The last time I walked down The Esplanade, I was struck by how many new condos have sprung up in that neighbourhood. I thought it may be interesting to put together a little photo journal of the structures I encountered that day.
Category: Architecture (Page 2 of 7)
The Chapel of St. James-the-Less is located at 635 Parliament Street, in the grounds of the St. James’ Cemetery and Crematorium. It is a mid-19th-century funeral chapel built of stone in the High Victorian Gothic Revival style. The chapel is picturesquely set atop a small landscaped knoll, just inside the main gates of the cemetery.
The Chapel of St. James-the-Less was designated a national historic site in 1990 because this small funeral chapel is a splendid example of High Victorian Gothic design.
Designed by prominent Toronto architects Cumberland and Storm, St. James-the-Less exemplifies the small chapels built in the High Victorian Gothic Revival style. It maintains the liturgically correct interior, steep roof and prominent tower of earlier Gothic Revival designs, but presents its component parts in a manner that is both dramatic and harmonious.
The chapel is enhanced by its elevated site and the picturesque setting of St. James’ Cemetery, laid out by John G. Howard in 1842.
Character-Defining Elements
Key elements contributing to the heritage value of the Chapel of St. James-the-Less include:
- its rectangular plan, typical of small parish churches in the High Victorian Gothic Revival style, with a nave, porch, tower and transept;
- the clear articulation of its component parts, the nave, the porch, the tower, the transept and the prominent roof;
- features typical of Gothic Revival churches, including, the steeply pitched roof with deep caves and low sidewalls, the Gothic-arched openings that are often paired, the use of buttresses, and the pinnacles executed in both stone and cast-iron;
- its rough-cut stone walls;
- the deep entrance porch, with its steeply pitched roof, low eaves, and intricate woodwork;
- the short, square belltower set to the side and topped by a tall, thin broach spire with triangular dormers;
- its fenestration patterns and windows, including, the deep-set trefoil side windows with stained glass, the stained-glass chancel windows, and the triangular roof dormers;
- its materials, including Georgetown grey sandstone, white brick, Ohio stone trim, slate roofing, and wooden porch;
- its interior finishes, including the exposed timbers of the roof structure and the wood panelling;
- its siting on a slight rise;
- its setting within the picturesque grounds of St. James Cemetery.
Chapel Interior
Source: Historic Sites and Monuments Board of Canada, February 1990
Originally opened in 1930 as “Eaton’s Seventh Floor,” The Carlu was spearheaded by businessman Timothy Eaton. Lady Eaton, who aspired to bring high society and world-class culture to Toronto, was actively involved in the planning and design of Eaton’s College Street and the Seventh Floor. To realize her desire for style and elegance, she commissioned famed French architect, Jacques Carlu.
Carlu was renowned for his masterpieces in the Art Moderne style, known as streamlined monumentalism for its clean lines and grand scale. The Seventh Floor exemplified this style in every element, including the colour palette, architectural details, artwork, room appointments, as well as the glorious Lalique fountain gracing the centre of The Round Room. In fact, it is said that the sheer beauty and unique shape of The Round Room may have inspired the design of The Rockefeller Center’s iconic Rainbow Room.
In 2003, the space at 444 Yonge Street in College Park was reopened as The Carlu event venue after an extensive restoration.
Event Rooms
The Carlu has 4 event rooms, namely the Concert Hall, the Sky Room, the Round Room and the Clipper Room. The following room descriptions are from Carlu’s website:
The Concert Hall
The Concert Hall can accommodate large functions ranging from 600-1500 guests. The versatile space can be transformed from a state-of-the-art concert space, to an exquisite backdrop for large galas, conventions, award ceremonies and more:
The Round Room
The Round Room is said to have inspired the design of The Rockefeller Center’s iconic Rainbow Room. Its unique shape, paired with the Lalique fountain that graces the centre of the room, make it an impressive space:
The Clipper Room
From an intimate corporate reception, to an on-site bridal suite, the Clipper Room functions as a flexible lounge, dining and reception space that can be used independently or in conjunction with The Carlu’s additional event spaces:
Recognized as one of Toronto’s best examples of Art Moderne architecture, the style is in evidence throughout the space:
Exiting through the Carlu’s South Lobby we get one last look at the graceful Art Moderne details:
The Carlu has been designated as a National Historic Site of Canada, and has played host to royalty on several occasions as the preferred space for high profile social fetes, conventions, and corporate celebrations.
Historical data courtesy of The Carlu’s website
On an oddly-angled section of Dundas Street East, just east of Yonge Street, sits a heritage building which recently has become nothing more than a hole in the ground.
Many will remember this building as the old Hakim Optical store from several years ago:
In June 2023, Toronto Metropolitan University (TMU, formerly Ryerson University) announced the acquisition of two new properties, including 38-40 Dundas Street East. Prior to the sale closing, the City of Toronto deemed 38-40 Dundas Street East in a state of disrepair and required it to be demolished in order to protect public safety. The building has sat vacant since 2010 after its most recent tenant – Hakim Optical — vacated the property.
Despite its history tracing back at least 113 years, the building at 38-40 Dundas Street East lacks heritage protections, and, in its current condition, has been deemed non-salvageable.
Street Murals Found a Home
Despite the building being unsafe on the inside, the south exterior side was in good shape, providing a wide canvas for several murals over the years.
Here’s how the building appeared in October 2021:
In August 2022 we were treated to this new Made In Canada mural:
Then, in October 2022 we were greeted by Harry Styles, gazing down at us:
So Long, Harry…
And now – in June 2024 – we say goodbye to Harry and 38 Dundas Street East, as the demolition proceeds in earnest. When I passed the building last week, Harry was quickly disappearing:
A Bit of Building History
The construction date of 38-40 Dundas Street East has been identified as 1913 in several sources. However, there is the possibility that the extant building may have incorporated parts of an older structure predating the 1910s. Notably, 38-40 Dundas Street East is situated directly on the site of the former, long-time residence of Rev. Dr. Egerton Ryerson and family. Several historical resources indicate the former residence of the Ryerson family may have been heavily renovated and incorporated into the design of the existing building at 38-40 Dundas Street East instead of being outright demolished.
38-40 Dundas Street East appears to have been painted since at least the mid-1920s and it is possible the paint was obscuring details, such as evidence of an older underlying structure and/or alterations over time. Peeling paint on the rear elevation had revealed yellow brick (likely from the mid-19th century) on the lower levels with red brick (likely from the early 20th century) on the upper levels.
The property is one of two buildings sold by the City of Toronto to Metropolitan University (TMU) in 2023, along with the adjacent Toronto Public Health building at 277 Victoria Street, topped by the iconic Sam the Record Man sign:
Photo update
Here’s what the site looked like on June 29, 2024:
Reference: ACO Toronto
The Annex is one of Toronto’s oldest neighbourhoods. It has an old world feel to it and is somewhat diverse, including U of T, trendy eateries, art galleries and one-of-a-kind shops. On its side-streets are gorgeous residential homes — many built around 1880.
For this walk I started at Bay Street, crossed Scollard Street, went down Hazelton Avenue, then on to Yorkville Avenue. From there I completed the rectangular route of Avenue Road, Prince Arthur Avenue, Huron Street, Lowther Avenue, returning to Avenue Road.
Scollard Street
Let’s start out with some beautiful spring tulips on Scollard Street:
Table of Love
At 120 Scollard Street there is this absolutely delightful sculpture called Table of Love by the artists Gillie & Marc.
The text accompanying the work reads:
Even though it was their first date he asked her to marry him. And she said YES. They say when you know, you know, and Dogman and Rabbitwoman both did after just one date. They met, they had dinner, he asked, she said yes. And within a week of first meeting each other they were in Nepal getting married in the foothills of Mount Everest. They still love going on dates together, sharing food, laughter and conversation. And after all this time – to adventure, to chance, to each other – they always say yes.
Hazelton Avenue
Outside Gallery Gevik at 12 Hazelton Avenue I encountered The Chorus, a 1966 sculpture by the Canadian artist Sylvia Lefkovitz:
I’ve always thought this sculpture dark, depressing, foreboding; it fills me with a sense of dread, à la the Dementors in the Harry Potter movies…
Time to move on to something a little cheerier…
Prince Arthur Avenue
Prince Arthur Avenue was named for the Duke of Connaught (1850-1942) who became Governor-General of Canada from 1911 to 1916. He first visited Canada in 1869 and this street name appeared on the Toronto registered plan in 1870.
I’ve been wanting to revisit Prince Arthur Avenue for a while. I’ve always admired the historic homes and buildings on this relatively upscale street:
“This dwelling dates to the 1870s. Its side entrance is innovative for the time, but the general tone is conservative as symmetry prevails under a conventional gable roof. Of special interest are the pairs of semicircular arched windows across the façade”.
Across the street is one of Uno Prii’s architectural masterpieces. Uno Prii claimed 20 Prince Arthur Avenue, built in 1965, was his favourite building, and it’s easy to understand why: the tower captures space age excitement with a rocket-like profile that flares outward at the base, then soars 22 storeys to scalloped peaks.
If you’d like to read my post dedicated to Uno Prii’s architectural creations in the Annex, click here.
The Duke of York Pub is a Toronto landmark restaurant with a long history. It opened in 1976 and has been in successful operation since.
Outside the restaurant Trattoria Fieramosca
“Able to work in a variety of media (wood, plastic, terracotta, plaster and cast stone) and execute a number of techniques (carving, modeling, commercial bas-relief, garden sculpture and portraiture), Frances Gage is one of Canada’s most prolific sculptors. After studying at Oshawa Collegiate and Technical Institute (1943), the Ontario College of Art in Toronto (1951), and the Art Students’ League in New York (1953-55), she received a scholarship from the Royal Society of Canada to study at the École des Beaux-Arts in Paris, where she remained for two years.
Frances Gage’s numerous commissions include a twice-life-sized sculpture and four walnut relief panels for Fanshaw College in London, Ontario (1962), a portrait relief of Dr. Bertram Collip for the University of Western Ontario (1963), crests for the Metro bridges in Toronto, a fountain for the rose garden of Mrs. F.S. Albright of London, Ontario, “Woman,” a marble sculpture for the Women’s College Hospital in Toronto, and many others. A member of the Council of the Royal Canadian Academy, and teacher at the Artists’ Workshop in Toronto, her other accomplishments include the Rothman purchase award (1965) and the development, with the help of her engineer father, of a new durable material called epoxy-resin. Her work has been shown in several group exhibitions, perhaps most notably at the International Congress of Medallic Arts in Florence, Italy (1984), but also in Colorado City, Colorado (1987), Helsinki, Finland (1990), and London, England (1992).”
The actual address here is 180 St. George Street.
“President of a specialty glass company, Thomas Horn pulled out all the stops in creating his dream home in 1898. Employing the skills of Frederick H. Herbert, an architect with several Annex houses to his credit, he chose the Richardsonian Romanesque style. With a conical tower marking the corner site, the house also sports that other hallmark of the genre: the broad arcaded arch, here used to enhance the recessed front door and second storey loggia. The house stands out as one of the few of its type entirely faced in stone”.
Lowther Avenue
Construction of permanent dwellings began on Lowther Avenue around 1875, and shifted to the semi-detached houses that are so characteristic of the 1880s.
“Architect Frederick H. Herbert designed this 1896 house, which is part of an attractive group of houses lining Lowther Avenue. This home’s hallmark is a circular tower with terra cotta stylings accompanying the dormer. The requisite arches and recessed entryway mark a Romanesque inspiration”.
This home is a City of Toronto Heritage Property, built in 1900 by architect F.H. Herbert.
This heritage Eaton Coach House was originally built in 1899. It was converted into luxury three-unit condos in 1985. Suite sizes range from 1800 square feet to 3500 square feet. One of the units is currently on the market for a mere $4.295 million. Alternately, one can rent the townhomes – in 2017 they were renting for $14,000.00 per month. The listing agent says Ryan Reynolds once lived here for a little while.
Commissioned by the City of Toronto.
“This sculpture of a water-carrying vessel is made from 4 kilometers of stainless-steel rod. The rod measures the approximate length of Taddle Creek, which ran from Taddle Creek Park through downtown Toronto to Lake Ontario. The piece reconstitutes a memory of the buried creek by referencing its length and by bending the steel rod into water-carrying arteries. The sculpture’s surface is porous, allowing one to see light slicing through the stainless-steel rods that create its volume. Water flows from the top of the rim of the vessel over its surface and then cascades onto the ground, creating sound that drowns out the noise of traffic. The piece is like an over-flowing pitcher, evoking the creek’s long history as a source of sustenance.
Water from “The Vessel” is stored in an underground cistern and used to irrigate the park. Vessels have accompanied all peoples for millennia, and are often seen as a surrogate for the body; the desire of all civilizations to anthropomorphize these water-carrying vessels is evidence of their importance to our survival as a species. The ability to harness the flow of water both for physical and imaginative nourishment has been an inseparable part of the evolution of all societies. The Anishinaabe Nation or Ojibway-speaking people of the region would have drawn water for sustenance from many sources, including Taddle Creek. They also drew inspiration from water in the development of their creation myths, one of which says, “the rivers that run underground are the veins of Mother Earth and water is her blood, purifying her and bringing her food. Mother Earth implies reproduction, fertility and life.” Although “The Vessel” represents a container, it also acts as a fountain, relating the creek’s historical significance as a life-sustaining water source to the future pleasure of the community.”
– Ilan Sandler 2011
“The Georgian style had come and gone and not quite come back again when this singular duo was constructed in 1875. Although not much older than their neighbours, the twin units recall an earlier urban type far removed from high-Victorian eclecticism. Restrained in detail and guided by symmetry, the houses follow the standard Georgian rules. Curiously, however, the central focus is a shared carriageway (which led to the backyard stables), topped by a gingerbreaded gable. The latter contains an oriel window, the only eccentricity in an otherwise tempered composition. Number 25 (the left side) gets the oriel”.
This cute little house is a Heritage Property, built in 1877.
This double house is a Heritage Property, built in 1892. It exhibits the Bay-n-Gable architecture theme of that era, embracing a Romanesque arch.
Avenue Road
Returning to my starting place of Avenue Road, I noticed this intriguing sculpture entitled Figure Catching a Fly by David Altmejd (2019).
Made of bronze, the sculpture sits in front of the Yorkville Private Estates at 200 Cumberland Street; the front of the sculpture faces Avenue Road.
“Altmejd’s bronze statue, standing more than eight feet in height, fancifully updates the traditional bronze figurative monument. Clad in billowing, flowing robes, the sculpture’s striding female figure arrives like a deity, simultaneously gesturing downward to earth and skyward triumphantly. With arresting appeal, Almejd’s animated bronze figure conjures the history of the Yorkville neighbourhood that in the 1960s became Toronto’s epicenter of fashion, fine art, and nightlife, signalling the city’s sophistication and cultural aspirations.” – storeys.com
That’s it for today! Thanks for joining me on this mini-tour of Toronto’s Yorkville-Annex neighbourhood.
References:
Old Toronto Houses by Tom Cruickshank
storeys.com
waymarking.com
These cast bronze figures, located in the driveway of the Park Hyatt Toronto hotel at 4 Avenue Road, are entitled Mixer. The work is created by sculptor An Te Liu, a Taiwanese-Canadian artist living and working in Toronto.
Mixer envisions its installation as a stage inhabited by a pair of cast bronze figures engaged in dialogue with passersby, hotel visitors, and each other. Bold and distinctive in silhouette and richly finished in a lustrous deep gold patina, the sculptural ensemble forms a vivid and iconic tableau establishing the Park Hyatt as a singular destination.
As a public artwork, Mixer is monumental in scale – visible from afar and instantly recognizable. Open and intimate, the work invites visitors to experience the artwork fully and in the round. People become a critical part of the scenography, which unfolds within the architectural proscenium and extends out into the city.
Mixer finds shape and expression in the rich history of Park Hyatt Toronto, merging classical figurative allusions with industrial, artisanal, and organic forms culled from glassware, vessels, and couture. The forms also stem from a reinterpretation of the artistic legacy of Henry Moore, a seminal figure in the history of the modern era in Toronto.
Mixer captures the allure of social encounters and celebrates imbibing in all the senses. They form a continuity between the illustrious past of Park Hyatt Toronto and its present renaissance as an exemplar of elegance and luxury. An Te Liu’s inspiration for this work comes more specifically from an archival photograph of the Park Hyatt Rooftop Lounge, commonly known as “The Rooftop bar at Park Plaza,” years ago. An Te Liu would visit during his years as a student at the University of Toronto – understanding its social significance as a landmark in the city.
Park Hyatt Toronto invites visitors to experience the artwork in the round, as this ensemble of works seems like an encounter or conversation. The hotel program inspired this meaningful concept as a place of social convergence, where friends and strangers cross paths and mingle.
Text source: Park Hyatt Toronto website
Stackt Market is a truly unique concept. Located at 28 Bathurst Street at Front Street West, Stackt Market has been awarded “Public Space of the Year” by Designlines Magazine, and is also the winner of “Retail Innovation for Fast Company’s Innovation by Design”.
Opened in the summer of 2019, Stackt Market is built entirely from 120 reclaimed shipping containers which create 100,000 square feet of art, retail, events and public space. The containers are – wait for it – stacked, with those on the bottom retrofitted and occupied by pop-ups, creative incubators, 30+ retailers and food/beverage vendors. The shipping containers up top act as large canvasses for local and international artists, drawing attention to the site from the many surrounding condo developments and office towers. Stackt Market is also home to 300+ annual events and 7 annual festivals which put community at the forefront.
Designed by LGA Architectural Partners’ Janna Levitt and Danny Bartman with Stackt Market founder Matt Rubinoff, Stackt Market inhabits the site of a former smelting plant. The 2.4-acre-lot is roughly the size of two city blocks.
Onsite Art Gallery
Stackt Market is strong on community and art. According to their website:
STACKT is on a mission to innovate a new experience where customers, businesses, art and hospitality thrive as one. STACKT is built on the idea that commerce is culture, and culture is community made. The community is made up of innovators, creators, collaborators, and consumers alike.
Come check it out!
Given that my last post was of the Hennick Bridgepoint Hospital, it seems only natural to segue into posting about its next door neighbour – the old Don Jail.
When I first arrived in Toronto many moons ago I remember hearing about the infamous Don Jail from so many different people. To say the place fell into wrack and ruin was an understatement; by all accounts it had all the charm of a medieval dungeon.
Construction & Cramped Quarters
The Don Jail was built between 1858 and 1864, with a new wing built in the 1950s. Designed in 1852 by architect William Thomas, who also designed St. Michael’s Cathedral and St. Lawrence Hall, the jail was constructed with a distinctive facade in the Italianate style.
The Don Jail opened in 1864 and closed in 1977. The Jail was state-of-the-art when it was built, and considerably more humane than jails in much of the world at the time. It was certainly a great improvement from earlier Toronto Jails. The cells, though, were tiny – just 86 centimetres wide and there was no electricity or plumbing. A bucket served as a toilet, which was emptied every morning.
Prisoners were not allowed to talk without permission and received only monthly visits from friends and family. Violations frequently resulted in flogging. For about the first 100 years, inmates generally were not allowed to speak unless addressed first by a prison official.
Prisoners spent 23 hours a day in the cell blocks with the remaining hour in the outdoor exercise yard, now a parking lot. They had to keep moving in the yard and were not allowed to sit around and soak up the sun. The inmates did much of the maintenance including painting, carpentry work and other jail repairs. They also worked a jail farm that covered much of the present Riverdale Park.
Overcrowding
In later years the Don Jail became extremely overcrowded. Frequently three inmates were held in cells meant for a single prisoner and in other cells inmates went for days without a chance to exercise. The environment was so bad that both prisoners and guards were at risk. The jail did not meet the minimum prison standards of the United Nations.
At one time the jail held 691 prisoners, well over the recommended maximum. It was designed to house 275 prisoners, one per cell, and it was noisy and plagued with mice and cockroaches. Many of the prisoners suffered from mental illness.
Public Hangings
Public hanging in Canada wasn’t abolished until 1869, and in Toronto it was moved indoors from the Don Jail yard to its confines in 1905. Before capital punishment was abolished in Canada, the Toronto Jail was the site of a number of hangings. Starting with the execution of John Boyd in January 1908, hangings at the jail took place in an indoor chamber, which was a converted washroom, at the northeast corner of the old building.
Previously, condemned men had been hanged on an outdoor scaffold in the jail yard. The indoor facility was seen as an improvement because outdoor executions were quasi-public (at the hanging of Fred Lee Rice on July 18, 1902, crowds had lined surrounding rooftops to see something of the spectacle), and because the condemned didn’t have to walk as far.
A Massive Renovation
When the Hennick Bridgepoint Hospital demolished the 1950s-era Riverdale Hospital building to replace it with a new 10-storey facility, the historic Don Jail building was extensively renovated to serve as the administrative wing for the hospital, a process which included the removal of “150 years worth of grime” from the exterior. About 20 per cent of the former jail’s heritage interior was preserved, including the centre block’s half-octagonal rotunda featuring clerestory windows, as well as original iron railings and balconies supported by griffin and serpent cast-iron brackets.
In 2012, Bridgepoint Health commissioned a complex restoration project to be carried out on the Don Jail, overseen by several architecture firms. The inflexible floor plan, established for the isolation and separation of prisoners, was transformed into an open, welcoming, and functional administrative space for the new Bridgepoint Active Healthcare Centre.
About 20 per cent of the former jail’s heritage interior was preserved, and the rest of the brickwork cleared out to make way for modern office space. Clear material distinctions were made between new and old and the patina of history. A new partition never meets an old wall, but instead is separated by a glass fin and the marks of history. This work was recognized with the 2016 Built Heritage Award of Excellence.
The east wing was formally decommissioned on January 6, 2014, at which point it too was transferred to Bridgepoint Health and demolished in March and April of that same year. The grounds of the former jail are being landscaped into a city park to be named Hubbard Park after William Peyton Hubbard. The former Don Jail Roadway has been extended and renamed Jack Layton Way after Jack Layton, the late leader of the New Democratic Party of Canada and former Member of Parliament for the area.
On A Final Note, Literally…
Those who know me know I’ll link pop music to anything, and the Don Jail is no exception. Most of us from the music video era know that a certain Canadian pop star who liked to wear sunglasses at night shot his 1984 signature video at the old Don Jail. This was way, waaaaay before its current renovated state of course:
OK, queue the pulsating synths…
Resources:
There are practically hundreds of articles written on the history of the Don Jail. The information above was gleaned from several websites, the City of Toronto and the Ontario Heritage Foundation by the Toronto Historical Board.
For an interesting 2011 article from The Globe & Mail regarding the Don Jail, click here. The piece highlights much of the harrowing and inhumane conditions in the jail during its prime.
The Art Gallery of Ontario (AGO) at 317 Dundas Street West is a near-limitless photography source of beautiful curves, gentle angles and spirals.
The building complex takes up 45,000 square metres of physical space, making it one of the largest art museums in North America and the second-largest art museum in Toronto, the Royal Ontario Museum (ROM) being the largest.
The gallery was established in 1900 as the Art Museum of Toronto and formally incorporated in 1903. The museum was renamed the Art Gallery of Toronto in 1919, before it adopted its present name, the Art Gallery of Ontario, in 1966.
The museum’s permanent collection includes over 120,000 works spanning the first century to the present day. The museum collection includes a number of works from Canadian, First Nations, Inuit, African, European, and Oceanic artists. In addition to exhibits for its collection, the museum has organized and hosted a number of travelling art exhibitions.
If you’d like to check out the latest exhibitions at the AGO, click here.
The Jarvis Street Baptist Church is located at 130 Jarvis Street, on the northeast corner of Jarvis Street and Gerrard Street East.
The Church has its origins in a small group of people who first gathered in October of 1818, in what was then York, Upper Canada. By 1832, the congregation had moved to Lombard Street, and by 1848, to Bond Street. In the late 1860s, church membership was such that a new, larger building was needed.
In 1875, the church moved to the current location at the intersection of Jarvis and Gerrard Streets. A fire in 1938 destroyed much of the church building. At this point, a rebuilding was accompanied by an expansion of the Sunday school and offices.
The Jarvis Street Baptist Church was designed in the Gothic Revival style by the architectural firm of Henry Langley and Edmund Burke who served for many years at Jarvis Street Baptist Church as a Sunday-school teacher, chair of the choir committee, and deacon.
It was one of the first churches in Canada to be built with an amphitheatre-shaped interior. The ground floor seating is grouped in a semicircle, while the gallery above is horseshoe shaped. The gallery is supported by iron columns. Above the gallery, another set of columns support a faux-Gothic ceiling.
The church has been protected under Part IV of the Ontario Heritage Act since 1999.
The main facade of the building is made from brown stone obtained from the regions of Queenstown. The stone is laid unevenly with a pattern that varies in different shades of browns and dark yellows. The material used for the roof is Canadian slate.
The roof is constructed from a series of pitched segments centrally connected by a horizontally sliced dome. There are eight entrances, each consisting of solid oak double doors framed with pointed sandstone arches.
References: Jarvis Street Baptist Church website
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