Before Queen Charlotte there was Princess Augusta (1719-1772)

In the 1700s knowledge was power. In a world where literacy was still rare, learning was something to be respected, and therefore anyone who needed to be respected had to be able to talk with a perspective of knowledge. A king, of course, then, must have enough knowledge to ensure they could stand out amongst other knowledgable people, so their wealthy and powerful courtiers would serve them out of respect and loyalty.

A king also needed knowledge to ensure they would not be fooled or tricked by others who were hungry for power. There were new challenges in the 1700s too, because the world had opened up for wealthy young men to travel, explore, and see the achievements of the world’s cultures for themselves. This immediately put princes at a disadvantage because travel was still dangerous, and in a volatile time for uprisings it was far more of a risk for the heir to the throne to travel.

King George III’s mother, Princess Augusta, realised this and created a space King George III could experience and learn. She wanted her son to succeed when he became king. The White House that was at the time the palace used at Kew, on the edge of the Thames, then outside London, was where the princes were tutored, so, to enable George’s learning Princess Augusta redesigned the gardens.

Below is the garden she planned for her son with designers and architects who sought to recreate the experiences of the world outside the palace gardens.

The image above, however, does not really express the spectacle of the gardens in the 1700s. Some of the folly buildings have gone, but the tall, dramatic, Chinese style Pagoda on the left in the above image has recently been refurbished, and this alone shows just how much was invested into creating a stunning landscape for young George to explore and expand his understanding of the world outside the palace. The Pagoda is thought to be the tallest building in the country at the time it was built, and George III would have studied and watched how this was built.

The Images below are of the Pagoda as it is now. I hope from these pictures you can see how grand this is and therefore how much the Princess invested into her son’s garden and the development of his knowledge and experience.

To give you an idea of the size of the Pagoda, someone is standing in the circular porch, there is also a video about the restoration available here . (You can click on the images below to view them in full).

When I saw this amazing Pagoda built in a Chinese style in the palace gardens at Kew, I thought of the Chinese inspired interiors of the Royal Pavilion in Brighton. The Royal Pavilion in Brighton was built for George III’s son and heir, Queen Charlotte’s eldest son. The Regent who became King George IV. The Royal Pavilion looks like an Indian Palace on the outside but is dressed like a Chinese palace inside with gold dragons holding up chandeliers and curtains. You can see inside the Royal Pavilion here on the museum website. My mind connected the two buildings because George IV did not get on well with his father and I can imagine him wanting to make something even more impressive than the Pagoda. Or perhaps, as a boy King George IV would have lived amongst his grandmother’s follies too and perhaps he held on to fond memories of the Pagoda from his childhood. King George IV was an obsessive collector of foreign artefacts.

King George III was well known for his interest and knowledge in botany, he was nicknamed ‘the farmer’ because of his involvement in the practical management of his royal land estates. It’s commonly known he returned to Kew when he became mentally ill because Kew palace and its gardens were a comfort to him. He loved Kew, and from this perspective, of an Eden created especially for him by his mother, I can understand why.

The layout of the garden at Kew has changed since the 1700s, but the garden is now The Royal Botanic Gardens, which is a wonderful legacy of Princess Augustus’s desire to teach her son. What she started is still a place of learning that’s now accessible to everyone.

A writer’s mood board

Many of the authors I know, in their story development stage, gather together ideas in the way lots of creative professionals do, by building them into a mood board. It helps to form those early inspirations into a context that creates a good story. A story – in romance that has a strong beginning middle and end, and in thrillers has a strong beginnnig, fifteen suprise deviations and a shocking end ;D .

I’ve often talked about inspirations for the settings of scenes, and the plotlines in my books but there are also inspirations for the appearance of characters. Authors cut out pictures from magazines, of the public, actors and models they identify with and pin them onto cork boards along with pictures of places and sometimes maps of fictional villages and towns. My historical story boards are in my mind, on my laptop and despersed through books. There are hunderds of photos in folders, that I’ve taken on visits to places that have inspired me, and piles of books around the house with coloured bookmarkers or peices of paper poking out of the important pages. As my fans will know, for most books I also capture some of the things I’ve used as inspirtion in accompanying Pinterest Boards. So readers can see the places, items, properties and people that inspired elements of the stories.

These images include the rooms which inspired Clio’s home and lifestyle in Hartlepool, in Entangled. Then the follies at Stourhead and Newstead Abbey, Lord Byron’s property, which were inspirations for George’s home.

But I discovered a new inspiration for characters last year that I haven’t shared here before. My husband and I live in an old cottage and after we’d built an extension decided to change the furniture in the old half of the house too. So, we started hunting for antiques. But while I was searching for antique furniture I found myself being distracted by minatures in the antiques shops. I spent ages looking into the eyes and faces of people in their small portraits. As I said last week, it’s absorbing wondering who they were and how they lived, and then they became the characters. So, I started gathering some of these images. It’s no different from choosing a face in a magazine today, really.

I bought a few minatures. But then I began just saving pictures of them, because I can’t buy them all. I have about a hundred pictures.

What I particularly love is the minatures that look like mistresses. I imagine the small paintings secreted in a gentleman’s chest pocket near to his heart :’D . He’d take it out and look at it, and show his friends to brag about his prize. You can usually spot a mistress in a portrait, even among the portraits on the walls in the large stately homes. They are painted with a coquettish air and usually exposing a large part, if not all, of one breast. I’ve said it often – the Georgian’s kept their mistresses unspoken of in polite society but in plain sight. While the Victorians pretended to be pious and hid their mistresses behind closed doors. Below is the sort of image that makes me imagine this young woman was someone’s mistresss. It’s bejewelled so I think he was very proud of winning her attention, if not her affection. And she probably came at a high price. It’s the sort of portrait that would inspire a story let alone a character. I imagine her to be a woman like Harriette Wilson – and there’s a tale of a mistress that followers of this blog know very well.