In one room after another,
Nash created a virtuoso display of dazzling interior design.
Unfortunately for Nash,
George IV was a very hands-on client.
And Nash despaired that, every time they met,
George insisted on new additions and alterations.
The vision for the Palace got bigger and bigger,
and the budget just spiralled out of control.
The King's constant revisions
made Buckingham Palace one of the most difficult commissions of Nash's career.
How did Nash respond to that?
Did Nash think that George IV was in one sense you know, the client from hell
because he kept changing all the time,
or did Nash just think,
"Yes, you know, more is better"?
The sense that one gets, and it is only a sense,
is that they both well, were old men,
and they'd not long to live, either of them.
Nash was 73, wasn't he, at this stage?
Yes, and the King was in decline,
and they must have just said,
"Let's do this,
because it's what we want to do."
And I think Nash thought,
"Here is the opportunity to create my masterpiece,
and he didn't really care too much about the small print ."
I think it's a fantastically theatrical performance of a room, isn't it ?
It is.
He was the great theatre architect.
How would you describe Nash's style?
It's a classical style,
but it doesn't really stick to the rules of classical architecture.
He was a very eclectic, pick-and-mix sort of classical architect .
So, the little crowns in this kind of sunburst on the doors, does that come from anywhere?
Well, again,
I think it is an invention of Nash,
and it's a highly suitable sort of festive motif for Buckingham Palace,
which I don't think occurred anywhere before.
It's almost like a firework, isn't it,
with a crown appearing in the sky.
Very celebratory.
[00:00.000]In one room after another,
[00:02.119]Nash created a virtuoso display of dazzling interior design.
[00:08.371]Unfortunately for Nash,
[00:10.113]George IV was a very hands-on client.
[00:13.118]And Nash despaired that, every time they met,
[00:15.370]George insisted on new additions and alterations.
[00:19.620]The vision for the Palace got bigger and bigger,
[00:23.042]and the budget just spiralled out of control.
[00:26.292]The King's constant revisions
[00:28.789]made Buckingham Palace one of the most difficult commissions of Nash's career.
[00:33.281]How did Nash respond to that?
[00:38.536]Did Nash think that George IV was in one sense you know, the client from hell
[00:43.787]because he kept changing all the time,
[00:45.538]or did Nash just think,
[00:46.280]"Yes, you know, more is better"?
[00:48.287]The sense that one gets, and it is only a sense,
[00:50.790]is that they both well, were old men,
[00:52.792]and they'd not long to live, either of them.
[00:54.542]Nash was 73, wasn't he, at this stage?
[00:57.291]Yes, and the King was in decline,
[01:00.042]and they must have just said,
[01:01.969]"Let's do this,
[01:02.470]because it's what we want to do."
[01:04.469]And I think Nash thought,
[01:07.969]"Here is the opportunity to create my masterpiece,
[01:10.212]and he didn't really care too much about the small print ."
[01:13.217]I think it's a fantastically theatrical performance of a room, isn't it ?
[01:18.215]It is.
[01:18.712]He was the great theatre architect.
[01:21.718]How would you describe Nash's style?
[01:24.220]It's a classical style,
[01:26.218]but it doesn't really stick to the rules of classical architecture.
[01:30.634]He was a very eclectic, pick-and-mix sort of classical architect .
[01:34.876]So, the little crowns in this kind of sunburst on the doors, does that come from anywhere?
[01:40.313]Well, again,
[01:41.066]I think it is an invention of Nash,
[01:42.312]and it's a highly suitable sort of festive motif for Buckingham Palace,
[01:47.814]which I don't think occurred anywhere before.
[01:49.817]It's almost like a firework, isn't it,
[01:51.302]with a crown appearing in the sky.
[01:53.075]Very celebratory.