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Day trip to Bath Spa in Somerset England. Bath Abbey, The Roman Baths, River Avon, City Centre, Pulteney Bridge, Bath Weir and Parade Park
I'd hoped to get some rather distorted looking faces, but aside from the natural distortions, didn't have much luck! It was a bit concerned that the images would look like shots of a drowned person, hence my decision to crop as much of the tub out .
Pulteney Bridge is one of only four bridges lined with shops in the world, but Robert Adam's creation has more than novelty value. His graceful composition is one of the unqualified successes of English Palladianism and provides the perfect integrating link between two halves of a Palladian city.
Across the River Avon from Bath lay the 600 acre estate of Bathwick. This was entirely rural when it was inherited by Frances Pulteney in October 1767, but its potential was obvious. No other English spa could rival Bath in this period and the city was in the midst of a building boom. Frances was married to an Edinburgh lawyer, William Johnstone Pulteney, and this energetic and frugal Scot immediately began to make plans to develop his wife's estate. His first problem was that the only direct route from Bath to Bathwick was by ferry. By February 1768, he was conferring with Bath City Council about a new bridge. At first Pulteney contemplated just a simple, functional bridge, designed by a local architect, but by the summer of 1770 the brothers Adam were involved and the plans had undergone a dramatic change.
Pulteney had approached the Adams with his new town in Bathwick in mind. We may guess that Robert Adam then suggested putting shops on the bridge. He had visited both Florence and Venice, where he would have seen the ancient Ponte Vecchio and the striking Ponte di Rialto. But the most direct influence on Adam was clearly Andrea Palladio's rejected design for the Rialto. Stripped of its heavier ornamentation, this tribute to ancient Rome emerged from Adam's hands as the coolest of English understatements.
Pulteney Bridge was complete and ready for occupation in late 1773, but tenants were slow to come forward. The shock of the American War of Independence had fallen like an axe on Bath's development. The plans for Bathwick were shelved and for many years, Adam's elegant and urbane bridge led out onto meadows, rather than a Palladian townscape. When building eventually began in March 1788, it was Thomas Baldwin, a Bath architect, who provided the detailed plans. Pulteney Bridge was left as Adam's only work in Bath.
After a long and varied history restoration was finally executed in time for the Festival of Britain in 1951. Then in 1975 the Georgian Group partially restored the southern street facade to mark European Architectural Heritage Year. Now the restored bridge is a delight to photographers and one of the enduring images of Bath that visitors take away with them.
A creative attempt with HDR and selective colour taken at The Circus, Bath, UK.
Processed in Lightroom 6
Bath & Body Works (2,790 square feet)
3320 Silas Creek Parkway, Suite 3324, Hanes Mall, Winston-Salem, NC
An afternoon in Bath in Somerset.
This time, we got a Park & Ride bus, then after lunch walked to the Pulteney Bridge to get a River Cruise in a boat up the River Avon.
South Parade, Bath
Grade I Listed Building
Description
SOUTH PARADE
656-1/15/1504
No.1
(Formerly Listed as:
SOUTH PARADE No.1. Nos 2
and 3 (Farrell's Hotel).
Nos 4-8 (consec)
(Pratt's Hotel))
12/06/50
GV I
House, now mixed use. 1743. By John Wood the Elder.
MATERIALS: Limestone ashlar, with Welsh slate roof.
PLAN: Double depth terrace house with three bays to South Parade and four bays to Pierrepont Street.
EXTERIOR: This three storey house, with attic and basement, and projecting forward from its neighbours, forms the left-hand end of a Palladian palace-fronted terrace, twenty-nine bays in all, arranged three : seven : three : three : three : seven : three. Platband at first floor level, inscribed in capitals `SOUTH PARADE¿. Modillion cornice, balustraded parapet. Windows are late C19 plate glass sashes, but in unaltered openings with plain architraves and cornice heads on first floor. Six panel door with pediment on console brackets. Wrought iron front area railings in place of the original stone balustrade; basement window openings blocked. Mansard roof with two flat topped dormers, ashlar stack without pots. Elevation to Pierrepont Street of four bays, the southern three projecting forward as part of the end of terrace emphasis. Aedicular door surround with pediment carried on consoles in second bay from right; panelled door, altered. Matching window surrounds to front elevation; left-hand pair with C19 plate glass windows, right-hand pair of blind windows, that on ground floor to right of door missing. Sill band to first floor, inscribed `PIERREPONT STREET¿ in sunk capitals. Modillion cornice, parapet, three flat topped casement dormers. Wrought iron area railings.
INTERIOR: Not inspected.
HISTORY: Wood ('Essay', p.248) records the corner house on South Parade as being built in 1743, the first part of the street to be constructed. Part of the uncompleted John Wood scheme for the Abbey Orchard, 1740-1749, and thus part of one of the major urban developments of the day, built to a single overall design. This prominent corner house is notable for retaining its stone parapet balustrade: the others have been largely dismantled.
SOURCES: John Wood, 'A Description of Bath' (2nd ed. 1765, repr. 1969), 248 & 349-51; Walter Ison, `The Georgian Buildings of Bath¿ (2nd d. 1980), 137, 229; Mowl T and Earnshaw B: `John Wood Architect of Obsession¿ (1988), 135-147; James Lees-Milne and D. Ford, `Images of Bath¿ (1982), 608.
Listing NGR: ST7525464628
Project 365: Day 42
This is my youngest child rocking the mohawk while taking a bath.
I love his smile in this picture.