Nos. 1-41 And Attached Area Railings

A terrace of forty-one houses with a central hotel building, now converted to flats or commercial premises. Built between 1791 and 1819 to designs by John Eveleigh, with mid-19th century and 20th century alterations. The development was the first stage of an ambitious scheme to create 143 houses along London Road and the River Avon, bordering approximately 20 acres of pleasure gardens intended to be called the Vauxhall Gardens.

Construction and Materials

The fronts are built of limestone ashlar, with limestone rubble and ashlar dressings to the rear elevations. The buildings have double-pitched slate mansard roofs with moulded chimney stacks positioned on party walls and various dormers. The plans are double-depth with few rear additions.

Architectural Composition

The terrace consists of three storeys with attics and lower ground floors. Most houses have a three-window range. The centrepiece is an imposing building originally designed as a hotel, flanked by serpentine curved terraces punctuated by stepped-forward pavilions of three houses—one pavilion to the left-hand terrace and two to the right. The pavilions and the six-window range central hotel feature chamfered rustication and platbands to the ground floor. The house at the centre of each pavilion has a five-window range.

The design features continuous cornice, parapet and moulded sill string courses to the upper floors. Windows have flat arches with six-over-six pane sashes, those to the first and ground floors having horizontally stepped voussoirs. Nos. 1 to 22 have doors positioned to the left, while Nos. 24 to 41 have doors to the right. First floor rear windows are six-over-nine pane sashes, mostly with balconettes or balconies offering views over what were the proposed pleasure gardens.

Individual House Descriptions

No. 1 has six-over-six pane sash windows to the second floor, plate glass sashes to first and ground floors, and eight-over-eight pane sashes to the lower ground floor. The door is mid-19th century with six panels and roundels to two central panels.

No. 2 has a painted facade to ground and lower ground floors, plate glass windows, horned six-over-six pane sashes to the lower ground floor, and a six-panel door with a circular central pane surrounded by a border of segmental panes to the overlight.

Nos. 3, 4 and 5 (Bath High School) comprise the right-hand pavilion with painted ground floor and basement, plate glass windows with balconettes to the first floor, and six-over-six pane sashes to the lower ground floor. No. 3 on the right has an early 19th century projecting porch with paired Saonian pilasters supporting a triglyph frieze, cornice and blocking course, vermiculated plinth, and 20th century door. No. 4 has similar windows and a six-panel door with blocked overlight of semicircular panels. No. 5 has similar windows and a six-panel door glazed to the top under a blocked overlight with square central panel flanked by glyph frieze.

No. 6 has six-over-six pane sash windows to second, first and lower ground floor, and plate glass sashes to the ground floor. The mid-19th century six-panel door has margin panes to a blocked overlight below a heavy cornice on consoles with raised anthemion and scroll motifs between, possibly painted cast iron. Original voussoirs remain above the cornice. Balconettes feature at second and first floors.

No. 7 is similar with a plain blocked overlight.

No. 8 has six-over-six pane sash windows to upper floors with two balconettes to the right of first and second floors, and plate glass windows to ground and lower ground floors.

No. 9 has plate glass sash windows with chamfered architraves to first and second floors. The six-panel door has a similar overlight and cornice to No. 6.

No. 10 has six-over-six pane sash windows with two balconettes to the second floor right and three to the first floor. Plate glass sashes to the ground floor. Six-panel door glazed to top with similar cornice to No. 6.

No. 11 has plate glass sash windows except for six-over-six pane sashes to the second floor, and a six-panel door with blocked overlight.

Nos. 12, 13 and 14 form the stepped-forward rusticated right-hand pavilion. No. 12 has plate glass windows, six-over-six pane sashes to the lower ground floor, a six-panel door glazed to the top, blocked overlight, and simple balconettes to upper floors. No. 13, at the centre of the right-hand pavilion, is taller with the cornice and parapet sweeping down to meet those of the flanking houses. It has six-over-six pane sash windows with some crown glass, late 19th century cast iron balconettes to the second floor, and a similar continuous stone balcony with cast iron brackets and balustrade to the first floor featuring margin-paned French windows and two-pane overlights (the balcony formerly had a swept canopy). A large late 19th century projecting porch positioned left-of-centre contains a six-panel door in a recess flanked by Ionic columns supporting a dentil cornice and blocking course, plate glass sash windows to the returns, and cast iron boot scrapers to the sides. No. 14 has plate glass sash windows to ground and first floors and six-over-six pane sashes to second floor and basement, with a 19th century eight-panel door and blocked overlight.

No. 15 has similar windows and a Doric doorcase with triglyph frieze and 20th century window to the left.

No. 16 has 19th century horned six-over-six pane sash windows and a six-panel door glazed to the top under a blocked overlight.

No. 17 has a similar door with a raised wreath to the blocked overlight, and plate glass windows with six-over-six pane sashes to the basement.

No. 18 has six-over-six pane sash windows to the second floor and plate glass to the rest.

No. 19 has two early 19th century trellised balconettes to both ground floor and first floor right, plate glass sash windows to the ground floor and six-over-six pane sashes to the rest. A 19th century enclosed projecting porch features chamfered corners, cornice on consoles, Roman numeral XIX over the door, and pointed-arched windows on corners. Architraves to windows of Nos. 19 to 26 are chamfered except for the basement.

No. 20 has 20th century six-over-six pane sash windows and a set-back Doric doorcase with triglyph frieze over a six-panel door glazed to the top and two-pane overlight with margin panes.

No. 21 has a similar doorcase with six-panel door with overlight, and 19th century plate glass windows with balconettes to three upper floors.

No. 22 has an early 19th century projecting enclosed porch with paired Saonian pilasters supporting a triglyph frieze, cornice and blocking course. The door and windows are mid-19th century margin-paned. The ground floors and basements of Nos. 22 to 32 are painted ashlar.

The Central Hotel Building

No. 23 was designed as the central hotel building with a wide segmental arch for a carriage entrance flanked by two semicircular arched windows. The arch is now covered by a tetrastyle porch. The six-window range has six-over-six pane sash windows and a stone balustraded parapet articulated by projecting pedestals over a rich modillion cornice that steps out over a giant order of seven engaged Ionic columns. The frieze has oval paterae above the capitals. The columns, on similar but larger pedestals, have pendant garlands between the volutes, level with second floor sills and half-way up. Plain bands near the bases were intended to be carved. Oval panels below second floor windows—three are carved, others are blank. Blind balustraded aprons feature below first floor windows. The ground floor has vermiculated rusticated piers below a moulded impost stringcourse and icicle keystones in chamfered rustication between the string and ground floor platband. The central archway was intended as the entrance to Grosvenor Gardens Vauxhall, which was laid out on the slope behind going down to the river. The gardens lasted until at least 1810, with their layout shown on a map of 1808. The house was restored in 1970 by R. Smith and J. Bull Associates.

Continuation of Individual Houses

No. 24 has a similar porch to No. 22 with a late 19th century six-panel door, chamfered architraves to ground and first floor, and six-over-six pane sash windows, some with crown glass.

No. 25 has an early 19th century six-panel door with blocked overlight, simple balconettes to the ground floor, and chamfered architraves above the basement.

No. 26 has chamfered architraves to ground and first floor, plate glass sash windows, and six-over-six pane sashes to the basement.

No. 27 has similar chamfering, two early 19th century balconettes with lead ornaments to the left of the first floor, and a late 19th century enclosed projecting porch to a six-panel door with cornice on consoles under returned cornice and blocking course.

No. 28 has plate glass windows and a six-panel door with overlight.

No. 29 has similar windows with eight-over-eight pane sashes to the basement, and a six-panel door with reeded panelling to the blocked overlight.

No. 30 has plate glass sash windows, a six-panel door and overlight with a small circular window to the right.

No. 31, on a convex curve, has plate glass windows, a six-panel door with blocked overlight, and a circular window to the right. Jambs to the ground floor have late 19th century run-out stopped chamfers.

Nos. 32, 33 and 34 comprise the stepped-forward rusticated pavilion to the left-hand terrace. No. 32 has plate glass windows without horns, a small circular window to the upper right-hand corner, and a blocked overlight to a late 19th century three-panel door. No. 33 has a taller five-window range with six-over-six pane sash windows, with that to the centre of the first floor under a cornice on consoles with elliptical paterae to the sides and one to the centre over a festoon. No. 34 has a doorcase with Doric pilasters supporting a triglyph frieze entablature.

No. 35 has plate glass windows and a six-panel door with three-pane overlight.

No. 36 has plate glass windows, six-over-six pane sashes to the basement, a Tuscan pedimented doorcase, late 19th century black-and-white tiled threshold, and a fire insurance disc.

No. 37 has plate glass windows to first and ground floor and six-over-six pane sashes to second and lower ground floor, with a six-panel door glazed to the top and large plain overlight.

No. 38 is painted up to the sill stringcourse and has plate glass windows and a six-panel door with a good projecting lamp in the overlight.

No. 39 has six-over-six pane sash windows, some with crown glass, and an early 19th century six-panel door with moulded panels and large overlight with lead ornaments to margin panes.

No. 40 is similar with some crown glass and a narrow overlight.

No. 41, the left-hand terminal house, is stepped slightly forward with chamfered rustication to the ground floor, platband and early 19th century balconettes to the ground floor. It has an altered six-panel door.

Interior Features

Several houses were inspected by Bath Council in the early 1980s and Bath Preservation Trust, and almost all of Grosvenor Place retain their panelled shutters.

No. 1, inspected in 1979, has an original fireplace, interesting maple graining of doors, and painting of the cornice in different colours—pink roses, green leaves etc.—with a deep 20th century frieze below the cornice. The first floor has fine double doors between front and back rooms.

Nos. 3, 4 and 5 were recorded by Bath Preservation Trust in the 1990s. No. 3's ground floor front room has a fine frieze of grapes and vine leaves and original cornice, with a grey marble fireplace with side pilasters, reeded architrave with rosette patera in upper corners, doors and windows. The rear room has little remaining except for windows and shutters, frieze and cornice. The stone cantilevered staircase has wooden balusters, the sixth metal, and a mahogany handrail. There are random Dutch tiles in the porch extension lavatory. The first floor has a simple stone fireplace at the front and a marble fireplace with geometric pattern above the fireplace. Most of the original mouldings remain.

No. 4 has similar mouldings, but the ground floor fireplaces have been removed. The first floor has elaborate plasterwork to ceilings; the fireplaces are simple dark grey marble. An arched entrance to the front room features reeded pilasters within the opening, eight reeds. Capitals are decorated with enclosed acanthus on top and elongated acanthus leaves beneath. Large roundel panels at either end, and a large central roundel panel to the rear.

No. 5's ground floor has a pale grey marble fireplace with raised reeded columns with flower patera enclosed in a square at the top, and a cast iron grate. The rear has a grey marble fireplace with pilasters each side with a narrow three-reeded border and a classical urn motif above each pilaster. The stone cantilevered staircase has wooden balusters, the sixth metal, and a mahogany handrail with painted newel. A ceiling rose with cornhusk detail, and a white/grey marble fireplace with large bracket with acanthus decoration supporting the mantle in the first floor front, with an arched space for double doors, now blocked. There are some pennant flagstones in the basement.

No. 7 has a fine pair of double doors on the first floor and the original fireplaces.

No. 8 has a good flagged Bath stone floor in the basement.

No. 9 has a stone fireplace, several 19th century console fireplaces, and a pretty ceiling rose in the entrance hall.

No. 11 has the large original dresser in the basement and fine ceilings and mouldings on the first floor.

No. 12's first floor flat was originally a drawing room and small ante-room connected through an archway which may have had double doors. Originally the door from the staircase (now blocked) opened into the ante-room. Most of the original mouldings still exist despite partitioning. Front window casements open inward, probably 19th century replacements. A waist-high cast iron grille is positioned outside. A possible 19th century white fireplace with grey veining and modern grate is in the main room, with a similar surround in the ante-room which also has original shutters with replacement windows. The ceiling above the staircase has quite elaborate frieze, cornice and ceiling band. The cantilevered wooden staircase has an open string with square section balusters, turned newel posts and original mahogany rail.

No. 13: National Monument Record photos show a daringly cantilevered stone stair with metal rails and further fine Greek Revival plasterwork, with double doors to the stair landing set beneath a Sonia segmental glazed arch with moulded surrounds. It also has a stone flagged floor with slate insets. Inner hall ceilings have been lowered about three feet. Most of the fireplaces have been retained, eight of them marble. The flagged stone basement has a working well to the rear. The two rear balconies were restored at the end of the 20th century.

No. 15: The original hall is now the front room. It has an original timber stair and inlaid mahogany rail with Doric newels, a good Georgian fireplace with Turkish tiles, and very elaborate cornice in the ground floor drawing room. The basement retains its wine cellar.

No. 16 has an original timber staircase with Doric newel, a Regency fireplace on the ground floor, and a fine white marble one with vine leaves and grapes.

No. 18 has a vine leaf soffit cornice with grape swags and an original staircase.

No. 19 has original squared stone wine bins in the sub-basement and a green/gold marble fireplace.

No. 21 has a flagged-stone basement and most of the original reeded mouldings throughout the house, with an original stone staircase.

No. 26 has a very fine pine Georgian fireplace with Rococo frieze and central head, with egg and dart edging in the basement, an original marble fireplace and deep arch on the ground floor. The staircase has barley sugar colonnettes over balusters.

No. 33 has a very ornate Georgian fireplace with a central stone staircase and well, and an unusual original reeded fireplace with reeding interspersed with lozenge motif.

No. 36, in 1989, had a very fine Georgian marble fireplace with striped Sienna and white inlaid fireplace with a carved plaque in the centre, and a front room with high Art Nouveau anaglypta dado and architraving. The hall has a Moorish anaglypta dado with fine ceiling rose. Fine mouldings and fireplaces throughout.

No. 39: National Monument Record photos of the interior show a remarkable painted room, probably late Georgian, showing a picturesque estuary scene with castles on crags and mountainous distances.

No. 41 has elaborate cornices and several fine Regency and early Victorian fireplaces, a stone staircase with fine mahogany handrail, a range of cupboards in the basement with lozenge motif, and brick vaults in the sub-basement.

Subsidiary Features

Some of the area railings are original; others are 20th century replacements.

Historical Context

Grosvenor Place was the first stage of a hugely ambitious plan to build 143 houses along the London Road and the River Avon, bordering approximately 20 acres of luxurious pleasure gardens to be called the Vauxhall Gardens. The grand entrance was through a large carriage arch to the centre of the hotel. The scheme failed due to the unfortunate choice of a low-lying site which was prone to mists and floods, and its relative distance from town. Sydney Gardens, nearer to the city, was preferred.

"The first Stone of Grosvenor House, Vauxhall, was laid on June 24th, 1791, by John Eveleigh, Architect, being the centre of 143 intended houses, and at the entrance of Vauxhall Gardens, which will be built by subscription, laid out with taste and elegance for the reception of Nobility, Gentry and the Public in general," ran the inscription placed beneath the foundation stone.

Eveleigh's project was dependent upon subscribers to Vauxhall coming forward. Their failure to do so, combined with the slump in the building trade, doomed the scheme and he sold his interest in 1794. Many of the buildings were still incomplete in 1819.

The centrepiece of the scheme was intended as a hotel. Ison describes it as "one of the most exciting buildings in Bath," and its remarkable sculpted decoration (some of which is unfinished), combined with its richness of surface and its relationship with the flanking ranges, combine to make Grosvenor one of the most remarkable incidents in High Georgian Bath. Some of the Greek Revival features such as the porch to the former hotel were added on the building's completion in the early 19th century.