The Mauretania Public House

Conservation Management Plan

Prepared by Tiffany CharlesMarch 2011

University of BristolMaritime Conservation

Archeology and Anthropology Department

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Contents

1. Historical Significance1.1 Building Location

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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

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2.2 Access 10

3. Interpretation3.1 Interpretation and Signage

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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

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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

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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

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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

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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

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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).

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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.

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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

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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

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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

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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”.

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Figure 1 The Mauretania Building is at center (11-7). http://maps.bristol.gov.uk/knowyourplace/

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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

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Figures 4 & 5 Unfinished imitation plaster-and-timber walls Courtesy of the Bristol City Council Planning Office

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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

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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

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Figure 10 Enclosed frontage of building, before renovation Courtesy of the Bristol City Council Planning Office

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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

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Figure 13 Open-air, roll down shutter used when facility is closed to thepublic Photo by Tiffany Charles

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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

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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

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Figure 19 Sycamore paneling of the library onboard Mauretania – note the texture evident in the wood Engineering, 1907. London: Offices of Engineering.

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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

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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

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Figure 24 Wear damage to one of the original columns Photo by Tiffany Charles

Figure 25 Wear damage to paneling Photo by Tiffany Charles

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Figure 26 More wear to the woodwork Photo by Tiffany Charles

Figure 2872 Still more use wear Photo by Tiffany Charles

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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

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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.

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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].

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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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