85 Sentences With "newels" | Random Sentence Generator

The main house is a story-and-a-half, with newels in the bedrooms upstairs.

Handrails may be continuous (sometimes called over-the-post) or post-to-post (or more accurately newel-to-newel). For continuous handrails on long balconies, there may be multiple newels and tandem caps to cover the newels. At corners, there are quarter-turn caps. For post-to-post systems, the newels project above the handrails.

There was also an ornate 17th-century wooden staircase with square newels, turned balusters and moulded handrail.

Walls are finished in the original lath and plaster. A stair with metal newels and turned balusters connects all floors.

The interior retains much of its original plaster and Greek Revival woodwork. The main staircase has its original stringers, newels and balustrade.

Lathe attachments allow cutting of spiral shapes, and are often used to create concrete forms for ornamental and structural items, such as planters and stairway balusters and newels.

Medallion of Charles I dated 1735. Large panelled room over entrance hall. Fine mid C18 open staircase with open string, closely spaced, turned balusters, column newels and swept, moulded handrail.

A foundation of granite supports the marble and granite columns, with a brick and stone exterior. F. Heierman and Bros. of Austin manufactured the interior iron stairway treads. Ornamental newels and balusters are of wood.

A large stone Jacobethan fireplace with pilasters stands in the dining room; the sitting room has a small stone Jacobean-style fireplace. The staircase is in oak with twisted balusters, panelled newels and a panelled spandrel.

Inside, there is little original hardware or woodwork. The staircase, which has simple brackets and a railing with narrow balusters and turned newels, dates to 1860. The framing here is hand-hewn, and the ceilings are low.

The newels are plain; the balustrades are gracefully turned and fastened by wooden pegs. In the original living room, which is on the left side of the hallway, is a fireplace which originally had a facing of blue tiles.

The eastern end is enclosed as a kitchen. The western end has the timber stair. It features turned balusters and newels and moulded string. Added to the rear is a small single-storey toilet block clad in fibro sheet.

It has square newels and a simple molded handrail with simple square balusters. The original pine stair treads were protected by carpeting for many years. The second story has an identical floor plan. The northeast bedroom has original wainscoting and chair rail.

Two skylit staircases, with turned balusters and newels and a curved molded handrail rise to the upper story in the front and rear. Off them, the hallways have simple wainscoting. Fireplaces in the front rooms have a mix of classical, Italianate and Eastlake decorative touches.

Brackets under the pediment cornice and entablature run entirely around the house. Six square pillars rise from the porch to support the pediment. These pillars also serve as the newels of the porch railing of square balusters. It has flush siding under the portico, a Wind feature.

At the north end is the raised pulpit, in a niche between paired pilasters below a semi-circular pediment. The stairs to the choir loft have S-curved newels at either end. The wooden Gothic Revival case for the church's original pipe organ is along the loft's south wall.

These are flanked on each side by three bays containing sash windows. Projecting from the left three bays is a single-storey kitchen wing with a first floor terrace and a balustrade. Inside the house are two Jacobean staircases with turned balusters and square newels surmounted by ball finials.

Internally the fittings and details are described as being "typically Douglas", although they are in pine rather than in his usual oak. The principal feature is the stair hall and staircase. The latter has balusters and newels and it leads by a quarter-turn to an arcaded landing.

The right projection is a porch, with turned posts and balusters. The left bay is enclosed. Both the left bay and the skirt below the porch are finished in square tooth-cut shingling. The second-floor porch also has turned posts and balusters, the posts topped by round newels.

The entrance hall contains a fireplace with bolection moulding. Above this is a re-used 16th-century overmantel in Jacobean style with pilasters and arched panels. The main staircase is in the west wing, and has twisted balusters and flat-topped newels. Two of the smaller rooms contain panelling with bolection moulding.

The concrete steps leading to the porch are modern, although the wood railings and newels are original. A three light transom is over the door, trimmed with heavy moldings. A projecting gable roof appears over the porch, with a one-over-one double-hung window underneath. The basement level has several garden windows.

A foyer with stairs is just inside the main door. This tall space leads down to the basement on the left, and up to the main level on the right. Oak woodwork in the foyer remains intact, including wainscoting, paneling, and a purely decorative stair rail. The stair rail has paneled newels and turned balusters.

The top chords are horizontal, and the upper struts are "unusually deep" I-beams. Sidewalks, decorated with iron newels and latticework, cantilever off both sides of the bridge. The south sidewalk permits pedestrians, while the north one has no deck and carries utility lines. The bridge is supported by ashlar piers of solid stone.

The chimney stacks are rendered. The hall and several other rooms are panelled and the plasterwork and ceilings are ornate with decorated beams. There are classical scenes painted on some walls. The staircase is Jacobean in style and dates from about 1660; it has heavily carved newels, a thick moulded rail and turned balusters.

The staircase has original square newels and balusters supporting a simple molded pine handrail. It leads to a second floor with a similar layout. On the east side of the central hall are two large doors, apparently original, with one perhaps taken from the first floor. Two newer bathrooms have been added in the rear, both using the original wide pine floorboards.

Inside the chapel is a wooden panelled reading desk on a moulded plinth with an ogee cornice. On each side of the reading desk is a flight of three steps with balusters and newels. The reredos is also panelled, the central panel being wider than the outer panels, and with a semicircular head. The reredos is decorated with motifs including garlands and roses.

It is floored in large terra cotta tiles. An original staircase, with rounded pine handrail and square newels and balusters leads upstairs. The second floor is laid out similarly to the first, on a center hall plan. Its hallway turns toward the rear to access the backstairs to the attic, with risers slightly steeper than those on the other stairs.

It has finely carved balusters and newels. The second floor has been converted into an apartment but retains many original finishes as well. At the northwest corner of the property is a small garage. It appears to have been a carriage house built at the same time as the house, and is thus considered a contributing resource to the property's historic character.

The stair has a moulded timber handrail, decorative timber newels and decorative wrought iron balustrading. The openings to the main stairwell on each level have large decorative consoles. The walls and partitions are of brick; the verandah floors, corridors and staircases are of concrete; and the roof is sheeted with corrugated fibro cement tiles. Internal walls are rendered and painted.

There are panelled doors with toplights and double-hung windows between the classrooms and the corridor. The east and west wings each house two classrooms and former cloakrooms. The high ceilings, regular external windows and internal windows and doors provide substantial natural light and cross ventilation. The two stairways, near either end of the building, have steel balustrades, cast newels and timber handrails.

The square- based turned newels are topped by a moulded capital. The shafts have decorative circular moulded motifs at the top, the remainder is chamfered with recessed moulded detail. Internally on the first floor, offices flank the central foyer opening off corridors running north and south. From the foyer, the offices are accessed via paired timber doors in arched entrances.

Inside, Goodnestone House has a prominent main staircase located in the large hallway, with open string, enriched brackets, and paired balusters. They are square newels and column-type balusters on half-landings, with a swept and ramped handrail and dado panelling. The 3 eastern rooms of the property are believed to have been designed by Robert Mylne around 1770 with a central oval entrance hall with niches.

The west and north walls have original brass six-panel doors with classically detailed surrounds. The lobby's original brass light fixtures with glass globes are typical of 1930s post offices. Faced with marble, the original curved staircase is at the lobby's southwest corner. Following the stairs' curve, the staircase railing has iron balusters with a wood cap and decorative bronze newels at each level.

Its bannister and newels reflect the Arts and Crafts style; all the other woodwork in the house is Colonial Revival. To the north of the central hall is a large living room. Its fireplace has a wooden Federal style mantel flanked by French doors which lead to the porch. The other side of the house has a dining room and front room with similar windows to the living room.

Quarter windows are within on both elevations. The east side's lower stories feature windows similar to those on the rest of the house; the west side's are smaller. There are no windows on the portion of the north (rear) facade not connected to the wing. The six-paneled main entrance door opens on a wide central hall with finely crafted staircase featuring carved stair ends and maple balustrade and newels.

The north profile has no projections or additions. Inside, the house has a double-pile central hall plan. The first story retains much of its original finishing, such as carved newels and balusters on the stairs, molded door and window surrounds and decorated plaster cornices and ceilings. The second story also has its original plan and finishings; the attic has been renovated, opening up the space once used as servants' quarters.

Inside the house is a 17th-century staircase with twisted balusters, flat-topped newels, and added Gothic features. The library has three recesses on each side that are lined with books. The dining room contains a screen of Ionic columns. The present organ has two manuals, It was built in about 1902 by J. J. Binns and rebuilt in Clay Cross Methodist Church in 1922 by Blackett and Howden.

There is also a further entry at the splayed corner which leads to the Public Bar. Although substantially remodelled, the Public Bar retains its pressed metal ceiling with beam surrounds, cornices and roses. From both private entrances, generous corridors lead to a central arched vestibule which features moulded pilasters and archways with keystones. Adjoining is the main stair in polished cedar, with square moulded balusters and carved newels.

The main stair doglegs off the hall and has a grooved silky oak handrail and 6"x6" stop chamfered silky oak newels with sunk necking and domed caps. Ornamental consoles decorate the flat arched openings to the stairwell. The plaster ceilings to the lobby and hall are decorated with a border figure of tied bundles of straight twigs. The Wickham Street entrance stairwell has similar detailing but is narrower.

The rooms throughout the ground floor contain marble chimney breasts and rich plaster work and cornices. The joinery appears to be primarily cedar. Timber stairs with carved newels located at the end of the corridor give access both to upstairs rooms and a sheeted storage area at half-landing level via coloured glass doors. The ceilings throughout the upper level are half-raked and follow the lines of the roofs.

The centrally located main entrance has fine stained glass surrounds with a hibiscus motif. The entrance hall opens onto an impressive cedar staircase with richly turned and carved balusters and newels, and fine timber panels. The corridors to the ground floor have fluted cedar panels to dado level, and panelled cedar doors. The former dining room to the south has a fireplace with a richly carved timber mantelpiece, and fine hand-painted tiled hearth.

A two-story kitchen wing with an open porch on the south projects from the east side of the house. Inside, the house follows a center-hall plan, with the main rooms on either side. The original layout has not been changed, and some of the finishings, such as the main hall's cherry staircase and newels and the parlor mantelpiece, are original. The second floor has had more modern additions, such as the bathrooms.

Separating the double parlors is a pendant arcade adorned with cast-iron bosses. The facade consists of three regular bays, with the primary entrance located on the western bay, reached by seven sandstone steps with matching cast-iron balustrades and newels. To the right of the entrance on the first floor are two floor-length windows with stone balconies and iron railings. The current exterior wooden window shutters were only added around 1975.

The two stairways, near either end of the building, have steel balustrades, cast newels and timber handrails. Many of the classrooms of the two upper levels are divided by panelled folding timber partitions. The four classrooms at the centre of the first floor level may all be opened to form a small auditorium with a stage at its eastern end. At the far eastern end of that level is the home science room.

This has a well-detailed and crafted varnished timber balustrade with substantial timber newels. Flooring throughout is of timber boards supported on a substantial framework of timber beams, joists and posts, all of which appear to be part of the 1918-1919 construction. The top floor is largely free of the internal timber posts that are a conspicuous feature of the lower levels. Here, the double-gabled timber roof structure is exposed.

Centrally located on the lower verandah, the main entry has a pair of timber panelled doors with brass handles and letter slots. Beyond the entry is a central corridor with offices to either side. The corridor contains the marble honour boards and the timber stair, which has turned balusters and newels. The honour boards, mounted on the southern wall of the ground floor corridor, list 1592 local servicemen from the First World War.

The synagogue is a one-story three-by-five-bay on a raised basement. The slight slope of the site exposes the basement walls on the rear and sides. It is sided in gold stucco topped with an asphalt-shingled hipped roof, partially obscured by the parapets of the north (front) facade. Concrete stairs with iron railings and brick newels lead up to the entrance, flanked by two windows, wooden surrounds and a cornice with a small pediment.

They are set within a wide wood surround with a peaked lintel containing a federal-style eagle motif in the center. The doors lead into a corridor that continues the length of the building, with offices located off of either side of it. Within the foyer are symmetrically placed matching staircases that lead to the second floor. Each is made of turned wood newels and balusters, makes two quarter turns, and has winders at beginning and end.

The former chamber features highly decorative pressed metal ceilings, moulded architraves and dados, and two central decorative cast iron columns. It also has a concrete safe which retains its safe door and some timber shelving, and a curious window opening to the stair landing reputedly for managers to supervise their staff from above. From Wickham Street is a second entrance lobby, and vestibule with tessellated tiles. The timber stair features substantial newels, twisted balusters, and boarding to the underside.

The NRHP nomination again notes that the doorways may have replaced an earlier vestibule on the original house. The eastern entrance leads to a library/office, that may have originally been a stairhall, and is connected to the eastern of the two front rooms. The western doorway, opposite, leads to a hallway with a three-run staircase with newels and balusters. The western room has a Renaissance Revival-style built-in bookcase and a slate fireplace mantel.

Generally the interior has timber boarded floors, plastered walls and timber boarded ceilings. On the first floor level of the building the ceilings are of timber boards which rake downwards to meet original walls. The dog legged timber stair is cantilevered above the midway landing and has turned timber balusters and substantial turned and carved timber newels. Providing natural lighting to the stairwell is a large round arched opening on the south eastern wall of the building.

Secret passages exist to this day in the walls, which are of immense thickness, in some places being seven feet thick. There are three oak staircases, the main one being carved with figures standing at the angles, and another having newels. In the so-called "King's Room" there is an ancient bed, with old red silk curtains and the Prince of Wales's feathers over it, in which Kings Charles I and Charles II are reported to have slept.

The exterior of the building is substantially intact and much original interior fabric survives including window and door joinery; fibrous cement ceilings with timber cover strips; decorative plaster ceilings; plaster and timber skirtings and architraves; timber picture rails; decorative elliptical arch between the lobby and hall; terrazzo floors to the main entrance lobby and main hall; the main and subsidiary staircases with terrazzo treads and landings, silky oak handrails and newels, decorative wrought iron balustrading and decorative consoles to the flat arched approaches to the stairwells. Formerly stained and varnished, the timber panelling to the walls throughout the public areas, cover strips to the fibrous cement ceilings, timber architraves, cornices and picture rails are now painted. The integrity and spatial relations of the internal planning remain. The main entrance stair was an important component of the building and the French polishing section of the building specification referring to the stair handrails, newels and panelling states that "great care to be taken to show off the timber and panels to best advantage".

Glengariff which now has plan form that is roughly T shaped is entered via the entrance portico through heavy timber double doors which have leadlight glass head and side windows. Above the door is located Bishop O'Donnell's Coat of Arms. The entrance hall is divided by a colonnade which leads to a single width return timber stair up to the first floor. The flight of the stair, which has carved timber newels and turned balusters, appears to have been altered.

Also around the late 1850s, Wind designed the Robert Hardaway House. It is two stories with a one-story porch supported by four square, grooved pillars rising from the porch deck, with a fleur-de-lis design above the plinth and below the capitals. These pillars also serve as newels for the railing. The flat-roofed porch has an entablature with an arched connection to the pillars, and the front window has a mitered casing, both similar to Fair Oaks.

On the inside the lobby has stairs to the gallery, with delicate square newels topped by spherical finials, on each side. At the rear of the church is a platform with a walnut pulpit and three matching Gothic Revival pulpit chairs in front of a trompe l'œil painting of an alcove. Italianate detailing is evident in the pillars and balustrade of the choir loft. The woodwork has been meticulously grained by the same local painter who did the rear wall painting.

This room has much Greek Revival- era decoration, such as its architraves, mantels and the newels and balusters on its staircase. The west parlor on the north side, currently used as the dining room, has similar finishes, and the northeast one has Colonial Revival elements. The upper floor and attic are also mostly original to their era of construction or renovation. In the rear of the lot are a swimming pool, work shed, and a former garage now used as an apartment.

The entry portico to the south has rusticated brick pilasters flanking a sandstone arch with toothed voussoirs, set in a brick gable end surmounted by a sandstone cornice with dentils. The timber double entrance doors are surmounted by a similar sandstone arch around a glazed fanlight. The interior features two timber staircases, which have timber balustrades with turned newels with rounded terminals. The windows are sliding sash with grided panes to the upper leaves, excluding those to the verandahs and toilet bay.

The stair is flanked by concrete balustrade which terminates at the base with newels on which sit lion statues. Filling the cavity between the timber posts supporting the house is diagonal timber lattice panels. The house is clad with wide horizontal timber boards which are quite unusual with heavily beaded mouldings at the tongue and groove joints. The house is essentially rectangular in plan with a kitchen wing adjoining the rear elevation on the south west side of the building.

The polished cedar stair has moulded square balusters, carved newels and a panelled spandrel beneath. The stair is dog-legged, with leadlight windows to the landing. From the Stair Hall, entry to the Lounge Bar is through a doorway in a glazed timber bar screen. The bar, similar in style to that of the Public Bar, has a curved corner to the eastern end and a timber bar screen to western end, which is similar to the screen of the doorway.

The house's exterior is complex; typical for Queen Anne houses. Key exterior features include a tower capped by a conical roof, bay windows, high gables with decorative woodwork, carved brackets and moulding, and a wraparound porch with grouped turned columns and spindlework valances. The home contains 20 intricately detailed rooms. Interior architectural elements include pocket doors, non-rectilinear walls and ceilings, detailed mantels, an intricate main stair with gas lamps placed on top of carved newels, and Victorian woodwork detailing throughout.

The interior is notable for the staggering mid-17th century plasterwork in the ceilings of the Great Hall and drawing room, which have heavy wreaths and disporting cherubs. The ceilings are barbaric in their excesses, and the figures are relatively poorly modelled, although the undercutting is breathtaking. Not all the moulding is of stucco: there are elements of lead and leather too. The staircase is of the same period with a coarse but vigorously carved acanthus scroll balustrade and square newels with vases of flowers on top.

To the southeast corner is a walk-in safe with a large steel safe door. To the eastern wall is a timber stair with turned balusters and newels. Visible from the interior, at the north western corner of the building is a sandstone column and part walls at the rear of the building, which are believed to be the remnants of a previous building on the site. The single-storey south wing has been divided by a timber tongue and groove partition wall, separating a retail tenancy.

The stair has squared balusters and newels, and a panelled spandrel below. Adjoining is the public bar whose layout has been altered, but it retains its pressed metal ceiling with roses, cornices borders and beam linings. The rear of the ground level has also been largely altered. The light area between the accommodation wings has been roofed over to form the lounge bar and the former billiard room and dining room have had walls removed, but the dining room retains its pressed metal ceiling.

The remaining ground floor areas are substantially altered from original form. The building has a dog leg stair, rising from a ground floor hall off the Logan Road entrance, in which a plaster archway supported on reeded piers separates the stairwell from the entrance. The stair features turned and moulded newels, surmounted by globular finials, and turned balusters. The upper floors retain their early layout, with rooms accessed from wide corridors, of timber floors and plaster ceilings, featuring elaborate cornices, ceiling roses and plaster archways.

At the top of the roof is an orange wooden cupola with octagonal rounded roof supported by round arches with keys and surrounded by a balustrade with chamfered newels and pointed finials. A stone water table runs around the building at the level of the top of the entrance steps. On both east and west facades are a nearly identical projecting two-story pavilion with a central pediment with returns. The centrally located entrances, reached by a set of stone steps, are double doors in concentric recessed round arches.

The roofline is lined with stone and brick corbels below the cornice, with elongated stone corbels on the projecting gabled entrance tower in the center of the east (front) facade. A high brownstone stoop with cast iron newels and rails leads from the street to a deeply recessed, arched first floor entrance with clustered colonnettes. The mix of the brick and stone with the slate tiling on the dormer-pierced mansard roof gives the building a polychromatic effect. The Holy Name Society building and school are both similar structures of brick and stone.

This open-welled stair begins with a curtail step and handrail scroll, and features turned newels and balusters, and a boarded soffit lining. From the second landing is the entry to the Gallery through a similar doorway. At the top of the stair is a series of doorways to offices, formally the "Mayor's Room", the "Council Chambers" and the "Town Clerk", as announced by the painted signs on the doors' lock rails. Above this is a further stair of similar character but of lesser width which leads into the clocktower.

The entrance and windows are separated by moulded pilasters. Further along Wharf Street are many window openings of two generations, those closest to the corner of the Richmond Street have replacement arctic glass hoppers, whilst the remaining are multipane vertical sashes with deep reveals. The entrance hall, through the opening in Wharf Street, features a pressed metal ceiling and cornice, and remnants of an early wall paper strip above the dado rail. The unpainted timber stair has an open welled three-quarter turn stairway, with turned balusters and square newels surmounted by acorn finials.

To the north-eastern corner of the verandah is an external timber stair with moulded square balusters, square newels with ball motifs, and boarded spandrel, all less decorative than the main stair. The west wing brickwork is laid in stretcher bond, which is different to that of the main block. Entrance at both levels is via a timber connection from the main block with the upper level being enclosed. From each entrance runs a central corridor with bedrooms to either side, with some rooms having been converted to bathrooms.

A small servery hatch is located in the wall between the kitchen and the hall. A cast iron ladder leading to a hatch to the upper hall which serves as a fire escape is situated in the south-eastern corner of the kitchen. A set of timber stairs outside the toilet in the south-western corner leads to the undercroft space where another toilet is to be found. The staircase is located on the eastern side of the entry space and features a cedar balustrade with turned balusters and substantial newels.

The interior of the house contains a small entry foyer opening onto a large central stair hall containing a large, double-run ornamented central staircase with Eastlake newels and railings leading to the second floor. Off the central hall are six main rooms: two connected parlors, a bedroom with attached bath, a dining room, a second bathroom, and a rear hallway leading to the kitchen located in the rear wing. The parlors feature fireplaces with highly ornamental mantelpieces. The second story contains four bedrooms in the main wing, and two bathroom and a fifth bedroom over the rear wing.

The newels of a staircase at Highgate support different types of Cromwellian soldiers, carved with great vivacity and life. But in spite of excellent work, as for example the beautiful gallery at Hatfield, the carving of this period did not, so far as England was concerned, compare with other epochs, or with contemporary work in other parts of Europe. Much of the work is badly drawn and badly executed. It is true that good decorative effects were constantly obtained at the very minimum of cost, but it is difficult to discover much merit in work which really looks best when badly cut.

As with his furniture, Day took the popular design of the newel post and added his own stylistic flair through his scroll curves. In crafting these newel posts, Day employed four different types of newels: s-shaped, traditional, a fusion of the two, or completely unique designs; today, twenty-five s-shaped newel posts have been attributed to Day. Day crafted stair brackets to match and complement these newel posts, again employing curvatures and wave motifs that, combined with the newel posts, suggested a tranquil fluidity. The choice to match newel posts and stair brackets appears to be unique to Day's architectural work.

A large moulded archway in the entrance corridors separates the dog legged timber stair from the hall. The stair, which has turned newels and square balusters, is naturally lit by a multi-paned arched window, at the first half landing. The upper floors retain the original planform, of centrally located corridors running parallel to the verandah, off which accommodation rooms are accessed both to the verandah side and to the rear of the building. The rooms feature four panel doors, with large transom windows above, some of which are not glazed but covered with punched metal sheeting.

The study and the breakfast room occupy the two smaller rooms at the rear, with the breakfast room featuring a particularly fine Edwardian frieze of alpine scenery. The stair is narrow and steep, starting in a spiral ninety-degree turn, with a straight flight to a landing and a short return flight to the upper landing. The squared balusters, handrail and turned newels are typical of a mid-Victorian stair. The fretwork on the side of the steps and the panelling underneath the stair are the only two instances of ornamentation in what is a relatively austere interior.

Tweed Courthouse staircase Directly adjacent to the western and eastern sides of the rotunda, there are two cast iron staircases in open wells, connecting the first, second, and third floors. The staircases, designed as mirror images of each other, were each laid out so one wide stairway leads upward to a mezzanine which then splits into two smaller stairways to the rotunda of the floor above it. The railings of these stairs have ornately designed four-sided iron newels with lampposts atop them, as well as simpler four-sided balusters. Rectangular panels with circles at their centers are located on the underside of each flight of stairs and are a Renaissance-style design used by Kellum.

The columns are paired, and have floriated capitals, hexagonal bases, and fluted shafts. The verandah to the west is supported on cast iron columns with cast iron valances and spandrel panels. The 1889 building has two large bars on the ground floor either side of an entrance hall and offices and meeting rooms upstairs, and contains some rich internal decoration. The entrance hall has a decorated arch with a female figure on the keystone, a terrazzo floor with the letters "BCH" (abbreviation of Breakfast Creek Hotel) inlaid at the door, cedar stairs with richly turned balusters and newels at the northern end, and four timber framed doors with etched glass with floral motifs leading to the bars.

He executed church repair work (Chalford, near Stroud, was re-ordered by him), and designs for memorials, inscriptions, headstones, and lettering; also for metalwork, as Gimson had done, including sconces, chimney furniture and gates, and architectural leadwork. He turned his hand to the woodcarving of details such as finials and newels for his houses. A number of furniture designs are strikingly successful, from the fine piano-case with marquetry inlay, made by Waals, which he designed for Mrs Clegg of Wormington Grange, to the sturdy child's chair with back splats showing humorous carvings of village characters which he made and painted himself, as well as a number of toys, for his daughters.

A moulded round headed archway separates the vestibule from the central hallway, which runs parallel to the entrance facade of the building terminating at the chapel entrance to the north-east and in the stairhall to the south-west. Internally the building has rendered masonry walls throughout, timber boarded ceilings, timber floors, high quality timber architraves, skirting boards and stairways. The principal internal stair is housed in the stairhall which is expressed externally on the south-west facade with a projecting bay which features four pairs of rectangular stained glass window openings, signifying the level of each floor and the basement. The open well timber stair has turned timber balusters and carved newels and drops.

Today, the lieutenant governor's office has been moved to the Legislative Building and the room it once occupied made into a sitting room for the viceroy's aides-de-camp. The former library, breakfast room, and drawing room have all been turned into a series of connected salons for official entertaining. Reached by a staircase of oak treads, newels, balusters, and handrail with pine risers, the second floor consisted in 1880 of six bedrooms, two dressing rooms, a bath room, a toilet, and a storage closet. Two of the bedrooms were connected by large sliding doors, as with the library and breakfast room beneath; during large parties, these doors would be pulled back and the combined bedrooms would be used for expanded entertainment space.

Plaque #1, Boer War Memorial, 2015 Plaque #2, Boer War Memorial, 2015 Plaque #3, Boer War Memorial, 2015 Plaque #4, Boer War Memorial, 2015 The Boer War Memorial is situated in a small park in Allora facing Warwick Street, in which memorials to the two World Wars are also found. The park is enclosed by a substantial brick and wrought iron fence along Warwick Street with a centrally placed gateway formed by brick newels with plaster finials and with an iron gate. The Boer and First World War memorials are towards the southern, Warwick Street side of the park and the Second World War Memorial is located toward the northern, rear of the park centrally placed between the others. The Boer Memorial stands from the ground and comprises a pedestal surmounted by a digger statue.

On the ground level of the School of Arts, through a door on the north west side of the central hall is the early library of the building, now used by a local historical society. This large room, extending almost the full length of the building, has a timber gallery, which seems to be suspended with iron rods from roof beams, to which access is provided via a steep and narrow stair. The gallery is lined with a simple cast iron balustrade, comprising decorative iron newels joined by an iron rail, and a base skirting board of timber with trefoiled cutouts. The library is filled with early books and bookshelves, early museum display cabinets and other early items of importance to the understanding of the history of the building.

Grade II listed The garden railings form part of the building's listed status The structure was built in 1872 for William Thorne, but sold to the Barnstaple Bridge Trust in 1876 who then sold it to William Frederick Rock. Constructed in red brick with dressings of stone and terracotta, the hipped and slated roof has a flat central section which is set with ornamental iron railings together with 5 red brick chimneys with stone caps. The building is square and is built round an internal courtyard with on the right on the building's North side a small service wing which may actually be a former coach-house with a walled courtyard behind. Inside is a fine wooden staircase in the Jacobean style with twisted balusters and large carved newels with a Gothic stone fireplace in the entrance hall.

In the 16th century the west tower and nave clerestory were built. In the tower are three bells cast in 1666 by William I Eldridge, who had bell-foundries at Wokingham and Chertsey. Early in the 18th century the fourth stage of the tower was added. On the north side of the chancel are two vestries: the first added in 1705 and the second about 1730. Fittings include 15th-century choir stalls with cusped ogee arches and panelling in the spandrels said to have come from Winchester, a complete set of late medieval pews, restored, and very restored rood screen of circa 1500, fine Flemish altar rails with C-scroll carving on the newels, very deep rich carving depicting the 10 commandments and eagles in chancel of circa 1700, an early Georgian wooden pulpit with arcaded tracery and small narrow high window into the south-east angle between nave and chancel to provide light, an Octagonal stone font with elaborate quatrefoil pierced and crocketed font cover of ogee domed section above, on a square pier, a hatchment on North tower wall.