TIME-OUT
The royal pavilion
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Art in every form, shape and style, to satiate the senses of the most fastidious, is depicted in almost all the interiors of this structure. It's beauty in breathtaking richness, and is languorous and stylish, says UMA BALASUBRAMANIAM.
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Brighton's hallmark to fame.
BRIGHTON or Brighthelmstone as Brighton was originally known as, was transformed from a small fishing town into a fashionable resort in the mid-18th Century. Avid readers of Georgette Heyers, and other contemporary, writers, will recall how their heroines of that romantic period, were often whisked off to Brighton, for curing incurable maladies of the heart and mind, but more so to escape the amorous attentions of undesirous, disreputable suitors, considered most inelligible. However one cannot deny that the therapeutic qualities of seawater combined with fresh air from this resort, provided ample cure for the "sick" and brought the bloom back on many a jaded cheek! Seawater taken both externally and internally, heated or with milk, promoted by Dr. Richard Russel, drew to Brighton leading members of London society to visit the place and test its healing power. This included the Duke of Cumberland, the Prince of Wales' raffish uncle.
Seawater and sea air apart, this little dwelling place of the simpler English folk, tugs at the heart strings of the incurable romantic, as strategically placed near the sea, aided and abetted by its gardens, panoramic views, splendid castles, its cobbled streets and its quaint little shops strewn on the waterfront and inside the town, exhibiting relics of the past, brings a lump to one's, throat as we sample those nostalgic moments. As Brighton's hallmark to fame, however, The Royal Pavillion surpasses itself! As we first stand before this monument, a "curtain of centuries" rises and the past is reconstructed before our eyes. Here is art unrestrained, and unleashed, an expression of the most exquisite and most poignant depicted, made slightly intimidating with its high columns and domes and borrowed Indian style architecture to render it familiar and exotic, connived and designed by John Nash in the early 19th Century.
George IVth's, inspiration and pride, as the Royal Pavillion symbolises, underwent a series of restorations over a period of time, but was first conceived of when the young prince initially visited the town in 1783 — in a desire to escape the staid and stifling court of his father, and partly recommended by his physicians, that the seawater might revive the dissipated prince and restore his jaded spirits!
THE evolution of the Pavillion from modest neo-classical structure (designed by Henry Holl) and in 1787 to grand oriental design of John Nash (completed in the early 1820s), mirrors the changing status of George, Prince of Wales from Prince Regent to King George (1820-1830).
Visitors entered through the Octagon Hall also known as the entrance hall vestibule. The octagonal room with its plaster ceiling resembling the interior of a tent, its delicate peach blossom coloured walls, simply furnished with fret-patterned chairs, in Chinese style and the "handsome brass enclosed stove" thatstill remains "in situ" is a promise of things to come! We are met by our hostess enchantingly dressed in a white muslin gown, appropriately "powdered and patched" in keeping with the Edwardian era who takes us on a guided tour. As one progresses from the Entrance Hall to the Long Gallery, and further to the Banquetting Hall which is interestingly linked to the Music Room and their Galleries, acute nostalgia mingled with wistful yearning engulfs one. As we proceed further, it is a pageant display of beauty, magnified by a unique combination of oriental extravagance displayed chiefly in the colour scheme — red and gold — and the designs of dragons and serpents carved on wooden doors, a central painted glass ceiling and painted glass windows, ornamental chandeliers, a cast iron bamboo staircase, Chinese figures, pagodas, ornamental jars, and bottles, bamboo pattered cabinets and pedestals that adorn the interiors of the gallery, amid craftily placed mirrors that carefully reflect images across the gallery. The wallpaper too reflect Chinese influence with its pictures of blue flowers and buds on a pink background. Oriental brilliance coupled with French elegance in French satinwood gilt carved furniture, elegantly upholstered in soft green watersilk and silk draperies of the same green colour cascade from French windows, complete the picture.
A room worth noting
THIS blending of oriental dazzle with French elegance, can be seen in almost all the interiors of the Palace, but most prominently in the Banqueting Hall, of which special mention must be made, as it remains to this day, one of the most magnificent interiors of the Pavillion. Its imaginative design was the work of Robert Jones, a little known but extremely, talented artist, who began work for the Prince Regent in 1815.
The interior of the Banqueting Hall is designed with a shallow dome and canopies to the north and south providing numerous arches, covers and elliptical shapes ideal for decoration. From the centre of the dome hangs a chandelier, 30 feet long, held in the claws of a silvered dragon suspended from the apex in the ceiling, while below, through a fountain of glass, six small dragons exhale light through lotus glass shades.
The overall scheme represents a late flowering of chino'isere, purely decorative and theatrical in spirit, concealed however within the brown and gold canopy decorations with their complex designs of fabulous beasts, heavenly bodies and rays that are "Masonic symbols". The emblem of free masonry widespread in the 18th Century, evoked the world of distinguished craftsmen, the dignity of labour and the creation of a noble architecture. High on the canopy, among the symbols of the moon and planets, is the "All seeing eye" set in a triangle within a circle — the Masonic symbol for knowing and seeing all.
Lampstands made of blue jars of spode porcelain with ormolu dragon mounts are placed strategically near the dining table, which is set for the dessert course! The collection of Regency silver gilt on display (the most important of its kind anywhere on public view) together with the silver displayed in the Deckers is chiefly from the Londonderry and ormolu collections — two of the greatest collections of that period. It was the custom in the regency period to display the host's collection of plate as it emphasised his status and wealth! The pieces are therefore placed on the sideboards facing the light, where they are shown to best advantage.
The Table deckers room adjoins the kitchen. To reach the Great Kitchen, visitors pass through this small room which functioned as a service area, for the footmen, who brought in prepared dishes from the kitchen to the banqueting room, Currently displayed here however, is part of the silver collection from the Marquis of Londonderry collection.
THE Great Kitchen or the "King's Kitchen" as it was admiringly referred to, was conceived and lavishly designed by King George IV. It was here that magnificent banquets were prepared for him. The extensive cooking equipment was fitted to prepare and serve guests without a moment's waiting. A high lantern ceiling fitted with 12 sash windows gave the spacious interiors a light airy feel. Four cast iron columns with painted copper palm leaves supported the high ceiling, while copper tent-like awnings, decorated with case copper ornaments, were designed to draw away the excess heat, smells, and steam from the cooking range beneath. On the south wall, stands a kitchen free with a smoke jack, a device for mechanically turning a spit, the strong upward draught from the kitchen fire turned a metal turbine set in the chimney, and a series of gears, pulleys and chains transformed this motion to the spit. Therefore, five spits could be operated simultaneously enabling the chef to present several roast dishes on the menu.
THE Banqueting Room Gallery forms an interesting link to the Banqueting Hall. It was originally named the Blue Drawing room (a name derived from an early decorative scheme by Fredrick Crace). Today, with restoration, bow windows have been replaced, with French windows, opening on to a terrace. This gallery was a sort of after dinner recreation centre, used to play cards, indulge in conversation, sip liqueur, and sometimes for light music and dance, or, as our charming guide tells us, a retreat for lovers which the alcove recesses provided, as, the rich green and gold draperies, hid them. The gallery is exquisitely furnished. The walls flaked white with a gilt Chinese fret border, gilt chairs upholstered in a rich ground satin brocade, gilt furniture, and Japanese lacquer cabinets are carefully placed to allow room for dancing. The gallery still houses one of the finest surviving suites of Regency giltwood furniture made to commemorate Lord Nelson and his victories. An arresting picture is of palm tree columns, concealed beneath the carved cast iron columns supporting the ceiling. We move on to the saloon where the interior decor encompasses every aspect of the room, from floor to ceiling. Its opulence is marked with rich colours deep and regal in texture and design. Indian motifs dominate throughout, as also the regal colour scheme.
One of George IV's greatest passions was music, and this is evident in the Grand piano, which forms an integral part of the music room gallery, made of a rosewood case and inlaid with brass, though the instrument that graces the room is not the original one.
Adjoining the Music room gallery is a spectacularly decorated Music Room. This extraordinary interior is lit by nine lotus shaped chandeliers. This room remains, to this day one of the most significant monuments to one of the King's chief decoraters, Fredrick Crace. A plethora of painted canvasses and murals vastly contributed by Crace and the French artist Lamblette, adorn the walls of the room. Chiefly riveting is the one depicting a Chinese bridal procession. These paintings consist of Chinese scenes in rich reds heightened with gold. Painted dragons hold up these canvasses, just as the carved silvered and tinted flying dragons support the blue silk satin window draperies, fringed with gold tassels. Red was used to great decorative effect in the doors, enriched with carved and gilt elements. Elaborate use of gilding on the cockleshells of the domed ceilings, create an illusion of height, also achieved by the size of the cockleshells diminishing towards the apex and partly by changing the tones of the gilding. Tragically, this splendid room was damaged by a fire in 1975, but after a decade of intensive work, was restored.
Comfort for royalty
A brief survey of the royal apartment leaves nothing to the imagination for royal comfort and luxury. The massive mahagony four poster bed, complete with hanging drapes in irresistible rich silk, the six handmade mattresses, of straw and feather lay piled on the bed with the sole purpose of providing sinking softness to the royal sleeper! In direct contrast are the adjoining maid's chambers, though spartan in appearance, but comfortable and conveniently near to her majesty's. Despite the massive beds and their heavy drapiers, these private rooms of the king and queen are furnished in a rather restrained and dignified style, intended more for comfort and convenience than display. The bedrooms are linked to the bathrooms, dressing rooms, libraries and anterooms. A reproduction of the original Brussels weave carpet covers the floors and a mixture of objects of different styles and epochs furnish the room. The library has shelves built into the inner recesses of the walls to house the king's collection of books. French and English furniture and Japanese lacquered cabinets grace the room.
The Yellow Bow room and the South galleries, further enhance our impression of stupendous brilliance. A chrome yellow background sets off the Chinese oil and water colours on the walls. The South galleries, we are told, were used as breakfast rooms. Highlighting the richness of the interiors are the double doors in wood on which are carved designs of dragons and serpents in carmine red bordered with gold and marble based columns and topped with crown-like ornaments on which sit "kyins" (Chinese mythological creatures) carved in wood and richly painted.
AS we leave the vestibule to enter the exhibition centre, to pick up souvenirs on display, I could not help but ponder on "A way of life that once was" for the royal and the rich. A life that spelt endless days of somnolence and sinful luxury, when food and drink were a panacea for boredom. Ballrooms only a playground for testing one's skill to lure many a young heart. The only sport to shed excess weight caused by over-indulgence was to whirl around the dance floor in swirls of silk, satin, taffeta and lace.
We leave the pavilion with its pageantry and devastating beauty, what was merely a façade, clothing the ugliness beneath, and where the illusion fades and reality remains.
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