Tuesday, 30 December 2025

The 18th Century Monuments in All Saints Church Weston, Bath. No 7. Thomas Peterson d. 1803 inscribed and firmly attributed to the Greenway Brothers of Bristol.







I had no intention when I commenced this piece to write the life histories of the Mangotsfield / Bristol Greenway brothers but a little investigation brought up some interesting facts not least the later career as an architect of Francis Howard Greenway after transportation for forgery to New South Wales Australia.

Francis Howard Greenway  - the father of Australian architecture.


Francis Howard Greenway (1777 - 1837). Olive Greenway (1775 - 1846) and John Tripp Greenway. 

Some notes -


Francis Greenway (1777 - 1837) the architect was born at Mangotsfield, Bristol - died East Maitland, Newcastle, New South Wales, Australia.

He was the youngest son of Francis Greenway (sometimes Grinway) mason (d.c 1793) and Anne Webb (of Colerne).

There are several mentions of Francis Greenway (Snr) mason at the house at Stoke Gifford in the Badminton Muniments at Gloucester Archives - it became known as Stoke Park, and was rebuilt in 1750 by Norborne Berkeley, 4th Baron Botetourt (died 1770), from a neo-classical design by Thomas Wright.
References including - 1788 - Francis Greenway repairing and cleaning the monument in Stoke church


Their grandfather was John Greenway, born 1720, who married Mary Tripp, a member of a family also well-known round the outskirts of Bristol. This also explains how John Tripp Greenway, one of Francis Greenway’s brothers, came to be so named.


For an useful overview of the life and works of Francis Greenway and his family see -


see also -









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Francis (Howard) Greenway - Architect.


Probably the most useful source of information is the article by Allan Keevil pages - 44 in the The Survey of Bath and District The Magazine of the Survey of Old Bath and Its Associates No.21, October 2006.

I have quoted or adapted liberally from this essay.

The Magazine of the Survey of Old Bath and Its Associates No.21, October 2006 - Allan Keevil 






On 28 March 1792, ‘Francis Grinway [sic] son of Francis Grinway [sic] and Mary Webb (of Colerne, Wiltshire) of Downend, County of Gloucester, [was] put to William Paty, Architect, and Sarah his wife for seven years. Friends to find apparel and washing’


William Paty (1758-1800) was the son of Thomas Paty (1718-1789), a Bristol mason, statuary and architect, described by Walter Ison, as ‘perhaps the most talented member of this family’. 

Thomas Paty had been called in by Bath Corporation to arbitrate in the dispute about the plan to be used for the building of the new Bath Guildhall, in 1775. His son, William, was the first Bristol architect to be trained in London at the Royal Academy architectural schools. He then worked in partnership with his brother and father in Bristol, from 1777. Like his father, he was an extremely accomplished statuary, and the effect of his London training began to show in his architectural work in the 1780s, in a highly accomplished Adamesque manner. Work by him included Blaise Castle House, Henbury, in 1795 (described as remarkably forward-looking, and possibly influenced by Humphry Repton), for John Scandrett Harford the Elder (1754-1815), a member of the wealthy Quaker family of  Bristol merchants and bankers.

For Francis Greenway, Paty’s influence and training would have been invaluable; it is clear that Greenway was an apt pupil. 

He must have completed his seven-year apprenticeship in 1799, the year before his master William Paty died, when the business was taken over by James Foster the Elder (1748-1823), who had also been a pupil and apprentice of William Paty.




Francis Greenway was then employed by and became a protégé of the architect John Nash, at 28 Dover Street with whom he began to build both a minor reputation and career. 

The son of a Welsh millwright, London-born Nash had served an apprenticeship with the architect and former sculptor Sir Robert Taylor before branching out on his own as a surveyor, carpenter and builder. An indifferent early career in London soon came unstuck, with the failure of speculative ventures in Bloomsbury Square and Great Russell Street. In 1783, a bankrupted Nash retreated to the town of Carmarthen on the River Towy in South Wales and the support of his mother’s family. And so began what the architectural historian Sir John Summerson described as ‘ten years of provincial oblivion

In 1800, Greenway exhibited two architectural drawings at the Royal Academy,  he gave his address as ‘At Mr. Nash’s.

From Nash’s office in 1800, Greenway exhibited drawings or paintings of ‘The Saxon Gateway, College Green, [Bristol Cathedral] Bristol’ and ‘West door, Magdalen College chapel, Oxford’. 

In 1802, he submitted a work, or works, entitled ‘Chapel, Library, etc., [designed for the side of a quadrangle] at Bristol’. This second appearance at the academy may have been with Greenway’s own designs executed under a new-found autonomy, but it is his exhibit for 1803 that is most intriguing of all. The catalogue lists a work named ‘Thornbury castle restored, with a canal brought from the river Severn up to Thornbury



He later perhaps designed the “Market House, at Carmarthen”,  the Chapel Library, the Clifton Club, and the restoration work at the Thornbury Castle.



Shortly after his marriage in 1804, Greenway went into business with his two brothers, Olive Greenway and John Tripp Greenway, offering the services advertised in the Bristol Gazette in 1805: 

“All orders for marble monuments, Chimney Pieces, and every kind of ornamental stone work shall be carefully attended to, and executed in the most artist-like manner.” 



  On 26 January 1805 – by coincidence the seventeenth anniversary of the entry of the First Fleet into distant Port Jackson, New South Wales – the three Greenway brothers announced in the Bristol press that they were open for business:

"Beg leave to inform their friends and the public that they have opened a room and a yard at No. 7 Limekiln Street opposite the Riding School … All orders for marble monuments, chimney pieces, and every kind of ornamental stone work shall be carefully attended to, and executed in the most artistlike manner. Designs for houses, lodge gates, and every part of domestic architecture may be seen at the office drawn by F. Greenway – who takes this opportunity of offering his services to the Public in the capacity of Architect, Statuary, and Landscape-Gardiner .1

 

In his own eccentric style, Francis then took the readers of Felix Farley’s Bristol Journal through an explanation of the decoration above the doorway to the Greenway office. Perhaps he thought prospective clients would come and inspect this tribute to the Ancients and find the Greenways agreeably steeped in classicism:

 N.B. The Bass-Relief [sic] over the Doric Door, is intended to represent Minerva giving the Plan of the Pantheon … to Architecture; Mechanics is next to him as a necessary attendant; the boy on the left hand of Minerva is drawing a building, while Sculpture is modelling the famous torso, so highly admired by MICHAEL ANGELO.

 Orders received at Downend as usual.

The move to Limekiln Street (or Lime Kiln Road as it is today), on the south-west edge of Bristol - close to the Cathedral and with easy access to the nearby River Avon and docks, now placed the Greenway brothers close to the scene of much of their ongoing work.



In 1806 Francis designed the Hotel and Assembly Rooms in the Mall at Clifton, which his brothers contracted to build. During the same period the brothers were buying unfinished houses in Clifton in a speculative capacity, which they completed and then sold. 

Francis Greenway, architect, married Mary Moore on 27 April 1809 in Bristol by licence, witnesses John Tripp Greenway and Mary Greenway.

In 1809 the brothers became bankrupt and the Clifton Assembly Rooms were completed by Joseph Kay.

It appears that for the next four years, the business continued  until April, 1809, when legal questions were raised regarding both the family business and some of its present and past contracts. 


One month later, the word “bankruptcy” appeared in the paper, and the Greenway’s career became jeopardized. As a result, the Greenways’ possessions were put up for auction in order to satisfy their creditors. The precise reasons for the legal actions and subsequent bankruptcy have been lost in local legend and unclear newspaper reports regarding a long-standing issue of water rights in and around Bath (where construction of buildings for the use of visitors who wanted to take advantage of the healing waters was common). Greenway tried to show how he had been fooled by speculators and false promises, but his attempt proved fruitless.

 

Despite this setback, Francis Greenway was still working as an architect in 1810.

Problems then arose regarding a contract that Greenway had made with Colonel Richard Doolan, for whom he was doing some work. Greenway swore that the colonel had authorized an additional £250 for some extra work Greenway had provided. However, the contract was lost and the colonel denied the charge. Greenway eventually produced the lost contract. In the court proceedings that followed, it was proved that Greenway had forged the contract, and Greenway was held at Newgate prison for sentencing. 

Three months later, in March of 1812, Greenway found himself in the dock at the Bristol Assizes. He pleaded guilty to the charges and was sentenced to death by hanging  He still had some influential friends, and they managed to get his sentence reduced first to lifelong exile in Australia (which was then a penal colony) and later commuted to transportation to the colony for a term of fourteen years.


  

It is unclear why he had pleaded guilty, but some believe that this was due to his bankruptcy and the dire circumstances he may have faced. 

His motive appears to have been to benefit his creditors rather than himself .

Whilst awaiting deportation to Sydney, Greenway spent time in Newgate Prison, Bristol, where he painted scenes of prison life.

He was then transported to Australia.  

The ships Windham and General Hewett left England the 24th of August, in convoy with the Wansted, Capt. Moore, who sailed from hence last Thursday for Batavia; the General Hewett arrived at Rio the 17th of November, and sailed again the 2nd of December. Together with the military detachments, she received on board for this Settlement 300 male prisoners, of whom we are sorry to report the death of 35, whose names we shall endeavour to procure an account of, and publish in the next Gazette, for the information of their friends and families in Great Britain.

Sydney Gazette, Sat 12 Feb 1814.

Francis Greenway arrived in Sydney New South Wales on the General Hewitt in February 1814 to serve his sentence. He was described as an "architect & painter" in the ship's convict records which also gave his description: age 34, 5ft 6¾in, fair ruddy complexion, light hair, hazel eyes.


From the convict indent (shipping list).

image below courtesy -

https://mhnsw.au/stories/general/francis-greenway/





He found a patron and protector in Governor Lachlan Macquarie, who employed him on various ambitious plans for public works in the colony.

Macquarie appointed him to act as Civil Architect in 1816 and he designed, among other buildings, the lighthouse at South Head, the Female Factory at Parramatta, the Convict Barracks in Sydney, churches at Sydney, Windsor and Liverpool, and the Courthouse at Windsor.

Greenway was granted a conditional pardon on 16 December 1817, and on 24 March 1819 Governor Macquarie wrote to Lord Bathurst concerning the Civil Architect’s salary, stating it was "…very inadequate to his useful and important services as Architect" and further noting that "in consequence of Mr Greenway’s Scientific Skills, Judgment and superior taste, the Government Buildings Erected by him are not only Strong, durable and substantial, but also Elegant and good models of Architecture."

 

Greenway was granted an Absolute pardon on 4 June 1819. It is noted that the Absolute (Free) Pardon was delivered (personally) by His Excellency, Governor Macquarie.




In 1816 he was appointed government architect and in this capacity designed many of the public buildings in Sydney, including St James’s Church. 

Macquarie appointed him to act as Civil Architect to the government in 1816 and he designed, among other buildings, the lighthouse at South Head, the Female Factory at Parramatta, the Convict Barracks in Sydney, St James' Church Sydney, and churches at Windsor and Liverpool, and the Courthouse at Windsor all in New South Wales.






Meanwhile brothers Olive and John Greenway recovered from their bankruptcy and continued business in Bristol. As well as executing monuments, Olive probably designed and certainly built Downend Church, Glos, in 1831, ‘in a feeble Gothic style’ (Colvin)





It is currently unclear to me the relationship between the Bath and Mangotsfield Greenways but it is probably more than coincidence that they were all involved in the stone masonry and architects business.

Some of the Bath Greenways also bore the christian name of Francis. For example, there is an indenture of 20 September 1791, when Thomas King,  the statuary of Walcot, with Mr.Charles Harford, gent., as his trustee, conveyed to John Greenway intrust for Francis Greenway, mason, of Walcot (not the Australian architect), who would have been only thirteen at the time], ‘part of a pasture of 2a 22p called Upper Tyning [Walcot], being all those plots on the west side of an intended building called Mount Pleasant and all those two messuages thereon erecting at the cost of Francis Greenway’.



For a brief overview of the Greenway family of Stone Masons of Claverton St, Widcombe, Bath see -



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For the inscriptions on the monuments at Weston see -




The Monument to Thomas Peterson d. 1803.

in All Saints Church. Weston, Bath. 

Made and inscribed by the Greenway Brothers of Bristol.

Probably put up in 1805. The Biographical Dictionary notes the Monument to Robert Sandford at Leonard Stanley of 1804  - currently I am not aware of any other monuments by the Greenways until 1818.









 







Other Petersons buried in the Churchyard at Weston.

https://www.batharchives.co.uk/sites/www.bathvenues.co.uk/files/2022-07/WES%2520Inscriptiions.pdf


447 Joseph PETERSON, gent of this parish died 18th February 1766 aged 45 years

Also the following children of the above Joseph PETERSON by Ann, his wife

Hester PETERSON died 15 November 1777 aged 22 years

Joseph PETERSON died 18 May 1780 aged 16 years

Peggy PETERSON died 25 December 1780 aged 21 years

Sarah and John both died in infancy

Also Ann PETERSON wife of Joseph died 17th September 1794 aged 67 years

Also Thomas son of Joseph and Ann died 19 April 1803 aged 42 years

Also Joseph Peckston, son of Peckston and Susanna died 4th April 1830 aged 22

Also Peckston son of Joseph and Ann PETERSON died 31 March 1842 aged 85

Also Susanna wife of Peckston PETERSON 1st August 1842 aged 70 years

Also Clement BUSH of this parish gent born 10 January 1808 died 26 January 1882

Also Ann BUSH born 3 February 1082 died 29 November 1883

Also Hester PETERSON sister of above Ann BUSH born 25 July 1805 died 2 December 1887



Tuesday, 23 December 2025

The 18th Century Monuments in All Saints Church Weston, Bath. No 6. General Joseph Smith by Viner of Bath, 1790.




Charles Viner, 10 Morford St, Bath (Bath Chronicle 18 Jan.1798).


Gunnis notes that his monuments are quite well executed but not particularly interesting, the best being that to Lady Dundonald, which is a large work in coloured marbles (1). The diary of Sir Charles Throckmorton of Coughton Court, Warks contains the entry ‘l4 April, 1795. Agreed with Mr. Viner, of Morford Street, Bath, to erect a marble monument in the Abbey Church of Bath to the memory of Mr. Metcalfe according to the draught given in, for £15’ (Beard 1951, (2), 1641). In 1814 Viner was paid £133 for black marble for the staircase hall and, two years later, for the chimneypieces for Doddington Park, Glos, then being rebuilt by Christopher Codrington.


Preliminary List of Works - Charles Viner

Lady Dundonald, Funerary Monument d.1779.  All Saints, Weston, Bath Somerset. (below).

Robert Coe. Funerary Monument ?1788 St Swithins, Walcot, Bath, Somerset.

Theophilus Ponting. Funerary Monument ?1791. Norton St Philip, Somerset

Charlotte Wicker.  Funerary Monument ?1795. Weston, Somerset.

John Taylor. Funerary Monument ?1806. Newton St Loe, Somerset.

Mr Metcalfe. Funerary Monument 1795. Bath Abbey, Somerset. untraced

Brigadier-General Joseph Smith        Funerary Monument †1790                  Weston, Somerset.

Several Chimneypieces.  1816. Doddington Park, Glos. untraced.

John Dick. Funerary Monument ?1817.  Devizes, Wilts.






















 

Another Monument by Viner of Bath.

Catherine Countess of Dundonald Died 1779.



















Monument carved by C. Viner of Bath.

Bristol Cathedral.

Martha Vandewall Williams.

d.1789.

 

Died at the Hot Wells /on the 18th March 1789 /and in the 19th Year of her age /Martha Vandewall Williams /Eldest Daughter and Coheiress /of John Williams Esq'r /of Panthowell, /in the County of Carmarthen /and lies interred near this place.

 

https://bristol-cathedral.co.uk/the-cathedral/search-the-collection/collection-item/index1154.html?id=1240136&page=37






Friday, 19 December 2025

The 18th Century Monuments in All Saints Church Weston, Bath. No 5. The Mural monument to Sophia Cotton and her sister Sidney Arabella Cotton. . Slight return.........

 

The Monument to Sophia Cotton (b. c 1704 - died 1767).

 and Sidney Arabella Cotton (b. c.1709 d. 1781).

 Daughters of Sir Thomas Cotton, 2nd Baronet and Philadephia Cotton.

Sisters of Thomas Salusbury Cotton; Henry Cotton; Anne Cotton; Sir Robert Salusbury Cotton, MP, 3rd Baronet; Philadelphia Cotton and 10 other siblings.

 The monument which is not inscribed by the sculptor bears all the hallmarks of the Bath workshop of the Fords father and son.

John Ford I  (1711 - 1767) Mason and John Ford II (1736 - 1803) who described himself as a Statuary.

https://bathartandarchitecture.blogspot.com/2025_10_24_archive.html


The Monument was probably put up shortly after the death of Sophia in 1767.

 For an in depth look at the works of both father and son see -

https://bathartandarchitecture.blogspot.com/2025/10/monuments-by-ford-of-bath-bath-abbey.html

 


The Cotton monument could do with a very gentle wash which would reveal the delicate detail and allow the quality to be more easily assessed.

 A notable feature on the Cotton monument is the textured background of the relief of the grieving lady which also appears on several other of the earlier monuments by the Fords including the relief  formerly on the Malone Monument in Bath Abbey of 1765/66, the Monument to Leonard Coward (d. 1764) and his wife Elizabeth d.1759, and their son Leonard (1717 - 1795) also in Bath Abbey and the The Monument to Martha Maria Phillips at St Swithun's Parish Church, Bathford of 1759.




I will take the opportunity here to illustrate the five variants of the version of the relief with the reclining grieving lady clutching the urn.


Variations of this relief  (all illustrated below) were used by the Fords on several other monuments including - 

that of Robert Cox monument at Piddletrenthide, Dorset where the urn is slightly different and the sarcophagus on the right is replaced with a Palm tree. 

The John St Aubyn monument at Stringston Somerset, again with the palm tree to the right.

The Day family monument at St Mary Magdalene, Ditcheat, Somerset, 

The Monument to Richard Long d.1760 in the Church of St Mary's, Steeple Ashton, Wiltshire.

 

 


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It is strange that as time progressed the quality of the workmanship of the Ford monument reliefs gradually deteriorated. I suspect Ford Jnr had little to do with the carving.





















Here the textured background of the relief is plain to see.




















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The Robert Cox d.1777 and George Cox (d. 1777) Monument in All Saints Church, Piddletrenthide, Dorset.

Clearly inscribed on the supporting bracket Ford Bath. Fct.

This monument was very difficult to photograph  - it is on the North East wall of the Aisle of Chancel tucked away behind the organ.

Another Monument inscribed by Ford of Bath to William Cox d.1790 is also in the church.

A Memorial on the Floor of Bath Abbey.

In a Walled Grave / are deposited the Remains of / John Cox / Esquire / fourth Son of the late / William Cox Esquire / of Piddletrenthide / in the / County of Dorset / Died / 20th. January 1814 / Aged 41.


































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John St Albyn - Funerary Monument - 1766 -

 Stringston, nr Bridgwater. Somerset.

 Inscribed Ford Bath Ft on the supporting bracket.

















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Day (or Dawe) family member - Funerary Monument, 

The inscription is illegible.

 St Mary Magdalene - Ditcheat, Somerset.

 

The form of the skull on the apron should be noted - it is repeated on other Ford monuments - including on the reliefs with the grieving child on both the  Coward Monument at Bath Abbey, the Phillips Monument at Bathford, and the Smith monument at Combe Hay.









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The Monument to Richard Long - d. 6 May 1760.

Church of St Mary's, Steeple Ashton, Wiltshire.



























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Thursday, 18 December 2025

John Padmore - a portrait by van Diest.



Post under construction -some rough notes


The Ingenious Mr John Padmore ( - 1734).
son of John Padmore the Elder

Padmore and Ralph Allen and the transport of Bath Stone from the Combe Down quarries to the Dolemeads Wharf at Widcombe, Bath and thence to the rest of England.

Some notes and links -

The painting, now in the collection of the Bath’s Victoria Art Gallery.

It is possibly the painting listed in an auction catalogue of Ralph Allen’s estate in 1769.









Surprisingly little is known of the life of John Padmore, whose major achievements in engineering occurred in the 1730's. 

Padmore was consulted regarding the stability of St Nicholas' Church Bristol by the Churchwardens and the removal of the medieval gateway in 1730 and referred to as the ingenious Mr Padmore - it took until 1760 to move forward with this project


He was involved in the design and construction of Ralph Allen's Combe Down tramway, built c.1729-30 for transporting stone from the newly-opened Combe Down quarries to Dolemead Wharf, on the river Avon at Bath.

.

In 1735 the Great Crane of Bristol was erected on the quayside of the new Mud Dock, and in the 1742 edition of his Tour thro' the Whole Island of Great Britain, Daniel Defoe refers to this crane as being 'the workmanship of the late ingenious Mr Padmore'. 

According to Halfpenny,  the Great Crane was erected at the Gibb of Bristol in 1735. It is marked on John Rocque’s A Plan of the City of Bristol of 1742, and in a vignette on his 1745 map of the city. The same illustration appears in Barrett's The History and Antiquities of the City of Bristol of 1789, but the clearest representation is that by William Halfpenny, made in 1747, and in the possession of Bristol City Museum

It is possible that Padmore had died a little earlier, in about 1740, for a minute of the Committee of the Society of Merchant Venturers for the 18th of October of that year notes that Mrs Padmore attended and offered to sell a crane 'which is already made'.


















Padmore's Great Crane on the Quay at Mud Dock from John Roques Plan of Bristol -
 
A Survey of the City and Suburbs of Bristol Survey'd by John Rocque Land Surveyor at Charing Cross, 1750 / Plan de la Ville et Faubourgs de Bristol Leve par Jean Rocque a Charing Cross a Londres 1750.
Extracts below courtesy -

















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Theophilus Desagulier - 

A Course of experimental philosophy / by J. T. Desaguliers ... ; Vol. II, Adorn'd with thirty-two Copper-Plates. 

Unfortunately the engravings within have been folded and the automatic scanning process does not recognise this and so they are very much compromised. Volume 2 -

https://babel.hathitrust.org/cgi/pt?id=ucm.532665645x&seq=6

 Amore useful online version of Volume 1 is available at

https://archive.org/details/bim_eighteenth-century_a-course-of-experimental_desaguliers-j-t-john_1745/page/n331/mode/2up


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https://eprints.oxfordarchaeology.com/765/13/7_CODOM01_Chapter05.pdf