As evidenced by the continued success of Joe Wright’s film, Austen’s Pride and Prejudice is easily one of the great author’s most iconic works that beautifully captures the societal preoccupations of Regency England. Amid all of the excitement, it’s worth asking: what was the world really like in which Austen lived? How did her characters dine, dance and debate marriage? Beyond the romance and wit of Pride and Prejudice, the material world of the Regency era also deserves examination. In this two-part blog series, we will dive headfirst into the Austen universe, and we will start in the home.

The Social Context of Pride and Prejudice’s Era

On December 16, 1775, Jane Austen was born in Steventon, Hampshire, the seventh of eight children. Her entire, albeit brief, life fell under the reign of King George III (r. 1760-1820), the longest-reigning male monarch in English history. Known as the Georgian era after the four kings— each aptly named George— who served in succession from 1714 to 1837, she also lived during part of the Regency period.

Generally considered between 1795 and 1837, the Regency era is named for the years that the King’s eldest son, named George (surprise, surprise), was appointed Prince Regent. King George III struggled with mental illness during his reign, which led his eldest son to rule in his place by the decree of the 1811 Regency Act. Even though the eventual King George IV only served as Prince Regent from 1811 to 1820, the era’s longer timespan recognizes the culturally distinct aspects that dominated the era.

As a fun fact, the Prince Regent was one of Austen’s earliest admirers; he even bought a copy of her first novel, Sense and Sensibility, before it was officially published! It was also said that he kept a set of her novels at each of his residences. Though the Prince Regent looked upon Austen favorably, the feeling was not mutual. In private letters, Austen criticized his unsavory behavior and the abandonment of his wife. Despite her disapproval of the monarch, her novels are now known as quintessential Regency-era works, named after the very Prince she disdained.

The Regency era is often romanticized for its elegance and artistic flourishing, thanks in part to the flamboyant lifestyles of the Prince Regent’s lavish court and aristocracy. It was also the age of Romanticism, a cultural movement that prized individualism, emotion and the sublimity of nature. Yet even as authors like Jane Austen idealized nature and beauty, the realities of daily life for the average English person were far less idyllic.

Beneath the surface of refinement, both the Georgian and Regency eras had a rigid class structure that left little room for upward mobility. Wealth and privilege remained concentrated in the hands of a few, while the vast majority of the population faced economic hardship. Through this period, increasing industrialization drew people away from the countryside into overcrowded and disease-ridden cities. For many, daily life was marked not by ballroom dances and carriage rides but by instability and struggle. These realities, among others, subtly informed the social tensions present in Pride and Prejudice.

Class Structure and Social Mobility

At the top of the early 19th-century social hierarchy stood the royal family, which encompassed the monarch, their children and siblings granted honorary titles at the monarch’s discretion. Below the royalty were the nobility who held hereditary titles, such as duke, marquis/marquess or earl. These titles came with the right to sit in the House of Lords. The term “aristocracy” refers more broadly to members of the nobility, plus their families, spouses, siblings and others connected to the titled individual. The only aristocrat in Pride and Prejudice is Lady Catherine de Bourgh of Rosings Park, daughter of an earl. The aristocracy was a very small portion of the population, as the titles could only be passed hereditarily.

Below the aristocracy on the social ladder were the landed gentry. These upper-class commoners, referred to as ladies or gentlemen, owned land, possessed substantial wealth and typically lived on a rural estate. Although some landed gentry had larger incomes than certain titled nobles, they were still considered elevated commoners. Their wealth came primarily from rents paid by tenants who farmed or lived on their land, as they did not work for a living. Land ownership secured their elevated social standing and granted them the right to vote— a privilege denied to those without property. By the early 19th century, the landed gentry made up only 1.5% of England’s population.

The landed gentry characters of Pride and Prejudice are numerous, including Elizabeth Bennet and her family. Mr. Bennet, who owns Longbourn, the family’s estate, is considered a gentleman. Mr. Darcy, too, was a member of the upper class, as he owned Pemberley and earned £10,000 per year from his estate. Perhaps unbeknownst to many readers, Mr. Bingley was not a member of the landed gentry. Mr. Bingley, who is said to make £5,000 per year, inherited his wealth from his father’s trade. Mr. Bingley's father intended to purchase an estate, but never did so before his death. Thus, Mr. Bingley merely rented Netherfield Hall and never owned an estate, making him a member of the middle class.

Officers and clergymen were regarded as two of the highest-status professions a gentleman could pursue if his family's estate did not provide a sufficient inheritance. During the Regency, gentlemen who wished to become military officers were required to pay for their commission, which would be returned to them upon completion of service. This largely precluded lower- and middle-class commoners from rising in the military ranks due to cost. Clergymen, consisting of the position’s vicar and curate, were positions that served in a parish church. Often, the role included a parsonage to live in, given by the parish church’s patron. In Pride and Prejudice, Rev. Collins, cousin and heir of Mr. Bennett, is the vicar and parsonage occupant of Lady Catherine’s parish church.

The next tier of the social ladder was middle-class tradesmen, which included shopkeepers, merchants, lawyers and other more skilled professions. In the Regency era, the political power of the middle class steadily rose in tandem with the Industrial Revolution due to the class’ increase in size and money. This is why Mr. Bingley, with his generous income and rising status in society, was regarded so highly by Mrs. Bennett as a potential marriage partner. His interest in buying an estate and thus becoming part of the landed gentry was certainly an added benefit, too.

At the bottom of the ladder was the working class. In jobs like housekeeping, farming, or working in a factory, they held little wealth, virtually never inherited money and held no political power.

Beyond the rare opportunity to become landed gentry as a very rich middle-class person, social mobility was almost exclusively done through marriage. Marrying within one’s social class or higher was the ticket to success. In Bridgerton’s modern retelling of love marriages in the Regency era, Penelope Featherington, whose father held the lowest nobility rank (Baron), marries Colin Bridgerton, whose family has a higher rank (Viscount). In doing so, she improves her children’s rank and prospects. Gender and inheritance were at the root of any potential social mobility in Jane Austen’s England.

Inheritance and Estate Ownership

Inheritance laws were designed to keep wealth and land solely within male family lines. The system of primogeniture ensured that estates were passed down to the eldest male heir in their entirety. This legal structure left women at a disadvantage, as daughters could not inherit land unless no other male heir existed, in which case any surviving daughters would split the estate. As a result, women were entirely financially dependent on marrying well for economic survival.

With this context in mind, it is clear to see how central primogeniture was to the Bennet family’s future. Because Mr. Bennet had no sons, his estate at Longbourn belonged to Mr. Collins upon his death. This looming inheritance issue plagued Mrs. Bennet, with her saying, “I do think it is the hardest thing in the world, that your estate should be entailed away from your own children” (ch. 13). This is why Mrs. Bennet, sometimes to the family’s detriment, is entirely preoccupied with seeing her daughters provided for through marriage to men of wealth and property.

The limited inheritance rights of women also restrained their independence and agency. Without land or fortune of their own, many women, like Charlotte Lucas, made pragmatic choices in marriage, often prioritizing security over affection. Austen perfectly reflected this in Charlotte’s remarks about marrying Rev. Collins:

“I am not romantic... I ask only a suitable home; and considering Mr. Collins’s character, connection, and situation in life, I am convinced that my chance of happiness with him is as fair as most people can boast on entering the marriage state” (Austen, ch. 22).

Because most marriages in the Regency era were based on economics or power plays, novels like Jane Austen’s that centered on marrying for love would have been especially compelling to contemporaneous readers.

The Accuracy of Austen’s Fictional Estates

In Pride and Prejudice, two estates are noteworthy in Elizabeth Bennet’s life: Longbourn and Pemberley. In the 2005 movie, the Bennets’ Longbourn home was shot at Groombridge Place, a moated manor house in Kent, England, which was built in 1662. In the 19th century, Groombridge was owned by John Saint, a vicar much like Rev. Collins. The manor includes 204 acres of land and retains much of the original Tudor features from its first owner, Phillip Packer, such as the wood paneling and fireplace arch in the study.

Pemberley is believed to be based on Chatsworth House, a palatial estate in Derbyshire that has belonged to the seat of the Duke of Devonshire since 1549. Even in the book, Elizabeth visits Chatsworth House on the way to Pemberley. 

The Sculpture Gallery and Painted Hall of Chatsworth House are also featured in the 2005 film. The Painted Hall is the largest and grandest room of the house, which has remained a feature of the home since its creation in the 1550s. The walls feature paintings depicting scenes from Roman General Julius Caesar’s life, painted by Louis Laguerre between 1687-1694. William George Spencer Cavendish, the 6th Duke of Devonshire, created the Sculpture Gallery at Chatsworth House to display one of the foremost early 19th-century collections of European sculpture. While Longbourn and Pemberley differ in scale and grandeur, reflecting the social standing of their inhabitants, both share the architectural richness and historical depth of real English country estates.

Fine Furniture in the Great Houses

As much as the exteriors of grand English estates reflected lineage and landownership, it was the interiors that truly converted a household’s refinement. During the Georgian and Regency periods, furniture styles evolved in step with shifting tastes and cultural influences. From the symmetrical elegance of Georgian design to the lighter, more refined silhouettes of Regency pieces, furniture acted as a powerful visual declaration of status beyond its functional purpose. This was especially true in the homes of the gentry and aristocracy, where the work of leading furniture makers, such as Thomas Chippendale, became markers of fashion and taste.

Georgian era furniture is arguably the most sought-after British furniture for collectors due to its aesthetic beauty and exceptional quality. The stylistic choices of Georgian furniture design are largely due to renewed interest in ancient Greek and Roman art. An embrace of Neoclassical aesthetics was largely fueled by the archaeological wonders of Herculaneum (discovered in 1709) and Pompeii, which were excavated in the 18th and 19th centuries. The fluted legs, acanthus leaves and symmetrical proportions of ancient art became central design principles for Georgian pieces.

Another major influence on Georgian furniture was the widespread use of mahogany, a durable, dark hardwood primarily imported from the Caribbean. While walnut was previously the preferred wood of choice, these trees became heavily diseased and forced manufacturers to rely on imported mahogany from the British colonies. The exoticism of the wood, plus its durability, which lent itself to the crispness of Neoclassical design, made it the supreme choice.

An incredible example of such furniture is a stunning George III sideboard currently in M.S. Rau’s collection. Crafted of mahogany, the demi-lune sideboard is inlaid with satinwood marquetry and crossbanded with tulipwood, one of the most coveted species of rosewood. The sideboard also features its original brass pull handles and knobs.

The sideboard even carries a curious connection to Jane Austen herself, as its provenance includes the grand dining room of Hackwood Park, one of the most illustrious manors of the era. Jane Austen once danced in the halls of Hackwood Park at a gala hosted by the owner, the Duke of Bolton. The Austen connection remains ever prevalent as the home’s designer, Lewis Wyatt, also designed the Lyme Park estate, which served as the setting for Mr. Darcy's Pemberley in the 1995 BBC series adaptation of Pride and Prejudice.

Key Cabinetmakers of the Period: Sheraton and Hepplewhite

Among the most influential cabinetmakers of the late Georgian period were Thomas Sheraton and George Hepplewhite, whose designs marked a turn toward the lighter, more graceful forms characterizing the Regency aesthetic. Sheraton’s cabinetry emphasized straight lines, classical ornamentation and practical elegance. His book, The Cabinet Dictionary from 1803, was circulated widely and deeply shaped the designs of other craftsmen.

This is clear in a pair of Regency-period hall chairs crafted from rich mahogany. The chairs each boast the sleek, elegant lines and precise craftsmanship of Thomas Sheraton's groundbreaking designs. Indeed, these chairs are very similar to a design illustrated in Sheraton's book. As the name indicates, such chairs were generally placed in grand entrances of country homes and manors to make an impression on visitors. These examples are each adorned with a stunning carved eagle head cresting above an openwork urn back, revealing the Neoclassical influence pervading furniture styles of the era.

During the Late Georgian and Regency periods, a dining chair’s purpose shifted considerably. In previous centuries, tables and chairs were typically pushed back against a wall when not in use to keep a room clear, so plain chair backs were the norm. Why pay to decorate chair backs when no one would see them?

However, in the 18th century, sitting and dining areas became permanent fixtures, and entertaining guests during dinner evolved into a frequent event for higher-class families. In Chapter 13 of Pride and Prejudice, Rev. Collins comes to Longbourn to dine with the Bennet family. As the story goes: “The hall, the dining-room, and all its furniture, were examined and praised... The dinner too in its turn was highly admired...” (ch. 13).

In response, dining chair backs became a part of interior design style and featured intricate hand-carvings and inlays. A set of Hepplewhite Regency-era dining chairs reflects this newfound decorative purpose. Comprised of two armchairs and 16 side chairs, the dining set displays the distinctive elements of George Hepplewhite’s mastery of carpentry with its tapered and flared legs. Moreover, the set bears Hepplewhite’s signature pierced shield chair backs that were delicately carved with chinoiserie-inspired decorations. The chairs’ beautifully upholstered seats feature laurel wreaths, reflecting the era’s reverence for neoclassical reinterpretations of ancient Roman designs.

The evolution of dining as a form of entertainment brought with it a new necessity: a table large enough to accommodate all of one’s guests. Extending over 30 feet in length, this exceptional and rare Regency-era piece can seat as many as 32 guests. True to the Regency emphasis on functionality, the table can be separated into seven pedestal tables with six removable leaves, offering versatility for a range of uses and room layouts. Each component showcases superb workmanship, from the solid mahogany to the hand-forged brass hardware. This table stands as a true testament to a time when fine dining was the pinnacle of luxury.

Today, the enduring appeal of Georgian and Regency furniture lies not just in its superb craftsmanship, but in the period it evokes— a world of social conventions, carefully created interiors and quickly evolving ideals of taste. As in Pride and Prejudice, where an estate could signal refinement, a well-appointed room was never just about comfort. It was a stage for performing identity and future aspirations. Much like Jane Austen’s fiction, the estates and real-life furniture pieces reveal the true conditions of Regency-era society itself.

Explore the illustrious beauty of English furniture in M.S. Rau’s collection here, and tune in to the next blog for explorations of what adorned the walls and the domestic fancies of our beloved Pride and Prejudice characters, including the oft-overlooked gentleman’s world.