The street appears on map of Bromberg dated 1876,[4] but its northern part is not completed, being laid in the Brenkenhof district (today's Bocianowo).

Within time, the house numbering in the street evolved, either to account for the extension of the axis (in the mid-1880s and in 1900) or adapt the horse shoe system to the Polish rule (in 1920).

[10] The building's facades display a northern Neo-Renaissance style with elaborate ornament and scrollwork (on pediments, cartouches), balustrades, pinnacles, together with stone blocks imitation, bay windows and a mansard roof.

In addition, preserved elements are visible on the ground floor, where both carved wooden doors exhibit transom light, adorned in one case with stained glass.

[13] 1910[6] Early Modern architecture After a long period during which its plot remained a garden,[9] this tenement was commissioned by Eugen Steinborn, a master locksmith.

[12] The now-deteriorated building still displays decorated window sills, lesenes on the sides, garnished lintels, and transom lighted entrance doors.

At the turn of the 20th century, this plot was recorded as two separate houses, "4 and 4a Mittelstraße": these had the same owner, Carl Kästner, a railway administrative assistant, who inhabited 4a (present day 7a).

[9] In terms of frontages, the present day 7a building maintained better architectural motifs than its neighbour (floral design cartouches and adorned lintel).

[10] The tenement presents some hints of historicist style, especially in the round shaped bay windows on both facades combined with the upper wooden loggia on Zduny frontage.

[7] Emmy Grundtmann, née Hempel, was living at the time at "56 Wilhemstraße" (today nonexistent, at the corner of Jagiellońska and Bernardyńska streets).

[18] In the aftermath of WWI, the building sheltered orphan boys (grades I-III) from the Eastern Borderlands, while older students where housed at 20 Gdańska street.

[9][20] Thoroughly refurbished in 2020, the building displays a plethora of architectural details, among others: an adorned corner bay window supported by stucco crafted corbels, round pediments with stuccoed motifs, a transom stained glass window above the entrance door and a wooden corbel table topping both elevations.

Refitted in the 2010s, the Mansard roofed tenement displays architectural details, notably stuccoed cartouches as well as embellished window framing (lintel, pediments).

Recently renovated, the elevation boasts neo-Renaissance forms inspired by the Italian Cinquecento, including bossages and motifs.

In his next works, Józef Święcicki would elaborate further on this architectural style, as seen in the buildings at Tenement at Freedom Square 1 (1896) or at 1/3 Stary Port (1893–1905).

[25] Wedged between two large tenements, this one-story building displays plastered motifs, bossages, corbel tables and a wrought iron grille.

[26] On the renovated elevation, one can highlight the large wooden door, pedimented openings with stuccoed cartouches beneath and corbel tables.

1890s[6] Eclecticism Max Schmidt, a teacher living at "43 Elisabethstraße" (40 Śniadeckich street, now nonexistent)[25] owned this building alongside the one at 17a.

Registered on Kuyavian-Pomeranian Voivodeship heritage list, Nr.787208, A/1626 issued on February 6, 2013[28] 1891-1892[6] Eclecticism This tenement was commissioned by August Jordan, a raft builder.

1911–1912,[6] by Georg Baesler Art Nouveau, Landhaus architecture Benno Donovang was an administrative agent and first owner of this tenement at "49/50 Mittelstraße".

1911-1912[6] Art Nouveau, early Modern architecture The commissioner of this building was Anton Grabowski, a master metalworker,[31] living at "14 Blumenstraße" (today's 2 Kwiatowa street, house nonexistent).

[10] Renovated in 2020, the building features a bartizan overhanging at the corner, bay windows and numerous stuccoed motifs present in cartouches or on vertical friezes.

[11] The plain brick elevation on the street has kept many original details, from the mascaron above the entrance to the stucco-adorned openings or the decorated cartouches.

The corner building, in need of restoration, still possesses entrance door decoration, with pilasters flanking the side and a triangular pediment filled with plastered floral motifs and a smiling figure head.

Massive balconies are decorated with balustrades and the side garage entrance displays a large wrought iron fence.

The building's elongated lines, with very few concessions to decoration (except for the wall dormers and the street door) reflect the principles of the then-nascent modernism movement.

Art Nouveau elements are still visible in the decoration, with a waving line running along the elevation and with the floral stuccoed adornment of the lintels.

1900[9] Eclecticism A railway locksmith named Lukowicz, living in Charlottenburg, was listed as the owner of this building from its completion till WWII.

Late 1890s,[9] by Anton Hoffmann Eclecticism These three buildings were commissioned and held by the same investor, Kazimir Gączerzwicz, a shoe maker.

[21] All three facades exhibit the same eclectic features: Nr.53 is better preserved, Nr.55 presents an original and narrow carriage passage, and one-story Nr.57 is much smaller than the others, but retains some decorative acanthus leaves placed on the brackets adorning the windows.