Tag Archives: Kingsweston

Hidden history written into the Kings Weston landscape. 

Anyone with an interest in archaeology will probably have heard of LiDAR before. It’s a technology that uses laser pulses to measure distances and can be used to create complex 3D models and map  large areas of land. It has the ability to penetrate trees and vegetation and help reveal what lies beneath. It’s been used in archaeology for a number of years now and has helped discover features as large as cities in Egypt and temples hidden in the Amazonian rainforest.

Lidar mapping of the UK has been publicly accessible for a while, even appearing as a layer of Bristol’s Know Your Place website. We’ve made use of it before, but recently a more detailed and informative new survey has become available through the National Library of Scotland website. This new map has helped reveal some of the hidden features of the estate with new clarity.

The Lidar map for the whole of the Kings Weston estate, trees and buildings removed to reveal the topography below. The Avon is obvious at the bottom of the image, Penpole the bright finger of land on the left, and Kingsweston Hill identifiable by the sharp outline of paired quarries. 

Unfortunately, Penpole Wood and the steep slope down to Lawrence Weston has proved too confusing for useful interrogation, but the lawns around the house, largely flat and open and undeveloped for centuries,  prove perfect for enhancing the data to better through features into relief. When compared to documentary sources, what we’ve discovered from this exercise is interesting but throws up new questions over the development of the grounds.

At first glance the plan looks a psychedelic confusion of stripes and rectangles. The location of Kings Weston house has been added to the plans to help orientation. The ancient avenue it a distinctive line running south-west, diagonally from the house to the bottom left-hand corner where it meets The Circle. The South Walk runs through the jumbled ridge along the bottom of the image, and the formal gardens and path to the Echo complete the basic triangle back to the house. Different colours show slopes of land exposed to five different directions, explaining the red, orange, yellow, turquoise, and blue colour scheme.

The area around the house and lawns enhanced to throw details into relief. Kings Weston house is in black at the top of the image. 

 The lines and stripes can eventually be read, some crossing over the top of others, and some cutting through different layers. Using what we know from maps and other illustrations we can interpret these lines and place them in order of when they were created.

The lowest of these layers, Phase 1, the features which pre-date the historic park, are a series of wide strips running south-west to north-east, roughly the same alignment as the ancient lime avenue, but much earlier. We’ve previously postulated that some of the more significant ridges, visible with the naked eye even, could be the alignment of a roman Road passing through the estate, but the new LiDAR map shows a distinct curve at their south end, definitely not something the Roman engineers would have approved of! Instead this is likely a field boundary or track passing between two fields. South of this, the grain of ridges becomes tighter and less pronounced. The ridges can be traced passing through later features, albeit more faintly, or stop abruptly, showing attempts were made at erasing them later in time. In other areas, such as the south-west corner, they seem to survive ghostly beneath stronger features laid above them.

PHASE I – strip fields and ridge-and-furrow marks are interspersed with field boundaries and, perhaps, a trackway. 

These lines represent long field divisions and the tighter-grained likely to ridge-and-furrow agricultural management of the landscape. The City Archaeologist has suggested that these are early-medieval in character, so perhaps established around the Norman Conquest. At this date then, we see that the plateau was principally farmland, though it’s unclear whether a manor house existed, or whether it was even on the same site as the present house. Of course, the ridges do not preclude an earlier, Roman, landscape having existed below them.

The next phase has only become visible using this new edition of the mapping. It also includes lines, but these are of an irregular fan-like pattern bounded by a shallow banked perimeter. This looks to overlay the old field pattern below it, and is interpreted here as the levelling-out of the park, with material being dumped in lines, each line built up from west to east, gradually building up the land before being levelled-out. These features are hardly noticeable when standing there today. That the lines spread out along the ancient lime avenue suggest that it existed as the main access for the work.

PHASE IIA – A levelled area pushes out from the line of the present ancient lime avenue and over earlier agricultural features.   

Dating this phase is difficult. There is nothing that documents its formation, but its relationship with the avenue and the apparent intention to landscape the terrain suggest it relates to aesthetic improvements, so possibly the 16th or 17th Century when the agricultural landscape had become the park to the late-Tudor mansion.

The levelled area was certainly in place before a series of trees were planted in a straight line mirroring the orientation of the ancient lime avenue. These trees can be seen as a series of shallow circular depressions dug through the fan of ridges. From the c.1710 engraving of the house we know that there was an avenue on this alignment, one that stretched as far as the Tudor house. The survival of the avenue depressions on the levelled area, but not closer to the house, might be explained by the softer nature of the made ground.  

PHASE IIB – Regular lines of trees and formal garden boundaries redefine the landscape as a parkland focussed on the late-Tudor mansion. 

Of this same phase, a long straight bank through the park and more apparent tree pits seem associated with each other; both are noticeably deliberate and linear. They relate to a second line of trees shown in the engraving, and are another designed garden feature. Garden works at this period also involved the north-eastern side where the earlier agricultural formations are sliced through, or heavily overlaid by new rectilinear boundaries aligned with the formal gardens laid out on this side of the house. A formal grove or orchard shown in 1710 seems to have extended closer to the house than shown in this illustration of a plan from a decade later; this was an anomaly noticed a few years ago when dry weather caused parch marks to form.  

Features in this engraving by Johannes Kip of around 1710 correspond with those identified on the LiDAR plan.

Great changes were wrought across the estate between 1713 and 1728 when Edward Southwell employed the architect Sir John Vanbrugh to redesign his house and parkland. A plan, the Hallett plan, was drawn-up in 1720 and shows many features from the next phase of development. The provision of a grand new frontage facing the old avenues resulted in a new formal court being required to receive guests. Although the carriage drive continued to follow the ancient lime avenue on its northern alignment, substantial works were enacted to excavate and level the new court and create a perfectly flat axial lawn leading up to it. A low causeway was thrown-up to bridge a natural depression in the landscape in the cause of perfection. The embankment and spoil from these works overlaid the medieval field pattern.

PHASE III – Sir John Vanbrugh’s fondness for grand gestures is embodied by the efforts required to excavate a level Great Court and build a perfectly flat causeway leading to its gates. 

Two other features register faintly from this phase: the vestiges of the Great Terrace and a linear garden feature known only from the 1720 plan. These are both to the north of the ancient avenue and have been heavily impacted by the de-formalisation of the parkland and landscaping that occurred later in the Georgian era. Of these works little can be detected from Lidar, perhaps on account of the intention to naturalise the landscape in the picturesque manner.

Hallett’s 1720 estate plan at the same scale and orientation as the LiDAR plan helps pinpoint this phase’s features on the landscape. 

A gap exists in the story LiDAR provides, between the early 18th Century and the 20th. Deformalizing removed formal features rather than creating new ones, and had a generally lighter impact. No great changes were made during the 19th Century, nor early Twentieth. The next obvious mark is a curious dumbbell-shaped feature that, from aerial photos, was constructed in 1947. What this feature was is something of a mystery, but if anyone knows what it was used for, we’d be keen to know! A couple of other features sit outside of the known phases, one amorphous lump lying over the medieval landscape, and a small circular depression further eastward. These, perhaps, will remain a mystery.  

PHASE IV and unplaced phases. The dumbbell shaped feature close to The Circle was built immediately after WWII. Does anyone remember what it was?  

Ash Dieback takes its toll 

For a number of years, the dreaded Ash Dieback has been slow to take hold at Kings Weston. While other areas in the city were quickly decimated by this fungal disease the estate has been less quick in succumbing. We identified early signs it had arrived several years ago, and perhaps it’s the prevailing winds off the Severn have blown spores away and slowed it’s progress. However, it’s now very much caught up with us.

A series of ash trees and large boughs have fallen recently, these across one of the main paths through the woods between The Circle and Mancroft Avenue below. KWAG volunteers have now cleared all but the trunks from here. . 
Even trees on The Circle have become bare and begun dying. These grew up since the 1960s. 

Whilst Ash was not commonly planted in the Kings Weston parkland in the Eighteenth and Nineteenth Century, it has become established, particularly since WWII and the institutional decline of the historic estate. There are of course some notable exceptions, huge mature trees that have established in Penpole Wood and elsewhere. Most, though, are of middling size and have thrived on neglect.
 
These more mature trees are now the victims of die-back, with many now showing advanced signs of ill health. Penpole Wood has recently been littered with fallen ash, or large boughs that have broken away from distressed trees. You’ll notice the ground around ash trees littered with leaves and dead twigs, and their canopies thinning and full of dead twigs and dying branches.
 
There are a series of dead or dying trees alongside the historic Viewing Terrace behind the Echo, a number on the Circle, and many more overhanging paths and public rights of around the estate. There is a genuine risk to the public from these dying trees, so we urge everyone to be aware, particularly during windy weather. We hope to go through the parkland soon with the parks team to discuss the problem and identify which trees may need to be dealt with and brought down before they fall.

Ash trees at the top of the slope above Shirehampton Road, immediately over the Georgian Viewing Terrace and the public right of way are now heavily impacted, with some already dead. 


Yet MORE missed Laurels get a trim

Our gradual passage back through Penpole Wood continued last month, retracing our steps with removing cherry laurel. Having built-up momentum on this job since April we’ve continued westwards through the woodland, tracking along the top edge of the former quarry.

Animated image showing the same area before and after work. This view looks back towards Kings Weston house, with the main path just out of sight behind the trees on the right. 

The sunnier Summer months are best spent labouring in the relative shade, the heat usually tiring our team of volunteers quicker. Despite the warm conditions, we tackled a large portion of the laurel that had regrown to considerable height in some areas. Over the last eight or nine years, the laurel had bushed-out with some areas with very dense coverage.

Looking south, upslope from the edge of the historic quarry. Many of the liberated saplings can be identified. 

The are was planted with saplings following our original work, and we’re glad to say that there were many left, albeit somewhat overshadowed by their more established and overpowering neighbours. This work will help protect the progress we made and allow these saplings to bring greater biodiversity into this part of the woods.

The flat area adjacent to the main path through Penpole Woods was less choked than the top of the quarry. The path can be seen passing in the background after volunteers removed the invasive laurel. 

The Cromwell Connection    

Thomas Cromwell, Earl of Essex, by Sir Godfrey Kneller, circa 1703. 

A painting with Kings Weston interest recently went through auction. On the face of it, a posthumously painted 1700s portrait of Sir Thomas Cromwell, he of “Wolf Hall” notoriety, might not strike you as having a connection, but delving deeper through the archives its importance becomes clearer.
 
The rather gloomy oil painting was attributed to Sir Godfrey Kneller by the auction house, who included detail of an old label attached to reverse which stated “This picture which hangs here at the request of … Russell daughter of the 24th Baron de Clifford was painted by Sir Godfrey Kneller for a member of the Southwell family from an engraving of Holbein’s”. It had hung in a manor house in Faversham, Kent, though the label clearly identifies it as having formed part of the family collection of the Barons de Clifford, the descendants of the Southwell family of Kings Weston.
 
The last of the direct line of the Southwell family was the 21st Baron de Clifford on whose death the Kings Weston estate was sold along with the majority of its contents. This painting is, in fact, described as having been sold at Auction in 1834 for a derisory £14, but must have been re-purchased by the family. Many paintings that remain in the trusteeship of the descendants found their way back into family hands in this way, including a series of portraits by Kneller.

Kneller’s portrait of Lady Elizabeth as Diana the huntress, hanging today at Kings Weston.  

There survive in Kings Weston house today, several other portraits by Kneller, including the full-length portraits of the first Edward Southwell (he who rebuilt the mansion) and his wife, Lady Elizabeth Cromwell. And it’s through this marriage that the painting arrived at Kings Weston in 1703.
 
Lady Elizabeth was a very wealthy heiress with extensive landholdings in Northern Ireland. Sir Thomas Cromwell, 1st Earl of Essex,  was her great x4 grandfather. Through his rise to great fame and power under Henry VIII, and the considerable wealth and titles bestowed upon him, he was considered as the founder of the Cromwell dynasty. It would have been apt that Lady Elizabeth held her family name in high regard, and it’s notable she retained it after her marriage to Edward Southwell on 29th October 1703. Edward, no doubt, considered it an accolade to have such a great name in English history associated with his.
 
Lady Elizabeth was something of a patron of the arts, or at least to Kneller, with whom she spent huge sums. Her great wealth enabled her to indulge in commissioning works. Earlier in 1703 she’d been in receipt of sixteen paintings from him totalling an extraordinary £415. Fortunately, Kneller’s list of these pictures survives. Four were intended as gifts, two were whole-length portraits of Lady Elizabeth, and several of auspicious ancestors including her father, Vere Essex Cromwell, Earl of Ardglass, and “Ld Essexes picture – whole length” – the picture recently sold.
 

Kneller’s 1701 whole-length of Lady Elizabeth Southwell, still in the ownership of the descendants. 

Lady Elizabeth settled her bill, or most of it, by a £400 bond received by Kneller on 5th June 1703. One of the paintings in this series, one of the full-length portraits of herself, is dated 1701, suggesting that the collection was produced over a several years. The other, “A diana, whole length”, is the portrait of Elizabeth as the goddess of hunting that hangs today in the hall at Kings Weston. Together, these were the two most expensive of her purchases, £50 each, indicating the more direct attention of the artist rather than his workshop. That of Sir Thomas Cromwell was £30, suggesting it was produced with more involvement with artists employed by Kneller in his studio.

Aged 27, marriage came unusually late for the period. Her father had died in 1687 leaving her as an only child and sole heir. Always strong-willed, she appears to have been independent in spirit and unconcerned about making a match unless it was on her terms. It appears likely that the collection of paintings are connected with Lady Elizabeth’s hunt for a husband. By displaying images of herself and her illustrious ancestors she may have been promoting herself as a worthy match for any suitor. However her marriage to Edward Southwell came about, it was more than a one of convenience despite her enormous wealth and the prestige brought to Southwell’s house through the great Cromwell name. On her death in 1708, we know that Edward was bereft and took many years before he sought to fully reengage with society.

Most of the paintings commissioned by Lady Elizabeth can be identified as hanging at Kings Weston throughout the 18th Century. In 1777, we have the portrait of Thomas Cromwell above the fireplace in the eating parlour, todays Canaletto Room. Fittingly, it was matched on the adjacent wall by one of the full-length portraits of its commissioner, Lady Elizabeth.

The Eating Parlour of Kings Weston house, now the Canalletto Room, showing the relative locations of two Kneller paintings known to have hung there. The dashed lines indicate the locations of three oil paintings of ruins, two by “Pasla Panini” and the third possibly another work by Kneller. 

The same inventory that ties these pictures to this room also explains helpfully that Cromwell’s portrait was “copied from Holland”, rather than from Holbein. This goes some way towards explaining why Kneller’s portrait looks so unlike the famous portrait of the sitter by the Tudor artist (itself a copy, the original now being lost): It was a third-hand impression of the original painting, copied and adapted from a small engraving published by Henry Holland in his Herologia Anglica in 1620.
 
Despite its historical interest, the painting is far from the best example of a Kneller. Kings Weston still boasts several examples including a portrait of Edward Southwell. Dated 1710, the pose and format suggest that it was commissioned as a partner to the whole-length of his wife Elizabeth after her death. Today, they still hang together, fittingly either side of a portrait of their son, the second Edward Southwell.

To the left, one of the contemporary copies of Holbein’s lost original portrait of Cromwell, and to the right, Holland’s 1620 engraving from which Kneller took his likeness. 



Fragments of WWII estate revealed

Our recent work cleared cherry laurel that had fallen over and begun colonising the solid concrete base of a Nissen Hut. There are many of these still surviving throughout the woods on the main ‘circuit’ of paths framing the wide lawns around the house, but many more, fortunately, that have been entirely removed.
 
There were three military camps at Kings Weston during WWII, the remains visible on the main paths being part of the British Army’s works. Unlike the later American camps, Sea Mills Camp A and B on the golf course, the British huts were integrated into the historic landscape with sensitivity, preserving historic trees and aligning along the established parkland avenues and paths.

The concrete base of a WWII Nissen hut revealed beneath the recently felled cherry laurel. The entrance is on the right with its own porch structure. Further onto base the brick plinths for stoves can be seen. 

With the secrecy originally required in constructing these military establishments it’s difficult to uncover how they were used and who was stationed there. Different services and divisions appear to have come and gone at different stages of the war.
 
The concrete base gives a little away regarding its use. It had an enclosing porch or blast wall protecting its entrance adjacent to the main path. A few features survive embedded in the floor. These include two brick plinths, one immediately in front of the visitor on entering, and eh other more centrally located beyond it. These, it is assumed, were hearths or the bases of stoves to heat the building. There appears to have been a cinder-block wall separating the entrance of the building from the inside, but much has been erased here. Along each of the long sides of the hut base are regular raised portions of concrete; these are less easy to interpret, but may have been where the steel arched frame sections attached to the base; on top of these would have been laid the familiar corrugated iron sheeting.

A 1946 aerial photo of the Kings Weston estate with Nissen Huts highlighted. The base recently uncovered is marked with an X. 

The use of the building remains unknown, but it may well have been a dorm block where beds would have been aligned along either side, the stoves offering much-needed warmth in the winter.
 


More WWII finds have recently been donated to us by the owners of Wood Lodge, Penpole Lane. Picked out of the ground during gardening work, a large number of shards of crockery have been unearthed over the last few years. Otherwise anonymous white china pieces are given an interesting historic dimension through the printed makers mark identifying their NAAFI use and a series of helpful dates. The Navy, Army, and Air Force Institute provided canteen and entertainment services for troops during WWII. These fragments were, no doubt, discarded after breakages during the war and thrown aside. The dates are spread through just three years between 1942 and 1944, giving a helpful insight on the use of the estate in the years running up to D-Day.

The most interesting fragments of broken crockery carry dates and other marks. The spread is between 1942 and 1944. 


Missed laurels get a trim

As working parties draw to a close on a Saturday afternoon, sometimes we’ve not managed to complete what we might have hoped; bits get left behind as we move on to other parts of the estate. Last month’s volunteer work tackled three such areas at the very heart of the parkland close to The Circle.

We’ve had several working parties along the north edge of the ancient lime Avenue, mainly around 2016-17. These focussed on natural spacing and the chore of removing over-mature laurels. The areas left included some dense and challenging laurels, not reason for us to have neglected them the first time, but enough to keep us occupied for a full working party this time around.

With the cherry laurel removed, the woodland opens out onto the ancient lime avenue beyond. 

One area was just to the north of the ancient Lime Avenue, and work here gave us the added opportunity to reinforce the line of the path through trimming snowberry bushes. The second area included a concrete base to a WWII Nissen hut, one that was joined formerly by many others hidden in the trees. The final area bordered the Quarry garden on its eastern end and a forest of mock orange bushes, part of historic planting, to the east. An added challenge in the last area was tidying a fallen tree that had blocked one of the well used paths in this area.

The central of three locations tackled last month, directly on the main path into the woods. The WWII base appears from below the invasive cherry laurel. 

Split into three adjacent groups, a good turnout of volunteers saw work progress quickly from east to west. We usually lose people in the afternoons as they get tired or need to get onto other things but still managed to extend the area tackled westwards and begin trimming of laurel regrowth that has begun to regain a foothold above the quarry. By about 2pm we had achieved everything on our agenda and more!

It was interesting to uncover the base of the WWII Nissen Hut and its features, more of that later. The historic area of Mock Orange is now more visible, framed by the less invasive Portuguese laurels we’ve left in place. For the intrepid, there’s the opportunity to try and trace the line of the lost Victorian path that once ran through the back of this area, now freed from the choking embrace of cherry laurels.

The third location, close to the east end of the quarry garden, and looking up-slope towards the main path through the woods. 

Ancient Avenue Repairs

We were delighted to discover the recent planting of four new lime trees on the estate. These have been planted by the Council tree team and replace some of the lost trees on the historic avenue leading to the house.

One of five replacement trees on the north side of the Ancient avenue, just planted this month.  

This avenue was first planted at the turn of the 18th Century by Sir Robert Southwell and his son Edward. The limes are recorded as young trees in two of the many avenues leading from the house in the well-known engraving of the park from about 1710. From then on, they remain a constant feature of the park through history , surviving the de-formalisation of the grounds in the mid-Eighteenth Century. In the last decade several have succumbed to disease.

The new trees, one on the south side of the avenue and three on the north, replicate the historic spacing and repair gaps that have gradually opened up. Along with the new avenue planted by KWAG in 2012, these go a long way to reinstating something of the formality of the original garden layout.  

With the old trunk ground out, a replacement lime tree takes its place next to some of the ancient examples.
Seen in Kip’s 1710 engraving, the sections of the avenue still with us are ringed in red.  

Restoration at the Echo

Since 2022, one corner of the Sir John Vabrugh designed Echo has been held aloft only by means of a nylon strap. This was attached during urgent maintenance work when the dilapidated condition of the cornice was first raised as a concern. At the same time, the brambles and other weeds whose roots were penetrating the mortar joints were cleared off. However, it’s taken a considerable time for the Council conservators to return.

The Echo takes on the appearance of a sentry box with the restorers scaffolding and palisades erected. 

Last month we had the first reports that the long-promised scaffolding was being erected, along with a palisade protecting it from any abuse or vandalism. The whole structure took on a formidable appearance while contractors worked to re-mortar and repair the stonework. At the same time, some of the overhanging trees that were threatening to knock down the decorative urns were also trimmed back.

Hopefully, perhaps even by now, the work will be finished and the building revealed again to the public.

The Echo in 1927. Philip Napier Miles enjoyed a rustic garden style that saw him allow plants to spring up out of the building’s stonework and steps. The two chairs inside are hollowed out from fallen tree trunks! 

Triumphant Spring setting for the historic bridge

October’s Big Bulb Plant at the Iron Bridge has come good with a sensational display this Spring. The heavy work preparing the ground and digging holes through rubble was definitely worth the effort; the visual impact speaks for itself!

A panorama looking down and across the slope towards Shirehampton Road with the bridge on the left. The City boundary marker is now surrounded by flowers. 

Both sides of the Iron Bridge looked phenomenal in the Spring sun during March, though flowers are just going over now.  We hope that everyone who contributed to the bulb plant will have had the chance to go up, take a look and enjoy the display. It certainly seems to have attracted a lot of attention.

John Loudon McAdam’s iron bridge is now set in a sea of gold on the Kingsweston Hill side

This October we hope to give daffodils a rest. The cultivated blooms are not suitable for many parts of the historic estate and we’re keen to diversify into more native species. As part of the Nature Conservation plan being developed by the Council we hope to agree suitable species and locations that will both ornament the estate and improve its appeal for nature.

The northern approach to the bridge on the Kingsweston Hill side. 

More light laurel pruning below the Echo

The issues of invasive cherry laurel are well known; outcompeting native species, leaching toxins into the soil, and contributing to soil erosion, are just three reasons that many hundreds of hours of volunteer work have been devoted to its removal. Whilst it was once maintained as a decorative landscaping plant, it’s now run wild and is having a seriously detrimental impact on the woodland and the soil.

the cherry laurel regrowth long the mid-18th Century pleasure walk 

The last two working parties this year returned to the area on the north-east side of the Echo path, sections of the estate we originally felled laurel in around nine years ago. Whilst much was poisoned by the Council in the wake of our work, the areas closer to Kings Weston house weren’t treated and have more quickly regrown. This was the target of March’s working party.

With a good team of volunteers, we carried on the surgical removal of the laurel whilst leaving the native species that have begun to recolonise the area. Starting from the twin ponds, work progressed downhill throughout the day though, sadly, we didn’t manage to clear as far as the boundary with the house; this was left for a few volunteers to clear away later.

The area behind the two ponds before and after volunteer work. Many native bulbs were planted here in the autumn of 2014, many of which had been hidden. 

In the process of opening the area back up many of the saplings and native bulbs planted in the area have been revealed. In February we found the snowdrops lost beneath the laurel growth, and last month the bluebells and miniature daffodils were rediscovered, now better able to reach the sun! Eventually, when the laurel toxins have eventually leached out of the soil and the forest floor has matured further, it will ensure that rainwater run-off from the slope will be more effectively captured.  

the view from the pleasure walk along the garden edge looking towards the main Echo path and the lawns beyond.