For more of the interior see http://ausmed.arts.uwa.edu.au/items/show/1186
http://ausmed.arts.uwa.edu.au/items/show/1197
For the exterior see http://ausmed.arts.uwa.edu.au/items/show/1178
]]>The interior of St Andrew’s Church of England (Anglican) in the small Tasmanian town of Westbury continues the Gothic Revival style of its exterior. The nave was designed by the convict architect James Blackburn (1803-1854) in 1840-02. Of particular note are the various carvings by Tasmanian woodcarver Ellen Nora Payne (1865-1962) of Hobart, who had been born in the Westbury district. These include the pulpit which was carved in London sometime between 1901 and 1906, and the ‘Seven Sisters’ rood, or chancel, screen completed in 1938 as a memorial to her seven dead sisters. The screen features a recreation of tracery common in Gothic windows. Other Gothic features are the large pointed arch east window with tracery made up of three lancet windows with stained glass, lancet windows in the north and south walls, and the internal pointed-arch doors and doorways.
For more of the interior see http://ausmed.arts.uwa.edu.au/items/show/1186
http://ausmed.arts.uwa.edu.au/items/show/1197
For the exterior see http://ausmed.arts.uwa.edu.au/items/show/1178
For more of the interior see http://ausmed.arts.uwa.edu.au/items/show/1191
http://ausmed.arts.uwa.edu.au/items/show/1197
For the exterior see http://ausmed.arts.uwa.edu.au/items/show/1178
]]>This memorial board of the ‘St Andrews Memorial Endowment Roll’ is in St Andrew’s Church of England (Anglican) in the small Tasmanian town of Westbury. It was carved by the Tasmanian woodcarver Ellen Nora Payne (1865-1962) of Hobart, who had been born in the Westbury district. As befits a church built in the Gothic Revival architectural style, the memorial board includes Gothic touches, primarily in the central panel. The carving of the Virgin and Child is housed in a Gothic niche featuring a pointed arch ending in a decorated finial. Behind the arch is the representation of two Gothic pointed arch windows with tracery forming a cross. There is also a finial on both vertical ends of the board.
For more of the interior see http://ausmed.arts.uwa.edu.au/items/show/1191
http://ausmed.arts.uwa.edu.au/items/show/1197
For the exterior see http://ausmed.arts.uwa.edu.au/items/show/1178
The legend of St George slaying the dragon is Eastern in origin. It is thought to have been brought back to England by crusaders and was popularised and incorporated into hagiographies of St George in the medieval period in works such as Vincent of Beauvais’ Speculum Historiale and Jacobus de Voragine’s Golden Legend (c.1260). As with most Australian images of St George and the Dragon, the image features the knight and dragon in combat, and there is no sign of the maiden who was being saved in the original tale. For more on the St George legend in Australia, see Andrew Lynch, “‘Thingless names’? The St George Legend in Australia”, The La Trobe Journal, vol.81, Autumn 2008, pp.40-52: http://www3.slv.vic.gov.au/latrobejournal/issue/latrobe-81/t1-g-t4.html).
]]>Close-up image of the jarrah nave altar at St George’s Cathedral in Perth, Western Australia. The altar features a hand-carved knight and dragon against a St George shield to portray the St George legend. It was carved by Robin McArthur and installed in the Cathedral in 1991. The addition of this new altar at the head of the nave enabled the Eucharist service to be conducted closer to, and facing, the laity. Continuing the traditional associations of Christianity with military service that are present throughout the Cathedral, the image of St George as an armoured knight has the effect of, as Andrew Lynch has suggested, conflating piety and prowess in a positive way.
The legend of St George slaying the dragon is Eastern in origin. It is thought to have been brought back to England by crusaders and was popularised and incorporated into hagiographies of St George in the medieval period in works such as Vincent of Beauvais’ Speculum Historiale and Jacobus de Voragine’s Golden Legend (c.1260). As with most Australian images of St George and the Dragon, the image features the knight and dragon in combat, and there is no sign of the maiden who was being saved in the original tale. For more on the St George legend in Australia, see Andrew Lynch, “‘Thingless names’? The St George Legend in Australia”, The La Trobe Journal, vol.81, Autumn 2008, pp.40-52: http://www3.slv.vic.gov.au/latrobejournal/issue/latrobe-81/t1-g-t4.html).
The legend of St George slaying the dragon is Eastern in origin. It is thought to have been brought back to England by crusaders and was popularised and incorporated into hagiographies of St George in the medieval period in works such as Vincent of Beauvais’ Speculum Historiale and Jacobus de Voragine’s Golden Legend (c.1260). As with most Australian images of St George and the Dragon, the image features the knight and dragon in combat, and there is no sign of the maiden who was being saved in the original tale. For more on the St George legend in Australia, see Andrew Lynch, “‘Thingless names’? The St George Legend in Australia”, The La Trobe Journal, vol.81, Autumn 2008, pp.40-52: http://www3.slv.vic.gov.au/latrobejournal/issue/latrobe-81/t1-g-t4.html).
Image of the jarrah nave altar at St George’s Cathedral in Perth, Western Australia. The altar features a hand-carved knight and dragon against a St George shield to portray the St George legend. It was carved by Robin McArthur and installed in the Cathedral in 1991. The addition of this new altar at the head of the nave enabled the Eucharist service to be conducted closer to, and facing, the laity. Continuing the traditional associations of Christianity with military service that are present throughout the Cathedral, the image of St George as an armoured knight has the effect of, as Andrew Lynch has suggested, conflating piety and prowess in a positive way.
The legend of St George slaying the dragon is Eastern in origin. It is thought to have been brought back to England by crusaders and was popularised and incorporated into hagiographies of St George in the medieval period in works such as Vincent of Beauvais’ Speculum Historiale and Jacobus de Voragine’s Golden Legend (c.1260). As with most Australian images of St George and the Dragon, the image features the knight and dragon in combat, and there is no sign of the maiden who was being saved in the original tale. For more on the St George legend in Australia, see Andrew Lynch, “‘Thingless names’? The St George Legend in Australia”, The La Trobe Journal, vol.81, Autumn 2008, pp.40-52: http://www3.slv.vic.gov.au/latrobejournal/issue/latrobe-81/t1-g-t4.html).