. | 0:25:57 | 0:26:00 | |
We're really in the hands here of an architectural wizard. | 0:26:00 | 0:26:03 | |
And he didn't stop at innovating with light and reflection. | 0:26:12 | 0:26:16 | |
Soane's also what you might call an early adopter. | 0:26:16 | 0:26:19 | |
Now, although he loved antiquity, | 0:26:22 | 0:26:24 | |
Soane also loved all mod cons | 0:26:24 | 0:26:26 | |
and this is his own little dressing room | 0:26:26 | 0:26:28 | |
where we've got all the latest gadgets. | 0:26:28 | 0:26:31 | |
Firstly, we've got a nice fitted desk and drawers. | 0:26:31 | 0:26:34 | |
Just outside the window here we've got gas lighting. | 0:26:34 | 0:26:37 | |
This is a great novelty. | 0:26:37 | 0:26:39 | |
The first gas company is only set up in 1812. | 0:26:39 | 0:26:41 | |
This square was the first in London to have a gas supply | 0:26:41 | 0:26:45 | |
and just as soon as it was available, | 0:26:45 | 0:26:47 | |
Soane installed it in his courtyard. | 0:26:47 | 0:26:50 | |
Down here we've got a hot air central heating system. | 0:26:50 | 0:26:54 | |
Over here we've got a plumbed in washbasin, | 0:26:54 | 0:26:57 | |
and over here, best of all, we've got a flushing toilet. | 0:26:57 | 0:27:00 | |
But Soane didn't just rethink interiors. | 0:27:04 | 0:27:06 | |
He was after big commissions. | 0:27:06 | 0:27:10 | |
By the start of the Regency, | 0:27:10 | 0:27:11 | |
he'd already rebuilt the Bank of England in Roman style. | 0:27:11 | 0:27:15 | |
Bloated with the profits of lending money in the Napoleonic wars, | 0:27:18 | 0:27:22 | |
the bank needed a giant new building. | 0:27:22 | 0:27:24 | |
He created the pioneering Dulwich Picture Gallery - | 0:27:26 | 0:27:30 | |
the first national art museum. | 0:27:30 | 0:27:32 | |
And he also left us a funny little surprise. | 0:27:35 | 0:27:40 | |
This is the monument he designed for his wife, Eliza, | 0:27:40 | 0:27:44 | |
when she died in 1815. | 0:27:44 | 0:27:45 | |
He eventually joined her here. | 0:27:45 | 0:27:49 | |
It has a very distinctive shape, | 0:27:49 | 0:27:51 | |
which might remind you of something else. | 0:27:51 | 0:27:54 | |
In 1924, Giles Gilbert Scott | 0:28:00 | 0:28:03 | |
entered a competition to design the new phonebox. | 0:28:03 | 0:28:08 | |
This is his winning entry, inspired by the mausoleum of Sir John Soane. | 0:28:08 | 0:28:11 | |
It must be one of the strangest architectural legacies | 0:28:11 | 0:28:15 | |
of the Regency period. | 0:28:15 | 0:28:17 | |
If he'd had his way, Soane would've left us with much more. | 0:28:18 | 0:28:23 | |
This is London, Soane style. | 0:28:27 | 0:28:30 | |
Crammed with triumphal arches, | 0:28:30 | 0:28:31 | |
a Senate House, new Royal palaces, oh, and mountains. | 0:28:31 | 0:28:36 | |
Actually, it's all a fantasy. | 0:28:36 | 0:28:39 | |
These are all the buildings Soane never got to build | 0:28:39 | 0:28:42 | |
because the biggest patron of them all always eluded him. | 0:28:42 | 0:28:46 | |
An important architect like Soane | 0:28:46 | 0:28:48 | |
might have expected to get a big job at the royal palaces, | 0:28:48 | 0:28:53 | |
but it wasn't to be. | 0:28:53 | 0:28:54 | |
Soane had a reputation for being a bit difficult, | 0:28:54 | 0:28:58 | |
for bossing his clients around | 0:28:58 | 0:29:00 | |
and only for doing his own very distinctive style. | 0:29:00 | 0:29:03 | |
This isn't what the Prince Regent was after at all. | 0:29:03 | 0:29:06 | |
He wanted an architect to help him realise his own vision. | 0:29:06 | 0:29:10 | |
As he put it, someone suited to his mind. | 0:29:10 | 0:29:13 | |
That's why he chose John Nash. | 0:29:13 | 0:29:16 | |
Nash wasn't the most original designer of his day, | 0:29:19 | 0:29:22 | |
but he was a much easier-going guy than Soane | 0:29:22 | 0:29:24 | |
and happy to design in any style that took the Regent's fancy. | 0:29:24 | 0:29:28 | |
As well as Brighton Pavilion, | 0:29:31 | 0:29:33 | |
Nash worked on the Regent's official home | 0:29:33 | 0:29:36 | |
at the heart of London - Carlton House. | 0:29:36 | 0:29:38 | |
This place had already had several facelifts, | 0:29:38 | 0:29:42 | |
but when he became Regent in 1811, | 0:29:42 | 0:29:45 | |
George spent a fortune beautifying it even more | 0:29:45 | 0:29:47 | |
to make a palace fit for, well, a Regent. | 0:29:47 | 0:29:51 | |
This a book published in 1819, | 0:29:51 | 0:29:52 | |
showing the interiors of the different Royal Residences. | 0:29:52 | 0:29:56 | |
These pages show Carlton House and you can see how it had now become | 0:29:56 | 0:30:00 | |
the most amazingly lavish and opulent interior. | 0:30:00 | 0:30:04 | |
Regrettably, Carlton House is long gone, | 0:30:08 | 0:30:12 | |
but you can get the Carlton House experience | 0:30:12 | 0:30:14 | |
at another Royal Palace, Windsor. | 0:30:14 | 0:30:18 | |
In these rooms at Windsor Castle, | 0:30:18 | 0:30:20 | |
you get a real sense of what Carlton House was actually like. | 0:30:20 | 0:30:24 | |
In the 1820s, George remodelled this suite | 0:30:24 | 0:30:27 | |
and he re-used several of the fittings from Carlton House, | 0:30:27 | 0:30:31 | |
so here you can see tantalizing traces of the Prince's lost palace. | 0:30:31 | 0:30:35 | |
Fireplaces, doors, even whole floors from Carlton House ended up here. | 0:30:40 | 0:30:45 | |
George treated his palaces like doll's houses, | 0:30:45 | 0:30:48 | |
to be constantly rearranged | 0:30:48 | 0:30:50 | |
and filled with an ever-stranger assortment of stuff. | 0:30:50 | 0:30:54 | |
I've come to meet the Deputy Surveyor of the Queen's Works of Art, Rufus Bird. | 0:30:54 | 0:30:59 | |
Paint me a picture of what it was actually like | 0:30:59 | 0:31:01 | |
to walk into Carlton House, perhaps the Crimson Room. | 0:31:01 | 0:31:05 | |
You would have walked into a room of almost unimaginable opulence... | 0:31:05 | 0:31:09 | |
..with incredible gilded ceilings, | 0:31:11 | 0:31:14 | |
fantastically rich silk velvet on the walls, | 0:31:14 | 0:31:18 | |
amazing combinations of English contemporary Giltwood furniture, | 0:31:18 | 0:31:22 | |
with French decorative works of art... | 0:31:22 | 0:31:26 | |
..amazing chandeliers, he was obsessed with lighting, | 0:31:27 | 0:31:30 | |
huge quantities of light. | 0:31:30 | 0:31:32 | |
Very bright, very, very impressive rooms. | 0:31:32 | 0:31:35 | |
The 20 or so showy rooms in Carlton House | 0:31:38 | 0:31:41 | |
were designed to project George's royal magnificence to the world, | 0:31:41 | 0:31:45 | |
in styles that ranged from the fashionable Grecian decor | 0:31:45 | 0:31:48 | |
of the Old Throne Room to Nash's Gothic Dining Room, | 0:31:48 | 0:31:52 | |
completely gilded and perfect for George's intimate dinners of 30. | 0:31:52 | 0:31:58 | |
There was a real sense of exoticism. | 0:31:58 | 0:32:00 | |
The combinations that he chose were quite adventurous. | 0:32:00 | 0:32:05 | |
We've got a pretty good example of exactly what you're talking about | 0:32:05 | 0:32:08 | |
just here. Tell us what this one is. | 0:32:08 | 0:32:10 | |
Well, this is a Chinese vase. | 0:32:10 | 0:32:12 | |
It's a very plain blue 18th century vase, | 0:32:12 | 0:32:17 | |
and then it has been completely transformed | 0:32:17 | 0:32:20 | |
by these magnificent mounts. Here you see a satyr's head, | 0:32:20 | 0:32:23 | |
and then between the satyrs' heads are these swags of vine, | 0:32:23 | 0:32:28 | |
and the horns scroll up and twist around onto the rim of the bowl. | 0:32:28 | 0:32:33 | |
And it's stood on a griffin stand. | 0:32:33 | 0:32:36 | |
Three griffins which support the top | 0:32:36 | 0:32:38 | |
and they are derived from Roman fragments. | 0:32:38 | 0:32:41 | |
So we've got a mid-18th century Chinese vase, | 0:32:43 | 0:32:45 | |
we've got late 18th century French decoration, | 0:32:45 | 0:32:47 | |
standing on a British Regency but Roman-inspired stand. | 0:32:47 | 0:32:52 | |
Absolutely and that's exactly the sort of confection | 0:32:52 | 0:32:55 | |
that creates this wonderful mixing of styles and eras, | 0:32:55 | 0:32:58 | |
and shows the eclecticism and exoticism | 0:32:58 | 0:33:01 | |
that the Regency is really all about. | 0:33:01 | 0:33:04 | |
This place may look about as grand as it gets | 0:33:05 | 0:33:08 | |
but, in fact, for their time, George's rooms are shockingly informal. | 0:33:08 | 0:33:13 | |
It's all about the furniture. | 0:33:13 | 0:33:15 | |
A generation before it would have been lined up against the walls, | 0:33:15 | 0:33:18 | |
but now chairs and tables are scattered about willy nilly. | 0:33:18 | 0:33:22 | |
And it wasn't just the furniture that was informal. | 0:33:22 | 0:33:26 | |
George was shaking up behaviour too. | 0:33:26 | 0:33:29 | |
In 1816, a scandalous new dance was seen at court for the first time... | 0:33:29 | 0:33:34 | |
the waltz. | 0:33:34 | 0:33:35 | |
Waltzing scandalous? How could this be? | 0:33:41 | 0:33:44 | |
Well, before the Regency, people danced in groups, | 0:33:46 | 0:33:49 | |
only occasionally touching each other. | 0:33:49 | 0:33:52 | |
The waltz was a very different matter, | 0:33:52 | 0:33:55 | |
as the dance historian Robin Benie shows me. | 0:33:55 | 0:33:58 | |
This is a quite nice and romantic movement too. | 0:33:58 | 0:34:01 | |
It is. But it's not as good as waltzing. | 0:34:01 | 0:34:04 | |
-And it's only for a few seconds. -Yes. | 0:34:04 | 0:34:06 | |
In the waltz, when I take you, I have you... | 0:34:06 | 0:34:09 | |
-For the whole dance. -..for the whole dance. Just you. | 0:34:09 | 0:34:12 | |
When this German waltz arrived, it broke all social rules. | 0:34:12 | 0:34:17 | |
It's the arms that go round rather than... | 0:34:17 | 0:34:19 | |
Don't be fooled by the plinky plonky music, this is dirty dancing. | 0:34:19 | 0:34:23 | |
And we've got this wonderful close proximity. | 0:34:25 | 0:34:29 | |
This is one of the reasons that people thought | 0:34:29 | 0:34:31 | |
the waltz was a bit iffy, dodgy. | 0:34:31 | 0:34:33 | |
Just think of the things, that I could be whispering to you. | 0:34:33 | 0:34:36 | |
Well, you could be telling me all sorts of things, | 0:34:36 | 0:34:38 | |
but unfortunately, there's a camera just six inches away, so I advise you not to tell me now! | 0:34:38 | 0:34:43 | |
For polite society, this was the Regency version of a swingers party. | 0:34:45 | 0:34:50 | |
The cartoonist Cruikshank made this print in 1816. | 0:34:50 | 0:34:54 | |
He called it "Waltzing or a Peep into the Royal Brothel". | 0:34:54 | 0:34:59 | |
The Times called the Waltz, "An indecent foreign dance" | 0:35:01 | 0:35:05 | |
and drew attention to its, "Voluptuous intertwining of the limbs". | 0:35:05 | 0:35:10 | |
Led by the Regent's courts though, | 0:35:13 | 0:35:15 | |
the waltz's close embrace was gaining acceptance. | 0:35:15 | 0:35:18 | |
And such scandalous behaviour even began to penetrate | 0:35:18 | 0:35:21 | |
the peaceful country homes of the aristocracy. | 0:35:21 | 0:35:25 | |
Take this place, Attingham Park. | 0:35:28 | 0:35:30 | |
A beautiful 18th century mansion in Shropshire | 0:35:30 | 0:35:34 | |
that got a decadent Regency makeover. | 0:35:34 | 0:35:37 | |
It's a bit of a cautionary tale | 0:35:43 | 0:35:46 | |
about a man who indulged a lascivious taste for luxury. | 0:35:46 | 0:35:50 | |
We're talking shocking pinks and garish colours and gilding aplenty. | 0:35:51 | 0:35:56 | |
This fan of soft furnishings was Thomas Hill, Lord Berwick, | 0:36:05 | 0:36:08 | |
a true follower of Regency fashion. | 0:36:08 | 0:36:12 | |
Thomas the second Lord Berwick was a typical Regency rake. | 0:36:16 | 0:36:21 | |
He went on a grand tour in the 1790s, | 0:36:21 | 0:36:23 | |
came back with a lot of these paintings and pieces of furniture, | 0:36:23 | 0:36:27 | |
and then he took this house that he'd inherited | 0:36:27 | 0:36:29 | |
and ripped the middle out of it. He carried out a major remodelling. | 0:36:29 | 0:36:33 | |
And he gave the job of making over his house | 0:36:33 | 0:36:37 | |
to the defining architect of the Regency. | 0:36:37 | 0:36:40 | |
His architect was John Nash | 0:36:40 | 0:36:43 | |
and here in the picture gallery, | 0:36:43 | 0:36:45 | |
you can see Nash at his most extraordinarily inventive. | 0:36:45 | 0:36:48 | |
It's a really rich, bold interior. | 0:36:48 | 0:36:51 | |
There's quite a few novelties here, the glass roof for example. | 0:36:54 | 0:36:58 | |
The glazing's held in place with iron glazing bars instead of wood. | 0:36:58 | 0:37:03 | |
This was all very exciting but unfortunately | 0:37:03 | 0:37:05 | |
almost immediately it started to leak. | 0:37:05 | 0:37:08 | |
How very modern. | 0:37:08 | 0:37:11 | |
For Thomas, this house was all about displaying his personality | 0:37:11 | 0:37:16 | |
as a cultured gentleman. | 0:37:16 | 0:37:18 | |
Its curator, Sarah Kay, has been delving into his decorative secrets. | 0:37:18 | 0:37:24 | |
Now, it strikes me that it's very pink in here. | 0:37:24 | 0:37:26 | |
Is this normal for a Regency man's study? | 0:37:26 | 0:37:29 | |
People are not expecting to see pink in here and we've got, | 0:37:29 | 0:37:33 | |
as you can see, sumptuous lavish use of pink in the curtains. | 0:37:33 | 0:37:36 | |
We have to explain to people that pink was not | 0:37:36 | 0:37:39 | |
an exclusively feminine colour by any means. | 0:37:39 | 0:37:41 | |
It was just another lavish, opulent statement about yourself. | 0:37:41 | 0:37:44 | |
So what we're seeing here is the room as it was in 1813. | 0:37:44 | 0:37:49 | |
That's right, yes, with all his Regency bright, bold, | 0:37:49 | 0:37:53 | |
lavish opulent colours. | 0:37:53 | 0:37:56 | |
Do you like it? | 0:37:56 | 0:37:57 | |
Well, you can see it's making me smile. | 0:37:57 | 0:38:00 | |
I think it's great fun, I think it's very challenging for us today, | 0:38:00 | 0:38:04 | |
but I think what it does is really create this impressive, bold, | 0:38:04 | 0:38:08 | |
sock-it-to-you impression | 0:38:08 | 0:38:10 | |
and that is what the second Lord Berwick wanted to do | 0:38:10 | 0:38:14 | |
and he expressed it in the way he furnished his room | 0:38:14 | 0:38:16 | |
and this room is the heart of his suite of spaces in the house, | 0:38:16 | 0:38:21 | |
so he needed to make a big impression in here and he did. | 0:38:21 | 0:38:24 | |
Thomas had another passion as well as interior decorating. | 0:38:34 | 0:38:38 | |
He was in love with a teenage courtesan named Sophia | 0:38:38 | 0:38:41 | |
and this amazing monkey music box was a gift that he got for her. | 0:38:41 | 0:38:44 | |
Sophia was actually a bit of a luxury commodity in her own right. | 0:38:49 | 0:38:54 | |
Her big sister was the famous Harriette Wilson, | 0:38:54 | 0:38:57 | |
the high class prostitute patronised by Lord Byron, | 0:38:57 | 0:39:00 | |
the Duke of Wellington etc. | 0:39:00 | 0:39:02 | |
And like her sister, Sophia was hot property in the Regent's circle. | 0:39:02 | 0:39:06 | |
She needed some persuasion to give it all up to marry Thomas. | 0:39:06 | 0:39:11 | |
She held out on him for some time | 0:39:12 | 0:39:14 | |
although he bought her a house in London to live in | 0:39:14 | 0:39:17 | |
while he was doing up Attingham Park. | 0:39:17 | 0:39:19 | |
He asked her to marry him several times. | 0:39:19 | 0:39:22 | |
Eventually she said in 1812, when he was 43 and she was 17. | 0:39:22 | 0:39:27 | |
This music box is supposed to be the gift that swayed her | 0:39:30 | 0:39:35 | |
which is a little bit creepy. | 0:39:35 | 0:39:37 | |
Thomas and Sophia were shunned by polite society | 0:39:37 | 0:39:41 | |
so they retreated to their beautiful house, | 0:39:41 | 0:39:43 | |
still splurging on paintings and furniture. | 0:39:43 | 0:39:47 | |
Lord Berwick's finances couldn't keep up | 0:39:48 | 0:39:51 | |
with all of this extravagance. | 0:39:51 | 0:39:53 | |
In 1827 he was declared bankrupt | 0:39:53 | 0:39:56 | |
and he had to retire ignominiously to Italy. | 0:39:56 | 0:39:58 | |
For people outside the Regent's charmed circle, | 0:40:02 | 0:40:06 | |
it must have seemed that Lord Berwick got what he deserved. | 0:40:06 | 0:40:10 | |
He really did live in a different world, | 0:40:10 | 0:40:12 | |
one where waltzing and courtesans and fancy furnishings were normal. | 0:40:12 | 0:40:17 | |
The top tier that included the Regent, English courtiers | 0:40:22 | 0:40:26 | |
and peers like Lord Berwick, | 0:40:26 | 0:40:28 | |
contained, according to one Regency writer, just 576 families. | 0:40:28 | 0:40:34 | |
In contrast, more than half of the rest of the population | 0:40:34 | 0:40:37 | |
were paupers or vagrants. | 0:40:37 | 0:40:39 | |
But there was a middle way, | 0:40:44 | 0:40:46 | |
a small but growing class of respectable people, | 0:40:46 | 0:40:49 | |
who might have lived in houses like this. | 0:40:49 | 0:40:51 | |
This isn't the sort of place where anyone waltzes. | 0:40:59 | 0:41:02 | |
It's the modest home of a particular heroine of mine. | 0:41:02 | 0:41:06 | |
We think the Regency's all about colour and life and vibrancy, | 0:41:09 | 0:41:14 | |
but there's another side to its style as well. | 0:41:14 | 0:41:17 | |
Simple country-dwelling people like Jane Austen | 0:41:17 | 0:41:21 | |
stitching away at very austere garments, | 0:41:21 | 0:41:25 | |
like this nice little shawl, | 0:41:25 | 0:41:27 | |
which is said to have been sewn by Jane Austen herself. | 0:41:27 | 0:41:30 | |
In her novels, Jane Austen gives us the voice of the middling sort. | 0:41:32 | 0:41:37 | |
Not poor, but definitely lacking money to burn. | 0:41:37 | 0:41:41 | |
She didn't spend all of her time in the country doing embroidery. | 0:41:41 | 0:41:44 | |
In fact, she even experienced | 0:41:44 | 0:41:47 | |
the Regent's extravagant world first-hand. | 0:41:47 | 0:41:51 | |
In 1815, Jane Austen visited Carlton House. | 0:41:54 | 0:41:58 | |
She was invited there by the Regent himself, | 0:41:58 | 0:42:01 | |
who was a big fan of her novels. | 0:42:01 | 0:42:02 | |
She didn't actually meet him face to face, | 0:42:02 | 0:42:05 | |
but he did make his mark on her next book. | 0:42:05 | 0:42:08 | |
This is the first edition of her new novel Emma | 0:42:08 | 0:42:11 | |
and she'd been invited to dedicate it to the Prince Regent. | 0:42:11 | 0:42:16 | |
The first draft of her dedication's really funny. | 0:42:16 | 0:42:18 | |
It says, "Dedicated by Permission to HRH The Prince Regent". | 0:42:18 | 0:42:23 | |
But Jane's publisher, John Murray, perhaps wisely, | 0:42:23 | 0:42:26 | |
suggested that she pep it up a bit. | 0:42:26 | 0:42:28 | |
So what was actually printed was, | 0:42:28 | 0:42:31 | |
"To His Royal Highness The Prince Regent | 0:42:31 | 0:42:33 | |
"This work is, by his Royal Highness's permission, | 0:42:33 | 0:42:36 | |
"most respectfully dedicated by his Royal Highness's dutiful | 0:42:36 | 0:42:40 | |
"and obedient humble servant, the author". | 0:42:40 | 0:42:43 | |
It's ironic that poor Jane was made to include this, | 0:42:44 | 0:42:47 | |
given her well-recorded views on the Prince Regent. | 0:42:47 | 0:42:51 | |
A couple of years before, she'd written to a friend | 0:42:51 | 0:42:54 | |
about her support of his estranged wife, Princess Caroline. | 0:42:54 | 0:42:59 | |
"Poor woman", Jane had written, | 0:42:59 | 0:43:01 | |
"I shall support her as long as I can, | 0:43:01 | 0:43:04 | |
"Because she is a woman, and I hate her husband". | 0:43:04 | 0:43:08 | |
The Regent's open separation from his wife, Caroline, | 0:43:12 | 0:43:16 | |
and his parading of a series of mistresses, | 0:43:16 | 0:43:18 | |
made him hugely unpopular with the more proper middle classes, | 0:43:18 | 0:43:22 | |
not least with Jane. | 0:43:22 | 0:43:24 | |
Although we often think of her books as a bit apolitical, | 0:43:25 | 0:43:28 | |
all romance and nice dresses, | 0:43:28 | 0:43:30 | |
her disapproving views about the morals of upper class society | 0:43:30 | 0:43:34 | |
are very much on show. | 0:43:34 | 0:43:36 | |
The Prince Regent may have been a big fan of Jane Austen's works, | 0:43:38 | 0:43:42 | |
but if he'd read them properly, he might have noticed | 0:43:42 | 0:43:46 | |
that she gave people like him a pretty hard time. | 0:43:46 | 0:43:49 | |
In Mansfield Park, the villain, Henry Crawford, | 0:43:49 | 0:43:52 | |
has quite a lot in common with the Prince Regent. | 0:43:52 | 0:43:54 | |
He'd been, "Ruined by bad examples set to him", | 0:43:54 | 0:43:58 | |
he had an uncle who openly kept a mistress. | 0:43:58 | 0:44:00 | |
He was superficially very charming | 0:44:00 | 0:44:03 | |
but this disguised a cold-blooded vanity. | 0:44:03 | 0:44:06 | |
And just like the Prince Regent, he was addicted to remodelling | 0:44:06 | 0:44:10 | |
perfectly good houses. He wanted to knock them about | 0:44:10 | 0:44:13 | |
and alter them in line with fashionable but frivolous ideas | 0:44:13 | 0:44:17 | |
of ornament and beauty. | 0:44:17 | 0:44:18 | |
For Jane, people's houses tell you an awful lot | 0:44:21 | 0:44:23 | |
about their attitude to life. | 0:44:23 | 0:44:26 | |
And in her final work, she fires a kind of parting shot | 0:44:26 | 0:44:31 | |
at some Regency trends in property development. | 0:44:31 | 0:44:33 | |
In 1817, Jane Austen wrote 12 chapters of quite an unusual book. | 0:44:33 | 0:44:39 | |
She was very ill at the time, | 0:44:39 | 0:44:40 | |
she would die later the same year and never finish it. | 0:44:40 | 0:44:43 | |
But it's not what you'd expect a dying woman to write. | 0:44:43 | 0:44:46 | |
It's not about melancholy or longing. | 0:44:46 | 0:44:48 | |
It's about the very British folly of property speculation. | 0:44:48 | 0:44:52 | |
It's a satire of Britain in the years following | 0:44:52 | 0:44:54 | |
the battle of Waterloo | 0:44:54 | 0:44:55 | |
and it's set in the fictional seaside village called Sanditon. | 0:44:55 | 0:44:59 | |
We meet the comical Mr Parker, | 0:45:01 | 0:45:03 | |
a man obsessed with building up his quiet seaside hamlet | 0:45:03 | 0:45:07 | |
into a fashionable resort. | 0:45:07 | 0:45:09 | |
He wasn't alone. | 0:45:09 | 0:45:11 | |
New seaside resorts were springing up all along the coast | 0:45:11 | 0:45:15 | |
in the Regency, with houses for middle class tourists | 0:45:15 | 0:45:18 | |
who wanted to try the health trend of sea-bathing. | 0:45:18 | 0:45:22 | |
In Sanditon, Mr Parker has traded in his honest, old family home | 0:45:23 | 0:45:29 | |
for a flimsy, fashionable residence exposed to the biting sea breezes. | 0:45:29 | 0:45:33 | |
He's called it Trafalgar House, | 0:45:33 | 0:45:35 | |
although now he regrets not calling it after the more up to date | 0:45:35 | 0:45:38 | |
Battle of Waterloo | 0:45:38 | 0:45:41 | |
His quest for modernity is clearly more than a little bit ridiculous. | 0:45:41 | 0:45:44 | |
Now you may personally agree with Jane that old-fashioned houses | 0:45:46 | 0:45:50 | |
and old fashioned values are worth preserving, | 0:45:50 | 0:45:53 | |
or you might be a modernizer, like Mr Parker. | 0:45:53 | 0:45:55 | |
Either way, what you see in the story of Sanditon | 0:45:55 | 0:45:58 | |
are the preoccupations of Regency Britain. | 0:45:58 | 0:46:01 | |
It was a country intending to transform itself | 0:46:01 | 0:46:04 | |
but also to chase after a profit. | 0:46:04 | 0:46:06 | |
The years after Waterloo saw a boom in house-building. | 0:46:10 | 0:46:13 | |
Property speculators spread their stucco-clad tentacles | 0:46:13 | 0:46:17 | |
anywhere that people might want to visit, not just the seaside. | 0:46:17 | 0:46:21 | |
Spa towns were another nice little earner. | 0:46:21 | 0:46:24 | |
There's one that really sums up the Regency building craze. | 0:46:24 | 0:46:29 | |
It's not the long established spas of Bath or Cheltenham. | 0:46:29 | 0:46:33 | |
No, in the 1810s, there was a new Spa on the rise. | 0:46:33 | 0:46:36 | |
This is a guide book to Regency Leamington Spa. | 0:46:51 | 0:46:55 | |
Leamington had been a little village but in the Regency period | 0:46:55 | 0:46:59 | |
it burst into life as this new spa town. | 0:46:59 | 0:47:02 | |
Between 1811 and 1820, its population quadrupled. | 0:47:02 | 0:47:05 | |
The guidebook says that this terrace of houses behind me | 0:47:08 | 0:47:11 | |
looked as if an invisible hand had picked it up | 0:47:11 | 0:47:14 | |
from a smart part of London and dropped it here in the fields. | 0:47:14 | 0:47:18 | |
There are all the features you'd expect from a Regency new-build. | 0:47:18 | 0:47:22 | |
Stucco facades and big windows, lots of classical details | 0:47:22 | 0:47:27 | |
these wrought iron balconies, | 0:47:27 | 0:47:29 | |
and plenty of columns. | 0:47:29 | 0:47:31 | |
The private speculators who built Leamington | 0:47:32 | 0:47:36 | |
threw up grand town houses, available to rent, | 0:47:36 | 0:47:38 | |
next door to the village's original cottages. | 0:47:38 | 0:47:42 | |
This was Leamington's very own Parthenon, | 0:47:42 | 0:47:45 | |
not a particularly Greek one. | 0:47:45 | 0:47:47 | |
It housed a library and assembly rooms | 0:47:47 | 0:47:49 | |
where you could pick up an improving book, | 0:47:49 | 0:47:52 | |
meet new people, maybe indulge in a bit of old-fashioned dancing. | 0:47:52 | 0:47:56 | |
Leamington had one of the largest hotels in Europe. | 0:47:57 | 0:48:01 | |
It had 100 rooms but only one bathroom. | 0:48:01 | 0:48:04 | |
Oh, and parking for 100 carriages. | 0:48:04 | 0:48:07 | |
One of the most spacious, splendid and complete hotels in the kingdom. | 0:48:07 | 0:48:11 | |
But, of course, the main attraction in any aspiring spa town was the water. | 0:48:18 | 0:48:23 | |
The mineral properties of the water are supposed to be excellent here, | 0:48:23 | 0:48:26 | |
much better than those at Cheltenham, that's very important, | 0:48:26 | 0:48:30 | |
and the diseases which they're supposed to be | 0:48:30 | 0:48:32 | |
particularly good for include | 0:48:32 | 0:48:34 | |
tumours... | 0:48:34 | 0:48:36 | |
piles, | 0:48:36 | 0:48:38 | |
diseases of the kidneys, | 0:48:38 | 0:48:40 | |
intestinal worms, | 0:48:40 | 0:48:43 | |
and above all, | 0:48:43 | 0:48:45 | |
obstinate constipation. | 0:48:45 | 0:48:47 | |
The pump rooms and baths where visitors paid to take the water | 0:48:50 | 0:48:54 | |
opened in 1814. | 0:48:54 | 0:48:56 | |
Now, the lucky Leamington residents get it for free. | 0:48:56 | 0:48:59 | |
Here we go. | 0:49:02 | 0:49:03 | |
Hmm. | 0:49:08 | 0:49:10 | |
That's really quite nasty. | 0:49:10 | 0:49:12 | |
It tastes like Alka Seltzer, I think. | 0:49:12 | 0:49:15 | |
I don't know if I could manage half a pint. | 0:49:15 | 0:49:18 | |
And I'm a bit worried now that it really is going to relax the bowels. | 0:49:20 | 0:49:23 | |
Fortunately, this was just what the Regency tourists were after, | 0:49:25 | 0:49:29 | |
and Leamington did very nicely for a while. | 0:49:29 | 0:49:32 | |
But then Spa towns went out of fashion | 0:49:34 | 0:49:37 | |
and when the profits dried up | 0:49:37 | 0:49:39 | |
Leamington was left with a few oddities. | 0:49:39 | 0:49:41 | |
The Regency property boom didn't last all that long | 0:49:43 | 0:49:46 | |
in Leamington Spa, | 0:49:46 | 0:49:48 | |
and when it was over, some projects got left unfinished. | 0:49:48 | 0:49:51 | |
This was supposed to be one of those long and curving Regency terraces. | 0:49:51 | 0:49:56 | |
They did this end, you can see, and down there, | 0:49:56 | 0:49:59 | |
they've also put in the other end, | 0:49:59 | 0:50:01 | |
but they didn't get round to filling in the middle, | 0:50:01 | 0:50:04 | |
so that's why, later on, the gap was filled with these Victorian villas. | 0:50:04 | 0:50:08 | |
Grand schemes for town planning didn't always work out | 0:50:10 | 0:50:14 | |
quite as intended. | 0:50:14 | 0:50:16 | |
In London, another incredibly ambitious project was under way, | 0:50:18 | 0:50:22 | |
which would really capture the tastes and aspirations | 0:50:22 | 0:50:26 | |
of the Regent and his country. | 0:50:26 | 0:50:28 | |
It all began with a farm in Marylebone. | 0:50:29 | 0:50:32 | |
Up until 1811, this whole area was covered with cow-sheds, | 0:50:32 | 0:50:37 | |
but then the lease ended and the Prince Regent | 0:50:37 | 0:50:40 | |
took the farmland here back into his own management. | 0:50:40 | 0:50:43 | |
Now his government started a really visionary piece of urban planning. | 0:50:43 | 0:50:47 | |
They created a great, new city park here | 0:50:47 | 0:50:50 | |
and they also constructed a big, new grand road, a mile long, | 0:50:50 | 0:50:54 | |
right through the heart of London. | 0:50:54 | 0:50:56 | |
The Park became Regent's Park | 0:50:59 | 0:51:01 | |
and the new road, Regent's Street, | 0:51:01 | 0:51:03 | |
London's first grand boulevard, 30 yards wide, | 0:51:03 | 0:51:07 | |
slicing through the small tangled streets of Soho | 0:51:07 | 0:51:10 | |
and linking the park straight to the Prince Regent's front door | 0:51:10 | 0:51:14 | |
at Carlton House. | 0:51:14 | 0:51:15 | |
This ceremonial route would allow the Regent, as he put it, | 0:51:16 | 0:51:20 | |
to, "Eclipse Napoleon", | 0:51:20 | 0:51:22 | |
a sign that London could equal Paris or Rome. | 0:51:22 | 0:51:26 | |
The brains behind it all was the Regent's architect John Nash. | 0:51:26 | 0:51:31 | |
First he had to design the grand urban park, | 0:51:31 | 0:51:34 | |
Surrounded by terraces like this one, Cumberland Terrace, | 0:51:34 | 0:51:37 | |
with its monumental Greek theme. | 0:51:37 | 0:51:40 | |
This is John Nash at his most theatrical. | 0:51:40 | 0:51:43 | |
Some people have laughed at this terrace | 0:51:43 | 0:51:45 | |
because there's nothing behind that pointed pediment, | 0:51:45 | 0:51:48 | |
and the plaster statues don't bear the closest of scrutiny, | 0:51:48 | 0:51:51 | |
but actually, he's done something quite remarkable here. | 0:51:51 | 0:51:55 | |
He's taken what could just be a bog standard row of terraced houses, | 0:51:55 | 0:51:58 | |
and he's turned them into a gigantic palace. | 0:51:58 | 0:52:01 | |
Nash wanted men of rank and fortune to live here, | 0:52:08 | 0:52:11 | |
creating the sort of exclusive neighbourhood | 0:52:11 | 0:52:14 | |
that would bring in plenty of cash for the Crown | 0:52:14 | 0:52:16 | |
and these people needed an easy link to the court and the Regent. | 0:52:16 | 0:52:20 | |
So this is where it starts. | 0:52:26 | 0:52:28 | |
The wealthy new tenants stepped from Park Crescent | 0:52:28 | 0:52:31 | |
onto Portland Place, already one of the best addresses in London, | 0:52:31 | 0:52:35 | |
on their way to the wonders of Regent Street. | 0:52:35 | 0:52:37 | |
Actually, before Nash had even properly begun, | 0:52:43 | 0:52:47 | |
he'd already run into problems. | 0:52:47 | 0:52:49 | |
This is John Nash, | 0:52:54 | 0:52:55 | |
and I'm not sure he would have been delighted to end up just here, | 0:52:55 | 0:52:59 | |
because this part of Regent Street gave him terrible trouble. | 0:52:59 | 0:53:02 | |
He wanted to come in a straight line down from the park, | 0:53:02 | 0:53:05 | |
but the man who lived just there, | 0:53:05 | 0:53:07 | |
called Sir James Langham, | 0:53:07 | 0:53:08 | |
he didn't want the new road going too close to his garden, | 0:53:08 | 0:53:11 | |
so he bought up land, forcing Nash to divert the line of the road. | 0:53:11 | 0:53:16 | |
He ended up with this bend but Nash made the best of a bad job. | 0:53:16 | 0:53:20 | |
He designed this church, All Souls, | 0:53:24 | 0:53:28 | |
to deal with the inconvenient bend. | 0:53:28 | 0:53:30 | |
It has a unique round portico, | 0:53:30 | 0:53:32 | |
making the whole church a kind of pivot point. | 0:53:32 | 0:53:35 | |
Characteristically, Nash completely ignored the rules. | 0:53:35 | 0:53:38 | |
He mixed different sorts of columns | 0:53:38 | 0:53:40 | |
and put a weird pointy tower where by rights there should be a dome. | 0:53:40 | 0:53:45 | |
This cartoon mocks the "Nashional Taste" | 0:53:45 | 0:53:49 | |
and the creator of a church that one MP called, | 0:53:49 | 0:53:52 | |
"A deplorable and horrible object". | 0:53:52 | 0:53:54 | |
But Nash was always better at the big picture than the detail. | 0:53:57 | 0:54:02 | |
Once the spiritual needs | 0:54:02 | 0:54:03 | |
of our wealthy Regent's Park resident were satisfied, | 0:54:03 | 0:54:07 | |
it was off across Oxford Circus to the pleasures of shopping. | 0:54:07 | 0:54:10 | |
There weren't any grand public buildings here. | 0:54:19 | 0:54:21 | |
The government didn't want to waste the cash. | 0:54:21 | 0:54:25 | |
It was a perfect example of a public/private partnership. | 0:54:25 | 0:54:28 | |
The government paid for the compulsory purchase of the land, | 0:54:28 | 0:54:32 | |
private builders put up the buildings | 0:54:32 | 0:54:34 | |
and everyone made money. | 0:54:34 | 0:54:36 | |
Nash was really clever | 0:54:42 | 0:54:44 | |
in picking this particular line for Regent's Street, | 0:54:44 | 0:54:46 | |
because it marks the boundary between the fashionable area | 0:54:46 | 0:54:49 | |
of Mayfair over here where the nobility lived, | 0:54:49 | 0:54:52 | |
and the meaner streets of Soho, | 0:54:52 | 0:54:54 | |
which were inhabited by so-called mechanics and poorer people. | 0:54:54 | 0:54:58 | |
This means the wealthy residents of Mayfair can get to the shops | 0:54:58 | 0:55:01 | |
without going outside their own zone. | 0:55:01 | 0:55:03 | |
It also meant that the cheap land over there | 0:55:03 | 0:55:05 | |
increased massively in value. | 0:55:05 | 0:55:07 | |
So the line of Regent Street marks the line of maximum profit. | 0:55:07 | 0:55:12 | |
Nash saw this as a place for the Regency elite to socialise. | 0:55:16 | 0:55:20 | |
He pictured the leisured classes window shopping | 0:55:20 | 0:55:23 | |
and buying the latest styles inspired by the Regent. | 0:55:23 | 0:55:28 | |
Here on the curved quadrant, there were once colonnades, | 0:55:28 | 0:55:32 | |
so that the rich could shop even on rainy days. | 0:55:32 | 0:55:35 | |
Above the shops there were terraces, | 0:55:35 | 0:55:37 | |
where dandy bachelors renting the upper floors could loiter | 0:55:37 | 0:55:40 | |
and chat to passers-by in their carriages. | 0:55:40 | 0:55:43 | |
Then, after all the shops, you'd reach Piccadilly Circus, | 0:55:43 | 0:55:47 | |
take a sharp bend, and it's about the proud victorious nation again, | 0:55:47 | 0:55:52 | |
with a dramatic straight approach down towards the new Waterloo Place. | 0:55:52 | 0:55:57 | |
Regent Street, Britain's grandest road, | 0:55:57 | 0:56:00 | |
taking you to the Regent himself, in Carlton House. | 0:56:00 | 0:56:04 | |
Except it doesn't. | 0:56:07 | 0:56:08 | |
Today when you reach Waterloo place, there's no Carlton House, | 0:56:08 | 0:56:12 | |
just a square filled with later monuments and parked cars. | 0:56:12 | 0:56:17 | |
So what did happen to Carlton House? | 0:56:17 | 0:56:19 | |
Was it destroyed in a fire? Was it demolished years later? | 0:56:19 | 0:56:24 | |
Well, no. Nash's grand finale to his grand street, | 0:56:24 | 0:56:28 | |
the obsession of the Prince Regent for so many years | 0:56:28 | 0:56:31 | |
was destroyed by George himself, and the reason's just over there. | 0:56:31 | 0:56:35 | |
Buckingham Palace, George's new obsession. Typical old George. | 0:56:38 | 0:56:41 | |
They'd built the grandest street in Europe to his house, | 0:56:41 | 0:56:45 | |
but he was bored with it. | 0:56:45 | 0:56:47 | |
He didn't really like living on a street. | 0:56:47 | 0:56:49 | |
In 1820, the Regent became King George IV. | 0:56:51 | 0:56:56 | |
And he commissioned Nash to create a spectacular new palace. | 0:56:57 | 0:57:01 | |
As usual though, Nash's design went a bit over budget. | 0:57:01 | 0:57:05 | |
So to help pay for it all, they pulled down Carlton House, | 0:57:05 | 0:57:08 | |
and developed the land. | 0:57:08 | 0:57:09 | |
Nash put up gentleman's clubs | 0:57:09 | 0:57:12 | |
and exclusive new houses where Carlton House had been. | 0:57:12 | 0:57:16 | |
All very nice, | 0:57:16 | 0:57:18 | |
but not really what you'd expect at the end of a ceremonial route. | 0:57:18 | 0:57:21 | |
In the end, though, perhaps it doesn't really matter | 0:57:24 | 0:57:27 | |
that Regent Street is a bit of a road to nowhere. | 0:57:27 | 0:57:30 | |
Regent Street was a hugely ambitious piece of urban design | 0:57:30 | 0:57:34 | |
and it was built at a time when London had the self-confidence | 0:57:34 | 0:57:38 | |
to try to rival Paris or Rome, | 0:57:38 | 0:57:40 | |
but Regent Street also sums up a very Regency sense of Britishness. | 0:57:40 | 0:57:46 | |
With unfinished Parthenons and demolished palaces, | 0:57:48 | 0:57:52 | |
Regency architecture can sometimes feel like a crazy experiment | 0:57:52 | 0:57:55 | |
that didn't quite work. | 0:57:55 | 0:57:58 | |
But because this was a style that was so ambitious, | 0:57:58 | 0:58:01 | |
the surviving buildings of the Regency | 0:58:01 | 0:58:03 | |
have proved to be the greatest legacy of the age. | 0:58:03 | 0:58:07 | |
Next time, the workers are revolting. | 0:58:08 | 0:58:13 | |
As Regency arrogance and excess pushes Britain | 0:58:13 | 0:58:15 | |
to the very edge of revolution. | 0:58:15 | 0:58:19 | |
And the Regent has to face down a coalition of radicals, | 0:58:19 | 0:58:22 | |
luddites and angry poets. | 0:58:22 | 0:58:25 | |
Even his own wife has it in for him. | 0:58:25 | 0:58:27 | |
Subtitles by Red Bee Media Ltd | 0:58:45 | 0:58:48 | |
E-mail [email protected] | 0:58:48 | 0:58:51 |