Oddly, views of the main front of Kings Weston house looking up the avenue from The Circle are rare, so, we’re celebrating on hunting down this copy of an early 20th Century postcard. The familiar lime avenue on the left is today accompanied by replacement trees we planted in 2014, but here the house is framed by some of the originals. In the 1760s the rigid formality of the linear avenues had become old fashioned, and the third Edward Southwell who owned the estate took to deformalizing it, creating a more natural landscaped parkland setting for the mansion. Rather than getting rid of all the trees he kept one side of the avenue and thinned-out the south side leaving just a handful scattered in the open grassland. The postcard shows that these survivors were still growing in the 1900s, but must have succumbed soon after.
The recently acquired early 1900s postcard showing the view of the house from The Circle.
It’s also worth noting the grassy carpet leading the eye towards the house is absolutely crammed with flowers, perhaps buttercups or ox-eye daisies. Sadly, a black and white photo does no justice to what the photographer enjoyed on this sunny summer day in the Edwardian era.
The approach to the house from Shirehampton was once dominated by views towards the house, something that the architect Sir John Vanbrugh was keen to emphasise in its design. The arcade of chimneys on the roof were once the first thing seen across the brow of the hill as the rest of the façade gradually revealed itself. By the time the visitor was stood on The Circle the house was perfectly framed by trees, the open circle providing a theatrical open space from which to admire it from.
Drawn by Samuel Loxton in 1920, this view shows on the right the cedar tree on The Circle that’s just been lost. In the foreground the ha-ha with its sunken fence that once surrounded the Circle is seen before being infilled after WWII.
Sadly, since WWII and the growth of self-seeded ash and sycamore, these once inspiring views have been lost, the result being a sense of disconnection between the house, its grounds, and Shirehampton.
Today views from the Circle are impacted by post-war tree growth.
The stair hall in Kings Weston house possesses some lush gilded trompe-l’oeil painted into its alcoves. These, we discovered some time ago, were inspired in about 1716 by printed images by the French architect Jean Lepautre. Edward Southwell who commissioned the house had copies of several volumes of his work, so appears to have set the painter the task of replicating them to decorate his new home. Until now, the origin of one of the paintings has remained a mystery, but one we think we’ve now solved.
The painting is small, occupying the arched head of a door on the first floor of the stair hall and looks less accomplished than those elsewhere. In incorporates weapons, canon, arrows, spears, a shield, banners and the paraphernalia of warfare. One of Lepautre’s designs came to our attention recently but looks rather different. The theme is similar but on a more extravagant scale. However, looking closely you can start to pick out the same various elements as the Kings Weston painting.
It appears that the painter has used the same image as the basis for his work, simplifying and adapting it to fit in the architectural setting he had to work with. Curiously, he seems not to have quite understood some of the things he was painting leading to some odd interpretation. The top of the shield, for example, has some strange bendy detail, and what on earth is the strange sun-shaped thing at the back? Is it supposed to be one of the epaulettes, feathers, or that oddity in Lepautre’s own engraving at the back-left side?
A collection of interesting drawings has caught our attention this month. They were all by the hand of Maria S. Miles (1826-1897) who grew up as Maria Hill at Henbury House to the east of Kingsweston Hill. As her married name suggests, she wed a member of the Miles family, Colonel Charles Miles, for whom Kings Weston was their dynastic home. This gave her private access to the family affairs, house, and parkland, some of which are featured amongst her artistic output.
The trees of Kings Weston seem to have suffered badly from heavy storms and wind, perhaps a bad mix of exposed location and shallow soils. A few months ago we covered the damage caused by a tornado in 1859, but the park was rattled again my a terrible storm in October 1877. Using the envelope for her letter to her husband, Maria Miles illustrated the sorry scene on Shirehampton Road where whole avenues of elm trees were thrown over.
Maria Miles’s drawing of fallen elms on Shirehampton Road, sketched on the envelope of a letter sent to her husband.
The event was reported widely in the local press:
“The full effects of the destructive fury of the gale and the havoc it made among trees can best be seen however Shirehampton Park. The whole line of noble elms on the left side of the road through the park is down. Many of these grand old trees had more than century’s growth in them, and as they lie prostrate present saddening spectacle. Their giant forms have for generations been the admiration of all lovers of well grown trees— now they are broken and torn as some malignant Aeolus had spent his last strength to wrench the favourites from the spot they adorned and fling them in heaps of ruinous wreck to wait for the prosaic attentions of the wood-cutter and the timber merchant. The owner of these fines trees is said to have remarked that he would have rather seen his house down than his trees, inasmuch as could have replaced the one but cannot restore the other, and the same kind of feeling— regret for the picturesque which has been destroyed in a single night—will be common all who have seen the extraordinary results of the storm as they are presented by the uprooted trees in Shirehampton Park. An old Cliftonian assures us that there has been no such scene as that now to be witnessed in the park during the last fifty years.”
The owner of the fine trees was Philip William Skinner Miles. Although he was the heir to the Kings Weston estate he allowed his mother, Clarissa, to continue living at the house until her death in 1868. Instead, he took up residence in Shirehampton where he fitted out Penpole House to his own specification. Maria captures her brother-in-law’s home in 1863 showing the spectacular view of the Severn enjoyed across the western lawn, and the rambling house and gardens in the foreground. Sadly, this house that once sat below Penpole Point, was demolished after WWII and is now the site of Penpole Close at the bottom of Penpole Lane.
Penpole House, looking north towards views of the Severn in 1863.
A short train passes along horseshoe Bend, below the parkland, in 1883.
Curiously, Maria appears to have had an interest in the family’s industrial exploits too. She records the SS Great Britain and SS Great Western, two ships in which the family held interests, and paints an early view of the Bristol Port and Pier Railway from the Powder House on the Avon. The view shows the massive slice of bank that was taken out of Shirehampton Park and a short train making its way towards Shirehampton in September 1883, eight years after the line opened. The tree-lined parkland setting above was to be assaulted twice again, once by the widening of the railway, and later the building of the Portway road, cutting the estate off from the river’s edge.
The most interesting view as far as we are concerned, is one from Kings Weston house looking out towards Penpole Point and Portishead beyond. This little sketch dates from 1857 and shows the woods and tree-scattered park stretching unbroken as far as the estuary. The foreground is dominated by two lime trees, around which a rustic seat is positioned to take best advantage of the view. These lime trees survive today next to the house at the western end of the coffee shop terrace, though the bench is now a distant memory.
Looking across the park from the shade of the lime trees outside Kings Weston house in 1857.
Finally!! A major milestone in the iron bridge restoration was reached at the end of last month, with the return of the historic structure, albeit 1.1 metres higher. Contractors started work early in the morning of the 30th May, bringing in a crane, the bridge strapped to a flat-loader, and closing the footpaths nearby for safety. A group of campaigners and visitors gathered at the west abutment to watch proceedings.
With spectators beyond, contractors watch as the first half of the freshly restored and painted bridge is craned back into place.
The east half of the bridge returns to meet its partner half way.
The bridge looks resplendent in its new livery of dark green paint, a colour picked to match the original colouring found beneath old paint layers. Contractors from Dorothea Restoration and Griffiths were on hand to make sure that the components would fit back together in their new position; not an easy task with the bearing stones having to be raised and reset at their new level.
The first section, the west end, was gradually lowered into place, and proved the more troublesome of the parts. After a bit of to-ing and fro-ing and cutting of the stonework it was eventually seated in position. The east end then followed, then the central plate that fastened the two ends of the bridge together. After some careful adjustment the whole structure was back in place and true.
Work will carry on now, touching up the new paintwork, erecting the steps either end, and fitting the handrails and railings to them. The road closure has been extended until the 15th to allow some of this work to be done, and the final completion is supposed to be the first week in July. Everyone is looking forward to being able to celebrate the reopening!
T he two halves back in place, awaiting the central joining connection.
The post office was the last building on the left, opposite the Lifeboat pub, in this view of High Street.
From at least the Eighteenth Century the landscape of Kings Weston has inspired poets, but a recent discovery is possibly the most peculiar yet. We chanced upon it in a Victorian book about the Post Office in Bristol. It was written by George Newton, sub-postmaster in Shirehampton, in reply to some query or complaint that had been directed to the Bristol Postmaster from Kings Weston house. Apparently, it was common for Mr Newton to respond to official enquiries in rhyme, “a course which was tolerated on account of its singularity and of the writer’s zeal and known devotion to his duty”. Newton died in 1895, so the following ditty must date before then:
Two of the 1904 boundary stones returned to their original locations on the west abutment of the bridge.
Something we’ve been eager to protect as part of the iron bridge works are the set of three stone markers that formerly nestled beneath undergrowth on the west abutment. Each stone is carved with the date, 1904, and CB, for City of Bristol. These marked the city boundaries between that date and 1935.
After the opening of Avonmouth Dock in 1877, the gradual development of the village of Avonmouth, and the purchase of the Docks by the Corporation in 1884, there was political impetus to bring the area within the city’s administrative boundary. The city had expanded quickly in the late 19th Century, but growth northwards from the historic boundary along the Downs was limited. Despite a strong argument for bringing everything between there and Avonmouth into the city it was only the Docks themselves that were eventually added in 1897. This left them as an isolated satellite part of the city, disconnected from the main administrative boundary.
Philip Napier Miles of Kings Weston was eager to develop his landholding around Avonmouth and Shirehampton. A plan for “Avonmouth as a city” was well advanced by 1902, with ambitious plans for thousands of acres of land laid out. It was perhaps this prospect that reinvigorated the arguments to bring more of the area within Bristol’s boundary; The 1904 Corporation Act was the mechanism to achieve this.
The city boundary shown shaded on the 1916 Ordnance Survey map, and with boundary markers marked as orange dots. Most of these remain today.
The Act did not go unchallenged, however. There was considerable opposition by residents in Stoke Bishop and Westbury on Trym who did not want to leave Gloucestershire and contribute the more onerous rates of Bristol. Amongst these objectors was Napier Miles himself; his concerns were that Kings Weston house would fall within the new boundary and that his landholding it would be reduced, in value and freedoms to develop it hindered. In the event, the Council changed the proposals to omit Kings Weston’s Home Park, instead taking a line from the iron bridge to The Circle, skirting the Georgian viewing terrace , before following the historic parish boundary through Penpole Wood. This satisfied the Council who’s intention to physically connect Avonmouth and Shirehampton with the rest of the city required only Shirehampton Park to be included. Napier Miles also secured a series of provisions from the Council that satisfied his concerns, and in August 1904 the Act received Royal assent.
The third marker on the corner north of the other two at the west abutment.
It can’t have been long before the city marked its new perimeter with permanent stone markers of the sort found at the iron bridge. Although they project just a couple of feet above ground, they are hefty stones, designed not to be easily moved or damaged, are about 5 feet in height. Another of these stones was spotted in 2016 when we came across it near the white oak. What’s less clear is why the boundary didn’t include Park Lodge and run up the west edge of Kings Weston Road rather than making an odd dog-leg to take it up to the bridge, resulting in the three markers we have today.
As part of the bridge works the contractors have carefully excavated the stones, kept them safe, and have now reinstalled them in their original locations. Whilst they are now little more than relics, their preservation allows new light to be shed on their historic interest.
There’s something of a 1990s revival taking over culture right now; baggy combat trousers are back and raves are in again. Frightening to think that it was around 30 years ago! The 1990s was a bad time for the Kings Weston Estate. The house remained in use as the Avon & Somerset Constabulary police training school despite their aspirations to expand across the park being quashed. They already planned to move to Portishead and minimal maintenance was undertaken on house or grounds. The thin sloping strip of Shirehampton Park along Shirehampton Road, between Kingsweston Hill and Penpole Wood, was the only part of the main parkland controlled by the Council.
detail of the aerial photo survey flown over Kings Weston on 30th March 1990 capturing the funfair, tennis courts, and Fairways.
At the start of the decade the Ordnance Survey sent over its survey planes on one of its periodical photography missions. When it passed over Kings Weston in March it recorded an unusual visitor to the park: a funfair! The fair set up in a prime location on Shirehampton Road, between the Council tennis courts and the car park. It’s possible to pick out dodgems, carousel, and four other big rides as well as a small encampment of stalls, booths, and caravans. Newspapers reveal the fair was here for ten days from the 21st of March, open 6pm or 2pm on weekends, but no indication of which travelling fair it was. Does anyone remember other times the fair came to Kings Weston, or is this photo a chance record of the only visit?
A couple of years later some alternative entertainment was going down on the estate – a rave. Now emblematic of 90s youth culture and fondly remembered by many, raves became a huge civil order issue for the Government. Many were illegally held, but, going by a flyer publicising the event, this one looks to have been more legitimate. In the days before internet and mobile phones in everyone’s pockets, flyers, often handmade, were an essential way to get the message out but rarely survive. The Crank it Up One More Time session was held at Fairways pub in Feb 1992 and promoted by Beyond Control. On the decks were Vinyl Junkie, Luge+Perkz and MC Dope – where are they now? Guests were advised to dress to sweat. We’d love to hear from anyone who remembers going!
An alternative souvenir from the Kings Weston estate in the form of a rave flyer for Crank it UP One More Time 8.2.92
The Fairways pub was just opposite the war memorial, on the present Karakal site. It had begun in the 1972 as a social club for Portway Football club who used the pitch next to the cricket club on Penpole Lane. It was an unglamorous single-storey building erected on land purchased from Bristol Water Works. It can be picked out in the aerial photo to the south of the old covered reservoir. Its construction coincided with efforts to establish a sports centre in the old reservoir building. By 1988 it was being advertised as Fairways pub, so it appears the football club had relocated to more suitable pitches in Sea Mills by this time. Although planning consent for a replacement purpose-built pub was granted in 1992 the old buildings continued until 1995 when it closed, never to reopen. The run-down buildings were demolished shortly afterwards, but by the time the owners of the site made any move to rebuild it things had changed, the estate was now nationally recognised for its historic value, planning policies had changed, and their new proposals were refused.
1970s Architects drawings of the sports and social club on Penpole Lane that would become Fairways pub.
The most significant moment for Kings Weston in the 90s saw the future of the mansion and Home Park in the balance. Kings Weston house was put on the market by the police in 1995 with an asking price of £300,000. Ironically, this was £30,000 lower than the Council had purchased it for in 1970 before being forced to hand the property over to the police four years later when Avon County was formed. Initial reports in September that year suggested the police had accepted a £125,000 offer from “property tycoon” Hugh Parsons, but late bids were received from a developer seeking conversion to a nursing home, and another from the City Council keen to acquire the land and house for the public; A tussle ensued with legal threats flying. The battle over the bidding played out in the press for several months before it was announced in November that the council finally won with a bid of £300,000 and agreement that public access would be protected. Councillor Paul Smith, chairman of the city council’s land and building committee said: “The challenge for us now is to ensure it is properly looked after and the land kept open to the public”. How that came to pass is another story…
The Bristol press keenly followed the battle over ownership of Kings Weston house.
Another artwork with Kings Weston Interest has come our way recently. The panoramic views across the waters of the Severn to the north were matched by the rolling landscape framing the Avon and its gorge to the south. Both proved popular locations for picturesque paintings throughout the Eighteenth and Nineteenth Centuries. The recently uncovered work shows the view up the Avon from Shirehampton Park, a spot much-favoured by artists. Here, the view across Horseshoe Bend was attractively framed by trees along the parkland edge. Distant views of Cook’s Folly, a tower with romantic associations, added distant intrigue to the scene.
The painting is likely to date from the 1830s, before the twin towers of the Clifton Suspension bridge rose to punctuate the skyline. Our artist, whoever they might have been, has added a sentimental vignette as foreground interest. A young couple, the gent apparently an artist working on his own version of the same view, have been approached by a gentleman and his dog. It may be that, in his red tunic and walking stick, he is an old soldier begging for money, so adding a poignant human touch in the midst of such natural drama.
