Category Archives: PLACES OF INTEREST

Federation Square (Melbourne, Australia)

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Federation Square

Federation Square, a venue for arts, culture and public events on the edge of the Melbourne central business district, covers an area of 3.2 ha (7.9 acres) and was built above busy railway lines and across the road from Flinders Street station.

It incorporates major cultural institutions (Ian Potter Centre, ACMI, Koorie Heritage Trust, etc.) as well as cafes and bars, in a series of buildings centered around a large paved square, and a glass walled atrium.

Check out “Ian Potter Centre: NGV Australia“

Melbourne’s central city grid was designed without a central public square, long seen as a missing element. From the 1920s there were proposals to roof the railway yards on the southeast corner of Flinders and Swanston Streets for a public square, with more detailed proposals prepared in the 1950s and 1960s.

In the 1960s, the Melbourne City Council decided that the best place for the City Square was the corner of Swanston and Collins Streets, opposite the town hall. The first temporary square opened in 1968, and a permanent version opened in 1981. It was however not considered a great success, and was redeveloped in the 1990s as a smaller simpler space in front of a new large hotel.

Meanwhile, in the late 1960s, a small part of the railway lines had been partly roofed by the construction of the Princes Gate Towers, known as the Gas & Fuel Buildings after their major tenant, the Gas and Fuel Corporation, over the old Princes Bridge station.

This included a plaza on the corner, which was elevated above the street and little used. Between the plaza and Batman Avenue, which ran along the north bank of the Yarra River, were the extensive Jolimont Railway Yards, and the through train lines running into Flinders Street station under Swanston Street.

This open public square had its beginnings in 1996 when the then Premier Jeff Kennett announced that the Gas & Fuel Buildings would be demolished, the rail yards roofed and a complex including arts facilities and a large public space to be named Federation Square would be built.

Lobby of Ian Potter Centre: NGV Australia

It was opened in 2001, in time to celebrate the centenary of Australia’s Federation, and included performing arts facilities, a gallery, a cinemedia center, the public space, a glazed winter garden, and ancillary cafe and retail spaces.

Built at a cost of approximately $467 million (over four times the original estimate of between $110 and $128 million), its main funding came primarily from the state government, some from the federal government, $64 million from the City of Melbourne while private operators and sponsors paid for fit outs or naming rights. The square was opened on October 26, 2002.

Australian Centre for the Moving Image (ACMI) – Australia’s national museum of film, video games, digital culture and art

In 2006, the vaults under Princes Walk (a former roadway) were redeveloped by Federation Wharf into a large bar, with extensive outdoor areas on the Yarra riverbank, with elevator access to Federation Square.

In October 2011, Elizabeth II visited Federation Square. On October 2018, an interim decision to list Fed Square to the Victorian Heritage Register resulted in the square being formally listed in August 2019.

Occupying roughly a whole urban block bounded by Swanston, Flinders, and Russell Streets and the Yarra River, Federation Square is directly opposite Flinders Street station and St Paul’s Cathedral.

The precinct’s layout was designed to connect Melbourne’s historical central district with the Yarra River and Birrarung Marr, a new park.

Its complex and irregular design had gently angled ‘cranked’ geometries (predominating in both the planning and the facade treatment of the various buildings and the winter gardens that surrounded and defined the open spaces) while a series of ‘shards’ provided vertical accents.

Interconnected laneways and stairways and the winter garden connects Flinders Street to the Yarra River. The open square, arranged as a gently sloping amphitheater, is focused on a large viewing screen for public events, with a secondary sloped plaza area on the main corner.

The 1.3 m. high bronze statue of the Fearless Girl by Kristen Visbal

Federation Square: intersection of Flinders and Swanston Streets.

Ian Potter Center: NGV Australia (Melbourne)

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Ian Potter Centre – NGV Australia

The Ian Potter Centre: NGV Australia, an  art gallery that houses the Australian part of the art collection of the National Gallery of Victoria (NGV), is a legacy of the businessman and philanthropist Sir Ian Potter. It presents the story of Australian art through a comprehensive program of temporary exhibitions and extensive displays.

Check out “Federation Square”

Museum entrance

The country’s first public art museum dedicated to Australian art, it houses one of the oldest and most well known art collections in the country and has almost 25,000 Australian artworks, including paintings, sculpture, prints, photography, fashion and textiles.

Museum lobby

At one time, approximately 800 works are displayed in the new building and many of these are rotated frequently to show the full breadth and diversity of Australian art, and to provide visitors with fresh insights. The NGV’s international works are displayed at the NGV International on St Kilda Road.

The author at the museum

The collection, also acknowledging the power, primacy and cultural diversity of Aboriginal and Torres Strait Islander art, presents some of Indigenous art’s major historical and contemporary works. The collection includes works in a range of media by male and female artists, including William Barak, Judy Watson, Emily Kngwarray and Uta Uta Tjangala.

Autumn Memories (Frederick McCubbin)

Well-known and superb works featured at the Ian Potter Centre include  non-Indigenous art, from the Colonial period to the present day, including some of the genre’s most iconic paintings such as Frederick McCubbin‘s poignant triptych The Pioneer (1904), Tom Roberts‘ Shearing the Rams (1890), and works from Sidney Nolan, Arthur Boyd, Albert Tucker, Arthur Streeton, John Perceval, Margaret Preston, Bill Henson, Howard Arkley and Fred Williams.

The Bathers (E. Phillips Fox)

The Ian Potter Centre, designed by Lab Architecture Studio in association with Bates Smart of Melbourne, headed by Peter Davidson and Donald Bates, has earned the designers the RAIA National Award for Interior Architecture as well as the Marion Mahony Interior Architecture Award.

Black Sun (Inge King)

There was plenty to see in the normal free exhibitions so, unless you have a particular interest in the special ones, you’ll still see lots and enjoy the visit.

Faun and Nymph (Rayner Hoff, bronze)

As we arrived just a little over an hour before closing time during our visit, we just saw the free exhibits which were Lucy McRae Body Architect, Petrina Hicks: Bleached Gothic, Olympia: Photographs by Polixeni Papapetrou, Marking Time: Indigenous Art from the NGV, Roger Kemp: Visionary Modernist, The Joseph Brown Collection, Civilization: The Way We Live Now, 20th Century Australian Art and Late 20th and 21st Century Australian Art.

Check out “Lucy McRae Body Architect Exhibit,” “Petrina Hicks: Bleached Gothic Exhibit,” “Olympia: Photographs by Polixeni Papapetrou Exhibit,” “Marking Time: Indigenous Art from the NGV Exhibit,” “Roger Kemp: Visionary Modernist Exhibit,” The Joseph Brown Collection Exhibit,” “Civilization: The Way We Live Now Exhibit,” “20th Century Australian Art Exhibit” and “Late 20th and 21st Century Australian Art Exhibit.”

Marking Time: Indigenous Art From the NGV (Level 3, August 17, 20 19 – June 14, 2020) explores drawings and markings of figures, signs or text made on public surfaces across Indigenous Australia, from rock face to now.

Marking Time

Reko Rennie and Brook Andrew translated incisions, on carved trees or shields, into bold neon icons, whereas Josh Muir and Hannah Brontë used video art to communicate voices of dissent, create dialogue between groups and to effect change.

Marking Time

The Joseph Brown Collection (Level 2) displays the outstanding private collection of Australian art of artist, soldier, scholar, connoisseur, successful businessman and art dealer Dr Joseph Brown AO OBE, donated in May 2004, the most generous single gift of works of art ever made to a public gallery in Australia.

The Joseph Brown Collection

The Joseph Brown Collection

Civilization: The Way We Live Now (Ground Level, September 13, 2019 – February 2, 2020), an international photography exhibition of monumental scale, exhibits over 200 original photographs of over 100 contemporary photographers from Africa, the Americas, Asia, Australia and Europe.

Civilization – The Way We Live Now

In this increasingly globalized world, the exhibition explores photographers’ representations of life in cities as its key theme and presents a journey through the shared aspects of life in the urban environment.

Bryan, Cheska and Kyle at the Civilization: The Way We Live Now exhibit

The modern and bright Crossbar Café, on Level 3, has lovely views of the Yarra River.

White Sacred Baboon (Brett Whiteley)

Ian Potter Centre: NGV Australia: Federation Square, Flinders St. and Russell St., Melbourne, Victoria 3000, Australia. Open daily, 10 AM- 5 PM. Closed Christmas Day and Good Friday. Admission to the permanent collection is free. Fees may apply to special exhibitions, as advertized. Tel: 8620 2222. E-mail: enquiries@ngv.vic.gov.au. Website: www.ngv.vic.gov.au.

Fitzroy Gardens (Melbourne, Australia)

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Fitzroy Gardens

After the 6 PM mass at St. Patrick’s Cathedral, we all walked to the nearby 26-hectare (64-acre) Fitzroy Garden. Located on the southeastern edge of the Melbourne Central Business District, the gardens are bounded by Clarendon Street, Albert Street, Lansdowne Street, and Wellington Parade with the Treasury Gardens, across Lansdowne Street, to the west.

Named after Sir Charles Augustus FitzRoy, a governor (1846-51) of New South Wales and Governor-General of the Australian Colonies (1851-1855), it is one of the major Victorian era landscaped gardens in Australia, adding to Melbourne‘s claim to being the garden city of Australia.

An avenue lined with English elm trees (Ulmus procera)

Here’s the historical timeline of the gardens:

  • In 1848, the 26 hectares (64 acres) of Fitzroy Gardens were permanently reserved as public gardens, with title shared by the State Government and City of Melbourne.
  • In 1856, Edward LaTrobe Bateman was commissioned to produce designs for the garden
  • In 1857, James Sinclair was appointed head gardener.  He worked in the gardens until his death in 1881.
  • In 1858, the border of Fitzroy Square was planted with gum trees and wattles.
  • In 1860, responsibility for Fitzroy Gardens was taken over by the Lands Department.
  • In 1862, a path network was established and a Neo-Classical band pavilion was built near Grey Street entry.  The name of the gardens was also officially changed from Fitzroy Square to Fitzroy Gardens. The path system was also firmly established.
  • In 1864, the small Tudor-style gate keepers lodge was built on the southwest corner.  Four fountains and statuary were also added.
  • In 1865, five gas lamps were installed along main path
  • In 1866, Sinclair’s Cottage was on the main walk
  • In 1873, the “Temple of Winds,” a Neo-Classical rotunda, was built
  • In 1880, many of the blue gum trees were removed, to create more room for existing trees as well as sweeping lawns and ornamental flowerbeds.
  • In 1890, every alternate elm tree on the Avenues was removed
  • In 1897, Lombardy Poplar Walk was planted in line with George Street
  • In 1901, the nursery and stable yard were transferred, from the center of the gardens, to its present site
  • In 1902, Pine Avenue along Grey Street walk was removed
  • In 1908, the original, timber-style kiosk was opened in the center of the gardens. Development of “Mound” in center of gardens was also planted with rhododendrons.
  • In 1915, the external picket fence was replaced by stone edging
  • In 1917, control of gardens passed onto the City of Melbourne
  • In the 1920s, a dining room was added to the kiosk
  • In 1921, work was started on pollarding the Elm Avenue.
  • In 1922, large number of stone pines along Clarendon and Albert Streets were removed.
  • In 1923, advanced specimens of Moreton Bay figs along Wellington Parade were removed
  • In 1927, the plant managers’ house was built
  • On March 13, 1930, the conservatory for displaying glass-house plants was opened
  • In 1934, Cooks’ Cottage was erected after being bought, shipped to Australia and donated by the Grimwade family.
  • In May 1934, artist Ola Cohn completes carving the Fairies Tree and donates it to the children of Melbourne.
  • In 1960, the kiosk was damaged by fire and later demolished
  • In the 1960s, the central section of the creek was piped underground
  • In 1964, the new brick kiosk was opened
  • In the 1970s, the eighteenth century cottage garden was added to Cooks’ Cottage
  • In 2014, an area previously used for depot activities was reclaimed as garden space.

The land on which the garden was built was originally swampy, with a creek draining into the Yarra River. The garden, initially designed by Clement Hodgkinson, was planted by James Sinclair, the park gardener, as a dense woodland with meandering avenues.

The creek, used for the irrigation of the western side of the gardens for fifty years, was landscaped with ferns and 130 willows but this did not stop it from smelling foul from the sewage from the houses of East Melbourne.

Moreton Bay Fig (Ficus macrophylla) is a large, massive and heavily branched spreading tree native to Queensland and New South Wales. This fast growing shade tree, 15-20 m. high, has large leaves and oval, glossy fruit.

In the early 1900s, the creek water substantially improved with the installation of sewerage mains to the residences of East Melbourne.

An ornamental lake

In the early years, to provide wind breaks, quick growing blue gums and wattles were planted while elm trees were planted to create avenues along pathways which, unknowingly, created a pattern resembling the Union Flag. With the creation of new planting in areas like the Mound and the Grey Street Walk, sub tropical planting became a feature of the gardens.

The Dolphin Fountain, installed at the northern end of the lake, adjacent to the Mound, was sculpted by June Arnold and consists of a pyramid of granite boulders upon which are mounted assorted sea creatures – dolphins, octopus, crabs, sea birds, sea horses, starfish, turtles and shrimps. Wealthy benefactors Dinah and Henry Krongold donated $30,000 towards the construction of the fountain and the architectural consultants were Perrott, Lyon and Mathieson.

The trees that line many of the pathways are the most notable feature of the gardens. The gardens, home to rainbow lorikeets, ducks, brushtail and ringtail possums, and microbats (small insect eating bats), are visited at night by grey-headed flying foxes (a large nectar and fruit eating bat) and powerful owls. The presence of these Australian wildlife makes the city gardens especially enjoyable for overseas visitors and locals alike.

The old, square, Corinthian-style Bandstand, built adjacent to the Gipps Street entrance to the Gardens, is enclosed by a low iron fence. It was designed and erected by George Dodd in 1864 at a cost of 322 pounds.

Set within the garden are a visitor information center and cafe, a conservatory, Cooks’ Cottage, a model Tudor village, an ornamental lake, a scarred tree, tree-lined avenues, a band pavilion, a rotunda, the ” Ola Cohn’s Fairies’ Tree,” fountains and sculptures.

The “Temple of Winds,” a Neo-Classical rotunda, was built in 1873 by Thomas Julian and Co. at a cost of £275. The building consists of a domed concrete roof supported by ten Corinthian columns.

The River God Fountain, located at the north end of the gardens at the junction of paths facing south, was designed and cast in concrete by the sculptor, Charles Summers and was erected in the Fitzroy Gardens in 1862. Its central feature is a figure of a man on bended knee bearing an open clam shell on his shoulders.

The Ola Cohn’s Fairies’ Tree comprises a series of lovely carvings (fairies, dwarfs, gnomes, a marvelous jackass, koalas, flying foxes and a host of typical Australian animals and birds), done from 1931 to May 1934 (Victoria’s Centenary Year) by Miss Ola Cohn, on the stump of one of the original old red gum trees.

Fairies’ Tree

The trunk was extracted from the ground, in 1977, for chemical treatment and the removal of rotted wood. During the process, the mummified remains of an over 40 year old brush tail possum was found, perfectly preserved within the trunk. To prolong its life, the tree was remounted on a concrete base.

The Conservatory

The Conservatory, one of Melbourne’s favorite tourist attractions, was opened on March 13, 1930 and provides 5 separate, spectacular floral displays each year.

The Conservatory Fountain (Boy with Serpent), a cast-iron ornamental fountain located near the rear entrance, features a snake coiled around the figure of a boy, atop a granite shaped ball.

Hydrangea and Fuchsias are in Display 1 (November – February); Tuberous Begonia and Gloxinia in Display 2 (February – April); Tropical and Poinsettia in Display 3 (April – July); Cineraria and Cyclamen in Display 4 (July – September); and Schizanthus and Calceolaria in Display 5 (September – November).

The Conservatory’s interior

Built in the Spanish Mission architectural style, it measures 30 x 15 m. and originally cost 4,000 pounds.

Cook’s Cottage

Cooks’ Cottage, which originally stood on an extremity of the village of Great Ayton, Yorkshire, England, was built, rebuilt or bought by Cook’s father in 1755. However, from the date 1755 and the initials of James and Grace (Cook’s mother and father) over the doorway, it is apparent that it is older than the rest of the cottage and it would seem that the cottage was rebuilt, and not originally built by Cook’s father when he bought it.

The Great Ayton family cottage is the only concrete historical link we have with Captain James Cook‘s origins (the original thatched cottage in which Cook was born at Marton-in-Cleveland was demolished in 1786) as it is possible that, during his boyhood years from 1736 until 1745, Captain Cook lived in the cottage. In the winter of 1771/72, on his return from the Australia voyage, he also spent some time with his father in the cottage.

The bronze statue of Captain James Cook sculpted by Englishman Marc Clark in 1973

In 1933, the last owner of the cottage, Mrs. Dixon put the cottage up for sale and the prominent Melbournian Russell Grimwade agreed to buy the cottage and present it as a gift to the Victorian people as an ideal focus piece for Victoria’s centenary in 1934. Grimwade dismantled and shipped the cottage to Melbourne in 253 packing cases, arriving in April 1934.

The garden

As research and guess work would permit, the cottage was accurately restored to its mid 18th century appearance and completed in six months.  A site in the Fitzroy Gardens, with its large shady European trees, was selected to complement the cottage. On October 15, 1934, during a centenary ceremony, the cottage was handed over to the Lord Mayor, H. Gengoult Smith by Russell Grimwade.  The cottage has undergone two restorations in the late 1950’s and the most recent in 1978.

The Model Tudor Village

The Village, situated in the center of the Fitzroy Gardens, was one of three such villages modeled in cement, as a hobby, by the 77 year old Mr. Edgar Wilson, a pensioner who lived in Hamilton Road, Norwood, London, England. In appreciation of Melbourne’s generosity in sending food to Britain during the World War II, one of them was presented to the City of Melbourne through the City of Lambeth, England and was officially opened, on May 21, 1948, by the Right Honorable Lord Mayor of Melbourne, Councilor Sir Raymond Connelly.

The delightful village, representing a typical Kentish village built during the “Tudor” period of English history, is composed of models of various thatched cottages, a village church, school, hotel, barns, stocks, pump, a scale model of Shakespeare’s home and Anne Hathaway’s cottage, and all public buildings.

Pavilion Cafe

The Italian Romanesque-style, single storey Sinclair’s cottage, a polychrome brick gardener’s cottage located on the main Elm Avenue, was designed by Melbourne architect Francis Maloney White. It was built in 1866 by Thomas Crowson at a cost of 520 pounds.

Sinclair’s House

This house has a gabled entrance porch with overhanging eaves; walls of alternating cream and red brickwork (with cream as the dominant color) and two notable stripped chimneys, built in alternating red and cream brickwork courses, which dominate the roof.

Sinclair’s House

The stables at the back repeat, in a much simpler fashion, the fine details of the main house.

Visitor’s Center

A café and visitor center provides tourism information about Melbourne as well as specific information and services for Cooks’ Cottage and Fitzroy Gardens.

The Children’s Playground, located on the south side of the Grey Street herbaceous border, has a 20-ton sculpted concrete dragon as its centerpiece. The dragon is 7 m. long and 3 m. wide and was sculpted by Martin Moore, Gary Tippet and Aaron Beaucaire from Mothers Art. It was built using a steel frame with a reinforced concrete base.

Fitzroy Gardens: Wellington Parade, East Melbourne, Victoria, 3002, Australia Opening Hours: Open 24 hours; closed from October 28 to November 1.

St. Patrick’s Cathedral (Melbourne, Australia)

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St. Patrick’s Cathedral

The first and only mass we attended in Melbourne was, fittingly, at the Cathedral Church and Minor Basilica of St. Patrick (colloquially St. Patrick’s Cathedral), near Fitzroy Park, located on Eastern Hill, in an area bounded by Albert Street, Gisborne Street, Lansdowne Street and Cathedral Place. Just to the east, across Gisborne Street is St Peter’s Church, the Anglican parish church of Melbourne constructed from 1846 to 1848.

Check out “Fitzroy Park”

Here are some interesting trivia regarding the cathedral:

  • Although its 103.6-m. (340 ft.) length is marginally shorter than that of St Mary’s Cathedral (Sydney), St Patrick’s has the distinction of being both the tallest and, overall, the largest church building in Australia.
  • It the cathedral church of the Roman Catholic Archdiocese of Melbourne and seat of its archbishop (currently Peter Comensoli).
  • Since the Catholic community of Melbourne was, at the time of it construction, almost entirely Irish, the cathedral was dedicated to St Patrick, the patron saint of Ireland.
  • William Wardell, Melbourne’s foremost ecclesiastical architect, was commissioned to prepare plans for the cathedral. A remarkably ambitious and capable architect, he went on to design the second St Mary’s Cathedral, Sydney in a similar style, even larger than St Patrick’s, but with a completely English square East End.
  • St Patrick’s Cathedral was one of the two largest churches (the other is St Patrick’s Cathedral, New York, United States) brought to substantial completion anywhere in the world in the 19th century.
  • The bells of the cathedral are unusual in that they were cast unturned (they ring anti-clockwise instead of clockwise) and are thought to be the only ring of eight bells cast by John Murphy of Dublin which are still in operation today.
  • The 1992 – 1997 restoration works were awarded the Royal Australian Institute of Architects (Victorian Chapter) John George Knight Award for Heritage Architecture 1996.
  • One of the gargoyles, restored by the masonry team, was modeled on the then-Premier of Victoria, Jeff Kennett as the previous gargoyle apparently had striking similarities.

Check out “St. Patrick’s Cathedral (New York City)”

The Geometric Decorated Gothic-style facade

The cathedral, planned is in the style of a Latin cross, is built on a traditional east–west axis, with the altar at the eastern end (symbolizing belief in the resurrection of Christ).

The cathedral interior

It consists of a nave with side aisles, transepts with side aisles, seven chapels grouped in a semicircle around the central sanctuary, and sacristies. It was built in stages, between 1858 and 1940.

Apse: Its ceiling, vaulted in timber, has a Latin quotation from the book of Revelations carved around the base

Here is the historical timeline of the cathedral:

  • In 1848, negotiations with the colonial government for the grant of five acres of land for a church in the Eastern Hill area began.
  • On April 1, 1851, only 16 years after the foundation of Melbourne, the Colonial Secretary of Victoria finally granted the site to the Roman Catholic Church. Augustinian friar James Goold, the first bishop of Melbourne and the fourth bishop in Australia (after Sydney, Hobart and Adelaide) decided to build his cathedral on the Eastern Hill site.
  • In 1851-1852, when Bishop Goold visited Europe, he bought a peal of eight bells for £500 (with some records showing that it cost £700) for the cathedral.
  • In 1853, the bells arrived in Australia
  • On December 8, 1858, William Wardell was commissioned to plan the cathedral and that same year, its foundation stone was laid and building commenced. An earlier building, by stonemason David Mitchell (father of operatic soprano Nellie Melba and later partner of John Monash), was demolished for the cathedral.
  • On November 29,1868, the bells, hung in a low frame at ground level in the western aisle, were consecrated by Bishop Goold in a service attended by around 5,000 people. The bells were eventually hung at the south-eastern tower.
  • Before 1868, the original front entrance, with a double-arched doorway and a pillar dividing it, was removed.
  • In 1869, the nave and aisles were opened.
  • In 1871, the ringers of St Patrick’s began the custom of ringing in the New Year.
  • By the 1880s, St Patrick’s Cathedral became the leading tower for Australian change ringing.
  • In 1891, a severe depression which hit Melbourne further delayed the construction.
  • On May 30, 1891, the statue of Catholic emancipator Daniel O’Connell (1775-1847) by sculptor Sir Thomas Brock, was erected by public subscription and unveiled.
  • In 1897, under the leadership of Archbishop Thomas Carr, the remainder of the cathedral itself and the sacristy were completed and consecrated.
  • In 1914, the bells were rung for the requiem mass of Pope Pius X
  • In the late 1930s, Daniel Mannix (Archbishop of Melbourne in 1917) oversaw the addition of the spires and other elements.
  • From 1936-40, the spires (higher than Wardell originally intended) and confessional were added and the west door rebuilt.
  • In 1939, the building was officially completed.
  • By 1959, the belfry fell into disrepair and the bells became unringable.
  • In 1974, Pope Paul VI conferred the title and dignity of minor basilica on it.
  • In 1986, Pope John Paul II visited the cathedral and addressed clergy during his Papal Visit.
  • In 1988, as the major Victorian project among Bicentennial bell restorations, the cathedral’s peal was sent to Eayre and Smith Bell foundry in England.
  • On December 8,1988, the peals and an added ninth bell (Angelus bell), was consecrated. An electronic chiming mechanism was also installed, at this time, for all the bells with the original manual method retained in order to replicate how the bells would have sounded if they were rung by hand.
  • From 1992 till 1997 (the centenary of its consecration), the cathedral was closed and significant restoration and conservation works were undertaken under the guidance of Falkinger Andronas Architects and Heritage Consultants. Funds were contributed by the federal and Victorian governments, corporate and philanthropic donors and the community of Melbourne. Nothing was added to the main building.
  • From 1996-97, the organ was refurbished for the centenary of the cathedral.
  • In March 1999, the statue of Dr. Daniel Mannix (long-serving former Catholic Archbishop of Melbourne) by English sculptor Nigel Boonham, was unveiled.

Central Sanctuary

The cathedral, designed specifically in the Geometric Decorated Gothic style, in response to the revival of Gothic architecture (as promoted by Augustus Welby Pugin and others as the most appropriate for the building of churches), was based on the great medieval cathedrals of England.

West Wall

This style is at its most complex in the large west window of the nave.

South Transept

North Transept: its north wall shows four of the Stations of the Cross

The eastern arm, with its chevet of radiating chapels in the French manner, is still principally in the English Gothic style of the late Thirteenth Century (giving the most complete essay attempted in that style during the Nineteenth Century).

Blessed Sacrament Chapel: located closest to the North Transept, its altar reredos has two mosaics depicting the “Sacrifice of Abraham and Isaac” and of “Abraham and Melchisedech.” The tabernacle, made in 1900, features a pelican ( a symbol of Christ) motif, representing the Eucharist.

Sacred Heart Chapel: Originally designated to be the organ and choir gallery, this chapel, dedicated to the Sacred Heart of Jesus (after the arrival of a Sacred Heart statue from Germany in 1874), has a Sacred Heart statue in the center of reredos and surrounded by relief carvings of the Nativity and the Last Supper. Below are carvings of “The Crowning with Thorns” and “The Agony in the Garden” and a carved inscription “Cor Jesus, Thronus Misericordiae” (Heart of Jesus, Throne of Mercy). The altar is made of alabaster. Its frontal features carvings of Jesus before Pilate and the scourging at the pillar. The tabernacle door is inscribed with the words ‘Cor Jesus, Salue in Te sperantium’ (Heart of Jesus, Salvation of those who hope in Thee).

The massive cathedral, made with bluestone (sourced from basalt deposits in nearby Footscray) and sandstone, is 103.6 m. (340 ft.) long on its long axis, 56.4 m. (185 ft.) wide across the transepts and 25.3 m. (83 ft.) wide across the nave.

South Aisle

The nave and transepts are 28.9 m. (95 ft.) high, the central spire 105 m. (344 ft.) high and the flanking towers and spires 61.9 m. (203 ft.) high.

St. Brigid and the Irish Saints Chapel: originally called the Chapel of the Irish Saints but later became known as the Children’s Chapel dedicated to St Brigid, children contributed to the cost of the chapel’s completion. On the archway over the chapel is inscribed a text from the 44th Psalm. The altar is constructed of alabaster, its frontal panel features small mosaics of St. Patrick and St. Columbanus. A marble statue of St. Brigid is located in the niche of the reredos. Carved images of four Irish saints (St. Dympna, St. Reyna, St. Ita and St. Bees), from the sixth and seventh centuries, are also represented in the reredos.

St. Thomas Aquinas Chapel

The 4.87 m. high and 3.65 m. wide front door has three columns, recessed and carved jambs with a Gothic arch crowned by a paneled, molded and carved gable finished with a carved cross.

Entrance doorway

Buttresses support the gables and these are topped with carved pinnacles and quatrefoil-paneled side parapets.  In 1974, the original gable was replaced by a carving of the Papal Coat of Arms when Pope Paul VI conferred the title and dignity of Minor Basilica on the Cathedral.

Icon of Madonna and Child

The archway, filled with a bronze tracery grill, features St. Patrick, with St. Brigid and St. Columba on either side. In the space between and above are the monograms of the Holy Name (IHS) and of the Blessed Virgin Mary (BVM).

Archbishop’s Memorial: located in the northern transept, plaques here commemorating Melbourne’s Archbishops, James Alpha Goold (1848 –1866), Thomas Joseph Carr (1886–1917), Daniel Mannix (1917–1963), Justin Daniel Simonds (1963–1967) and James Cardinal Knox (1967–1974). Archbishops Mannix and Simmonds and Cardinal Knox are buried in the vault beneath the floor of this transept.

It also features four angels and eight shields bearing symbols of the Old and the New Testaments: Noah’s Ark, the brazen serpent and the instruments of the Passion, the chalice and host, and Christ as the Lamb.

Statue of St. Mary MacKillop

The Lady Chapel: located directly behind the high altar, its foundation stone was laid by Archbishop Goold on September 8, 1879. Made of English red and white alabaster, its altar is 4.11 m. high and 2.36 m. wide and its front has three ornamented panels, in the center, a mosaic of the monogram of Our Lady with slightly smaller mosaic of Star of the Sea and of the Tower of David, titles given to Our Lady, on either side. The reredos have a molded canopied niche that features a marble statue of Our Lady with the title of Regina Coeli (“Queen of Heaven”). The panels, on either side of the reredos, have mosaics depicting the “Nativity of Our Lord” and “The Coronation of the Blessed Virgin.” Above the reredos are the words: “Mater Salvatoris, ora pro nobis” (“Mother of the Savior pray for us”).

On the panels of the gates of the grill are the coats of arms of Pope Pius XII (who was the reigning pontiff when the additions were installed) and of the first three archbishops of Melbourne.

Holy Soul’s Chapel: Originally known as the Mortuary Chapel, this chapel was dedicated to the memory of Archbishop Goold (who laid the first stone in 1880) who is buried beneath the chapel (a brass memorial plaque marks his resting place). On June 9, 1888, the first Mass in the newly finished chapel was offered by Archbishop Carr for the repose of the soul of his predecessor.

The majority of stained glass in the cathedral was done by Hardman of Birmingham, with two windows by Mayer of Munich and one by Montgomery.

Stained Glass Windows: Located in the Blessed Sacrament Chapel, they depict “The Sacrifice of Melchizedech” and “The Last Supper.” Made in Munich for the 1881 Melbourne International Exhibition, they were purchased by Archbishop Goold.

The stenciling and painting of the sanctuary was done by Charles Firth, the carved altars by Farmer and Brindley, and the throne, credence tables, bishop’s chair and confessionals carved by C N Bell. The intended wall mosaics and paintings were not completed.

Painting of St. Ambrose: Aurelius Ambrosius, better known in English as St. Ambrose, was one of the four original doctors of the Church. He was born in Trier in 337 AD and died in Milan in 397 AD. St. Ambrose was an archbishop of Milan who became one of the most influential ecclesiastical figures of the 4th century.

Painting of St. Augustine: On a column near the baptistery, this painting shows St Augustine with quill in hand.

The cathedral’s original pipe organ, built in the late 1870s by Robert Mackenzie to serve the liturgical needs of the cathedral (the organ is also occasionally used for recitals and recordings), was completed in 1880 by George Fincham.

Pipe Organ: built by George Fincham & Sons, Melbourne in 1962-64, it incorporates a substantial part of the instrument built in the west gallery of the cathedral in the late 1870s by Robert Mackenzie and completed in 1880 by George Fincham. Refurbished with additions by Australian Pipe Organs, Melbourne in 1996-97, it is used for occasional recitals and recordings, as well as serving the regular liturgical needs of the cathedral. The organ has 76 speaking stops involving almost 5000 pipes, 24 Spanish trumpets, and a four manual console.

The current installation in the west gallery of the cathedral, built by George Fincham & Sons, Melbourne, from 1962 – 1964, incorporates a substantial part of the original.  It comprises 81 speaking stops (some dated to 1880 or 1896, when the instrument was enlarged) spread over four manuals and pedals.

Baptismal Font: located in the northwest corner of the nave, it is made of soapstone and features symbolic representations of graces received through baptism. At the foot of the font are various grotesques, representing the devils cast out by baptism. A 17th century painting of “The Finding of the Child Jesus in the Temple” forms a backdrop.

The peal of eight bells, all cast by John Murphy of Dublin in 1852 and bearing the coat of arms of Bishop Goold, are in F natural, with the tenor weighing 12 long cwt 1 qr 10 lb (1,382 lbs. or 627 kgs.) and the treble 4 long cwt 12 qr 14 lb (798 lbs. or 362 kgs.). The peal set weights around 3,556 kgs. (7,840 lbs.).

Statue of Archbishop Daniel Mannix: this larger-than-life statue, sculpted by Nigel Bonnham, watches over the area in front of the cathedral’s main west entrance. It was during the his reign that the cathedral was finished. The three towers and spires were enlarged and completed in 1939, to the design of Conolly and Vanheems, to commemorate the centenary of Catholicism in Melbourne.

Statue of Daniel O’Connell: located around the north side, O’Connell is often referred to as The Liberator or The Emancipator, and was an Irish political leader in the first half of the 19th century. He campaigned for Catholic Emancipation, including the right for Catholics to sit in the Westminster Parliament, denied for over 100 years, and repeal of the Act of Union which combined Great Britain and Ireland.

The Cathedral Shop, located adjacent to the Presbytery Office, offers a wide range of souvenirs, gifts, CDs, handcrafted items, rosary beads, fine cards and more.

Bust of Fr. George Preca. St. George Preca (1880 – 1962) was a Maltese Roamn Catholic priest and the founder of the Society of Christian Doctrine as well as a Third Order Carmelite. He is known as “Dun Ġorġ” in Maltese and Pope John Paul II dubbed him as the “Second Apostle of Malta.” Pope Pius XII, in 1952, titled him as a Monsignor despite his uneasiness about it. He had assumed the religious name of “Franco” after becoming a Secular Carmelite.

St. Patrick’s Pilgrim Path, a wide path to the south transept door on the southern approach to the cathedral, is divided by a delightful flow of water over a sequence of small drops. Created by Green and Dale Landscape Architects, its central concept is that of flowing water which cascades down the channel that divides the two sides of the stepped pathways that progress up the incline.

Gospel of St. John 4.14

Psalms of David 23

Salutary selections of quotations, cut with gold inlays into a number of blue stone structures, features quotations from James McAuley (one of Australia’s great poets), Gospel of St. John 4.14 (1st Century AD) and from Psalms of David 23.

Quotation from James McAuley

A giant bronze bowl, the origin of the water supply, contains a submerged golden image of “The Lamb.” Water here cascades in three directions onto the seven-stepped structure below. Around the bowl’s rim are inscribed verses from the Book of Apocalypse.

Bronze bowl with submerged image of The Lamb

Verses from the Book of Apocalype

Around the path are statues of St. Francis of Assisi (c 1181-1226) and St. Catherine of Siena (1347 – 1380), both sculpted by Louis Lauman, a Melbourne based artist.

Statue of St. Catherine of Siena: Located opposite the statue of St Francis, it depicts Catherine of Siena (1347 – 1380) holding up a crown of thorns. Sculpted by the Melbourne – based artist Louis Lauman.

Statue of St. Francis of Assisi: this Italian Catholic friar and preacher founded the men’s Order of Friars Minor, the women’s Order of St. Clare, and the Third Order of Saint Francis for men and women not able to live the lives of itinerant preachers followed by the early members of the Order of Friars Minor or the monastic lives of the Poor Clares. Though he was never ordained to the Catholic priesthood, St. Francis is one of the most venerated religious figures in history.

These were blessed and dedicated by Archbishop George Pell on December 17, 2000 in the presence of Sir James Gobbo, the Governor of Victoria, and his wife, Lady Gobbo.

Jandy and Grace at the Pilgrim Path

Cathedral Church and Minor Basilica of St. Patrick:  1 Cathedral Place, East Melbourne, Victoria 3002, Australia. Tel: 9662 2332.  E-mail: cathedral@cam.org.au.  Open Mondays to Fridays, 9 AM – 5 PM. Masses: Saturday – 8 AM, 6 PM (Vigil), Sundays – 8 AM, 9.30 AM, 11 AM (Solemn Mass), 6.30 PM, Weekdays – 7 AM, 1 PM. The Cathedral Shop is open Mondays to Fridays, 9.30 AM to 4.30 PM, and Sundays, 8.30 AM to 1 PM.

St. Peter’s Anglican Church (Melbourne, Australia)

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St. Peter’s Anglican Church

St. Peter’s Church, an Anglican parish church on Eastern Hill in the Anglican Diocese of Melbourne, is located opposite St Patrick’s Cathedral, the Roman Catholic cathedral, and the Eastern Hill Fire Station. The parish is well known as belonging to the Anglo-Catholic or High Church tradition.

Check out “St. Patrick’s Cathedral“

Here’s the historical timeline of the church:

  • On June 18, 1846, the foundation stone of the church was laid by Charles La Trobe, Superintendent of the Port Phillip District.
  • In 1847, the building was first used for services even though the first part was not completed.
  • On February 13, 1848, the letters patent of Queen Victoria declaring the city status of Melbourne were read on the steps of St Peter’s.
  • On August 6, 1848, the church was formally opened. The initial church constructed was brick, with stone facings, and had a shingled roof.
  • In 1854, the building was enlarged to designs by architect Charles Vickers, with the nave increased in length (to bring its seating capacity up to 1050), the transepts with galleries and a chancel added, and the shingles roof replaced with slate.
  • In 1876, Leonard Terry carried out alterations including an enlarged chancel, an added vestry, and a baptistery, with the new chancel opened on June 29, 1876.
  • In December 1876, work continued with five stained glass windows by Ferguson and Urie added to the chancel.
  • In 1897, repairs and alterations were carried out by Walter Butler of Butler and Inskip which included installation of gas lines and Tobin tubes for ventilation, removal of the transept galleries, and a new layout of pews to include a central and two side aisles.
  • From 1927-29, further alterations took place including installation of timber paneling in the transepts and chancel, and installation of a choir screen by Louis Williams.
  • In 1945, a stained glass window, designed by Napier Waller to commemorate the New Guinea mission (and the eleven Anglican martyrs) and to mark the centenary, was installed in the north transept. A second Waller window in the south transept was subsequently added.
  • In March 1974, the current organ (the church’s third) was constructed and completed by George Fincham and Son Pty Ltd.

St Peter’s is the oldest Anglican church standing on its original site in the inner city area. St. Peter’s Eastern Hill precinct is also of architectural significance for its association with a successive number of prominent Melbourne architects who contributed to the development of the church precinct: Charles Laing (designed tower and brick and stucco section), Charles Vickers, Leonard Terry, William Pitt, Walter Butler, Louis Williams, and Alexander North. The group of buildings forms a picturesque precinct.

The substantially intact vicarage and school are early examples of William Pitt’s work while St. Peter’s Hall is the first work in Victoria of Tasmanian émigré architect Alexander North who specialized in church architecture. The New Guinea windows, in the north transept, are of historical significance for their representation of the eleven Anglican martyrs.

As a schoolgirl, the opera singer Nellie Melba had organ lessons at the church while the novelist Henry Handel Richardson worshiped at St Peter’s and fictionalized this part of her life in an episode in “The Getting of Wisdom.”

Historical plaque of church

St Peter’s is also renowned for the quality of its music. The Choir of St Peter’s Eastern Hill, a volunteer mixed choir (that leads the church’s liturgical music every Sunday as well as for weekday feasts), is conducted by Andrew Raiskums.

Opposite the church is the Cross of Sacrifice, a 6 ft. high bronze statue of a crucified Christ on a sandstone pedestal which commemorates the 366 young men and women from the Anglican Church of St. Peter who served in World War I.

Cross of Sacrifice

It was unveiled On March 16, 1924 by the Governor-General Lord Forster and blessed by the Archbishop Lees (Anglican Archbishop of Melbourne).

Plaque of cross

St. Peter’s Church: corner of Albert and Gisborne Sts., Melbourne, Victoria,

Parliament Garden Reserve (Melbourne, Australia)

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Parliament Garden Reserve

This small triangular park, beside Parliament House and Spring and Albert Streets, is a pleasant respite at the Spring Street end of town, with views of the Royal Parliamentary House, the Old Synagogue, Eastern Hill and St Patrick’s Cathedral. This grassed reserve, originally part of the Parliament House grounds, is enclosed by a wrought iron fence and surrounded by majestic palm trees and lush foliage.  Here, it’s very easy to forget that you’re literally in the city center.

Check out “Royal Parliamentary House“

Garden entrance

One of the garden’s main features is a life-size memorial in bronze, created by Louis Laumen, to Pastor Sir Douglas Nicholls (the pastor of Australia’s first Aboriginal Church of Christ, he is the first aboriginal person to be knighted in 1972) and Lady Gladys Nicholls (Australia Aboriginal activist). Two of Australia’s most prominent indigenous leaders and traditional owners, it reminds visitors of their contribution to aboriginal welfare.

Pastor Sir Douglas and Lady Gladys Nicholls Memorial

Memorial plaque

The unusual Coles Fountain, a gift from the G.J. Coles Co., Ltd., a retailing company, was opened on November 27, 1981 by premier of Victoria L.H.S. Thomson.  A pleasant experience on a hot Melbourne day, you can walk inside the curtains of cascading water, cool off in the spray and not get soaked (not unless you want to anyway).

Bryan, Cheska and Kyle at The Coles Fountain

Made of stainless steel on bluestone paving, this series of cascading fountains resemble water balloons in full blast. In 2011, it was refurbished to use recycled water (in the past, it drew water from the city’s mains), an initiative of Melbourne’s Lord Mayor, Robert Doyle.

Parliament Garden Reserve: 489-531 Albert Street, East Melbourne Victoria 3002.

World Heritage Environs Area Precinct (Melbourne, Australia)

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Rows of terrace houses along Nicholson Street

Nicholson Street is home to several Melbourne landmarks including Parliament House and the Princess Theatre, at its southern terminus, and the Royal Exhibition Building (REB) and the Melbourne Museum, both in Carlton Gardens, just to the north.  Adjacent to the REB and Carlton Gardens is the World Heritage Environs Area Precinct (WHEA), a precinct is of architectural and aesthetic significance as it retains substantially intact nineteenth century streetscapes, particularly on Nicholson Street (north of Gertrude Street), the south side of Gertrude Street, Carlton Street, and Rathdowne Street north of Pelham Street.

Check out “Royal Exhibition Building,” “Melbourne Museum” and “Carlton Gardens”

It incorporates important and intact areas of residential, commercial and institutional development within the early Melbourne suburbs of Carlton and Fitzroy, and institutional development in the northern area of Melbourne’s Central Business District.

The precinct is home to a number of terrace rows dating from the later nineteenth century. Melbourne’s flat terrain has produced regular terraced house patterns and the generic Melbourne style of terrace is distinguishable from other regional variations.

Many Melbourne terraces, featuring a unique style of polychrome brickwork heavily influenced by the early work of local architect Joseph Reed, are often highly detailed (though in many terraces this distinctive feature has been later painted or rendered over, although some have since been sandblasted or stripped back), incorporating decorative cast iron (Melbourne has more decorative cast iron than any other city in the world) balconies (of the filigree style).

Rather than built to the property line, Melbourne-style terrace houses are often set back from the street, providing a small front yard with decorative cast-iron fencing, regularly dispersed with rendered brick piers.  The party wall of the end terraces would, sometimes, but not always, extend to the property line to join the fence.

Due to their proximity to the CBD, terraced houses in Melbourne are highly sought after and are often expensive, much like terraces in New York City.

The Royal Terrace (50–68 Nicholson Street Fitzroy, VHR H0172), the oldest surviving complete row and one of the largest and best known early terrace building surviving in Melbourne, was started in 1853 and completed in 1857, three years after the Glass Terrace (72–74 Gertrude Street, Fitzroy, 1853–54), the earliest surviving terraced house in the city.

Royal Terrace

This row of ten completely intact terrace houses, erected by the Bryant family (who also maintained a residence at No. 68) to a unique design attributed to colonial artist John Gill, epitomizes early terrace house design in Melbourne with its austere classical decoration, simple composition, and extensive use of bluestone. It has housed notable figures such as politician and three-times Premier John O ‘Shanassy, and artist Nicholas Chevalier.

At the national level, it is significant for architectural and historical reasons as the most important terrace in Melbourne. An outstanding feature of the Nicholson Street precinct, it complements the nationally significant Royal Exhibition Building and Carlton Gardens located opposite.  Although modified over time, the flagstone paving, at the footpath in front of the terraces, is important as one of the few remaining examples of this once common 19th century paving in inner Melbourne. Laid when the terraces were built, it is perhaps the oldest such example.

Grantown House (82 Nicholson Street, c. mid-1850s) and Osborne House (40 Nicholson Street, c. 1850, VHR H1607) are significant examples of mid-nineteenth century residential development, and are also prominent buildings within the streetscape.

Grantown House

The two-storey Grantown House, an outstanding example of Victorian terrace house architecture and of considerable importance in the Nicholson Street streetscape, is of considerable interest for its unusual veranda joinery, very fine cast iron decoration, very elaborate door joinery, grand and richly detailed cast iron fence and the way in which the different eras of construction (the 1850s and the 1870s) are visible in the ornate façade.

Exhibiting notable creative and technical achievement, elaborate decoration are seen at the four urns on the piered and balustraded parapet, urns to the veranda walls, a row of bearded masks under the pediment, four delicate iron lace balconies under the top-floor windows and arched iron decoration to the two-storey verandas (a mixture of timber and iron). The columns and the spirals that edge them are timber. Although decaying, it still has elegance and presence amid the cracks, peeling paint and soot. It is currently a boarding house.

Osborne House

Osborne House, the oldest documented dwelling in this municipality and one of the oldest surviving in Melbourne, is a rare example of the Regency town house in Victoria. Its central section erected in 1850 by builder William Pelling for wealthy squatter John MacPherson, was acquired in 1887 by Melbourne merchant and speculator George Nipper who converted this private residence to a boarding house (operated for 93 years) via the construction of two flanking three storey wings with encircling iron verandas. The additions of this establishment (named Osborne House in the Jubilee Year of Victoria’s reign) are in the conservative Classical mode.

This notable brick structure, part of an important early Melbourne precinct which includes nearby ‘Royal Terrace and the Carlton Gardens, is essentially intact although minor alterations have been made to partition rooms or enclose external verandas. It had a variety of distinguished tenants including John A. MacPherson, Premier of Victoria in 1869 – 70.  Although the work is not positively attributed to important Melbourne architect Charles Webb, the transformation of 1887 is a characteristic work of his.

Other notable terrace houses within the precinct include Dalmeny House (21 Queensberry Street, c. 1888, VHR H0525), Cramond House (23 Queensberry Street, c. 1888, VHR H0482), the two-storey Elsmere Terrace (70 Drummond Street, 1882),  Elim House (18-20 Carlton Street), Annie Villa (22-24 Carlton Street) and Canning Terrace (46-50 Carlton Street).

Academy of Mary Immaculate

World Heritage Environs Area Precinct includes a number of key heritage buildings from the nineteenth and early twentieth centuries, some of which are landmarks in their own right.  They include the Cable Tram Engine House, St. Vincent’s Hospital, Royal Society of Victoria Building, the Convent of Mercy, the Royal Australasian College of Surgeons and the Academy of Mary Immaculate Chapel.

Memorial chapel

The Academy of Mary Immaculate (88 Nicholson Street), the oldest Catholic school in  Victoria, was founded by the Sisters of Mercy in 1857. It has a collection of largely intact, elegant 19th century religious buildings, including two almost identical regency houses (erected in 1850 to designs by architects Newson and Blackburn for John Watson and Edward Wight, merchants in partnership), some of the earliest stone houses in Melbourne. Its sandstone memorial chapel, on the corner of Palmer and Nicholson Streets, was built in memory of Mother Ursula Frayne and dedicated on March 26, 1889.  It was designed by Reed Smart and Tappin (also responsible for the Convent of the Good Shepherd in Abbotsford).

Cable Tram Engine House

The former Cable Tram Engine House (1021-1029 Rathdowne Street and 440 Park Street Carlton North, Yarra City), built in 1889, consists of the brick engine house (designed by MTT architect Robert Gordon) built for the Melbourne Tramways Trust (MTT), located on the corner of Rathdowne and Park Streets, and the neighboring unadorned, utilitarian brick  car shed (designed by architect Frederick Williams) built for the Melbourne Tramway & Omnibus Company (MT&OC)

Royal Australasian College of Surgeons

The monumental Greek Revival-style Royal Australasian College of Surgeons Building (250-290 Spring Street and 2-40 Victoria Parade, VHR No. H0870), designed by architects Leighton Irwin and Roy Stevenson and built by J.C. Taylor, was opened in 1935. The east and west wings to the rear were added in 1963.

Royal Exhibition Building (Melbourne, Australia)

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Royal Exhibition Building

We took a break from our tour of the Melbourne Museum and proceeded to the foyer, with other tourists, to meet up with our guide for the 2 PM  tour of the adjacent Royal Exhibition Building (“the REB”), the largest item in Museum Victoria’s collection. It was drizzling when we crossed over to the other side.The building, sitting on 64 acres at the north-eastern edge of the central business district, is 150 m. long and is flanked by Victoria, Carlton and Rathdowne Streets.  When we arrived, the Great Hall was being set up for a scheduled exam, with desks being arranged.

Check out “Melbourne Museum” and “Carlton Gardens”

Here are some interesting trivia regarding this building:

  • It is the first building in Australia to be awarded UNESCO World Heritage status, being one of the last remaining major 19th-century exhibition buildings in the world.
  • The building is the largest design of Reed and Barnes Architecture.
  • When electric lighting was installed in 1888 for the Centennial International Exhibition, it became one of the first in the world that was accessible during night time.
  • It is the world’s most complete surviving site from the International Exhibition movement 1851–1914
  • The building is one of the world’s oldest remaining exhibition pavilions
  • When it was built, the Great Hall was the largest building in Australia, and the highest building in Melbourne.

Plaque Commemorating the Laying of the Foundation Stone

This building, built in 1879-80 as part of the international exhibition movement (between 1851 and 1915, it presented over 50 exhibitions around the globe), is representative of the money and pride Victoria had in the 1870s.

Plaque Commemorating the Centenary of the Melbourne Museum

Designed by architect Joseph Reed of Reed and Barnes Architecture (they also designed the Melbourne Town Hall, the State Library of Victoria and the Baroque style gardens), the Royal Exhibition Building is composed of brick, timber, steel and slate.

The building’s soaring dome

Its soaring dome was modeled on Brunelleschi’s dome at the 15th century Florence Cathedral while the main pavilions were influenced by the style of Rundbogenstil  (a round-arched architectural style combining elements from Byzantine, Romanesque, Lombardic and Italian Renaissance buildings) and several buildings from Normandy, Caen and Paris.

The building, with the scale of the French Beaux Arts, has a Latin cross-shaped cruciform plan.  The long, nave-like wings are symmetrically placed east-west about the central dome with a shorter wing to the north.

Grace and Jandy in front of the building

The building consists of a Great Hall, of over 12,000 sq. m., flanked by lower annexes to the north on the east and west sides, and many temporary galleries between.  The Great Hall, still in beautiful condition, is crowned by an octagonal drum and dome.

The Great Hall

The dome, rising 68 m. and 18.3 m. across, has a double shell and was formed using a cast iron and timber frame. There was a viewing platform around the dome that allowed visitors to survey the progress of the booming city.  Windows in the drum of the dome, at the crossing, bring in sunlight for a bright open space.

Our tour guide

The sober interior, painted in the color scheme of 1901, has murals.  The great dome, painted to represent the sky, has the words (surviving from 1888) “Victoria Welcomes All Nations” underneath plus four mottos suitable for a new nation: Dei gracia (“By the Grace of God”), Carpe diem (“Seize the Day”), Aude sapere (“Dare to be Wise”) and Benigno numine (“With Benign Power”). A frieze shows the products of agriculture and hints at the wealth of the new nation.

Pendentive: Hercules

Pendentive: Venus

At the pendentives are the mythological figures of Hercules, Venus, Mars and Mercury while on the arches are lunettes (half-moon shaped spaces where the arches meet cornices) rich with allegorical symbolism representing The Arts Applied to Peace in the north, The Arts Applied to War in the south, Federation (showing Britannia welcoming the six federated states as young women) at the west and Government (showings Knowledge enthroned, surrounded by figures representing the arts, education and defense) in the east.

Lunette: Arts Applied to Peace (North)

Lunette: Government (East)

Eight women, in draped costumes, symbolize the Four Seasons, Night and Morning, and Justice and Truth. Under the dome are plaster heads (including an Indigenous Australian, a Chinese man, and an Indian) from the first decorative scheme of 1880.

Lunette: Arts Applied to War (South)

Lunette: Federation (West)

Throughout the 20th century, smaller sections and wings of the building were subject to demolition and fire.  However, the main building, known as the Great Hall, survived.

Justice

Throughout the 1990s and in 2004, it received restoration. Renovations include the timber flooring, building services, externals, and stonework. For safety, most timber staircases have been replaced by concrete. Through all renovations though, the site has continued to be very authentic.

Truth

Here is the historical timeline of the building:

  • On December 1877, a completion was announced for the design of a suitable building for Melbourne’s proposed international exhibition. Eighteen entries were received and the winner was Joseph Reed
  • On February 19, 1879, the foundation stone was laid by Victorian governor George Bowen.
  • Built by David Mitchell (who also built Scots’ Churchand St Patrick’s Cathedral), it was completed in just 18 months.
  • On October 1, 1880, it was opened by the Marquess of Normanby, the governor, the Melbourne International Exhibition. The walls then were left bare and windows and door joinery colored green.
  • In 1885, an aquarium, museum and picture gallery was opened at eastern annex of the Exhibition Building.
  • On August 1, 1888, the building hosted the Centennial International Exhibition celebrating a century of European settlement in Australia. Its decoration was by interior designer John Ross Anderson (also known for the interior design of the ANZ ‘Gothic’ Bank) and the walls were painted for the first time.  The exhibition closed on January 31, 1889.
  • On May 9, 1901, following the inauguration of the Commonwealth of Australia on January 1, the formal opening of the first Parliament of Australia, witnessed by the Duke of Cornwall and York (later King George V) and 12,000 guests, was held there. After the official opening, the Federal Parliament moved to the Victorian State Parliament House. For the next 26 years, Victorian Parliament moved to the Exhibition Building.
  • In 1902, the building hosted the Australian Federal International Exhibition.
  • On February 4, 1919, the Exhibition Building was turned into a hospital to treat Melburnians struck down by the Spanish flu.
  • In 1948, via a vote by members of the Melbourne City Council, it was narrowly decided not to demolish the building.
  • In 1953, the wing of the building which once housed Melbourne Aquariumburnt down.
  • In 1956, it was a venue for the 1956 Summer Olympics, hosting the basketball, weightlifting, wrestling, and the fencing part of the modern pentathlon
  • In the 1970s, the western annex was demolished.
  • In 1979, the grand ballroom, the last remaining original annex, was demolished amid controversy.
  • On October 1, 1980 during a visit to Victoria, Princess Alexandraof Kent unveiled a plaque which commemorated both the opening of the new mirror-glass “Centennial Hall” (which replaced the grand ballroom) and the centenary of the building. She also unveiled a second plaque commemorating the bestowal of the title “Royal” on the building by Her Majesty the Queen.
  • In 1987, the first conservation assessment of the building was undertaken by Alan Willingham.
  • On July 1, 2004, the Royal Exhibition Building and Carlton Gardens was granted listing as a World Heritage Site. The heritage listing states that “The Royal Exhibition Building is the only major extant nineteenth-century exhibition building in Australia. It is one of the few major nineteenth-century exhibition buildings to survive worldwide.”
  • In October 2009, Museum Victoria embarked upon a major project to restore the former German Garden (covered by asphalt in the 1950s for car parking) of the Western Forecourt.

Winter

Still in use today as a commercial exhibition venue, the Royal Exhibition Building hosts various exhibitions and other events on a regular basis such as the Melbourne International Flower and Garden Show. It is closely tied with events at the The Melbourne Museum which offers regular tours here.

The dome

The Royal Exhibition Building is also used as an exam hall for the University of Melbourne, Royal Melbourne Institute of Technology, Melbourne High School, Nossal High School, Mac.Robertson Girls’ High School and Suzanne Cory High School.

However, the building is no longer Melbourne’s largest commercial exhibition centre. The Melbourne Exhibition and Convention Centre, located in Southbank to the south of the Melbourne central business district, is the modern alternative.

Royal Exhibition Building: 9 Nicholson St. cor. Victoria Parade, Carlton Gardens, Melbourne 3053, Australia. Admission (purchased at Melbourne Museum): $10 (adults), $8 (concession) and $7 (child/member).  Tours may not run when the building is in use for certain events and exhibitions. Tel: 13 11 02.

Melbourne Museum (Australia)

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Jandy at Melbourne Museum

The Melbourne Museum, a natural and cultural history museum axially aligned with the adjacent Italianate Royal Exhibition Building (and referencing it, along with the skyscrapers of Melbourne’s central business district, with its monumental scale and protruding vertical facets), provides a place for education, history, culture and society to engage with each other in a contemporary setting.

Check out “Royal Exhibition Building“

The museum complex

A project of the Government of Victoria (on behalf of Museums Victoria who administrates the venue), it is a rich response to Melbourne’s urban condition and is now an important part of Melbourne’s soft infrastructure.

The is located on the site of the former Melbourne Exhibition Speedway (which operated from November 5, 1928 until March 7, 1936).

Here are some interesting trivia regarding the museum:

  • It is the largest museum in the Southern Hemisphere
  • The museum is also one of Victoria’s top 10 destinations for travelers
  • The museum is consistently ranked as one of the most popular museums and tourist attractions in Australia, winning ‘Best Tourist Attraction’ at the Australian Tourism Awards in 2011
  • Since 2016, it housed the world’s largest IMAXTheatre screen.
  • Melbourne Museum was one of the venues of Festival Melbourne 2006, a citywide art festival held in conjunction of the 2006 Commonwealth Games, which was held in Melbourne.
  • During the years 2010–2011, it received 1,428,238 visitors and, for that, received the RACV Award for major tourist attraction.
  • During 2010–2011, Melbourne Museum’s Science and Life gallery was honored with the Large Permanent Exhibition Award due to its outstanding design and flow.

Jandy and Kyle

The Melbourne Museum, a Post-Modernist building, was designed by Denton Corker Marshall Architects, who specializes in city planning and urban design, mainly concerns their practice with responding to social desires. One of Denton Corker Marshall’s award-winning projects, the sticks and blades that make up the Melbourne Museum are hallmarks of Denton Corker Marshall’s architecture.

Its construction was managed by Baulderstone Hornibrook.   Officially opened on October 21, 2000 by the Hon. Steve Bracks, the Premier of Victoria at the time, it was completed in 2001.

The museum building, arranged in an individual layout (referencing Melbourne’s iconic Hoddle Grid, which allows the importance of each component of the buildings historical, cultural and social significance to be read in loosely equal hierarchy and individuality), features a grid-like order that embraces eccentric metal clad forms extruding out and creating an irregular sculptural composition with moments of abstract color throughout the building.

The building, dissected into different spaces (so an individual can navigate through and around the building in an orthogonal manner), was designed as both a single building and a network of individual buildings integrated into the landscape of the Carlton Gardens, a large public park.

Check out “Carlton Gardens“

The two very long and very high, sloping canopies (or blades), each acting to guide visitors from the street into the museum, are the most prominent element of the building, rising up from the centrally placed entrance opposite the north door of the Royal Exhibition Building. Another larger blade-like roof, on the northern side of the building, rises up from the center to the north, a landmark of similar scale to the central Florentine dome of the Royal Exhibition building.

Beside the main entrance is a prototype, constructed in 1947, of a CAC (Commonwealth Aircraft Corporation) delivery van.

A florist delivery van called the CAC Deliverette

A 3.86 m. high statue of Mercury, modeled by sculptor and painter C. Douglas Richardson, was inspired by Giambologna‘s bronze statue, made in Florence in 1580. Made of 20 pieces of beaten copper which were riveted together and cast by W.H. Rooke of Melbourne, circa 1899, it was donated to the museum by David Syme & Co. Ltd. On April 14, 1997.

Bronze statue of Mercury

Suspended over the entrance foyer is the full scale replica of John Duigan‘s 1910 biplane (the first Australia-built airplane to fly), built by Ronald Lloyd Lewis between 1984 and 1995, and donated to the museum in 1999.

Duigan Biplane Replica

Outside the main galleries are various displays relating to Victoria’s and Australia’s history, including CSIRAC (an early computer built in Australia) and a large, articulated skeleton of a pygmy blue whale at the Main Foyer.

Skeleton of Pygmy Blue Whale

At the Upper Level Balcony are some wind turbine models. A wind turbine model, commissioned by Pacific Hydro Limited, Melbourne, circa 2001, and was made in Denmark.

Wind Tubine Model

This model, based on contemporary wind turbines that were installed in Victoria during the early 2000s, is 5.5 m. high, has a rotor diameter of 4 m. and  is powered by a small electric motor.  Its white pole supports 3 white slimline blades.

Another windmill model, modeled on the Baker Run-in-Oil type (“Oilbath” is painted on the vane) steel windmill (first made in 1923), was made by William McCook, 1970-1990, and was constructed from metal with a rotating wheel and vane.

Federation Tapestry. L-R: “Making Do”(2001) and “Now Exploration & Settlement Underway” (2001)

The almost 41 m. long Federation Tapestry, created by 22 artist-weavers who spent an estimated 20,000 hours at their looms) from the internationally acclaimed Victorian Tapestry Workshop (renamed the Australian Tapestry Workshop in 2010), South Melbourne, was commissioned to mark the centenary of Australia’s Federation.

L-R: “Alone in the Bush”” (Reg Mombassa, 2001) and “Ngak Ngak in Limmen Bight Country” (2001)

The images, in 10 panels, range from Aboriginal dream time legends to a solitary shepherd in the bush with his sheep and dog, from the clamor and rejoicing that marked Federation in 1901 to the enigmatic ‘Sorry’ etched across the sky above the sails of the Sydney Opera House in the year 2000.

Federation Handbells

The beautifully crafted Federation Handbells, originally commissioned by Arts Victoria for the 2001 Centenary of Federation, are the world’s first true harmonic bells. Cast in silicon bronze, each set of bells have a unique design and pitch, covering two chromatic piano octaves (from E to E). Played by striking them with a mallet, the bells can be played in the style of a xylophone by a single musician controlling a set of bells, or each musician can play one bell. Ranging in size from 120 to 180 mm. high, they have an average weight of 1kg. each.

Dinosaur Walk

The 384 sq. m. Science and Life Gallery, at the west end, showcases six exhibitions – Bugs Alive, Marine Life, Dinosaur Walk, Wild: Amazing Animals in a Changing World, 600 Million Years and Dynamic Earth

Tarbosaurus bataar

The Dinosaur Walk, one of the highlights, houses a skeleton of a Diprotodon (a giant wombat-like creature) and skeletons of  10 dinosaurs such as the Tarbosaurus (Giant meat eater, Tyrannosauridae), Mamenchisaurus (Giant sauropod), Tsintaosaurus, Hadrosaurid, Pteranodon, Gallimimus and Hypsilophodon, 3 pterosaurs, one mammal-like reptile and Australian megafauna.

Wild – Amazing Animals in a Changing World

Wild: Amazing Animals in a Changing World, a permanent exhibit, presents the fragile state of Australian biodiversity, environment, and climate through the display of more than 750 animal specimens, in a spectacular vertical array, from around the world from a natural history collection, arranged in a striking theatrical style, interactive and can be viewed from many angles. It also examines how they are affected by climate change and human activity, and what we can do to help them.

Amazing Animals of Eurasia and North America

Here, we saw the wildlife (birds, reptiles, mammals and amphibians) of Victoria’s unique environments displayed by biogeographic regions. On the panoramic navigators, we looked up each animal and saw which animals are thriving and which are merely surviving and learn what you can do to help them. We also learned about the migration of shorebirds over thousands of kilometers as they move between their feeding and nesting grounds

Sam the Koala

On permanent display in Wild are a Malleefowl nest, the Murray Cod (the Murray river’s biggest resident) and the taxidermied mount of Sam the Koala, a a female koala from the forests of Mirboo North and symbol of the Black Saturday bushfires in 2009.

Marine Life- Exploring Our Seas

The Marine Life: Exploring our Seas Exhibit shows the wonderful life of marine Victoria and covers how Victoria’s marine creatures use camouflage, speed, poisons and spines to evade predators. Here, we investigate underwater ecosystems, inspect animal adaptations, explore marine habitats such as stunning sponge gardens and vibrant seagrass beds, and examine sharks jaws and a giant 10 m. long squid.

10 meter long squid

The 600 Million Years: Victoria Evolves Exhibit, opened in 2010, depicts the origins of Life in Victoria through fossils, models, animatronics (such as an animatronic Qantassaurus, a small dinosaur that lived in Victoria some 120 million years ago) and animations (shows how these animals moved, ate and battled to survive). Things that can be touched include the teeth of a giant shark, the skeleton of Archaeopteryx, and a sea floor that ended up high in the Grampian Mountains.

600 Million Years – Victoria Evolves

Starting with the explosion of life in the sea, you’ll see multicellular life, extraordinary body forms that have no living ancestors today, and early forms of ancient groups like crinoids, bryozoans and cephalopods. Next, we follow the evolution of life as it moved from sea to land and then diversified into the mammals, reptiles, birds and plants we know today.  We also learn about the geological processes that moved landmasses, built mountains and transformed rocks.

Deserts and Ice

Rocks and fossils show how the climate of Victoria has changed, from glacial to tropical and everything between, and the effects of the asteroid that wiped out the dinosaurs 65.5 million years ago.

Sandstone (Grampian Ranges – Silurian)

Fossils and specimens from the museum’s collections include irreplaceable skulls of giant megafauna, early whales and marsuipials long-gone from Australia’s mainland and some more prehistoric animals such as the Muttaburrasaurus, Tiktaalik and Anomalocaris.

Bugs Alive

The Bugs Alive! Exhibition, created in 2004, showcases the roles and life-cycles of the the invertebrates, a critically important animal group.  It features 50 living displays with an even greater number of species.

The Melbourne Gallery, at the east end, exhibits the mounted hide of Phar Lap, a beautiful chestnut gelding and race horse that won 37 races from 51 starts in 3 years, including the Melbourne Cup, during the depression era.

Phar Lap

The Melbourne Story explores the history of Melbourne and Victoria from the time of earliest contact between white settlers and local Indigenous people during early 19th century through to present day.

Little Lon, a predominantly working class area, was characterised by a series of laneways, with small properties packed together creating crowded and unsanitary conditions.

The museum is also custodian of artifacts excavated from ‘Little Lon’ is an inner-city block in Melbourne bordered by Lonsdale, Exhibition, Little Lonsdale and Spring Streets. The city’s “Red Light District,” Little Lon was also home to the city’s poorest residents and recently arrived immigrants from Ireland, Italy, China and Syria.

Model of the SS Orcades, an ocean liner serving primarily the UK – Australia – New Zealand route

The Mind and Body Gallery, a gallery regarding the human body, is the world’s first exhibition about the mind. The “Mind: Enter the Labyrinth,” a permanent exhibition, explores how the mind works and offers ways to understand such illnesses as bipolar disorder and depression.

The Ames room is a neat illusion because it can be instantiated in real space, as has been done in numerous science museums

“Empathy booths” show videos of actors performing real-life stories prepared by SANE, a mental-health advocacy group. Among its 300 exhibits are artworks, on loan from the Cunningham Dax psychiatric art collection, which include paintings by a 16-year-old girl, completed just before she committed suicide.

Mind and Body Gallery

The Evolution Gallery, at the upper level, features the exhibition “Darwin to DNA” which shows the roles of Charles Darwin and Alfred Russel Wallace in developing the theory of evolution. Displayed in historical showcases are actual animal specimens, that they collected, which helped them interpret evolutionary processes and patterns. The photos and specimens also illustrate conditions necessary for evolution, making youl consider how evolution acts upon genetic mutations.

Cunningham Dax psychiatric art collection

DNA evidence, which challenges previous notions of the uniqueness of humans and the concept of race and helps us examine the relationships between species, is also highlighted by this exhibition.

Forest Gallery

The Forest Gallery, the centerpiece of the museum building, is a living temperate Victorian forest environment, complete with hundreds of living plants and live animals such as birds, reptiles, amphibians and invertebrates and other fauna.

This massive living and breathing exhibition, offering a window into the tall forests of eastern Victoria, is home to the ongoing Forest Secrets exhibition which examines the agents of change within the forests.

Bunjilaka Aboriginal Cultural Centre

The Bunjilaka Aboriginal Cultural Centre, planned in collaboration with many Aboriginal people, including the traditional owners of Melbourne (the Boonwurrung and the Woi wurrung), includes galleries with exhibitions by and about the Koorie people and other Aboriginal peoples of Victoria.

Bunjilaka Welcome Rug

At the foyer/reception area is the amazing Bunjilaka Welcome Rug designed by artist Vicki Couzens to provide a focus and gathering point for welcoming visitors to Bunjilaka. The design symbolizes the pathway that people take to gather for a ceremony, dance or song.

Wurreka (Judy Watson)

Spanning the north wall of Birrarung Gallery and surrounding the entry to First Peoples is Wurreka, a zinc wall of 74 etched panels, each reflecting imagery from Aboriginal cultural heritage and landscapes of Victoria, designed by Waanyi artist Judy Watson from Queensland.

Te Pasifika Gallery

From the First Peoples gallery is the light filled Te Pasifika Gallery, a bright soaring space. This exhibition, which highlights the history and finely carved water crafts of Pacific island nations including Fiji, the Cook Islands, Niue, the Solomon Islands and Aotearoa (New Zealand), was developed in collaboration with the Pacific Island Advisory Group and community members in 1997 and was opened in 2001.

Here, we gaze up at the life-size crab claw sails, containing motifs of Melanesia in the north east, Micronesia in the North and Polynesia in the South East, created by the Victorian Pacific Island Council and community, and walk underneath exquisite canoes from Papua New Guinea, the Solomon Islands, Tuvalu, Niue and the Marquesas Islands.

Te Pasifika Gallery

The Pauline Gandel Children’s Gallery, housings exhibitions aimed at 3 to 8 year olds, combines hands-on exploration and discovery, open-ended play-based learning, extraordinary immersive environments and unique museum collection objects.

Te Pasifika Gallery

The Touring Hall, where international touring exhibitions are displayed, has, in the past, exhibited “A Day In Pompeii” (June 26 to October 25, 2009, Melbourne Museum’s most popular temporary exhibition), “Hatching the Past: Dinosaur Eggs and Babies’ (May 30, 2008 to August 24, 2008), “The Great Wall of China: Dynasties, Dragons and Warriors” (March 23, 2007 to July 22, 2007), “Spirit of the Games: The Opening Ceremony Revealed” (March 18 to July 23, 2006) and “Dinosaurs from China” (2005).

Museum Market Cafe

In addition to its galleries, the museum also features the free Discovery Centre, a cafe (Museum Market Cafe), a souvenir shop (Museum Shop) and an IMAX Theatre screen showing movies and documentary films in large-screen 3-D format.

Museum Shop

Melbourne Museum: 11 Nicholson St., Carlton Gardens, 3053 Melbourne, Australia. Open daily, 10 AM – 5 PM (closed Good Friday and Christmas Day).

 

Carlton Gardens (Melbourne, Australia)

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Carlton Gardens

The 26-hectare (64-acre) Carlton Gardens, a World Heritage Site located on the northeastern edge of the Central Business District, is bounded by Victoria Street, Rathdowne Street, Carlton Street, and Nicholson Street.Often called the Exhibition Gardens, it was designed by Edward La Trobe Bateman and laid out in the late 1850s.  Most of this work was obliterated when the Gardens were redesigned for the 1880 Melbourne International Exhibition and the central third excised to accommodate Joseph Reed’s Royal Exhibition Building. 

The rectangular site, gently sloping down to the southwest and northeast, contains the Royal Exhibition Building, Melbourne Museum and Imax Cinema, tennis courts, maintenance depot and curator’s cottage, and the award-winning children’s playground (designed as a Victorian maze) at the northern section and two small ornamental lakes adorning the southern section of the park.

Check out “Royal Exhibition Building” and “Melbourne Museum“

An example of Victorian landscape design, the Carlton Gardens are of scientific (botanical) significance for their outstanding collection of plants, including conifers, palms, evergreen and deciduous trees, many of which have grown to an outstanding size and form.

Kyle posing beside an ornamental lake

It has sweeping lawns and varied European and Australian tree plantings consisting of deciduous English oaks, White Poplar, plane trees, elms, conifers, cedars, turkey oaks, Araucarias and evergreens such as Moreton Bay figs, combined with flower beds of annuals and shrubs.

The 550 cm. high, circa 1880 bronze French Fountain, at the Nicholson Street entrance, features three youths, each supporting a dolphin, above which rests a cupped scallop shell. The fountain forms the centerpiece of a round garden bed and its waters flow into the large, concrete pool in which it sits.

According to the listing in the Victorian Heritage Register, the elm avenues of field elms (Ulmus procera) and Dutch elms (Ulmus × hollandica) are significant as there are few examples remaining, worldwide, due to Dutch elm disease.

The iconic Hochgurtel Exhibition Fountain, designed by sculptor Joseph Hochgurtel for the 1880 Exhibition, is located in front of the Melbourne Exhibition Center. As described in the plaque, the fountain symbolizes “Arts, Sciences, Commerce, and Trade, and Industry.”

The garden also contains a rare specimen of Acmena ingens (a rainforest tree of eastern Australia, only five other specimens are known), an uncommon Harpephyllum caffrum and the largest recorded in Victoria, Taxodium distichum and, south west of the Royal Exhibition Building, outstanding specimens of Chamaecyparis funebris and Ficus macrophylla.

The pink granite Westgarth Drinking Fountain, manufactured by Alexander McDonald & Co., was presented to the people of Victoria by 1840s pioneer William Westgarth, when he returned to Melbourne to visit the Centennial Exhibition in 1888. This tiered drinking fountain has two cast-bronze drinking spouts, each taking the form of an emu. It has two embracing kangaroos surmounting the drinking troughs, which in turn are surmounted by a finial-like bronze and glass light.

A network of tree-lined paths, providing formal avenues for highlighting the fountains and architecture of the Exhibition building, includes the grand allee of plane trees that lead to the exhibition building.

A duck and its young swimming on the lake

Wildlife found here includes brushtailed possums, ducks and ducklings in spring, tawny frogmouths, kookaburras, Indian mynas and silver gulls while, at night, Gould’s wattled bat and white-striped freetail bats hunt for insects.  When native trees are flowering or fruiting, grey-headed flying foxes also visit the gardens.

The gardens also contains three important fountains – the Exhibition Fountain; the French Fountain; and the Westgarth Drinking Fountain. The gardens, including the Exhibition Building and the fountains, are now a popular spot for wedding photography.

Carlton Gardens: Carlton, Melbourne, Australia