Regent’s Street in 1822, designed by John Nash
The Prince Regent’s own patronage was influential. But it was not just his own taste for crimson & gold but the designs of his architect, John Nash, which had the greatest influence. In 1813 plans drawn up by Nash were submitted to Parliament. They proposed a development to link the Prince Regent’s own residence, Carlton House, with the Crown estate in Marylebone Park. The development would become Regent’s Street and Regent’s Park. But it was the residential terraces around the Park which would be the most widely copied. Nash also designed suburban estates of houses in their own grounds near the Park. These included the suburban villa development of St John’s Wood. To attract less wealthy residents who wished to enjoy this healthy environment, some of the villas were divided into two separate homes: semi-detached houses.
Park Crescent, in Regent’s Park, designed by John Nash
The residential terraces around the Park were emulated by the builder developers of Belgravia and fashionable London as it expanded westwards. As well as London, large Regency houses were built in towns such as Brighton, Cheltenham and Bristol.The main difference between Regency houses and their late Georgian equivalents was in size. Regency large & medium sized houses were bigger, with more rooms, particularly bedrooms. The houses became taller by adding more floors but the front was given a strong horizontal emphasis by first floor balconies, heavy cornices and parapets.
large Regency houses in Eaton Square, built by Thomas Cubitt (c. 1832)
During the Regency period, typical large houses were still three bays (windows) wide. Their additional rooms were accomodated on the additional storeys. The fronts continued to be classical in style but the taller houses lost the neat proportions of their late Georgian predecessors. Stucco began to be used much more extensively on exteriors; for decorative pilasters, architraves and cornices. Large Regency terraces used giant orders to assert their classicism. These were columns or pilasters running up both the first and second storeys to a horizontal cornice. They might be applied to blocks in the centre and at either end of the terrace. As well as the heavy cornice the facade was further divided horizontally by a rusticated stucco finish applied to the ground floor and a parapet rather than a blocking course at the attic storey. During this period, stucco was coloured to resemble local stone. This made it much darker than the cream or white it is painted today. External ironwork was ‘bronzed’; powdered copper was added to green paint to give an aged patina.
Another major difference was the half basement which raised the ground floor by several steps above the street level. As well as making the front look grander, it reduced the amount of excavation for the builders. The front door might be further emphasised by a portico with freestanding columns on either side.
Eaton Square provides excellent examples of Regency large terraced houses. They were built by Thomas Cubitt , a builder developer who preferred to call himself a master-builder rather than an architect. Writing in the early 1830s Dickens mentioned ‘Eaton Square then just building’ (Sketches by Boz). The end and centre blocks have giant orders. The houses all have half-basements and first floor balconies; the supporting iron girders can be seen underneath them.
There were also substantial changes in plan. Downstairs, the changes were all located towards the rear. The kitchen was moved out of the main body of the house into a large rear extension to avoid the ‘fry and fat smell’ in the reception rooms. A new service room appeared - the scullery. The piped water supply was located there and washing became separated from cooking. More space was now available at this level for other servants rooms.
Upstairs, the basic plan of the main house also changed - the drawing room was still on the first floor but the dining room became a standard feature on the ground floor.
The additional bedrooms gave girls and boys separate bedrooms. The families also employed more servants and they too needed accommodation.
As the rear extension became larger it provided a third main room for the family on the ground and first floors. In many houses this additional space provided dressing rooms for master and mistress. The rear extension also accomodated a separate staircase for the servants.
Regency medium sized houses in Chester Row (c.1838)
The facade of a Regency medium sized house shared as many features as it could with the large houses - the use of stucco, heavy cornice and decorative ironwork. They were still only two bays (windows) wide so the front door and window on the ground floor remained offset rather than aligned with the windows above. In this they were similar to their predecessors but they might have a second storey.
The ground floor was often elevated and the steps and area protected by iron railings. The larger scale production of cast iron meant that more elaborate patterns were available at a lower price. The decorative ironwork featured forms like anthemion or heart and honeysuckle. The typical plan of a Regency medium changed to accomodate a small rear extension. On the ground floor this held a small closet room, in the basement the new scullery. The kitchen was still in the basement although it could be placed in the back, adjacent to the scullery. This allowed the front basement room to be used as an informal parlour. Some medium sized houses had a first floor drawing room with a dining room on the ground floor. In A dinner at Poplar Walk, published in 1833, Charles Dickens describes a dinner party in which the guests are received in a first floor drawing room; they process down to a dining room on the ground floor of a house in Stamford-hill. In modest mediums both drawing room and dining room were on the ground floor.
New periodicals on home decoration were published such as Ackerman’s Repository of the Arts (1809-28). They offered advice on colour schemes and furnishings: ‘colour schemes should be harmonious with carpet colours, walls & furniture in unison or proper combination of the parts’. Warm reds were suitable for dining rooms and halls, green or blue for drawing rooms. Yellow was regarded as a controversial wall colour. After 1818 gold was regarded as extravagant.
From 1824 onwards a distinctive stripe became a feature of Regency interiors. By the 1830s machine woven cotton fabrics such as chintzes& callicoes were used for for bed hangings and curtains, loose covers and upholstery. They were relatively cheap and washable. Curtain rods or poles were popular and can be seen in many of the interiors illustrated in Dickens books.
recreation of a Regency drawing room (Geffrye museum)
a George Cruikshank illustration of a modest drawing room from Sketches by Boz (1836)