Frances Pulteney’s estates were principally confined to London and Bath, and it was in Bath that William Pulteney sought the most development. In 1769 he acquired a Private Act of Parliament to build a bridge across the River Avon between the old city on the west bank, and the 600-acre Bathwick estate on the east bank. Pulteney’s fellow Scot, Robert Adam, was commissioned to made designs for this bridge – later known as Pulteney Bridge – as well as a new town development for Bathwick, including a new prison.
In 1782 Frances Pulteney died, leaving their only child, Henrietta Laura as her sole heir. William Pulteney managed the estates on his daughter’s behalf, using his influence to have her created Baroness Bath in 1792, and Countess of Bath in 1803. Pulteney himself succeeded his brother, Sir James Johnstone, in 1794, becoming 5th Baronet and inheriting Westerhall in Dumfries. He married again in 1804, Margaret Stirling, the widow of his friend Andrew Stuart of Craigthorn, Lanark, and died a year later, being buried next to Frances in Westminster Abbey.
The intended location for the prison is shown in two of Adam’s plans for the New Town, one drawn on 20 June 1777 (Adam volume 38/7), and another on 23 December 1782 (Adam volume 38/8). Despite this, Adam's scheme for Bath Prison was not executed. The extant drawings show a U-shaped building around three sides of an enclosed court. Instead a contemporary scheme by Thomas Warr Atwood (c1733-75) was built in 1772-73. This has a simple façade with the appearance of a domestic building, rather than a utilitarian or penal facility. Atwood’s building was superseded in 1842 by a new prison at Twerton, built to designs by George Philips Manners (1789-1866), and Atwood’s building has now been converted into flats.
See also: Pulteney Bridge; New Town, Bath.
A.T. Bolton, The architecture of Robert Adam, 1922, Volume II, Index pp. 3, 84; D. King, The complete works of Robert & James Adam and unbuilt Adam, 2001, Volume II, p. 53; ‘Pulteney, William (1729-1805), of Westerhall, Dumfries and The Castle, Shrewsbury’, History of Parliament online; ‘Pulteney [formerly Johnston], Sir William, 5th baronet (1729-1805)’, Oxford dictionary of national biography online
Frances Sands, 2015
Sir John Soane's collection includes some 30,000 architectural, design and topographical drawings which is a very important resource for scholars worldwide. His was the first architect’s collection to attempt to preserve the best in design for the architectural profession in the future, and it did so by assembling as exemplars surviving drawings by great Renaissance masters and by the leading architects in Britain in the 17th and 18th centuries and his near contemporaries such as Sir William Chambers, Robert Adam and George Dance the Younger. These drawings sit side by side with 9,000 drawings in Soane’s own hand or those of the pupils in his office, covering his early work as a student, his time in Italy and the drawings produced in the course of his architectural practice from 1780 until the 1830s.
Browse (via the vertical menu to the left) and search results for Drawings include a mixture of Concise catalogue records – drawn from an outline list of the collection – and fuller records where drawings have been catalogued in more detail (an ongoing process).