Spanning the short distance between the Roman Baths and the Cross Bath, Bath Street was built in 1791 by Thomas Baldwin. It was first called Cross Bath Street since it leads to the Cross Bath. In 1688, James II welcomed a son, nine months after his wife, Mary of Modena, bathed in the waters. The cross was erected to celebrate the birth of Prince James. This stamp of royal approval only increased the bath's popularity. Thermae Bath Spa now runs cross Bath.

The historic buildings lining each side of the street are all registered as Grade I listed buildings. It's a lively tourist destination as folks walk between the various sites of Bath. You can see the Abbey in the distance, and the west side of the Roman Baths complex is visible at the end of the road.

Bath Street is lined with shops and restaurants, making it the perfect hub for finding afternoon tea or doing some window shopping. It also acts as a time machine; the absence of shop signs and neon lights will transport you back to Georgian times. It's appealing unchanged architecture make Bath Street a popular backdrop for movie scenes. During the winter holidays, look for the streets to be lined with the Bath Christmas Market festival.

Bath Spa Railway Station, located at the southern end of Bath's city center, is a significant hub in the UK's railway network. It stands near the bustling commercial district, renowned for its modern shops and restaurants. This small yet iconic station features two raised platforms and is a prominent work of the famous British engineer Isambard Kingdom Brunel. Opened in 1840 as Bath station, it was renamed in 1949 to Bath Spa to distinguish it from the now-defunct Bath Green Park station.

Architecturally, Bath Spa Station is a notable example of Mock Tudor style and has been designated as a Grade II listed building. It forms a part of the historic Great Western Main Line, a series of stations designed by Brunel, including the Temple Meads station in Bristol.

The station is strategically well-connected, offering half-hourly fast train services to Cardiff, the capital of Wales, and London, the capital of England and the UK. Regional trains also operate from Bath Spa, serving nearby historic towns such as Bristol, Salisbury, Gloucester, and Bradford-on-Avon. Additionally, the western and southern coasts of England are accessible via trains from this station. Recently, a daily service to Glasgow was introduced, passing through the Midlands and North of England.

For passenger convenience, tickets are available in the main ticket hall, and the station is equipped with ramps and lifts, providing easy access to the raised platforms behind the main station building. Bath Spa Railway Station thus serves as a vital and historic link in the UK's transportation network, blending historical significance with modern functionality.

Bath Weir, officially known as Pulteney Weir, is a significant and picturesque structure located in Bath. This horseshoe-shaped weir, prominently featured on maps since 1603, has played a vital role in the town's history and infrastructure.

Originally constructed in the late Middle Ages, the primary purpose of the Pulteney Weir was to prevent the River Avon from flooding the town of Bath. Over the centuries, it has undergone various modifications, with a significant reconstruction in the early 1970s. This renovation transformed it into its current and now-iconic V-shape design, which enhanced its effectiveness in controlling water levels and regulating the river's flow.

A stone's throw upstream from the weir lies the historic Pulteney Bridge, completed in the early 1770s. This bridge, designed by the esteemed architect Robert Adam, was named in honor of William Jonestone and Frances Pulteney, who secured the funding for its construction from Parliament. The Pulteney Bridge is a marvel of architecture and urban planning, distinguished as one of only four bridges in the world with shops spanning its full length on both sides.

The bridge replaced the need for a ferry, as it crosses the River Avon, connecting the city center with the land on the other side of the river. It has since become a popular destination for walking, shopping, and sightseeing, offering a breathtaking view of the weir and the surrounding landscape. The combined beauty of the Pulteney Weir and Bridge makes this area a cherished landmark and a must-visit location in Bath.

Bath is a city of unique landmarks, and none are more recognizable than the Pulteney Bridge. Depending on who you trust, there are only one, two, or three other bridges in the world that are lined with shops. Whatever the exact number is, there certainly aren't many others like it.

The bridge opened in 1774 and was designed by Robert Adam. The bridge was the brainchild of William Johnstone Pulteney, who named it after his wife, Frances. His vision was to create a new town nearby, but he needed a grand bridge to connect it to Bath. Adam's design was drafted in the Palladian style, harking back to the 16th-century Venetian architect Andrea Palladio.

The Pulteney Bridge is a World Heritage Site and an English Grade I Listed Building. You will find restaurants of various cuisines, independent shops, and Bath Rugby Club's official store along the bridge. The roadway is a busy thoroughfare through Bath to this day.

The best views of the bridge are actually from the south side, either from the Parade Gardens or the Beazer Garden Maze.

To the south, the River Avon flows over the crescent weir. The shops on the north side were heavily altered and expanded by these owners in the 18th and 19th centuries. Their cantilevered floorplans show in stark contrast to the beautiful Georgian stone bridge as viewed from the south.

At 1,000 feet long and 100 feet wide, the Great Pulteney Street is the most impressive in Bath. The houses along the street were commissioned by Sir William Pulteney and designed by Thomas Baldwin. Mr. Baldwin designed the exterior facade to be unifying. However, the houses and hotels behind the facades are all unique.

Great Pulteney Street would have been very familiar to Jane Austen. From her residence at Sydney Place, she would have walked Great Pulteney Street to reach the center of town. In Northanger Abbey, Catherine Morland's aunt and uncle the Allen's had lodgings in Great Pulteney Street, and it was here that Catherine stayed during her time in Bath. The Allen's house was considered enormous and very fashionable.

Don't miss Laura Place, connected to Great Pulteney Street. In Persuasion, the Elliot's wealthy cousins, the Dowager Viscountess Dalrymple and the Honourable Miss Carteret, resided at the very prestigious and fashionable Laura Place.

Sydney Gardens, originally named Bath Vauxhall Gardens, is a significant public open space located at the end of Great Pulteney Street in Bath. Esteemed for being the only remaining eighteenth-century pleasure gardens in the country, these gardens hold a prestigious Grade II listing on the Register of Historic Parks and Gardens of special historic interest in England.

The gardens were initially laid out in the 1790s, based on the designs of Thomas Baldwin, which were later completed by Charles Harcourt Masters. They were designed as gardens with attractions like a maze, grotto, sham castle, and animated rural scenes. These gardens were a hub for social events like promenades, public breakfasts, and were frequented by notable figures such as Jane Austen. Jane Austen, seeking solace from city life, found refuge in the natural beauty of the gardens, where she could indulge in flower gardens, breakfasts, picnics, and outdoor concerts. She even mentioned in a letter how the fireworks and illuminations in Sydney Gardens exceeded her expectations.

Throughout history, the layout of Sydney Gardens has been influenced by the construction of the Kennet & Avon Canal in 1810 and the Great Western Railway in 1840, both of which pass through the park. Despite a period of decline, the gardens were purchased by the local council in 1908 and reopened as a public park. Since 2015, efforts have been made to enhance the park's environment and offer additional attractions to visitors.

One of the central features of Sydney Gardens was the Sydney Hotel, now the Holburne Museum, which served as the focal point for entertainment. Other historical structures include walls and bridges associated with the canal and railway, small buildings now referred to as the pavilion and Minerva's temple, and the public conveniences, all of which are listed buildings.

Crossing the River Avon north east of the city centre, Cleveland Bridge connects Bathwick on the eastern side of the river with the A4, leading out of town towards Bristol and London. This route heading north from the historic city centre has been a major trade route for the town throughout its history. The Georgian expansion of Bathwick led to a need for a bridge across the river at this location. The bridge was designed by Henry Goodridge, and opened in 1826. The bridge was constructed to carry horse drawn carriages across the river, and has since been reinforced to cope with heavier traffic.

The four distinctive buildings on each corner of the bridge, which resemble miniature Greek temples, were designed as toll houses. The building of the bridge was funded by local investors, who requested a toll be placed on traffic crossing the bridge. Goodridge insisted on the construction of four separate booths to fit his symmetrical, Neoclassical design. Only one of the buildings was ever used for this purpose – the others were used as shops and small dwellings, and still are to this day. One of the toll houses is currently used as a studio by world famous sculptor Peter Hayes.

Camden Crescent is located just off Lansdown Road, the main route from the city center into the historic northern suburbs of Bath. The crescent stands on the edge of Margaret’s Hill, an impossibly steep slope that leads down to the A4 and the River Avon beyond. From the ornate railings opposite the main row of houses, visitors can expect a stunning view of the river below, following a brief if steep walk from the eastern edges of the city center. Camden Crescent appears to be perched almost precariously at the edge of the hill, and this perilous placement has lent it a unique architectural feature.

Designed in 1788 by John Eveleigh, Camden Crescent once descended slightly down the hill to the East. A landslide in 1889 caused nine houses to collapse at the eastern end of the crescent, and they were never replaced. As a result, the Grade I listed crescent remains uniquely lopsided. The central pillars, a common feature in symmetrical crescents, no longer sits in the middle of the crescent, but instead leans to the east, adding a quirky feel to this unusual crescent, well placed closer to town than more perfectly formed streets further along Lansdown Road.

The Royal Crescent in Bath is a notable example of Georgian architecture. It comprises 30 terraced houses, designed by John Wood, the Younger, and constructed between 1767 and 1774. Recognized as a Grade I listed building, the Royal Crescent is a testament to the architectural grandeur of its time and remains a significant historical and cultural landmark.

Spanning 500 feet (about 150 meters), the crescent is distinguished by its 114 Ionic columns on the first floor, supporting an entablature designed in the Palladian style. This design element contributes to its classical and elegant appearance. The Royal Crescent holds the distinction of being the first crescent of terraced houses ever built, embodying the concept of "rus in urbe" or "the country in the city," thanks to its overlooking views of the parkland opposite.

Throughout its history of over 240 years, the Royal Crescent has been home to many notable figures, commemorated by plaques on the relevant buildings. The configuration of the crescent has evolved; of the original 30 townhouses, 10 remain full-size, 18 have been converted into flats of various sizes, one serves as the No. 1 Royal Crescent museum, and two (No. 16 and No. 15) now form The Royal Crescent Hotel & Spa.

Constructed primarily from Bath stone, these houses have slate roofs, although they were originally tiled with stone. The external appearance of each house is remarkably similar, with only minor variations such as some featuring small balconettes on the first floor. Many windows have been restored to their original style with glazing bars, replacing the horned plate glass sash windows installed in later centuries. Despite various internal modifications over the years, the Georgian stone facade of the Royal Crescent has been meticulously preserved, maintaining much of its original aesthetic and charm.

Tips:
No. 1 Royal Cresent is a museum. Here you'll find it preserved as a historic house, with rooms, furniture, pictures, and other items depicting Georgian life between 1776 and 1796. Among the fully furnished and appointed rooms you can tour, there is a Parlour, a Gentleman's Retreat, a Withdrawing Room, Servant's Hall, Kitchen, and Scullery.

Originally called the King's Circus, The Circus was finished in 1768. The design was formulated by architect John Wood Sr., but he died during construction, and his son finished the project. The plaza consists of three large townhouse buildings, all forming a perfect circle at the meeting of Brock, Gay, and Bennett Streets. The name "Circus" comes from Latin and means a ring or circle.

John Wood Sr. was known for his appreciation of symbology. He admired the Druids and was convinced that Bath had been the hub of much Druid activity in Britain. As such, he studied Stonehenge and built The Circus with the same diameter. He also included many emblems in the design, with serpents, nautical symbols, acorns, and keys from masonic lore. In all, there are more than 525 pictorial emblems and symbols used. The entire design, when viewed from above, looks like a masonic key. A ley-line joins it to the Royal Crescent, which some believe represents the sun and the moon in their designs.

Many wealthy and famous have lived in The Circus over the years. Thomas Gainsborough lived here in the 1700s, and Nicolas Cage had a flat here for awhile. It's also said that if you wander the center plaza, you can find one precise point where all sound will echo.

The building is a Grade I listed building, and like many others in Bath, it is a fine example of Georgian architecture. Each level's facade is designed in a different classical order-Greek Doric, Roman Composite, and Corinthian.

The Paragon, located in the Walcot area of Bath, is a renowned street notable for its Georgian architecture. This historic street is characterized by a series of elegant Georgian houses, each designated as listed buildings, exemplifying the architectural style of the period.

Designed by Thomas Warr Attwood, the street is distinguished by its uniform houses, which contribute significantly to the area's architectural heritage. Numbers 1 to 21 on The Paragon are three-story houses, each featuring mansard roofs. A notable aspect of these buildings is their symmetrical design, with matching doors and windows. The central pediments and flat entablatures flanking the first-floor windows add to their classical Georgian charm. Additionally, the doorways are adorned with Tuscan pilasters and pediments, enhancing the street's aesthetic appeal.

The theme established by the houses from numbers 1 to 21 is seamlessly continued in numbers 22 to 37. These additional houses were completed in 1775 by Joseph Axford, a local mason. The continuity in architectural style across these numbers showcases the planned urban development characteristic of Georgian Bath.

The Paragon's historical significance is further enriched by its possible roots as a Roman road. It is believed to have originated from Aquae Sulis, leading north and connecting with the Fosse Way. Although mapping evidence suggests a medieval origin, the area of Walcot, where The Paragon is located, has a history of Roman residential development dating from the 1st to 3rd centuries.

Notably, Jane Austen visited No. 1 The Paragon on two occasions, which happened to be her aunt's residence. Her first visit was for a casual stay, while her second stay served as temporary accommodation while she searched for her own place to live. Now, you have the opportunity to rent The Paragon as your dwelling and follow in the footsteps of Jane Austen, exploring the places she frequented and even recreating the dances of her beloved characters.

Thomas Lightholder built Milsom Street in 1762. Designed initially as houses, they were converted into shops. Milsom Street was the most popular shopping street in Bath during Jane Austen's time. Austen was sure to have spent many hours strolling Milsom Street and admiring bonnets, ribbons, and muslins. She wrote letters to her sister Cassandra detailing the latest fashions seen along Milsom Street.

Her characters not only shopped and strolled but experienced chance meetings on Milsom Street. In Northanger Abbey, Isabella Thorpe remarked to Catherine Morland, "I just saw the prettiest hat in a shop window in Milsom Street". Northanger Abbey's General Tilney had lodgings on Milsom Street.

In Persuasion, Anne Elliot comes across Admiral Croft on Milsom Street. He is in such deep contemplation of a painting in a shop window that it takes Anne several attempts to catch his notice. The Admiral laughs and mentions that he can never go past this shop without stopping. Anne Elliot later visits Mollands, a trendy pastry and confectionary shop at that time. It was here that Anne Elliot had a surprise meeting with Captain Wentworth.

Not much has changed on Milsom street since Jane Auten's time. Shops still sell the latest fashions, and peckish shoppers are sure to find a sweet treat to enjoy. Milsom Street has been voted "Britain's Best Fashion Street".

The Baths at Bath are fed by a natural spring system. Rain falls on the nearby Mendip Hills, and it flows down through limestone aquifers until it is more than 4,000 meters (13,100 feet) below ground level. Geothermal energy heats and pressurizes the water, which rises to the surface and escapes through natural fissures. The 46-degree Celcius (115-degree Fahrenheit) water bubbles up at more than a million liters (250,000 gallons) per day.

This natural spring has attracted visitors to the area for more than 2,000 years. The Celts worshiped here, and the early Romans dedicated the springs to the goddess Sulis. As such, the Roman name of the town was Aquae Sulis. It is also believed that pre-Roman British king Bladud built the original baths here and that their healing powers cured him and his pigs of leprosy.

Between 60 and 70 AD, the Roman temple was built. The Baths, or thermae, were created over the next 300 years or so. After the Romans withdrew from Britain, their complex fell into disrepair and was gone by the 6th century.

Today the spring is housed inside an 18th-century building designed by John Wood, the Elder, and John Wood, the Younger. The buildings were further expanded during the Victorian era in a similar style. The main entrance is currently through the Grand Pump Room, where visitors drank the waters and many social functions were held.

Why You Should Visit:
The Roman Baths intricately connect all points of Britain's history. The natural spring has been worshipped or visited by every resident and conqueror to pass; a visit to the Baths is a walk through time. The Baths are quintessentially unique to this location, and no visit to Bath would be complete without taking the waters, so to speak.

The site is one of the most popular tourist attractions and one of the finest historical sites you can visit in northern Europe. It is remarkably well preserved, with elements on display from each phase of its history.

Tips:
The museum is the place to go to learn the history of the Baths. There you will find thousands of Roman artifacts from the area, many thrown in the spring as an offering to Sulis.

Most people spend from two to three hours to a half-day touring the Baths and museum.

Unfortunately, you can no longer swim in the Baths. But there are several smaller spas nearby that capitalize on the same spring system, and aquifer-drawn water is still served in the Grand Pump Room.

The Abbey Church of Saint Peter and Saint Paul, commonly referred to as Bath Abbey, is a parish church of the Church of England and used to be a Benedictine monastery in Bath. It was established in the 7th century, underwent reorganization in the 10th century, and was reconstructed in the 12th and 16th centuries. A significant restoration project led by Sir George Gilbert Scott took place in the 1860s.

This church is a notable example of Perpendicular Gothic architecture in the West Country. In the past, it also served as a cathedral for a period but later, after disputes between church officials in Bath and Wells, the Diocese of Bath and Wells was centered at Wells Cathedral. The Benedictine community that resided here was disbanded in 1539 during the Dissolution of the Monasteries.

The church has a cruciform design and can accommodate up to 1,200 worshippers. In addition to being an active place of worship, it hosts various civic events, concerts, and lectures. There's a museum showcasing its heritage in the basement.

Bath Abbey is recognized as a Grade I listed building, with a notable feature being its impressive fan vaulting. Inside, you can find war memorials dedicated to the local population and monuments honoring several significant individuals, including wall and floor plaques and commemorative stained glass windows. The church houses two organs and a set of ten bells. On its west front, you can see sculptures depicting angels ascending to heaven on two stone ladders, symbolizing Jacob's Ladder.

Why You Should Visit:
The Abbey is a gorgeous historic building that is worth seeing in its own right. The church is 225 feet long and 80 feet wide.

About 80 percent of the Abbey's wall space is dedicated to windows; the stained glass is spectacular! Specifically, look out for the King Edgar Window, which shows the crowning of King Edgar the Peaceful, and The Great East Window, which shows the story of Jesus in 53 scenes.

Tips:
Keep an eye out for the 635 various memorials on the walls throughout the Abbey.

You can spend a few minutes or an hour and more exploring the Abbey. If you only have 15 minutes, you can take a quick walk, admire the windows and carved angels, and see the fan vaulted ceilings. If you have time for a more extended tour, you can spend more time reading the memorials or reflect or pray in the chapels.

Keep an ear open for the impressive Klais Organ that is played every Sunday and for regular recitals. Organs have been played in the Abbey since 1634, though the current model is newer. The organ was entirely rebuilt by Klais in 1997, using many parts from historical instruments in the building.

Look for the sculpture on the west side of Jacob's Ladder, complete with angels climbing to heaven.