Keast Burke
photographer, photo historian, editor of the Australian Photo-Review

 

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Charles Bayliss

Gold And Silver (Australasian Photo-Review #7 1953)

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Footnotes

  1. Printed in THE A.P.-R. for March; 1953, p. 142.

  2. A section of one of the exposures was reproduced in THE A.P.-R. for March, 1953.

  3. It is unlikely that all of the Victorian series would have been made during the one year.

  4. Vide EVENING NEws (Sydney) for Oct. 22nd, 1875, also THE BRITISH JOURNAL OF PHOTOGRAPHY for July 7th, 1876. The Commodore Goodenough funeral was on August 24th of the same year. Incidentally the Commodore's widow had a church bell cast in her husband's honour, and either by accident or design this bell came into the possession of the Melanesian Mission at Norfolk Island, where it still remains. (H.J.R.)

  5. The sale of scenic prints was an important part of the livelihood of the outdoor photographers of the day-see THE A.P.-R. for 1952, p.410

  6. The prize which Henry Kendall won was for the one hundred guineas offered by THE SYDNEY MORNING HERALD. The ode, together with another. in connection with the subsequent Melbourne Exhibition, is included in most volumes of his collected works. Three lines of descriptive interest are quoted:

  7. " What dream is this on lawny spaces set?
    What miracle of dome and minaret
    What great mute majesty is this that takes the first of morning ere the songbird wakes."
  8. The quotation is from THE A.P.-R. for the year 1897:
    As there were eleven (presumably wet plate) negatives in the big panorama, we must hope that there was a manhole in the floor of the great 'lantern'-it was twenty feet in diameter and thirty seven feet high-through which the large 20' by 24' dark slides could have been hoisted from the hands of the coating assistant; eleven hazardous ascents and descents would surely have been out of the question. The feat of "balancing upon the dome" must also be questioned.

  9. Reproduced in the portfolio.

  10. As we write, we have had the pleasure of interviewing two friends who were eye-witnesses of the great conflagration. The first of these was R. A. Broinowski whose family was at that time resident at 171 Macquarie Street, one of the old houses which still survives.
    He writes: "As it was growing light I was awakened by one of my brothers saying 'The Garden Palace is on fire. My bedroom window overlooked the entrance to the Botanical Gardens, and just beyond the great building of the Exhibition loomed through slowly rising smoke. The sun was rising, and his rays were challenged by a line of fire running along the roof, and here and there breaking through. Down below a man was running madly carrying a ladder. Then the nearest tower of the building was suddenly enwrapped in flames, and the fire brigades could do nothing. Tower after tower fell with mighty crashes, with masses of debris and roaring flames shooting into the sky. Gradually the flames spread to the dome, which crashed into the inferno with a terrific roar. That was the climax!"
    The final crash of the great dome is also well remembered by H. J. Rumsey, whose people at that time lived at North Sydney; they were awakened by the milkman on his early morning rounds.

  11. The scene would have been magnificent at night time, and even in the light of day it was grand. The flames were sometimes tempered carmine, green, yellow, or blue, by the burning of the galvanised roofing, and the various metallic substances contained in the building, and the heat from the conflagration was so great that at five minutes past six o'clock, or 25 minutes after the first alarm was given, the glass in the windows of houses in Macquarie Street began to crack. . . . The terraces and high balconied houses in Macquarie Street presented quite a carnival appearance. In every balcony was a group of people, some of the members clad in dressinggowns, others hurriedly robed in the costumes that came first to hand. Even upon the tops of the houses were spectators. Along the line of footpath clustered men, women, and children, all quiet and absorbed in the sight; and, as the flames took fiercer hold upon the building, and the heat increased, they hurried away with their hands shading their faces. When the fire was raging in its greatest strength, the sun was seen behind the burning Palace through the haze of smoke rising above the horizon its crimson disc. The scene was the most imposing, as it was the most pitiful, ever seen in the colonies." (ILLUSTRATED SYDNEY NEWS)
    Other tamous fires in Sydney have included; the Prince of Wales Theatre (October 1860); the great Hoskins Place fire (October 1890); and Anthony Hordern's (July 10th, 1901).

  12. "Out of the main streets the crowd of people came hurrying into Phillip Street, Young Street, and Castlereagh Street, whence they proceeded in thousands into one surging mass which gathered in Albert Street at the Quay. . . . The order issued by Inspector -General Fosbery, warning women and children to keep away from the crowd was of course strictly disobeyed. Several women had their garments torn, and,were with difficulty rescued from the crowd again. A number of unruly characters made their presence felt, and by roughly pushing people intentionally made matters worse than they would otherwise have been. Casting a glance round on whatever side, it was the same-people. People in thousands, crushing'and pushing in their excited desire to gain some vantage ground . People in every window and door, and on every roof where there was standing room, until the buildings themselves seemed almost shut out from view. People on every vessel around the harbour, perched away high up on the trucks, standing out on the yards, crowding the decks, or peering out of port-holes. . The scene in the harbour was one of extreme beauty, and the effect of it was- heightened as the troopships stood away from the wharfs, when every portion of their structure, every rope and waving flag and pennant, stood out sharply against the background of shore and sky, while the men, posted in the rigging to obtain one long last glance of home, formed striking figures in the picture."
    (AUSTRALIAN PORTRAIT GALLERY, Vol. 111) (W. M. McClardy, Printer).

  13. So named in honour of Prince Alfred (1870). It was also used by the 'young princes', Prince Alfred Victor and Prince George of Wales (August, 1881), The arrivals of the various State Governors-elect were important events in those days and were marked by scenes of tremendous public enthusiasm. Actually Baron Carrington had arrived in the liner Carthage on the previous day; the state landing was made from the government launch Ena following on a short tour of the southern side of the harbour.

  14. Five years later, Gilbert Parker, in his book 4ound the Compass in Australia, wrote very fully concerning his trip with the Royal Commission. From his account we have extracted some initial paragraphs:
    " It was my good fortune to receive an invitation to travel in their company, since I was going in their direction. Because of this I altered my plans somewhat and determined to follow where they led. Royal Commissioners, Mr. J. B. Donkin, Mr. F. B. Gipps, the Secretary, two reporters, a photographer and myself constituted the party. We seven looked out upon Bourke one Sunday evening as it rose from the scrubby plain and eyed apprehensively the Darling, which was aflood, and debating whether to rise four inches more and cover the streets. Had it done so, portions of Bourke would have been floating down towards Barrier Ranges as they did the other day. There would be little use in banking because the surrounding country is flat, and if the river overtipped its banks at all, there would be no salvation for the town. Fortunately the stream decided otherwise and its feeder, theWarrego, also stopped its outflow in time.They embarked on a little paddle steamer called the Florence Annie and a journey of three weeks down the river Darling towards Adelaide began.
    " The Florence Annie was a paddle wheel craft, such as did duty in the early days on the Mississippi and she had just such a task.
    "It is no labour of ease to navigate the Darling river which winds its devious way for 2000 miles. A few miles below. Bourke the Darling was no longer the Darling but the Nile, flooding the country for miles on either side. The channel.wound between lines of ragged, gnarled and almost shadeless gum trees. It was the custom of the Florence Annie to tie up every night, and if near a station the seven [travellers] would repair to study water conservation and land conditions by taking evidence from the squatters, and during the day it was also the habit to stop at every station with this end in view. A man with half his sheep -run under flood should be able to speak to some purpose on the conservation of water." (FROM THE COPY IN THE MITCHELL LIBRARY, SYDNEY.)
    (The party left Sydney on 18th Sept., 1886.)

  15. Very much in evidence in his letters to his family-especially in the letter to his wife of Dec. 30th, 1896, when she and the children were holiday-making at Thirroul.

  16. Fortunately dated by the inclusion of a copy of a humorous pen-and-ink sketch by Du Maurier dated in his own writing to September, 1891.

  17. Vide BRITISH JOURNAL ALMANAC for 1878, in which a contributor recommends chlorophyll and other dyes for the purpose of extending the range of colour sensitivity.

  18. "Buvelot (1814-1888) belonged to the Australian School of Painting. He was born at Morges, on Lake Geneva, the son of a postal oifficer. Studied at the Lausanne Academy, and under Wolmar. Leaving Switzerland in 1834, he worked under Flers in Paris, proceeding thence to Brazil. After 18 years in Brazil, returned to Europe, where he met with success, but unable to stand the severe winters of his native country, migrated to Australia, reaching Melbourne in 1865. By 1869 his work had attracted attention, and his first three Victorian landscapes were purchased for the Melbourne Gallery. Buvelot was the first artist of note to analyse and set down in terms of paint the natural characteristics and atmosphere of the Australiarf Bush. He may thus be counted the forerunner of the Australian School of landscape painters. The influence he exercised has been recognised by the naming after him of one of the Galleries in this Institution".
    (Biographical note-Catalogue of the National Gallery of Victoria, 1948.)

  19. Excerpt from his obituary, THE A.P.-R., 1897.

 


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photographs copied from Gold And Silver (Australasian Photo-Review #7 1953)