TOWN AND COUNTRY PLANNING ACT 1990 SECTION 79

AND TOWN AND COUNTRY

PLANNING (INQUIRIES PROCEDURE) (ENGLAND) RULES 2000

APPENDICES TO PROOF OF EVIDENCE

MICHAEL ALAN DUNN BA, MA, Dip UD, IHBC

Application by Starbones Ltd.

Land at Chiswick Roundabout, Great West Road, Chiswick, London W4 5QB

Local Planning Authority reference 00505/EY/P18

PINS reference APP/F5540/W/17/3180962

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Contents

1. Images p. 3

2. Designated Heritage Assets p.1 9

3. Biographical Information p.4 2

4. Historic England Pre -application Advice p.5 6

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APPENDIX 1 - IMAGES

Contents

1.1. W. Chambers, General Plan of the Gardens at Kew (1763) 1.2. Detail of the General Plan of the Gardens at Kew (1763) 1.3. A View of the… Orangerie (1768) 1.4. C. Campbell, Gunnersbury House 1.5. Map of Gunnersbury Park 1.6. Detail showing the historic setting of the Gunnersbury Orangery (1847) 1.7. Detail showing the Orangery at Gunnersbury against the horseshoe pond (1847) 1.8. Detail showing the view across the Round Pond (1847) 1.9. J. Rocque, Map 1741-45 (1847) 1.10. Annotated image of Kew Green 1.11. Annotated image of Strand on the Green 1.12. Clark and Leigh, Thames Panorama 1.13. Photograph c.1900 View across the Thames to Strand on the Green 1.14. Johan Zoffany, The Garden at Hampton House with Mr. And Mrs. Garrick taking tea 1.15. Johan Zoffany, The Last Supper 1.16. A. Sykes, Low Water, Strand-on-the-Green, London 1.17. A. S. Hartrick Zoffany, House and the Moorings, Strand on the Green 1.18. J. M. W. Turner, The River Thames and Kew Bridge, with Brentford Eyot in the Foreground and Strand-on-the-Green Seen through the Arches: Low Tide 1.19. F. W. Watts, Strand on the Green, London

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1.1

Sir Chambers, Sir William

General Plan Kew,theGeneral Gardens at of

Watercolour and ink (1763), in the collection ththe (1763), of ink and in collection Watercolour e Metropolitan Museum of Art, MuseumUSA. Newof Metropolitan e York,

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1.2 Detail of the General Plan of the Gardens at Kew annoted by the Author to highlight the relationship between the Orangery, White House, and Great Lawn.

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1.3

Hullett, Garden of Her Royal Highness ofRoyal Princess Her o Dowager Garden the A view of with Island, theof Orangerie, view A the Lake and f atf Kew. Wales the Temple of Elous & Bellona, and the House of ConBellona, & ofTemple of Elous theand House the Print (1768), the Print(1768), in Gentleman’s Magazine Gentleman’s fucius in thefucius in . .

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1.4

C. Campbell, Vitruvius Britannicus Campbell,C. theBritish Vitruvius A or rchitect, vol. 1 (published by the author, London: author,(published London: 1 rchitect, bythe vol. 1715) pp.4,17 1715) - 18.

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1.5 After Major Ed Kretschmar, Map of Gunnersbury Park with geological sections and views taken on the estate. Hand coloured lithograph (1847), in the Royal Collection of HM the Queen.

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1.7 1.7 Detail

of of 1.8 Detail Detail of 1.8 A MapAGunnersbury Park(etc.) of A MapAGunnersbury Park(etc.) of Horseshoe pond.Horseshoe showing the setting of the Orangery and theof theshowing theOrangery and setting

showing the view from the position of the Temple ov Temple positiontheshowing of the the viewfrom 1.6 Detail Detail of 1.6 showing the historic Orangery. thehistoric of setting the showing erlooking the round pond. erlooking the A MapGunnersburyA Park(etc.) of

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1.9 John Rocque’s map of the area 1741-45

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annotations draw attention tonumber of thehigh Li drawattention annotations 1.10 Historic England annotations applied LB Englandannotations Historic Hou to applied 1.10 western half. Unless otherwise indicated thenamed Unlessotherwise half. indicated western sted Buildings along thethoseGreen, showing a Buildingsalong sted all nslow visualisation of of scheme nslow the as proposed seen visualisation buildings are Grade II listed.buildings Grade II are long the edge the norther of long its

from Kewfrom Green.The

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Green. The annotations draw Thetheannotations high to n Green. attention 1.1 1

Historic England annotations applied LB Englandannotations Historic Hounslow to applied water’s edge to the west Unless Island. Oliver’s to edge the of water’s umber of Listed Buildings along the Strandof Buildingsalong umber onthe theG Listed visualisation of of scheme the as proposed seen visualisation otherwise indicated the named buildings are Grade thenamed otherwise buildings Grade indicated are reen, the all showing along reen, those in relation to the Strand on toin relation on the Strand the II listed. II

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1.1 2

Detailfrom most remarkable places, and a general Londo and of view general places, remarkable a most Panorama of of London toPanorama from the Thames Richmond: exh n , etched and aquatinted by [John] Clark, (publishedaquatintedetchedandby [John] , ibiting every river, every onof wiobjectbanksibiting both the bySamuel Leigh ca.1824). th a a concise th descriptio

n of the of n

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1.1 3

OP17119 OP17119 Viewthe Strand across the Green to on Thames c.1900 (Historic England (Historic Archive).c.1900

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1.14 Johan Zoffany The Garden at Hampton House with Mr. and Mrs. Garrick taking tea , oil on canvas (1762). In the Collection of the Garrick Club.

1.15 Johan Zoffany The Last Supper, oil on canvas (17??). In the church of St John, Kolkata, India.

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1.16 Aubrey Sykes (1910-1995), Low Water, Strand-on-the-Green, London , in the Guildhall Art Gallery, City of London.

1.17 A. S. Hartrick, Zachary House, Zoffany House and the Moorings, Strand on the Green, Chiswick , watercolour (ca.1940) in the V&A Museum, London.

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1.18 J. M. W. Turner, The River Thames and Kew Bridge, with Brentford Eyot in the Foreground and Strand-on- the-Green Seen through the Arches: Low Tide, pencil and watercolour on paper (1805), in the Tate Gallery.

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1.19 F. W. Watts (1800-1870), Strand-on-the-Green, London , oil on canvas. In the Collection of the Chequers Trust.

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APPENDIX 2 - DESIGNATED HERITAGE ASSETS

Contents:

Relevant ‘List Descriptions’ from the National Heritage List for England including Grade I and

II* designated heritage assets referred to in the text of the Proof of Evidence (abridged for ease of reference):

2.1. Orangery (Grade I) 2.2. Kew Palace (Grade I) 2.3. Gunnersbury Park (Registered Park and Garden) (Grade II*) 2.4. Temple in Gunnersbury Park (Grade II*) 2.5. Gunnersbury Large Mansion (Grade II*) 2.6. Conservatory in Gunnersbury Park [the Orangery] (Grade II*) 2.7. East Stables in Gunnersbury Park (Grade II*) 2.8. Gunnersbury House [the Small Mansion] (Grade II) 2.9. Parish Church of St Anne (Grade II*) 2.10. Churchyard of Church of St Anne, to South of Church [Tomb of Thomas Gainsborough] (Grade II*) 2.11. Churchyard of Church of St Anne, to South of Church [Tomb of John Zoffany] (Grade II*) 2.12. Principal entrance gates and railings front Kew Green, Royal Botanic Gardens, Kew (Grade II*) 2.13. Zoffany House (Grade II*)

Schedules of all Designated Heritage Assets including List Entry Numbers: 2.14. Within Royal Botanic Gardens, Kew, World Heritage Site 2.15. Within Gunnersbury Park Grade II* Registered Park and Garden

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2.1. ORANGERY

List entry Number: 1263075

ORANGERY, ROYAL BOTANIC GARDENS KEW, KEW GREEN, RICHMOND UPON THAMES, TW9 3AB

County: Greater London Authority

District: Richmond upon Thames

District Type: London Borough

Grade: I

Date first listed: 10-Jan-1950

UID: 433279

This list entry was subject to a Minor Amendment on 05/10/2017

ROYAL BOTANIC GARDENS KEW Orangery

1761. Sir William Chambers. Brick (still stuccoed with Chambers' stucco). Seven bays long with rusticated walls and arched openings, the first and last bays being pedimented one single, tall storey. Modillion eaves cornice.

National Grid Reference: TQ 18620 77421

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2.2. KEW PALACE

List entry Number: 1263073

KEW PALACE, ROYAL BOTANIC GARDENS KEW, KEW GREEN, RICHMOND UPON THAMES, TW9 3AB

County: Greater London Authority

District: Richmond upon Thames

District Type: London Borough

Grade: I

Date first listed: 10-Jan-1950

UID: 433275

This list entry was subject to a Minor Amendment on 10/10/2017

ROYAL BOTANIC GARDENS KEW Kew Palace

1631. Built by Samuel Fortrey a Flemish merchant whose initials with those of his wife are above the door. Square red brick mansion with Dutch Gables and classical cornices, and classical Orders on entrance front, all in cut and moulded brickwork. Pantile roof.

Three storeys and dormers. Entrance facade is seven bays wide, with the outer two on either side slightly advanced. Central entrance. Windows replaced in the C18. Entrance front altered in the C19. The interior is mainly C18 and early C19, with some earlier panelling. A Royal Residence from 1754 until 1818, at the death of Queen Charlotte. It was the home of Augusta, Princess of Wales, who had the garden laid out, during her widowhood. After her death the home of the Royal Princes. George III and Queen Charlotte lived here while waiting for the Wyatt Palace to be built.

National Grid Reference: TQ 18482 77474

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2.3. GUNNERSBURY PARK

Name: GUNNERSBURY PARK

List entry Number: 1000808

County: Greater London Authority

District: Ealing

District Type: London Borough

County: Greater London Authority

District: Hounslow

District Type: London Borough

Grade: II*

Date first registered: 01-Oct-1987

UID: 1801

Details

An C18 formal garden, altered mid C18 with some involvement from William Kent. The grounds were developed in the later C18 for Princess Amelia and extended in the mid C19 by Baron Lionel de Rothschild. The site became a public park in 1925.

HISTORIC DEVELOPMENT

The area in which Gunnersbury Park is situated was, in the Middle Ages, an estate owned by the bishops of London, part of the Manor of Fulham. By 1656 Gunnersbury had been purchased by Sir John Maynard (1602-90). Maynard engaged the architect John Webb (1611-72), pupil and relative of Inigo Jones, to build a new manor house on the estate. Gunnersbury estate was purchased by Henry Furness, MP and art collector, in 1739. A map surveyed in 1741 (Rocque, 1746) shows a formal layout south of the house, with the main axis, at one point flanked by formal canals, aligned on the house and continuing south through the pleasure grounds in the form of an avenue. It is thought (Butcher et al 1993) that Furness engaged William Kent, who he knew socially, to enlarge and alter the estate. Kent's professional connection is evident from a payment of £55 received from Furness in April 1743. Princess Amelia, favourite daughter of George II, purchased Gunnersbury Park in 1761 and set about improving and extending the estate. Princess Amelia enjoyed entertaining at Gunnersbury and her guests included Horace Walpole who was then living at Strawberry Hill (qv), Twickenham.

The Princess continued to use Gunnersbury as her summer residence until her death in 1786, after which the property passed through a number of owners until 1800 when it was purchased by John Morley, a floorcloth manufacturer of Chelsea. Morley demolished the Webb house and divided the estate into thirteen lots, with a view to development, thus causing the creation of two separate estates, a partition which was to last for eighty-seven years. In 1802 Alexander Copland (c 1774-1834), a partner of the architect Henry Holland,

22 bought ten of the thirteen lots and Stephen Cosser bought Lot 1, the north-east side of the estate. Copland subsequently purchased the remaining two lots having already built himself 'The Large Mansion', Gunnersbury Park. 'The Small Mansion', Gunnersbury House, was built to the east either by Cosser (Lysons and Brewer 1816), or his successor Major Alexander Morrison who bought the former Lot 1 land in 1807 (Faulkner 1845). In 1828 the Gunnersbury House estate was purchased by Thomas Farmer who lived there, with Copland as his neighbour, until 1835 when Gunnersbury Park was bought by Nathan Mayer Rothschild. The new owner immediately contacted J C Loudon about improving the approach to the house from Pope's Lane. It is not known if Loudon's proposals were put into effect. Rothschild died the following year, having never resided at Gunnersbury, but the Rothschild family, who in 1889 reunited the site, continued to live at Gunnersbury until 1925. During that time Lionel Rothschild bought land to the south-west including a clay pit which he made into a pond. The family continued to improve the estate and Gunnersbury became renown for its horticultural excellence and often featured in the gardening press of the late C19 and early C20.

After the death of Leopold de Rothschild in 1917 the estate was broken up and gradually sold off. In 1925 75ha, including both houses and the garden buildings, were purchased for public use by the then boroughs of Acton and Ealing, with Middlesex County Council contributing to the cost. The park was formally opened to the public by Neville Chamberlain, MP, on 21 May 1926. In the early years of the park's public ownership many of the horticultural practices continued, but with increased provision for recreation. During the Second World War the playing fields accommodated anti-aircraft positions and new roads were made.

The park continues (1999) in public ownership.

DESCRIPTION

LOCATION, AREA, BOUNDARIES, LANDFORM, SETTING Gunnersbury Park is situated in the suburbs of West London, c 1km south of Acton. Chiswick House (qv) is c 2km to the south-east, and Syon Park (qv) c 2km to the south-west. Walpole Park (qv), Ealing is c 2km to the north. The 75ha site is bounded to the north by the backs of houses on the south side of Pope's Lane (B4491). Pope's Lane provides the boundary to the north-east corner, and Gunnersbury Avenue (A406 North Circular) the boundary to the east. The southern boundary is made up of to the west, a belt of factories, and to the east Kensington Cemetery. A local road, Lionel Road, provides the southern half of the west boundary with the backs of houses in the same road forming the boundary to the north-west. The site slopes down generally from north to south.

ENTRANCES AND APPROACHES The main entrance is through the north gateway (listed grade II) on Pope's Lane. The impressive early C19 iron gates are hung from four tall stucco piers with entablatures and original lamps. Inside the gates to the east is the North Lodge (listed grade II). Sidney Smirke added a Doric portico to the Lodge c 1835, which is now (1999) used as offices by the Park Wardens and houses an information service. The curving drive, flanked by C19 lamp standards (listed grade II), continues in a south-easterly direction towards the two mansions, Gunnersbury Park and Gunnersbury House, which face north-

23 west and are fronted by lawns. The surviving lamp standards have been restored (late 1990s) and replica replacements made where necessary. To the south-east of the North Lodge is the East Lodge (listed grade II). Now (1999) in poor condition, the Lodge stands to the north of the drive which leads from Gunnersbury Avenue to Gunnersbury House. The Lodge was built by William Fuller Pocock for Thomas Farmer c 1837 after the park was divided and Gunnersbury House built. A pair of lodges guard the third entrance at the extreme south of the site. This entrance was made by 1891 to provide access to the estate from Kew Bridge railway station. A fourth entrance to the west of the main, north entrance provides (1999) access to the parking area and the playing fields. In the mid C19 it led to the Kitchen Garden (OS 1865). Lesser pedestrian entrances are to be found to the east of the stables, along the western boundary, and in the north-west corner of the site.

PRINCIPAL BUILDINGS Situated to the north-east of the site and set on the top of a broad east/west terrace overlooking the pleasure grounds and parkland, is Gunnersbury Park (listed grade II*). This building is referred to historically as 'The Large Mansion', to distinguish it from 'The Small Mansion' (listed grade II) which lies to the north-east. The three-storeyed stuccoed mansion has a slate roof and stuccoed brick stacks. The entrance front has a porte-cochere with paired Tuscan columns; a bow window surrounded by a conservatory decorates the east side. To the south, the garden front has a three-storey centre with tall, arched first-floor windows above a ground-floor Tuscan loggia. The Large Mansion was built by 1802 for Alexander Copland, probably to his own design. It was bought by Nathan Mayer Rothschild in c 1835 and was substantially remodelled by Sydney Smirke. He added the north-east parlour and south-west dining room and encased all in a handsome stucco exterior. The mansion has, since 1929, housed the Gunnersbury Park Museum with social history collections and Victorian kitchens.

To the east of Gunnersbury Park lies Gunnersbury House, 'The Small Mansion' (listed grade II). Built by 1828 after the Gunnersbury House estate was bought by Thomas Farmer, it now (1999) houses the Small Mansion Arts Centre in its main rooms.

GARDENS AND PLEASURE GROUNDS The pleasure grounds are laid out around the mansions to the north-east of the site. Inside the main entrance the drive divides, the main, eastern branch curving to the south towards Gunnersbury Park. The western branch leads to the Italian Garden, planted out with roses in the C19 style. First recorded as the Italian Garden in c 1880, the garden has been known by various names: the circular garden in 1835, when it was surrounded by roses on wirework; the Temple Garden in 1906, when there is the first reference to water around the sundial; and an 'old time garden' in 1910 (Butcher et al, 1993). South of the Italian Garden the path divides around the Temple and the Round Pond. The Temple (listed grade II*) overlooks the Round Pond from which it is separated by low iron railings and a narrow sloping lawn. The brick building has a white wooden pedimented south front with four Doric columns and a frieze with bucrania attached. Built for Princess Amelia, probably by Sir William Chambers (CL 1982), the building was known in the late C18 as the Dairy. Many of the cedars which were planted around the Temple were lost in the storms of 1987 and some replanting has been undertaken. The Round Pond, now (1999) partly enclosed in C20 iron railings, is first shown on Nichol's map of 1777 and is thought (CL 1982) to date from the ownership of Princess Amelia; it was probably made at the same time as the Temple. Since the 1920s the Pond has been used as a boating lake and is also used as a stock pond for fish.

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The western branch of the path proceeds south-west around the Temple and Pond with the Kitchen Garden (now, 1999, a commercial nursery) and the C20 Bowling Greens to the west, and on into the park. The eastern branch of the path continues south around the Pond, past the C20 refreshment room and children's playground to the east. After c 80m this path divides, the branch to the west curving between the southern end of the Pond and the C20 golf course before meeting up opposite the Kitchen Garden with the path from the north. The eastern branch swings east towards Gunnersbury Park before turning south where it divides. The path to the east leads south to the terrace, while the southern path continues to the south, passing steps which lead up through an C18 archway (listed grade II) onto the terrace to the east. Made from cement-rendered brickwork with stone imposts and an open pediment, the arch has coffered reveals and contains two segmental niches with stone pedestals. The terrace extends for c 200m along the south front of both Gunnersbury Park and Gunnersbury House. A tarmac path embellished with wooden seats leads along the top of a grass slope. The lack of ornamentation is in contrast to the descriptions of the terrace during the period of the Rothschilds' ownership when the gardening periodicals of that time described it as being decorated with many pot-grown plants, some of which were trained up the walls (Gunnersbury Park Museum Archive). From the terrace there are views to the south-east over open lawns with peripheral plantings, most of which appear to date from the C20. A line of trees marks the former division between the Gunnersbury Park and Gunnersbury House estates. Between c 1828, when the estate was first divided, and 1889, when it was reunited, the land to the west went with the former and land to east with the latter. A depression in the lawn marks the site of Horseshoe Pond, the east end of which is marked by the (?C18) cement-rendered, brick-built sham bridge, and the west end by a C20 rock garden. Made between 1741 (Rocque) and 1777 (Map of the Parish of Ealing), the Horseshoe Pond was set directly below the Webb mansion. When the estate was divided the lake was also split in two but was maintained as water until the late C20 when first the eastern part and then the western part dried up. To the south of the rock garden is the Orangery (listed grade II) built by Smirke c 1836-7 to overlook the Horseshoe Pond. The glazed building has a central semicircular bay with engaged Doric columns to the east.

The wide tarmac path along the top of the terrace continues past first Gunnersbury Park and then Gunnersbury House. To the east of the latter, north of the terrace, is the site of the abandoned herbaceous garden. The path continues along the terrace and through an early C19 arcade (listed grade II as part of a complex of a late C18/early C19 gothic outbuildings to the south). The arcade has four Tudor arches and a battlemented top. The outbuildings include a grotto shelter, and a room known as Princess Amelia's Bath House. Derelict in 1999, these buildings have attracted grant aid with a view to restoration. The path terminates at the eastern boundary wall alongside Gunnersbury Avenue. From this point a path leads south to the east of the gothic outbuildings and continues alongside the eastern boundary wall, over the sham bridge, to the Gothic Ruins. Listed grade II, the brick-built ruins were made for the Rothschild family in the mid C19. To the south of the Ruins is the Japanese Garden; constructed on land which formerly belonged to the Gunnersbury House estate, the garden, which was carefully designed by James Hudson (gardener to Leopold Rothschild) after Japanese models, was completed just after 1900. To the south-east of the Japanese Garden are the stables (listed grade II) built by Sidney Smirke for Nathan Rothschild, with the north range constructed on the border with the Gunnersbury House estate. In order to screen the buildings, Thomas Farmer decorated his side with Gothic-style elevations. The path continues to the west of the stables and into the parkland.

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PARK The c 60ha of open parkland extends from the south round to the north of the pleasure grounds. The park is today (1999) given over to recreation. A public golf course dominates the central area with sports pitches and open areas to the west and the south. Boundary planting shown on an estate map of 1847 (Kretschmar) survives and it was after this date that the Rothschilds expanded the parkland to the west, using part of the land as a Polo field and part for agricultural purposes. In addition to farmland, in 1861 the Rothschilds acquired a former clay pit and tile kiln to the south-west of the property, transforming the pit into the Potomac Pond and the kiln into the Gothic Boathouse (listed grade II). J W Pulham was responsible for the elevations of the boathouse and also for the rockery that decorates the path to the east of the lake.

KITCHEN GARDEN The walled Kitchen Garden, which lies immediately to the west of the Round Pond, is not open to the public. Its is currently (1999) used by two private organisations as a commercial nursery and for horticultural training. The ground was included in the estate by the beginning of C19 and is shown as Lot 3 on the Sale map of 1802. The OS map of 1865 shows a number of glasshouses and fruit trees in the area. As well as fruit and exotic plants the gardens were famous for their vineries, orchids, and pineapples (guidebook 1993).

Description written: December 1999 Register Inspector: LCH Edited: June 2001

National Grid Reference: TQ 18761 78931

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2.4. TEMPLE IN GUNNERSBURY PARK

List entry Number: 1080331

TEMPLE IN GUNNERSBURY PARK, GUNNERSBURY AVENUE W3

County: Greater London Authority

District: Hounslow

District Type: London Borough

Grade: II*

Date first listed: 11-Jul-1951

UID: 202562

GUNNERSBURY AVENUE, W3 Temple in Gunnersbury Park

Built before 1760. probably on Princess Amelia's instructions in the 5 years of negotiations preceding the purchase of house. Mentioned in letter of sale to her. Red brick with stone tetrastyle Bonmn Doric portico on stylobate of 5 steps. Columns have square bases. Entablature with guttae, triglyphs and carved metopes. Pediment with cartouche and garlands in tympanum. Wall of portico had dado and 2 semi-circular arched niches with plaster-cast statues on pedestals. Door surround of architrave, frieze between consoles, cornice and pediment. Ceiling has octagonal caissons. Welsh slate roof. Cellars. In derelict condition (December 1968).

National Grid Reference: TQ 18902 79322

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2.5. GUNNERSBURY PARK HOUSE - LARGE MANSION

List entry Number: 1358312

GUNNERSBURY PARK HOUSE LARGE MANSION, GUNNERSBURY AVENUE W3

County: Greater London Authority

District: Hounslow

District Type: London Borough

Grade: II*

Date first listed: 21-May-1973

UID: 202557

GUNNERSBURY AVENUE Gunnersbury Park House - Large Mansion

GV II*

Country house, now museum. 1801-28 by and for Alexander Copland; remodelled 1836 by Sydney Smirke for Nathan Rothschild. Stucco over brick; slate roofs; stuccoed brick stacks. Plan has service area to right of main body of house, centred around entrance hall and rear ante-room. Italianate style. 3 storeys; symmetrical 7-window range of 2:3:2 fenestration with rusticated quoine to slightly-projecting outer bays, heavy moulded string course to second storey and moulded cornice to parapet. Paired Tuscan columns in antis to porte-cochere with Tuscan pilasters flanking panelled door and windows to each side. 8-pane ground-floor sashes set in raised architraves with floating cornices; semi- circular arched 8-pane first-floor sashes have moulded architraves continued as moulded impost courses; 6-pane square- headed second-floor sashes. Left- hand side elevation has mid C19 semi-circular bay window front and 2-storey semi-circular bay to rear. Similar rear (garden) elevation has central 3- storey, 5-window range flanked by projecting 2-storey, 3-window range blocks with central second-floor string course continued as cornices beneath parapets of outer blocks: ground-floor French windows of central range are recessed behind screen of Tuscan columns and entablature; quoined outer blocks have- 2-light first-floor and ground-floor French windows set in slightly-projecting bays with channelled rustication to first floor and Tuscan columns to ground floor. Service range to right, of 2 to 3 storeys, has 6 to 12-paned horned sashes, and doorway framed by Tuscan pilasters and entablature to right of still room, now porch, of 1905; mid C18 semi-circular arched archway to right, built of rusticated flint with Portland stone imposts, keystone and coping surmounted by ball finials; one-storey garden elevation to rear, with central concave recess and semi-circular arched niches and moulded parapets. Interior: fine range of rooms by Smirke, mostly in C18 French style, with panelled doors set in raised architraves with bracketed cornices and shutters. Entrance hall has open-well staircase with foliate wrought-iron balustrade, garlanded quilloche frieze beneath moulded enriched cornice and foliate ceiling boss. Former parlour to left has marble fireplace and moulded cornice, and anthemion cornice in anteroom to rear. Former library to right has marble fireplace with claw feet to paired reeded columns. Former vestibule to rear of entrance hall has narrow end bays defined by fluted pilasters to segmental arches, framing domed star-spangled ceiling with bay-leaf laurels and spandrels. Former music

28 room, to rear left, has eagle-brackets to semi-circular arched tympanum with Rothschild arms surmounting doorway, bracketed foliate cornices over two doorways flanking festooned marble fireplace with putti and angled console brackets; fine plasterwork to ceiling, with naturalistic fruit, foliage etc, to ribs dividing panels. Former drawing room, to right of ante- room, has Ionic scagliola columns separating narrow end bays; fireplace and tall overmantle mirror framed by scagliola columns with gilt bay-leaf pulvinated frieze to stele-type swan- necked pediment with antefixae; coved cornice to star-spangled ceiling with oval painting of The Four Seasons by Edmond Thomas Parris. Former dining room to far right has bolection- panelled walls with antheniae to concave corners; cartouche flanked by palm fronds set in tympanum of pedimented doorway; blocked fireplace set in recessed bay framed by scagliola columns with gilt Corinthian capitals; foliate quilloche frieze to elaborate plasterwork ceiling with naturalistic fruit, foliage etc to ribs dividing panels and antheniae to central boss. First floor has moulded cornicing and marble fireplaces; foliate wrought-iron balustrade to oval balcony over corridor to right. Service area to right has former butler's pantry with original mid C19 cupboards and fittings, two staircases with wood and iron balustrades and panelled doors; kitchen to right has cast-iron range of c.1840 with trivets, smoke jack, boiler and oven, and early (c.1850) cast-iron gas range by Timpson of Ealing; adjoining scullery turned into kitchen in mid C19, with plainer cast-iron range. Smirke's interiors at Gunnersbury Park House are the earliest example of French-inspired interiors characteristic of the Rothschild family's later C19 house.

National Grid Reference: TQ 19040 79238

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2.6. CONSERVATORY IN GUNNERSBURY PARK [THE ORANGERY]

List entry Number: 1294227

CONSERVATORY IN GUNNERSBURY PARK, GUNNERSBURY AVENUE W3

County: Greater London Authority

District: Hounslow

District Type: London Borough

Grade: II*

Date first listed: 21-May-1973

UID: 202559

Early C19 possibly by Smirke junior, circa 1836-7. Stucco and painted stone glass roof. Roman Doric pilasters entablature blocking course. Central semi-circular bow with engaged columns. 3:5:3: windows with glazing bars. central 2 fold half glazed door. North wing rusticated with 2 Roman Doric columns in antis. NMR.

National Grid Reference: TQ 19078 79120

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2.7. EAST STABLES IN GUNNERSBURY PARK

List entry Number: 1358316

EAST STABLES IN GUNNERSBURY PARK, GUNNERSBURY AVENUE W3

County: Greater London Authority

District: Hounslow

District Type: London Borough

Grade: II*

Date first listed: 21-May-1973

UID: 202571

GUNNERSBY AVENUE W3 East Stables in Gunnersby Park

Mid C19 possibly incorporating earlier structure. Stucco. Entablature. Solid parapet. consoles to cornice of projecting centre and end pilasters. 6 semi-circular windows with archivolts. Rusticated wall below and to centre with tall arch round-headed in coved reveal. Over centre of parapet richly carved Portland stone Rothschild shield of arms with mantling.

National Grid Reference: TQ 19284 79110

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2.8. GUNNERSBURY HOUSE [THE SMALL MANSION]

List entry Number: 1080330

GUNNERSBURY HOUSE, GUNNERSBURY AVENUE W3

County: Greater London Authority

District: Hounslow

District Type: London Borough

Grade: II

Date first listed: 21-May-1973

UID: 202558

GUNNERSBURY AVENUE, W3 Gunnersbury House

The smaller of the 2 houses built to replace that demolished after Princess Amelia's death in 1786. Built 1801-1802 for Stephen Cosser, and owned by Major Alexander Morison from 1808. War damage to interior. 2 storeys with cornice and pierced roof parapet. Stucco. North front recessed centre 3:3:3: sashes in moulded architrave with keystone. Unaltered early porch with fluted Doric columns entablature blocking course. South front recessed centre, and bows. 3:3:3 windows, sashes except for 3 French windows. Central ground floor Chinoiserie verandah, cast iron columns and bell ornament. 1837-44 Service wing added by Peacock fronted on South by Orangery rusticated with 7 arches between pilasters. Sashes except for half glazed end doors in coved reveals under open pediments. House lent to gentile guests of the Rothchilds for weekend use. Damaged by fire but now to be used as gardeners' educational centre (December 1968).

National Grid Reference: TQ 19115 79285

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2.9. PARISH CHURCH OF ST ANNE

List entry Number: 1194022

PARISH CHURCH OF ST ANNE, KEW GREEN

County: Greater London Authority

District: Richmond upon Thames

District Type: London Borough

Grade: II*

Date first listed: 10-Jan-1950

UID: 205501

KEW GREEN (west side of Kew Road) Parish Church of St Anne

II* GV

1714, lengthened and north aisle 1770 by J J Kirby. Royal Gallery 1805. Stone Doric west portico 1830 by Sir Jeffry Wyatville. South aisle 1884. Chancel altered 1884. Interior: 4-bay nave with Doric columns to entablature and shallow barrel vault. In north aisle monuments include that to William Jackson Hooker (d 1865) and that to Joseph Dalton Hooker (d 1911), both directors of Royal Botanical Gardens. Monuments include Wedgewood type medallions and panels of Botanical Specimens. The former by Woolner and Palgrave.

National Grid Reference: TQ 18982 77484

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2.10. CHURCHYARD OF CHURCH OF ST ANNE, TO SOUTH OF CHURCH [TOMB OF THOMAS GAINSBOROUGH]

List entry Number: 1065407

CHURCHYARD OF CHURCH OF ST ANNE, TO SOUTH OF CHURCH, KEW GREEN

County: Greater London Authority

District: Richmond upon Thames

District Type: London Borough

Grade: II*

Date first listed: 25-Jun-1983

UID: 205502

KEW GREEN Churchyard of Church of St Anne, to south of Church

Tombstone stone slab on podium, railed by iron balustade. Tomb of Thomas Gainsborough, d 1788.

National Grid Reference: TQ 18983 77472

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2.11. CHURCHYARD OF CHURCH OF ST ANNE, TO SOUTH OF CHURCH [TOMB OF JOHANN ZOFFANY]

List entry Number: 1357735

CHURCHYARD OF CHURCH OF ST ANNE, TO SOUTH OF CHURCH, KEW GREEN

County: Greater London Authority

District: Richmond upon Thames

District Type: London Borough

Grade: II*

Date first listed: 25-Jun-1983

UID: 205503

KEW GREEN Churchyard of Church of St Anne, to south of Church

Plain Portland stone table tomb, to Johan Zoffany, d 1816.

National Grid Reference: TQ 19011 77489

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2.12. PRINCIPAL ENTRANCE GATES AND RAILINGS FRONTING KEW GREEN, ROYAL BOTANIC GARDENS KEW

List entry Number: 1250801

PRINCIPAL ENTRANCE GATES AND RAILINGS FRONTING KEW GREEN, ROYAL BOTANIC GARDENS KEW, KEW GREEN, RICHMOND UPON THAMES, TW9 3AB

County: Greater London Authority

District: Richmond upon Thames

District Type: London Borough

Grade: II*

Date first listed: 25-May-1983

UID: 433277

This list entry was subject to a Minor Amendment on 10/10/2017

ROYAL BOTANIC GARDENS KEW Principal entrance gates and railings fronting Kew Green

Gates by Decimus Burton 1848. Ironwork by Walker of Rotherham. Foliated and scrolled design with armorial centre-piece, set in mitred framework with two rows of anthemion pattern dog-rail. Elaborate overthrow. Matching single side entrance gates, all between Portland stone piers with garlanded panels by John Heming Jnr. The central piers are crowned by vases which came from an earlier pair of entrance gates to Kew Palace. Spear- headed railings with smaller, closely-set spearheaded dog-rail forming quadrant to either side of entrance and terminating in coupled, fused, Portland stone piers with urns.

National Grid Reference: TQ 18738 77548

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2.13. ZOFFANY HOUSE

List entry Number: 1067523

ZOFFANY HOUSE, 65, STRAND ON THE GREEN W4

County: Greater London Authority

District: Hounslow

District Type: London Borough

Grade: II*

Date first listed: 11-Jul-1951

UID: 438654

STRAND ON THE GREEN W4 No 65 (Zoffany House)

II GV

Commenced circa 1704. Brown brick, red brick dressings. 3 storeys, 5 double- hung sashes in architrave with rubbed flat arches. Doorway: fluted Roman Doric pilasters, entablature with triglyphs and guttae to architrave and frieze, fanlight. Terra cotta lion over doorway. Parapet. Wrought iron gate and railings. Interior - Early C18 panelling to main ground and 1st floor rooms, otherwise altered 1936. John Zoffany lived here 1790-1810. Graded II* for both historical and architectural interest. RCHM. NMR.

National Grid Reference: TQ 19362 77808

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2.14. Schedule of Designated Heritage Assets within Royal Botanic Gardens, Kew, World Heritage Site

List Date of Name Designation Entry Designation No. World ROYAL BOTANIC GARDENS, KEW 2003 1000102 Heritage Site Grade I Park ROYAL BOTANIC GARDENS, KEW 01/10/1987 1000830 & Garden Conservation KEW GARDENS 14/01/1969 N/A Area Scheduled KEW PALACE (REMAINS OF) 01/01/1900 1002019 Monument THE PALM HOUSE I 10/01/1950 1262670 KEW PALACE I 10/01/1950 1263073 ORANGERY I 10/01/1950 1263075 KEW PALACE FLATS I 25/05/1983 1263074 TEMPERATE HOUSE I 10/01/1950 1262590 THE PAGODA I 10/01/1950 1262593 AROID HOUSE NUMBER 1 II* 10/01/1950 1250800 PRINCIPAL ENTRANCE GATES AND RAILINGS FRONTING KEW GREEN, ROYAL II* 25/05/1983 1250801 BOTANIC GARDENS KEW AVENUE LODGE II* 25/05/1983 1251933 RUINED ARCH, INCLUDING FRAGMENTS OF II* 25/05/1983 1251956 MASONRY AT THE BASE OF THE ARCH THE QUEEN'S COTTAGE II* 10/01/1950 1262486 MARIANNE NORTH GALLERY, ROYAL II* 10/01/1950 1251787 BOTANIC GARDENS, KEW 29 AND 31, KEW GREEN II 25/06/1983 1065395 CAMBRIDGE COTTAGE (MUSEUM 3) II 10/01/1950 1065396 CAST IRON GATES II 25/06/1983 1065397 ROYAL COTTAGE II 10/01/1950 1065398 THE HERBARIUM, AND FRONT RAILINGS II 10/01/1950 1065399 AND GATES HANOVER HOUSE WITH ATTACHED II 10/01/1950 1065400 RAILINGS SEWER VENT II 25/06/1983 1065408 17 AND 19, KEW ROAD II 10/01/1950 1065438 9 AND 11, KEW GREEN II 25/06/1983 1193889 LAMP STANDARDS ETC. II 25/06/1983 1194067 ALCOVE II 25/05/1983 1250803 CUMBERLAND GATE II 25/05/1983 1250804 WATER LILY HOUSE II 25/05/1983 1251633 MUSEUM NUMBER 1 II 11/12/1975 1251637 CAMPANILE II 25/05/1983 1251642

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TEMPLE OF ARETHUSA II 10/01/1950 1251777 1 AND 2, KEW COTTAGES II 25/05/1983 1251793 SUNDIAL TO EAST OF KEW PALACE II 25/05/1983 1251794 ICEHOUSE II 25/05/1983 1251799 K6 TELEPHONE KIOSK II 16/05/1990 1254349 DISCANSO HOUSE INCLUDING FRONT II 10/01/1950 1255294 RAILINGS (KEW BOTANIC GARDENS) URN IN FLOWERBED TO NORTH EAST OF II 25/05/1983 1262477 PALM HOUSE THE SOWER II 25/05/1983 1262481 URN AT END OF AVENUE LEADING WEST II 25/05/1983 1262598 FROM MUSEUM NUMBER 2 TEMPLE OF AEOLUS II 10/01/1950 1262669 RETAINING WALL OF POND IN FRONT OF II 25/05/1983 1262671 PALM HOUSE SCULPTURAL GROUP AT CENTRE OF POND II 25/05/1983 1262672 MUSEUM NUMBER 2 II 11/12/1975 1263076 23 AND 25, KEW GREEN II 10/01/1950 1285937 21, KEW GREEN II 10/01/1950 1357712 KINGS COTTAGE II 10/01/1950 1357731 49, KEW GREEN II 25/06/1983 1357732 HERBARIUM HOUSE II 10/01/1950 1357733 VICTORIA GATE II 25/05/1983 1251783 UNICORN GATE II 25/05/1983 1251784 KING WILLIAM'S TEMPLE II 10/01/1950 1251785 JAPANESE GATEWAY CHOKUSHI MAN ON II 10/01/1950 1251790 GATE OF THE IMPERIAL MESSENGER ISLEWORTH DRAWBRIDGE AND FERRY II 25/05/1983 1251963 GATE ALCOVE TO NORTH OF LION GATE II 25/05/1983 1262469 LION GATE II 25/05/1983 1262519 TEMPLE OF BELLONA II 10/01/1950 1262581 BOUNDARY STONE, ROYAL BOTANIC II 25/05/1983 1262589 GARDENS KEW MILESTONE OPPOSITE HOLMESDALE II 25/06/1983 1357698 ROAD EVOLUTION HOUSE AT THE ROYAL II 09/05/2011 1401475 BOTANIC GARDENS, KEW

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2.15. Schedule of Designated Heritage Assets within Gunnersbury Park

List Date of Name Designation Entry Designation No. Conservation GUNNERSBURY PARK 20/11/1990 N/A Area Grade II* Park GUNNERSBURY PARK 01/10/1987 1000808 & Garden TEMPLE IN GUNNERSBURY PARK II* 11/07/1951 1080331 CONSERVATORY IN GUNNERSBURY PARK II* 21/05/1973 1294227 GUNNERSBURY PARK HOUSE - LARGE II* 21/05/1973 1358312 MANSION EAST STABLES IN GUNNERSBURY PARK II* 21/05/1973 1358316 GUNNERSBURY HOUSE II 21/05/1973 1080330 ARCHWAY TO GUNNERSBURY PARK (WEST OF EAST ENTRANCE LODGE TO II 21/05/1973 1080332 GUNNERSBURY LANE) NORTH ENTRANCE GATEWAY OF II 21/05/1973 1080333 GUNNERSBURY PARK EAST LODGE OF GUNNERSBURY PARK WITH ARCHWAY AND ENTRANCE II 21/05/1973 1080334 GATEWAY GOTHIC RUINS ON BORDERS OF FORMER JAPANESE GARDENS GUNNERSBURY II 21/05/1973 1080335 PARK KITCHEN GARDEN WALL INCLUDING CARVED DOOR AND WROUGHT IRON GATE II 21/05/1973 1080336 GUNNERSBURY PARK WEST STABLES IN GUNNERSBURY PARK II 21/05/1973 1096950 ARCHWAY TO SOUTH WEST OF II 21/05/1973 1189543 GUNNERSBURY PARK HOUSE GATEWAY NEAR PRINCESS AMELIA'S II 21/05/1973 1189563 BATH HOUSE GUNNERSBURY PARK DAIRY AT GUNNERSBURY II 21/05/1973 1189569 GOTHIC BOATHOUSE AND PAVILLION ON SOUTH SHORE OF POTOMAC FISH POND II 21/05/1973 1189588 GUNNERSBURY PARK STONE FOUNTAIN NEAR REFRESHMENT II 21/05/1973 1189601 ROOM GUNNERSBURY PARK NORTH LODGE OF GUNNERSBURY PARK II 21/05/1973 1294205 BOUNDARY WALL AT GUNNERSBURY II 29/09/1999 1322060 PARK ARCHWAY AT EAST END OF TERRACE II 21/05/1973 1358313 GUNNERSBURY PARK MANSION GOTHIC OUTBUILDINGS EAST OF GUNNERSBURY HOUSE INCLUDING ARCADE GROTTO SHELTER AND ROOM II 21/05/1973 1358314 KNOWN AS PRINCESS AMELIA'S BATH HOUSE SERIES OF 6 IRON LAMPSTANDARDS IN II 21/05/1973 1358315

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FRONT OF GUNNERSBURY PARK MANSION

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APPENDIX 3 - BIOGRAPHICAL INFORMATION

While the Proof of Evidence provides numerous references to historical figures, that document does not provide room for a full introduction to each named individual. Biographical information abridged (but not otherwise altered) from their respective entries in the Oxford Dictionary of National Biography are given below in order to provide a fuller aid to the understanding of the lives and historical significance of these individuals. It is not intended to be an exhaustive list. The bibliographical text at the end of this appendix includes references to on-line links rather than print editions of the Dictionary as this is the source of the most up-to-date text.

Contents

3.1. Adolphus Frederick, Prince, first Duke of Cambridge 3.2. Amelia, Princess 3.3. Bridgeman, Charles 3.4. Brown, Lancelot ‘Capability’ 3.5. Chambers, Sir William 3.6. Kent, William 3.7. Nesfield, William Andrews 3.8. Pocock, William Fuller and Pocock, William Wilmer 3.9. Smirke, Sydney 3.10. Watts, Frederick Waters 3.11. Webb, John 3.12. Bibliography

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3.1. Adolphus Frederick, Prince, first Duke of Cambridge (1774–1850), viceroy of Hanover, army officer, and son of George III, was born at the Queen's Palace (now Buckingham Palace), St James's Park, London, in the evening of 24 February 1774, the tenth child and seventh son of George III and Queen Charlotte. On 2 June 1776 he was made a knight of the Garter, with three of his elder brothers. Having received his earlier education at Kew under Dr Hughes and Mr Cookson, he was sent, with his brothers Ernest and Augustus (the later dukes of Cumberland and Sussex) to Göttingen, entering the university there on 6 July 1786. At the age of twelve he was too young to profit widely from a traditional university education but he worked assiduously at classical studies, history, moral philosophy, mathematics, and theology until 1790, when he travelled to Berlin to improve his knowledge of military tactics. When Britain went to war with revolutionary France, Prince Adolphus was appointed colonel in the Hanoverian army. In the summer of 1793 he fought in Flanders, under the command of his brother Frederick, duke of York. He was wounded in the shoulder and briefly held captive, until rescued in a raid by British infantrymen. He recuperated at Kew and Windsor over the following winter, his good looks, courteous manners, and sensitivity to music and the arts ensuring his popularity at court. He became, and remained, the king's and queen's favourite son. Unlike his brothers, he was never entangled with debtors, nor was there any scandal in his private life.

The administration of Hanoverian affairs by the duke of Cambridge was characterized by wisdom, mildness, and discretion, and by the introduction of timely and conciliatory reforms. He successively weathered the storms, both political and academic, of the revolutionary period of 1831, and his prudent management of affairs was said to have gone 'a great way to preserve the Hanoverian crown for his family'…

Cambridge returned sadly to England and, for the last thirteen years of his life, interested himself in charitable causes. He had married at Kassel on 7 May 1818, and at London on 1 June, the Princess Augusta Wilhelmina Louisa (1797–1889), third daughter of Frederick, landgrave of Hesse-Cassel, and his wife, Caroline Polyxena of Nassau-Usingen. Three children were born during their parents' residence in Hanover…

In middle age the first duke of Cambridge became amiably eccentric, enjoying musical parties so much that he sometimes became a spontaneous participant, either at the top of his voice or on his violin. He was president of at least six hospitals, and the patron or vice- patron of more than a score of other beneficent corporations. In both Hanover and London the duke of Cambridge always showed a particular sympathy and interest towards the Jewish people, their institutions and cultural traditions. He was not an orator, either in the House of Lords or in any other place; but his earnestness and sincerity won from his audience the tribute of attention and respect. He died at Cambridge House, Piccadilly, on the evening of Monday 8 July 1850, and was buried at Kew on 17 July, amid the scenes of his childhood, and near his favourite suburban retreat.

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3.2. Amelia [Emily], Princess (1711–1786), daughter of George II, was born on 30 May/10 June 1711 at the palace of Herrenhausen in Hanover, Germany, the summer residence of her grandfather, Georg Ludwig, elector of Hanover (from 1714 King George I of Great Britain), the second daughter of Georg August (1683–1760), electoral prince of Hanover (after 1727 elector of Hanover and King George II of Great Britain), and his wife, Caroline of Brandenburg-Ansbach (1683–1737)…

Amelia (or Emily, as she was often called in Britain) benefited from the joint efforts of two intelligent women: her mother and Johanne Sophie, countess of Schaumburg-Lippe, whom the king had placed in charge of the princesses' household. Consequently she grew up well educated, trilingual (in English, German, and French), highly politicized, latitudinarian in religion, and fond of music, especially that of Handel. She was clever and articulate, but also, less flatteringly, bluntly outspoken, often to the point of tactlessness, impatient, and generally ill-suited to the machinations of a court and its politics. She particularly lacked the patient subtlety and flattering emollience needed to negotiate successfully the ever shifting alliances, deep family divisions, and contending political factions that came to dominate her father's court. Nor did her character lend itself to the prevailing ideals of passive submissive femininity. As a young woman, she was drawn far more to the stables than to the drawing- room or ballroom. She enjoyed fishing and loved horses. An avid hunter, she soon earned the reputation of being the hardest rider after stags in the royal family. Even when she was over forty she was still capable of shocking the 'good women' at Hampton Court by attending chapel on Sunday 'in riding clothes with a dog under her arm' (Walpole, Corr., 37.341)…

After her father's death in 1760, Amelia lost her apartments at St James's Palace, but received a pension of £1000 p.a. on the Irish establishment and a household of three ladies of the bedchamber. She took Sir Richard Lyttelton's house in Cavendish Square and, following the loss of New Lodge with the rangership of Richmond Park in 1761, she bought Gunnersbury House in Ealing, Middlesex. George III was hostile to female politicians and his ministers were opposed to Amelia, so she lost what special political influence she had enjoyed. However, her later years were perhaps her happiest, devoted as they were to her circle of acquaintances and her estate at Gunnersbury, where she improved the gardens and built a temple and shell grotto bath house. Although she became increasingly arthritic, deaf, and blind as an old woman, she remained interested in political developments and characteristically opinionated. Despite the poor relationship she had with George III, she refused to use her electoral interest as a landowner in Middlesex against the king. She was highly incensed when, during the Middlesex election of 1774, William Ponsonby, second earl of Bessborough, used her name without her permission to support Hervey Morres, second Viscount Mountmorres, an opposition candidate supported by her despised other nephew, William, duke of Gloucester. Amelia disapproved strongly of the behaviour of George III's younger brothers and later his sons, and this may have been behind her decision to leave her estate to her German nephews, the second and third sons of her sister Mary, landgravine of Hesse-Cassel.

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3.3. Bridgeman [Bridgman], Charles (d. 1738), landscape gardener, was possibly of East Anglian origin. Nothing is known of his parentage or education, although there is some speculation that his father might also have been a gardener (Willis, Bridgeman, 2002)…

Bridgeman was a key figure in the evolution of the English landscape garden, which, as le jardin anglais, der englische Garten , or il giardino inglese , swept through eighteenth-century Europe. As such, he played a crucial role in the transition from the geometric layouts of English estates in the later 1600s and early 1700s, epitomized by the work of George London and Henry Wise, to the freer designs of William Kent and Lancelot ‘Capability’ Brown. London died in 1714, and in 1716 Wise entered into partnership with Joseph Carpenter, one of several men—Bridgeman perhaps among them—who had helped Wise to run Brompton Park nurseries, for 'the ordering and keeping of all His Majesty's Gardens' (Willis, Bridgeman, 33). On Carpenter's death in 1726 Bridgeman succeeded as Wise's collaborator, and on Wise's retirement in 1728, following the accession of George II and Queen Caroline the previous year, Bridgeman became sole royal gardener.…

When Bridgeman died in 1738 his place at Stowe was taken by Capability Brown, who had travelled south from Northumberland. It was a symbolic moment in the history of the English landscape garden. The revolution in England was all but won, and in 1755 the journal The World could only note its positive delight at 'the rapid progress of this happy enthusiasm' (no. 118, 3 April 1755). In due course Brown moved so far beyond the most advanced ideas of Bridgeman and Kent that Sir William Chambers could write that Brown's landscapes 'differ very little from common fields, so closely is nature copied in most of them' (W. Chambers, A Dissertation on Oriental Gardening, 1772, v).

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3.4. Brown, Lancelot [known as Capability Brown] (bap. 1716, d. 1783), landscape gardener and architect, was baptized on 30 August 1716 at St Wilfrid's Church, Kirkharle, Northumberland, the fifth of the six children of William Brown (1676–1720), a yeoman farmer and estate steward, and his wife, Ursula Hall (c.1678–1742), daughter of John Hall of Girsonfield, Northumberland. Two of their other children, John (1708–1766) and George (1713–1789), married into the gentry—the Loraine and Fenwick families respectively; the former became the agent at Kirkharle, the latter the mason and architect at the neighbouring estate of Wallington…

While at [working] Stowe, Brown established himself as an independent designer and contractor with a number of major landscaping commissions, including Croome Court, Worcestershire (from 1750); Packington Hall, Warwickshire (from c.1750); Petworth, Sussex (from 1753); Wakefield Lodge, Northamptonshire (c.1748); Warwick Castle (from 1749); and Wotton, Buckinghamshire (from 1750). In the autumn of 1751, shortly after Lord Cobham's death, Brown left Stowe and moved with his family to the Mall, Hammersmith…

In the 1760s Brown undertook more than sixty-five commissions; these included Blenheim, Oxfordshire (from 1764), which is generally regarded as his masterpiece…

Brown's style was derived from the two practical principles of comfort and elegance. First, there was a determination that everything should work, and that a landscape should provide for every need of a great house, an aspect of Brown's work that was influenced by the tradition of the ferme ornée, of ornamental walks around working fields. It was a tradition that Brown himself did much to popularize, and which he had learned from working at Stowe and from Philip Southcote's Woburn Farm... Second, his landscapes had to cohere, and hence read as naturally and unaffectedly elegant. While his designs have great variety, they also appear seamless.

Capability Brown is rightly regarded as the classic English gardener—classic in the sense that so much early eighteenth-century design is epitomized by him, classic too in that, although his work is continually reassessed, every landscape gardener since, both in Britain and across the developed world, has been influenced in one way or another by him. While more than 30 per cent of the landscapes attributed to him were relatively small (120 hectares or less), he was capable of working on an immense scale, not only constructing gardens and parkland, but planting woods and building farms linked by carriage drives, or ‘ridings’, that ran many miles from the main house (as at Heveningham, Suffolk, from 1781), and it is for these very large landscapes that he is best remembered. The images that he created are as deeply embedded in the English character as the paintings of Turner and the poetry of Wordsworth.

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3.5. Chambers, Sir William (1722–1796), architect, was born in December 1722 in Göteborg, Sweden, the son of John Chambers (d. 1735) and his wife, Sara Elphinstone (d. 1740)… Chambers wrote, 'I was born in Gothenburg, was educated in England, and returned to Sweden when I was 16 years old. I made three journeys to Bengal and China in the service of the Swedish East India Company'…

He was appointed architect to the Princess Augusta at Kew, and architectural tutor to George, prince of Wales. 'The prince employs me three mornings a week to teach him architecture; the buildings (and) other decorations at Kew fill up the remaining time' (draft letter, RA archives). The appointment must surely have arisen out of their meeting at Kew in the summer of 1749 and the making of the Roman mausoleum design of 1752…

Chambers's achievement at Kew Gardens is commemorated by one of the most sumptuous folios ever produced on a single garden: Plans, Elevations, Sections, and Perspective Views of the Gardens and Buildings at Kew in Surry (1763), dedicated to Princess Augusta. Like the Treatise, it was paid for by George III. The role of John Stuart, third earl of Bute, at Kew is made clear in the specially composed manuscript volume that Chambers presented to Bute, with the inscription that the gardens were 'Plan'd by his Lordship, and executed under his direction' (department of prints and drawings, Metropolitan Museum of Art, New York).

Kew was a demonstration of the variety and contrast that Chambers presented as characteristic of Chinese gardens. It was a textbook on world architecture as first expounded in Fischer von Erlach's Entwurff einer historischen Architectur of 1725. It was also part of the prince's architectural education, for between 1757 and 1763 he was witness to the design and building of more than twenty structures, of which the Alhambra, Pagoda, and Mosque in their conjoined groves were perhaps the most famous trio of exotic buildings in Europe. The decision to isolate as a designed entity the horticultural buildings within an ornamental enclosure separate from, but adjacent to, the pleasure grounds, anticipated the innovations of H. Repton and J. C. Loudon…

He always enjoyed the challenge of designing small-scale units of design, and built more than fifty-two garden buildings, which he ornamented with exquisite and refined taste.

Chambers's influence was widespread, not least on his subordinates in the office of works, many of whom were, or had been, assistants in his private office. These included Thomas Hardwick, John Yenn, and James Gandon, all of whom rose to distinction. His powerful position in the Royal Academy meant that pupils there in the architecture school came under his spell, and there were many Chambersian designs exhibited at the summer exhibitions. Chambers's architecture permeates that of John Nash and C. R. Cockerell. His Treatise was venerated: Joseph Gwilt produced an edition in 1825 and J. B. Papworth in 1826. Its supremacy as the textbook for the orders and the proportions of architecture was never challenged. Having extended its influence through the nineteenth century, it was taken up again in 1896 by Banister Fletcher in his History of Architecture on the Comparative Method. Even today every architectural student digests Banister Fletcher. Chambers was the role model for Edwardian architects working in a Georgian style in the first half of the twentieth century. Both Sir Reginald Blomfield and Sir Albert Richardson saw him as standing on Parnassus.

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3.6. Kent, William (bap. 1686, d. 1748), painter, architect, and designer of gardens and interior furnishings, was baptized William Cant in St Mary's Church, Bridlington, Yorkshire, on 1 January 1686, the son of William Cant and his wife, Esther Shimmings.

Kent's achievement as painter, designer, architect, and gardener cannot be judged in isolation from his character. One illumines the other. His was a natural genius who broke out of the shackles of a provincial birth. The relationship of this low-born attractive man with the high-born Burlington has encouraged speculation as to the nature of that relationship. Certainly it was unusual and uncommon to have been taken into the household of the Boyles and treated as an equal, until laid to rest in their family vault at Chiswick. Even as early as 1719, barely six months after they had first met, Kentwas using the familiar 'we' when referring to his and Burlington's artistic affairs. It was not necessarily a homosexual relationship, but was undoubtedly an attraction of opposites, the love of one man for another. As Pope's letters demonstrate, Kent was beloved by all who came into friendly contact with him.

As a painter Kent was never more than a competent decorator, not of the mettle of a Thornhill. Nevertheless, he struck out in new directions, particularly with the revival of antique-inspired Grotesk ceiling painting. This served him well for the internal embellishment of the neo-Palladian architecture promoted and practised by Burlingtonfrom 1720, and after 1730 jointly with Kent. However, only rarely was Kent wholly party to the pedantic sources used by Burlington. His architecture was a far more powerful statement expressed in a language sometimes matching the idiosyncrasies of his writing and personality. He strove for a surface articulation and movement alien to Burlington, who had not studied the mannerist architecture of Giulio Romano in Mantua. This would profoundly affect the later works of James Paine and Robert Adam.

Never did a painter's eye so influence the presentation of architectural designs. Kentwas not trained to use the ruler. Instead, his are painterly picturesque compositions enlivened with whimsical pentimenti that have far more client appeal than the conventional orthographic plan, elevation, and section. He revolutionized the making of garden designs. He abandoned the gardener's rod and line and painted his proposed garden scenes for others to transpose into reality.

In all he did in gardens, although Italy was never far from his thoughts, he was also keenly aware of the templescapes of Sir John Vanbrugh and Colen Campbell. He was masterful at adapting and softening earlier layouts of the formal Bridgeman school with his groves and clumps and judiciously sited garden buildings. Some of the episodes of his planting are as natural as anything by Capability Brown. To paraphrase Walpole, Kent did see that all nature could be a garden, one in which he pioneered painterly and graduated flower planting.

Nothing could be described as more idiosyncratically Kentian than the type of furniture he was first designing for Houghton from 1726. Furniture as it had conventionally evolved from that of the late Stuart and Williamite courts reached a juncture, after which Kent created a style of furnishing appropriate for, and integrated into, the neo-Palladian interior. In this, as in everything he designed, the product could not be mistaken for that by any other designer of his time. It is truly Kentian.

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3.7. Nesfield, William Andrews (bap. 1794, d. 1881), watercolour painter and landscape gardener, was born in Chester-le-Street, co. Durham, and baptized there on 16 June 1794, the elder son of the Revd William Nesfield, later rector of Brancepeth, and his first wife, Elizabeth, eldest daughter of John and Elizabeth Andrews of Shotley Hall, Northumberland. This estate passed into chancery rather than going to Mrs Nesfield on her father's death in 1792. After her death in 1808, the Revd William Nesfield married Marianne, aunt of Anthony Salvin, the future architect, business partner, and brother-in-law of her stepson…

From about the time of his marriage [1833] a new career as a landscape gardener, often in collaboration with Salvin, was occupying more of his time, and eventually it took over entirely. However, as he told Sir William Hookerat Kew, he regarded landscape gardening as 'the Art of painting with Nature's materials' (Nesfield to Hooker, 2 Feb 1846, Letterbook 24, no. 433, RBG Kew). Cascades played their part, although he was best-known for his parterres, but according to Shirley Evans, his biographer, 'his accomplishments were many and various' (S. Evans, William Andrews Nesfield: an introduction to his life and work, in Ridgway, Nesfield , 7). For two decades he was the most sought-after designer in the country, working at Arundel Castle, Sussex; Trentham Park, Staffordshire; Alnwick Castle, Northumberland; Clumber Park, Nottinghamshire; Crewe Hall, Cheshire; Woolverstone Hall, Suffolk; and many other seats, as well as advising on improvements to London parks, particularly St James's, and Kew Gardens. In all he was consulted at over 200 sites. He was a forceful character with strong ideas as to the formality of parterres, and how the eye should be led to a view of the horizon unrestricted by clumps or belts of trees. Avenues should have a point, and to this end he approved 'the judicial use of the axe' (ibid., 8). Something of this no-nonsense assurance, perhaps a product of his military training, can be seen also in his painting style. Despite Ruskin's praise in Modern Painters (1.344) for his 'extraordinary feeling both for the colour and the spirituality of a great waterfall', his watercolours are merely thoroughly well done, rather than essays in poetic imagination. Examples of Nesfield's works are in the British Museum and the Victoria and Albert Museum, London, and several of his drawings were engraved for J. P. Lawson's Scotland Delineated (2 vols., 1854). He died at his home, 3 York Terrace, Regent's Park, London, on 2 March 1881, leaving under £5000. A portrait of him by John Moore, and a drawing dated 1840 by James Duffield Harding, are owned by his descendants.

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3.8. Pocock, William Fuller (1779–1849), architect, was born in the City of London, possibly at Fetter Lane, on 26 September 1779, the eldest son of William Pocock (1750– 1835), a carpenter and joiner, and his wife, Hannah ( d. 1830), daughter of Major Fuller of High Wycombe, Buckinghamshire. … Pocock was admitted to the Royal Academy Schools in 1801, shortly before he became assistant to Thomas Hardwick. About 1803 he set up in practice as an independent architect and surveyor, and ran his office from 26 Southampton Street, off the Strand…

Pocock designed a number of suburban villas and rural structures: his first book, published in 1807 by John Taylor, was Architectural designs for rustic cottages, picturesque dwellings, villas, etc. with appropriate scenery . This contained advice on the causes of dry rot alongside aesthetic musings, besides the thirty-three plates of rural designs for villas and ‘cabannes ornées’, mainly in the 'antient English character', some of which had already been built…

He designed a wide range of public buildings as well as housing, and in this he was representative of the increasingly complex nature of early nineteenth-century architecture. These included chapels such as the Ranelagh Chapel, George Street, Chelsea, of 1818 (dem.) and the Kensington Wesleyan chapel of 1836, and the Wesleyan centenary hall in Bishopsgate Street (1840; dem.); schools, such as that at Aldenham, Hertfordshire, for the Brewers' Company of 1825, or the Western Grammar School, Kensington, of 1835; a new livery hall for the Leathersellers' Company, off Bishopsgate, in 1820 (dem.); almshouses, such as the Carpenters' Company almshouse at Twickenham of 1841; factories, including Messrs Smith and Baber's floorcloth manufactory in Knightsbridge of 1824 (dem.); and militia depots: Pocock, a zealous volunteer, designed the Bunhill Row headquarters of the London militia in 1828. He also designed a ballroom for a hotel in Montreal, Canada (1817), and a chapel in Antigua (1837). These were executed in a mixture of styles: Pocock was happiest as a classicist, but was adept at designing in a restrained Tudorbethan idiom also. His Designs for Churches and Chapels of 1819 (3rd edn, 1835) enjoyed wide circulation in its day, but was much criticized by later Gothicists for its lack of authenticity and meanness of detail. His other publications consisted of Modern Finishings for Rooms: a Series of Designs for Vestibules, Staircases, Libraries, etc. (1811; repr. 1823, 1837) and Observations on Bond in Brickwork (1839).

Pocock was master of the Carpenters' Company in 1840 and an early member of the Institute of British Architects. …His professional practice was continued by his son William Willmer Pocock (1813–1899), who wrote an affectionate account of his father, printed in 1883.

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3.9. Smirke, Sydney (1798–1877), architect, was born in London and baptized on 14 January 1798 in St Pancras Old Church, London, the fifth son of Robert Smirke RA (1753– 1845) and his wife, Elizabeth Russell ( d. 1825). He was the brother of Sir Robert Smirke (1780–1867) and of Sir Edward Smirke (1795–1875). He first became a pupil of his brother Robert, whom he greatly assisted in his later commissions and from whom he gained valuable experience. In 1819 he was awarded the gold medal at the Royal Academy, and in 1820 he visited Sicily and mainland Italy, where, over several years, he sketched and took measurements of classical architecture. In 1828 he was appointed clerk of the king's works at St James's Palace. …

Smirke's commissions number about eighty and are very wide-ranging. Some of the earliest include the private mansions Oakley Park, Suffolk, for Sir Edward Kerrison; Thornham Hall, Suffolk, for Lord Henniker; Clumber Park for the duke of Newcastle; Basing Park, Hampshire, for Sir Thomas Lethbridge; and Gunnersbury Park for Baroness Rothschild. His first major commission was the reconstruction of the Pantheon in Oxford Street (1833–4). …

Together with his brother Robert, he assisted with the design of the Oxford and Cambridge Club, Pall Mall (1836–7), which was to prove invaluable to him when he came to design the old Conservative Club in St James's Street (1843–5) together with George Basevi. In 1847 Smirke altered and later completely rebuilt the second Carlton Club in Pall Mall (1847– 56), taking his inspiration for the design from Sansovino's library of St Mark's in Venice.

Perhaps Sydney Smirke's best-known construction is his famous round reading-room in the British Museum. … The Italian political exile Sir Anthony Panizzi was appointed to the post of principal librarian and director of the British Museum in 1856. As keeper of printed books he had insisted that the museum needed a new reading-room and suggested that the area occupied by the inner quadrangle should be utilized, submitting a flat-roofed design to the trustees in 1853. Smirke, in collaboration with Panizzi, drew up a design for a round reading- room based on the Pantheon in Rome; construction began in 1854 and was completed in 1857 at a cost of £100,000. Of considerable architectural importance because of the extensive use made of cast iron, a relatively new building material, in its construction, the round reading-room made Smirke's reputation, and in 1860 he was awarded the RIBA gold medal.

Smirke's last major commission was the addition of a fine range of exhibition galleries for the Royal Academy at Burlington House, Piccadilly, which he began in 1866 and completed in 1870. … He was elected an associate of the Royal Academy in 1847 and Royal Academician in 1859. He was appointed professor of architecture at the Royal Academy from 1861 to 1865 and became treasurer in 1871. He was elected a fellow of the Royal Society, the Society of Antiquaries, and the Royal Institute of British Architects. In 1852 Smirke founded the Architects' Benevolent Society, of which he was the president until his death at The Hollies, Frant Road, Frant, near Tunbridge Wells, on 8 December 1877.

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3.10. Watts, Frederick Waters (1800–1870), landscape painter, has often been mistakenly called (Frederick) William Watts. According to his second wife, Julia Watts, he was born in Bath, Somerset, on 7 October 1800, his father had been in the navy, and his mother was Mary Eyre, daughter of Ambrose Eyre, rector of Leverington, Isle of Ely, Cambridgeshire; he may also be the Frederic Waters Watts, son of William and Mary Watts, who was baptized on 9 July 1801 at St Albans Abbey, St Albans, Hertfordshire. Watts was probably the William Watts who entered the Royal Academy Schools in London in 1817, aged seventeen, and won its silver medals in 1819, 1820, and 1821. He was certainly the Frederick W. Watts who exhibited at the Royal Academy from 1821 to 1860, the British Institution from 1823 to 1862, and elsewhere.

Watts lived all his working life in the Hampstead area of London but painted landscapes throughout much of Britain; he appears also to have visited France in 1826. (Two pictures with Rouen as subject matter were shown at the British Institution in 1827.) His exhibited pictures of the 1820s and 1830s usually bore specific topographic titles and were closely handled; later canvases were more broadly painted and often imitated the mature work of John Constable. Many carried generalized titles such as River Scene with Barges, enabling others subsequently to identify them as scenes in ‘Constable country’ and to misattribute them to Constable himself. Watts was regarded as a follower of Constable even in his earlier work: in 1833 one critic saw him as 'trying to outrun the Constable' but concluded that: 'He never will, … daub away as he may' (Ivy, 180). That same year, however, Constable suffered the indignity of being mistaken for his follower: one of his paintings of Helmingham Dell in Suffolk was put up for sale at Christies but arrived too late for inclusion in the catalogue. It was bought in at 50s. because, Constable told a friend, 'it was considered Watt's, and at least not certain, if mine' (Beckett, 164). Like Constable, Watts was a prolific outdoor oil sketcher. (Two examples are in the Tate collection.) Although possessing their own distinctive character, such sketches have also been misattributed to Constable in the past.

No details of Watts's first marriage are known except that two sons and three daughters were born of it, and that one, Alice J. Watts, became a painter. Most details of his second marriage also remain to be discovered. According to the second Mrs Watts, Julia Joanna Louisa, her husband 'had an humble opinion of his works & talents' and 'ceased to paint for 10 years before his death' (J. Watts to E. E. Leggatt, 13 Feb 1911). Watts died at his home, 11 Lawn Road, Hampstead, London, on 4 July 1870 of lung disease compounded by diabetes.

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3.11. Webb, John (1611–1672), architect, was born in Little Britain, Smithfield, London, the son of a gentleman of a Somerset family ... The relative lateness and short duration of his formal education, at Merchant Taylors' School (1625–8), where he 'attained a competent perfection in all schole learning' (Pritchard, 140), suggest that the family fortunes could not have been great.

According to his own statement, made in 1660, Webb was 'brought up by his unckle Mr Inigo Jones [the surveyor of the king's works, with whom he went to live in 1628]... As Jones's pupil, Webb received the thorough training in classical architecture which equipped him to embark upon his own successful career…

The results [of his method] may be best appreciated by considering the only two houses which remarkably, in view of the extent of his practice, he was able to design and build from start to finish: Gunnersbury House, Middlesex (c.1658–63, for Sir John Maynard; dem. 1800–01), and Amesbury Abbey, Wiltshire (c.1659–64, for the marquess of Hertford; rebuilt after 1834).

Gunnersbury, which appeared in Campbell's Vitruvius Britannicus and was owned from 1762 until 1786 by Princess Amelia, the third daughter of King George II, was the fashionable suburban villa par excellence, recognized in the eighteenth century as a house of archetypal importance. In its planning Webb contrived to combine a central sequence of public spaces with groups of interconnecting private rooms, indicative of a new impetus in English architecture towards spatial separation and the provision of privacy. A processional route led from a columned entrance hall via an Imperial staircase to a coved first-floor saloon of double-cube form, and a loggia which afforded views south towards Surrey and the River Thames. Such a sequence, of unprecedented classical grandeur in English architecture, had not met with unqualified approval in the seventeenth century: Webb's reliance on classical and Renaissance precedents had been criticized by both Sir Roger Pratt and Roger North, both of whom found the poor lighting of the hall and saloon a drawback in the design.

At Amesbury, which appeared in both Campbell's and Kent's publications, Webb achieved a more sophisticated synthesis in a composition whose 'uncommon granduer [sic]', according to the architect C. R. Cockerell, who visited in 1823, 'fills & occupies the mind' (Harris, Cockerell, 7). By positioning the hall and first-floor saloon across the front of the house, rather than transversely, as they had been placed at Gunnersbury, and providing short corridors through the centre of the house between the suites of private rooms, Webb was able to achieve an economical balance between well-lit public spaces and discrete but accessible private ones.

John Webb saw himself as heir to a great tradition: he analysed and interpreted the historical reconstructions of Palladio and Scamozzi and he learned directly from the instruction and example of Inigo Jones; by the 1650s he had become an architect of considerable consequence in his own right... Amesbury Abbey, Gunnersbury House, the monumental King Charles building, and the interiors of Wilton House were among the outstanding pieces of architecture of seventeenth-century England. After his death, Webb's designs stood as an example not only to Wren at Greenwich but also to the neo-Palladian architects of the eighteenth century, and still later to the architects of the Edwardian baroque. The continuing relevance of his work for these later generations confirms the high importance of his place in English architectural history.

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3.12. Bibliography

J. Bold, ‘Webb, John (1611-1672)’, in Oxford Dictionary of National Biography (Published online: (latest version 03 January 2008) [consulted 10 May 2018].

R. Bowdler, ‘Pocock, William Fuller (1779-1849)’, in Oxford Dictionary of National Biography (Published online: (latest version 23 September 2004) [consulted 30 April 2018].

E. H. Chalus, ‘Amelia [Emily], Princess (1711-1786)’, in Oxford Dictionary of National Biography (Published online: (latest version 29 May 2014) [consulted 10 May 2018].

J. Harris, ‘Chambers, Sir William (1722-1796)’, in Oxford Dictionary of National Biography (Published online: (latest version 21 May 2009) [consulted 10 May 2018].

J. Harris, ‘Kent, William (1686-1748)’, in Oxford Dictionary of National Biography (Published online: (latest version 24 May 2007) [consulted 30 April 2018].

A. Palmer, ‘Adolphus Frederick, Prince, first Duke of Cambridge (1774-1850)’, in Oxford Dictionary of National Biography (Published online: (latest version 21 May 2009) [consulted 10 May 2018].

L. Parris, ‘Watts, Federick Waters (1800-1870)’, in Oxford Dictionary of National Biography (Published online: (latest version 01 September 2017) [consulted 10 May 2018].

J. Phibbs, ‘Brown, Lancelot [ known as Capability Brown] (1716-1783)’, in Oxford Dictionary of National Biography (Published online: (latest version 23 September 2004) [consulted 10 May 2018].

D. V. Reidy, ‘Smirke, Sydney (1798-1877)’, in Oxford Dictionary of National Biography (Published online: < http://www.oxforddnb.com/view/10.1093/ref:odnb/9780198614128.001.0001/odnb- 9780198614128-e-25764 > (latest version 23 September 2004) [consulted 30 April 2018].

T Seccombe and H Mallalie, ‘Nesfield, William Andrews (1794-1881)’, in Oxford Dictionary of National Biography (Published online: < http://www.oxforddnb.com/view/10.1093/ref:odnb/9780198614128.001.0001/odnb- 9780198614128-e-19901 > (latest version 23 September 2004) [consulted 30 April 2018].

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P. Willis, ‘Bridgeman [Bridgman], Charles ( d. 1738)’, in Oxford Dictionary of National Biography (Published online: (latest version 03 January 2008) [consulted 10 May 2018].

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APPENDIX 4 - HISTORIC ENGLAND PRE-APPLICATION ADVICE

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Mr Tom Horne Direct Dial: 020 7973 3802 DP9 100 Pall Mall Our ref: PA00404698 London SW1 1 December 2015

Dear Mr Horne

Pre-application Advice

CHISWICK ROUNDABOUT, LONDON W4 3AA

Thank you for meeting with us on the 5th of November for a pre-application presentation of your development proposals for the Chiswick Roundabout site. As discussed in that meeting, I have taken the proposals for discussion at our London Casework Review forum. The following advice therefore represents the corporate view of Historic England following that consideration.

The scheme consists of a mixed-use tall building development (reaching 33 storeys/106m high) located immediately north of Chiswick Roundabout, in the London Borough of Hounslow. The development site does not contain any listed buildings, nor is it directly located within a designated Conservation Area. However, the site is located in close proximity to a number of conservation areas and, given the proposed scale of the development, it will clearly have the potential to impact upon a great number of designated heritage assets, including the Kew World Heritage Site.

Historic England has very serious concerns as to the likely impact of the proposals upon the historic environment. On the basis of the documentation currently provided we are also concerned that decision making authorities will not have adequate information about the impact of the development on the historic environment to determine the acceptability of the proposals.

Paragraph 128 of the National Planning Policy Framework (NPPF) is clear that “local planning authorities should require an applicant to describe the significance of any heritage assets affected, including any contribution made by their setting”. Being able to properly assess the nature, extent and importance of the significance of a heritage asset, and the contribution that its setting makes to its significance, is essential for understanding the potential impact and acceptability of development proposals (as per NPPG paragraph 09).

The draft Townscape and Heritage report provides a map (Fig 4.1) identifying heritage assets located within ’the surrounding area’. The basis for determining the extent of this map is not explained. Of particular concern, the report fails to describe the significance of the identified listed buildings and entirely omits any assessment of the contribution made by their setting, as is required by the NPPF.

Historic England’s Good Practice Advice Note: “The Setting of Heritage Assets”

57 recommends following a step-based approach to assessment, the first of which is to identify which heritage assets and their settings are affected. As mentioned during our discussions, for developments of this scale, where there is a large number of heritage assets potentially affected, we would strongly recommend a Zone of Visual Influence (ZVI) or Zone of Theoretical Visibility study is undertaken such that decision makers can be reassured the correct assets have been identified. An alternative, or indeed additional, approach which you may wish to consider is a tethered balloon visibility exercise, as was recently undertaken for tall building proposals at Swiss Cottage, Camden.

36 viewing points have been selected for visual impact assessment using a combination of wireframe and rendered images. Of these 36 views which have been provided, we note that none of these views are shown in low-light/night time condition; no explanation is given as to why certain views feature wireline depictions and others show rendered depictions of the scheme. There is also an inconsistency in the seasonal variations depicted.

The methodology for determining the selection of these chosen viewpoints is not given, nor is there any assessment given as to the impact of the development proposals within these views. As far as we are aware, the selection of these views was not undertaken in consultation with Historic England, the Local Planning Authority or the Royal Botanic Gardens, Kew. We are, as yet, unconvinced that the selected views are demonstrably the correct ones or can be agreed as sufficient to allow for the potential impacts of the development proposals upon the historic environment to be tested.

When considering the impact of the proposals on the Kew World Heritage Site, any heritage impact assessment will need to consider the impact on the Outstanding Universal Value (OUV) that the site was inscribed for. Given the information provided to date, we consider that a Heritage Impact Assessment in line with ICOMOS guidance (as published January 2011) will need to be undertaken in order to assess the potential impact on the OUV of the Kew World Heritage Site. The Statement of OUV is the key starting point, as are the attributes of OUV where they have been defined. The World Heritage Committee places significant emphasis on Heritage Impact Assessments; at its meeting earlier this year it resolved in decision 39 COM 7 as follows: “Taking note of the benefits to States Parties of systematically utilizing Heritage Impact Assessments and Environmental Impact Assessments in the review of development projects … (the Committee) reiterates its recommendation to States Parties to use these tools in assessing projects, including assessment of cumulative impacts, as early as possible and before any final decision is taken”.

Once the Heritage Impact Assessment has been undertaken and assessed by the Local Planning Authority and Historic England, consideration will be given as to whether the UK State Party (DCMS) should notify the UNESCO World Heritage Centre of the proposal.

Given the serious nature of our concerns about the potential impact on the historic environment, Historic England intends to report this scheme to the next London Advisory Committee. Further details on the LAC is available via our website at: https://historicengland.org.uk/about/who-we-are/committees-and-panels/london-

58 advisory-committee/

Yours sincerely

Marek Drewicz Inspector of Historic Buildings and Areas E-mail: [email protected]

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