These houses were listed Grade II in 1971 with the following description:
'Houses. Circa 1842; No. 21 English garden wall bond, and No. 23 English bond, brick with ashlar basement and dressings; Welsh slate roofs. Basement and 2 storeys; 5 and 4 bays. Steps up to 4-panelled doors with overlights in pedimented raised surrounds. Architraves to ground floor sashes with glazing bars; wedge stone lintels to similar first floor sashes; moulded first floor sill band. Eaves band and gutter cornice. Ashlar and brick ashlar-corniced chimneys. Spear-headed area railings and handrails (cast iron). Later dormers to No. 23.'

House, part of terrace. Circa 1820. English garden wall bond brick with ashlar
basement and dressings; Welsh slate roof. Basement, 3 storeys and attic; 2 bays.
6-panelled door and fanlight in doorcase of panelled pilasters and broken pediment.
Wedge stone lintels to renewed windows with sill bands to ground and first floors
and second-floor projecting stone sills. Gutter cornice. Segmental-headed
dormer with sash window.

Almshouses. Main range and South-east wing of 1858. Wings running Northward at either end
added 1916 in keeping with original building. Snecked sandstone with ashlar
dressings. High pitched roof of graduated green slates. Gothic style. Two
storeys. Main range ten bays long. Most of the windows paired cusped lancets with
iron casements: some first floor windows have round-shouldered lintels, also in
C13 style. On North front and in wing eaves are broken by stone - coped gables.
South-east wing has cusped lancets in groups of two or three under a wider arch
with a quatrefoil light above them. Plain paired sashes on South front. Pointed-
arched doorways under hoodmoulds with headstops. Decorative iron door furniture.
Inscriptions and coats of arms above doors.

Offices. 1883 by J. C. Parsons for Thomas Harper. Sandstone ashlar; roof of Welsh slate. 3 storeys and attics, 7 bays. 3 internal steps up to central double door in architrave; right end entrance to yard behind has round arch with voussoirs
and keystone. Architraves to all windows, sashes paired except in end and centre bays. Deep cyma moulding to plinth between pilasters to ground floor sill band.
Upper floors have sill strings. Each floor has entablature, with frieze pulvinated
above windows, door and yard arch. Wreath carving on frieze above paired windows,
which have pediments to each pair, segmental on first floor, (except top floor
which has dentilled cornice breaking forward over windows, and small segmental
pediments). High panelled and coped roof parapet with end urn finials; 2 paired
dormers in entablature under carved pediments with cartouches. Second edition OS shows a post office within the complex.

Offices. Circa 1902 for Pyman Bell and Co. Rear half demolished and front range restored c.1982. Ashlar sandstone with granite plinth and entrance columns; Welsh slate roof. Symmetrical. Art nouveau Baroque style. 3 storeys and attic;
5 windows. Ground floor rustications form voussoirs to wide round-arched windows flanking doorway with semicircular pedimented hood on Ionic columns. Side windows plain below serpentine first-floor stone balconies. Upper windows in
architraves, first floor with triple keystones and pediments, the inner ones segmental. Second-floor rusticated architraves and Ionic half-column bay divisions. Outer bays framed in giant Ionic pilasters. Strong modillioned and dentilled top
entablature below attic of three pedimented gables, the outer ones rounded. McCombie - former shipping offices, the rear demolished.

This building was listed Grade II in 1987 with the following description:
'Hospital offices. Foundation stone 1900 by Prince of Wales; building 1901-1906. By W. L. Newcombe and Percy Adams, after consultation with-Sir A. Waterhouse. Sandstone ashlar ground floor, central pavilion, and central sections of end pavilions; remainder bright red brick with ashlar dressings. Roof of graduated Lakeland slate. 3 storeys and attics; 17 bays in all, with 3-bay centre and end pavilions. Central porte-cochere. Pilasters to pavilions with central top pediments, segmental over entrance bay. End pavilions have ground-floor central canted bay windows. All windows stone mullioned and transomed with leaded lights. 3 flat- headed dormers to each outer section; central attic in stone surround continuous with linking coped parapet. High roof, hipped over pavilions, with central lantern and high ashlar-corniced brick chimneys. Interior shows groined inner porch with 4 bronze commemorative plaques, recording gifts from Lord and Lady Armstrong and others;. Entrance hall and gallery panelled with inlay, in Baroque style; much flower decoration in stucco frieze and ceiling.'

Offices. Circa 1863. Sandstone ashlar; Welsh slate roof. Complete block. 4 storeys. The chief architectural elevation comprises Nos. 11-23 (odd) Queen Street. No. 11 is of six bays canted in the centre so that the main elevation reads 6.4.3.4.3 making a balanced composition. Ground floor articulated by plain pilasters with original shopfronts between. First and second floors have giant pilasters to Nos. 11 and 23, Tuscan columns with heavy entablature to Nos. 13-21. Fourth and fifth floors giant pilasters again to Nos. 11 and 23. Central houses have moulded architraves to fourth floor windows. Heavy cornice on brackets, pedimented dormer. Pierced parapets to Nos. 11 and 23. Large stacks with bracketed cornices. Roofs not visible from street. Nos. 3-9 (odd) have a plainer elevation with a fourteen-bay arcade on the first and second floors. No. 1 has a classical treatment with a canted corner of 3.1.1.1.3 bays to Akenside Hill.
The roofline has been interfered with by the Tyne Bridge. East flank to King Street and rear facade to Akenside Hill have a lesser architectural character.
No. 23 Queen Street frames an important view of All Saints Church together with No. 25 (q.v.). In 2013 No. 1 is Floridto Café Central, No. 7 is a flower shop, No. 11 is Quay Xtra, No. 15 is Q Interiors, No. 17 is Cathedral Chambers, Nos. 19-21 is Pan Haggerty, No. 27 is Rasa, Nos. 10-12 Akenside Hill is the Drum Centre.

Includes right return of No. 93 Grainger Street and left return of No. 45 Clayton
Street. Shops and houses, now shops and offices. Circa 1835, probably by John
Wardle, for Richard Grainger. Sandstone ashlar; roof not visible. 4 storeys,
31 bays. Ground-floor shops altered. Entrance to Nun's Lane to right of No.18.
Projecting end bays have architraves to sash windows, those on first floor with
pediments; 2 bays projecting slightly at each end of 7-bay central section have
architraves to sashes, those on first floor with cornices. Other windows sashes
in plain reveals; paired brackets to moulded sills of all second-floor windows.
Second-floor band to plain sections. Second-floor entablature, with blocking
course above pavilions. On OS second edition the Nag's Head is shown in the centre. The Nag's Head was acquired by Bass in 1940. In the mid 1950s it became Carter's Wine Lodge. It had a Ladies Only room upstairs. It was named after Frank Thomas Carter who owned the pub from the 1870s until the 1930s. Carter was a painter of seascapes and landscapes. In Carter's day the pub was frequented by fellow artists, writers and professionals. In 1986 Carter's Wine Lodge became Butler's Bar and Bistro. McCombie - No. 26 has a late 19th century shopfront with slender pilasters. In 2013 No. 6 is Hidden Hearing, Nos. 8-16 is Wilkinson's, No. 18 is Butler's Bistro (HER 8948), No. 22 is Shelter, No. 22 is Maverick, No. 24 is Pasha, No. 24A is Hype2, No. 26 is the Greenmarket Cobbler, No. 28 is Amplivox Ultratone.

Parish church 1786-96 by David Stephenson replacing medieval church (HER 1423). Sandstone ashlar; Welsh slate roof. Oval plan, with apses on short axis west-east; south chapel and vestry flank portico and tower. Classical style, with baroque tower. Greek Doric tetrastyle portico has dentilled pediment; flanking windows have tripartite sashes in Ionic pilasters under shallow lunettes with glazing bars; voussoirs continuous with chanelled rustication. Rusticated plinth supports paired Ionic pilasters defining bays, with top entablature. Returns have similar window treatment to 2-bay chapel and vestry. Oval continues plinth and Ionic Order framing segmental-headed windows; round-headed gallery windows have balustrades; top dentilled cornice continuous with pediments of tower. 4-stage tower has segmental-headed windows under dentilled pediments; tall arched panels above with louvred lunettes under dentilled cornice; clock faces flanked by plinths of paired diagonal columns; tripartite windows above. Set-back top stage has round balustrade and set-back open-arched belfry with paired corner columns; top spire. Double door in portico and in west apse. Both apses have blind panels, the upper balustraded and with swags. Fluted impost strings. Low, flat-coped walls flank 3 flights of steps to portico.
Interior: painted plaster above panelled mahogany dado, moulded plaster ceiling with much leaf and flower ornament; dentilled cornice. Panelled pews join fluted Doric columns supporting balcony, all mahogany. Organ in west concealing exit. Vestibule under tower contains replica of medieval font with heraldic shields; memorials on walls include marble plaque commemorating David Stephenson, architect, died 1819, by Davies; low-relief obelisk on mount to Edward Moses d.1813, son of the master of the Grammar School, by Davies with Greek and Latin inscriptions; and to Joseph Garnett, died 1796, a bracketed marble slab with book and drapery, by Craggs. Former vestry contains painted boards of Creed, Lord's Prayer and Commandments from church. Perhaps the first fluted Doric columns in Newcastle. Oval nave - the floor was adapted so the central pews could be sunken. Reredos along the back of the apse with tall Corinthian columns 1904. The Thornton Brass has been moved to St. Nicholas Cathedral. One of the few elliptical church es in England.

House, now public house and shop. Early C18. Painted brick with painted ashlar dressings; coursed squared sandstone left return under brick gable; Welsh slate roof. 3 storeys, 5 bays. Giant pilasters at ends and flanking central bay have string at second floor sill level. Renewed ground floor has public-house entrance to left of centre and house entrance at right end. All windows plain sashes in moulded architraves with wedge stone lintels and projecting stone sills. 2 end brick chimneys. Left return gable shows fragments of lower shaped gable brick coping {1}. Robert Laws worked the brewhouse behind the Old Market Hotel in the 1850s. Henry Dunn, a painter and decorator in a nearby building, took it over for a short time. It was purchased by John Fitzgerald in 1900 {Bennison 1995}. Known in the C20 as the Monkey Bar. As part of a renovation process in 2010 the red paint beneath the peeling masonry paint on the west façade was analysed by Crick Smith. It was thought that the red paint might be original to the 18th century building and might be ruddle (limewash tinted with red ochre). This was not the case. The red layer was an oil based paint which was found to have been applied at the time of a cement repair. Cements of this nature did not come into common use until after the middle of the 19th century. McCombie - once a fine town house of c.1740: symmetrical front with tapered pilasters (now truncated) and sash windows (renewed). Pastiche 18th century pub front. The left gable shows many periods: two storeys of coursed rubble, old brick above, apparently a retained party wall, with a shaped gable of c.1700 partly outlined; 18th century offshoot with tumbled-in brick.
A photographic record and watching brief was undertaken in 2007 by The Archaeological Practice Ltd during the stripping of internal wall coverings.