Regency portraits on display
This room, the first of a sequence making up the Weldon Galleries on the top floor, was designed by Piers Gough of CZWG in 2003 covers the period of George IV, firstly as Regent from 1811-1819 and then as King from 1820-1830. On the wall opposite from a full-length portrait of George IV is the large group portrait of the Trial of Queen Caroline and beside it single portraits of Queen Caroline and their daughter Charlotte Augusta. Other notable portraits are those of Nelson and Emma Hamilton and the Duke of Wellington.
This room has as its central focus a significant body of portraits of Romantic poets and figures from the Regency period. A portrait of Wordsworth, flanked either side by portraits of Mary Wollstonecraft and her later husband William Godwin dominate one wall. On the wall opposite there is a portrait of Byron, and the room also includes portraits of Mary Shelley, Keats, Percy Bysshe Shelley, Scott, Burns and in a pastel case Jane Austen. Portraits of Davy and Jenner hang either side of the doorway and one corner of the room includes portraits of Turner, Constable, Blake, Flaxman and Fuseli.
This room includes a focus on those individuals who helped confirm Britain's status as a superpower and the world's richest nation, with portraits of the civil engineer Sir Marc Isambard Brunel and George Stephenson, inventor of the railway engine. Framing the entrance is a full length portrait of the actor Kean. The three siblings of the famous Kemble acting family - John Philip, Charles and Sarah (Siddons) are hung together on one wall
This largest room on the top floor has two large group portraits dealing with reform dominating the display. On the end wall is the House of Commons, 1833, commemorating the passing of the Great Reform Act in 1832, whilst the Anti-Slavery Convention, 1840 dominates another wall, with a portrait of Wilberforce closeby. On the wall opposite there is a full-length portrait of the parliamentary reformer Sir Frances Burdett, one of a number of portraits in the room by Sir Thomas Lawrence. There is also a striking two-tier plinth of white marble busts at the entrance to the room.