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Discover Royal the Pavilion A cross-curricular Teacher Resource for all Key Stages Discover the A cross-curricular Teacher Resource for all Key Stages

Contents

3 Introduction 4 Curriculum Links 6 Timeline of the Development of

7 Pre-Pavilion Brighton

9 Brighton, George and the building of the Royal Pavilion 11 Highlights of the Royal Pavilion 14 Chinoiserie 18 Innovation and technology in the Royal Pavilion 20 Dining and entertainment in the Royal Pavilion 22 The impact of the Royal Pavilion on Brighton during George IV’s lifetime

25 The Royal Pavilion in Victorian times 27 The development of Victorian Brighton 29 The impact of the Royal Pavilion on the development of modern Brighton

33 Suggested Activities 35 Primary source: ground floor plan of the Royal Pavilion 36 Primary source: map of Brighthelmstone, 1779 37 Primary source: map of Brighton, 1850 38 Schools at the Royal Pavilion Eccentric, extravagant, extraordinary… Discover the Royal Pavilion Introduction

Eccentric, extravagant, extraordinary …

One of the most exotically beautiful buildings in the British Isles, the Royal Pavilion is the magnificent former seaside residence of King George IV. Its fantastic and spires make it an easily recognisable icon, to both residents and visitors to Brighton & alike. The story of the Royal Pavilion includes parties, hospitals and flower shows, contains influences from China, and , and includes characters as diverse as fishermen, monarchs and soldiers. As a unique palace, with a fascinating history and breathtaking decorations to discover, the Royal Pavilion has also played a key role in the development of Brighton and its international reputation for over 200 years.

So how did a poor fishing town become the most fashionable coastal resort in Britain? What was the vision behind the design of the Royal Pavilion? And how does the Royal Pavilion continue to influence the character of Brighton & Hove to this day? In this publication, the Learning Team for the Royal Pavilion & Museums, Brighton & Hove, hopes to make the Royal Pavilion more accessible to teachers and their students by increasing their knowledge of the Pavilion, its history and impact on Brighton. By providing teachers with a greater understanding of the value of historic buildings and artefacts to inspire students’ engagement, creative thinking and learning, the resource also demonstrates the diverse ways in which the Royal Pavilion can be used as a cross-curricular learning resource.

The resource is divided into three broad areas: pre-Pavilion Brighton, the Royal Pavilion and post-Pavilion Brighton. It contains National Curriculum links, a timeline, discussion points, suggested activities across the curriculum, primary resources for use in the classroom and worksheets to support independent visits to the Pavilion … everything a teacher needs to ‘Discover the Royal Pavilion’.

3 Discover the Royal Pavilion National Curriculum 2014

History curriculum

1. know and understand the history of these islands as a coherent, chronological narrative, from the earliest times to the present day: how people’s lives have shaped this nation and how Britain has influenced and been influenced by the wider world 2. know and understand significant aspects of the history of the wider world: the nature of ancient civilisations; the expansion and dissolution of empires; characteristic features of past non-European societies; achievements and follies of mankind 3. gain and deploy a historically grounded understanding of abstract terms such as ‘empire’, ‘civilisation’, ‘parliament’ and ‘peasantry’ 4. understand historical concepts such as continuity and change, cause and consequence, similarity, difference and significance, and use them to make connections, draw contrasts, analyse trends, frame historically-valid questions and create their own structured accounts, including written narratives and analyses 5. understand the methods of historical enquiry, including how evidence is used rigorously to make historical claims, and discern how and why contrasting arguments and interpretations of the past have been constructed 6. gain historical perspective by placing their growing knowledge into different contexts, understanding the connections between local, regional, national and international history; between cultural, economic, military, political, religious and social history; and between short- and long-term timescales. 7. a study of an aspect or theme in British history that extends pupils’ chronological knowledge beyond 1066 Specific Curriculum Links • a study over time tracing how several aspects of national history are reflected in the locality (this can go beyond 1066) • a study of an aspect of history or a site dating from a period beyond 1066 that is significant in the locality. • significant historical events, people and places in their own locality • challenges for Britain, Europe and the wider world 1901 to the present day • the development of the British Empire with a depth study (for example, of India) • the First World War and the Peace Settlement • Indian independence and end of Empire

4 Discover the Royal Pavilion Art & Design curriculum

The national curriculum for art and design aims to ensure that all pupils: • produce creative work, exploring their ideas and recording their experiences • become proficient in drawing, painting, sculpture and other art, craft and design techniques • evaluate and analyse creative works using the language of art, craft and design • know about great artists, craft makers and designers, and understand the historical and cultural development of their art forms Specific Curriculum Links Key stage 1 • about the work of a range of artists, craft makers and designers, describing the differences and similarities between different practices and disciplines, and making links to their own work

Key stage 2 • about great artists, architects and designers in history

Key stage 3 • to analyse and evaluate their own work, and that of others, in order to strengthen the visual impact or applications of their work • about the history of art, craft, design and architecture, including periods, styles and major movements from ancient times up to the present day

5 Discover the Royal Pavilion Timeline of the Development of Brighton

1086 Domesday survey values Brighton at £12 1514 French raiders burn Brighton to the ground 1660 –1705 Series of storms leads to severe coastal erosion and threatens the future of the town’s fishing industry 1750 Dr Russell publishes ‘Dissertation in the use of Seawater in the Diseases of the Glands’ 1783 Prince of Wales first visits Brighton at the age of 21 1785 Prince of Wales secretly and illegally marries 1786 Prince of Wales rents a small farmhouse on the Steine 1787 Henry Holland transforms the farmhouse into the Marine Pavilion 1795 Prince of Wales marries Caroline of Brunswick 1800 50–60 shops on North Street sell fashionable goods for Brighton’s new, wealthy inhabitants 1807 Theatre Royal opens its doors for the first time 1811 George, Prince of Wales, becomes Prince Regent 1814 Sake Deen Mahomed opens Mahomed’s Baths 1815 –1823 engaged to remodel the Pavilion. Existing rooms are altered and notable additions include the Banqueting and Music Rooms and the Great Kitchen. The exterior is redesigned, inspired by Indian architecture. A lavish chinoiserie style dominates the interior. 1816 –1817 French chef Marie-Antoine Carême employed at the Royal Pavilion creating prolific meals with up to 60 dishes 1820 Prince Regent becomes King George IV 1823 Italian composer Rossini visits the Royal Pavilion 1827 George IV visits Brighton for the last time 1830 George IV dies. William IV and Queen Adelaide visit Brighton 1837 visits the Royal Pavilion for the first time 1841 Arrival of the railway in Brighton 1842 Queen Victoria visits the Royal Pavilion with Prince Albert and her two children 1850 The Royal Pavilion is bought by Brighton Corporation for £53,000 1866 Opening of the West 1867 –1873 The Royal Stables and Riding House are transformed into a concert hall, corn exchange and a museum, art gallery and library 1872 Opening of the Brighton Aquarium and Dolphinarium 1883 Volk’s Electric Railway opens 1896 Volk’s Daddy Longlegs can be seen off Brighton 1914 –1918 The Royal Pavilion used as a military hospital for wounded Indian soldiers 1920 –1939 Pavilion used for public assemblies and entertainment 1921 The Indian Gate and the Chattri are erected in memory of the Indian soldiers 1940s Restoration of the Royal Pavilion begins in earnest 1964 clash on Brighton seafront 1975 Arson attack on the Royal Pavilion severely damages the Music Room 1987 Music Room is further damaged during the October storm Present day About 300,000 people visit the Royal Pavilion each year. Brighton & Hove is the most popular coastal destination for foreign visitors to the UK 6 Discover the Royal Pavilion Pre-Pavilion Brighton

In the Domesday survey of 1086 Bristemestune (Brighton) was valued at £12 and was charged a tax of 4,000 herring, a figure that testifies to its status as a small fishing town. The medieval town was contained within East Street, West Street, and North Street. St Nicholas Church at the top of Church Street served as both a place of worship, St Nicholas being the patron saint of fishermen, and as a beacon to guide fishing boats back to shore. In June 1514 Brighthelmstone (another name for Brighton) was burnt to the ground by French raiders during a war between and France. Only part of St Nicholas Church and the medieval street pattern of what is now survived the attack. Model of a Hogboat During the reign of Queen Elizabeth 1 (1558–1603) Brighton had amassed a large fishing fleet and by 1660 was the second largest town in . Brighton fishermen used 'Hogboats', which suited fishing conditions at Brighton. They had a very wide beam making them stable in rough seas and were easily hauled onto the shingle . Some were even cut in half and used as homes on the beach by the poorest fishermen. By the mid 1700s, Brighton had sunk into decline. Between 1665 and 1705 a series of great storms led to severe coastal erosion, which destroyed large areas of the seafront. The livelihood of the town was threatened as it became increasingly difficult to set sail and bring fish ashore. By 1740, Brighton’s population amounted to no more than 1,000 people. Dr Richard Russell FRS Brighton’s transformation from a struggling fishing town to a fashionable began in 1750 with the publication of a book by Dr Richard Russell of entitled ‘Dissertation in the Use of Seawater in the Diseases of the Glands’. Dr Russell specialised in treating ailments such as gout but also recognised the benefits of physical exercise for people leading sedentary lives. He believed in the therapeutic value of the iodine in sea water and the medicines he gave his patients to drink included ingredients such as woodlice, cuttlefish bones, crabs’ eyes, bicarbonate of soda, milk and sea water. Dr Russell’s reputation, combined with Brighton’s proximity to (it only took three to five hours to travel from London to Brighton) gave the town an advantage over other seaside resorts and ensured its success as a fashionable seaside resort for high society.

7 Discover the Royal Pavilion

The impact of Dr Russell’s endorsement of Brighton was immediate. Unemployed fishing families were quick to take advantage of opportunities to provide a range of services to wealthy visitors. Lodging houses sprang up around the town to accommodate Dr Russell’s patients, and an evolving building industry met the demand for lodging houses for the town’s new holiday-makers. But perhaps most famously, many fishermen and women found new employment as dippers and bathers. Dr Russell’s sea cure advocated the total submersion of the patient in the sea. Access to the sea was provided by bathing machines, small boxes on wheels in which the The Bathing Place with Smoaker's Machines, c. 1750 patients were seated while bathing attendants transported them from the beach to the water.

Dippers (for women) and bathers (for men) were employed to make sure the patient’s head was dipped into the water. The most famous bather in Brighton was Smoaker Miles, who later taught the Prince of Wales to swim in the sea. Martha Gunn was Brighton’s most famous dipper. She lived in a house in East Street, and is buried in St Nicholas churchyard. Dipping took place all year round since cold water was considered to be good for the health. However indoor baths also developed from 1769 for those who were not brave enough to go in the sea all year round.

Martha Gunn the Brighton Bather, c. 1800 Activities and Ideas  If you made a healthy drink, what would you put in it?  How would Brighton’s fishermen and their families have viewed the wealthy visitors who came to the town to take Dr Russell’s sea water cure and bathe in the sea?

 Look at the map of Brighthelmstone dated 1779 (page 36). Can you identify the medieval street pattern? What else can you see?

8 Discover the Royal Pavilion Brighton, George and the building of the Royal Pavilion

George IV first visited the town shortly after coming of age in 1783, when he was still the Prince of Wales. He stayed with his uncle, the Duke of Cumberland, at Grove House on the Steine. He was prompted to visit on the advice of his physicians who thought that the sea water might ease the swellings of the glands in his neck. However another and perhaps stronger appeal was the desire to escape the constraints of the stifling court of his father. The attractions of Brighton were not purely medicinal, for the Prince also enjoyed the lively company of the circle of the Duke of Cumberland, the theatre, gambling and the races. Throughout George’s lifetime, the town of Brighton provided an escapist playground where he could indulge all his passions: dining, music, gambling and women.

Brighton’s distance from the Royal Court in London meant George IV that the town also provided a discreet location for the Prince to enjoy liaisons with his long-time companion Maria Fitzherbert. The Prince had secretly married Maria in 1785, but the marriage was declared illegal because descendents of George III were not allowed to marry without permission from the monarch. The Prince eventually agreed to take a more appropriate wife and in 1795 he married his cousin Princess Caroline of Brunswick. Despite the birth of their daughter Charlotte in 1796, it was a loveless marriage. The Prince had many mistresses throughout his life, the most enduring of which was Maria Fitzherbert, for whom he built Steine House (now the YMCA), which was conveniently near the Prince’s The Marine Pavilion can be seen residence. to the left of the Steine

After the Prince’s first visit to Brighton, George rented a ‘superior farmhouse’ on the Steine, from local landowner Thomas Kemp. In 1787 the Prince asked architect Henry Holland to transform the farmhouse. The resulting small neo- classical structure with a central domed rotunda and glazed tile exterior was known as the Marine Pavilion. Although not as audacious as its later incarnation, the Marine Pavilion made quite a statement against its neighbouring buildings of brick and stone.

9 Discover the Royal Pavilion

The transformation of Holland’s Pavilion did not commence until 1815, by which time the Prince had become Regent. The chosen architect was John Nash. The entire building, both the structure and the elaborate internal decorations, took seven years to complete and was finally finished in 1823. The evolution of the Pavilion from the Marine Pavilion to the grand oriental design of John Nash mirrors the changing status of George from Prince of Wales to Prince Regent (from 1811) and finally to King George IV (from 1820). The Pavilion and its grounds not only became grander to reflect the status of a The Pavilion at Brighton, c. 1810. monarch, but also more private in order to shield the King By 1810, the Royal Pavilion from the critical eyes of the press and the public. George lived estate was surrounded by in a turbulent historical period, which experienced both the railings to ensure the Prince’s American and French Revolutions. People in Britain worried privacy that what had happened in France might be repeated in Britain. George’s decadent antics did nothing to quell this anxiety.

The building of the Royal Pavilion also coincided with Britain’s war with France (the Napoleonic Wars, 1803–1815). The war led to increased taxation, a reduction in exports due to blockades, unemployment and inflation. In this context, it is unsurprising that the extravagant lifestyle of the Prince angered many of his own subjects and ministers who felt that his profligacy was disgraceful in the face of such poverty.

Activities and Ideas  Why did George IV choose Brighton as his favourite holiday resort?

 How many streets in Brighton can you find that are named after George IV and his family?

 Write a profile of George IV, describing his character and the key events in his life.

10 Discover the Royal Pavilion Highlights of the Royal Pavilion

Entrance Hall In great houses this room was often decorated and furnished to impress guests, but in the Pavilion it was conceived to surprise; it only hints at what is to come.

The Long Gallery The visitor today passes into the Long Gallery through a wide doorway over which originally ran a concealed staircase for servants. This bridge staircase enabled servants to move between the north and south ends of the Pavilion without being seen by guests. The Long Gallery provided an area in which to promenade. Guests would walk and converse, admiring the furnishings and décor.

The Banqueting Room provided a place where a host could display his wealth and impress his guests. The table is set for dessert and George IV’s armchair can be seen in the middle of the seating arrangement. The huge domed ceiling is decorated with the exotic foliage of a plantain tree. Some elements are in three-dimensional copper, the rest is painted to create a trompe l’oeil effect. Hanging below the is an enormous carved and silvered dragon from which is suspended a crystal chandelier measuring nine metres in height and weighing one ton.

The Great Kitchen was very modern for its time and was equipped with the latest kitchen technology. A large and airy room, the Great Kitchen was a change from the stuffy, airless, gloomy kitchens of many large houses. Similarly, its proximity to the Banqueting Room was unusual as kitchens were more commonly located at some distance to reduce the risk of fire and smells. The arrangement in the Pavilion ensured that food was served hot. 11 Discover the Royal Pavilion

The Banqueting Room Gallery The decoration in this room is toned down not only to contrast with the Banqueting Room, but also to create a calm, relaxing atmosphere. Guests would withdraw to this room after eating. Ladies would retire first, leaving the gentlemen to their port and cigars. Games such as cards, backgammon and chess would be played here. Palm trees, made of cast iron, covered in carved wood, support the upper floor.

The Saloon was originally designed as the Pavilion’s main reception room. The room today contains a variety of influences: arches of Indian inspiration crown the French windows, whilst the walls contain panels of Chinese wallpaper. The couch is styled as an Egyptian river boat in patriotic homage to Lord Nelson’s victory in the Battle of the Nile in 1798.

The Music Room Gallery Like the Banqueting Room Gallery, this room provided calm after the grandeur of the main state rooms. The room would have been used for small concerts and recitals. The carpet could also be removed to allow the floor to be chalked for dancing.

The Music Room Music was a major form of entertainment at the Royal Pavilion and the Music Room was designed to enhance the guests’ enjoyment. A canopy of imitation bamboo hangs over the huge organ and the opposite wall, giving the impression of a tent. The domed ceiling is decorated with 26,000 plaster cockleshells covered in 18 carat gold. Nine lotus shaped chandeliers are suspended from the ceiling, and in total there are around 180 dragons and serpents decorating the room.

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The King’s Apartments The suite consisted of a bedroom, library, anteroom and bathroom (the last room no longer exists), and were the King’s private rooms. Only the anteroom was ever seen by the public, acting as a waiting room for those seeking private consultation with the King. Green walls are embellished with a complicated design of dragons, dolphins, birds and flowers. The rooms express the deeper, more reflective side of the King’s nature.

The Yellow Bow Rooms Formerly the bedrooms of George IV’s brothers, the Duke of York and Duke of Clarence, this suite of rooms includes a lobby and a servant room.

Queen Victoria’s Apartments Queen Victoria’s bedroom is located over the Entrance Hall, with four attic rooms above to accommodate her dressers. The chamber floor was adapted to accommodate Victoria’s two children and Prince Albert who visited the Pavilion in 1842.

The South Galleries were used as breakfast rooms by the Prince Regent’s resident guests. The apartments to the left (east) side of the South Galleries had been used by the Prince himself until infirmity forced him to move to the ground floor.

13 Discover the Royal Pavilion Chinoiserie

The Royal Pavilion is one of the best examples of chinoiserie in Britain and plays a crucial part in understanding George IV’s vision for the building. The fashion for chinoiserie was inter- linked with the activities of the various East Indian companies that were established across Europe from the 16th century onwards. The British East India Company was formed by a group of investors for the exploitation of trade with the East, Southeast Asia and India. The availability of imported goods such as silk, lacquer, bamboo and porcelain affected both interior and exterior design all over Europe.

Many royal palaces in Europe had a room or a building with a chinoiserie interior, and by the 1750s a Chinese bedroom and dressing room were considered the height of fashion. Although influenced by Chinese goods, the idea of chinoiserie Chinese Porcelain Vase, 1796 –1820 was rooted in the fantasy of a magical realm that appealed to the imagination of the European court. Chinoiserie depicts China as an idealised country, a kingdom of flowers and perpetual spring ruled over by a benevolent emperor. To British designers Chinese and Japanese dragons summed up all that was strange and wonderful about the East. These mythical beasts became common chinoiserie motifs. Other motifs included bells, birds, shells and Chinese figures, pagoda cresting, and pierced or fretted galleries. Many examples of these motifs can be found on wallpaper, ornaments, furniture and fittings in the Royal Pavilion.

The exterior of the Royal Pavilion, with its domes and minarets was inspired by drawings of Indian architecture found in Oriental Scenery, a collection of drawings by Detail of clerestory windows in Entrance Hall Thomas and William Daniell who had travelled to India. Oriental Scenery was widely published and helped to popularise the Indian style. New industrial techniques of mass production continued this trend: transfer printed Chinese-style designs of tableware, especially blue and white, were cheap and popular by the 1830s. A favourite was the willow pattern, developed about 1795 by Josiah Spode.

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The Royal Pavilion George IV was Britain’s greatest devotee of chinoiserie in the 19th century, and the fantastic and exotic decorative scheme in the Royal Pavilion reflects his desire to impress members of European courts as well as to entertain and delight his friends. George’s phenomenal and exaggerated use of oriental motifs in the Royal Pavilion heralded a reinvention of chinoiserie in Britain. Previously, chinoiserie was considered a playful style that was reserved for more private and informal rooms such as bedrooms and tea pavilions. It was also a fashion that was associated by critics with promiscuous women, so the King’s patronage of the style must have seemed shocking to many visitors to the Pavilion. Indeed, there are many disparaging contemporary comments regarding the effeminate interior. With the internal and external decoration of the Royal Pavilion, George IV transformed chinoiserie into a court style but, paradoxically, advertised the building as a residence where the rules of court did not apply. Chinoiserie was a symbol for the escapism that the Royal Pavilion offered the King.

The rich colours, mythological creatures and dramatic lighting in the Royal Pavilion produced an exhilarating atmosphere, which was theatrical in spirit. Each room was designed to create a different mood. The decorative schemes work from floor to ceiling and increase in richness as the visitor penetrates further into the building. Equally overwhelming was the stifling, perfumed air that pervaded the building and the luxurious in the Banqueting Room, Music Room and the Saloon, into which the feet of the guests would literally have sunk. The building induced a sensory overload that left many guests struggling to describe the experience of visiting such an incredible place. 15 Discover the Royal Pavilion

This sense of fantasy combined with chinoiserie is evident in the optical illusions and decorative tricks that characterise the Long Gallery. Cast iron is made to look like bamboo and carefully placed mirrors reflect images across the gallery, exaggerating its length. Imitation Chinese bells hang from scrolls above trellises of imitation bamboo. The central skylight is decorated with dragons, flowers and the Chinese God of Thunder.

The hand-painted Chinese wallpapers in the Adelaide Corridor probably date from the second half of the 18th century. They Detail of the cast-iron staircase in the Long Gallery are unique in being the only original Chinese papers left in situ in the building and have survived despite the physical wear and tear of a domestic area, and the harmful effects of varnishing in the Victorian period. The panoramic landscapes are filled with hunting scenes, processions of large figures, and a dragon boat festival over which the eight immortal Taoist gods preside.

Perhaps unsurprisingly the most dramatic examples of chinoiserie are reserved for the main state rooms. In the Banqueting Room the centrepiece is the huge chandelier, held in the claws of a silvered dragon, which is surrounded by six smaller dragons that would have exhaled light through Detail of the original Chinese paper in the Adelaide Corridor lotus glass shades. The effect would have been dazzling. The walls of the Banqueting Room were hung with large canvases painted with Chinese domestic scenes mounted in trompe l’oeil trellis frames. The elaborate furniture includes lamps with dragon mounts, sideboards with gilded dragons and canopies decorated with bells hang over the doors.

Detail of the dragon holding the central chandelier in the Banqueting Room 16 Discover the Royal Pavilion

In the Music Room, the chinoiserie scheme reaches its crescendo. The room is like a huge lacquered box lit by water lily and dragon shaped gasoliers. Blazing crimson and gold Chinese landscape murals framed by gigantic serpents and winged dragons cover the walls. Trompe l’oeil landscapes were often painted on walls in 18th century houses, but here pillars, dragons, serpents and trellis work, rather, deceive the eye. Drapes of blue and crimson satin at the floor to ceiling windows are supported by dragons and serpents. The domed ceiling of the Music Room is covered by 26,000 overlapping cockleshells, reminiscent of the scales on snakeskin. Gilding was used on the cockleshells to create an illusion of height; this was achieved partly by the sizes of the cockleshells diminishing towards the apex, and partly by changing the tones of the gilding.

The Music Room Activities and Ideas  Create your own chinoiserie wallpaper using motifs found in the Royal Pavilion

 Imagine that you are a friend of George IV and are visiting the Royal Pavilion for the first time. How would you describe the experience?

 Why was chinoiserie such a popular style?  What does chinoiserie tell us about the way people viewed non-European countries in the 18th and 19th centuries?

 What other goods were introduced to Britain as a result of the East India Companies’ trade links?

 What was the legacy of the British East India Company?  What story is told through the willow pattern?

17 Discover the Royal Pavilion Innovation and Technology in the Royal Pavilion

The Prince Regent wanted the Royal Pavilion to be the ultimate in comfort and convenience, and there are many examples of how the Pavilion benefited from modern equipment and progressive technology. Nash’s remodelling of the Pavilion often involved ingenious solutions to structural problems and the use of materials previously not associated with interior design. For example, in order to give the Saloon a larger Indian inspired dome, a cast-iron structure was erected around it on which an iron frame for the new dome was rested, thus avoiding any damage to the ceiling of the dome below. Cast iron was also cleverly used in the Long Gallery where it allowed sturdy staircases to be constructed which looked like bamboo, in keeping with the gallery’s chinoiserie scheme.

The King was enormously proud of the Great Kitchen, and guests were escorted to inspect this room, conceived by the King as a continuation of the Pavilion’s public apartments. One of the key pieces of new technology in the kitchen was The Saloon from Nash’s Views showing Nash’s use of a cast- the steam table. It was fitted with a cast-iron top, and bound in iron frame to support the central brass. Food, prepared and arranged on silver dishes, was kept dome warm on the table, which was covered with a cloth. This allowed numerous prepared dishes to be kept warm ready to be served in the Banqueting Room. The table was heated by the main and scullery boilers by means of an extensive copper piping system.

On the south wall of the Great Kitchen was another example of innovation. The smokejack was a more sophisticated and efficient version of a Tudor spit. It was automatic, activated by the heat of the fire. Fitted with five 2-metre spits, the smokejack allowed the chef to prepare several different roasts simultaneously. The Great Kitchen also benefited from an ice house, which stood in the southwest corner of the grounds. In cold winters ice was collected in carts from local ponds and In this image of The Great Kitchen from Nash’s Views , the streams, and placed in pits lined with layers of straw to steam table is in the centre and provide insulation. In proper conditions ice could last all the smokejack can be seen to summer, providing a continuous supply for culinary and the left medical uses. 18 Discover the Royal Pavilion

Lighting by day and by night was crucial in creating the dramatic atmosphere of the Pavilion’s elaborate interiors. The Pavilion used a range of different lighting techniques including wax candles, tallow (animal fat) candles and oil lamps. There was a room dedicated to storing the huge quantity of lighting supplies. The smoke from the numerous chandeliers, lanterns and oil lamps that lit the interior so brilliantly inevitably caused damage to the paintwork and ceilings, requiring regular cleaning and re-painting to maintain the splendour of the Pavilion. Gas lighting was installed outside the Music Room in 1821 and used to light the elliptical windows from the exterior, suffusing the interior ‘The Music Room, the Royal with soft colours. Pavilion: Grand Re-opening Ball of 1851’ by Aaron Penley A final progressive piece of technology in George IV’s Pavilion was the provision of water closets. This modest-sized Pavilion had over 30 water closets and the ladies’ retiring room near the Banqueting Room, had its own private water closets for female dinner guests. The water closets throughout the Pavilion were supplied with water from cisterns. Water was pumped throughout the building through iron mains and lead pipes by a forcing engine in the water tower, which was located in the kitchen courtyard to the south.

Activities and Ideas  What are the similarities and differences between the Great Kitchen in the Royal Pavilion and modern kitchens of today?

 What would it have been like to work in the Great Kitchen? What sort of tasks would servants in the Great Kitchen have performed?

 Why was gas lighting not used inside the Royal Pavilion?

 What new piece of equipment would you design for the Royal Pavilion? You are not allowed to use electricity or gas!

19 Discover the Royal Pavilion Dining and Entertainment in the Royal Pavilion

The preparation and consumption of food were key activities in the social life of the Royal Pavilion, and around a quarter of the space available was allocated to the Great Kitchen and the range of ancillary kitchens. Many elaborate banquets were held in the Pavilion. In 1816–17 the Prince Regent secured the services of the renowned French chef Marie-Antoine Carême who devised elaborate menus with as many as 60 dishes. On one occasion he prepared a menu of 116 dishes served in 36 courses for the brother of the Tsar, Alexander the First of Russia. Dinner was served promptly at 6pm. Dinner guests assembled in the galleries, where the Prince would join them. The Banqueting Room from Nash’s Views . The Prince can be On the announcement of dinner he would lead the way into seen seated on the right in the the Banqueting Room accompanied by the highest ranking middle surrounded by his women. George IV was instrumental in introducing the new guests fashion of ‘promiscuous seating’ which enabled him to sit close to the ladies of his choice. Rather than sitting at the head of the table, as tradition dictated, George IV preferred a more informal seating arrangement where he sat among his guests. Dinner could be a lengthy affair, lasting up to five hours. If the King had 36 guests for dinner there would be a minimum of 18 footmen assisting the guests.

Dining à la française, was the norm, but dining à la russe, was becoming fashionable around this time. A la française meant all the food for each course was displayed on the table at the same time. The presentation of the food was very important. Guests would either serve themselves or be assisted. A la russe meant that each dish was served to the guest. Each course was accompanied by either cool white wine or champagne. Red wine at the time was considered indigestible at meals. George IV’s favourite drink was cherry brandy.

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Dinner was followed by conversation, games or musical entertainment, which lasted until the early hours of the morning. Music was George IV’s other great passion and, appropriately, the Music Room is just as grand as the Banqueting Room. In this extraordinary interior, the King’s own band entertained guests with selections from Handel or Italian opera. The band usually played between 9 o’clock and midnight, and were kept in Brighton on a retainer salary. Famously, the Italian composer Rossini visited the Pavilion in 1823 and performed for the King. Rossini later met the King several times in London, where they sang duets together. George IV enjoyed singing and would often contribute to an The Music Room from Nash’s evening’s entertainment with popular airs, accompanying Views , with a concert in himself on the pianoforte. progress

The Prince Regent’s interest in the arts extended to the theatre, and in 1806, he gave his royal assent to the building of the Theatre Royal on New Road, to the west of the Pavilion grounds. The Theatre Royal in its original form was built in an unprecedented ten months and first opened its doors to the public on Saturday, 27 June 1807 with a performance of Hamlet. The first 50 years of the Theatre Royal were uncertain due to the part-time patronage of fashionable society who only visited Brighton during the winter season. As a result, no manager lasted longer than 18 months. The glory days of the Theatre Royal would arrive with the railways in the .

Exterior of The Theatre Royal Activities and Ideas  How does Regency dining and entertainment differ from the way we live today? Are there any similarities?

 Design a dish fit for a King. Think about presentation and the kinds of food that were available in Regency times.

 Why was French cuisine considered fashionable in Regency times?

21 Discover the Royal Pavilion The Impact of the Royal Pavilion on Brighton during George IV’s lifetime

The people of Brighton eagerly waited for George IV’s visits, which raised the profile of the town. Newspapers such as the Sussex Weekly Advertiser and the Brighton Gazette would report on the activities of the Prince, his state of health and who visited the Pavilion. By 1800 it had become, according to the Brighton Directory, ‘the most frequented [and] without exception one of the most fashionable towns in the Kingdom’. The Prince’s presence in Brighton, and the fashionable society that followed him, brought considerable prosperity for those with direct contact with the monarch and those on the outskirts, although it should also be remembered that the Prince was notoriously bad at paying his bills promptly. A Voluptuary under the Horrors of Digestion, by J Gillray George IV paid his staff quite well by the standards of the day. caricaturing George’s love of On retirement, the pension given to staff was generous and food and drink sometimes equivalent to the salary for the post. A list of proposed pensions submitted to the Treasury in 1837 suggested an annual pension of £50 to a housemaid who, after 25 years’ service, could no longer undertake her duties owing to ill-health and infirmity. Similarly, other service industries benefited from the King’s residency in Brighton. An account from the Public Record Office shows that in the first three months of 1821, Mary Rowles, the local laundress, washed over 2,500 dusters for the Pavilion.

At the beginning of the 18th century the town’s shops had mainly catered for the fishing professions, but, from the late 18th century onwards, London based retailers started to arrive. Shops such as silver and goldsmiths, linen drapers and tailors emerged and, by 1800, 50 –60 shops could be found on North Street. Some of the shops had royal patronage. Thomas Nightingale was a glover and breeches maker and would even clean the Prince’s hunting breeches. The sign outside his shop consisted of a huge stuffed leather glove. The presence of royalty and aristocracy also brought new services to the town: coffee houses, banks, circulating libraries and theatres emerged around the Steine. 22 Discover the Royal Pavilion

Holland and Nash’s rebuilding of the Prince’s home and those of his wealthy friends provided work for local tradesmen, labourers and craftsmen. Over the next decades elegant town houses, squares and crescents were constructed reflecting the affluence and popularity of the town. Some buildings attempted to imitate the style of the Royal Pavilion, like the constructed at the end of the 1820s for . Wilds was a local architect responsible for many of the buildings in Brighton.

The explosion of new building dramatically altered the Brighton in the Regency by landscape of Brighton, including the area around the Royal Anna Katrina Zinkeisen, 1939 Pavilion itself. When the Prince of Wales first rented Thomas Kemp’s farmhouse it had little land attached to it. Over time, more land was acquired, buildings demolished and East Street closed, to provide the Pavilion with a private eight acre park. As a concession to the disruption caused by closing East Street, the Prince Regent built New Road along the western edge of the grounds. The Steine also experienced a change in character, owing to its proximity to the Pavilion. Initially used by local fishermen to dry their nets, it now became a fashionable place to be seen and to promenade upon.

In this image, fashionable society can be seen promenading on the Steine, (Pavilion at Brighton, 1829)

23 Discover the Royal Pavilion

One of the reasons that people kept coming to Brighton was its continuing reputation as a health resort. It was the main reason the Prince had first visited Brighton in 1783. A notable figure in the development of Brighton’s bathing industry was Sake Deen Mahomed, who moved from India to Britain in 1810 and opened the first Indian restaurant in London, the Hindustanee Coffee House. Unfortunately it was not a success and, bankrupt, Sake Deen Mahomed moved to Brighton in 1814, where he established a vapour bathhouse on the site that is now the Queen’s Hotel. Sake Deen Mahomed called himself a ‘shampooing surgeon’ and offered his clients a massage with Indian oils (similar to an aromatherapy massage). He received a royal warrant for his Sake Deen Mahomed baths from George IV and supplied the Pavilion with towels and brushes. He also installed a vapour bath for the King in the Royal Pavilion. Having patronage from the King assisted Sake Deen Mahomed in gaining a reputation in Brighton and attracting an important clientele that ensured prosperity not only for himself, but for others involved in the bathing industry.

Mahomed’s Baths Activities and Ideas  ‘The King is to this town what the sun is to our hemisphere – universal cheerfulness is presented when the rays of Royalty sparkle upon the picture of our local sociabilities and interest.’ Sussex Weekly Advertiser, April 1820. Why does this quotation make such a strong link between George IV and Brighton?

 What evidence of Regency Brighton can you see in Brighton & Hove today?

 Why do you think Brighton was often referred to as ‘Piccadilly by the Seaside’?

 In what ways did George IV introduce different cultural influences to Brighton?

24 Discover the Royal Pavilion The Royal Pavilion in Victorian Times

Queen Victoria first visited the Royal Pavilion in 1837. Her initial reaction was cool: ‘The Pavilion is a strange, odd, Chinese looking place, both outside and inside. Most of the rooms are low, and I can see a morsel of the sea, from one of my sitting room windows’. She visited the Pavilion again in 1838 and 1842 before finally resolving to sell the Pavilion in the late 1840s. Her decision to sell was based on various factors. The Pavilion was never designed to be a family home and Victoria recognised that she would struggle to accommodate her growing family in the limited private apartments. The proximity of the Pavilion and its grounds to the centre of town and its increasing population also meant that it lacked the privacy and isolation the Queen desired (and found at , her preferred holiday retreat). Finally, the extravagance embodied in the Royal Pavilion was at odds with Queen Victoria reserved character of Victoria’s reign and it may have been a politically astute move for Victoria to distance herself from her self-indulgent uncle’s taste and lifestyle.

When the possibility of buying the Royal Pavilion from Queen Victoria was raised, leading figures in the town recognised the importance of the building not only to the town’s history but also to its economy. The building was purchased by the town of Brighton in 1850 for £53,000 and remains to this day the only royal palace not owned by the state or the Crown. However, any celebrations at securing the Pavilion were somewhat dampened by the fact that the building was In this image, the Long Gallery virtually empty. Prior to purchase, the interior was of is stripped of many of its virtually all furniture and fixtures, including wallpapers, original features, including decorative features and chimneypieces, though many original ornaments and furniture items were subsequently returned by Queen Victoria and successive monarchs.

25 Discover the Royal Pavilion

The Royal Stables were transformed into a concert hall in 1867

The new ownership of the Pavilion and its grounds marked a change in status, from a place of decadent exclusivity to a popular centre for wider society to enjoy. During this period the Pavilion was frequently used for social or civic events such as fetes, bazaars, baby shows, exhibitions, charity balls and conferences. Other buildings within the Pavilion grounds were also developed for wider usage. The Riding House was transformed in 1868 into a venue for the weekly corn market. The Royal Stables (now the Dome) were reconstructed as a concert hall in 1867, and although originally housed in the Pavilion, a museum, art gallery and library were built next to the Dome in 1873, on a site originally intended to be used as a tennis court.

Activities and Ideas  Why did Victoria remove so many fittings and furniture from the Royal Pavilion? Why did she return them?

 How do you think Victoria’s withdrawal from Brighton was viewed by local businesses?

 Why did leading figures in Brighton think the Pavilion was important to the town’s economy?

 What would have happened to Brighton’s image if the Royal Pavilion had been demolished? 26 Discover the Royal Pavilion The Development of Victorian Brighton

The Victorian period saw the expansion of Brighton from a fashionable town providing amusements to the elite few to a busy popular seaside resort that accommodated both very rich and very poor people. In this period, the population grew from 7,000 in 1801 to 46,661 in 1841, and was an incredible 120,000 by 1901. The development of the railways played a major part in this transformation.

The arrival of the railway in 1841 brought Brighton within easy reach of day-trippers from London. Before the opening of the railway, any Londoner wanting to travel to Brighton would have had to pay over £1 for an uncomfortable six hour stagecoach journey. The new railway offered London-to- Crowds of passengers arriving Brighton return trips, taking two hours each way, for from London by train for a day approximately 15 pence. By 1860, Brighton was receiving trip to Brighton 250,000 visitors a year by train (little wonder that Queen Victoria felt Brighton could not provide the isolation she craved).

The growth in population brought about by the railways had an impact on the geography of Brighton. Rows of terraced houses appeared to accommodate the town’s growing population. A wide-reaching programme of public works was undertaken to sustain the new population. Civic works included the construction of a vast sewer system to improve sanitation and a public transport system of trains and trams. The railway network itself dramatically changed the landscape of the town. Giant viaducts stretched over the town’s streets and the locomotive works, now the , brought heavy industry into the centre of the town. Brighton railway yard and locomotive shed Bathing and seaside holidays continued to attract holiday- makers, and amenities were developed to meet the increasing demand for tourist attractions. These included pleasure grounds and parks, music halls, an aquarium, two and, by 1850, over 500 places where you could drink alcohol. The tourist boom also resulted in the development of new hotels and lodging houses for upper and middle class holiday- makers who came for week-long holidays, unlike the day- trippers from London. Hotels such as the Grand and the Metropole became symbols of opulent grandeur and set a model for hotels elsewhere. Crowds on the beach, 1890 27 Discover the Royal Pavilion

Cast iron became a fashionable building material in Victorian times, and structures such as the and Palace Pier gave Brighton’s seafront its distinct Victorian character. For a long time, the seafront had benefited from three piers. The Chain Pier had been built in 1823 as a landing stage to help passengers disembark from larger ships with ease. The Chain Pier, was different from typical piers because, rather than being built on stilts, the deck of the pier was suspended from chains attached to pillars. The pier was destroyed in a storm in 1896 but, prior to this, had become a popular promenade for Victorians who enjoyed the sensation of Chain Pier walking out over water.

Brighton seafront and its holiday-makers also benefited from the unusual invention created by inventor and engineer Magnus Volk. The electric railway that Volk invented in 1883 still runs along the seafront today. It was the world's first publicly operated electic railway when it opened, and was quite a revolutionary idea. At that time, parts of the track actually ran on stilts on the beach, ten to 20 feet up. In 1896, Volk proposed extending his Volks Electric Railway to . The railway took passengers further out to sea, some 50 metres offshore, operating on stilts. It was Volk’s Sea Going Car at Low Tide nicknamed the Daddy Longlegs at a fairly early stage, because of its strange appearance.

Activities and Ideas  What impact did the railways have on the development of Brighton?

 How did Brighton’s reputation as a seaside town change in the Victorian era?

 What evidence of Victorian Brighton can you find in Brighton & Hove today?

 To what extent could Victorian Brighton be described as a place of invention?

28 Discover the Royal Pavilion The Impact of the Royal Pavilion on the development of modern Brighton

During the First World War, the Royal Pavilion complex was used as a military hospital for wounded soldiers. Between 1914 and 1916 over 4,000 Indian patients passed through the hospital. Substantial alterations were required for this purpose. In addition to the operating theatres, nine kitchens of three different types were established: one for meat-eating Hindus; one for Muslims and one for vegetarians. Although it may be viewed as a naïve or simplistic choice today, at the time the decision to care for wounded Indian soldiers in the oriental splendour of the Royal Pavilion would have seemed The Banqueting Room of the appropriate and fitting. Royal Pavilion as a hospital ward for Indian soldiers in 1915 The contribution made by Indian soldiers and their link with Brighton is commemorated by two memorials. The first is the Indian Gate on the southern side of the Pavilion’s entrance. The gateway was the gift of the people of India and was unveiled by His Highness the Maharaja of Patiala in 1921. The second monument, know as the Chattri, was erected on the Downs outside Brighton. It was unveiled by the Prince of Wales in 1921. The memorial was built on the exact spot where the bodies of Indian soldiers had been cremated.

Unveiling the Chattri, 1921 Activities and Ideas  What would an Indian soldier have thought of the Royal Pavilion? Would it have reminded him of India?

 Why is it important to remember those who lost their lives fighting in the First World War?

 What can we learn about international relations and empire through the Indian soldiers at the Royal Pavilion? 29 Discover the Royal Pavilion

The painstaking task of restoring the interior of the Royal Pavilion to its former decorative splendour was begun in earnest in the late 1940s. The aim has always been to restore the Royal Pavilion to how it looked in the 1820s during George IV’s reign. The programme of restoration has revived many of the skills and crafts which were employed in the original building of the Royal Pavilion.

The problems encountered by the restoration teams have been numerous. They include: • water penetration; the Royal Pavilion began to leak soon after it was completed • wet and dry rot. At one period, the roofs of both the Music and Banqueting Rooms were in danger of collapsing owing The Pavilion shrouded in scaffolding to the rotting laminated beam ends which supported the characteristic tented roofs. • cracked stonework caused by dampness, the salty atmosphere and traffic pollution.

Restoration suffered further setbacks in the form of an arson attack in 1975. The attack severely damaged the Music Room and it took 11 years to repair the damage. The same room suffered further damage in the great storm of October1987, when a stone ball crashed through the roof, undoing much of the recently completed restoration work from the earlier arson attack.

The restoration of the Pavilion has relied upon gifted visionaries and generous individuals, who, by their A conservator restoring the cove in the Music Room following the enthusiasm, have been able to keep the Pavilion in the public fire in 1975 eye, saving it from demolition on more than one occasion. These individuals have included curators, conservators and members of the council. Equally important has been the support of the various monarchs since George IV, who have returned many of the Pavilion’s original fittings and furnishings.

Activities and Ideas  What is the value of restoring a building such as the Royal Pavilion?

 How can buildings such as the Royal Pavilion generate their own income? Plan a one-off special event to raise money for the Pavilion.

 How important are historic buildings to the tourist 30 industry? Discover the Royal Pavilion

The Royal Pavilion is the only royal palace to be owned by a city. As Brighton & Hove City Council’s financial commitments to the community encompass a wide range of services, the Royal Pavilion has to supplement the budget allocated for it by the council. Apart from charging admission, the Pavilion is able to secure funds through grant-awarding bodies and sometimes through sponsorship from local business for one- off events. Approximately 100 people work in the Royal Pavilion today, a figure that corresponds to the number of servants that George IV used to employ in the Pavilion. The Royal Pavilion is an important tourist attraction enjoyed by around 300,000 visitors per year. 41–45 per cent of visitors to the Pavilion say it is their main reason for visiting Brighton & Hove. Therefore the building is crucial to the tourist industry George and the Dragon carnival in the city, and there are many ways in which the influence of costume. Made by Jane Hawley, the Royal Pavilion can be felt in the modern day character of Rose Holt and Sarah Parsons Brighton & Hove. for the May Childrens’ Parade, 2001 The city continues to attract thousands of holiday-makers and day-trippers each year, although the trend for short-break holidays is stronger than the family holiday market these days. Part of the city’s seaside appeal for visitors remains its reputation as a party town. Just as the Prince Regent enjoyed the freedom and pleasures that Brighton offered him away from the confines of court, so too do many visitors to Brighton & Hove. The city’s many nightclubs attract large numbers, all looking for escapism and fun.

The Royal Pavilion is the centrepiece of the cultural quarter in Brighton & Hove, which also includes Brighton Museum & Art Gallery, the Dome complex and Theatre Royal Brighton. The Mods and Rockers, , 1964 is now the second largest arts festival in Europe and once again reinforces Brighton’s image as a city with a vibrant cultural arts scene. During the festival, houses, pubs, clubs and churches are transformed into galleries, theatres and concert halls hosting a diverse range of artistic events. Many parallels can be found between Brighton & Hove during the festival and the heady atmosphere that surrounded the Royal Pavilion during the Regency period.

Ever since the Prince Regent patronised Brighton, the city has become synonymous with rebellion and embracing alternative lifestyles. Often referred to as "the gay of Britain", Brighton has a substantial gay population and is host to Pride every August, which attracts thousands of participants and spectators. The Royal Pavilion represented a rebellion in terms of courtly style and behaviour, and this spirit has continued throughout the 20th and 21st century. In keeping with the trend for a bank holiday day trip to Brighton, begun in Victorian times, Brighton beach was the location for the infamous clashes between Mods and Rockers in 1964, which 31 Discover the Royal Pavilion

led to widespread panic across the country regarding the increasing wildness of young people.

The originality evident in the design of the Royal Pavilion continues to influence the character of Brighton. Buildings such as Jubilee Library, the proposed Brighton i360, and Frank Gehry’s King Alfred development, sustain Brighton & Hove’s reputation for innovation and cutting edge design. Equally forward-thinking is the growth of new industries in Brighton. With the decrease in heavy industry, with the closure of the railway works in the 1950s, there has been a growth in businesses involved in digital and new media, resulting in the Jubilee Library, photo by Nicholas Sinclair city often being referred to as “Silicon Beach”.

The Royal Pavilion transformed the fortunes of Brighton by attracting wealthy visitors and increasing the demand for a range of services. The tourist industry remains a key part of the city’s economy, generating £380 million each year. However, aside from specific tourist attractions, visitors to the city can also enjoy over 2,000 shops, which are mainly located in the area between Western Road and the Lanes – areas made fashionable during the Prince Regent’s time. The city remains a popular place to live and work attracting a large number of businesses and people. In 2001, the city’s The Royal Pavilion population was estimated at just under 250,000.

The Royal Pavilion has become an iconic symbol for the city of Brighton & Hove that is recognised by the city’s inhabitants and visitors alike. More than any other image, it epitomises the spirit of Brighton, symbolising fun, originality, innovation and a healthy disregard for convention. Without the Royal Pavilion, Brighton would be similar to or , or any other seaside town. It is the continuing influence of the Royal Pavilion that gives Brighton & Hove its unique and magical quality.

Activities and Ideas  What is the same and what is different about seaside holidays in Brighton now and then?

 What would George IV think of contemporary Brighton?  What qualities associated with the city were initiated by George IV?

 What changes has Brighton & Hove experienced since the building of the Royal Pavilion? How has it stayed 32 the same? Discover the Royal Pavilion Suggested Activities

This section of ‘Discover the Royal Pavilion’ provides suggested activities for students to undertake before, during and after a visit to the Royal Pavilion. They are designed to support learning across the curriculum and can be adapted for all Key Stages. Additional ideas and discussion questions can be found throughout the resource.

As the Royal Pavilion is a precious and relatively small palace, the following points should be taken into account when deciding what activities to carry out during a visit to the Royal Pavilion: • school parties must follow the circulation route to avoid congestion • drawing is only permitted in certain areas with prior permission. Bearing these points in mind, certain approaches may be Greater Brighton Celebrations more suitable than others. Questions which encourage close Week Programme observation, and tasks in which children have to make a few written or mental notes may be most suitable.

Design and Technology • design an additional decadent room for the Royal Pavilion, which conforms to Regency technology and materials and meets the requirements of King George IV’s lifestyle • design and make a hat inspired by the Pavilion • investigate equipment used for cooking food and explain how it works • talk about the advantages and disadvantages of the structure of the building

Creative Writing • choose a specific theme room in the Royal Pavilion and design a guidebook for it. Think about audience, content, layout and images • devise and perform a scene ‘At the Banquet’ or ‘In Preparation for the Banquet’

Science • investigate the effects of the weather on the building • find out how ice was obtained and stored in large houses before the invention of electricity, and experiment with preventing ice from melting • explore how food was preserved and cooked, and compare these methods with those of today • investigate different ways of producing heat and light in the past and present • record the plants growing in the gardens, and find out about their origin and suitability to our soil and climate

33 Discover the Royal Pavilion

Art and Design • use a visit to the Royal Pavilion as research to create a souvenir that captures the spirit and image of Brighton • design a poster to attract people to come to Brighton. Students could focus on the Regency or Victorian period, or design a contemporary advertisement • make a card print based on detailed drawings of the windows at the Royal Pavilion • look at the trompe l’oeil painting and experiment with the technique • make a clay relief of part of the Pavilion from observational drawings • look at and discuss cartoons by Gillray and Cruikshank on display in the Royal Pavilion • design and make a piece of sculpture for the gardens

Geography • look for evidence of other countries (food, furnishings, fabrics, architecture) and plot them on a world map • use the Royal Pavilion as a stimulus for finding out about other parts of the world

Music • create a piece of music in response to one of the rooms • listen to examples of music from the 18th century in contrast to some Chinese music

PE • create a piece of dance inspired by the chinoiserie style of the Royal Pavilion • investigate dance from different cultures represented in the Royal Pavilion, including Chinese, Indian and Regency styles

History • what does the Royal Pavilion tell us about the character of George IV? • in each room look for evidence of what the rooms were used for • find out about different ways of lighting before the invention of electricity • look at the satirical cartoons of George IV on display in the Royal Pavilion and talk about their usefulness as evidence • find out about Regency pastimes, learn a game/song/dance

Primary Sources This section also includes some primary resources to explore the Royal Pavilion and its impact on the development of : • The ground floor plan, taken from Nash’s Views, can help students understand how the Pavilion functioned as a royal palace. Students can use the plan to identify the state rooms, the private King’s Apartments and servants’ quarters, and see how these different areas were interlinked. • The two maps of Brighton, dated 1779 and 1850, can provide students with visual evidence of the extent to which Brighton developed as a result of the presence of the Royal Pavilion and influence of George IV. The maps can be used individually to provide historical context, or together to compare and contrast pre- and post-Pavilion Brighton.

34 Discover the Royal Pavilion Primary Source: Ground Floor Plan of the Royal Pavilion

Ground plan from Nash’s Views showing the layout of the ground floor during the Royal occupancy. Most of the offices to the south and west of the Great Kitchen were demolished in the second half of the 19th century

State Apartments Private Apartments Offices 1 Porte Cochère a His Majesty’s Bedroom i Corridor 2 Octagon Hall b Ante Room k Page’s Room 3 Entrance Hall c Dressing Room l Great Kitchen 4 Long Gallery d Bath m Larders 5 Banqueting Room e Libraries n Kitchen for the Household 6 Banqueting Room Gallery f Ante Room o Steaming Kitchen 7 Saloon g Private Secretary’s p Pastry Rooms 8 Music Room Gallery Apartments q Tower for Water Reservoir 9 Music Room h Visitors’ Apartments r Pages’ Dining Room 10 Red Drawing Room s Confectionary t House Keeper u Open Court

35 Discover the Royal Pavilion Primary Source: Map of Brighthelmstone, 1779

36 Discover the Royal Pavilion Primary Source: Map of Brighton, 1850

37 Discover the Royal Pavilion Schools at the Royal Pavilion

Entry to the Royal Pavilion is free for Brighton & Hove schools, other schools are charged.

All schools are charged for a tour.

38 Discover the Royal Pavilion

General Tour 1 hour Key Stage 3+ Find out more about the history of this fantastic building and why it was so important to the development of the town.

General Tour for Schools 1 hour Key Stage 1 and 2 Find out more about who lived here, the stunning design of the building and why it was so important to the development of the town.

Her Majesty's Servants – Victorian Costumed Tour 1.5 hours Key Stage 2 Come in role on your first day as a Victorian servant and meet one of Queen Victoria’s servants as they show you around the palace and talk you through your daily duties.

Leisure and Tourism Tour of the Royal Pavilion 1.5 hours Key Stage 3+ Focus on the role of the Royal Pavilion as one of the country’s major tourist attractions.

The Royal Pavilion and India 1 hour Key Stage 2 and 3 Look closely at the Royal Pavilion's exotic architecture, the Indian buildings that inspired it, and its use as a hospital for Indian soldiers during World War I.

How do we know about History? 1 hour Key Stage 2 and 3 What is primary and secondary evidence? What is fact or opinion? And how do we build a picture of the past?

39 Discover the Royal Pavilion

India 1 hour All Key Stages Explore Indian cultures, focusing on cooking, clothing and a Hindu wedding ceremony.

Local History Talk and Walk with Martha Gunn 1.5 hours All Key Stages Go for a walk around central Brighton and the with your costumed guide and learn how Brighton evolved from a fishing town into a seaside resort and a modern-day city.

40 For more information about the Royal Pavilion visit www.royalpavilion.org.uk

For more information about our learning offer visit www.heritagelearningbrighton.org.uk Contact Heritage Learning 03000 290903 [email protected]