These works are shown on Oliver’s map of 1831 as 'Flint Glass Works' and on the 1st edition Ordnance Survey map as 'Northumberland Glass Works (Flint)'. There were also some flint glassworks called ‘The Close Glassworks’ established by Joseph Airey circa 1728, partly on the site of an old meeting house. Isaac Cookson was probably financially involved with these works. From 1783 onwards, the firm was Airey, Cookson and Co. In the early 19th century the Northumberland Glass Company acquired the works.

This flour mill is shown on Oliver’s map of 1831.

Gatehouse and chapel. Street front of a range of buildings around a
courtyard. Mostly C17 incorporating earlier buildings; restoration C19,
including gatehouse refronting dated 1841. Sandstone, coursed and squared to chapel and ashlar to gatehouse, with ashlar dressings. Welsh slate roofs.
Forms part of U-shaped range around courtyard. 2 storeys, 2 bays.
Tudor-arched gateway at left under paired 4-light windows with tracery;
chapel at right has gable to street containing restored 4-light window;
2 blocked square openings below. Round-headed empty niches flank chapel window; roundel in peak of asymmetrical gable. Rear of chapel is entrance hall of Trinity House, at first floor level, and has Classical-style flight of steps and pedimented front of 3 bays, with narrow sashes flanking double half-glazed door; bays defined by Tuscan pilasters. Interior of chapel has panelled wall above boarded dado; boarded ceiling to roof with moulded tie beams. Complete furnishings of pews and pulpit of mid C17 with carved cherubs, strapwork and small balustrades; half-glazed west screen separates chapel from entrance hall. The secretary's room adjoining the chapel is the rear first floor of No. 31 Broad Chare and was altered in 1850. The chapel has wooden cherub's heads carved in the 1630s and wooden fretwork.

The churchyard is surrounded by a random rubble wall with a concrete cope which is arched shaped in profile. To the north of the church (HER 1229) are fine 19th century single stone gate posts with Grecian detailing to the bases and capitals. The variation in material and size of stone indicates different periods. Some of the stone could have derived from the monastery or medieval village. The wall retains the graveyard which is at a higher level than the pavement and road to the north. The wall is in poor condition and is pointed with hard cement mortar which is causing moss build-up, water ingress and erosion of the stone. Tree roots are causing distortion and collapse of parts of the wall. Many graveslabs have been removed, others have been placed in a recumbent position. There is a mix of young and mature trees. The western appraoch has a serpentine path with benches. The north gates has fine ironwork, dented in places and fleur-de-lys leaves are missing. To the east of the church is the Drewhett family burial area, reached by a path around the north-east corner of the church. The tombs are of high quality. Thomas Drewett Brown inherited Jarrow Hall (HER 8070) and Jarrow Colliery from his father Thomas Brown in 1841.

The present guildhall was built on the site of the medieval town hall. Complex building. The east end is chiefly a neo-Grecian remodelling of a medieval building, by Dobson 1823-5. The main structure was built in 1655-8 by Robert Trollope from York, but was given a conventional classical north front in 1794-6 by David Stephenson and William Newton. They replaced the Gothic stair tower with a pedimented entrance front. A classical south front was added in 1809 by John and William Stokoe. King John granted Newcastle Guild Merchant in 1216, and the first reference to a guildhall occurs in 1400. In 1425 Roger Thornton endowed the Hospital of St Catherine, soon to be known as the Maison Dieu (see HER 4871), which he had built at the east end of the Guildhall. The town's accounts mention building the 'new house' in 1509. Grey, writing in 1639, said this was the place where the town's revenues were received, that it was above a weigh house, next to the Maison Dieu, and that the Merchant Venturer's court was above the Maison Dieu. This group of buildings can be seen in the bird's eye view of the town drawn c.1590. In 1655 the Town Council ordered a new town court to be built. Robert Trollope, a mason from York, won the contract and the work was finished by 1660. Buck's view published in 1745 shows the river front with the Merchants' Court a crenellated tower and the Town Court Trollope's long hall with round turrets at each end. What we see today and now know collectively as the Guildhall is the result of these alterations to the western part, and of alterations and an extension by Dobson in 1823-5 to the old Maison Dieu and Merchants' Court at the east end. In a niche on the stairs there is lead statue of Charles II dated to around 1660, maybe by William Larson. The mayor's parlour includes branch motif plasterwork of 1658 and elsewhere there is strapwork plasterwork of the 1680s. An overmantel is carved with biblical and mythical scenes. Conservation Plan - the original layout of the ground floor main block is not known. It is possible that ground levels were not as seen today. The floor was lowered when the main entrance was moved from the north side to the south in 1898. Before c.1880 there were two entrances, both on the north side. The ground floor had a raised timber floor with under-floor heating ducts, so it was raised above the south side pavement. In 1898 the floor was lowered in bays 1-6 to match the south side. Bay 7 remained at the higher level so three steps had to be inserted across the full width of the ground floor. The early floor layout may survive under bay 7. At the west end of the ground floor, the current boiler room was the site of an external urinal. Thicker walls and nibs in the boiler room were once the external face of the building. The early narrow stairs to the mezzanine were replaced in 1898 by a new timber staircase. The larger south-facing room was a writing room, became a scullery in 1910 and around 1966 a kitchen. The smaller north-facing room became a telephone room, and around 1966, a bar. These works were to create a banqueting hall. The earliest depiction of the mezzanine in 1867 shows a single room reached by the narrow staircase, with windows on all sides, including two narrow toilet windows. More toilets were inserted around 1880. In 1898 the mezzanine was divided into two rooms like the floor beneath. The south room became the chamber of commerce once the toilets were removed. The smaller north room was a 'private room', an office by 1910. It was later extended out over an inserted floor in the curved west end of the north aisle (this alteration was removed by 1962). Around 1966 both mezzanine rooms were converted into a Judges Suite for the Court above. A new staircase was inserted up to the back of the Court on the first floor and the Gallery on the second. The first floor is divided lengthwise in two. The southern two0thirds contain the double-height Guildhall and Court. The northern third houses the Landing, Ante Room, Mayor's Chamber, a store room, a cell and the Gallery Stair. The first floor is reached by the Main Stair in the Entrance Block and the west stair at the back of the court. The open Guildhall (bays 4-7) has a black and white chequered marble floor. Bays 1-3 is the Court, raised up above the Guildhall with an arrangement of timber benches, boxes and tables. The room has an exposed timber double hammer-beam roof structure, with shields depicting the guilds on the ends of the beams. There is a large rooflight in the flat part of the ceiling. This has replaced a large roof window present in 1890. The east wall has a large double doors in a Classical surround, giving access into the Merchant Adventurers Hall. Above the doors is a large black and gilt clock on a corbel. There is a cornice around the entire room. The north wall has two pairs of round-arched openings supported on Tuscan columns. One opening leads from the Landing, another to the Ante Room. Seven pairs of rusticated arched openings in the upper part of the north wall form the Gallery. Each Gallery opening has a heavy masonry balustrade. The Ante Room opens off the Guildhall. It is a double-height space. It originally had a double-height Gothic window in the north elevation, which can still be seen on the internal wall. The long narrow Mayor's Chamber is lined in timber panelling, shelving and fixed benches. It has an ornate plaster ceiling and a marble fireplace on the west wall with moulded crest above. Each timber panel on the south wall has a heavily varnished painting of a prominent local building or scene. The panel in the south west corner, which features a painting of the Guildhall, is a hidden door which leads to a short corridor under the Court to an Ancillary Room. The first floor was restored around 1966 but has changed little. The second floor contains the gallery and a flat (above the Mayor's Chamber so possibly used by the Mayor himself). The Gallery divides the flat into an east and west part. The east part contained a sitting room with a fireplace, a bedroom, a kitchen with fireplace, a scullery and store and WC in 1888. The west part of the flat contained 3 bedrooms and a kitchen. The flat retains early windows and shutter joinery. The fireplace is early 20th century. The east extension houses the east stair, a lift installed in 1985, the Merchant Adventurers Hall, offices and toilets. The east end elevation has a large semi-circular Greek Doric façade with 8 columns. This colonnade was created as an open fish market with external railings and sloping fish stalls. The ground floor was blocked-in around 1880 by masonry behind the colonnade with a window in bay 9 to create another ground floor room. A new fish market opened close by in 1887. Offices on the first and second floors were designed for the town clerk, his deputy and the prothonotary or chief court clerk. Oak panelling and fixed cupboards are said to survive. The Merchant Adventurer's Hall is a double-height room on the first floor, accessed from the Guildhall and Court in the main block. Dobson rescued the fittings from the Merchant Adventurer's Hall in the Maison Dieu and rebuilt the room in his extension. The room is panelled with carved oak. It has a decorative plaster ceiling and cornice. The huge chimney-piece is dated 1636 - the oldest fabric in the building. Elaborate carvings include Christ, Judas, Mary Magdalene, Christ restoring sight to a blind man and the story of the loaves and fishes. There are also mythlogical figures and shields of the master of the Company of Merchant Adventurers, and escutcheons with arms of the building's benefactors. The cornice and ribbed ceiling are early 17th century style and feature a fictitious date of 1620, but were created by Dobson. There are two hidden doors in the south-east and north-east corners, leading to the offices. The north aisle was added around 1880. Before this the north elevation of the main block was an open arcade. The openings were closed with windows and a door before 1845. The curved west end of the north aisle has been used as a telephone or telegraph room. The floor was lowered in 1898.

Orangery. Dated 1797 on rainwater head. Sandstone ashlar; graduated Lakeland slate roof. One high storey, 3 bays and 2 lower bays either side. Round-headed full height windows with glazing bars; impost strings to centre and impost bands to outer bays. Eaves cornice and blocking course with urn finials. Hipped roofs; rear chimney. Simpson & Brown say that this garden building is in an unusual position. The orangery isn't served by a path and isn't near the walled garden. It is instead at the head of the main driveway and is prominent from the final curve from the parkland across the south front of the house. It is large scale compared to the house. Maybe the owner planned to build a larger house.

Cottage, now part of house. Early C19. English garden wall bond brick with painted ashlar dressings. Welsh slate roof. 2 storeys. 2 bays. Renewed sash windows with wedge stone lintels and projecting stone sills. That at ground floor right tripartite. 20th century east extension not of interest. Simpson & Brown say that the upper floor appears to have been bedrooms, linked to the bedrooms on the first floor of the original house. The lower level was probably service accomodation, such as kitchens. The east wing is similar in scale to the original 17th century shooting box (HER 4870). It was roughly square in plan. The east wing has been extended northwards by 2m. It contains a 19th century stair. In the 1920s the east wing windows were altered. It may have been planned to render the east wing to match the main house. The new brickwork is in English garden wall bond and isn't of high quality. The first floor rooms were fitted out as living rooms in the early 20th century, maybe as a separate flat.The first floor link to the main hall was blocked up. There is a servants bell board in the south-west room of the ground floor, which leads into the stair hall.

Merchant Roger Thornton endowed in 1425, on the death of his wife Agnes, the Hospital of St Catherine (the Maison Dieu - House of God), which he built at the east end of the medieval Guildhall (HER 4874). There was a master and three bretheren, free burgesses of Newcastle, who looked after nine poor men and four women who lived there. An endowment of 1425 names the master as John Fenwick (who also looked after St Lawrence chapel) and the first thirteen "paupers" as John Pynchebek, Robert Wermouth, William Cike, John Iriby, William Milton, Stephen Hunter, Thomas Bywell, John Fleming, John de Sayntannes, Isabella del Bothe, Lucy Smith, Margaret Fenwick, Katherind Finlay. Thornton later granted the use of the hall and kitchen of the hospital to the mayor and community of Newcastle. The Merchant Adventurers' Court was above the hospital, this being Newcastle's first Guildhall. The Mayor and Corporation were granted use of the hall and kitchen of St Catherines Hospital in 1456. The Merchants of Woollen Cloth/Drapers met here until 1512. In 1624 the Hospital was conveyed to the Mayor and burgesses by Sir Richard Lumley. The Maison Diew and Court were left untouched by Robert Trollopes reconstruction of the Guildhall in 1656. After some time in use as a warehouse the building was pulled down in 1823 and replaced with John Dobson's Greek Revival style Guildhall which still stands today.

Simpson and Brown say the earliest fabric dates from the first half of the 17th century. The Hall is shown on a map by Robertson dating to 1727 as a building characteristic of the early 17th century. It is two storeys high with a band course running across the level of the first floor. At attic level are three red (tiled?) triangular roofs. There is a front garden to the south and south east. There is a small garden pavilion at the south-eastern corner. There are buildings to the north, possibly cottages. Simpson and Brown say the central part of the Hall dates from this early period. Four walls at the core form a box, almost square in plan. The east-west flue-bearing wall divides the plan into two rectangles to the north and south and is of a similar period. The east and west elevations had three bay windows with mullions and transoms forming six lights, probably with leaded glazing. The windows were aligned with basement windows and the gables above. The best surviving window is the southern first floor window on the west side, which is covered by an 18th century extension and is now blocked with brick. The east wall of the ground floor back entrance hall also retains one of these windows, now also covered by an extension. This first building was simple and elegant. It had three gables across the south front and two gables on the east and west sides. Each gable marked a vertical line of windows at basement, ground and first floors. On the west side is an oculus window to a closet. The partitions on the first floor might date to this phase. This early 17th century house has been described as a shooting box (villa associated with hunting). The second phase of development were late 17th century alterations. The attribution to architect Robert Trollope (Capheaton Hall, Eshott Hall and Netherwitton Hall) seems to have been suggested on stylistic grounds rather than documentary evidence. The Baroque detailing gives a late 17th century date. The windows on the south front are insertions into earlier brickwork. The south windows are mullioned but have a fillet and ovolo section. They were sash windows with timber frames. The current glazing is 20th century. It is not clear if any changes were made to the east and west walls. The Serlian (Venetian) window to the stair landing on the north side could date to this phase. The window has an early pattern timber window with fillet and ovolo glazing bars. It had a four column detail on its inner face. The stair (apart from the lowest flight) and the partition walls to the east and west of it also belong to this second phase. It may have replaced an earlier narrower stair. During this second phase the three gables on the roof were removed and replaced by a south facing pitch and a parapet with pilasters topped with urns at the corners. The roof structure was entirely renewed. The east and west gables were heightened by 500mm. New windows were built into the gables. It is not certain if the external corner pilasters belong to the first or second phase. The exterior wall finish was rough cast mortar containing large aggregate. It was finished with light ochre lime wash. The partitions between these rooms and the central entrance passageway may be late 17th century. And the recasting of the front door. The third phase in the late 18th and early 19th centuries involved extensions. The purpose was to enlarge the ground floor rooms and to provide closest or dressing rooms for the south bedrooms on the first floor. These dressing rooms have corner fireplaces and their own flue chimney rising between the two gables on the east side. This may indicate a change from hunting lodge to family house. By at least the early 18th century there was a drawing room and dining room on the ground floor. On page 85 of her Memoir, Margaret Jane Dobson tells us that in 1828 her father, John Dobson made alterations to Woolsington Hall for Matthew Bell. The house was sold in 1920. The interior was cosmetically altered. The main rooms were remodelled. There was a new front door, an Adam style drawing room and a Tudor style ground floor stair hall. The drawing room had a new fireplace chimneypiece. Other fireplaces were added in the house. The biggest alteration was to the base of the stair. A rear entrance hall was formed by removing the east partition of the stair and rebuilding the lowest flight at right angles into the new back stair hall. A large Tudor-style fireplace was placed in the cross wall on the south side of this room. The porch of the south door was panelled. The hall was used as a military camp in the early part of the First World War and later as an auxiliary hospital. The Northumberland Fusiliers were stationed at Woolsington Camp from March 1915. The 24th, 25th, 26th and 27th Battalions together with the 103rd Brigade of the 34th Division underwent training at the camp before moving to Salisbury Plain in August 1915. In January 1916 they went to France. The hospital was run by the Joint War Committee (British Red Cross and the Order of St John of Jerusalem). The committee was ordered to raise and organise Voluntary Aid Detachments (VADs) trained in First Aid and Nursing. The nurses were a mixture of qualified nurses and volunteers (mostly middle-class women). Many hospitals were set up in large houses on loan to the Red Cross during the war. VAD hospitals received the sum of 3 shillings per day per patient from the War Office. The hospital was run by the 11th Northumberland VA Hospital Unit.

This Air shaft, formerly part of John Pit of Felling Colliery, survives as a brick tower.