Part of the State Ballroom reflected in its entrance mirrors. Conceived on a scale to outstrip all rivals, the 42 metre long ballroom is not just another room in the house but commands an entire wing of its own. Beneath the Musicians' Gallery, which faces the dais at the other end of the room, are doors to the vestibule. Mirrors serve to further emphasise the vast dimensions of the room. The eye-catching decoration of the gilded iron balustrade provides a point of focus.

Pan and his pipes are present as a musical motif in the upper triangles of the Gallery. The shape of the semi-circular sound shell behind the Gallery is reflected in the arches and scalloped sconces above the dais at the other end of the room. In 'A Girl at Government House' Agnes Stokes reveals that during balls, servants such as herself watched proceedings by concealing themselves in the Gallery area.

Lord Hopetoun replaced the original decor of this room with an exotic, late 19th century style in his family's heraldic colours.

This room was formerly the venue for functions like the Queen's Birthday Ball hosted by Sir George and Lady Bowen in 1876, which served to declare Government House open (see illustration on page 44). At such gatherings the ballroom functioned as the centrepiece of a whole entertainment complex. With 1400 people present, crowding on the dance floor was relieved by throwing open other State rooms. While many guests danced, some adjourned to the supper room, small groups played whist by the fireside in the drawing room, the smokeroom contingent filed along the sides of the ballroom to the card room or billiard room, and on warm evenings side doors were opened out on to the Fountain Court. Men's formal black and white garb was set off against the colour of evening dresses, military uniforms and diplomatic attire. A range of businessmen, politicians, consuls and councillors, as well as the judiciary and other social sets, were hosted by the Governor in those days.

Like a great hall, the Ballroom utilises an upper story and lofty roof to balance its generous ground-level dimensions. Its freestanding structure provides high windows on both side walls for light, as in a church - Wardell was also a noted ecclesiastical architect. These windows were originally etched, but the etching is only visible on the two closest to the dais, which have no light behind them.

The Ballroom has no gallery along its side walls to disguise its basically rectangular shape. This is achieved by the curvature between roof and walls - the roof gives the appearance of being a platform slightly lower than the roofline. The floor is of Kauri pine. Banquettes along the walls and an ottoman complete the sparse furnishing. The supper room runs the whole length of the room. With its massive serving bench and original fittings, it is an integral part of the Ballroom space.

This Ballroom was reputed to be the largest in the British Empire, its dimensions exceeding those of Buckingham Palace. Governor Sir Henry Loch complained that "you had to ask over 1500 people to a function or the room felt empty".

The chandeliers, by Oslers of Birmingham, who supplied the chandeliers at Buckingham Palace, have been converted from gas to electricity. The chains on which they hang can be wound down to the floor for cleaning and repairs. A grand piano with walnut case was made by Sebastien Erard, supplier of musical instruments to the Royal residences in Great Britain.

During the First World War, the room was used as a Red Cross depot for collecting and despatching items for the troops. In the school period of the early 1930s, it became a classroom. During renovations in the late 1960s shimmering gold leaf on the ceiling and topaz blue paint on the walls restored the Hopetoun colour scheme.

Over the decades the social function of the Ballroom has changed. The room is now used for large receptions, award and investiture ceremonies, and for Cup Eve, Queen's Birthday and other celebrations and functions.