‘Melbourne Investiture: Honours Conferred with Sword’, <em>The West Australian</em>, 6 November 1937
Accolade, authority, ceremony, chivalry, dubbing, Governor-General, honours, investiture, King’s Coronation Honours, knight, knighthood, letters patent, Lord Gowrie, pageantry, Parliament House, sword.
This article from <em>The West Australian</em> in 1937 reports on a number of new knighthoods awarded as part of the King’s Coronation Honours. For the first time, the article informs readers, the recipients were ‘dubbed’ by the Governor-General, Lord Gowrie, at Parliament House during a ‘ceremony of medieval pageantry’. The ceremony was undertaken with the permission of the King, who was traditionally the only figure with the authority to confer honours with a sword. The act of dubbing involves a light blow to the shoulders of a kneeling recipient with the flat side of a sword. Dubbing is an essential part of the public investiture ceremony and dates to the medieval period.
Anon
TROVE: National Library of Australia, <a href="http://nla.gov.au/nla.news-article41446579" target="_self">http://nla.gov.au/nla.news-article41446579</a>
<em>The West Australian</em>
6 November 1937, p.18
Copyright Expired
Newspaper Article
‘The New Renaissance’, <em>Australian Women’s Weekly</em>, 6 April 1955
Art, art appreciation, Art Prize, Australian Women’s Weekly, canvas, Henri Matisse (1869-1954), leisured, Leonardo da Vinci (1452-1519), magazine, Michelangelo di Lodovico Buonarroti Simoni (1475-1564), ‘new renaissance’, patronage, populace, privileged, prize, Renaissance, Rembrandt Harmenszoon van Rijn (1606-1669), rich.
This article from <em>The Australian Women’s Weekly</em> in 1955 posits contemporary Australian society as being at the precipice of a ‘New Renaissance’ in terms of widening access to and public interest in fine art. Pinpointing Ancient Greece and the Renaissance in Europe as rare periods in history when art was appreciated not only by the rich and privileged but by a large proportion of the population, the article suggests that evidence of a growing and widespread interest in art is noticeable in art school attendance and patronage trends. As a result, ‘Housewives and shop-assistants, politicians and plumbers are now among those able to tell a Matisse from a Michelangelo and to live more fully because of that ability’. The article’s overall purpose is to advertise a £2000 Art Prize offered by <em>The Australian Women’s Weekly</em>, so it is in the magazine’s interest to draw links between the flourishing of art in the Renaissance and the potential for contemporary interest in art to enrich society.
Anon
TROVE: National Library of Australia, <a href="http://nla.gov.au/nla.news-article51597233" target="_self">http://nla.gov.au/nla.news-article51597233</a>
<em>The Australian Women’s Weekly</em>
6 April 1955, p.2
Copyright Expired
Newspaper Article
<em>'Then one of them, which was a lawyer, asked him a question</em>', by Grace Cossington Smith
art, Australian artist, biblical, Blake Prize, devotional art, Giotto (c.1266-1337), Grace Cossington Smith (1892-1984), Masaccio, Matthew, painters, religious art, Renaissance art, scripture, Tommaso di ser Giovanni di Simone (c.1401-1428), Tribute Money.
This painting by Sydney artist Grace Cossington Smith derives its title,<em>'Then one of them, which was a lawyer, asked him a question'</em>, from Matthew, Chapter xxii, verse 35. Although better known for her paintings of domestic interiors, this is one of two biblical works Cossington Smith painted for entry into the newly established Blake Prize for Religious Art in the early 1950s. Influenced generally by Renaissance artists such as Giotto, whose paintings she had seen in Italy, Cossington Smith used Masaccio’s '<em>Tribute Money'</em> (from the Carmine in Florence) in particular as a model for this painting (see Bruce James, <em>Grace Cossington Smith</em>, Roseville, Craftsman House, 1990, p.135). It featured alongside a number of Cossington Smith’s other works as part of an exhibition titled <em>Grace Cossington Smith: A Retrospective Exhibition</em> at the National Gallery of Australia in 2005.
Grace Cossington Smith AO OBE (1892-1984)
National Gallery of Australia, accession no. NGA 1976.1059
1952
National Gallery of Australia
Oil on canvas on paperboard painting, 59.1x86.3cm
152 Elizabeth St, Sydney, New South Wales
Buttress, capital, crenel, column, Gothic Revival, ionic column, New South Wales, NSW, Oak Barrel Liquor Shop, oriel window, parapet, Romanesque, Romanesque Revival, semi-circular arch, Sydney, tower, volute.
The red brick and stone building at 152 Elizabeth St in Sydney, New South Wales, incorporates a number of architectural styles. Most prominent of these is the medieval Romanesque style seen in the semi-circular arched windows on the second and third storey, and the doorway. The two oriel windows are usually found in Gothic Revival architecture, especially when used above a doorway as here. Finally, the entrance features two ionic columns with volute capitals, a style first used in Classical Greece. The building also has a low tower with two buttresses on each end, and the parapet on top of the building has crenels on top of the towers, giving the impression of fortification. Part of the ground floor of the building is now occupied by the Oak Barrel Liquor Shop.
McLeod, Shane
December 17, 2012
No Copyright
Digital Photograph
38 Davey Street, Hobart, Tasmania
Crenellation, Gothic, Gothic Revival, Hobart, lancet windows, parapet, Romanesque, Tas, Tasmania, tower.
This building is at 38 Davey Street in central Hobart. It is at the rear of Parliament House and is part of the proposed Parliament Square redevelopment. The building adjoins the former St Mary’s Hospital building and early photographs show that it was built sometime between 1870 and 1890. The three-storey sandstone building combines Romanesque and Gothic Revival architecture. Romanesque features are the semi-circular arched entrance and rounded arch windows on the top level. The four lancet windows in the centre of the top level are Gothic in style. The building also has a crenelated parapet.
McLeod, Shane
October 6, 2012
No Copyright
Digital Photograph
59 Cameron Street, Launceston, Tasmania
Cameron Street, Gothic, Gothic Revival, lancet window, Launceston, Launceston Equitable Building Society, pointed arch, spire, Frederick Strange, Tas, Tasmania.
This building at 59 Cameron Street in the Tasmanian city of Launceston was formally occupied by the landscape artist Frederick Strange (1807-1873) in the mid nineteenth century, and later became the headquarters of the Launceston Equitable Building Society. The three-storey red brick and stucco building includes Gothic elements, most obviously in the use of pointed arches on the windows and entrance, including two lancet windows on the top storey, as well as the corner spires.
McLeod, Shane
August 31, 2012
No copyright
Digital photograph
A Bereaved Empire
Augustus, Augustus (63BC-19AD), bereavement, British Empire, corn laws, Darius (550-486BC), death, democracy, emancipation, Empire, enfranchisement, free press, free schools, grief, invention, Louis XIV (1638-1715), loyalty, medieval proclamation, monarch, monarchy, mourning, nation, Queen Elizabeth (r.1558-1603), Queen Victoria (r.1837-1901), political equality, progress, railway, reform, republic, republicanism, royalty, science, sovereign, steamer, telegraph, triumph
In this article upon the death of Queen Victoria (on 22 January 1901), her reign is described as a period in which “we took a sudden step from medieval darkness to the metaphorically blinding brilliancy of the dawn of the twentieth centuryâ€. Citing the expansion of Empire, the extension of the franchise, the invention of railway, telegraph and the steamship and the establishment of free schools as examples of progress, the article suggests that the legacy of the Victorian era will surpass that of all others, including Augustus, Louis XIV and Elizabeth I, for its combination of intellectual splendour, artistic brilliance and political development. Under Victoria, the author suggests, Britain had become a republic in all but name, because in a break from tradition she was “the Queen of the people, not of Peers and Aristocrats; the Queen of the cottage, and not of the Castleâ€. This shift and the growth of public affection that accompanied it is highlighted by the author in the suggestion that an adaptation of the traditional proclamation “The King is Dead, Long Live the Kingâ€, in use since the medieval period to signify the immediate transfer of sovereignty onto the heir, was unthinkable because her beloved subjects needed time to mourn.
Anon.
<strong></strong>
<p class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 10pt;"><span style="font-size: 10pt;">National Library of Australia, </span><span lang="EN"><a href="http://nla.gov.au/nla.news-article32723401" target="_blank"><span style="font-family: Calibri; color: #0000ff; font-size: small;">http://nla.gov.au/nla.news-article32723401</span></a></span></p>
West Australian Sunday Times
27 January 1901, p. 6.
National Library of Australia
Newspaper Article
English
A Medieval Manor House
accommodation, aviary, buttery, chapel, children, dining-room, enemies, fifteenth century, fortification, gardens, great hall, hall, housing, kitchen, Lord, Lord of the Manor, Manor, manor-house, medieval housing, medieval social relations, pantry, residence, tower, tunnel
In this article from a regular children’s column in the Sunday Times called “The Girls and Boys Clubâ€, a standard and idealised description of medieval manor houses is provided. According to the author, a fifteenth-century manor house was a grand residence that featured a great hall, a huge kitchen with adjoining pantry and buttery, a large dining-room, a private chapel, an aviary, a tower, courtyards and beautifully landscaped gardens. It was presided over by a lord and is described as a ‘little town’ because it housed hundreds of people. An interesting but unexplained comment towards the end of the article also suggests that manor houses had underground tunnels because in the ‘bad old days’ of the medieval period, the Lord of the manor ‘was likely to make enemies almost overnight, through no fault of his own’.
Anon.
National Library of Australia
The Sunday Times
6 October 1935
Newspaper Article;
PDF
English