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Voices of Eighteenth-Century Bath

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Voices of Eighteenth-Century Bath VOICES OF EIGHTEENTH-CENTURY BATH An anthology of contemporary texts illustrating events, daily life and attitudes at Britain's leading Georgian spa Compiled by Trevor Fawcett RUTON : 1995 To Adrian, Jon and Kari First published in the United Kingdom in 1995 by RUTON, 25 Northampton Street, Bath Copyright © Trevor Fawcett All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior written permission of the copyright holder. ISBN 0-9526326-0-8 i CONTENTS Introduction 1 The Developing Townscape 3 Transport 15 Industry, Trade and Retailing 25 Spa Facilities and Treatments 37 Visitors 49 Lodgings 57 Food and Drink 67 Assemblies, Gambling and Popular Diversions 79 Theatre and Music 89 Excursions and Healthy Exercise 101 Serious Interests 111 Education 121 Religion 131 Corporation, Politics and Administration 141 Disorder, Crime and Punishment 151 Poverty 163 Royalty and Loyalty 173 Beau Nash and his Successors 183 Sources and Acknowledgments 195 The cover and page illustrations have been redrawn by Barbara McLaughlin after two Bath caricatures by G.M.Woodward, both of them engraved by Isaac Cruikshank and published in 1796: ' The Cabinet Council' and 'A Group at Bath'. ii INTRODUCTION Eighteenth-century Bath was always good copy. No other English centre outside London attracted so much attention, was more written about and marvelled over. Rich and poor, famous and obscure, people flocked to the spa for their health, for pleasure and dissipation, to mingle with their peers and social betters. They came too out of simple curiosity, for the markets and shops, to do business of many kinds, or in search of adventure, profit, employment, and even charity. Some merely passed through or stayed a single season; others returned time after time or took up residence for good - for after all, as Mrs Piozzi enthused in 1788, there was no place 'where one lives so well for so little Money, no Place where so many Beauties meet, no Place where there are such Combinations of Gayety and such Opportunities of Snugness'. No place either, by that date, which had mushroomed so fast, where so many sick and infirm hopefully resorted, where lodgings and organised diversions and service industries so flourished, where disparities of wealth showed so blatantly and which offered to view such a cross-section of the nation. Bath spoke indeed with multiple voices, a representative sample of them captured in this volume - at times as vividly as if transcribed from some Georgian tape-recorder. We listen to land developers and shopkeepers, country parsons and waggon-owners, school-teachers and pupils, criminals and antiquaries, physicians and bluestockings. We hear the composer Haydn, the artist Gainsborough, the politicians Wilkes and the elder Pitt, Lord Chesterfield and David Garrick, John Wesley and Jane Austen, Wedgwood the potter and the future George IV. Private letters, diaries, memoirs, newspaper reports, advertisements, Corporation records and guidebooks are among the contemporary sources drawn on to present a rounded view of a time and a place. Many of the extracts chosen are entertaining in their own right, and each of them illuminates some aspect of eighteenth-century Bath. They have been grouped under eighteen broad headings and arranged chronologically within each section so as to give 1 some idea of historical changes during the period. As far as possible the spelling, punctuation and capitalisation of each quotation (however idiosyncratic) follows the original source, though paragraph breaks have been dropped and are indicated by a double slash (//). Editorial omissions are signalled by dots (...), additions enclosed within square brackets, and dates before September 1752 cited in new style. It should be noted that references given in abbreviated form after many quotations are printed in full at the end of the book. Care has been taken in the selection of 'voices' to ensure that - however individual and even discordant they may sound in solo performance - the final outcome is a balanced chorus on eighteenth-century Bath. The whole context may be explored further in various published accounts of the Georgian spa, including the appropriate chapters of Bath: History and Guide by Trevor Fawcett and Stephen Bird (pub. Alan Sutton, 1994). 2 THE DEVELOPING TOWNSCAPE For the first quarter of the century Bath's physical growth remained slow, confined to new houses (a few with striking Baroque façades), a row of shops, the first modest Pump and Assembly Rooms, and some extension and modernising of older properties. Still walled round, it was an attractive small country town. Only when the increasing pressure of visitors began to demonstrate just how profitable building development might be did successive waves of expansion on the peripheries gradually transform the spa. And even then, it took the elder John Wood's visionary insistence on Classical splendour to save Bath from merely humdrum schemes, and to create the fine Georgian terraces and spectacular set-pieces that so dazzled contemporaries from the 1730s onwards, above all Queen Square and later the Circus and Royal Crescent. Henceforth supply generated demand, demand encouraged supply. Elegant lodgings and improved amenities drew yet more visitors (and well-to-do residents), which in turn emboldened others - among them Bath Corporation itself and the Kingston and Pulteney estates - to emulate Wood with their own speculative projects. Only periodic lapses of business confidence, mostly at times of national danger, caused the flow of credit to dry up. In the second half of the century, stimulated by the intense rivalries of projectors, architects and builders, a uniquely impressive architectural townscape, harmonious in its Classical idiom and universal use of local stone, spread across the hillsides and meadows, even invading the old city centre as new public buildings arose there too and cluttered streets were widened. Beginning in the 1750s the excitement of visitors as they wandered through Bath and its suburbs is increasingly evident. Well-proportioned terraces, crescents and squares in the smarter districts were enhanced by clean, broad pavements and, at night, decent street-lighting. Certainly there were squalid areas and back-street eyesores, but by 1790, when the building frenzy reached its highest pitch, these could be overlooked and 3 the whole urban scene described in extravagant superlatives: Bath had become the most elegant city in Europe. Only a few dissenting notes, chronicled in the following extracts, disturbed the chorus of approval. 4 1. 1705 A small place with shaded walks and new houses At the east end of the abbey are the groves, planted with rows of trees: here the company usually meet, and in the adjoining gravelled walk are the raffling-shops, with a bowling-green behind them. From the groves and walk you have a pleasant prospect of the river and adjacent hills. The city is but of small circumference, it may be about a mile and a half; it has but one parish church [within the walls] besides the abbey, but is graced with many new buildings: I observed one belonging to a citizen, the front of which house was adorned with four orders of pilasters, one in each story, viz. the Doric, Ionic, Corinthian, and Composite, with a handsome balustrade, all of stone; the windows were sashed and the mouldings very neat and proportionable to the structure. I never see any private building that pleased me more than this, it being exactly regular and strikes the beholder with an agreeable grandeur. Gale, Tour, p.23 2. 1725 Built of local limestone and sited in a hollow Bath stands low being almost surrounded by hills, & makes no considerable figure till you come up to it, there are gates at it's Entrance, here are two Churches only and a Chapple. The Abby Church is large & handsome and built like a Cathedral, tho' tis not one, there is a fine Organ, and in the outward Isles several good monuments, the other Church and Chapple are of inferiour note. The Town is paved with a flat stone and the Houses are built with the same sort of stone plentiful in this Country, and are three or four storys high, and generally sash'd and look very handsome. The Town is populous though not large, and has a neat [Guild-]hall adjoining to the Market Cross very handsome and built with freestone... Diary of a Tour, pp.113-14 3. Re 1700-26 On the eve of Palladian correctness In the Progress of these Improvements Thatch'd Coverings were exchang'd to such as were Tiled; low and obscure Lights were turn'd into elegant Sash- Windows; the Houses were rais'd to five and more Stories in Height; and every one was lavish in Ornaments to adorn the Outsides of them, even to Profuseness: So that only Order and Proportion was wanted to make BATH, sixteen Years ago, vie with the famous City of Vicenza, in Italy, when in the highest Pitch of Glory, by the excellent Art of the celebrated Andrea Palladio... Wood, Essay, 1742-3, vol.1 p.92 4. 1730 John Wood I gets off to a bad start with Chandos Buildings ...it is the Opinion of almost every one who has seen them & especially who have lodged in them that no two houses have been worse finished and in a less workmanlike manner by any one who pretended to be an Architect & had any regard for his own Reputation or the Interest of the Person who was his Benefactor & imployed him [i.e. Lord Chandos himself]. BCL, Chandos MS (microfilm), Duke of Chandos to John Wood I, 29 Aug 1730 5 5. 1732 Queen Square in progress: Wood's first urban masterpiece The Workmen who have been a long Time employ'd in erecting a new Square in Barton Grounds, on Saturday laid the first Stone of the Chapel to be built for the Use of the Inhabitants, in the Presence of many Persons of Distinction, who contributed largely towards the said Work, which, with that of the Square, goes on with all possible Expedition; and the latter will far exceeed any publick Building of that Kind in England, and outdo every Thing in Bath, both for Air and Situation.
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