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My oils can be used as bath oils, perfumes, or ritual/altar oils, & can be useful in affecting your mood and/or outlook on life. I use only the best ingredients, including all pure essential oils & rosemary extract (a natural preservative). All oils are made using jojoba oil (with small amounts of various other oils mixed in), the closest to the skin's natural oils. This allows it to absorb easily, so that your body can reap the full benefits of the essential oils in the blend. I never use synthetics; RedSunflower Designs is an all-natural business committed to natural health and is environmentally responsible. I ensure my clients get only the best quality products.
Snapped in Bath last Spring on the city sightseeing service after plenty of passengers had hopped off.
Operator: Bath Bus Company
Vehicle: Volvo B9TL / Optare Visionaire
Reg: PN10 FNS
Fleet No.: BB302
Location: Grand Parade, Bath
Date: May 25, 2024
A view of the main bath and bath house reconstructed in Georgian times on the original Roman bath site; with the Bath cathedral in the background.
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
14-17 The Circus, Bath.
Four houses in the circular development of 33 houses, three with side entrances in other streets. 1754-69.
By John Wood the Elder (1704-1754), completed by John Wood the Younger (1728-1782).
Grade l listed.
The Circus forms a pivotal element in the succession of major urban set-pieces designed by the Woods, rising up from Queen Square to the Royal Crescent, and is one of the most dramatic examples of Neoclassical town planning in the country.
Nine acres of pasture known as the Hayes were assigned to the Woods by the Garrard family in 1753, but Wood the Elder died before work got underway; nonetheless the radical conception of the Circus is thought to be his, including the soon-abandoned notion of the circular space as a place for the muscular exercises of the youth of Bath, and he lived long enough to see the foundation stone laid in February 1754.
Considerable ground levelling was required before house construction got underway. The first building leases were granted in 1755 for plots in the south-west segment; William Pitt the Elder was among the first undertakers. The northern segment was the last to be built, with leases being granted in 1764-66.
The present appearance of the centre of the Circus dates from the late Georgian period: prior to this, the Circus was entirely paved with setts. The Woods originally intended an equestrian statue of George II to grace the open space, in keeping with the Roman theme of the ensemble; a water reservoir graced the centre of the Circus until the trees were planted.
The Circus as a set-piece is unassertive seen from outside, and imposingly monumental from within. It is among the great set-pieces of Georgian architecture. The Circus was extensively restored after World War ll: the uniform glazing bars date from the 1950s (the earliest programme of wholesale replacement) and the carved masonry to the fronts has also been renewed.