Category Archives: PLACES OF INTEREST

The Great Ocean Road Adventure Tour: Loch Ard Gorge (Australia)

Posted on by — 1 Comment ↓

Loch Ard Gorge

From The Twelve Apostles Visitor’s Facility, it was just a short 4.1-km. (5-min.) drive northwest, again via the Great Ocean Road/B100, to Loch Ard Gorge, one of the best-loved stop-off points along the road and the site of the most famous shipwrecks on the aptly named Shipwreck Coast.

Check out “The Great Ocean Road Adventure Tour: The Twelve Apostles”

Jandy (in green jacket) making his way down the gorge via the stairway

Here are some interesting trivia regarding the gorge:

The Tom and Eva Pillars

Part of Port Campbell National Park, the gorge was named after the 3-masted clipper ship Loch Ard, one of over (since 1797) 800 known shipwrecks in Victoria, of which only 240 of them have been discovered.

On March 2, 1878, the clipper ship Loch Ard, on its fifth and final voyage, left England for Melbourne. Captained by the 29-year old newlywed George Gibb, it had a 36-member crew and 18 passengers. On June 1, 1878, approaching the end of a tumultuous three-month journey, it got lost in a pea soup type of fog, collided with a rock reef and ran aground on nearby Muttonbird Island. Of the fifty-four passengers and crew, only two survived – 15 year old Tom Pearce (a ship’s apprentice) and 17 year old Eva Carmichael (an Irishwoman emigrating with her family).

The bruised and dazed Tom, who jumped off the ship, clung to an upturned lifeboat and was washed ashore.  After hearing cries for help, he swam back into the ocean for an hour to rescue Eva, who was clinging on a chicken coop and ship’s spar, from the water. Tom dragged the barely conscious Eva into a cave and then proceeded to climb out of the gorge to raise the alarm to local pastoralists. Two stockmen from the Glenample Station, three miles away, rushed to their help and immediately set into plan a rescue attempt. However, only four bodies were retrieved and buried. Eva’s parents, three sisters and two brothers drowned that night.

The world wanted a satisfying ending and thousands of people sent letters and telegrams calling for Tom and Eva to be married. However, they hailed from different social classes (Eva’s father was a doctor) and they went their separate ways. After three months in Australia, Eva sailed to Ireland where she went on to marry an aristocrat Captain Thomas Achilles Townshend. Tom, hailed as a hero (he received £1000 for heroism and the first gold medal struck by the Victorian Humane Society), returned to England and lived until age 49 and was buried in Southampton. Eva died in 1934 at the age of 73. 

The author at Loch Ard Gorge

To soak up the incredible rugged scenery, a flight of stairs allow us and other visitors’ access to the picturesque gorge. We descended down to an undeveloped, orange-colored beach surrounded by jagged cliff tops.  A sharp sea breeze was blowing inland. The beach was fronted by a smooth, pearlescent bay and an inlet of clear, blue water flanked by two yellow-washed unconnected rock pillars, with tufts of vibrant greenery, of the nearby Island Archway.

The author, Kyle and Grace

A clear example of the process of erosion in action, the pillars once formed a natural bridge over the gorge but collapsed in June 2009.  They are officially named Tom and Eva after the two teenage survivors of the Loch Ard shipwreck.

Tom Pearce’s Cave

The loch also has two small caves which served as shelter for Tom and Eva and are aptly named Miss Carmichael Cave and Tom Pearce’s Cave. After getting to shore, Tom and Eva spent most of June 1st sleeping in the same cave but Victorian sensibilities demanded that they could not spend this time together unsupervised. Thus that cave became Miss Carmichael’s Cave, while the big cave to the east became Tom Pearce’s Cave.

The weathered cliff face

Unusual for this section of coast, Loch Ard Gorge has a relatively calm interior. Its low energy beach has a moderate sloping dune that, in most tide and ocean conditions, makes the beach accessible with caution.

A pathway also allowed access to the eastern side of the gorge. There are also numerous plaques (detailing geological features), a small museum (detailing the site’s history as well as housing some artifacts salvaged from the wreck), a rest area and a cemetery housing many of the people that died.

Loch Ard Gorge: Great Ocean Road, Port Campbell National Park,  Victoria 3269, Australia.

The Great Ocean Road Adventure Tour: The Twelve Apostles (Australia)

Posted on by — 2 Comments ↓

The iconic 12 Apostles

From the Cape Otway Lighthouse, it was a longer 1 hour 15 min. (77.2- km.) drive, again via the Great Ocean Road/B100, to the Twelve Apostles along Victoria’s coastline, the highlight of our day-long tour and the jewel in the crown of the Great Ocean Road.

Koala on the ground. Though poorly adapted to walking on the ground, when disturbed, they can break into a bounding gallop, moving at speeds of up to 30 kms. per hour.

Along the way, we made a short stopover to observe adorable, spoon-nosed koalas, in the wild, on the ground or perched between the forks of eucalyptus trees.

12 Apostles Visitor’s Center

Interior of Visitor’s Center

The 12 Apostles are a collection of magnificent limestone stacks off the shore of Port Campbell National Park and their proximity to one another has made the site a popular tourist attraction. The road going there was breathtaking in its rugged splendor, with its dramatic, rugged cliffs carved from the sea and its panoramic views across the rich and azure waters.

Check out “The Great Ocean Road Adventure Tour: Cape Otway Lighthouse“

Until the 1960s, the stacks were originally known as the Pinnacles and then, later, nicknamed the Sow and Pigs (or Sow and Piglets), with Muttonbird Island being the sow, and the smaller limestone rock stacks being the pigs or piglets.

The boardwalk leading to the viewing platform

For marketing purposes, they were then coined as the Apostles, which slowly turned into the 12 Apostles (although you could only see eight at the time of the name). In fact, there are thirty different limestone masses stretched along the coast.  However, the only visible ones from the viewing areas are the eight apostles left.

Grace, Cheska and Kyle at the viewing platform

Upon our arrival at the Twelve Apostles Visitor’s Center (has toilets, coffee shop and souvenirs), we walked, along a wooden boardwalk, towards the viewing platform where we were awestruck in wonder at their size, splendor, myth, mystery and beauty.

However, only seven of the original eight stacks, spread out along 17 kms. of the Shipwreck Coast, have remained standing tall and proud along the shore, after a 50-m. tall (160 ft.) stack collapsed in July 2005.

The additional stacks located to the west

Though the view of the Twelve Apostles, from the promontory, never included twelve stacks, additional stacks, not considered part of the Apostles group, are located to the west within the national park.

Beginning 10–20 million years ago, the iconic as the incredible  Twelve Apostles were formed by constant erosion (up to two centimeters a year) by harsh and extreme weather conditions from the blasting winds, powerful surf and the salt of the tempestuous and stormy Southern Ocean which gradually eroded the soft limestone, carving out cavernous caves in the cliffs.

These caves then become arches that eventually collapse, leaving rock stacks or columns up to 50 m. (160 ft.) high which were left isolated from the shore and susceptible to further erosion from waves.

In the future, due to wave action also eroding the majestic, 70 m. high cliffs, the existing headlands are also expected to become brand-new apostles emerging from the coast in the near future.

The reason for the irregular shape of the erosion is due to the stacks being made up of layers of varying soil types.  The main layer is limestone but the other layers are a mixture of clay and mudstone. Because of the lower density of the mudstone and clay layers, they tend to be more narrow and much more easily eroded by the weather than the slightly denser limestone.

A glorious photo opportunity of the Apostles, in all their splendor, is during sunrise and sunset when the 12 Apostles change color, from dark and foreboding in shadow to brilliant sandy yellow under a full sun.  As the sun rises on her mast, the golden colors, with flecks of rose and red, spill across the rocks.

As the sun starts to fall, the sky explodes with burnt oranges and lavender hues, and the same colors drip across the rocks, adorning the apostles with rainbow colors before they look into foreboding shadows.

12 Apostles: Great Ocean Rd. and Booringa Rd., Princetown, Victoria 3269, Australia. Tel: +61 1300 137 255.

How to Get There: The 12 Apostles are located 275 kms. west of Melbourne, approximately a 4 to 4.5-hour scenic drive, along the Great Ocean Road, from Melbourne via Geelong. You can return to Melbourne on the 3.5-hour inland route along the Princes Highway.

The Great Ocean Road Adventure Tour: Cape Otway Lighthouse (Cape Otway, Australia)

Posted on by — 1 Comment ↓

Cape Otway Lighthouse

From Apollo Bay, we continued on our way for the short 30-min. (28.2-km.) drive, via the Great Ocean Road/B100, to a turn off. Turning left, it is a further 15-min. drive from the turn off to the Cape Otway Lighthouse on Cape Otway in southern Victoria. This lighthouse, a leading attraction on the Great Ocean Road, is a must for all visitors.

Check out “The Great Ocean Road Adventure Tour: Apollo Bay“

Lighthouse entrance

Here are some interesting trivia regarding this lighthouse:

  • It was the second lighthouse completed on mainland Australia
  • The light house remains the oldest surviving working lighthouse in mainland Australia.
  • During winter to spring (My to October), as 25 species of migrating whales (Southern Right Whales, Humpback Whales, Blue Whales, Killer Whales, etc.) swim very close to shores, the lighthouse is a vantage point for land-based whale watching.
  • For many thousands of 19th century migrants who spent months travelling to Australia by ship, Cape Otway was their first sight of land after leaving Europe, Asia and North America. 

The author

Known as the “Beacon of Hope,” the 21 m. high Cape Otway Lighthouse, a conical tower with balcony, sits on approximately 200 acres of land, 91 m. above the pristine ocean of Bass Strait.  The solar lantern’s light characteristic is three white flashes every 18 seconds and 1 revolution per 90 seconds. It weighs 4,318 kgs.

Here is the historical timeline of the lighthouse:

  • In 1846, the construction of the Cape Otway Lightstation began using stone quarried at the Parker River, 5 kms. east of the lighthouse, and transported to the Cape by oxen.
  • On August 29, 1848, its light was first lit using a first order Fresnel lens, manufactured in London, consisting of 21 polished parabolic reflectors and lamps, in three groups of seven, mounted on a frame and each burning sperm whale oil.
  • In 1891, the original light was replaced with a modern revolving lens, burning a single colza oil wick lamp.
  • In 1905, an incandescent kerosene mantle replaced the oil and wick lamp, increasing the brightness to 100,000 candles.
  • In 1939, the light and turning mechanism was converted to electricity and powered by a diesel generator, increasing the brightness to 1 million candles.
  • In 1962, the lighthouse was connected to an electricity main.
  • In January 1994, after being the longest continuous operating light on the Australian mainland, the lightstation was decommissioned and replaced by a low powered solar light in front of the original tower whose focal plane is at 73 m. above sea level.
  • In 1859, a telegraph station was added to the site when Tasmania was connected to the mainland by a submarine telegraph line from Cape Otway to Launceston.
  • In 1942, the Americans built a radar bunker on the cape which is now open to the public.

Any visit here is not complete without climbing the lighthouse and, after climbing the spiral stairs to the observation deck, we were rewarded with a breathtaking view overlooking Bass Strait on the left and the Southern Ocean on the right.

The stairs leading up to the observation deck

The wind here was fierce and strong and we can hear the noise of the wind even over ordinary conversation. Still, it was an amazing and awesome feeling on the observation deck. 

View from lighthouse

Within the grounds is the Lightkeeper’s Café and Souvenir Shop housed in the former assistant lighthouse keeper’s cottage (Open 9 AM – 4 PM) built in 1858.

Metal Kangaroo Sculpture

Nearby is a metal kangaroo sculpture and the anchor from Eric the Red which was wrecked on the Otway Reef on September 4, 1880.

Anchor of Eric the Red

At the keeper’s cottages of Apollo Bay, accommodation is available in two double studios (suitable for couples) or in the Lightkeeper’s Cottage and Lodge that can sleep groups ranging from two to sixteen people.

Interior of lighthouse

Lighthouse lens

Cape Otway Lighthouse: Otway Lighthouse Rd., Cape Otway, Victoria 3233, Australia. Open daily (closed Christmas Day), 9 AM – 5 PM (last entry 4:30 PM). Admission: adults ($19.50, $18.50 online), children 5 -7 years ($7.50, $7.00 online),  family of 2 adults and up to 4 children ($49.50, $47 online), seniors ($17.50, $16.50 online) and children 0 – 4 years (free). Discounted tickets can be pre-purchased from Apollo Bay and Lorne Visitor Information Centres, or the Otway Fly. Website: www.lightstation.com. Location: latitude 38° 51’ south, longitude 143° 29’ east.

The Great Ocean Road Adventure Tour: Memorial Arch (Australia)

Posted on by — 2 Comments ↓

The Great Ocean Road Memorial Arch

From Anglesea, a short 15 min./15.8-km. drive, via the Great Ocean Road/B100, 5 kms. after the town of Aireys Inlet,  brought us to our next stopover – the Great Ocean Road Memorial Arch, the gateway to the Great Ocean Road.  Possibly the most photographed spot on the Great Ocean Road, this is made evident by cars and buses parked on a car park on the ocean side of the road, with people hopping out to take photos.

Check out “The Great Ocean Road Adventure Tour: Anglesea”

The iconic Great Ocean Road Memorial Arch, the longest  war memorial in the world, was built in honor of the 3,000 returned servicemen who worked on the road after World War I and as a memorial to Mr. W.B McCormack, honorary engineer to the Great Ocean Road Trust.

Great Ocean Road Memorial Arch (Australia)

On September 19, 1919, they started construction on the Great Ocean Road and, in November 1932, completed the 243 km. (151 mi.) stretch of road which extends from the town of  Torquay to  Allansford, near Warrnambool, the largest city along the road.

Commemorative plaque

Due to the grueling task of building a road by hand, some soldiers lost their lives during the construction of the road. Their story is recorded on boards at the site.

Bronze statue of The Diggers

A bronze sculpture on the south side of the arch, unveiled on April 13, 2007 (the road’s 75th anniversary) by Bruce Billson (MP Minister for Veteran Affairs), features two returned soldiers working on the Great Ocean Road.  There are also commemorative plaques for the arches built and also plaques for the 50th and 75th anniversary of the road’s opening as well as an information board.

The Diggers plaque

Over the decades, the arch was replaced a few more times. The first arch, erected in 1939, weighed in at 50 tons.  To reimburse the cost of the construction, this first arch was one of the original toll points where money was collected from those travelling along the road. Once the cost of building the road was paid off, the toll point was taken down and a second arch, made mostly with wood, was built in 1973.  This arch was ruined when Ash Wednesday bush fires set it ablaze on February 1983.

 

Commemorative plaques

In the 1970’s, the government, seeing the arch as a hazard to drivers, had plans to take the Memorial Arch down but it was shot down as it was considered a lack of respect for the returned soldiers of World War I.

The third arch, made mostly with metal, was destroyed when a truck ran into the side of the arch.  The present Memorial Arch, the fourth on the site, was made out of wood and has sides made out of stone and cement for support. The original sign still sits on the top of the arch.

The author

From the arch, a sandy trail leads to easy access to the beige sand beach where we stretched our legs and took in the panorama of beach meeting forests.

Jandy and Grace

Great Ocean Road Memorial Arch: 689/721 Great Ocean Rd., Eastern View, Victoria 3231, Australia

St. Paul’s Cathedral (Melbourne, Australia)

Posted on by — 3 Comments ↓

St. Paul’s Cathedral

St. Paul’s Cathedral, an Anglican cathedral, is the cathedral church of the Diocese of Melbourne and the seat of the Archbishop of Melbourne (who is also the metropolitan archbishop of the Province of Victoria and, since June 28, 2014, the present seat of the Primate of Australia).

The cathedral’s Gothic transitional facade

Here are some interesting trivia regarding the cathedral:

  • The cathedral was designed by the English architect William Butterfield, known for his distinctive interpretation of the Gothic Revival.
  • It is one of Melbourne’s major architectural landmarks.
  • To fit the block, the cathedral was orientated in line with the central city grid, just off the north-south axis, rather than facing east, the traditional direction.
  • The location for the cathedral marks the place of the first public Christian service in Melbourne was conducted, by Dr. Alexander Thomson, in 1835.
  • In contrast to the bluestone Gothic of St Patrick’s Roman Catholic cathedral, on the eastern hill of the city, as well as other grand 19th century public buildings faced in light grey sandstone imported from other states, the cathedral’s interior stonework is  a mixture of sandstone from the Barrabool Hills and Waurn Ponds limestone, with contrasting stripes of Victorian bluestone, that gives the cathedral a warm coloring. Also, because the spires are built from Sydney sandstone and are 40 years newer, they are different and darker in color than the older parts of the building.
  • Once the Moorhouse Spire, the central spire, was completed to its full height of 95 m. (312 ft.), St Paul’s became the tallest structure in central Melbourne. With the retail heart height limit of 40 m., it has retained its dominance of the immediate area, dominating the city’s skyline when viewed from the south. For nearly 40 years, even without the spires, the cathedral presented a rather solid, horizontal mass.
  • From the southern approaches to the city, St. Paul’s Cathedral occupies a prominent and dominating location at the center of Melbourne, being situated diagonally opposite Flinders Street station (the hub of 19th-century Melbourne and an important transport center) and, immediately to its south, Federation Square (the new public heart of Melbourne). Continuing south down Swanston Street is Princes Bridge, which crosses the Yarra River, leading to St Kilda Road.
  • Besides Sunday and weekday Eucharists, the cathedral maintains the English tradition of a daily choral Evensong, being the only Australian Anglican cathedral to do so.
  • Its 2009 restoration project was acknowledged by the Australian Institute of Architects, the Victorian Chapter Heritage Architecture Award 2009 and the Lachlan Macquarie National Award for Heritage Architecture 2009.

Check out “Federation Square,” “Flinders Street Station” and “St. Patrick’s Cathedral”

Nighttime view of the cathedral

The awe-inspiring St. Paul’s Cathedral, planned in a traditional Latin cross, has a long nave, side aisles, short transepts, a tower at the crossing, with choir below, sanctuary and altar beyond, and a pair of towers framing the ceremonial main entrance.

Heritage Council of Victoria Plaques

The cathedral’s Gothic transitional architecture combines Early English and Decorative Gothic styles. Highlights include the fine polychromatic brickwork, beautifully patterned floor and wall tiles and mosaics, banded masonry stonework, exquisitely timbered roof and tiled dado walls.

The cathedral’s nave

It has played host to many prime ministers, premiers, governors, governors-general and other significant people; hosted many significant occasions in national, Commonwealth and international history; and continues to be the choice venue for many state funerals.

The north aisle

Here’s the historical timeline of the cathedral:

  • In 1880, the foundation stone was laid by the Governor of Victoria, John, Earl of Hopetoun (later Marquess of Linlithgow), in the presence of the Rt Revd Charles Perry, Bishop of Melbourne.
  • In 1884, Butterfield resigned due to disputes between him and the church authorities in Melbourne. The job was then awarded to a local architect, Joseph Reed (of the Australian firm Reed, Henderson and Smart), who completed the building generally faithfully to Butterfield’s design
  • In 1889, Reed designed the attached chapter house in a style matching Butterfield’s.
  • On November 15, 1889, the cathedral’s bells were dedicated and first rung for the departure of Sir Henry Loch (later Baron Loch), the Governor of Victoria.
  • On January 22, 1891, the cathedral (without the spires) was consecrated by the Rt Revd Field Flowers Goe, Bishop of Melbourne.
  • In 1926, construction of the spires began to a new design by John Barr of Sydney, in a more traditional Gothic Revival style and with different stone from the Sydney area. It was also much taller than Butterfield’s original design.
  • In 1929, the pipe organ was rebuilt by Hill, Norman & Beard when the action was electrified and a new console supplied.
  • In 1932, the spires reached their full height
  • On April 30, 1933 a service of thanksgiving was held for their completion.
  • The 1960s saw extensive work completed to the exterior of the cathedral
  • On November 28, 1986, on his arrival in Melbourne, Pope John Paul II paid a visit to St Paul’s Cathedral in recognition of the dialogue between the Anglican and Roman Catholic churches in Melbourne fostered by their respective former archbishops, the Most Reverend Sir Frank Woods (Anglican) and the Most Reverend Sir Frank Little (Roman Catholic).  As the Pope entered the cathedral, the choir sang “Ecce vicit Leo.” After this, the Pope prayed for Christian unity and lit a meter-long candle.
  • From 1989 – 90, the $726,000 restoration work of the organwas completed, by Harrison & Harrison Ltd, Durham, with the help of a major National Trust The façade pipe stenciling was done by Marc Nobel, Christine Holmes and John Dale after a design by Lyon, Cottier, Wells & Company.
  • On November 28, 2007, a carol service called Carols from St Paul’s Cathedral Melbourne featuring the cathedral choir, was recorded by the Australian Broadcasting Corporation and broadcast Australia-wide on Christmas Eve.
  • In 2009, the A$18 million, seven-year major restoration works, under the guidance of Falkinger Andronas Architects and Heritage Consultants (now Andronas Conservation Architecture) and undertaken by Cathedral Stone, were completed. Significant repairs were done to restore the spires. Stone heads of the former dean David Richardson and the philanthropist Dame Elisabeth Murdoch, created by Melbourne sculptor Smiley Williams and carved by stonemason Daryl Gilbert, were added to the spires.  Also installed were the colored glass “Eighth Day” lantern, in the Moorhouse Tower, and  new dalle de verre colored glass doors, created by Janusz and Magda Kuszbicki, and a glass walled airlock for the west Great West door.

The south aisle

The interior, compared to the exterior, feature rich colors and strident color contrasts, characteristic of Butterfield’s work, with all the stonework constructed using Waurn Ponds limestone, its stripes contrasting with the very dark-colored local bluestone.

Chancel and High Altar

The dado (created with patterned glazed tiles), floor (entirely paved with encaustic tile imported from the English firm of Maw & Co., featuring both patterned layouts and patterns within the tiles), high altar and reredos (made from Devonshire marble, alabaster and glittering Venetian glass mosaics) are outstanding examples of High Victorian Gothic polychromy.

The narthex

In Persian tile, on the rear wall of the narthex, is a replica of an 8-pointed star found in two churches of the Anglican Diocese of Iran (the church of St. Simon the Zealot in Shiraz and St. Luke’s Church in Isfahan).  There are two baptismal fonts – a round font of Harcourt granite (installed when the cathedral was first built) and a cruciform immersion font (built in 1912 in memory of Field Flowers Goe, third Bishop of Melbourne). One of the carved figures on the pulpit is said to be the image of a daughter, who died in infancy, of the former Mayor of Melbourne.

Baptismal Font (South Aisle)

The Chapel of Unity, a memorial chapel, commemorates the historic visit of Pope John Paul II: only the third time in four centuries when a reigning Pope had made an official visit to an Anglican cathedral.

Immersion Font

The pipe organ, commissioned from English builder T. C. Lewis and Co  (one of the most prominent organ builders of the 19th century) of Brixton, England, cost over 6,500 pounds for its construction, shipping and installation before it was played at the cathedral’s 1891 inaugural service .

Interior from the south aisle

Since then, various modifications and maintenance works have been carried out. After the 1989 -90 restoration, the organ, housed in the cathedral’s south transept behind newly stenciled façade pipes, now has four manuals and pedals with 53 stops, all with electro-pneumatic action.

Commemorative plaques along the wall

St. Paul’s ring of 13 bells, a gift from Thomas Dyer Edwardes and all cast by Mears & Stainbank of Whitechapel Bell Foundry in 1889, consists of 12 bells set for change ringing in the key of C♯, plus an extra bell to allow different subsets of the full number to be rung still to a diatonic scale.  The tenor originally weighed 31 cwt but, after the whole set was sent to Taylor’s Bell Foundry in 1963 for retuning, it now weighs 29cwt.

One of the cathedral’s stained glass windows

St. Paul’s Cathedral : 198 -206 Flinders Street cor. Swanston Street, Melbourne, Victoria 3000, Australia. Tel: 9653 4333. E-mail: welcome@stpaulscathedral.org.au. Website: www.stpaulscathedral.org.au. Open Mondays to Fridays, 8 AM – 6 PM; Saturdays, 9 AM – 4 PM and Sundays, 7:30 AM – 7:30 PM.  Masses: Sundays (8 AM, 9 AM, 10.30 AM, 6 PM), Mondays to Saturdays (12.15 PM).

Federation Square (Melbourne, Australia)

Posted on by — 2 Comments ↓

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)

Posted on by — 1 Comment ↓

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)

Posted on by — 1 Comment ↓

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)

Posted on by — 3 Comments ↓

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)

Posted on by — Leave a reply

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,