Norman's design meant that the pitch of the roof was carried through to the verandah, and in conjunction with his interest in the classics, he cast many Grecian Ionic columns for supports.
Further down the hill were steps leading to a rectangular Roman style bath, apparently a pre-Lindsay installation on the location of a natural spring.
[1] There were also numerous terraces placed within the surrounding hillside, perhaps reflecting the influence that the English Romantic movement and notions of Arcadia had on Norman Lindsay's planning endeavors.
[1] In 1918, the present painting studio was built by Norman Lindsay and Percy Louden, a local man who worked on the property.
In its original state, the studio was a one-room building, assembled from concrete and coke breeze bricks made by Lindsay.
It was at this time also that previous studio was dedicated solely to the production of etchings, reflecting the changing direction in Norman's art.
Contemporaneously with these renovations a temporary corrugated galvanised iron structure was erected west of original kitchen to house the old small fuel stove.
The passageway from the dining room to the kitchen was also built at this time, with a gauze doorway giving access to both the courtyard and the Isabella grapevine pergola on the other side.
The ionic columns making up the walkway were made by Norman in the tradition of his earlier renovations, and wisteria plants were added soon after.
[1] A second bedroom and bathroom was added to the studio, which housed Jane in 1940s and the domestic staff at various other times, and a small square window was knocked out of the front wall to compensate for the limited light provided by the skylight.
These were salvaged from the rubbish tip years later by the Lindayana collector Keith Wingrove, who repaired them and later donated them to the National Trust (NSW) when the bequest eventuated.
The passageway between the ding room and the bathroom was constructed, resulting in the dismantling of the grape vine pergola, though remnants of the plants did remain.
During this time there was also a bush pole and chicken wire screen planted with banana passionfruit, which ran from the corner of the laundry to the tank stand next to the studio.
[1] After Norman and Rose left, "The Camp" was abandoned as the servants quarters when the Gassons, the staff of that time, moved into the house to take care of Jane and Honey Lindsay.
With the intention of converting the studio to a gallery, she made some changes, starting with the bricking up of the small square window in the front, and having all of the exterior walls stuccoed.
From the late 1950s onwards he used the house as a virtual studio: keeping the model boats in the bedroom, using the courtyard for carpentry, cutting mounts in the sleepout and using the dining room for painting, writing and living.
By this time, Norman had decided that he wished to bequest the property to the National Trust of Australia, and consequently began making changes to the building, which continued, into 1969.
In a way, his pictures grew out of his imagination, but also required an element of the tangible; hence the use of models photographs and research files of magazine clippings in developing a work.
At Hahndorf, in South Australia the house and studio of Hans Heyson has been maintained, but it has much more of a domestic sense than the Springwood property.
Daryl Lindsay's house at Mulberry Hill in Victoria is a National Trust property open for public visitation.
The gallery, along with Everglades and Woodford Academy were all represented in the Blue Mountains Winter Magic street festival which attracted over 30,000 people.
[3][1] Currently, Norman Lindsay's house and property is a popular tourist attraction in the Blue Mountains, not only for the art work on display but also for the beautiful gardens and bushwalk.
[1] The grounds are an eclectic mix of Blue Mountasins hill station gardenesque and interwar domestic styles with idiosyncratic overlay of the work of the artist Norman Lindsay and members of his family in a park like setting surrounded by remnant native bushland.
The place provides potential to reveal the creative achievement of Norman and Rose Lindsay, and their family in integrating building, landscape and artwork.
The landscaping of the grounds with fifteen fountains and statues, and the artworks and other contents of the house demonstrates the family artistic excellence.
[2][1] Norman Lindsay Gallery was listed on the New South Wales State Heritage Register on 1 March 2002 having satisfied the following criteria.
The Norman Lindsay Gallery Museum and grounds are historically significant because of the influence and activities of the National Trust of Australia (NSW), who have owned and managed the property since 1969–1970.
The landscape and statues of the Norman Lindsay property is highly significant because it represents an eclectic mix of Blue Mountains hill station gardenesque and interwar domestic styles with idiosyncratic overlays of the work of the artist Norman Lindsay and members of his family in a park-like setting surrounded by remnant native Bushland.
The place provides potential to reveal the creative achievement of Norman and Rose Lindsay, and their family in integrating building, landscape and artwork.
The landscaping of the grounds with fifteen fountains and statues, and the artworks and other contents of the house demonstrates the family artistic excellence.