R-EX data Wall decoration and plaster work

This room is called the drawing room.

If you look at the drawing room walls you can see the second layer of oil paint ever applied. The underlayer being plain and, we think, not used for very long. As you can see, we have a geometric scheme here, with pinkish-brown panelling applied to a grey background. If you look closely where the two colours meet you can see puncture marks in the plaster. At a very high level of magnification, tiny fragments off gold can be found here. This suggests that around each panel there was originally a gilded, timber moulding. There is visible evidence of where picture frames once hung in left and right panels of the main wall and the wall opposite. In fact, in the panel to the right of the fireplace, you can actually see evidence of the cord that was suspending a frame in this location, the ‘shadow’ of the cord forming an apex that drops to either side of the frame.

The centre panel on the main wall has the shadow of a much larger frame. You can see the mounting points for this along the base, the left and right edges and the top of the frame, with corners clipped at 45 degrees. This frame held a mirror, strategically placed to work with the windows inset to the bow front of the property, allowing the occupants of the house to view an ‘idealised nature’ through the windows, including a view of the sea - the windows and mirrors combining to bring the land and the water to the inside of the home.

Regency drawing rooms were the epitome of elegance and sophistication, serving as formal spaces for entertaining guests, socializing, and showcasing the wealth and taste of the homeowner. These rooms reflected the neoclassical ideals of symmetry, refinement, and a connection to classical antiquity.

Some key Features of Regency Drawing Rooms: Furniture was often arranged symmetrically around a central focal point, such as a fireplace or a large window. Used for conversation, music, reading, and other leisurely activities, with distinct areas for each. The room’s decor and furnishings were designed to impress, often reflecting the latest styles.

Walls were painted in soft, neutral tones (cream, pale blue, or dove grey) to create an airy and light-filled space. Rich accent colours, such as burgundy, deep green, or Prussian blue, were used for trims, drapery, or upholstery. Walls often featured plaster or wood panels, with some decorated using stencilling or hand-painted motifs inspired by Greek or Roman designs. Cornices and Friezes, Elaborate plaster mouldings and friezes adorned the junctions between walls and ceilings, often gilded or painted in subtle tones.

Ceilings: Ceiling roses were common, centred around chandeliers, and complemented by intricate cornices. Classical motifs such as rosettes, swags, and acanthus leaves were popular. Painted Details: Some ceilings featured painted scenes or trompe-l'œil designs, adding an extra layer of luxury.

Regency interior paint colour schemes: Regency interior paint colour schemes were refined and elegant, drawing inspiration from classical antiquity and nature. These schemes combined soft neutrals with rich, dramatic tones and were often used to create contrast and highlight architectural details.

Typical Regency Colour Palette: Soft Neutrals (Base Colours): Creams and Ivories, Stone and Beige, Light Greys and Pearl Whites. Rich Accent Colours: Deep Greens (e.g., Brunswick Green, Olive Green), Burgundy and Claret, Rich Blues (e.g., Prussian Blue, Teal), Gold and Ochre, Black for detailing or furniture. Pastel Shades: Soft Lavender, Powder Blue, Pale Pink, Mint Green. Metallics: Gilded accents in gold or brass for mouldings, furniture, and decorative elements.

One colour which rarely appeared alone on Regency walls was white. Early in the nineteenth century, chlorine was being newly employed to create bright white, bleached areas in fabric patterns; these were, however, only intended for relief. Whites were still used for ceilings but even then generally tinted with pinks or blues. In the opinion of the furniture-maker George Smith, the use of white by 1828 was simply ‘bad taste’. 

Regency decorative paints were often used to create intricate designs, mimic luxurious materials, and highlight architectural features. Techniques and finishes were inspired by classical antiquity, with an emphasis on elegance, symmetry, and refinement.

Types of Decorative Paint Finishes: Flat and Matte Finishes Used on walls and ceilings to create a soft, elegant backdrop, Provided a smooth surface for stencilling and decorative motifs. Glossy Finishes: Applied to woodwork, doors, and trim, Often in darker or bolder colours like black, green, or burgundy, with a highly polished sheen. Gilding: Gold leaf or gold paint applied to mouldings, picture frames, and architectural details, Gilded accents were a hallmark of Regency luxury. Distemper: A traditional paint made from chalk, pigment, and glue, giving walls a soft, chalky appearance. Eggshell and Satin Finishes: For walls and woodwork, offering a slight sheen to reflect light without being overly glossy.

Decorative Painting Techniques. Stencilling: Patterns inspired by Greek, Roman, and Egyptian motifs, such as acanthus leaves, urns, and geometric borders, Applied around cornices, ceiling edges, and along dado rails. Marbling: Faux painting technique to mimic the appearance of marble, often on columns, fireplaces, and table tops, Popular colours included white, grey, green, and ochre tones. Wood Graining: Simulated exotic woods like mahogany, rosewood, or oak using paint, Commonly applied to doors, panelling, and furniture. Striping: Vertical or horizontal stripes painted on walls, often in muted tones or soft pastels, to add subtle elegance. Trompe-l'œil: A highly detailed technique to create the illusion of three-dimensional architectural features, such as niches or decorative panels. Block Painting: Large blocks of colour divided by gilded or painted borders, mimicking the look of stone or panelled walls.

Common Regency Decorative Paint Colours: Golds and Gilding: Used for highlighting mouldings and intricate details. Stone Tones: Greys and taupes for marbling effects. Rich Greens and Blues: For marbling or as background colours for stencilling. Earthy Ochres and Terracottas: Reflecting classical inspiration. Muted Pinks and Lavenders: Delicate tones for feminine spaces.

How These Paints Were Used in Interiors: Walls, Often divided into three sections: The lower section (below the dado rail) painted in a darker or richer colour. The main wall area in a lighter colour or stencilled. The upper section (frieze and cornices) in a complementary tone or adorned with gilding. Ceilings: Light colours to reflect light, often with stencilled borders or trompe-l'œil designs. Fireplaces and Columns: Frequently painted with marbling techniques to imitate luxurious stone.

The use of wallpaper – a very cheap alternative to expensive wall-hung fabrics – was very common in all types of houses by 1790. In 1837 Charles Dickens removed the dado rail from the principal rooms of his London home so that the new wallpaper could run down to the skirting board, a common practice of that time. Wallpaper was still block-printed by hand using carved pearwood blocks and produced in ‘pieces’ or rolls 11½  yards (10½ meters long). It was not until the 1830s that mechanized cylinders were generally substituted for blocks, and the first modern-style power-driven rollers did not appear until after 1839.

The wallpaper in a Regency-period drawing room typically reflected the elegant and refined aesthetics of early 19th-century England. Popular themes and features included: neoclassical Motifs: Designs often drew from ancient Greek and Roman art, featuring urns, swags, medallions, and laurel wreaths; Floral Patterns, Delicate and symmetrical floral arrangements sometimes mixed with vines and scrolls; Geometric Designs: Repeating patterns like stripes, diamonds, or trelliswork were common, often paired with ornate borders.

Colour Palette: Soft and Muted Tones: Creams, pale greens, light blues, and pastel shades dominated. Contrasting Accents: Darker colours like crimson, deep green, or gold were used sparingly to add richness.

Materials: Hand-Painted Papers: Luxurious hand-painted wallpaper, often imported from China (Chinoiserie style), was highly sought after. Block-Printed Papers: Domestic wallpapers were typically block-printed, showcasing intricate patterns. Gold or metallic highlights added opulence.

Friezes and Borders: Often, rooms had a decorative frieze or border near the ceiling to frame the walls.
Scenic Murals: Panoramic scenic wallpapers depicting landscapes, classical ruins, or pastoral scenes were used in grander homes.
Textures: Some wallpapers imitated textiles like silk or damask, adding depth and texture.

Decorative Elements: A central fireplace with an intricately carved marble surround was common, often topped with a large mirror or artwork.
Large, gilded mirrors were strategically placed to reflect light and make the room appear larger. Paintings or engravings depicting classical scenes, landscapes, or still-life compositions.

A wide variety of painting techniques were employed in the decorating of Regency home interiors. The techniques of graining and marbling were also extremely popular in the early nineteenth century. They were used to decorate woodwork - doors, shutters, wainscoting - walls, and furniture.

In 1827, Nathaniel Whittock wrote in his Decorative Painter's and Glazier's Guide of ‘the art of imitating the grain and colour of various fancy woods and marbles', and commented that ‘there are few respectable houses erected, where the talent of the decorative painter is not called into action'.

Marbling: This technique simulated the appearance of real marble, often on plaster, wood, or other surfaces. It was used for columns, fireplaces, furniture, and walls. In Smith's Art of House Painting, published in 1821, William Butcher described how graining in imitation of mahogany was produced: ‘first coat, white lead; second coat orange (with orange lead); then finished with burnt terra de Sienna, with a flat brush waving and imitating the veins as they run in any fine piece of mahogany'.

Graining (Faux Wood): Graining mimicked the appearance of fine woods like mahogany, oak, rosewood, or walnut. This was often used on doors, panels, and furniture. Common Applications: Architecture: Columns, door frames, and mantelpieces often featured marbling or graining to mimic luxurious materials. Furniture: Side tables, chairs, and cabinets were frequently adorned with faux finishes to resemble exotic woods or marble tops. Walls and Panels: Graining and marbling were used to decorate wainscoting, dado rails, and other architectural elements.

Plasterwork. In the Regency interior, plaster mouldings were generally of a more restrained character than in previous decades. It was intended that the colour combinations of the paint, wallpaper, window drapes and furniture should provide the principal visual interest within the room, not the cornice, door case or dado rails.

Larger internal decorative mouldings were often made using a core of lime or gypsum mixed with animal hair or straw for added strength. The final surface of the moulding would comprise layers of Plaster of Paris to give a fine, smooth finish. Long, continuous mouldings such as cornices would be formed by drawing a wooden frame carrying a metal profile of the desired pattern, known as a ‘horse’, through the still wet plaster. Battens would be fixed to the wall or ceiling, adjacent to the moulding, to act as guide rails for the horse. Alternatively, sometimes these would be made in long sections, off site, and later fixed in place. Shapes that could not be made in this way, such as decorative leaf motives, would be moulded individually and then assembled and fixed into place to complete the design.

The most common moulding of the period was the ‘bead’, whilst two or more beads in combination was known as ‘reeding’. Reeding was applied to cornices, chimney pieces, door surrounds, dados, skirting, and even glazing bars.

The more important the room, the more elaborate the moulded plaster ornamentation. This is why the principle reception rooms of the Regency house, the dining and drawing rooms, contained the richest decoration, whilst bedrooms were invariably given little detail. This practice of room hierarchy is clearly seen in the houses of Brunswick Square. 

Common Uses of Decorative Plaster. Ceilings: Ornamental designs, often in the centre and corners, to emphasize symmetry. Motifs included rosettes, swags, urns, and geometric patterns. Large rooms often featured intricate plaster medallions as a focal point for chandeliers. Cornices:Elaborate mouldings at the junction of walls and ceilings. Patterns ranged from simple linear designs to complex classical motifs, such as egg-and-dart, dentils, and acanthus leaves. Friezes: Decorative plaster bands running along the upper part of walls, often featuring floral or mythological reliefs. Used to create a seamless transition between walls and ceilings. Fireplaces: Surrounds and overmantle were adorned with plaster reliefs, often depicting classical themes, garlands, or medallions. Columns and Pilasters: Fluted or plain columns with decorative capitals (Corinthian, Ionic, or Doric styles) were common. Pilasters were used to add depth to walls without occupying significant space. Wall Panels: Decorative plaster panels framed by mouldings, often embellished with intricate details or painted.

Key Design Elements. Classical Motifs: Acanthus leaves, egg-and-dart patterns, scrolls, and palmettes, Swags and garlands of flowers, ribbons, and drapery. Symmetry and Proportion: Designs emphasized balance and harmony, reflecting the Regency's neoclassical roots.
Delicate Details: Regency plasterwork was finer and less heavy than earlier Georgian styles, reflecting a more refined aesthetic. Trompe-l'œil Effects: Some plaster details were painted to enhance the illusion of depth or to mimic materials like stone or wood.

Materials and Techniques. Lime Plaster: The primary material, made from lime, water, and aggregates, was durable and malleable. Hand Carving: Artisans often hand-carved designs into wet plaster for intricate detailing. Molded Plaster: Ready-made moulds allowed for consistent replication of designs like rosettes, swags, and borders. Scagliola: A technique where plaster was mixed with pigments and polished to resemble marble. Used for columns, pilasters, and tabletops. Gilding and Painting: Decorative plaster was sometimes gilded or painted to enhance its visual impact, particularly in drawing rooms and dining rooms.

Regency ceiling roses were a key decorative element in elegant interiors, often serving as the focal point of a ceiling and highlighting the placement of a chandelier or lighting fixture. These ornamental designs were meticulously crafted to reflect the Regency era's neoclassical aesthetic, emphasizing symmetry, proportion, and classical motifs.

Design Characteristics of Regency Ceiling Roses: Circular designs were the most common, with concentric patterns radiating outward.
o Some designs featured oval or elliptical shapes, particularly in elongated rooms. Motifs: Floral Patterns: Rosettes, acanthus leaves, and garlands were prevalent. Classical Elements: Greek and Roman-inspired designs, such as scrolls, egg-and-dart patterns, and sunbursts. Geometric Detailing: Symmetrical and intricate arrangements, often with repeating motifs. Scale and Proportion: Smaller, simpler roses were used in less formal rooms. Larger, more intricate designs adorned grand spaces like drawing rooms or dining rooms, emphasizing their importance. Material and Finish: Traditionally made from lime plaster, hand-moulded for precise detailing. Often painted in white or cream to blend with the ceiling, but gilding or subtle colour accents were sometimes added for opulence.

Placement and Function. Chandelier Anchor: Ceiling roses were often centred in the room to draw attention to and frame a chandelier or pendant light. Ornamental Focus: Enhanced the visual appeal of the ceiling, creating a sense of height and grandeur. Symmetry and Balance: Their placement aligned with the room's architectural proportions, contributing to the harmonious Regency aesthetic.

Regency plaster coving was a hallmark of early 19th-century interior design, used to elegantly transition between walls and ceilings while enhancing the symmetry and grandeur of a space. Coving in this era reflected the neoclassical aesthetic, incorporating fine detailing and classical motifs. Characteristics of Regency Plaster Coving. Elegant Profiles: Coving designs were less heavy than earlier Georgian styles, with slimmer profiles and refined details. Smooth curves or angular transitions were often used to emphasize proportion and balance. Classical Motifs: Acanthus Leaves: Symbolic of classical antiquity, often arranged in flowing patterns. Egg-and-Dart Patterns: A repeating motif symbolizing harmony and movement. Dentils: Small, tooth-like rectangular blocks to add rhythm and detail. Greek Key Designs: Geometric patterns inspired by ancient Greece. Swags and Garlands: Representations of draped fabric or floral arrangements. Symmetry: Designs focused on creating harmony within the room, with coving often mirrored across all sides. Materials: Lime Plaster: The traditional material, hand-moulded for crisp detailing. Typically painted in white, cream, or a subtle neutral to blend with ceilings. Gilding or painted accents were added in grander homes, particularly in drawing rooms or dining rooms.

Common Regency Coving Styles. Simple Cornices: Clean lines with minimal ornamentation, used in less formal spaces. Decorative Cornices: Incorporating detailed motifs like foliage, scrolls, and geometric patterns. Often used in larger, more formal rooms. Layered Designs: Multiple tiers or bands of decoration for added depth and drama. Coved Ceilings: Curved transitions from walls to ceilings, often paired with decorative bands or friezes for visual interest.

Applications of Regency Coving. Drawing Rooms and Parlours: Elaborate coving with gilded details or painted motifs to reflect the importance of these social spaces. Dining Rooms: Richly decorated coving, often featuring classical patterns to enhance the room's formality. Libraries and Studies: Subtle and elegant designs, emphasizing geometric or linear patterns. Hallways and Staircases: Continuous coving to guide the eye and unify the space, often paired with decorative plaster ceilings.

Gilding is a decorative technique whereby an extremely thin layer of real gold is applied to the outside of an object such as a mirror frame, or the surface of a piece of interior detailing such as a cornice. In many affluent Regency homes plaster decoration was frequently picked out in gilt, sometimes to excess. By the 1820s, the use of gilding on interior mouldings had begun to decline somewhat, but it continued to be used to enhance furniture woodwork and picture frames. Gilded lacquer work - classical gold motifs on a black background - was popular during the Regency. Adverts placed in the Brighton Gazette during the 1820s, to sell newly finished Brunswick houses, can be found promote richly gilding dining rooms as an attractive feature of the home. Common Patterns and Motifs. Neoclassical Themes: Laurel wreaths, swags, urns, and lyres were frequent designs. Floral and Foliate Designs: Acanthus leaves, rosettes, and vines adorned architectural elements and furniture. Greek and Roman Influences: Key patterns, anthemions, and palmettes reflected the classical inspiration of the period.