An old master oil painting, once the collections of the Southwell family of Kings Weston house, has recently been advertised for auction. We note, with disappointment, that it has recently been released from the large collection of historic Kings Weston paintings held in trust by the descendants of the Southwell’s, later Barons de Clifford.
Christ in the House of Simon the Pharisee, one of the Old Master paintings once given pride of place in Lady de Clifford’s private chambers.
Formerly Lady de Clifford’s Dressing Room, this “long and lofty” space once had “no equal in the Kingdom” and was hung with paintings “the subjects in general are small, but they are of the first excellence” . Seen during work in 2014.
The painting, Christ in the House of Simon the Pharisee, is first recorded hanging in Lady de Clifford’s dressing room decorated in blue silk damask. This room is now the first floor room with the bay window overlooking the Severn. Here it accompanied some of the best of the family’s collection of paintings, the most intimate, and intended only for view by them or their most special guests. On the surrounding walls were works by Claude Lorrain, Nicolas Poussin, Annibale Carracci, Pietro da Cortona, and four paintings by Canaletto.
An inventory of the contents of the house in 1777 describes the painting as “The washing of our saviour’s feet” and the artist as “Old Frank”. This attribution has now been revised and is now considered to be by his son, Frans Francken the younger (1581-1642). The 18th-century attribution to Francken the Elder likely stems from the signature “D.o. ffranck,” where “D.o.” stands for the Flemish de oude, meaning “the Elder.” However, this signature was actually used by Frans Francken the Younger from the late 1620s. Prior to the death of his father in 1616, he had signed his works as “the young Frans Francken.”
Engraving of the artist Frans Francken the Younger ( 1581-1642) by Van Dyke.
Whilst the auctioneer suggests that it come to Kings Weston courtesy of the second Edward Southwell (1705-1755), it’s more likely to have been during one of Sir Robert Southwell’s journeys across the Low Countries that it was purchased or perhaps his son, Edward’s travels in 1697; it’s not included in an inventory of pictures at Kings Weston from 1695, so perhaps the latter is more probable.
The framed painting shortly to be sold
The painting remained at Kings Weston until the last of the direct line of the Southwell Family, The 21st Baron de Clifford, died in 1832. With no direct heir, he willed that the contents of the house be sold in its entirety. The painting, by this time described as Mary Magdalen washing the feet of Christ and attributed to Old Franks, sold for £10 10 shillings, as much as a painting by the more famous Poussin. As was common, it’s likely that a family member bought back a number of paintings, perhaps one of the nieces who were the ultimate beneficiaries of the sale.
We last saw the painting just outside Taunton where the family trust stored much of the collection of paintings. The circumstances and reason for it leaving such an important private collection are unknown, but we’ll endeavour to find out. If anyone were interested in returning it to Kings Weston, it will be sold via Dreweatts auction house on November 4th and the current estimate is £20-30,000!
It was rewarding to meet so many old students at the Kings Weston open day. Some remember their time at junior school between 1949 and 1959, or the following decade when it performed duties as part of Bristol College of Science and Technology (later Bath University). We’re grateful for Robert Spereall for remembering his promise at last year’s Heritage Open Day and returning with copies of a couple of old school photos. Even better, he’s been able to identify almost all of his classmates in them!
Left to right: Top Row: David Chappel; Philip Knight; Graham Cook; June James; unknown; Diane Meacker; John Curtis; Roger Ford; Ivor Lewis; Mr Mead (Headmaster)
Middle Row: Richard Corner; Edwin Smith; Robert Spereall; Ronnie Wewall; Stephen Bolton; Keith Goddard; Malcolm Campbell; David Greening; unknown; Jeff Turkington; Richard Dewfall.
Can you help with another photo of a class at Kings Weston? This one has been in our collection for some time, but we don’t know the names. If you can help, or fill in some of the gaps in the photos above, drop us an email at kwactiongroup@gmail.com .
Following our focus on the Lily Pond, we were delighted to have some terrific photographs of it in happier times shared with us. Ken Osborne kindly directed us to these photos in his collection that show the pond in the 1950s.
In one, children take advantage of the open access at the west end to go pond dipping under the care of a couple of adults resting on the parapet wall; it certainly seems to have been a popular activity for a sunny afternoon. A notice attached to the lodge warns “action will be taken against any person found fishing or throwing litter in the pond”. We imagine the children will have got permission for their little ‘fishing’ even
A panorama of photos stitched together to show the lilypond in the 1950s.
One of the surviving fruit trees, still with it’s fan-shaped branches, but now less formally trained.
We’ve managed to splice a few of these into a long panorama showing the view from Napier Miles Road, and the fruit trees still trained across the back walls in glorious fan patterns. Some of these trees still grow today, a delicious couple of pear trees have become unruly, but still fruit in abundance.
The gardens around the pond were noted for the abundance of their crop, and the excellent conditions they offered for even delicate fruit. An article in The Garden magazine in July 1900 remarks on the hardiness of fig trees here. Again, some of these survive in the grounds, and were noted then for “individual fruits attaining to a very large size and ripening perfectly”. The author writes that “there are few gardens in which figs thrive and continue productive over so many years” and that they were “enviable to visitors whose ambition in fig culture cannot be satisfied to anything like the extent which obtain here under the most simple rules of culture”.
A couple of young ladies pause on the parapet wall of the pond for a chat, some time in the 1950s.
The War Memorial after the inauguration crowds had receded on 4th September 1921.
A new photo has come to us that will be of interest to many of you. The unveiling of Shirehampton’s War Memorial was held on Sunday 4th September 1921. Designed in the manner of a medieval wayside cross, it was given a dignified position at the top of Park Hill. The site at the corner of Shirehampton Road and Penpole Lane was once more prominent than it is today, and on the edge of the landscaped parkland nestled between long avenues of trees.
The land had been donated by Kings Weston’s owner, Philip Napier Miles, who also chaired the committee tasked with the memorial’s erection. It was his estate architect, Ernest Newton, who had been given the task of designing a fitting memorial to carry the 57 names of local men lost in the war.
The newly discovered photo records the scene of the unveiling from the Shirehampton Park side of the road, the cross surrounded by sun-bathed spectators keen to mark their respects. Ropes that may have released some sort of curtain still hang from the crosshead. It’s also a tantalising glimpse of the timber building set up over the new reservoir built by the Bristol Water Co.
A bill was set before parliament in June 1920 to enable the company to build several new works, including a new reservoir to serve the growing Bristol suburbs of Shirehampton and Avonmouth. As originally planned, this was to be in a field west of the cricket club, but at some point the site changed to a spot on the north side of Penpole Lane. Sadly, this required part of the landscaped grounds to be compulsorily purchased for the deep tank and the incongruous-looking large sheds protecting the water from contamination. The Bill was passed in May 1921, so it looks as though work was quick to start, or had already begun before the new facility was photographed in September that year. It’s not clear what Napier Miles thought of this intrusion into the landscape, but challenging a Government Bill would have been a financially challenging prospect.
The reservoir survives today, emptied, and converted as the Karakal works, albeit now with a steel shed covering. Strange as it seems, the reservoir is now over a century old!
The newly discovered view with the twin roofs of the newly-built reservoir seen beyond the crowds. The War Memorial stands proud in the centre.
the dining room with crowds enjoying the day. (Photo, Bob Pitchford)
This year’s September open day must rank amongst one of the best in recent years. With fine weather and a sense of occasion the day attracted just shy of 600 visitors between opening at 10am and half-four. Five busy tours were hosted by KWAG throughout the day taking visitors through each of the state rooms on the ground floor including the former Drawing Room where our usual exhibition was held. Noticeably, the sun encouraged may people to explore more of the estate, with a constant stream of people seen walking up the path to The Echo and back.
This year the exhibition was augmented by a new display cabinet where we were able to show some of the smaller artefacts we’ve not previously been able to. As with the last couple of years, we were selling the KWAG Christmas cards to help support our work around the estate. Perhaps because of the fine weather or new postal costs these weren’t as popular as previous occasions. However, the day attracted around £500 in cash and digital donations; this will help go towards offsetting the cost of the Big Bulb plant to be held this month.
The Drawing Room, now the Oak Room, hosts KWAG’s exhibition in the middle of a house tour. (Photo Bob Pitchford)
As usual, huge thanks must go to KWAG volunteers who gifted their time staffing the event, greeting visitors, and manning the exhibition. Our thanks also go the team at Kings Weston house for hosting the event and allowing KWAG to play such a large part in showcasing it.
Ahead of Heritage Open Days, and to accompany our history of the stair hall last year, here’s a short history of the mighty room variously known as the Picture Gallery or Hall, but perhaps more properly called the Saloon. It’s always been intended as the most impressive of the rooms in the house, where important guests could enter and find themselves in a space designed to impose itself on the visitor through its great scale. Despite many changes in appearance from the original design by Sir John Vanbrugh, even today the hall has that power.
An original plan for Kings Weston house with annotations.
Today, what we see on entering by way of the front door is a comprehensive redecoration of the 1760s. As designed in 1712 for owner Edward Southwell, the walls were bare Penpole stone, with arches, alcoves, arcades, and other classical architectural detailing echoing that of the main facade. Visitors entering through the front door would have been greeted with two fireplaces before them, an expression of both hospitality and, in being able to afford fuel to keep both burning, wealth. Between them was a single arched door leading into the stair hall beyond, attention to which would have been drawn through glimpsed views through open arcades and a gallery at first floor level. Around the rest of the room were arched doorways and semi-circular alcoves, perhaps for the display of statues.
A Computer generated view of the Saloon at Kings Weston as originally designed in 1712.
A dramatic interplay of spaces was a familiar feature in Vanbrugh’s repertoire. The Hall at Blenheim Palace is the most ambitious of these theatrical spaces, but similar arrangements at Grimsthorpe Castle, Lincolnshire (design circa 1715), and Seaton Deleval, Northumberland (1718) repeated themes developed at Kings Weston. Even in its fire-damaged state, the entrance hall at Seaton Deleval gives the strongest idea of how Kings Weston’s Saloon might have looked when it was first occupied in 1716. The open arcades and high level galleries allow the visitor to experience the spaces from a variety of angles, passing from grand volumes into more intimate passages, from light airy spaces to dark and back again. Vanbrugh intentionally excited visitors by sculpting these contrasting and multi-layered spaces. He was ahead of his time in creating an experiential architecture, designed to provoke an emotional response from just air and stone.
The hall at Seaton Deleval with similar features to Kings Weston. (Jon Dalrymple)
Although architecturally impressive and grand in scale, the Saloon can hardly have been a practical or comfortable room to use. The stone walls would have been cold, and the open arcades would have promoted drafts to draw through the house. In 1769, by the time the Saloon was described in “A six week tour thru the southern counties of England and Wales” as “the only tolerable room, and that rendered totally useless, by a vast echo” its shortcomings had been addressed with new designs.
Cut-away of Sir John Vanbrugh’s original design for the Saloon and Stair Hall.
Edward Southwell’s Grandson, the third Edward Southwell, returned from his Grand Tour of Europe in 1762, a 24-year old with grand plans for his inheritance. Employing the architect Robert Mylne who, it is thought, he met in Rome, he set about modernising Kings Weston. Mylne was engaged in April the following year, but it wasn’t until four years into the project that work on the Saloon began. In November 1767 Mylne started sending Southwell a series of drawings for the room. General elevations of the walls, cornice details, fireplace, and “frames of the pictures at large”. Unlike a tradditional gallery the paintings were all integrated into their architectural setting rather than hanging in tradditional gilt frames; It’s this that ensured their survival in the house to today.
the Saloon with its decorative plasterwork framing the Southwell family portraits.
The carved stone architectural details were chiselled away and the room lined with timber studs and lath and plaster to improve both sound and warmth. The work in the Saloon was intended not just to improve its performance, but to display the large collection of family portraits as the lineage of a great family. The intention was to use each of the three blank walls to display the portraits of a particularly auspicious branch of the family. The Southwell’s themselves took the north wall, Edward’s mother’s side, the Watsons, took the wall opposite, but the wall confronting the arriving visitor was reserved for the most notable family: the Cromwells.
The ceiling appears to have been retained, only slightly altered from the original but receiving extravagant swags of flowers in plasterwork, all wrought by the famous Bristol workshop of Thomas Stocking. Mylne’s “drawing for a flower and urn in ceiling of saloon” apparently didn’t find favour. The redesigned Saloon was finished in 1768, with Mylne’s last correspondence on it being “patterns of water straw colours for the saloon”, presumably a yellow/stone colour paint for the walls.
Detail of the ornate plasterwork flowers and rose executed by Thomas Stocking in 1767-8
Kings Weston has been something of a focus for academic research just recently. A team from Trinity College Dublin recently visited Bristol with a research project looking at stone in historic buildings. Whilst their main area of interest was the Exchange in the city centre, they also visited Kings Weston as part of their enquiries. We were able to help in directing them to various written sources that pinpointed where the masonry for the house was being obtained from, either the park itself or further afield. They were also helpful in providing information on the sourcing of various stones from Ireland that were used ornamentally in the building.
The National Trust have also been in contact and found our research into the rooftop chimney arcades helpful in understanding how the rooftop areas of Seaton Delaval Hall were designed and used. This Northumberland mansion was also the product of architect Sir John Vanbrugh’s imagination, and the Trust are keen to find ways for visitors to best appreciate them. Our help included providing evidence that the arcade at Kings Weston was designed as a viewing platform, and directing them to Vanbrugh’s original letters in which he “would fain to have that part rightly hit off” and answer to what he hoped to achieve architecturally.
The chimneys of Kings Weston house appearing above the landscape in 1789.
Another exciting development has been the announcement that the Sir John Soane museum in London will be holding an exhibition on Vanbrugh in February 2026 to coincide with the tercentenary of his death. Author and curator Charles Saumarez Smith visited the estate last year and is engaged in researching Vanbrugh and his involvement in the rebuilding with the hope to publish a new biography to coincide with this commemorative year. We were glad to been able to accompany him on his visit and share a lot of our research to support this endeavour. Some time to wait yet, but this is definitely something to look forward to!
Way back in 2013 KWAG made contact with the John Russell, 27th Baron de Clifford, ancestor of the Southwell family. Initially we were most keen to record a number of paintings the family possessed, those which once hung at Kings Weston before the last member of the direct lineage died in 1832, but the family were eager to show us a large collection of documents too. We were delighted to be able to arrange for these to be transferred to Bristol Archives on their behalf, and were privileged to be able to review them before they were added to the city’s collections.
There was a much of interest to Kings Weston, perhaps nothing more so than a fascinating series of letters written from Katherine Southwell to her son, Edward Southwell, whom she affectionately called Ned, the third of the family to carry that name at Kings Weston. We know Katherine today through a glorious portrait of her that still hangs at Kings Weston house. Painted by Allan Ramsay in 1740, it faces her husband across the hall where they were installed there by her son shortly after her death in 1765; indeed the whole of the portrait gallery may have been designed as much to memorialise her as the rest of the family.
Katherine Southwell by Allan Ramsay, 1740. It hangs in the Saloon at Kings Weston opposite that of her husband, Ned’s father.
Katherine and Ned’s father, also Edward, appear to have had difficulty in conceiving, the young heir not being born until nine years into their marriage. Another child, a daughter also named Katherine, died but ten years old, and perhaps a second son may never have survived infancy. Edward Senior died in 1755 leaving his wife and son alone. It is perhaps in this context that Katherine’s affections for her surviving son were so great.
The letters between mother and son begin in 1749, but climax after 1758, the year that Ned left for the Grand Tour of Europe, an essential component in the life of any young man of means at the time. Ned, then aged 20, left behind his 48 year old mother with few friends and family members around her. The parting was keenly felt by her, and the ensuing stream of letters that followed his departure exudes that affection and care felt for her son, but also the eagerness for him to improve himself and kindle ambition.
Throughout Ned’s three year tour of Europe his mother sent letters, each one was carefully preserved by Edward on his travels and returned with him to the country, testament that his affection matched that of his mother. The majority survive today, though sadly there are notable gaps, where batches of correspondence appear to have been lost to time. It’s also unfortunate that we don’t have a reciprocal collection of Edward’s writings to make full sense of Katherine’s letters, but this doesn’t dim their colourful and engaging insight into mid-18th Century life. In them she updates her son on the global political situation, intermixed with “tittle-tattle” and gossip, encouraging words, and descriptions of her own exploits. Her search for a suitable new home to act as a Dower house is also a regular feature of her letters. Moreover, the letters are an incredible insight into Kings Weston, the gardens and staff employed there, and the comings and goings of tenants, neighbours, and livestock long-known to them both.
Ned Southwell in the only known portrait of him with his sister Katherine. The painting must date to before 1748, when his sister died. He would have been under 11 years old.
In Ned’s absence, Katherine spent time at Kings Weston, working with the head gardener, Gould, and the estate manager, Nicholls, carrying out her son’s instructions. Sometimes she is at the centre of the action, actively out in all weathers assisting in planting trees, and other times an observer, sending on vivid descriptions of the flourishing parkland. She wrote:
“I got hither to dinner yesterday, and was lucky in having good weather, and took the advantage of a very fine afternoon, to visit your plantations in the quarries, who thrive very well and are very clean, as is the garden; nay even the park is more free from nettles than usual; a prodigious quantity of grass and bullocks and sheep fatting on it; your colt frisking about very gay and for what I know very fine ones; ………I live on the hope of once more enjoying you all together and let the intermediate space run on as it can.” Kingsweston, 27 Sept. 1758.
The gardens around Kings Weston house in 1720, before their redesign.
And soon after: “Having no letter of’ yours, my dear Ned to answer, and having had no visitor but Mr, Berrow this can bring you no news but of the mute and vegetable part of the creation. To begin then your serpentine plantation at the bottom of Penpole looks much less like a snake than it used to do, the trees in general are flourishing and, the laurels almost cover the wall; it is extremely clean and has been twice sow’d this year, once with turnips and once with fetches.
The quarries have lost but few trees, but the hares and the lambs have crept under the rails and nibbled some, out. I find they took good care to keep them out as soon as they perceived it for ‘tis very little damage that is done.
The old kitchen garden is transformed into a nursery, but Gould cou’d not entirely part with the sparrowgrass (asparagus) beds, so has planted only between them, but the want’ of room this year will force him to quit his beloved.
There’s a fine parcel of young things of last year’s sowing in the flower garden, viz beach, swamp oak, Weymouth pines, cyprus, holly, laurel and some larch.
Now for my own particular friend the tulip trees that were removed are in health the arbutus are full of fruit and the two small magnolias are alive, but, alas, the great one is dead but what is still a greater misfortune to me, some Dutch sailors stole Jewel (a horse) but the day before I came.” Kingsweston, 1 Oct. 1758.
Kings Weston in about 1763, with some of the plantations below Penpole Point that Katherine mentions, and shortly after the demolition of the walls of the Great Court in front of the house. (Sir John Soane’s Museum)
Throughout his time away, Ned was replanning his estate. Katherine writes frequently about floor plans and elevations of the house being sent out to him in Europe with her letters; evidently there were plans being sent back to her and Nicholls too, and schemes which she intimates were significant in ambition. A plan for firing bricks and setting out new kitchen gardens was already in train in 1758. These plans would finally come to fruition after 1762, with the stables and walled garden complex on modern Napier Miles Road being begun; indeed, brick was made extensive use of in these walls.
“Gould advises you to make bricks for the kitchen garden wall; he says there’s earth fit for it, and ‘twill save a great deal, for they are very dear here; send me word if I shall begin; the earth must be dug six months before ’tis worked” (Kingsweston, 1 Nov. 1758)
And later:
“My dear Ned, I have sent you by Mr. Gaussin, Gould’s plan for the house and garden; l don’t imagine ‘tis quite the design you will follow, but as the ground is regularly measured and marked, I hope ‘twill give you some amusement.”
“…I come now to yours of 30 Dec. I have sent you, Gould’s plan, it is not so extensive as your: scheme, tho’ it does take in some of the road.” (Spring Gardens) 23 Jan. 1759.
“I am in a fright about the bricks; for as that was not Nicholls’s own proposal, I find he does not approve of it, and make great puzzling and difficulties and works, so unintelligibly about it, that I don’t know what he is doing.”
In this letter Katherine implies that the line of a road, probably part of Kingsweston Lane, is included. That may have been the southern end that now faces onto the side of Kings Weston inn cottages, but before then looks from maps to have been aligned further to the west. Katherine eventually settled on a house at Westhorpe, Little Marlow, which she figured would be convenient for her son to drop in on between the family’s town house at Spring gardens and Kings Weston. Most of the letters after 1760 are written from her retirement there.
Westhorpe House, Little Marlow, Buckinghamshire.
From 1759 Katherine leased the place as her Dower house. She agreed to buy the furniture already there, and a boat that she fancied Ned would enjoy using in the park’s lake. After his return to England in 1761, Ned quickly took works on the estate in hand. Unlike his father, who had been created Secretary of State for the Kingdom of Ireland by entail, he had no position in court or government, and sought to rebrand Kings Weston as a political powerhouse. With an ambition for a seat in Parliament, he set about modernising house and grounds as a statement of intent, as many of his peers had also done. His first task was to move the collection of old stables and kitchen gardens from a cramped position next to the house. Employing the architect Robert Mylne, a gentleman whom he’s believed to have met in Rome during the Tour, Ned began work quickly. It is perhaps not a surprise that he turned to his mother to lay the literal and metaphorical foundation of this political ambition.
“You are very ‘obliging in seeming to think what I have done at Kingsweston prospers; alas, ’twas so very little, that to me ‘tis not perceptible; I shou’d very gladly lay the first stone of any building projected by you for I have a great propensity to like your designs.” 3 May, 1762.
She appears to have had concerns over the height to which the garden walls were to be carried for she wrote later the same year:
“I honour your spirit and resolution, that has carried your walls up against all your ministry, but know that from this time forward you’ll be charged with every blight that falls on your trees and must never complain of unripe fruit, or backward pease, without being told you wou’d have the walls so high no sun can come into your garden.” Westhorpe, 3 Sept. 1762
The stables and walled garden begun by Ned immediately on his return from his Grand Tour. the garden walls make extensive use of the brick he was intent on firing from his own resources.
We had long believed that the landscape gardener Thomas Wright, the “Wizard of Durham” had worked at Kings Weston, but it is only through Katherine’s letters that this has been confirmed. Wright had been working nearby at Stoke Park on the other side of Bristol, but also for the Duke of Beaufort at Badminton. That he worked at Kings Weston too explains some of the landscaping introduced during the 1760s and the celebration of the quarries in Penpole Wood as rustic garden features.
“… I am glad you are agreeably detained and that Mr. Wright and you have not quarrelled. He must be a very odd creature for he has refused very advantageous offers from Lord Halifax to go with him to Ireland and prefers liberty tho’ joined to poverty. I don’t blame him for I think I shou’d do the same. Saturday, 11 April. 1761 (Westhorpe?)
“I wish I could see your new designs with Wright but you will tell them me and they will shew better when executed” Tuesday 8 April 1761 (Westhorpe?)
Wright probably advised on the deformalisation of the Kings Weston landscape, the thinning of avenues and grandiose architectural features in favour of a naturalistic pastoral landscape. It may have been his suggestion that resulted in the pulling down of the Great Court in front of the house. An important note from Katherine records the year this was planned:
“You are a lucky man, my dear Ned, to have nothing, to find fault with on your return home. I hope your perturbed spirit is at rest now, my dear Irishman and that you no longer overlook your works after ‘tis dark and before it is light. I shall find great fault when I come if the return wall to the parlour window is not down.” Westhorpe, 22 Aug. 1762
Thomas Wright, 1711-1786 Wizard of Durham, architect, astronomer, mathematician, and landscape gardener.
Katherine writes in an incredibly genuine and engaging manner, making her letters a joy to read. They are sometimes candid and amusing, whilst her campaign to resurrect the de Clifford Baronetcy in favour her son shows her as determined and intellectual. The total collection of around 200 letters is a vast trove of fascinating details on mid-Eighteenth Century life. We are only now transcribing the collection, possibly for future publication. The original letters are available free to view in Bristol Archives: Letters from Mrs Southwell to her son Edward (bristol.gov.uk)
The acquisition of a detailed view of the former Kings Weston Inn is occasion enough to add a little colourful history to the building. The view shows the inn at the turn of the 20th Century with a large party of guests sitting down on long tables for refreshments. The inn had ceased trading as a pub by this point but is known to have offered accommodation for tea parties under a Mrs Withers. This may be one of the many meetings of ladies of the Primrose League, a Conservative organisation, that are known to have taken place at Kings Weston at this time.
Kings Weston Inn in the early 1900s with a large gathering over trestle tables
The building itself was probably built shortly after 1718, when a drawing for an inn, then ale house, at Kings Weston was drawn up by the architect Sir John Vanbrugh. The dated drawing was superseded by a later version that is strongly similar to the core of the present building, but we can also attribute this design to the great architect. The building was much smaller than it is today but with features that are still recognisable. A central dog-leg stair ran up the centre of the building with a simple room either side on each floor. The central bay of the building rose above the pitched roof, terminating in a low tower that, we believe, was used as a viewing platform for patrons.
The second plan for Kings Weston ale house, from the Kings Weston Book of Drawings. circa 1718. (Bristol Archives)
The building of inns to serve visitors was not unusual in the Georgian era, but that at Kings Weston is very early, being only a year later than the New Inn at Stowe, Buckinghamshire, built for the same purpose. Using the drawn dimensions has enabled us to create a simple 3D model of the building before later extensions and alterations changed its appearance. The architect’s measurements compare well with that of the core of the existing building.
We know that there were modifications in the mid-Victorian period, but even before then the building must have been found wanting. Parties from Bristol and Bath regularly visited the inn for recreation during the Eighteenth Century and it was part of well-published local tours.
Reconstruction of the original Kings Weston Ale House, before alterations.
In stark contrast to the genteel party in the new image, one intriguing report involving the inn comes to us from a newspaper report from 1774, perhaps one that may, or may not, be fitting for publication in Pride month. The incident followed a private tour of Kings Weston house for a couple of visiting gentlemen, given by one of the male servants there. The report implies that the servant was sexually assaulted at the inn by one of the visitors as the other sought to stop him from escaping. It’s not known who Mr L and Mr B were, they both escaped, though we the scandal broke Mr B fled the country all together, no doubt with his reputation shot, and fearing reprisals. How much truth there is in this report is unclear, but it shows the taboo of homosexuality at the time and the risks that men would sometimes go to:
Reading Mercury & Oxford Gazette Sept 12 1774
Extract of a letter from a Gentleman of Bristol to his friend on London Aug 31
An affair has lately happened here, which has been the general topic of conversation ever since last Wednesday, Mr B—-, Mercer of this city, and Mr L—–, a linen draper, not a hundred miles from the Haymarket, London, went in a chaise together to Kings Weston, to view the house of Edward Southwell Esq – At their departure they offered the servant who showed it a piece of money, which he refusing, they insisted on his drinking a glass with them at the inn they put up at. After they had drank pretty freely, Mr B—- on some pretence left the room; which he had no sooner done. That Mr L—- behaved in such an indecent manner as contrived the man of his brutal intentions; he therefore attempted to quit the room, but was prevented by Mr B—-, who held the door on the other side; finding he could not get out, and being irritated by such an infamous insult, fell upon him and beat him unmercifully.
The noise being heard below, brought several people up, which Mr B finding, thought proper to leave the door and fly to the window from whence he made his escape, leaving Mr L— behind to bear the insults of hostlers, cooks, chambermaids etc who kicked, cuffed, and clawed him, tore his hair, had the dogs set on him, afterwards uncovered him, rolled him in the nettles; finally the maids would have proceeded to castration, had they not been prevented.
Mr Southwell, being acquainted with the affair, ordered two men to guard him that night, with the intent of bringing him to justice the next morning, but he found means to bribe his watch, and got clear off before morning. As for Mr B—- he attended his shop as usual two or three days, till the matter became public, and everybody looking on him equally guilty, he thought fit to decamp, and has not since been seen; it is said that he is gone to France or Italy with an intent never to return.
Looking north from the house today it’s difficult to reconcile the Lawrence Weston housing estate with the Kings Weston historic parkland. The Lower Park on which it was developed was once a key component in the designed landscaped grounds, dropping away to reveal the spectacular views across countryside towards the Severn, and acting as an artificially picturesque setting for the house in the opposite direction. It’s harder still to conceive that the designers of the post-war estate acted with sympathy to the historic setting they were provided with.
The Lower Park seen from Kings Weston house in 1789, by Samuel Hieronymus Grimm. Penpole Point is recognisable in the distance, with the lodge tower and stone dial. Cast concrete Easyform houses are erected on Mancroft Avenue. The angle of the photograph is not too dissimilar from the above painting.
Immediately after WWII there was a housing crisis that dwarfs the scale of todays. Swathes of Bristol homes lay in rubble, others were unsanitary and decaying slums, and an influx of servicemen returning from war exasperated an already difficult problem. Just a year after the end of hostilities squatters were already taking up residence on some of the abandoned army huts elsewhere on the Kings Weston landscape. Recognising the urgency of the problem the city Corporation took the decision to lay out a large new estate to the north of the city, across the Lower Park of Kings Weston. The Scouts camping fields were acquired by compulsory purchase in 1947 and the rest of the land below the house secured for development.
Although it never hosted any ornamental parkland buildings the land added to the picturesque effect of the estate. By the 1770s it had been laid out in the picturesque Landscaped Parkland fashion, with clumps of trees artfully positioned in the naturally undulating land to frame views or catch the eye. The Tump, a natural hillock immediately to the north of the House, was planted with specimen trees, and some of a much older avenue trees retained and interspersed with these new specimens. Most of these trees remained after the war, and the Capability Brown-style landscaping remained intact.
1947 aerial view of the parkland with north orientated downwards. The open fields, scattered specimen trees, and clustered groups ac all be picked out.One of the early planning drawings for the estate with north approximately downwards. Sites for a youth centre, pub, nursery school and new schools are indicated.
Looking at the Lawrence Weston estate today you might think that it was imposed on the landscape without much thought beyond utility, but look closer and you can see its designers were sensitive to the task set of them. The City Architect of the time, Nelson Meredith, was particularly alert to the city’s historic buildings and unique character, and often worked with an ambition to reveal and respond to historic buildings, albeit in a way we might think insensitive today.
In this 1949 photo the flat roofs of the concrete Easyform houses on Mancroft Avenue reveal the historic mansion above the growing housing estate.
Meredith’s team of architects and planners set out the road of the estate in a way that maintained unobstructed views up to the mansion from Mancroft and Barrowmead Avenues, and from Long Cross. To ensure that new building had as minimal an impact as possible a flat-roof house type was developed and located where a traditional pitched roof would otherwise have interfered with these protected views.
The designers recognised the importance of the many mature parkland trees on the estate and sought to incorporate them within the overall design. Where possible they were retained as part of main road frontages, with clumps being given greater emphasis as the focus of new park spaces. Broxholm Walk was aligned to respond to the line of the early Georgian avenue, “Wilcox Avenue” that once linked the house to the Tump, and some of whose trees still survived. The Tump was initially retained as an enclaved vestige of the open parkland, complete with trees an open grassland, though this was, in part, due to the impractical nature of the hilly ground. Today it is part of the Grade II Registered Historic Parkland along with the rest of the estate.
Sadly, over time the mature trees have gradually died and been replaced with more municipal style tree planting. Later houses like those on Sadlier Close have been less sympathetic to views of the house and tree-lined horizons of Penpole Wood. Even those built a short time after the original phases lacked the same understanding of the historic landscape.
Looking west across the Lawrence Weston estate circa 1952, showing the many mature trees and open spaces integrated into its design. Penpole Wood is in the background. 1948 Roman villa excavations with Mancroft Avenue being built in the background.
The construction of Lawrence Weston did reveal something about the Kings Weston estate, hidden for many centuries: the Roman villa. When in 1947 Long Cross was constructed as the main arterial route through the new housing estate it sliced through part of an important villa dating to the 3rd century BC. Between 1948 and 1950 it was excavated, and the designs of the housing estate adjusted to protect it.
It would once have been the home of a prominent local family who likely depended on a sizable agricultural estate around it for their wealth. The villa faced uphill, southwards, towards what is now Penpole Wood, with an ornamental symmetrical façade. It was furnished with ornate mosaics, its own bathhouse, and later under-floor heating. It’s impossible to know the extent of the Roman estate, but it’s not impossible that ancient land boundaries persisted long after the abandonment of the site in the 4th or 5th Centuries AD, morphed into the Saxon manor, and that Kings Weston house is the direct descendant of the same Roman villa.
