Bath’s Rooms: A new immersive exhibition in the Georgian city is a must for fans of the period

Bath’s Rooms

A new exhibition putting Georgian life in the spotlight at Bath’s historic Royal Terrace is proving to be an invaluable aid to the collector

From Jane Austen to Bridgerton, it seems we can’t get enough of the Georgians. An exhibition in Bath this month in one of the city’s best-known terraces – No.1 Royal Crescent – is shining a light on how a Georgian townhouse was both staffed and lived in. And, for collectors with a penchant for the era, its secrets serve up a wealth of understanding.

Built between 1767 and 1774, at the height of Georgian fashion, No 1. provided lodgings for Regency high society which was then dubbed ‘the ton’, meaning good manners, ‘le bon ton’.

The fictitious family at the heart of the immersive exhibition had arrived in Bath for the season. Father of three, Thomas, is the head of the household alongside

Above The withdrawing room, © No.1 Royal Crescent, the Bath Preservation Trust

Right No.1 Royal Crescent, © David Bickerstaff his wife, Amelia, two daughters, Charlotte and Alice, and wayward eldest son, Richard (who has a fondness for Bath’s more scurrilous opportunities).

Curator, Dr Amy Frost, said: “Through the family and their servants, visitors will be able to understand what life was like for a range of people and ages, what they did and what shaped their lives.”

18TH-CENTURY BATH

From 1714-1830, Bath was the place to be for outof-London social activity. Royalty, the aristocracy and commoners flocked to bathe in the spa waters. The population multiplied from 2,000 to 30,000 in just 100 years and, by 1801, Bath had become the eighth largest city in England. Dr Frost continued: “Most people in Bath from the upper levels of society did not actually

live in the city until the later 18th/early 19th century; rather it was still a city that you came to for the season, although by the late 18th century that season was almost six months of the year.”

The period at the heart of the exhibition coincided with a boom in consumerism when shopping had become an important cultural activity. With improvements in transport and manufacturing technology, opportunities for buying and selling became faster and more efficient than ever. With window shopping and actual shopping a cultural activity in its own right, many exclusive retailers opened in elegant spa towns such as Bath and Harrogate, including milliners, haberdashers, goldsmiths and furniture makers.

Prosperity and expansion in manufacturing industries such as pottery and metalwares increased consumer choice dramatically. Consumers came to demand an array of new household goods and furnishings: metal knives and forks, for example, as well as rugs, carpets, mirrors, cooking ranges, pots, pans, watches and clocks.

Dr Frost said: “It was fashionable to employ someone to fit out your house or be your agent in acquiring furniture. This could be purchase or rental, but often a mix of both.” Upholsterers (sometimes also got called upholders) often did more than soft furnishings, working with local cabinetmakers.”

Above The harpsicord dates to 1770, photo Casper Farrell

Right A clock in the drawing room shows the importance of symmetry, © David Bickerstaff

Below right Below stairs at No.1 Royal Crescent, photo Casper Farrell

‘At No. 1, rooms had candle sticks on every surface, and spaces such as the withdrawing room having girondoles on the walls, as well as a central chandelier if the homeowner could afford one, along with the candles required to light it’

GEORGIAN SYMMETRY

At No. 1 the Royal Terrace, like other properties of the era, symmetry, space and light were key concepts.

Rooms were generously sized, with entertaining and family rooms on the first floor above the noise at street level, although usually at the front of the house. A smaller family parlour was located at the back of the first floor, with bedrooms on the second floor and servants housed in smaller rooms at the top of the house – evident by the smaller windows.

Dr Frost said: “Handprinted wallpaper was fashionable, particularly by the end of the 18th century, and very expensive to purchase. It was however cheaper than fabric wall hangings, which was a luxurious way of covering a wall and had derived from the wealthy having historically had tapestries hanging in rooms.”

At No. 1, rooms had candle sticks on every surface, and spaces such as the withdrawing room having girondoles on the walls, as well as a central chandelier if the homeowner could afford one, along with the candles required to light it.

GEORGIAN INTERIORS

For the first time with the dawn of the Georgian era, it is possible to talk about ‘taste’ in homes other than those owned by the aristocracy. Then, as now, middle classes visited neighbouring country houses to pick up on the latest fashions.

With cabinetmakers Thomas Chippendale and Thomas Sheraton issuing catalogues to advertise the

latest styles, the concept of ‘design’ became universal.

Chippendale in particular catered for the swelling demand for functional yet stylish furniture. He accepted commissions to provide entire interiors ‘in the Chippendale style,’ including his signature camelback sofa, ribbonback chairs, with shell and acanthus decoration featuring heavily. He was also known for bold brass hardware, fretwork moulding and cabriole legs with ball and claw feet.

While walnut had been the timber of choice up to the Georgian period, it soon gave way to mahogany for a number of reasons: in 1720 France banned the export of walnut, on which the UK had been heavily dependent and, in 1721, the prime minister Sir Robert Walpole lifted the tax on mahogany.

The wood was durable and tough, and with a very fine grain that resisted scratches and bumps it offered an indispensable resource to the cabinetmakers of the 18th century. Mahogany blended seamlessly with ornament and lent itself well to the elegance that defined this period of furniture design.

THE AGE OF ENTERTAINING

With the emphasis on showcasing one’s material wealth, Georgians became known for their lavish entertaining. Dr Frost said: “There was a fashion for paying a call on an acquaintance on a day when you knew they were ’at home’ to callers. This was generally in the afternoon and a polite call would not last longer than about 15 minutes.”

Tea was drunk in vast quantities, with servants constantly refreshing the hot water and teapot. At No. 1, visits would have taken place in the withdrawing room or parlour depending on the status of the visitor and their relationship to the people they were visiting.

Only the rich and wealthy could afford to buy tea and, as a prized possession, homeowners would commission an expert craftsman to create them a beautiful and ornate caddy to protect it. Chippendale and Hepplewhite were two of the most renowned tea caddy designers and makers at the time.

Caddies were built to match the rest of the room’s décor and made from wood, metal, tortoiseshell, pewter, brass, or copper. The most popular materials were mahogany and rosewood. The majority were box-shaped and decorated with intricate motifs and delicately inlaid, and had ivory, ebony, or silver knobs.

Dr Frost said: “The lady of the house had control of the tea caddy, but the housekeeper would also have held a key in order to keep it filled, as well as controlling the stock of tea that would be kept in a locked cupboard in the housekeeper’s room.”

The age also saw the advent of the three-tier standalone dumb waiter, used as a serving table in the absence of a servant who might overhear the more salacious gossip and could, in turn, use it for blackmailing the host.

GEORGIAN DINING

Unlike today, at No. 1, in common with other Georgian homes, eating could take place anywhere in the house.

Dr Frost said: “A family might have taken breakfast together, but it is likely ladies would take breakfast in their rooms having risen quite late due to coming home late at night the evening before.”

Lunch tended to be taken as a brief meal, either at home or in town, with men lunching at a coffee house, while dinner was the most extensive meal, but taken between 4 and 5pm to allow the family to attend a ball or concert.

Edmund Rack, who moved to Bath from rural Essex in 1775 described his day-to-day life in a journal.

Above right The table in the withdrawing Room, © No.1 Royal Crescent, photo Casper Farrell

Right The Pump Room was the place to be seen in late 18th-century Bath

Left Chippendale’s six designs for tea caddies, plate no.159 in The Gentleman and Cabinet Maker’s Director, 1762

‘Lunch tended to be taken as a brief meal, either at home or in town, with men lunching at a coffee house. Dinner was the most extensive meal but taken at 4 or 5pm to allow the family to attend a ball or concert’

Dec 27, 1779 Pump Room throngd – near 20 lords & dukes, & Count Manteufel from Saxony. Rec[eive]d a packet from Molly Knowles with some excellent matter to cure the spleen.

Had a card from T.Curtis Esq to dine with him at 4 o’clock – dind at home first by way of security – at 2 waited on Lord Petre...

At 4 went to Curtis’ house in Belmont Row; found there his son from Oxford, & 3 very agreeable Ladys from Gloucestershire.

An elegant dinner of 2 courses, 4 dishes in a course – & a pretty desert with cold fruits. After dinner, the ladies retiring…Returnd home at nine.

Jan 8, 1780 Company grow still more numerous. There is scarce a lodging in the Upper Town to be had.

Last night, besides the dress ball at Gydes Rooms, there was a ball & supper at York House at which more than 400 attended. The tickets were 3 guineas, each ticket admitting a gentleman and a lady. A ball was likewise held at the Town Hall at which upwards of 300 attended.

Lord Molesworth just come in with 3 carriages & abt 20 servants, himself & lady in a very high phaeton & 6 horses, harness plated with silver, & 3 blacks with French horns.

THE ROUT

Balls finished promptly at 11pm in Bath but many fashionable residents went on to hold an ‘after’ party to which select guests would have been invited.

This could take the form of a rout – a type of card party – or it could include a private performance by a singer or musician who had been performing that evening. Drink and food may have been offered (a “Rout-cake” is mentioned in Jane Austen’s Emma).

In Georgian times, gambling was endemic among the upper classes who had money coupled with time on their hands. Faro was a popular choice where players bet on cards that were turned up from a spring-loaded device called a faro box.

For the highest society, baccarat was the game of choice with the Prince of Wales being a fan, with his own set of engraved counters.

Dr Frost said: “Card tables were brought out from the edge of the room and opened up. There would also have been Pembroke tables for the laying out of tea services and serving tea.”

When not in use, the flap was closed, so that the table could be pushed against the wall. Semicircular card tables, decorated with marquetry or cross-banding, also came into favour with the top opening to provide a circular playing area. Several mechanisms were designed to support the card table flap.

Left A card table at No.1 Royal Crescent, © No.1 Royal Crescent, the Bath Preservation Trust photo Casper Farrell

Right Taking tea was a vital part of Georgian life, © No.1 Royal Crescent, the Bath Preservation Trust

Below right James Gillray (1757-1815) Lady Godina’s Rout, 1796, depicting Lady Georgiana Gordon (1781–1853) playing the card game PopeJoan. The artist satirises the fashion for vertical feathers or plumes in women’s headdresses

Tea tables

The tea table was popular from the late 17th century, as having a fine piece of furniture to serve tea on was very important. They ranged from small rectangular versions to the round tilt-top design with a moulded dish top. The most common was the side table, with a swivel top, similar to the antique card table but on castors to be put in the corner of a room when not in use. When in use they would open up to double the size with two thick, figured leaves making a larger serving space, either using a swivel mechanism or by using a gate leg support.

The immersive exhibition at No.1 Royal Crescent, Bath BA1 2LR, continues until January 2, 2022. For more details go to www.no1royalcrescent.org