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The Mauretania Public House
Conservation Management Plan
Prepared by Tiffany CharlesMarch 2011
University of BristolMaritime Conservation
Archeology and Anthropology Department
1
Contents
1. Historical Significance1.1 Building Location
3
1.2 Building History and Significance3
1.3 RMS Mauretania History and Significance
1.3.1 Speed and Luxury5
1.3.2 Wartime Accomplishments6
1.3.3 General6
1.4Bristol and Maritime Heritage
1.4.1 Port and Trade History7
1.4.2 Passenger Ships and Mauretania8
2. Conservation and Access2.1 Conservation Issues
8
2.2 Access 10
3. Interpretation3.1 Interpretation and Signage
11
2
Figures 13
Bibliography 28
1. Historical Significance
1.1 Building Location
The Mauretania Public House is a Grade II Listed Building and is
situated at the bottom of Park Street in Bristol, England, occupying
numbers 7, 9 and 11 (figure 1). Although the majority of the
original fittings are located in 9 Park Street, the entire building
is listed as the significant features are attached to the building
structure. Park Street itself is included in a Conservation Area as
designated by the Bristol City Council (Bristol City Council 2011).
It is characterized by many shops and restaurants/cafes starting at
the top of the street and (largely) terminating at College Green
(figure 2). The Mauretania Public House building is located at the
South-eastern edge of this Conservation area between St. George’s
Road and Frog Lane (figure 3). The building currently houses the
3
Park Street Café (number 11), Java Cocktail Bar and Club (number 9)
and various offices for local companies, including Mauretania
Estates, Ltd., current owner of the building (number 7).
1.2 Building History and Significance
The building located at 7 – 11 Park Street was designed by Henry
Masters and erected in 1870 (Heritage Gateway 2006). An extension
was added to the rear of the building in 1938 (designed by WH
Watkins), and is of steel frame construction (ibid, Breach 2011).
The steel frame likely protected the building from suffering any
damage during World War II; many of the surrounding buildings,
however, were destroyed by bombing. As far back as can be
ascertained, the building was owned by the Avery family, a well-
known wine purveying family in Bristol, and only sold to the current
owners circa 1983. In 1935, when the interior decoration and
fittings of the RMS Mauretania were put up for auction after the ship
had been scrapped (see RMS Mauretania History and Significance)
Ronald Avery purchased at auction many of the fittings including
Mahogany columns and paneling, mirrors and the large dome that was
once the distinguishing feature of the ship’s library (Breach 2011,
Edwards 2011). Attempts to contact the Avery family were of no
avail, but sufficient information regarding the building’s history
and transformation over the years has been gleaned from City Council
Planning documentation and the personal accounts of the building’s
current owner, Peter Breach, of Principality Holdings Ltd.
Once installed at the Mauretania Public House, the paneling and
fittings from the ocean liner were largely left intact and
undisturbed for years. It was not until the 1970’s or 1980’s that
major changes were made to the interior of the building, seriously
altering or completely obscuring the paneling
4
and fittings. It has been noted that at one point before the year
2000 all the panels were painted purple (Fox 2003). Aside from that
author’s statement there is no photographic or documentary evidence
of this. What has been documented is the fact that during one of
the many renovations of the interior, faux “timber and plaster”
walls were erected just in front of the original Mauretania paneling
(figures 4-5). When the Bristol City Council appealed to the
Department of National Heritage (DNH) for listing of the building in
1994, it was noted that “the necessity of spot-listing arises due to
various unauthorised works to one of the fine interiors which appear
to have recently begun, although left in an unfinished state” (Bird
1994).
The Mauretania Public House was designated a Listed Building (Grade
II) on August 26, 1994; its LBS Number is 380114 (Heritage Gateway
2011).
In 2004 the building’s current owner, Principality Holdings, Ltd.,
applied to the City Council’s Planning Office for major renovations
to the interior and exterior of the building. The complete details
of these changes can be found at the City Planning Office, Brunel
House, Bristol. With regard to the RMS Mauretania’s original
fittings, the areas most affected are rooms labeled A, B, C and D in
the inserted plans, as well as the entryway to 9 Park Street. The
paneling and columns from the ship’s Lounge have been restored in
the above four rooms (figures 6-9). The entryway, which was once
enclosed (figure 10), has been opened, leaving some paneling exposed
to the elements (figures 11-12) (see Conservation and Access). A
large rolling shutter was installed in this entryway to protect the
woodwork and glass frontage when the business is closed (figure 13).
When permission was granted, it was noted by the Planning Office
that the alterations “represented a significant improvement to the
5
building, including those rooms that have timber panelling from the
RMS Mauretania on the walls” and that the exterior entryway changes
had allowed for the woodwork to be “sensitively treated and
revealed” (Bristol City Council Planning Office, 2004).
It has been suggested that the large dome in another section of the
nightclub is the original RMS Mauretania Library dome (figure 14).
However, there are significant differences in the appearance of the
Library dome and that of the one currently installed at Java
nightclub (figure 15). Unless some of the detail of the original
dome was removed, which would likely have been an arduous task, it
could be maintained that this is a replica of the original. There
is no concrete documentary evidence that this dome was removed from
the RMS Mauretania. It has also been noted that “plasterwork” from
the ship was installed in the building. Again, the photographic
evidence does not support this (at least with regard to the ceiling)
as that of the ship was rather simple (figure 16), while that of the
establishment is quite detailed (figures 17-18). There was no other
evidence of historic plasterwork in the areas accessed during this
assessment. There is also no evidence of any of the paneling from
the Library of the since this was made of Sycamore (figure 19) and
it quite distinctive from that which is found in The Mauretania
building. The light fixtures could not be assessed as it was noted
in City Planning documents that these had been removed and stored,
having been changed for suitable replacements.
The moving sign on the side of the building is included in the
listing as it was the first of its kind in Bristol (figure 20).
1.3 RMS Mauretania History and Significance
1.3.1 Speed and Luxury
6
The Cunard Line for years had dominated the transatlantic passenger
scene (Maxtone-Graham 1989). By the turn of the century, however,
it was clear that the competition, particularly from the United
States and Germany, was closing in. Their answer to ships such as
Germany’s SS Kronprinz Wilhelm was the quadruple screw liners, RMS
Lusitania and RMS Mauretania (ibid). Commissioned in 1903, these sister
ships were unique from other sister ships in that they differ in
many ways having been built by separate firms (Engineering ed.,
1907: 1). Though both were inarguably luxury liners, the focus of
the ship owner was on speed. For this the company decided on a
turbine-driven quadruple screw design (ibid: 25-28). This was a
fortuitous decision as both the Lusitania and the Mauretania would go on
to set records for their transatlantic crossings (Fox 2003). RMS
Mauretania was launched in 1906 and first crossed the Atlantic Ocean
on 16 November 1907, setting a speed record at just under 24 knots
later that same month (Shipbuilder 1907/1970: 202). She would
continue this tradition by often averaging well over 25 knots.
Starting with her maiden voyage, RMS Mauretania would go on to have
one of the most distinguished careers in passenger liner history.
She captured the Blue Riband in 1909 and set another record by
retaining it for the longest period before or since – an unrivaled
20 years (Dawson 2000: 31).
Though Mauretania’s speed was certainly her most prominent feature,
the fact that she was meant to contend with other luxury liners
cannot, for obvious reasons, be overlooked in this assessment.
Specifically the details of the ship’s lounge that will be detailed,
as this is the one room from which there is little doubt the
woodwork in the Mauretania Public House originates. The following
is an excerpt from the 1907 edition of Engineering dedicated to
specifying the construction of RMS Mauretania. Only those aspects
7
which pertain to the building at 7 – 11 Park Street, Bristol are
reprinted here:
The lounge and the library have been decorated by Messrs. Mellier and Co., Albemarle-street, London, and upon entering then one is transported in a moment from the cold realities of a modern steamship to the exquisite tasteof a French salon of the eighteenth century…Altogether, the lounge…gives a wonderful impression of quiet grandeur, with its panels of beautifully-grained mahogany, dully polished a rich brown, each lit by its surrounding moulding of gold…[while the ceiling] is upheld by mahogany and gold columns, of exquisite workmanship, each with its cap and base of rich gold,encasing the stanchions, which are unavoidable in so large a space (emphasis original, 18).
1.3.2 Wartime Accomplishments
In general she has been described as a “lucky, happy ship” (figure
21) (Fox 2003: 407), but RMS Mauretania’s significance goes far
beyond record-breaking crossings and luxurious amenities. When she
was commissioned along with her sister ship, it was based on an
understanding between the Cunard Line and the British government:
the government would provide Cunard with a £2.6 million subsidy at
2.75% interest (Fox 2003: 396) with the stipulation that the ships
could be recalled for military use at the outbreak of war. Her
military career, as her civilian, is remarkable.
During World War I she served first as a troopship (though she was
originally to have replaced her recently sunk sister RMS Lusitania in
transatlantic passenger service), then a hospital ship, then later
again she was transformed to a transport vessel (The Shipbuilder
1907/1970: 203-204). Beginning wartime service in 1915, she
transported troops to and from the Middle Eastern theatre. During
this time she was painted in the highly effective dazzle camouflage
(figure 22). She also worked as a hospital ship transporting the
wounded, and finally again as a transport vessel, lastly taking
American troops back to the United States (ibid: 204). She
reentered passenger service in 1920 and kept running at top-notch 8
until being retired in 1934. On her last voyage from New York to
Southampton she clocked in at 24 knots.
1.3.3 General
Before she was scrapped in Rosyth in 1935, Mauretania set out from
Southampton one last time, being seen off by one of her former
captains, Sir Arthur Rostron (famously known as the captain of RMS
Carpathia on the morning she rescued the survivors of the Titanic
disaster). It was on this journey that her fittings and fixtures
were auctioned off, many to a Guernsey hotel owner (The Shipbuilder
1907/1970: 208), and many to Mr. Ronald Avery. It is purported
that, on seeing her pass on the way to the scrap yard, a small ship
hailed her and it was exclaimed, “Good-bye old lady, it’s a damn
shame” (ibid). It is indeed a shame that this particular ship
couldn’t be saved from the scrap heap. She was reportedly in
impeccably good condition and still considered “first-class” in
nearly
every way (it was the lack of modern amenities and conveniences such
as swimming pools and electrical outlets that has been partially
blamed for her retirement) (ibid). There are many examples of ships
with much less life in them than Mauretania, some barely more than
hulks (such as the SS Great Britain noted below) that have been
salvaged, restored and given new lives as museums, hotels and music
venues.
Much has been written about Mauretania’s career between 1920 and
1935; indeed certainly far too much to describe here (for further
reading see Maxton-Graham 1989, The Shipbuilder 1907/1970, Fox
2003). However, one opinion may echo that of countless others: “The
Mauretania was the greatest steamship ever built…no other ship so 9
combined technical innovation, speed, beauty, profitability and
longevity. Another great liner might have surpassed her by one or
two of these criteria, but none was so uniformly distinguished in
all five ways” (Fox 2003: 407).
1.4 Bristol and Maritime Heritage
1.4.1 Port and Trade History
Bristol is historically a port town having been built on the Rivers
Avon and Frome. What began as a Saxon town grew over the centuries
to become a thriving trade city. Bristol’s trade adapted with the
changing times and throughout its various stages this trade has
included iron, wine, cloth, wool and, in the 17th century, the slave
trade (by which tobacco, cotton and sugar were imported into
England) (Tym & Partners and Laing 2004: 1). By the 18th century
Bristol was the second largest city in the country, owing in large
part to its trade industry; however, while other cities were
adapting, modernizing and expanding their ports to cater to the
continually increasing size of trading vessels, Bristol lagged
behind (ibid). An additional hindrance geography and terrain
leading up to the port of Bristol; many of the new, larger ships
found it easier to navigate into ports such as Liverpool.
Bristol is still recognized as a chiefly maritime city, largely
owning to the opening of the Edward dock and expansion of the
Avonmouth Docks in 1908 (ibid). According to Roger Tym & Partners’
economic assessment, the 1991 privatization of the docks in by the
Bristol Port Company led to a growth in trade to 10.9 million tons
in 2001 (up from the post-war high of 9.5 million tons in 1965)
(2004: 1).
10
1.4.2 Passenger Ships and Mauretania
Bristol’s connection with transatlantic passenger ships starts at
their very earliest stages of development. Brunel’s SS Great Western,
which was conceived of and built in Bristol, was the precursor to
the luxury liners of the late 19th and early 20th centuries. As
stated by Crandall, “the Great Western was the first ship designed
specifically as a transatlantic passenger vessel [and engineered to
run primarily on] steam power” (2006). The ship set out on its
maiden voyage from Bristol to New York in 1838. She arrived in New
York only hours after her competitor (in what was considered the
first transatlantic race – the Blue Riband in all but name), SS
Sirius, though Sirius had a four day head start (ibid).
Brunel and his partners went on to build what is considered the
archetype of the luxury liners of the 20th century, including the
Mauretania. The SS Great Britain, described by the BBC as “one of the
jewels of Britain’s maritime history” (Bomford 2010), was the first
screw-propelled, iron-hulled ocean liner. Similar to the RMS
Mauretania after her, the SS Great Britain would go on to carry passenger
across the Atlantic for years, serve as a troop transport ship
during war (Crimean War) as well as act as a cargo vessel (ibid).
After eventually being scuttled and abandoned for more than thirty
years, the hulk of the liner was towed back to Bristol from the
Falkland Islands. This event, along with the award-winning
restoration of the ship, has been covered in great detail by British
media. The restored SS Great Britain, now serving as a museum and one
of the city’s most visited attractions, is mounted in the same dry
dock from which she originated nearly 170 years ago.
11
RMS Mauretania is significant to Bristol’s local history in her time
as a transport ship during World War I. She was sent into the Port
of Bristol to transport troops to Gallipoli during the Dardanelles
Campaign (Bird 1994).
2. Conservation and Access
Given the fact that this is a public facility operating as a restaurant,
bar and nightclub, as well as a listed building, conservation and access
are indivisible.
2.1 Conservation Issues
Considering the large number of people that frequent the
establishment on a busy weekend, the original woodwork is in very
good condition. Therefore, this conservation assessment’s aim is
preservation.
The windows of the building are drafty and not properly sealed
(figure 23). However, they cannot be removed due to the building’s
listing. Therefore one significant and non-invasive measure that
can be taken is the application of UV filter film to the windows.
This film, which is applied directly to the windows and is
completely reversible, therefore conforming to conservation
standards, filters out up to 99% of UV light, one of the most
damaging elements to wood. This film would allow the curtains to
remain open (which they often are), while protecting the wood panels
from fading and drying out. Ideally, the film would be changed
every three to five years for maximum effectiveness.
Although the paneling, columns and doors observed for this
assessment are considered in good condition, they have been damaged
over the years. Some of this damage is general use wear and
therefore unavoidable (figures 24-27). For these areas, it is 12
recommended that the damage be infilled (wood) and inpainted (gold
detail) by a qualified conservator. Some damage, however, is recent
and purposeful, though inarguably not malicious. Specifically,
damage was observed to several of the columns in Room A in the way
of multiple staples being driven directly into the wood (figure 28).
Several large splits and holes were also observed, though some could
be fairly old and likely the result of various essential building
changes (i.e., heightened health and safety standards) (figure 29).
Regardless of the cause, it is advisable that these holes and splits
be repaired and infilled by a qualified wood conservator. It is
also recommended that, unless required by law, rules be established
that no invasive alterations occur to this original woodwork (e.g.,
nothing to be hung from these surfaces, regardless of the material
used), and that this rule be strictly enforced by management and
staff.
Paneling inherently has the properties of any other veneer; the rate
at which the supporting wood expands and contracts will almost
certainly be different than that of the overlay wood. The result is
the lifting and buckling of the thinner wood (figure 30). This
problem can be insidious and is exacerbated by unstable climate
conditions. Therefore the woodwork that is exposed the elements on
the outside portion of the entryway is of particular concern. Two
ways of mitigating this problem are presented here: one short-term,
non-invasive, relatively simple and inexpensive, the other much more
centered on long-term care and protection of the building and, in
turn, perhaps more invasive and costly, though not prohibitively so.
o The regular application of a museum-quality wax to the
surfaces of the woodwork will protect them from the elements
to which they are regularly exposed. This should be a micro-
crystalline wax, with a spirit base (a naptha/petroleum
13
mixture would do well). Because the interior is more
naturally protected, an annual application to all the historic
wood surfaces would suffice. Considering the fact that the
weather conditions in Bristol are not as hostile as in many
other parts of the world (in regard to temperature and
humidity fluctuations), the exterior panels are in better
condition than would normally be expected. However, they are
still exposed to the elements, both natural and human.
Therefore it is recommended that these panels be waxed
quarterly. The wax itself can be ordered online from any
reputable conservation materials supplier (Gaylord Brothers
and Conservation By Design Limited are two such suppliers).
An additional benefit to this method is that is does not
require the expertise of a conservator for every application.
Initially, a conservator, museum collections manager or
similarly trained professional should be contracted to train
specially-selected staff for this work. Once staff has been
trained and supervised in technique, they should be
appropriately prepared to carry out the work on the quarterly
schedule. It is recommended that the professional conservator
(or museum professional) be consulted every two years for
refresher training and/or to train any new staff.
o The other option that should seriously be considered for the
long-term preservation of the fine interiors of the building
is a climate-control. Given the large number of people that
attend functions on any given night and the fact that there is
generally dancing in at least one room in the building, the
temperature, and particularly the humidity can vary greatly (a
more in-depth assessment could monitor these fluctuations and
offer more support to this recommendation). There are many
different climate control systems available, with varying
14
degrees of accuracy and technological innovations. Yet
because this is a listed building and because historic
building such as this are incredibly difficult to regulate,
even with the most advanced systems, a more moderate
alternative is suggested here. Essentially the goal would be
to keep the building from experiencing extreme fluctuations in
climate, particularly in a small span of time (something that
is likely to occur when large numbers of people enter the
building with a few hours). As explained by Kerschner and
Baker, some ways to apply this type of climate management
would be to implement “practical climate control measures such
as minimal heating during winter months to avoid drying out
artifacts and buildings, humidistatically-controlled heating
to prevent high humidity levels during cool rainy periods, and
humidistatically-controlled ventilation to decrease humidity
and heat buildup in collection buildings during hot and humid
weather” (2008).
2.2 Access
The public has free access to the building during regular operating
hours. Further, pursuant of this assessment, access was often
requested during non-operational hours. Access was always granted
within a two-hour window.
It is recommended, give the uniqueness and extremely fine condition
of the original fittings, that some type of public programming
involving the building be made available. Any one of the many
walking tours available in Bristol could lead to Java as it is just
on the edge of the city centre. Visitors could listen to a brief
interpretation, either via MP3 player or by an actual guide, wander
around the rooms at their own pace, and if inclined, relax and enjoy
the atmosphere provided by the world-class interior of one of the
15
world’s greatest ocean liners while sipping a libation provided by
one of the establishment’s three bars.
Given the space available and the open layout, this establishment
could be adapted for many uses. Marketing it as a rental space,
highlighting the feeling of stepping back in time, back to the
“golden age of ocean liners”, is one possibility of attracting an
entirely new clientele while spreading awareness of this gem in the
heart of Bristol.
3. Interpretation
3.1 Interpretation and Signage
There is currently no interpretation of the building with regards to
the original materials from RMS Mauretania or its status as a listed
building. During the course of this assessment a student was
overheard describing his night out at Java. He stated, in part,
“It’s just really cool inside; you’d never expect it…I’m not sure
what it is, but it’s not like a club at all.” This statement
reflects not only the awe the building can inspire, but also the
need for some kind of interpretation. People who are not even aware
of the historical significance of those interiors are nonetheless
struck by their beauty and distinction. However, the managers of
the property are confronted with an issue often faced by historic
house museums: balancing on the fine line between interpretation and
authenticity.
The establishment in which the fittings are currently situated is
ideal in that the rooms are used and enjoyed very much in the same
way they were onboard the ship; how they were meant to be viewed.
They are there to provide guests with a sense of ease, of beauty and16
of majesty. They are in the background, but as the above quotation
indicates, they likely never go unnoticed. Highly-visible signage,
therefore, would be intrusive and detract from the atmosphere that
naturally occurs when enjoying the rooms. Conversely, the quote
above also demonstrates the need for some type of interpretation.
One possibility is the display of small tabletop easels with an
image of the ship (to attract attention) and a brief interpretation.
This placard could direct the visitor to further interpretation
available (a more detailed interpretation located at the bar or host
station) as well the
rental opportunities and any public programming (as suggested
above). These are just a few fairly simply-implemented ways with
which to let visitors know that this truly unique décor is from none
other than the distinguished, unmatched RMS Mauretania – “the greatest
steamship ever built”.
17
Figure 1 The Mauretania Building is at center (11-7). http://maps.bristol.gov.uk/knowyourplace/
19
Figures 2 & 3 Park Street and Brandon Hill Conservation Area, Detailof building within area http://www.bristol.gov.uk/ccm/cms-service/stream/asset/?asset_id=36279293
20
Figures 4 & 5 Unfinished imitation plaster-and-timber walls Courtesy of the Bristol City Council Planning Office
21
Figure 6 Room A on inserted plan http://oceanlinersblog.org/?p=1563
Figure 7 Room B on inserted plan http://image44.webshots.com/45/8/4/4/373880404FvvERM_fs.jpg
22
Figure 8 Room C on inserted plan http://image42.webshots.com/43/7/54/19/373875419HsnXUp_fs.jpg
Figure 9 Room D on inserted plan http://djmartinsmith.com/wp-content/uploads/2010/12/java_cocktail2.jpg
23
Figure 10 Enclosed frontage of building, before renovation Courtesy of the Bristol City Council Planning Office
24
Figure 11 Storefront as it appears today with paneling just visible at right outer edge Photo by Tiffany Charles
Figure 12 Paneling inside open doorway Photo by Tiffany Charles
25
Figure 13 Open-air, roll down shutter used when facility is closed to thepublic Photo by Tiffany Charles
26
Figure 14 Historic photo of original Library dome onboard the RMS Mauretania – note the circular pattern Engineering, 1907. London: Offices ofEngineering.
Figure 15 The dome inside Java Nightclub – note the absence of circular pattern Photo by Tiffany Charles
27
Figure 16 Note the fairly simple ceiling design in this historic photo ofthe library Engineering, 1907. London: Officesof Engineering.
Figures 17 & 18 Ornate ceilings of the Mauretania Building Courtesy of the Bristol City Council Planning Office
28
Figure 19 Sycamore paneling of the library onboard Mauretania – note the texture evident in the wood Engineering, 1907. London: Offices of Engineering.
29
Figure 20 Historic moving sign on Frog Lane side of building http://k53.pbase.com/g6/37/553537/2/68582954.8CQhpnlU.jpg
Figure 21 RMS Mauretania in her heyday http://www.maritimequest.com/liners/mauretania/rms_mauretania.jpg
30
Figure 22 Mauretania decked out in dazzle camouflage of World War I http://www.merchantnavyofficers.com/Cunard/2dazzlzM.jpg
Figure 23 Historic window that cannot be replaced or altered Photo by Tiffany Charles
31
Figure 24 Wear damage to one of the original columns Photo by Tiffany Charles
Figure 25 Wear damage to paneling Photo by Tiffany Charles
32
Figure 26 More wear to the woodwork Photo by Tiffany Charles
Figure 2872 Still more use wear Photo by Tiffany Charles
33
Figure 28 Multiple staples in one of the original columns (more staples in other columns) Photo by Tiffany Charles
Figure 29 Holes of unknown purpose in one of the original panels Photo by Tiffany Charles
34
Figure 30 Evidence of damage due to humidity fluctuations: cracking veneer on one of the original panels Photo by Tiffany Charles
Bibliography:
Bird, E., 1994. The Mauretania – Nos 7-11 Park Street Bristol. [letter] Mauretania Public House Collection. Bristol. Bristol City Council Environment and Planning Archive.
Bristol City Council Environment and Planning, 2004. Development Control. [report] Mauretania Public House Collection. Bristol. Bristol City Council Environment and Planning Archive.
Bomford, A., 2010. SS Great Britain: From seabed to national treasure. [online] BBC. Available at: http://www.bbc.co.uk/news/10490928 [Accessed 29 March 2011].
Breach, P., 2011. Personal Interview. Interviewed by Tiffany Charles 24 March 2011.
35
Bristol City Council, 2011. Park Street and Brandon Hill: Character Appraisal and Management Proposa.l [online] Available at: http://www.bristol.gov.uk/ccm/cms-service/stream/asset/?asset_id=36279293[Accessed 28 March 2011].
Crandall, J., 2006. Transatlantic Steam: The Great Steamships. [online] Available at: http://www.suite101.com/content/transatlantic-steam-a4527 [Accessed 28 March 2011].
Dawson, P., 2000. The Great Liners. In: The Conway History of Seafaring in the Twentieth Century. London: Conway Maritime Press.
Edwards, J., 2011. Mauretania Bar Resurfaces. Oceanlinersblog.org [blog] 3 January, Available at: http://oceanlinersblog.org/?p=1563 [Accessed 29 March 2011].
Engineering, ed., 1907. The Cunard Turbine-Driven Quadruple-Screw Atlantic Liner “Mauretania”. London: Offices of “Engineering”.
Fox, S., 2003. The Ocean Railway. London: Harper Perennial.
Heritage Gateway, 2006. Listed Buildings Online. Heritage Gateway. [online] Available at: http://www.heritagegateway.org.uk/Gateway/Results_Single.aspx?uid=380114&resourceID=5 [Accessed 20 March 2011].
Kerschner, R. & Baker, J., 2008. Practical Climate Control: A Selected, Annotated Bibliography. [online] Available at: http://cool.conservation-us.org/byauth/kerschner/ccbiblio.html [Accessed 29 March 2011].
Maxtone-Graham, J., 1989. Cunard: 150 Glorious Years.London: David & Charles.
The Shipbuilder, ed., 1907. The Cunard Express Liners Lusitania and Mauretania. Reprint: Ocean Liners of the Past. London: Patrick Stephens. 1970.
Tym, R. & Partners & Laing, E.T., 2004. Bristol Port Economic Assessment. [online]Available at: http://www.swcouncils.gov.uk/media/SWRA/RSS%20Documents/Technical%20Documents/02.08_Bristol_Port_Economic_Assessment_Full.pdf [Accessed 29March 2011].
36
Images: [all accessed 24 March 2011]
http://maps.bristol.gov.uk/knowyourplace/
http://www.bristol.gov.uk/ccm/cms-service/stream/asset/?asset_id=36279293
http://djmartinsmith.com/wp-content/uploads/2010/12/java_cocktail2.jpg
http://image44.webshots.com/45/8/4/4/373880404FvvERM_fs.jpg
http://image42.webshots.com/43/7/54/19/373875419HsnXUp_fs.jpg
http://oceanlinersblog.org/?p=1563
http://www.maritimequest.com/liners/mauretania/rms_mauretania.jpg
http://k53.pbase.com/g6/37/553537/2/68582954.8CQhpnlU.jpg
http://www.merchantnavyofficers.com/Cunard/2dazzlzM.jpg
Bristol City Council Environment and Planning Office, Mauretania Public House Archive, Bristol.
Engineering, 1907. The Cunard Turbine-Driven Quadruple-Screw Atlantic Liner “Mauretania”. London: Offices of Engineering.
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