Posts Tagged 'Queen Victoria'

An Edwardian Dinner Party

The hostess, Ellen Thomas-Stanford, PMPHO000029

The hostess, Ellen Thomas-Stanford, PMPHO000029

In the early twentieth-century, dinner at Preston Manor was generally served at 8.00pm. Guests were announced by the butler, and escorted to the drawing room. After the first course had been laid in the dining room, the butler announced “dinner is served” and the guests proceeded to their places.

Charles Thomas-Stanford, (who married Ellen Stanford in 1887 after the death of her first husband), escorted the senior ranking female guest and she sat at his right hand; the remaining guests were paired according to their rank. At the rear of the procession Ellen Thomas-Stanford accompanied the gentleman of highest rank and he sat at her right hand.

The host, Charles Thomas-Stanford, PMPHO000099

The host, Charles Thomas-Stanford, PMPHO000099

Dinner parties at Preston Manor normally comprised six to twelve guests. When the party was small at least two of the leaves from the dining table were removed to create a more intimate atmosphere. Visitors books and annotated menus indicate that the Stanfords, unsurprisingly, entertained the elite of society as well as family members and friends.

The Guests

Princess Beatrice, Queen Victoria’s fifth daughter, was a frequent guest of the Stanfords, last appearing in 1926. Princess Alice, Countess of Athlone, and Princess Helena, second and third daughters of Victoria, were also occasional guests. Literary friends of Charles included Carrie and Rudyard Kipling, who visited in 1927 and 1930.

Place settings had to be carefully worked out in advance; guests’ names might be written on cards or Charles Thomas-Stanford might request each guest to take a given seat. Charles and Ellen normally sat at the middle of the able at the sides so that the principal guests were gathered around a common centre.

The Service

Dinner set, John Turner & Co., c1800, Bequeathed as part of the Stanford bequest of Preston Manor and its contents to the Brighton Corporation in 1932, DAMAS000229

Dinner set, John Turner & Co., c1800, Bequeathed as part of the Stanford bequest of Preston Manor and its contents to the Brighton Corporation in 1932, DAMAS000229

Dinner was served à la Russe, so called because it was said to have been introduced by the Russian ambassador at the court of Naples in the early nineteenth-century. Service à la Russe became the usual method of serving dinner in England from the 1870s. It superseded Service à la Française, where a great number of dishes were set out on the table, and were then removed to be replaced with a second course of much the same mixture of game, fish, sweetmeats and roasts.

In Service à la Russe guests were presented with a succession of courses, beginning with soup and ending with desert. The cutlery for subsequent courses was arranged so that guests worked inwards. Service was always from the left, though wine was served from the right. Dishes too heavy to carry round, like roasts, were carved, often by the host, at a side table.

The Decorations

A watercolour of Preston Manor's Dining Room, 1896, PM190082

A watercolour of Preston Manor’s Dining Room, 1896, PM190082

The table was decorated with flower-filled vases and centrepieces. The 1907 Army and Navy Stores Catalogue has three pages filled with glass vases suitable for flowers for the dinner table. Contemporary household manuals devote pages to floral decoration with suggestions for combinations of glass, silver, lampshades and seasonal flowers. Great attention was paid by the hostess to ensure that nothing clashed. Pink. Red and yellow flowers, mixed with white, were particularly recommended.

At Preston, the candles on the table had self-adjusting supports with candle shades which varied in colour according to the floral decoration. The electric lights were normally switched off as guests preferred the softer light of candles.

The Meal

A typical Edwardian dinner party at Preston Manor would start with soup accompanied by sherry. This would be followed by fish served with a good white wine. After the fish came the entrée, which might consist of vol-au-vent, mutton cutlets or sweetbreads served with champagne or claret. The next course was known as the remove or relevé. This was the most substantial part of the dinner and might include a joint of meat, poultry or a substantial meat pie served in burgundy. Potatoes and vegetables in season always accompanied the ‘remove’. The potatoes were cut to the size of matches (as testified by Dorothy Fuller, a scullerymaid at Preston Manor from 1923-26. Interview March 1999.)

Mustard Pot, PM400757

Mustard Pot, PM400757

Next came the roast course of game such as field fares (a small bird), snipe, wild duck or pheasant served with game chips. These were disc shaped potato chips; at Preston Manor they were so thinly sliced that they could be seen through. Claret would normally be drunk with this course. Then followed a series of dishes known as the entremêts. This course was divided into three and usually consisted of a dressed vegetable, dishes such as cherry tart or savarin of peaches and a savoury of, for instance, devilled sardines or cheese.

The table would then be cleared, a new set of wine glasses put out, and the guests were provided with dessert plates with ice-plates on top of which were set finger bowls and silver-gilt dessert cutlery. The finger bowls were then set to the left, ices brought in and served on the ice-plates; these were often removed, leaving the dessert plates for the fruit and nuts. Port of madeira would then circulate.

At this stage the ladies would retire in exactly the same order as they entered – the lady of the highest rank first, Ellen Thomas-Stanford bringing up the rear. The gentleman could now smoke. Coffee would be served separately; in the drawing room for the ladies and in the dining room for the gentleman.

This text was originally published on the Royal Pavilion and Museums’ main website.

The Royal Stables and Riding House

It’s difficult to imagine Brighton without the Royal Pavilion, its most iconic building. But there was a time in the 1840s – when Queen Victoria chose not to retain it as her seaside residence – that its future was in real doubt. Offered for sale by the Commissioners of Her Majesty’s Woods and Forests, it was bought by and for the people of Brighton on 19 June 1850.

Exterior view of the north front of the stable complex towards Church Street, John Nash’s Views of the Royal Pavilion, which first appeared in 1826

Exterior view of the north front of the stable complex towards Church Street, John Nash’s Views of the Royal Pavilion, which first appeared in 1826

The purchase was not unopposed, however: according to one commentator, the Pavilion was ‘a great, ugly, indescribable building…which is at once a monument of the vices and detestable taste of the Fourth George’ and, for many, it did indeed symbolise the excesses and extravagances of his reign. Fortunately, there were also plenty of people who thought it worth preserving and, here at Brighton Museum & Art Gallery, we benefit on a daily basis from the transformation of one of the former monarch’s ambitious schemes, the opulent Royal Stables and Riding House.

The interior of the Royal Stables, John Nash’s Views of the Royal Pavilion, which first appeared in 1826

The interior of the Royal Stables, John Nash’s Views of the Royal Pavilion, which first appeared in 1826

Work began on these buildings in around 1803 and they were completed in 1808, providing the catalyst for John Nash’s flamboyant reinvention of the Royal Pavilion. Architect William Porden was responsible for their design, and it seems the Prince of Wales, a keen horseman, was delighted with the results. The stables themselves, inspired by the circular Corn Market in Paris, featured a vast central dome and palatial accommodation for more than sixty horses. There were also coach houses, an engine house, forge and farrier, harness rooms and, on the upper floor, lodgings for grooms and stable boys. To one side of the stables was the Riding House, complete with Royal Box; to the other was a screen behind which a tennis court was planned. To quote a member of the Prince’s entourage, it was ‘a most superb edifice, indeed quite unnecessarily so’.

The interior of the Riding House, John Nash’s Views of the Royal Pavilion, which first appeared in 1826

The interior of the Riding House, John Nash’s Views of the Royal Pavilion, which first appeared in 1826

In 1856, after the change to municipal ownership, the Stables and Riding House were let as cavalry barracks for a number of years and, in 1868, the Riding House was renamed the Corn Exchange and used for the weekly corn market. A year earlier, the Dome, as the Stables became known, had opened as a magnificent concert and assembly hall. According to Clifford Musgrave’s Royal Pavilion: An Episode in the Romantic, ‘the use of the buildings of the Estate for cultural purposes was strongly in the minds of the municipality from the time they purchased it. Art exhibitions were held in the Kitchen [of the Royal Pavilion], and rooms on the first floor…were used as a museum and reference library. These were so successful that greater space was soon needed.’ The tennis courts planned as part of Porden’s original scheme were never developed; instead, extra stabling for Queen Adelaide had been created on the site in the 1830s and it was in this space that the town’s new Public Library, Art Gallery and Museum opened in 1873. This was further enlarged and remodelled in 1902, prompting philanthropist Henry Willett to present his substantial collections of paintings and English pottery to the town. And the rest, as they say, is history.

Kate Elms, Brighton History Centre

What can these Diamond Jubilee portraits tell us about the Royal Pavilion?

In February 2012 two official, specially commissioned Diamond Jubilee photographs of HM the Queen and The Duke of Edinburgh were released to mark the 60th anniversary of The Queen’s accession to the throne. The photographs were taken in December 2011 by renowned photographer John Swannell, who has photographed members of the royal family on several occasions since the 1980s.

Official Diamond Jubilee Portrait, copyright Royal Household/John Swannell

Official Diamond Jubilee Portrait, copyright Royal Household/John Swannell

In the first photograph, the Queen is shown in the Centre Room of Buckingham Palace, with a glimpse of The Mall and the Queen Victoria memorial visible through the large window behind her.

Official Diamond Jubilee Portrait, copyright Royal Household/John Swannell

Official Diamond Jubilee Portrait, copyright Royal Household/John Swannell

The second official jubilee photograph, also taken in the Centre Room of Buckingham Palace, shows the Queen with Prince Philip in a room that could be mistaken for our very own Royal Pavilion in Brighton. The pair are posing in front of a Chinoiserie fireplace, and to either side of the mirror above the fireplace is a geometric border design that might well look familiar to Royal Pavilion visitors.

Banqueting Room, Royal Pavilion, fa207733

Banqueting Room, Royal Pavilion, fa207733

The white and gold fireplace, complete with small Chinese figures on either side of the fire grid, was originally installed in the Banqueting Room of the Royal Pavilion in 1817. It was designed by Robert Jones, one of the principal artists employed by the Prince Regent for the transformation of the Royal Pavilion from Henry Holland’s neo-classical building into John Nash’s Indian fantasy. Eagle-eyed observers might also spot to the right of Prince Philip a little bit of silvered background next to the trellis border. This is the background of the large Chinese-style paintings by Robert Jones which are also in the Banqueting Room.

The Centre Room of Buckingham Palace is also commonly known as the Balcony Room. On special occasions, such as royal weddings or jubilee celebrations, the royals gather on the balcony, watched by crowds in The Mall. If you look carefully at some of the press pictures taken at events such as Kate and William’s balcony kiss after their wedding in April 2011 (as seen in this picture by The Telegraph) you will see one of the smaller Frederick Crace chandeliers from the Royal Pavilion’s Music Room in the background.

So how did these items from Brighton find their way into Buckingham Palace?

Music Room, Royal Pavilion, fa207734

Music Room, Royal Pavilion, fa207734

In 1850 Queen Victoria sold the Royal Pavilion to the Corporation of Brighton, but excluded the contents of the building from this sale. In the years before the sale the Pavilion had been stripped of all its contents and decorations, including heavy pieces such as the large chandeliers and the fireplaces. Queen Victoria used many of the fittings, furniture, and decorative objects in the newly built Blore Wing of Buckingham Palace (that rather imposing side of the palace that can be seen from The Mall), creating an 1850s recycled take on the Prince Regent’s Brighton Chinoiserie scheme. To this day there is a suite of rooms in the Blore Wing of Buckingham Palace that looks remarkably similar to the interior of the Royal Pavilion.

But this doesn’t mean that what we have in Brighton is not original. Many items were returned by Queen Victoria herself as early as the 1860s, among them important large pieces, such as the two large chandeliers from the Music Room and the Banqueting Room. The larger Robert Jones’ paintings in the Banqueting Room are original, the others being very good 19th century copies. The Jones paintings in Buckingham Palace have recently been restored and re-hung in the Centre Room, so if you come across older pictures of this room you might not see them. Of the smaller Music Room chandeliers, half of the smaller ones are original.

Since 1850 several members of the royal family have been very supportive of efforts to restore the Pavilion, and have returned many original Pavilion pieces.  Queen Mary was a prominent supporter in the early twentieth century, and visited the building on several occasions during World War One. Her Majesty the Queen has also very graciously returned several very important items on a permanent loan basis.

It is of course tempting to say that it would be nice to have all the original pieces returned to Brighton, but one has to bear in mind that these Chinoiserie interiors have also become an integral part of the history of Buckingham Palace. The present Royal Pavilion also reflects its history as a former royal palace that has been in municipal ownership since 1850. We should also not forget that some of the Chinese decorations that were in the Royal Pavilion during George IV’s lifetime had were taken from another building: his lavish London residence Carlton House, in which he first experimented with Chinoiserie interiors. Carlton House was demolished in the 1820s and its furniture and decorative objects taken to Buckingham House (as Buckingham Palace was then called) and the Royal Pavilion in Brighton.

The history of buildings and their interiors has always been one of change, movement, inspiration and the re-use of objects in new contexts and by new owners, and it is all the more fascinating for it.

Alexandra Loske,
Researcher and Guide at the Royal Pavilion


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June 2013
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