They're right there in your breakfront, but when did you use them last?
|
|
To the side, a formal dining room includes a built-in mirrored breakfront flanked by china cabinets.
|
|
There's a flat-screen TV, and a breakfront with shelves holding liquor and some perfectly nice glasses.
|
|
But it's the Jefferson sideboard, wood top and breakfront deck base from the Alexa Hampton Collection that really racked up the charges.
|
|
In 2500, he dispatched a Regency breakfront bookcase for $218,219; in 2016, the sales price of an equivalent piece had plummeted to $1,300.
|
|
CNN reported that the set includes a table, sideboard and breakfront, all made out of mahogany, as well as 10 mahogany chairs that have a blue velvet finish.
|
|
One way that Margaret copes with her regret is by walking over to the breakfront and silently pouring herself a little red wine: self-medication may be a habit.
|
|
The furniture included a table, sideboard, breakfront -- all in mahogany -- and 10 mahogany chairs with a blue velvet finish, according to Sebree and Associates and purchase documents obtained by CNN.
|
|
It was the second time the men had been in the store, with its antique chandeliers and walls of breakfront cabinets filled with vases, ornate clocks, statues and other finely wrought objects.
|
|
Make a strawberry fool for dessert, and you can imagine yourself in a classic 8 somewhere on Park, lots of Asprey in the breakfront, nothing to do after dinner but read Paul Mellon's memoir and think.
|
|
The $31,303 dining set includes a table, sideboard, breakfront -- all in mahogany -- and 10 mahogany chairs with a blue velvet finish, according to the company that sold the furniture to the agency and purchase documents obtained by CNN.
|
|
The banquet cloth of embroidered linen went down, and the Sunday-best china came out of the breakfront, as did the real sterling and the crystal wine goblets; after I attained drinking age, I delighted in assembling an array of them.
|
|
Washington (CNN)A $53,25 dining set the Department of Housing and Urban Development purchased, which raised eyebrows when first reported Tuesday, includes a table, sideboard, breakfront -- all in mahogany -- and 2000 mahogany chairs with a blue velvet finish, according to the company that sold the furniture to the agency and purchase documents obtained by CNN.
|
|
Still, the place is minimally outfitted, which is the point: A tall armoire from the 1970s by the Lille-based design duo Guillerme et Chambron is topped by a pair of midcentury ceramic lamps with custom rush-covered shades that call to mind bales of hay in a Provence meadow; in the kitchen sits a Pierre Cardin table from the 1970s near a 1960 Paul McCobb breakfront with wicker sliding doors.
|
|
Warmington and Ward's photos, Vol. 2, pp. 195-97 A telephone booth and post box are in now front of the breakfront. The quarters behind is an asymmetrical two-storeyed house with a projecting breakfront set on the southwest end, a terracotta tiled roof in the Marseilles pattern, horn finials, simple gabled roof endings, and a brick chimney with textured stucco and face brick capping.
|
|
The main roof of the station is a hipped gable with a short transverse hipped gable over the northern breakfront and a segment in the roof over the smaller, southern breakfront. The roof is sheeted with corrugated steel. The former west end wall of the building was demolished to create a larger room by the addition of a timber extension. Internal: The original linear floor layout arrangement remains intact.
|
|
Horizontal Moderne style with steel frame windows. Vertical emphasis breakfront at north end indicating stairwell. Steel awning at street level over vehicle entrances. ;South elevation: Cement rendered above adjacent building.
|
|
The roof was converted to a transverse gable form with the breakfront across it, balanced asymmetrically by a gabled dormer vent. The largest roof feature, though, was the new lantern, an octagonal, heavily layered design with an ogival metal-clad roof and weather-vane finial. A gabled parapet terminated the roof at the west end, and below that was a bay repeating the central bays on the breakfront and counterbalancing the mass concentrated at the other end of the elevation. The early chimneys appear to have been removed.
|
|
The breakfront was very noted and won a prize. In addition to the breakfront, they also entered various church furnishings, which was their company emphasis. Kitson family oral history tells of many trips which William took to South America to personally select the mahogany and other woods for various projects. Ellin & Kitson as well as Ellin, Kitson & Co worked with many famous architects and designers of the time: Thomas Wisedell, Robert J Withers, Frederick Law Olmsted, Richard Morris Hunt, J. Cleaveland Cady, George B. Post to name a few.
|
|
A two-storeyed red face brick building, the former Wynnum Ambulance Station occupies a prominent site on the corner of Tingal Road and Cedar Street, Wynnum with the main elevation to Tingal Road. The building is positioned to the front of the allotment and is highly visible in the streetscape. Sitting on a plinth of blue bricks, the building is symmetrical about a parapeted projecting breakfront. The breakfront has two wide doorways with bifold doors for vehicle access at ground level and two large recessed arched windows at the upper level.
|
|
1882: initial construction.1898: a Federation Free style envelope and breakfront postal hall added around the original building under Walter Vernon's aegis as New South Wales Government Architect. George Oakeshott may have been the designer. 1910: addition of the telephone exchange.
|
|
The National Inventory of Architectural Heritage describes it as a detached five-bay, three-storey house, built c. 1750, having a pedimented central bay to the front, a two-storey extension to the rear, and a recent front porch addition. The gabled chimney-stacks, lack of depth in plan and pedimented breakfront are said to indicate an early construction date, with the window proportions, door opening and breakfront being typical of its time. Parkland once existing to the south of Carhue House has been lost to river erosion following the River Lee hydroelectric scheme of the late 1950s.
|
|
The front of the building addresses William Henry Street and is a symmetrical composition of face brick with sandstone dressings in three bays, the centre one treated as a breakfront accommodating as entrance porch. There are projecting sandstone string courses at first floor level, window sill level and transom level. The parapet has a row of vertical recessed panels on each side of a raised and panelled centre section, giving the breakfront the character of a triumphal arch. The entry bay has a round arch with bullnosed intrados and moulded stone imposts at window transom level.
|
|
Alterations to interiors generally, especially at north end where new extension built. Further investigation needed. Building altered when north end extended. Original building had central breakfront at main entry on east facade with open two-storey verandahs on north side of entry has been completely altered obscuring original symmetry.
|
|
Breakfront and symmetrical arrangement of west facade appears to be original. Building has decorative bracketed eaves. East facade altered when new extension at north end added in 1956. Two-storey verandahs retained but enclosed south side of entry and demolished and rebuilt as part of new brick extension on north side of entry.
|
|
The letters QATB sit at the top of the parapet below an entablature composed of a plain cornice and chunky dentils. The spandrels below the arched windows contain the words Wynnum Centre. The breakfront is flanked by bays framed by pilasters. At ground level each bay has a single doorway defined by a small plain projecting canopy.
|
|
This arrangement framed a central door and two tall flanking casements on the ground floor, with 1:2 "Norman Shaw" light divisions; on the upper floor an arched central window with paired casement was set between two tall flanking windows with glazed roundels overhead, resembling a Serlian arch or transformed triumphal arch. The central window is also fronted by a waisted balustrade framing a balconette. The vigour of this breakfront largely submerged the former elevation, which was masked further by the replacement of its cast iron columns with a set of astylar pilasters backed by piers, and topped with scroll consoles supporting the upper verandah. This verandah floor was profiled by a frieze running across through the breakfront and then on around the base of the clock tower.
|
|
The postal hall breakfront wing is in exposed face brick with three stilted arched windows. These are divided into two plain-paned hinged casements in the lower parts and fixed multi-pane lunettes in the upper. The postal hall wing has a flat roof concealed behind a parapet. The original door that accessed this balcony has been replaced by a new panel door.
|
|
The centre arch over the entrance door is slightly wider than the others. The upper floor consists of pilasters standing on a string course and supporting a strong cornice at roof level. The two wings are both similar with a three-bay breakfront surmounted by a pediment. It is the only one of Dublin's great Georgian houses which still serves its original purpose.
|
|
The bifold doors to the right hand side doorway have been replaced with aluminium framed glass sliding doors. Prominent cream rendered banding wraps the building and gives emphasis to the corners and the breakfront. The double doorway main entrance is defined by a plain projecting cornice sitting on three heavy brackets. Plain rendered arches with prominent keystones frame the central upper level windows.
|
|
A large brick gable on the east side facing Patrick Street marks the original entry and is emphasized by a breakfront in the verandah. The verandah feature fibrocement panels to the bottom with brick base and band single-pane louvered windows to the upper portion. A brick chimney is located on the kitchen side of the building. Internal: The floor layout of the barracks has been altered.
|
|
Together they entered a mahogony breakfront in the 1876 Bi-Centential juried event in which they won a prize and much acclaim. Robert Ellin established his firm as Robert Ellin & Co circa 1870 in NYC. He and John William Kitson joined forces in 1874 before the 1876 Bi-Centennial as Robert Ellin and Company. In 1879 they formally changed the firm's name to Ellin & Kitson.
|
|
It is made of timber treated to look like stone. Its principal facade has a central breakfront with round- headed windows in the upper floor. It has been the subject of rather mixed reviews since its completion in 1856 but it is a substantial house for New Zealand at the time and of its nature a significant building. Mason was now Architect to the Auckland Provincial Council.
|
|
The longcase mahogany-veneered oak clock, , is a family heirloom. At the end of the hallway is an Irish regency mahogany side table, . Main bedroom: The mahogany queen-sized bedstead is William IV. The flame mahogany chest of drawers, the dressing table and the breakfront wardrobe are all Victorian pieces. The patchwork bed covering was made by Mrs Fuller to tone with the curtains.
|
|
According to family oral stories Kitson and Ellin decided to compete in a juried show for the 1876 centennial as Americans to set themselves apart from other English entrants. Their mahogany breakfront won an award and has been noted in articles about the 1876 centennial show. In this exhibit they also showed examples of their church furnishings. Neither William nor his partner Robert were known for fine art sculpture.
|
|
Constructed in the Inter-War Free Classical style the building was made from rendered brick with an ashlar effect and has a breakfront where the centre of the building is recessed. The building has a basement along with the two storeys above and occupies of street frontage. the side stairway entrance leads to large offices on the second floor. The cost of the building was estimated at £17,000.
|
|
Accepting that the architectural qualities of the building have been diminished by these works, the original symmetry and overall building form and detailing are largely retained, including the main breakfront, first floor "piazza", single-storey flanking pavilions, arched openings and vigorous gabled roof forms. The main breakfront gable in particular retains its roundel, and three linked arches below with stuccoed pilasters, architraves and flanking quoins, and below this again the sculpted spandrel above the infilled main entry arch which in turn retains the paired crests which were a popular motif in the contemporary American free Romanesque. Euroa Post Office is also a competent example of the work of Public Works Department architect, JT Kelleher and possibly AJ McDonald, comparing directly with their work on the nearby Euroa Courthouse (1892). Aesthetically, Euroa Post Office Euroa is a landmark building on a principal street corner, deriving aesthetic value from its scale and prominence, vigorous gabled roof forms and tall chimneys, and redbrick walls contrasting with the rendered Romanesque detailing.
|
|
The lunch room may have replaced an open, southeast facing porch on the south side of the Cooper Street breakfront, where earlier PO box installations were common. The back yard has an original bicycle shed which has been relined on its exposed face with "hardiplank". An old garage stands at the end of the Cooper Street yard and is now used for storage. Locker rooms and toilets are located behind the PO box areas.
|
|
Marlfield House was built in 1852 and modified in 1866 and is an important part of the 19th-century heritage of the area around Gorey. It is a medium-sized house with a T-shaped floor plan. The two sides are bowed and three stories high; the garden front is four stories with a breakfront. The walls are rubble-stone on a cut-granite base, with red brick quoins at the corners.
|
|
Each clock face has a small pyramidal finial. The roof is clad in slate tile with galvanised iron ridge capping, and supported by a weighty bracketed timber cornice above tuckpointed salmon- coloured face brick walls. The east elevation, facing Franklin Street, is marked by a breakfront with a finialled pediment above it. The tympanum is vigorously ornamented in a floral pattern with a central circular vent and surmounted by a continuing line of cornice brackets.
|
|
The building is a detached almshouse with five three-bays, two-storey high units with a single three bay two storey breakfront. The units are set in a small cul-de-sac of private grounds with a limestone surrounding wall. There is a monument at the front of the building which is a statue by Benjamin Schrowder of Dublin of the founder. It has classically derived proportions though modern renovations have eroded some of the character.
|
|
The yacht club in 2018 The committee was not in a position to build a clubhouse until 1841. The clubhouse was designed in 1842 and completed in 1843 adjoining the 'Watering Pier'. It consisted of a single storey building (from the street side) designed by John Skipton Mulvany Architect with plastered Ionic portico forming a breakfront with two windows on each side. Accommodation at street level consisted of an entrance hall, ballroom, committee room, staircase to the boathouse below and lavatories.
|
|
The Jobbins Building is of some technical significance as an example of "academic" conservation work in which reconstructed fabric was strictly based on extant material and constructed in a traditional manner. The Jobbins Building meets this criterion on a State level. The place possesses uncommon, rare or endangered aspects of the cultural or natural history of New South Wales. The Jobbins Buildings is a very fine example of terrace housing built in the Greek Revival style featuring a breakfront and diminished central pediment.
|
|
These symmetrical roofed post offices found close counterparts interstate as at Glen Iris in Victoria or Nundah in Queensland (1928-30). These were in addition to the more general breakfront post offices that marked the Commonwealth dominance of post office design after c. 1920. These in effect also marked the high tide of Neo-Georgian pavilion post offices in Australia, though Old Colonial and Georgian revivalism had been evident in Government architectural thinking long before that (e.g. Armidale, 1880-1916).
|
|
The sandstone window bay is made up of full sections of stone in the lintel and architraves with a finely detailed dentilled cornice. The brickwork is laid in red bricks in Flemish bond and tuckpointed with fine white joints. The northern side of the station was the principal entrance in the original design. It features the central breakfront, with the fine sandstone bay window, and originally a pair of symmetrical verandahs that protected visitors entering the station via the general waiting room.
|
|
The building with its clock tower and steps is a city landmark and symbol of the city, both historically and today. It is the most elaborate and exuberant work of Second Empire Style architecture in Australia featuring corner towers, domed pavilions, pedimented breakfront entries, a hierarchy of decorative orders, columned and pedimented window treatment, venetian windows and elaborate decoration. It exhibits the highest level of craftsmanship, quality of materials and incorporates technological advances. Elaborate interiors exhibit fine design and craftsmanship.
|
|
Two subsequent owners altered the home further: the kitchens and bathrooms were modernized, the front loggia enclosed, and a black iron gate was added to the entryway. In addition, a master bathroom was added in the last fifteen feet of the main floor veranda, the living room inglenook and dining room breakfront were removed, and a second chimney and furnace were added.Arthur Heurtley House, (PDF), National Historic Landmark Nomination Form, HAARGIS Database, Illinois Historic Preservation Agency. Retrieved 25 May 2007.
|
|
The building is constructed of reinforced concrete throughout designed on the flat slab principle which allowed with the mushroom-head columns. The dimension of the columns varied from between in diameter. The head of the columns are approximately in diameter. ;Clarence Street elevation Eight level face brick with recessed ninth floor level behind awning with five column bays at ground floor and expressed columns up to second floor level with central Art Deco pierced breakfront and cement rendered fin-like termination motifs in Moderne style.
|
|
According to the Kitson family, it was Ellin who first came to the United States and then encouraged Kitson to follow. Their first known collaboration was a mahogany breakfront entered into a juried show for the United States Centennial held in Philadelphia in 1876. According to Kitson family history, they entered their work as Americans, thinking it would set them apart from the many English entries. At the time of the Centennial celebration, their firm had been awarded the execution of the Astor Memorial Altar.
|
|
Fitzroy Terrace is a colonial Georgian breakfront terrace of seven two-storey houses designed by the architect James Hume in 1846. It is built in stuccoed brick lined out in imitation of ashlar with the central terrace of three stones projecting forward with a gable roof. The gable attic is lit by a semicircular fanlight to the rear and a pivoting sash window to the front. The verandah to the ground floor is supported on simple timber chamfered posts with wide boarded veranda divisions.
|
|
In this Bondi Beach reflected the generally small, tight proportioning becoming widespread in New South Wales housing and small institutional buildings, partly due to distinctively small property divisions and all being in brick. Examples are at Wallandbeen (1915), Warren (1916), Weston (1916), Botany (1917) and Kendall (c. 1921). Where any sites were broader, New South Wales post offices invariably shifted to the "Queensland" dual entrance breakfront pattern on Murdoch-Mackennal lines and developed earlier in other states. In New South Wales these appeared at Holbrook (1920), Gordon (1922), Grenfell (c.
|
|
He was eventually described as the "Botany Bay Rothschild" and at his death in 1838 left a personal estate of , an annual rental income from his Sydney properties of and "land and property which defies assessment". Terry's business interests included brewing and he was occasionally a publican. On the site of the Fortune of War, Terry constructed a terrace of three buildings (today's 139-143 George Street) completed in the mid to late 1820s. The footprint of this building, a terrace of three with a breakfront is marked in the Robert Russell survey of 1834.
|
|
It is a remnant of the marine villas that were sited relative to the water and determined the prestige residential status of the Potts Point peninsula in the nineteenth century and for its contribution to the waterscape of Potts Point. The main elevations feature three bay elements picking up the rhythm of the western breakfront with its projecting porch. Classically detailed, the porch is supported on piers flanked by stone sphinxes. The projecting bays on the north side include large three bay sash windows with narrow projecting balconies at first floor level.
|
|
A block (now QUT A block), 1999 Adjacent to the Main Gate at the southeast end of George Street and on alignment with the Main Drive, the three-storey, facebrick, hip-roofed former Commercial and Day School overlooks the City Botanic Gardens. Each elevation is composed of light red facebrick with contrasting dark red facebrick relieved quoining, flat window arches and banding marking the floor levels. Prominent metal rainwater heads and downpipes divide the elevations into bays. The main elevation to the city Botanic Gardens is symmetrical about a narrow pedimented breakfront of dressed stone enriched with stone carving.
|
|
There was also a large reservoir and a good well of water. The gardens were stocked with young and choice fruit trees and vegetables, and in one of them was a comfortable gardener's cottage. It seems probable that John Cameron, who had held the property for sixteen years, added the large breakfront and pediment extension to the original Colonial Georgian house and erected the north eastern building of the farm courtyard group during his occupancy. With the death of William Gardner, the entire property, now 126 acres, was put up for sale on 12 November 1855.
|
|
By 1855, the Newnham Estate was one of the grandest estates in the north of Tasmania; and the Hall itself was one of the largest Colonial residences in Tasmania. The gracious 15 ft wide verandah extended symmetrically across the River front facade, and the ornamented verandah pilasters were relieved by light treillage arches which spanned between the posts. The ground floor French doors, and upper bedroom windows, were all fitted with external louvred shutters. In architectural terms, the Cameron additions to the principal (riverside front) elevation added Classical Revival detailing in the pedimented breakfront and elaborate verandah decoration.
|
|
An American carved wooden eagle with outspread wings, which was perched on a bracket in the drawing room and used on the first tug boat to ply the Savannah harbor, is estimated at $4,000. More than one hundred pieces of Chinese blue and white porcelain from the Nanking cargo – a wreck of treasures which sank in the South China Sea in 1752 – is also included, with an estimate of $5,500–8,500. The Sotheby lot comprised soup plates, plates with scallop borders and plain rims, octagonal plates and a pair of large chargers with scalloped borders. They were displayed in a breakfront cabinet.
|
|
Each exposed tower elevation has single window with hood to first stage; bipartite window with hood to second stage; blind oculus to third stage; and tripartite with hood and painted timber louvers to (belfry) fourth stage, which is above cornice level and has slightly setback corners. The seven-bay four-story orange brick schoolhouse with stone trim was built 1914. Main façade is detailed with central three-bay breakfront that to ground floor is accentuated in four-centre-arched stone entrances. Ground-floor is double- height and defined from rest of structure with separating stone stringcourse and second floor sillcourse.
|
|
An ablutions block that formerly occupied the rear yard has been removed. The rear yard and the driveway to the south of the post office has been paved in bitumen. The building comprises a single-storey postal hall to the street frontage with a recessed two-storey wing behind, housing the original quarters upstairs and the mail, sorting and service rooms below. The facade was formed in the well-established Queensland, and then Commonwealth, arrangement of a projecting "solid" breakfront for the public post office area, set between two hollow bay porch components at ground level.
|
|
The church, founded by Rev. John H. Dooley, was built in 1906–1907 as a brick and stone chapel and three-storey parish house, all over basement, to designs of F. A. de Meuron of Main Street, Yonkers, New York, for $45,000. The structure was a five-bay three-storey Beaux-arts brick school house with a stone-quoined breakfront occupying the central three bays that contained a temporary church and rectory. The new church, school, and rectory cornerstone was laid on November 11, 1906 and the structure was dedicated June 30, 1907 by Archbishop John Farley.
|
|
The church and parish school were located in the same building, a common school-above-church design feature of several New York City parishes. It is a red brick multistory Collegiate Gothic structure with Decorated Gothic and Tudor Gothic design elements with terracotta trim over a raised field-stone basement and entrance breakfront. The church was located at the building's piano nobile, above the raised basement and accessed by both a perron through an ornate Tudor-arched entrance and a second flight within the building. The school was located on the two floors above the church.
|
|
The 1910s post office public space is marked out with a gabled breakfront to High Street, the gable being drawn together with a plank screen suggesting half-timbering, and a label-shaped window head bearing the post office name. The window below is a five-sash casement design with windows subdivided in the free-style proportion. In addition the lower panes are each bisected with a horizontal and vertical glazing bar, an unusual detail. To the south of the projecting bay, the interwar-era telephone exchange wing is typical of Queensland post office buildings of the time, with hipped roof, casement sash windows and more austere detailing.
|
|
The 1892-1898 alterations made this elevation asymmetrical, replacing the original central door with an elongated porch area to the right side, and a large corner tower. These changes reflect aspects of the (then) new Baroque Revivalism just appearing in Britain. It is not clear from the drawings whether the original front door had an arched top, but it gained one in these alterations, having a large thermal fanlight over a broad three-part setting of door and flanking hall windows. Next to that came the new porch, treated as a two-stepped breakfront with stuccoed flanking piers and paired Corinthian columns at the centre bay.
|
|
The main windows facing the street are all double-hung sashes in stilted round arches, the arches being picked out at the keystone and springing points with accentuated dressings. These act to give the arches a pointed impression, hinting at the Florentine combination of pointed over round arches. Each storey has two prominent moulded string courses and a substantial base battered out from the wall in several steps. This is accentuated by a projecting panel under each upper side window facing Franklin Street, and by a further breakfront over the Franklin Street entrance, topped with urns - a favourite early device in Queen Anne free style usage.
|
|
During the 1850s, Redfern and particularly Pitt Street was a select address The place has potential to yield information that will contribute to an understanding of the cultural or natural history of New South Wales. Fitzroy Terrace has research potential for mid 19th century architecture within Australia and for the architectural works of James Hume. The place possesses uncommon, rare or endangered aspects of the cultural or natural history of New South Wales. Fitzroy Terrace is a rare example of colonial Georgian breakfront terrace of seven two storey houses designed by the architect James Hume in 1846 The place is important in demonstrating the principal characteristics of a class of cultural or natural places/environments in New South Wales.
|
|
At the same time the postal hall is composed as a broad frontal mass, symmetrical in the brick breakfront around three arched windows with orange brickwork around the arch openings, and asymmetrical in the total frontage with two flanking wings: one is a porch, the other has a plain-wall with a half-hipped roof similar to that of the porch, but not extending down as far. Both of these flanking wings have terracotta tile roofs. The latter wing has a former window to the front elevation which has been bricked up. The entry porch is anchored with a square sandstone pier, one of the Barnet vestiges, at its northeast corner, and has a slat work timber frieze over its front steps.
|
|
In the early 1712 the property was leased to Christopher O'Brien, whose son Edward (or Edmund) demolished much of the old castle in 1754. The new Georgian house was described in Weir's Houses of Clare as "A gable-ended, eighteenth century, two-storey, seven bay house over a basement, on a mound facing east towards the Ennistymon falls, with a central one-bay pedimented breakfront, containing a side and fan-lit front door, and a lunette above the second storey window… A yard and stabling stood some distance to the north-west." In 1786, the house was referred to as Innistymond, the seat of Edward O'Brien. In 1792 the house passed down to Edward's daughter Ann O’Brien and her husband, the High Court judge Matthias Finucane.
|
|
The frieze to each breakfront bears the Latin words AUSPICIUM MELIORIS AEVI which roughly translates as "command better lives" in raised lettering. At ground floor level, commemorative marble plaques with lead lettering detail the opening, architect and builder details. A brick masonry fence with cement rendered plinth and capping and dichromatic piers and iron balustrading encloses the immediate grounds to the east and south of the breakfronts. The 1901 college building is very intact and houses offices, a staffroom and a class room on the ground floor; additional offices and a dining room, kitchen and scullery associated with the domestic science facilities on the first floor and store rooms, a staff room and a class room are located in the basement.
|
|
External: The 1882 station building is a fine example of the design adopted by John Whitton for stations at significant locations along the western, southern and northern railway lines during the first decades of NSW railway construction and is an example of the Victorian Italianate style. The design is based on a simple pavilion with a pitched gable roof. The principal design features, such as chimneys, windows and doors are arranged symmetrically in the classical manner, reinforced by the use of stone cornices, quoins, architraves and base course in an otherwise brick masonry building. The main façade features a pronounced breakfront with a pedimented stone window bay with large-section, sandstone architraves and finely worked sandstone dentils under the cornice of the pediment.
|
|
The midblock double-height Neo-Gothic church has a rendered symmetrical facade of three bays, a splayed plinth and a molded stringcourse running above between the first and (heightened) second floors. The central bay has a depressed gable surmounted by an open bellcote with cast-bronze bell; the second story has a prominent quatrefoil rose window surmounted by a stop-ended hood mold over the first floor with three square-headed windows in round-headed recesses. Flanking bays both slightly project with square-headed parapet roofs, while both second floors have three square-headed windows in round-headed recesses over gabled breakfront entrance porches. Both porch entrances are square-headed double varnished timber paneled doors set within a deep round-headed opening with quatrefoil and mouchette tympanums.
|
|
The original side driveway along the southern side of the site from Gray Street has been subsumed by a loading ramp and covered dock area; rear access is now via the adjoining site to the south which is also used for truck turning and staff carparking. The rear of the original site contains an automatic exchange building dating from the 1960s, which has since been subdivided. As it presents to the street, the two-storeyed building is a symmetrically composed, hipped roofed Victorian palazzo form in mass, with a central recessed loggia and a four-arched entrance, flanked by two breakfront pavilions and a modern stairwell wing set back on the north side. The original roof cornice is supported by regularly spaced moulded brackets, whereas the roofs of the later additions are defined by enclosed eaves.
|
|
Warmington and Ward (1992, v. 4) Its external detail and finish was broadly Neo-Georgian and Colonial Revival in the manner suggested in William Hardy Wilson's well-known local designs of 1913 (Eryldene) or 1916 (Purulia), with a hipped terracotta roof in Marseilles- pattern tile (probably not original), boxed eaves, double-hung sash windows that have six-paned upper sashes, cement rendered external walls and Tuscan pillars framing the entries and four others flanking the windows of the retail space. The columnar motif in groupings or suggested groupings of four was an established signature in Murdoch and Mackennal's smaller Victorian post offices and was to some extent a carry-over from earlier Murdoch designs in Queensland such as Roma Courthouse. The public area was placed under a hipped breakfront and accessed from porch entries to either side, on the well- established Queensland and Victorian pattern.
|
|