The next year Nash began for the Regent the transformation of his favourite residence, the Royal Pavilion[108] at Brighton. This was at that time an elegant early example of a Romantic Classical house as first remodelled and enlarged by Henry Holland[109] (1745-1806) just before the Napoleonic Wars began. Nash now made of it an extraordinary oriental confection (as had already been proposed by Repton[110] in 1806). Part Chinese, part Saracenic, and part Indian, this is quite in the spirit of Porden’s earlier Dome near by (Plate 48). Festive and frivolous, the Pavilion resembles an oversized garden fabrick or sumptuously ornamented marquee; but the scale is fully architectural, even monumental, both externally and in the principal apartments. Not least interesting is Nash’s frank use of visible iron elements. These are not masonry-scaled like the columns he employed later in the Regent Street Quadrant and on Carlton House Terrace, but delicate and playfully decorative. The pierced ‘Chinese’ staircases of 1815-18 have naturalistically coloured bamboo detailing and the tops of the four columns that carry the monitor over the kitchen of 1818-21 are embellished with copper palm-leaves (Plate 58A). The Pavilion had no real sequel; even the Regent, King as George IV from 1820, tired of it almost as soon as it was finished. Indeed, he forsook Brighton for good in 1823 just as the general building activity there,[111] commonly but incorrectly called ‘Regency’, was getting under way. Turning his attention to Windsor Castle, the King employed Sir Jeffrey Wyatville (1776-1840) to remodel the accumulated mass of heterogeneous construction there into a Picturesque mansion of the Castellated sort in which the real medieval elements were quite submerged. But Windsor, being much more obviously a remodelling than was the Pavilion when Nash completed it, is not a very exemplary specimen of a fake castle. Busby’s Gwrych, set against a hanging wood, its round and square towers simply detailed and tightly though asymmetrically composed, is a better instance of that abstract sculptural massing which critics of the mid century would sometimes define as ‘architecturesque’ (Plate 49). For this sort of three-dimensional composition the Italian Villa mode provided on the whole a better vehicle. Wyatville, for example, did his best to turn the vast regular mass of late seventeenth-century Chatsworth[112] into a more Picturesque adjunct to its landscape setting by Capability Brown (1715-83), by adding a long service wing on the north side and terminating that with a very large and tall loggia-topped tower.