When Windsor went from so-so to splendour

This large and weighty book is as much a feast of illustration and text, as it is a unique chronicle of George IV’s transformation of an ancient and uncomfortable royal castle into a gilded, carpeted and sumptuously furnished royal home.

Externally, Windsor Castle had taken on the appearance of a Gothic palace at the behest of George III and under the supervision of his architect James Wyatt, also remodelled the private apartments for the King, Queen Charlotte and their large family – including the Prince of Wales, though he rarely stayed there.

In 1822, two years after he had become King, George IV decided to make the castle a Royal residence. He was introduced to the architect Jeffry Wyatville (James Wyatt’s nephew) and so embarked on a costly and lavish scheme of interior improvement and decoration seldom if ever equalled in England.

The original accounts confirm the detail and complexity of the work. They have been transcribed and comprehensively annotated by Sir Hugh Roberts, Director of the Royal Collection who, wherever possible, has matched the records with the furniture and furnishings that remain – most still in situ.

More than 500 illustrations provide a treasury of visual reference. The furniture alone includes magnificent examples of early 18th century Boulle, a late 18th century French giltwood polonaise bed and early 19th century carved ebony armchairs from Sri Lanka.

As well as special purchases, other items came from George’s earlier experiments with interior design at Carlton House. He was a very demanding client.

Certainly the most extensive range of furniture and perhaps the most interesting for modern day eyes are the multiplicity of items provided by Morel and Seddon; these include tables of many uses and sizes, chairs of varying degrees of comfort, footstools, sofas and overmantels.
Morel and Seddon provided the King with miniature designs in watercolour for each room which, when allied to Sir Hugh’s detailed commentaries, are full of fascinating details about the sources and colours of draperies and upholstery, for example.

It would be difficult to over-emphasise the importance of this volume for anyone interested in the history of interior design and decoration, with particular reference to the integration of antique with modern furniture in the early 19th century.