'The éclat attending the residence of such an illustrious person as the Heir apparent to the Crown, attracted a great resort of company to Brighton, and numerous respectable mansions and rows of houses were quickly built for the accommodation and entertainment of those continually flocking thither. The impulse thus given cannot be said to have yet ceased; and, though the town has been so greatly extended, that it already covers full six times as much ground as when it first engaged the notice of the Prince of Wales, scarcely a year passes without a considerable augmentation, both in the number of its inhabitants, and of its buildings. A still further increase is also contemplated, to which the projected Railway from the metropolis (that occasioned so much controversial enquiry during the sitting of Parliament in 1837) is expected essentially to contribute, by the superior accommodation it will afford for speedy intercourse. Having, thus, briefly adverted to the vast change in the state of Brighton, which has resulted from princely patronage and abode, we shall proceed to the immediate object of this work, viz., the description of the Palace itself.
'The Marine Pavilion, as it was originally called, was commenced in 1784, under the superintendence of the late Henry Holland Esqre, architect, whose professional talents were, afterwards, so eminently displayed by the magnificent Drury Lane Theatre, which was destroyed by fire in February, 1809. In its first state, the Pavilion, as completed by Mr. Holland in 1787, consisted of a circular edifice, attached by semicircular projections to two adjoining buildings, forming wings. The central part (which was crowned by a dome, or cupola, and fronted by an Ionic colonnade and entablature, supporting statues), and the north wing, were new erections, but the south wing was merely altered from the villa which had been first hired for the occasional residence of the Prince of Wales, and was, subsequently, purchased by his Royal Highness. In succeeding years, and, particularly, in 1801 and 1802, additional buildings were raised by the same architect, or, rather, by his pupil, Mr. F. P. Robinson, F.S.A., who was stationed at the Pavilion, and, during Mr. Holland's absence on some mining affairs in Cornwall, had the special direction of the works in progress.
'Whilst the improvements were going on, in the year 1802, several pieces of very beautiful Chinese paper were presented to the Prince, who, for a time, was undecided in what way to make use of them. As the Eating room and the Library, which were between the Saloon and the new Northern wing, were no longer required for their original purposes, Mr. Robinson, on being consulted, advised the Prince to have the partition removed, and the interior formed into a Chinese gallery. This was immediately agreed to; the walls were hung with the paper described, and the other parts of the Gallery were painted and decorated in a corresponding style. About the same time, the passage room between what was, then, called the Small Drawing Room, and the New Conservatory, or Music room, at the south end of the Pavilion, was constructed in a singular manner. A space was enclosed within it, measuring twelve feet by eight, the sides and upper part of which were entirely formed of stained glass, of an oriental character, and exhibiting the peculiar insects, fruits, flowers, etc., of China. It was illuminated from without; and through it, as through an immense Chinese lantern, the communication was carried on; its effect is stated to have been extremely beautiful. Such, then, were the circumstances under which the Eastern style of decoration was first adopted at the Pavilion; and, soon afterwards, between the years 1803 and 1805, the same principle was extended to its architecture; the new Stables, which were then erected by Mr. William Porden, being considered as designed in the Hindû style.
'Although the Pavilion itself had been much enlarged, and had, recently, undergone extensive alterations, the Prince had still further changes in contemplation; and, in 1805, he issued his commands to Mr. H. Repton (who was much celebrated for his judicious practice in landscape gardening, and had already been employed in improving the grounds at Brighton), to deliver his opinion "concerning what style of architecture would be most suitable for the Pavilion." The result was made known to the Prince early in the ensuing year; and, in the spring of 1808, was communicated to the public in a folio work of much interest, which includes a series of coloured plates of proposed improvements, both in the House and Grounds. Though Mr. Repton's designs in respect to the Pavilion were never carried into effect, the arguments which he employed for giving it an Eastern character, had, doubtless, considerable influence over its present form; a short extract from his work will, therefore, be admissible.
'Mr. Repton ingenuously owns that his knowledge of the various forms of Hindû architecture was derived from communications first made to him by the proprietor of Sesincot, in Gloucestershire (Sir Charles Cockerell, who had been long resident in the interior of India); and, afterwards, corroborated by the accurate sketches and drawings made on the spot by his ingenious friend, Mr. Thomas Daniell. He then says, "Immediately after I had reconciled my mind to the adoption of this new style at Sesincot, I received the Prince's commands to visit Brighton, and there saw, in some degree, realised, the new forms which I had admired in the drawings. I found, in the Gardens of the Pavilion, a stupendous and magnificent building, which, by its lightness, its elegance, its boldness of construction, and the symmetry of its proportions, does credit both to the genius of the Artist, and the good taste of his Royal employer. Although the outline of the Dome resembles rather a Turkish Mosque than the buildings of Hindûstan, yet, its general character is distinct from either Grecian or Gothic, and must both please and surprise every one not bigoted to the forms of either.
'"When, therefore, I was commanded to deliver my opinion concerning the style of architecture best adapted to the additions and Garden front for the Pavilion, I could not hesitate in agreeing that neither the Grecian, nor the Gothic style could be made to assimilate with what had so much the character of an Eastern building. I considered all the different styles of different countries, from a conviction of the danger of attempting to invent anything entirely new. The Turkish was objectionable, as being a corruption of the Grecian; the Moorish, as a bad model of the Gothic; the Egyptian, as too cumbrous for the character of a Villa; the Chinese, too light and trifling for the outside; however it may be applied to the interior; and specimens from Ava were still more trifling and extravagant. Thus, if any known style were to be adopted, no alternative remained, but to combine from the architecture of Hindûstan such forms as might be rendered applicable to the purpose."
'Acting on this principle, Mr. Repton produced the series of drawings which have been referred to; and it is but just to add, that his designs for the Pavilion evince a clearness of conception, and a boldness and accuracy of outline, and combination of forms in the Hindû style, which far surpass the anomalous conceptions that determined the external character of the present edifice.
'The Plan of Brighton, published in 1809, shews that the Pavilion was still in a state of progressive enlargement. Several neighbouring houses had been previously bought, and annexed to the premises, and the whole assumed, in a great measure, the form and arrangement represented by the Ground Plan in Plate I., in which state it remained until the late John Nash, Esqre, architect, commenced his alterations in the year 1817. Those alterations were carried on during a considerable time, under the direct surveillance of the Prince himself, whose own facility of invention, and correctness of taste, tended greatly to increase the elegance of the interior. Numerous additions were also made to the buildings, until, at length, about the year 1824, the edifice was completed in the manner in which it now appears. Instead of the plain and humble character of a Marine abode, it assumes, in its external architecture, the varied characteristics of an Oriental style, and domes, and cones, and minarets spring from its roofs to a considerable altitude.
'In the general design of this unique edifice, much fancy is exhibited, and great ingenuity and professional skill are displayed in the construction of its domes and conical cupolas; yet there is little in the composition, exteriorly, that would elicit praise from an admirer of classic elegance. There is, however, ornament in profusion, and this, in combination with the singular aspect of the entire fabric, makes a considerable impression on the eye, and especially so, if the spectator be unacquainted with the details of classic architecture; this effect would, doubtless, be stronger, if the Pavilion stood upon elevated ground. With the exception of the minarets, pinnacles, and minor ornaments, which are of Bath stone, nearly the whole building is of brick, stuccoed.
'The expense of completing and furnishing this building was very great; and, independently of many lavish sums issued for those purposes from the Civil List, upwards of £100,000 was paid from the Privy purse of its magnificent founder in aid of the charges for furniture and decorations. On the accession of the Prince Regent to the Crown, after the decease of his father, in January, 1820, the Pavilion became a Royal Palace; and, on his own decease, in 1830, it descended, together with the succession, to his brother, the Duke of Clarence, the late King William the Fourth. It, afterwards, became a favourite residence of this sovereign (and his now dowager, Queen Adelaide), who passed some portion of every year there until his death in June, 1837. During a few weeks in the past autumn, the Palace was inhabited by his successor, Victoria, her present Majesty; Whom God preserve!