Nos. 2-17 (Consec) With Attached Railings

Gay Street comprises sixteen terrace houses stepped uphill from Number 2, built between 1755 and 1760 by John Wood the Younger, with 19th and 20th century alterations. All building leases were dated 23rd January 1755.

The houses are constructed of limestone ashlar with Welsh slate roofs. Chimney stacks are positioned on the left party walls, many retaining hand-thrown chimney pots. The houses follow double-depth plans.

The terrace displays three storeys with attics and basements. Individual properties vary between two, three, and four-window ranges. Originally, each house featured a coped parapet, stopped cornice (mostly with two dormers), first floor sill band, ground floor platband and plinth. Windows were six/six-pane sashes with moulded architraves and splayed reveals, whilst first floor windows had cornices. Doors were originally set back to the right with eight raised and fielded panels, though many have been cut down to accommodate overlights.

Number 2 has a three-window range with two dormers containing three/six-pane sash windows with splayed reveals. The remaining windows are six/six-pane sashes and the first floor sill band has been restored. The left return in Queen's Parade Place presents a four-window range with blind windows and a wall panelled with recesses, articulated by quoin and central pilasters. A pediment crowns the returned parapet and cornice, with the frieze formed as a blind balustrade with blocking. Although the elevational treatment suggests Wood's influence, it was actually undertaken by CE Davis in an unusually respectful revivalist manner following the demolition of Number 1 to create a road to Royal Victoria Park in 1870, as recorded in the Bath Chronicle of 23rd August 1870.

Number 3 has a three-window range with six/six-pane sash windows to two dormers and the left basement window (the right basement window is two/two-pane). Main floors have plate glass sashes, first floor sills are lowered, and there is a six-panel door with narrow overlight. The basement is painted ashlar.

Number 4 features a three-window range with plate glass sash windows in painted reveals, lowered sills and simple balconettes to the first floor, a six-panel door with overlight, and painted ashlar to the ground floor.

Number 5 has a three-window range with six/six-pane sash windows, restored first floor sills, a seven-panel door glazed at the top, and painted ashlar to the basement.

Number 6 presents a three-window range with six/six-pane sash windows to dormers and basement, plate glass sashes with painted reveals to the remainder, lowered sills to first and ground floors, and a six-panel door with overlight.

Number 7 has a three-window range with plate glass sash windows, lowered first floor sills, and a six-panel door with overlight.

Number 8 has been substantially altered and has a three-window range. Two dormers contain two/two-pane sash windows, whilst the remainder have six/six-pane sashes with painted splayed reveals. The second floor features a triple window with continuous sill. The first floor has a similar triple window with an entablature stepped forward with a pediment at centre, supported by Corinthian pilasters rising from a plinth with blind balustraded aprons below the windows. The ground floor is articulated by more substantial Corinthian pilasters rising from a plinth to support a deeper entablature. The friezes of the pilasters and lintels between are ornamented with richly carved festoons. A six-panel door positioned between the right-hand pilasters has a reeded lintel and overlight, with a small circular window to the right and a lead downpipe to the left.

Number 9 has a three-window range with three dormers, plate glass sash windows, lowered sills to first and ground floors, and balconettes to the first floor. The door has been reduced to six panels and features a large overlight containing a circular central pane flanked by inverted drop-shaped panes. The doorcase has half-round Ionic columns on pedestals supporting a dentil cornice.

Number 10 features a three-window range with plate glass sash windows (those to the first floor have larger lower panes), lowered sills and balconettes. The door and doorcase are similar to Number 9 but with a plain overlight and fluted frieze to the entablature.

Number 11 has a three-window range with plate glass sash windows and six/six-pane sashes to the basement, late 19th century scrolled balconettes and lowered sills to the first floor, and a six-panel door with overlight.

Number 12 presents a three-window range with plate glass sash windows, lowered sills to the first floor, and a six-panel door with overlight.

Number 13 has a three-window range with six/six-pane sash windows to dormers and basement, plate glass sashes to main floors, and lowered sills to the first floor. The doorcase features double stepped forward square Tuscan columns and a pediment over a five-panel door glazed at the top.

Number 14 features a three-window range with six/six-pane sash windows. The first floor sill band has been restored. The six-panel door has a reeded lintel and overlight.

Number 15 has a three-window range with six/six-pane sash windows to dormers and basement, plate glass sashes to main floors, lowered first floor sills, a reeded lintel to the six-panel door with margin-paned overlight, and a lead downpipe to the left.

Number 16 presents a two-window range with plate glass sash windows. The architraves have not been splayed and the sill band survives. A late 19th century four-panel door has elaborate wrought iron grilles over the glass, with a narrow leaded window to the right of the door.

Number 17, the right terminal house, is set back from the rear of Number 1 The Circus to the right. It has a single-depth plan with a rear left wing and a four-window range. The windows are six/six-pane sashes with some crown glass. The architraves have not been splayed and first floor sills have been slightly lowered. The doorcase, positioned left of centre, has engaged Ionic columns, an entablature with modillion cornice, and a mask keystone over a semicircular fanlight.

Interiors retain varying degrees of original fabric. Number 3, inspected by Bath Council in 1983, has original stairs with Doric colonnettes, original bay windows, a black, white and gold marble fireplace, and an original dresser in the basement. Number 5, partially inspected by Bath Council in 1981, features an elliptical beaded arch in the central ground floor wall, a Victorian white console fireplace, a hall with panelled dado and deep central panelled arch. Number 6, inspected by Bath Council in 1973, has raised plaster panels above the dado rail. The basement contains two chamfered beams, a Victorian range and food cupboards with open wooden fretwork ventilation grilles. There is a fine classical cornice in the front room and plaster panelling continues up the staircase. Number 9, inspected by Bath Council in 1972, has a fine wooden dresser in the basement with Doric columns, a black and white marble tiled hall, timber panelling in the hall above dado level, plain tiles from dado to floor, fine ceilings on the ground floor, an oak board floor in the front room, and original features retained throughout. Number 10, inspected by Bath Council in 1972, has a Sicilian marble fireplace with panels and keystone, a black marble Edwardian fireplace to the rear, and a fine basement dresser similar to Number 9. Number 11's basement has been converted into a flat. Number 12, inspected by Bath Council in 1973, has open wood dogleg stairs, original panelling and mouldings, timber dado and panelling in the front room, original 'L' shaped hinges on doors, but the basement has been completely modernised. Number 14, inspected by Bath Council in 1990, has original wooden dogleg stairs with Doric newel and panelled dado with pilasters opposite the newels, marble fireplaces on the ground floor, simple mouldings though many have been replaced or removed, and an original brass rim lock on the third landing door. Number 17, inspected by Bath Council in 1979, has original stairs with Doric colonnettes and an enormous wreath at the base, Regency fireplaces, and panelled dado.

Each house has attached spearhead iron railings with gates to the basement.

Number 8 was once known as the 'carved house' and its original lease was with Prince Hoare, the sculptor. Mrs Piozzi, friend of Dr Johnson, lived there in 1781, as commemorated by a bronze plaque. She moved to Bath in 1781 following the death of her first husband Edward Thrale and stayed until her marriage to Mr Piozzi in 1784, 'to the surprise of nobody but the disgust of all'.

Gay Street is named after Robert Gay, a surgeon of Hatton Garden and landowner of this area. Leases were granted a few months after the death of John Wood the Elder in May 1754. The road forms a steeply rising link between Wood's two principal urban set-pieces. The southern part, now comprising Numbers 31-41 Gay Street, were originally known as Barton Street and predated the remainder of the street by some 20 years.