Doorways of Georgian Bath by Janey Abbott
Doorways of Georgian Bath by Janey Abbott
First published in Great Britain in 2018 by Maís Press All rights reserved. Copyright © Text by Janey Abbott Copyright © Images by 'The Bathonian' & Victoria Dengg Printed in the United Kingdom First Edition ISBN 1234567890
Contents Introduction John Wood the Elder/ Younger John Pinch John Palmer Ralph Allen Thomas Baldwin Beau Nash Robert Adams Thomas Lightholder Index
7 8 23 46 70 86 103 125 152 167
Introduction The Names that shaped the City
The stunning impression Bath offers is a result of its remarkable architecture that developed in the Georgian Period between 1714-1830. Individual buildings such as the Circus and Great Pulteney Street are of remarkable distinction. They are part of the larger city landscape that evolved harmoniously in over a century of logical construction and building. We recognise these buildings by their well-known impressive fronts. Which are demonstrations of the skill and creativity of the architects and visionaries of the 18th and 19th centuries. Classical decorations, such as pilasters or columns in superimposed orders, flanking the doorways and windows, as well as pediments and balustrades, are typical characteristics of Georgian entrances. Bath was the first planned city outside London and remains the most complete Georgian city in Britain. Thus, the names of Beau Nash, John Wood or Ralph Allen are still well-known today and their masterpieces attract millions of tourists each year. They together provided the foundation for this social, economic and physical rebirth, resulting in a city that has played host to the social, political and cultural leaders of the day. The grandiose Neoclassical crescents, terraces and squares not only elevated the architects’ status but also secured them a place in high-society. This book introduces a selection of their most exceptional buildings and takes the reader on a journey to explore the magic of Bath’s Georgian entrances.
Introduction 7
John Wood the Elder & Younger The Circus & The Royal Crescent
T
he Royal Crescent set a precedent for crescents elsewhere and was built in 1767-75 by John Wood the Younger. The idea was to unite a terrace of town houses with a classical palace frontage. Its extended arrangement of giant columns is an explicit reminder of theatre. In contrast to the Circus, it is devoid of Druidic iconography and has a completely plain ground floor with seemingly small doors. The entrance ways are unspectacular and, in comparison to the size of the crescent, quite empty. However, we also find ironwork in the form of ancient torch holders and interesting tiles that guide the visitor from the street to the entrance doors.
T
he Circus is the earliest circus in England and the most successful achievement of John Wood the Elder. The layout of the Circus is based on Wood’s intention to exhibit sports amongst a circle of houses overlaid with allusions to classical theatre. Here, you can find interesting doorknockers and shoe scrapers in various shapes as well as inviting entrance fronts, some of them even have ironwork above their entryways.
8 John Wood
9 Introduction J ohn Wood 9
Robert Adam
Pulteney Street ide – Elegant – Impressive: Great Pulteney Street, designed by Robert Adam in 1789, is a highlight in Bath’s architecture. W In the past it has been a home to many of the city’s famous residents
such as Jane Austen, Hannah Moore and William Wilberforce. The house fronts reflect the street’s prestigious status and form its illustrious image. The entrances are not as uniform as at the Royal Crescent or the Circus and the doors come in a wider range of colours. We find doors with decorative glass windows as well as remarkable letterboxes, doorknockers and handles made out of gold or brass in various shapes. The inviting entrance ways are carefully decorated with flowers and feature little gems, like unique shoe scrapers, to the attentive observer. Details such as ancient bells and ornamental overthrows, with the intention of placing lamps in them, lighten up the entrance ways. Great Pulteney Street offers up a lovely stroll that explores half a mile of 18th century townhomes, built at the peak of the Bath growth era, and gives a good idea of the renown Georgian grandeur.
125 Robert Adam
Robert Adam 126
John Palmer Lansdown Crescent
A
nother example for Georgian architecture is Lansdown Crescent, which was designed by John Palmer and built between 1789 and 1793. Palmer’s idea was to have three-storey fronts of uniform height with matching doors and windows. The homogeneity of the white painted doors and the patinated stonework creates a magical and harmonious impression overall. One of the most striking details are the iron overthrows at every front. They hold lamps and the ends exquisitely form antique vases. Nevertheless, each entrance manages to keep its personality as some residents have added personal details and decorated their fronts with different flowers and plants. Outstanding is the crescent’s heart, consisting of the two central houses numbers 10 and 11. Their appearance is highlighted by paired entrances with a cornice and frieze above them. The doors are each flanked by two Tuscan columns; these front entrances immediately catch the observer’s eye because they are painted entirely white. Lansdown Crescent is a grade I listed building and does not only attract attention as a result of its enchanting architecture, but also because of the view it gives of Bath.
46 John Palmer
Pinch 13
14
15
T
his beautifully illustrated celebration puts the spotlight on front entrances of well-known buildings in the charming city that Bath is. Janey Abbott reveals details of typically Georgian house fronts, which are invisible to the passing-by pedestrian. Whether you are a local or never visited the city, this exquisite book is a declaration of love to the city's enchanting architecture and its grand atmosphere.
M MaĂs Press