Bath, Somerset

Another Bath

Walking out of the centre of Bath and up Bathwick Hill, one gradually leaves behind the urban Georgian world of symmetrical crescents and terraces and comes upon another, different Bath, a Bath of asymmetry and greenery. Here, in the 1830s and 1840s, a number of large, Italianate villas were constructed, to bring a breath of the South to these otherwise very English slopes.

These houses wear their Italianate origins on their sleeve. It even begins with the names on the gate piers – Casa Bianca, La Casetta, Fiesole. These villas are essays in the Picturesque, the asymmetrical style of the early-19th century, in which towers, balconies, loggias, chimneys, and overhanging roofs are assembled to produce enticing, rather Romantic houses. Openwork balusters, and ornate chimneys add further ornate notes, although there are also typical classical details such as quoins and large keystones.

All this material was marshalled by architect Henry Edmund Goodridge to produce houses like Fiesole, the one in my photograph. Goodridge, son of a successful Bath builder, built up a large practice in Somerset and Wiltshire. He attracted prominent patrons like William Beckford, whose Lansdown Tower he designed, and this brought him numerous domestic jobs in the area, many of which show this willingness to mix Italianate and Classical styles.

This bit of Italy in Somerset is a little known aspect of Bath and embodies a different architectural approach from those we normally expect to find in the city. The Pevsner city guide to Bath finds their design ‘formulaic, heavy-handed and lacking charm’. True, the concatenation of gables and projections, the jagged roof edges and the unbalanced facades hardly add up to great architecture. But I have a bit more time for them than the Pevsner guide. I’m rather fond of this lumpy collection of varied masses. In addition, my photograph, taken on a sunny afternoon, shows the practicality of the loggias, which are providing shade (on the upper floor) and sheltered sunshine (at ground level), a combination that works as well in England as in Italy. Once the preserve of well-heeled owners, today, these facilities are available to a wider public because Fiesole is a Youth Hostel.

Flaking paint, gate pier, Fiesole, Bath

Bath, Somerset

A tomb with a view

I make no apologies for returning once more to Bath, especially as on this visit I was drawn to an unusual building that I’d not seen before, high on the outskirts of the city on the way to Bath Racecourse. I knew it was there, I’d read about it and knew some of its history, but my reading hadn’t prepared me for the uncompromising sight that met my eyes.

When I say ‘uncompromising’ I mean that this tower is perhaps of all the buildings I’ve seen in England, most unambiguously, sternly classical. In a way it’s the exact opposite of what one would expect, for this tower was commissioned by the writer, collector, MP, and artistic patron William Beckford, the man who, obsessed with the Middle Ages, had built the most outrageously Gothic country house in the country, Fonthill Abbey in Wiltshire.

Beckford, born fabulously wealthy from family sugar plantations in Jamaica, collected ravenously, picking up cheap Italian Renaissance paintings, Asian sculptures, drawings by Blake, and French furniture. He wrote travel books about Italy, Spain, and Portugal, published Vathek, a pioneering Gothic novel, and egged on his architect Wyatt and his builders to finish Fonthill with its enormous tower and vast halls, increasing the workers’ beer allowance and poaching builders from Windsor Castle in the process.

Fonthill was glorious, from its 10-metre-high front doors to the top of its 90-metre tower, but both Beckford’s fortunes and his architecture proved fragile. The tower at Fonthill collapsed. Twice. Beckford lost his sugar plantations in a legal action, and he was forced to leave, and then sell, Fonthill. He retired to Bath, where he had a town house connected by gardens to this tower. The tower, designed in 1825 for Beckford by the young architect H E Goodridge, was designed to house the owner’s books and such treasures as he was able to salvage from his earlier life.

The bottom section of the tower is perfectly plain, then there’s a very strong cornice supporting the belvedere, with its three tall rectangular openings on each side – from here there are glorious views over Bath and the surrounding countryside. Above this, the tower becomes octagonal, with a squat plain octagon supporting the final touch, a gilded lantern. That lantern relieves the severity of the main tower, and gleams in the sunshine, making one think as much of an ancient lighthouse as the Athenian monuments on which the building is partly modelled.

After Beckford died in 1844, his daughter sold the tower, but when she discovered that the new owner was going to turn it into a pub, she bought it back and gave the adjoining ground to the church for a cemetery. Beckford’s own tomb, in pink Aberdeen granite, is in the foreground of the picture. The great connoisseur’s final resting place is next to his final home and visitors come from miles around to enjoy the views from his tower and his tomb.

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The Landmark Trust operates the lower part of the tower as a holiday cottage. The tower also contains a museum that is open regularly. Both of these links contain further information about the tower.