FLORIZEL AND PERDITA MET ON 3 DECEMBER, 1779

by Victoria Hinshaw

The Prince of Wales, afterwards King George IV, after Sir William Beechey, circa 1806
George Prince of Wales was only 17 years old when he attended a performance of Florizel and Perdita, a play adapted from Shakespeare’s A Winter’s Tale.  In the words of actress Mary Robinson’s biographer, Hester Davenport, the Prince “was looking for a woman to worship,” perhaps HAD been looking already, when he sat in his box at the Theatre Royal, Drury Lane and “fell in love.” 
As Ms. Davenport points out, this was not Shakespeare’s Winter’s Tale, but an adaptation by David Garrick, known as Florizel and Perdita, in which Perdita is a sweet and charming maiden. The Prince sent Mary notes addressed to Perdita and signed them Florizel, as though they were the characters in the play. So began his first publicly known affair, the first of many.  
Mary Robinson by Sir Joshua Reynolds
Mary was born Mary Darby in Bristol in November of 1757 or perhaps 1758, which made her a few years older than the prince (b. 1762). Her “disastrous” marriage at age 16 to Thomas Robinson brought her a daughter, Maria Elizabeth (b. 1774), but little financial or emotional support. Eventually, she began to perform on the London stage, often in “trouser roles,” playing young men and displaying her fine figure for all to admire.
Though Prince George did not remain faithful to her for long, Mary was known as Perdita all her life.  While she enjoyed the Prince’s attentions, she was the toast of London, extolled and excoriated in the newspapers, the object of considerable gossip in noble salons, especially among the males.

By the time the fanciful caricature above was published in 1783, the relationship was “quite out of date.” When the Prince quite publicly took up with other females, Mary refused to send back all his letters and other tokens of his fickle adoration. Later she received a not-so-secret payment in exchange for the return of some of them.

In 1781, Mary sat for a portrait by Thomas Gainsborough, commissioned by the Prince. In this version of the painting in the Wallace Collection above  (another is in the Royal Collection), Mary holds a miniature of the Prince in her right hand.

Mary had only a brief time in the limelight of the London demi-monde. Only a few year later, she was reported to be “desperately ill.” Various explanations for her condition have been suggested, but the causes of her maladies remain mysterious. In May of 1791, she published a book of poems, “a small but handsomely bound volume with marbeled end papers,” made possible by sums raised by 600 subscribers, including the Prince of Wales, the Duke of York, the Duke of Clarence and many other luminaries.

In 2010, Kristine and Victoria, along with Kristine’s daughter, Brooke, visited with Hester Davenport in Windsor, here at the Castle.

Hester Davenport chronicles the reception Mary’s book received. Readers seem to ask, “How was it possible to connect the frivolous woman of 1780s gossip with a writer of pensive odes, elegies and sonnets?” That Mary acquired the title ‘The English Sappho,’ possibly at her own instigation, may have added to the this (seductive) sense of being wooed.

Visiting the burial site of Mary Robinson in Old Windsor with Hester Davenport

Mary lived only a few more years, dying in 1800, having never recovered her health. She had, however, continued to write poetry as well as her memoirs, several novels, plays and feminist essays.  

Mary Robinson as Perdita by John Hoppner, 1782

As an endorsement of the value of her literary work, the painting of Mary Robinson by Hoppner, above, was acquired for the Chawton House Library, where it is displayed prominently. Many works by Mary Robinson are available from their website. Her biography is here.

We all hope that future scholars will pay attention to this fascinating woman and her body of work. In the epilogue of her biography, Hester Davnport writes, “Mary Robinson was dead: the talented actress, spectacular Cyprian, accomplished and industrious  author, committed feminist and radical, charming and witty hostess, spendthrift, devoted daughter and mother, compassionate, sensitive and sometimes spikily difficult woman.  A genius? Perhaps only in her extraordinary versatility, but not undeserving of the ‘One little laurel wreath,’ she craved.”

Mary Darby Robinson (1758? – 1800)
Note: Victoria, Jo Manning and Kristine lost their dear friend Hester Davenport in September 2013. We like to think that she and Perdita are together, drinking tea and catching up on two centuries worth of gossip.

Osterley Park, An Adam Jewel

by Victoria Hinshaw
Osterley Park was once a rural retreat but today it is in Greater London, reachable by  the tube (look for the Osterley stop on the Piccadilly line).  The original Tudor mansion was built in 1575 by Sir Thomas Gresham, banker and founder of the Royal Exchange.  The old house was built of red brick around a square courtyard.  After considerable alterations in the 17th century, it was acquired by Francis Child, the immensely wealthy London banker, in 1713. His grandson Francis hired Robert Adam to transform the house in 1761 but he died before the house was finished, leaving the house to his brother Robert Child.

 

Adam’s work was completed in 1780. The center of the west section of the building was removed by Adam and replaced with a giant white Ionic portico.

 

 

 

The elegant portico opens up the courtyard.

 

Sarah Sophia Child Villiers, Countess of Jersey

 

The 5th Earl of Jersey (1773-1859) became the owner of Osterley Park by way of his marriage to Robert Child’s granddaughter, Sarah Sophia Fane, the Lady Jersey who was a patroness of Almack’s. The story of the young heiress is well known, the second elopement of a Child female.

Robert Child’s daughter (Sarah Anne Child) had eloped with John Fane, later 10th Earl of Westmorland, in 1782. Robert Child (1739-82), proud of being a prince of the merchant class and not an aristocrat, did not want his property and fortune to go to the Westmorland family. He wrote a will which left his money and property to the second child of his daughter. Sarah Sophia Fane inherited everything at age eight. In 1804, she married George Villiers, who changed his name (a necessity under Child’s will) to Child-Villiers and in time became the 5th Earl of Jersey. He was the son of that Countess of Jersey who was a mistress of the Prince Regent.

The Osterley house was rarely used by the Jerseys, who had a country estate, Middleton, in Oxfordshire in addition to a large townhouse in Berkeley Square. For decades Osterley was maintained but empty of life. The Jerseys entertained there only occassionally. Eventually it was let to Sarah’s cousin, Grace Caroline, dowager Duchess of Cleveland, a daughter of the 9th Earl of Westmorland. When she died, the 7th Earl of Jersey and his wife Margaret (1849-1945) lived and entertained there. The Lesson of the Master, a novella by Henry James, is set at Osterley.

 


In 1885, the famous library was sold for thirteen thousand pounds. After the 7th earl died in 1915, the tenancy of the house foundered again. For many years, it was rarely used until the 9th Earl opened it to the public on weekends. He gave it to the National Trust in 1949 and considerable restoration has taken place. It was recently used for some scenes in the film Gulliver’s Travels and has been in numerous other movies and television productions.

The rooms are arranged in a horseshoe, with the entrance hall at the top. After walking through the exterior portico, one crosses the courtyard and enters the magnificent hall, designed by Adam in 1767. The color scheme is neutral, greys and whites with stucco panels of ancient military scenes on the walls. The floor has a black pattern on white marble, a reflection of the plasterwork ceiling design.

The Breakfast Room at Osterley Park, Middlesex. The harpsichord was made for Sarah Anne Child in 1781 by Jacob Kirckman and his nephew Abraham. The lyre-back chairs are attributed to John Linnell.

The Breakfast Room has a lovely view of the park and was used as a sitting room, graced by Adam’s arched pier glasses. This room was redone in the 19th century, but the colors and some furniture is to Adam’s design. The drawing for this design is in Sir John Soane’s museum, London, as are many Adam designs. It is dated 24 April 1777. The room also contains a harpsichord of 1781, made by Jacob Kirckman and his nephew Abraham, who were well known for their instruments. It belonged to Sarah Sophia’s mother, the countess of Westmorland. After her death in 1793, her husband asked to have it sent to him as a memento of his wife; it was returned to Osterley in 1805.

The Tapestry Room was designed to hold a set of magnificent Gobelins tapestries designed by Francois Boucher depicting the Loves of the Gods. Several Adam rooms for other clients were decorated similarly, with the tapestries ordered from the Gobelins factory in Paris, which was run in the 1770’s by a Scot. The sofa and eight matching armchairs were specially created and upholstered to match the tapestries.

The magnificent ceiling is another Adam masterpiece. The central medallion shows Minerva accepting the dedication of a child. The four smaller medallions show female representations of the liberal arts. As was the usual practice, these paintings were done on paper, affixed to canvas backing and placed in stucco frames after the ceiling was painted.

Kristine, admiring and photographing the Osterley Park ceilings.

 

A self portrait by Angelica Kauffman. She did many paintings for Adam, often in her well-known allegorical style. In an era when most of the artists were men, Kauffman (1741-1807) excelled at portraiture and even huge historical and allegorical paintings. Born in Switzerland, she found great success in England. In 1781, she married her colleague Antonio Zucchi (1726-95) and the couple went to live in Rome. Adam had met Zucchi in Rome and persuaded him to come to England in 1766. Zucchi also executed many paintings for Adam rooms, often in ceiling medallions or above doors and fireplaces.

 

In the State Bedchamber stands a huge bed, made to the Adam’s design in 1776. The drawing is also in the Soane museum. Not only did Adam design the bed, he designed the hangings and embroidered silk counterpane and the interior of the dome. Included in the design are many allegorical symbols, including marigolds, the emblem of Child’s Bank. In this room is another of the exquisite ceilings by Kauffman.

The Etruscan Room Dressing Room shows Adam utilizing ancient designs discovered in Italy. At that time, the term Etruscan referred to the types of designs found on Greek vases. Horace Walpole in 1778 said the room was “painted all over like Wedgwood’s ware, with black and yellow small grotesques.” The furniture is attributed to Chippendale.
The Childs had spent a great deal of time developing the gardens and the park with lakes, wildernesses and open space.  Fortunately, these  also survive and have been restored. Under the supervision of the National Trust, the park is open to the public and is well used by hikers, strollers, bicyclists and bird watchers.
A visit to Osterley Park is on the itinerary of Number One London’s Town & Country House tour in May, 2024.  Complete itinerary and full details can be found here.

SYON HOUSE

by Victoria Hinshaw

The Percy family, now dukes of Northumberland, have lived at Syon House for many years. To follow the fortunes of the Percy family is to travel the twists and turns of British history.  From their arrival with William the Conqueror in the 11th century, they held a stronghold at Alnwick Castle in far Northumberland and frequently ran into conflicts with the English kings.  Because of their support for Mary Queen of Scots, they were commanded to live in the south, at their property at Petworth in Sussex.  There were many periods of imprisonment in the Tower for various earls over the centuries.

In its first few centuries, Syon seemed to exist under a dark cloud. Lord Somerset died on the scaffold before it was finished; Lady Jane Grey resided here; it served as a prison for the children of Charles I for a time. 

Syon came to the Percy family through the marriage of Henry Percy (1564- 1632) to Lady Dorothy Devereux (d. 1619), a sister of Robert, Earl of Essex, a favorite of Elizabeth I.  From a previous marriage, Lady Dorothy owned the lease to the valuable Syon estate.  When James I came to the throne, he gave Syon outright to Henry Percy, 9th Earl of Northumberland.  In 1605 the 9th earl himself landed in the Tower, where he lived for sixteen years, improving his estates and studying scientific topics from his prison.  He was known as the Wizard Earl for his many interests in science and the occult.  His wife Dorothy regularly sent him baskets of fruits from the Syon orchards.
Henry Percy, 9th Earl of Northumberland

By 1764, Syon was still basically a Tudor mansion, looking much as it had when first built in 1547, a courtyard house that offered many challenges to bring up to  current taste. The 3rd duke, who succeeded in 1817, rebuilt the walls of the house in Bath stone, and built the conservatory. He entertained “lavishly” at Syon during the reign of William IV and was succeeded by his brother Algernon in 1847. Their descendants today still live at Syon, the family of the 11th Duke, Henry Alan Walter Richard Percy.

From the website: Robert Adam and ‘Capability’ Brown

“The 7th Duke of Somerset died in 1750, and Hugh and Elizabeth, who were to become the 1st Duke and Duchess of Northumberland, inherited the estates.  They were leading figures in contemporary society, and would have inherited a house with dated interiors, surrounded by an unfashionable formal landscape.  Gardens and House were both in a poor condition.

“The solution was a complete redesign of Syon.  In one of his first major commissions, the landscape architect Lancelot ‘Capability’ Brown swept away the formal landscape to the south and west of the House, replacing it with the open views characteristic of the English Landscape movement.  Over the course of twenty years he extended this to the north and west, incorporating farmland to the west into the new park, and creating Pleasure Grounds to the north, both centred on large new ornamental lakes.  In the House the Scottish architect Robert Adam was commissioned to create a series of striking classical interiors, filled with antiquities shipped from Italy.  Adam was not able to change the interior layout of the House, and so used a number of architectural devices to create a suitable impression.”

Following  a carefully designed route through Capability Brown’s Park, then through a monumental portico, one enters the Great Hall. 

The visitor experiences a  dramatic contrast when stepping into the Ante-Room after the subdued serenity of the Hall.

 The floor is scagliola (composition of ground marble, plaster and glue often seen on tabletops) in brilliant colors, perfectly preserved and highly polished.  Some of the marble columns were found in the Tiber River in Rome and brought to Syon.  Others are copies, also made of scagliola.  The columns serve to square off the room size and to provide bases for the gilded statues, all reproductions of ancient figures.  It is difficult to underestimate the dazzling effect of standing in this room, which I am tempted to describe as gaudy, though it also has a unity of color and beauty that actually give it a different but equally impressive dignity as the Great Hall.

After the brilliant colors of the ante room, the dining room is almost restrained in its gilded elegance. From the Ante-Room, on the corner of the house, one steps into the ivory and gold magnificence of the Dining Room, a perfect example of classic Adam style.  Columns, apses, antique statues, and gilt combine with the rich wooden flooring in a pleasing pattern.  Adam rarely used soft materials in his eating rooms because carpets, curtains, tapestries and other hangings could absorb food odors.  Cleverly concealed in the doorways are compartments holding the dining tables, which were set up for meals and removed for dancing or other activities, while some of the statue bases conceal chamberpots. 

 The Red Drawing Room was described by Adam as a buffer to the real Withdrawing Room for the ladies, which was in the next chamber, the Gallery,  now the Library.  The walls are of red Spitalfields silk, while diamonds and octagons on the ceiling contrast with the painted medallions with gilded banding.

The Long Gallery was intended by Adam for the use of the ladies.  The Tudor room is 136 feet long with a width and height of only 14 feet. Adam solved the size and shape problem by softening the colors to pastel mauves and greens, installing shallow bookcases and clustering the tapestry-upholstered furniture in what we would call conversation groups.  There is a unity of design elements as well, with decorative swags on the walls, flat pilasters separating the bookshelves, and a pleasing pattern of geometric shapes, as in the ceiling.   When I visited this room, I found it astonishingly beautiful, yet comfortable.  As I gazed at the titles on the shelves, the Duke himself came by, showing the collection to a visitor. 

At the far end of the library, there is a little closet, once the site of the corner spiral staircase, now long gone.  In this little room, decorated in delicate pinks and grays, hangs a birdcage holding a mechanical bird which spreads his wings and warbles on the hour.  The bottom of the cage is the clock’s face, not a particularly practical place to put it, if you ask me.   It is known as one of Adam’s conceits.  Nevertheless, the “closet” serves the role of early closets for kings and dukes — a private room holding favorite collections and offering the closest thing to privacy a great personage could experience.  Ah, the trials and tribulations of fame and fortune!
 

Syon Park and House are on the itinerary of Number One London’s Town and Country House Tour in May 2024. You can find further details and the complete itinerary here.

 

The Battle of Vimeiro, Revisited

I first wrote about Vimeiro when Zebra Regency Romances published my novel Least Likely Lovers in August 2005.  In the story, Major Jack Whitaker, formerly of the 22nd Foot, was severely injured in the Battle of Vimeiro, (21 August, 1808) and has come home to England to complete his recuperation, hoping to return to the front beside his comrades. However, in the meantime, Sir Arthur Wellesley (eventually to become the Duke of Wellington) has asked Jack to build support for the army among politicians and social leaders in London, an assignment that Jack finds impossibly frustrating. You won’t be surprised to find that Jack finds a lady with whom he falls in love.


The Battle of Vimeiro (also called Vimiero or Vimera) was the first major conflict of the Peninsular War, part of the greater continent-wide Napoleonic Wars. Up to Napoleon’s 1807 invasion of Portugal, Britain’s oldest ally, British participation in the European war had involved the navy, diplomacy, perhaps major scheming, but not many actual soldiers. When the Portuguese needed help, however, the government in London sent troops to oppose the French. They arrived in August 1808 under the leadership of Major General Sir Arthur Wellesley.

 

On a trip to Lisbon, my husband and I hired a car to take us to see the site of Battle of Vimeiro. We drove via multi-lane freeways north out of Lisbon, thinking about what a difference 200 years made in transportation. When we turned off the road, not far from Torres Vedras, we saw a primarily agricultural countryside filled with deep ravines, craggy rocks, rough pastures, and adorned with olive groves.

The village of Vimeiro is whitewashed, with its buildings right up against the road. We looked for the promised sign to the battle’s memorial but missed it. The driver had a solution to our dilemma: his friend who managed the Hotel Golf Mar on the coast, not far from the village. In fact, the hotel manager escorted us to the cliffs overlooking the Rio Maciera where the British troops landed on the sandy spits at either side of the river’s mouth. I could look out at the empty sea and imagine those tall ships anchoring and the troops in their red coats climbing down the rope ladders into small boats to be rowed to the beach.

Armed with better directions, we drove back into the village past the large barn-like structure which was used as a hospital during the battle and the church, near which some skirmishing took place.

 

With one or two deft turns, we found the park on the heights with its memorial and blue tile pictures of the battle, shown here. I walked around the park, looking out at the battle site, trying to visualize the British and French troops in their colorful uniforms, to hear the explosion of artillery and rattle of musket fire. A map of the battle overlooks the countryside from the heights. But aside from the memorial park, one would never guess this peaceful place had ever seen the deaths of hundreds of men or heard cries of the wounded.

Our driver said in his more than twenty years of experience taking tourists around Portugal, no one had ever asked to come here before. Why, he asked, was I eager to find the site of the Battle of Vimeiro? When I told him about my novels, I imagined he thought of war stories filled with blood and gore. It probably never occurred to him that I write gentle stories of love and lifelong commitment. I wished that I had a copy of one of my novels to give him.

Returning to events of 1808, Major General Wellesley had landed his troops in central Portugal, with the goal of moving south to take Lisbon from the French. They fought a battle at Rolija, August 17, 1808. After several hours of brutal combat, the French were forced back. Wellesley moved on to the Maceira River, just west of Vimeiro, where more British troops came ashore with their horses and equipment.

Four days later, about 16,000 British troops and 2,000 Portuguese defeated about 19,000 French under General Jean-Andoche Junot (1771-1813) at Vimeiro. Wellesley stationed his troops on ridges between the village and the beach on the night of August 20th. By dawn, they could see the French approaching. In the face of British fire, General Junot’s men repeatedly failed to take the heights, though in various skirmishes, there was hard combat, including hand-to-hand fighting in the village. To the north of town, the French fell prey to one of Wellesley’s favorite strategies: stationing his troops out of enemy sight behind the crest of a hill, then wiping out the enemy as they came over the top.

By midday, Junot was beaten and the newly arrived British generals called an end to the firing. Wellesley advocated continuing the rout, driving the enemy out of Portugal all the way to French soil. However, as the battle had progressed, Wellesley’s overly cautious superior officers came ashore; first, General Harry Burrard (1755-1813), then General Hew Dalrymple (1750-1830). They overruled Wellesley’s plans to chase after the French. Thus, by allowing the French time to regroup and bring in reinforcements, the British lost their advantage. Instead, over Wellesley’s objections, Burrard and Dalrymple organized a conference to negotiate with the French at Cintra (aka Sintra) several days later.

The Convention of Cintra was signed August 30, 1808, nine days after the Battle of Vimeiro. It obligated the Royal Navy to carry 26,000 French soldiers to France, with their weapons and whatever spoils they had acquired. There was no restriction against their return to fight again in Portugal. Sir Arthur Wellesley voiced his objections, but, in the end, signed the Convention. The reaction in Britain was dramatic, led by the opposition to the government and their allies in the press. Scathing articles, mocking cartoons and contemptuous speeches condemned the terms of the convention. Wellesley, along with Generals Burrard and Dalrymple, was ordered back to London. The three generals faced a hearing before a Board of Inquiry at Horseguards, beginning November 15, 1808.

 

After extensive deliberations, the board voted on December 22, 1808, to accept the convention. The generals were officially exonerated, but neither Burrard nor Dalrymple ever saw military action again. Unofficially, all of London knew of Wellesley’s reluctance, and most probably knew the story of how his plan to continue the battle and push the French back to Lisbon and out of Portugal forever was thwarted.

The command in Portugal was taken over by General Sir John Moore  (l). Moore died after the Battle of Corunna when French commanders chased the British troops through the mountains. Six thousand British troops, including Moore, were killed in January 1809. For more details, see this blog of May 10, 2011.

The British government in London sent Sir Arthur Wellesley back to Portugal in April 1809 with 20,000 troops to join the remaining 9,000 still there. The war continued in Portugal and Spain for another five years, ending in 1814 with Napoleon’s first abdication. British troops, by then, had fought their way through Spain and into southern France. Wellesley was honored with the title of Duke of Wellington, a tribute he enhanced with his victory at Waterloo in June, 1815.
If you’d like to visit the Vimeiro Battlefield first-hand, consider joining tour guides Gareth Glover and Kristine Hughes on Number One London’s Peninsular War Tour, May 2024. Complete itinerary and details can be found here.

A Visit to Regency London

Victoria here, inviting you to come with me to Regency London! Do not forget to don your special eyeglasses, the ones that will eliminate all evidence of city development after 1820 or so, including Victorian remodeling, post-Blitz reconstruction, contemporary skyscrapers, autos and buses, and modern clothing.

Substitute for horns, diesel engines and ever-present sirens the clip clop of hooves, the squeaking of cart-wheels and the cries of peddlers and hawkers of milk, eel pies, fresh buns: “Who will buy my ….” 

We shall start at the old address, No. 1 London (above), the site of Apsley House, home of the Duke of Wellington. The original Adam house was re-faced in Bath stone; the Duke entertained here, particularly at the Battle of Waterloo annual anniversary banquet, beginning in the appropriately named Waterloo Gallery.

I will not go into raptures over Apsley and its treasures — we have done that before on this blog. In fact, several times, and you’ll find the website here. But keep in mind that neither the exterior nor the interior are original. While the exterior was remodeled before 1820, the interiors reflect more of the tastes from the Victorian era.

Here is the entrance, as it was refaced in Bath Stone after the Duke purchased Apsley House from his brother Richard, Marquess of Wellesley, in 1817. Originally the house was smaller and finished in red brick.

The map below shows the route we will take on this visit to Regency London.  We start at Apsley House, approximately at A on the map, which is the tube stop just outside of Apsley House. The layout of the streets in 2011 is quite different from 1811. Today the broad boulevard of Park Lane (in green) connects with Piccadilly and other streets in a dizzying traffic circle. Apsley House is entirely cut off from the other streets, and the buildings that stood beside it were long ago demolished. The rather dark picture above shows how Apsley House stands isolated behind all the traffic.

Today it sits in the eastern most part of Hyde Park.  From Apsley, we will walk in a generally easterly direction toward B on the map, which is Piccadilly Circus, also non-existent in 1811.  Along Piccadilly, we will see a few remnants of the Regency Era and just before we get lost in Piccadilly Circus, we will retrace our steps to the top of St. James Street (on the map a tiny bit to the right of the Green Park tube sign) and walk down (southerly) St. James Street until it ends at — what else? — St. James Palace, beyond Pall Mall.

On the south,  or right side of Piccadilly (as you head toward today’s Piccadilly Circus) is Green Park, open space which resembles the way it looked in 1811. On the north, or left hand side of Piccadilly are solid banks of buildings most dating from later than the early 19th century, with a few exceptions.  Gone is Devonshire House which once welcomed London’s aristocracy and royalty. It was demolished in 1924. Below is a picture from The Queen in 1896.
Above is a photo from Wikipedia taken in 2010, more recent than any of mine, of the gates of Devonshire House which now serve as an entrance to Green Park, almost across Piccadilly from their original location.

Above is a building variously known as Cambridge House and the former In and Out Club. This imposing house was built in the mid 18th c. for the 2nd Earl of Egremont. It was later owned by the 1st Marquess of  Cholmondeley and then by Prince Adolphus, Duke of Cambridge.  From 1855 to 1865, it was known as Palmerston House, where Lord Palmerston, Prime Minister, and his wife, Emily, Lady Palmerston (nee Lamb, formerly Countess Cowper) entertained and conducted much of the business of the government.  In the 20th century, it became the Naval and Military Club, often called the In and Out Club, after the large signs on the pillars in front of the courtyard. In 1996, the Naval and Military Club moved to different premises in St. James Square.  The building then stood empty and sadly neglected until last year, when construction began on what will be yet another hotel. In fact, the whole of the area around Apsley House will soon be comprised of hotels before too much longer.  

Moving eastward, and also on the north side of the street, we arrive at Burlington House, now the home of the Royal Academy of Art.  There are remnants of the Regency era building here, but the exterior and much of the interior are greatly altered, not to mention the artwork in the courtyard.

The house and its grounds were remodeled by the same Lord Burlington that designed and built Chiswick House in grand Palladian Style.  Like many of the mansions on Piccadilly and in Mayfair, it used to have gardens, extensive courtyards, stable blocks, all the accouterments of country mansions — which they once were. As the West End became more and more desirable, these gardens and most of the courtyards were built over.

 

Above are the John Madejski Fine Rooms in the Royal Academy, which have been restored close to their appearance in the 18th century.  These rooms are often open without charge to visitors and display portraits of RA members such as Reynolds and Gainsborough. The other galleries have been greatly altered from the original and house changing exhibitions.

Next door, we find Albany where so many famous Regency gentlemen (not to mention numerous fictional heroes) lived. The house was once the home of Lord and Lady Melbourne, then the Duke of York, before it was converted to apartments.  Byron had rooms here, as did (much later) Georgette Heyer.  Below, two views of Albany, from the front and the side.  Across Piccadilly is Hatchard’s Book Shop.

 

Hatchards Book Store, 187 Piccadilly, Est. 1797

 

A bit farther east on Piccadilly (assuming you can tear yourself away from all the tempting titles at Hatchards) is St. James Church, 197 Piccadilly, built in 1684 and designed by Sir Christopher Wren. Its interior has many carvings by Grinling Gibbons, and despite some renovations in the 19th and 20th centuries, it is much as it appeared during the Regency.

Now retrace your steps past Hatchards and walk to Fortnum and Mason, on the corner of Piccadilly and Duke Street.  Although it began in 1707 in St. James Market, the large building  is modern. Nevertheless, you may want to sample one of the restaurants or at least take home a catalogue of their mail-order wares.  Visit the website here.

Fortnum and Mason, 181 Piccadilly, est. 1707

Proceed westerly to the corner of St. James Street and turn left, or south.  At the bottom, you will see St. James Palace, as I photographed it from a distance.

Charming print of cherry seller outside St. James Palace, c. 1811
Today’s view of St. James


From Ackermann’s Microcosm of London, the scene at a drawing room in St. James Palace in 1808.  St. James Palace was the official residence of the King. Even today, foreign ambassadors serve at the Court of St. James, though they are received by the Queen at Buckingham Palace.

On your walk from Piccadilly to St. James Palace, most of the buildings you pass were constructed later than the Regency, but not all, for here are several of the famous men’s clubs of St. James and several shops with roots in the era.

Whites Club
Brooks Club

 

Boodles Club
Berry Bros. and Rudd, Wine Merchants, est. 1698

 

Lock and Co. Hatters, est.1676

 

 

A walk around Regency London with tour guide Kristine Hughes is included on the itinerary for Number One London’s Town & Country House tour in May 2024. Complete itinerary and details can be found here.