1862: All Saints’, South Hobart, Tasmania.

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Artist/Studio: William Wailes, Newcastle-upon-Tyne, England.
Year: 1862.
Location: South Hobart, Tasmania, Australia
Building: All Saints Anglican Church, Macquarie Street.
Memorial: N/A
Donor: Alfred Kennerley and a Church Warden.
Photos dated: 11th August 2010, R.J. Brown.


Tasmania’s famous colonial architect Henry George Hunter designed All Saints in the Pugin style and it was built by contractor James Dickinson[1]. The foundation stone was laid on the 2nd of December 1858 by the Governor of Tasmania, Sir Henry Young [2] and it was opened 18th August 1859[3]

There are many historical stained-glass windows in All Saints’, some of which have a direct link to my family history in relation to the Ferguson & Urie stained glass company of North Melbourne but the provenance of many other windows seems to have been lost in translation over a century and a half. As recent as a decade ago it was claimed that all the windows in All Saints’ were by Ferguson & Urie. After personally seeing the windows back in October 2010 I could only confirm the provenance of Ferguson & Urie windows which are all on the liturgical north side. None of the others remotely looked like the work of Ferguson & Urie. Based on significant differences in artistic styles, it looked like there were at least another two distinctly different stained-glass studios involved in the windows and they were not of Australian manufacture!

Between 2010 and 2019 I did very little research of other windows at All Saint’s as my primary focus was on the work of Ferguson & Urie but in 2012 I did find the evidence of two other stained-glass studios involved. My friend Gavin Merrington, Tasmania’s heritage stained glass craftsman, was commissioned to do some restoration work on many of the church windows. The first window to be taken out was to be the liturgical west window. There was going to be some media and political fanfare about the restoration of the All Saint’s windows and they were going to be present when Gavin was removing the window, so I thought it would be great to at least find some evidence to prove who the maker was. I eventually found was that it was imported from England by the ship “Broadwater” from the studio of Charles Clutterbuck in 1864. Another window, the John Page memorial in the liturgical south wall was by the English firm of William Wailes circa 1869.

One set of windows at All Saint’s had me perplexed for many years. As recent as September 2020 it was/is still claimed that the chancel windows of All Saints’ were the work of Ferguson & Urie of North Melbourne.[4] My first impression back in 2010 was that these windows were most likely to be the work of William Wailes of England. Nearly all of the windows along the liturgical south wall (facing Macquarie Street) looked like they were the work of Wailes and amongst my photograph collection of other Wailes windows there is a  three light Crucifixion window of similar design at Christ Church, Hawthorn, Victoria. It represents a very significant window for use as a comparison with the Crucifixion window of All Saints and this certainly swayed my opinion to stick with an attribution to William Wailes for the All Saints’ chancel windows.

A decade ago on-line research evidence was very thin. At the time no other documentary evidence was available to prove any attribution of the All Saints’ chancel windows to William Wailes. The National Archives digitisation of historic Australian Newspapers (TROVE) was relatively new at the time and there still isn’t anything in TROVE that corroborates it.

In April 2019 I eventually found an obscure reference to stained-glass at All Saint’s in the Stilwell Index (Allport Library Tasmania). The index entry was dated June 1862 which preceded the Charles Clutterbuck window in the liturgical west wall from 1864 and all the Ferguson & Urie windows along the liturgical north side from circa 1868.

After obtaining the elusive tabloid article from the Hobart Town Advertiser of 1862 it confirmed that the chancel windows were imported from England from the studio of William Wailes, England

The triple light window directly behind the altar depicts the Resurrection, Crucifixion and Ascension and the flanking single lights depict the apostles St Paul & St John. The designs for the windows were selected by the Rev Tice Gellibrand and were executed by the English firm of William Wailes of Newcastle -Upon-Tyne, England. These were the very first stained-glass windows to be erected in All Saint’s and were donated by the Mayor of Hobart, The Hon Alfred Kennerley.

The Hobart Town Advertiser from 1862 contained the necessary provenance to firmly attribute the chancel windows to William Wailes and it contained an extraordinary amount of information about what was depicted in the windows.

 “…The glass is from the manufactory of Wailes of Newcastle, and is decidedly the best specimen of this beautiful art we have yet had the pleasure of seeing in the colony…” [5]

“…In the East window, which consists of three lights, divided by stone mullions with traceried head, are represented the following subjects: – “The Crucifixion of our Lord,” in the centre, with “Abraham’s Sacrifice” underneath. In the side lights are the “Resurrection from the dead” with the “Drawing of Joseph from the Well,” and the “Ascension of Our Lord,” with “Elijah’s Ascent in the ‘Flaming Chariot.'” Three of the tre-foils in the head are filled with ornaments, devices and diapering with the Alpha and Omega. Two quatre-foils have Angels bearing the Instruments of Passion, on a beautiful deep azure ground. The centre opening of the tracery in the head is filled with Agnus Dei.

              In the two smaller windows on either side of the chancel are given full-length figures of St. John and St Paul on richly diapered grounds, having enriched canopies over the niches in which the figures are represented standing…” [6]

Starting from the tracery windows at the top of the Crucifixion window in the chancel is the Agnus Dei or Lamb of God carrying the victory banner. Below this are two angels carrying the instruments of the passion (the wicked weapons used in nailing him to the cross and tormenting him to His death). On the left, the Angel carry’s Christs Cross with His Crown of Thorns and the Three Nails used to affix Him to the Cross. On the right an angel carry’s the spear that Christ was pierced with on the Cross and a staff with the Holy Sponge on the end. Below the angels are three trefoils in Gothic floral designs which include vine leaves and grapes. The outer two trefoils contain, on the left, the lettering ‘A.O’ representing Alpha and Omega (the beginning and the end). The right trefoil contains the letters ‘I.H.S” an abbreviation for ‘IHESUS,’ the way Christ’s Name was spelled in the Middle Ages.

The central scenes in the window depict three events surrounding Christs Crucifixion.

Resurrection, Crucifixion & Ascension

On the left is Christs Resurrection with the sleeping soldiers at the base of the tomb.

The centre light depicts the Crucifixion. Christ is nailed to the cross and two women weep below.

The right light depicts the Ascension. Christ ascends towards the rays of light of heaven, Clouds are shown at his feet and the men and women watch below in wonder.

The scenes in the bottom third of the windows depict the drawing of Joseph from the well, Abrahams Sacrifice and Elijah’s Ascent in the Flaming Chariot.

These are described in further detail as;

The Drawing of Joseph from the Well.

Genesis 37:28 – This is an Old Testament story that refers to Joseph the most loved son of his father, Israel, given the famous robe of many colours (Joseph’s brothers hated him). “So when the Midianite merchants came by, his brothers pulled Joseph up out of the cistern and sold him for twenty shekels of silver to the Ishmaelites, who took him to Egypt.”

Abrahams Sacrifice.

Hebrews 11-17: God asked Abraham to sacrifice his son Isaac. When God saw that Abraham was willing to do it he said, “do not lay a hand upon the boy”. It meant that God understood that Abraham believed in him: “By faith Abraham, when he was tested, offered up Isaac: and he that had received the promises offered up his only begotten son.”

Elijah’s Ascent in the Flaming Chariot.

2 KINGS 2-11: “And it came to pass, as they still went on, and talked, that, behold, there appeared a chariot of fire, and horses of fire, and parted them both asunder; and Elijah went up by a whirlwind into heaven.”

The centre light of the chancel window was restored by Gavin Merrington circa 2013.

Related articles:

1867: James Urie visits Tasmania on Ferguson and Urie business.

1868: Ferguson & Urie Stained Glass at all Saints South Hobart.

1871: John Page window, All Saints Hobart by William Wailes.

2012: All Saints South Hobart Conservation work.

Footnotes:


[1] The Hobart Town Daily Mercury, Tasmania, Saturday 20th August 1859, page 3.

[2] The Hobart Town daily Mercury, Tasmania, Wednesday 1st December 1858, page 3.

[3] The Hobart Town Daily Mercury, Tasmania, Saturday 20th August 1859, page 3.

[4] All Saints Web Site (accessed 202020)

[5] Hobart Town Advertiser, TAS, 23rd June 1862, page 3, column 1. Para 5.

[6] Hobart Town Advertiser, TAS, 23rd June 1862, page 3.


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1920 St Matthew’s New Norfolk, Eric Hill memorial window.

 

Artist/Studio: William Montgomery, Melbourne, c.1920.
Location: New Norfolk, Tasmania, Australia.
Building: St Matthew’s, New Norfolk.
Memorial:
Eric George Hill.
Donor: Relatives.

Status: Extant.
Photos dated: 7th Oct 2010.

At Hobart, on the afternoon of Sunday the 19th December 1920, a young 21 year old Postal worker named Eric Hill and his two mates, Frank Hartill and Keith Smith, decided it would be a great day to go motor-boating on the Derwent River.

Down at Hobart’s Domain Shipyards the young men spent a considerable amount of time and frustration attempting to get the boats “rebellious” motor to fire up. Eric gave up in disgust and decided to let his two mates continue the sisyphean task and decided to go for a row in a small flat bottomed “punto” by himself. Frank and Keith watched him as he slowly rowed out of sight around Battery Point towards Sandy Bay. Eric wasn’t an experienced boatman and he couldn’t swim!

Some distance out in the Derwent River off Battery Point the water became choppy and Eric got into difficulty with handling the dinghy. A short distance away a fellow named Glyn Salter, in a motor-boat with his teenage son, saw that Eric was in difficulty and steered towards him. When close enough he asked him to come aboard their boat but Eric simply said “No, throw me a rope”, which Salter did. Instead of tying the rope to the bow of the boat, Eric made yet another poor decision and held onto the rope instead, whilst he was sitting in the middle of the dinghy. The obvious then occurred and the dinghy turned side-on as it was being towed and began to fill with water. To make matters worse, Eric began to pull harder on the rope and the dinghy began to take even more water. The chain of events became even more perilous as “two river steamers, the Togo and Cartela, went past, almost abreast, on each side of the motor-boat and the dinghy…”

Eric saw the wake coming towards him from both sides and without thinking he “lost his head, let go the rope, and sprang overboard”.

Salter turned his boat around in a circle of the area and when he saw Eric come to the surface a few yards off he jumped into the water fully clothed to save him. Eric disappeared out of sight and despite Salter’s numerous dives under the water but he could not be found. Salter then made his arduous attempt to get back aboard his boat where his son was at the tiller. It was a difficult task as he still had his coat on which was extremely heavy with water.

Eric’s dinghy had sunk and unfortunately so had he.

Salter circled the area in his motor-boat for some time, but nothing was to be seen so he headed for shore to inform the water police of the incident. He returned to his home briefly to change into some dry clothing before heading back out to the scene. Together with “Sergeant Wright, with Constables Rogers and Stewart, and Water-Bailiff Challenger, spent the rest of the afternoon dragging, but without success.”

Despite the area being searched as far as Sandy Bay, the body of Eric George Hill was never recovered. [1]

At St Matthew’s Church, New Norfolk, on the 30th of December 1921, a memorial stained glass window was unveiled to the memory of Eric George Hill. The window was made by William Montgomery of Melbourne and depicts Saint Stephen with the memorial text below:-

“SACRED TO THE MEMORY OF ERIC GEORGE HILL, BELOVED SON OF W. R. AND E. H. HILL, AGED 21 YEARS WHO WAS DROWNED IN THE DERWENT, DEC 19th 1920.” [2]

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Footnotes:

[1] The Mercury, Hobart, TAS, Monday 20th December 1920, page 5.

[2] The Mercury, Hobart, TAS, Saturday 31st December 1921, page 6.


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1842: Christ Church Anglican, Longford, Tasmania.

Artist/Studio: Designed by William Archer & Executed by William Wailes, England, c.1842.
Location: Longford, Tasmania, Australia.
Building: Christ Church, Longford.
Memorial: N/A
Donor: Charles Reid.
Photos dated: 12th August 2012.
Short link: http://wp.me/p2yCYO-n7

The Stained Glass window in the Anglican Church of Christ Church, at Longford, Tasmania, is the oldest known figurative stained glass window in Tasmania, and arguably the oldest in Australia.

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On the 16th  March 1839[1] Lieutenant Governor Sir John Franklin (1786–1847) laid the foundation stone of Christ Church of England at Longford in Van Diemen’s Land (Tasmania), assisted by Archdeacon Philip Palmer (1799-1853) of Hobart Town.

The church was designed by Launceston architect-builder Robert de Little (1808-1876) and was officially opened on the 6th of October 1844 [2] and  consecrated by Bishop Charles Henry Bromby (1814-1907), on the 27th January 1882. [3]

One of the most beautiful historical artifacts in the church is the liturgical east five light stained glass window, recorded as the first of its kind erected in Tasmania, and arguably Australia. It was donated by a local merchant of Longford, Charles Reid (c.1794–1857)[4] and was crafted as a collaborative effort having been designed by the colonial architect William Archer (1820–1874) and executed by the English stained glass artist William Wailes (1808-1881) at Newcastle-upon-Tyne in 1842. It was reported to have cost £300.[5]

Before the window was even erected in the church circa 1842, it was found to be damaged when it was unpacked. Three portions of the canopies were broken and one of the “Supporters of Tasmania” (either the Emu or the Kangaroo). A local artisan by the name of ‘Nash who had established himself at Longford as a painter and glazier was reported to have done the repairs so well that;

“…the most critical observer cannot discover which of the canopies have been broken, or which supporter has been made in the colony, the kangaroo or emu…”[6]

In September 1876, it was reported that further damage had occurred to the window as a result of a severe storm. The damaged portion representing St. Matthew was “repaired by Mr. J. Owen, and fixed in place again.”[7]

Circa 1880 the window was reported to have undergone extensive repairs in Melbourne;

“…The West window was dismantled piece by piece to be sent to Melbourne for repairs and plate glass reinforcement…”[8]

This is further corroborated by the Treasurer’s statement of accounts for  Christ Church by Joseph Archer published in September 1881:

“…The well-known large stained glass window has been restored in Melbourne at considerable expense, to provide for which the Hon. W. Dodery and Messrs. J. Archer and C. Arthur increased their original contributions…”[9]

Although the statement of expenses published in the tabloids in 1881 appeared quite comprehensive, there doesn’t appear to be any clue as to which Melbourne firm conducted the repairs to the window. Possibly the most experienced firm in Melbourne at that time would have been the Ferguson & Urie stained glass company of Curzon street North Melbourne who started full time commercial stained glass production from late 1861, but by the 1880’s this firm no longer had the monopoly of locally created stained glass and was coming under increased competition from firms such as Rodgers & Co, and Brooks, Robinson & Co and William Montgomery.

In February 1882, architect Harry Conway advertised for tenders in relation to additional glazing for Christ Church. This reference could only be in relation to the tall two light windows in the nave, which appear to have stained glass border designs that are uncannily like that of the Ferguson & Urie stained company of North Melbourne. In the head of the windows are heraldic designs with typical Ferguson & Urie colouring and borders of alternating reds, blues and purples separated by stylized depictions of the Passion Flower in yellow/gold. The borders of the tall thin lancets below appear to follow the unmistakeable Ferguson & Urie designs with the alternating colours and patterns,  with the random introduction of a yellow/gold crowns where a simple passion flower design would normally be expected. Other extant Ferguson & Urie windows that include the small crowns in the border designs have been found in Victoria the Lake Tyers Aboriginal Mission Church and St Andrews Church at Box Hill.

The coincidence between the stained glass designs in the nave windows and the reference to a Melbourne stained glass firm performing the repairs to the historic east window in 1881/1882 is a coincidence that needs further research.

On the 23rd of August 1943, the Launceston Examiner again reported that the “Historic Window needs repair…”[10]  It was estimated that the required work would cost more than £200 but this was to be postponed until after the war.

A quarter of a century elapsed and eventually, in 1967 a complete restoration[11] of the window was conducted, by the Victorian stained glass artist Jean (John) Orval and his sons at Hamilton in Victoria;  When completed Mr Orval guaranteed the window would last at least another century before again needing repairs”.

Orval’s guarantee did not stand the test of time and after only 45 years the window was found to be in an advanced state of deterioration and again required a partial restoration. This work was conducted by Tasmania’s Heritage Stained Glass conservationist Gavin Merrington of South Hobart in 2013.

Description of the window:

This description of the window is transcribed from an original copy of the church booklet “A Short Account of Christ Church – Longford, Erected 1839 – Dedicated 1844” reproduced in c.1948 and c. 1960, both of which state the information was taken from “Notes on Christ Church, Longford, and Longford District,” by Mr. K. R. von Stieglitz (1939-1944).

“The five tall lower lights are all headed by five-foiled arches; the two outer ones on each side form a single pointed arch above, while the mullions of the middle arch are more substantial and run up to support the top window. The central light contains the figure of our Lord in vestments of beautiful shades; He is carrying the Orb and the Cross, the signs of Royalty and Sacrifice. The others have the four Evangelists, Saints Matthew, Mark, Luke and John. The first two have nothing to identify them, but St. Luke has his Gospel open, beautifully illuminated, the words being easily read with a pair of glasses. They are the first words of the gospel in Latin: “Quoniam quidem multi conati sunt ordinare narrationem.”
            Above these figures is the usual elaborate canopy work of the period. There are two angels in each holding scrolls, which have no inscription. In the arches above the Evangelists are their symbols, suggested by the fourth chapter of Revelation:- the man, the lion, the ox, and the eagle, all with wings. Between them, over our lord, is the Annunciation, the Angel Gabriel and the Blessed Virgin having scrolls bearing the words spoken by them (also in Latin): “Hail Mary” and “Behold the handmaid of the Lord.” Going further up, below the three cross-shaped lights at the top, are four irregular panes which carry the ‘Instruments of the Passion.’ Of these in the left and lower one (at present broken) is the Crown of Thorns; next, the pillar to which our Lord was bound, and the ropes and scourges; next is the Cross with nails, reed (with sponge) and spear, pincers and hammer; and in the last the robe without seam; above it a white curve which closely seen resolves itself into thirty pieces of silver; on either side the money-bag of Judas, and the lantern, and, below, the dice used by the soldiers. Right at the top is the Dove, representing the Holy Spirit descending on the Church of the world.
            At the base of the window are five coats-of-arms. That in the middle is the Royal Arms, surmounted by the Imperial Crown, and supported by what are intended to be the kangaroo and the Emu; but the designer could not have been acquainted with the latter, for it is more like a native hen than an emu, while the kangaroo is a poor pathetic creature. The other shields are evidently fancy constructions, though heraldically correct. The second from the left is surmounted by a mitre and seems to be the Bishop’s; but though the left-hand side correctly represents the Southern Cross, the right-hand is not that of Bishop Nixon”.

About the shield in the bottom right corner of the window:

A shield appears at the bottom right corner of the right light which provides most of the information about the window’s historical origins. It includes the name of William Archer as the designer, William Wailes as the maker, and the location and date the window was made. The detail appears in four ribbon scrolls in the lower right shield and is described as follows:

1. “Gulielmus Archer – Des”. “Gulielmus” – the French-based Latin version of the name “William”. The letters immediately after are “DES” being the abbreviation for “Designed”.

2. “Gul: Wailes. Exec”. “Gul:” shortened for Gulielmus (William) with the letters “Exec” being the abbreviation for “Executed”.

3. “Newcastle AD”. Newcastle being the location the window was Executed (Newcastle-upon-Tyne) and the letters “AD”, the Latin abbreviation for “Anno Domini”, being “The Year of Our Lord”.

4. “MDCCCXLII” in the last portion of the scroll indicates the year 1842 that the window was created. The bottom portion has some missing paintwork and a missing piece of glass. The first Roman numeral looks like two letters “NI” but there is missing paintwork and is actually one letter representing “M”, The “X” is drawn in an unusual fashion and looks like ¥. The same date in Roman numerals also appears clearly written to the left of the shield to confirm the date correctly as 1842.

Transcriptions of significant articles:

The Cornwall Chronicle, Launceston, TAS, Saturday 28th September 1839, page 1.

“At Longford, the Church, erected some years since, had become much too small for the accommodation of the congregation, whilst at the same time, from some defect in the construction, it was not likely to stand long; the inhabitants, therefore, determined upon having an entirely new and handsome building, the foundation of which is now completed, the first stone having been laid by the Lieutenant Governor, upon the tour already referred to more than once.”

The Courier, Hobart, TAS, Tuesday 20th October 1840, page 3

“At Longford, the Church is rising gradually, but not so rapidly as was at first expected, in consequence of the Committee having come to the determination to adopt, in lieu of brick, a facing of free-stone, which has to be carted for several miles”.

 The Courier, Hobart, TAS, Tuesday 1st October 1844, page 2.

“His Lordship the Bishop of Tasmania will consecrate the new church at Longford on 3rd October. The principal attraction of this edifice is a large painted window, executed in England, and sent out at an expense of two hundred guineas. It is considered a superior work of art, and will doubtless draw many of the curious, for want of a better motive, to visit this place of worship…”

Launceston Examiner, TAS, Wednesday 2nd October 1844, page 4.

“LONGFORD CHURCH.- The new church at Longford will be opened by the bishop of Thursday next”.

Launceston Examiner, TAS, Saturday 12th October 1844, page 3.

“COLONIAL ART.- When the glass of the chancel window of Longford church was unpacked, it was discovered that three of the fine canopies were broken, and one of the supporters of the arms of Tasmania. The glass, however, has been so well repaired, that the most critical observer cannot discover which of the canopies have been broken, or which supporter has been made in the colony, the kangaroo or emu. The artist’s name is Nash, who lately established himself at Longford, as painter and glazier. This window, which is the gift of Charles Reid, Esq., was painted by the famous Wailes, of Newcastle, and cost 300 guineas. It is perpendicular gothic, and considered a work of great merit. Mr. Kidd, of Launceston, constructed the carved oak chairs for Longford church, and they have justly received universal commendation”.

(Additional article on the same tabloid page)

“LONGFORD CHURCH.- The new church at Longford was opened for Divine service on Sunday, the 6th instant. Not withstanding the floods the church was filled at an early hour. The service commenced by the Rev. R. R. Davies reading the bishop’s license to perform service in that building, to be called and known by the name of “Christ’s Church,” Longford”.

Launceston Examiner, TAS, Saturday 28th February 1874, page 4.

“LONGFORD”

“…the church clock had and extraordinary fit of striking; it began about 25 minutes to six, and kept at it nearly a quarter of an hour. Many of the inhabitants turned out in alarm, thinking a fire was raging in the neighbourhood, others thought it was to announce the arrival of the Executioner and his staff, but it did not happen to be either. It appears Mr Allen, who was leaving by the train, wound it up rather hurriedly, when some of the works must have got a little deranged, hence this extraordinary occurrence.”

 Launceston Examiner, TAS, Saturday 23rd September 1876, page 5.

“The portion of the stained glass window in Christ Church, representing St. Matthew, which was damaged some time ago, by one of the violent gales has been repaired by Mr. J. Owen, and fixed in place again.”

In 1880 further extensive repairs were reported to have been done to the window by an un-specified Melbourne firm:

 “…The West window was dismantled piece by piece to be sent to Melbourne for repairs and plate glass reinforcement. Ornate side windows, beyond repair, were now fitted with cathedral glass…”[12]

Launceston Examiner, Thursday 15th September 1881, page 3.

“CHRIST CHURCH, LONGFORD, REPAIRS FUND…”

“…The well-known large stained glass window has been restored in Melbourne at considerable expense, to provide for which the Hon. W. Dodery and Messrs. J. Archer and C. Arthur increased their original contributions…”
“…In account with the treasurer to 17th August, 1881″.

With receipts omitted, the published account of expenditure in the Examiner of August 1881 does not give an obvious indication as to any payment to a Melbourne company for the stained glass restoration. The Mr John Wright mentioned in the article was the building contractor. The next largest sums mentioned are for a James Howard and architect Harry Conway of Launceston. This particular treasurer’s report may be too early to include any mention of actual payment for the stained glass repairs and may have appeared in a subsequent report. In early 1882 Conway advertised for tenders for further glazing;

Launceston Examiner, TAS, Friday 17th February 1882, page 1.

“TENDERS will be received until noon on Saturday, 18th inst., for glazing, etc, Christ Church, Longford. Specifications can be seen on application to Rev. A. Wayn, or at the office of the undersigned. The lowest or any tender not necessarily accepted.
HARRY CONWAY, Architect, etc., Patterson-street”.

Examiner, Launceston, TAS, Wednesday 30th May 1928, page 5.

“…A great feature of the church was (and is) its west window, which was presented by Mr. Charles Reid, a resident of the district, and cost £300. The block and bell were provided by the Government, and cost, it is recorded, £200. On October 6, 1844, Christ Church was opened for Divine service by the Lord Bishop of Tasmania, and at the same service was admitted to holy orders the first Tasmanian ordained in the colony, Rev. Thomas Reiby. Shortly after the opening, the old brick building was pulled down, as also the first wooden one…”

Examiner, Launceston, TAS, Monday 23rd August 1943, page 4.

“HISTORIC WINDOW NEEDS REPAIR

At a meeting of the vestry of Christ Church, Longford, attention was drawn to the condition of the large coloured window in the church, over a century old, which has been of considerable interest to visitors by reason of its unique character. This now requires re-leading, but the work will have to be deferred until the end of the war. It is estimated that the necessary repairs will cost upwards of £200…”

The Mercury, Hobart, TAS, Wednesday 4th October 1944, page 7.

“Historic Christ Church Celebrates Centenary.”

“THIS month the centenary of the dedication of Christ Church, Longford, is being commemorated by services and social functions. The present church (the third on the site) was begun in 1838, the foundation stone was laid by the Governor (Sir George Arthur) in 1839, and the church was dedicated by Bishop Nixon on Oct 6, 1844…”

“…Important parts of the church are the west window and the two-faced clock. The window was given by Mr Charles Reid, a resident of the township, and designed by Mr William Archer, Cheshunt, Deloraine. It was erected at a cost of £500. Urgently needed repairs to the window are shortly to be carried out, and other windows are receiving attention. The cost will be about £300, and the offerings this month are to be credited to that purpose…”

The Mercury, Hobart, TAS, Saturday 7th October 1944, page 16.

“Early History Of Longford Church.

An exhibition of old papers, letters, and books relating to the early history of Christ Church, Longford, which is being held in the parish hall, includes original documents, some from Bishop Broughton, Governor Arthur, Archdeacon Davies, photographs of early clergy and church workers, and pictures of the present church in its early stages. The design by Mr. William Archer for the west [sic] window is of special interest.”

Examiner, Launceston, TAS, Monday 9th October 1944, page 4.

CHRIST CHURCH, LONGFORD, 100 YEARS OLD.

“The special celebrations to mark the centenary of Christ Church, Longford, were begun yesterday, when at 8 a.m. 75 parishioners attended Holy Communion, after which 70 sat down to a breakfast in the Parish Hall, at which the Vicar-General (Archdeacon H. B. Atkinson) was guest speaker…”                                  

“…The collections for the day totalled over £50, which will be credited to the repair fund already commenced for the historic west window…”

Advocate, Burnie, TAS, Saturday 28th October, 1944, page 5.

“CENTENARY OF CHRIST CHURCH LONGFORD.

 LAUNCESTON, Friday.- An old English custom known as “clypping the churche” will be revived at Longford on Sunday as part of the centenary celebrations of Christ Church. At the conclusion of the morning service in the church the congregation will encircle the building and sing appropriate verses of thanksgiving. The celebration will conclude next week. To date 160 has been received for the window repairs thanksgiving fund.”

Examiner, Launceston, TAS, Thursday 30th November 1944, page 5.

“LONGFORD- At a meeting of the vestry of Christ Church, Longford, the treasurer-warden (Mr. G. W. Hudson) reported that £250 was in hand as a result of the centenary offering for the window repairs fund…”

Orvall Stained Glass web site – accessed 15th Aug 2012;

“In 1967, with the help of his sons, Mr Orval had the intricate task of restoring the treasured 125 year-old large stained glass altar window of Christ Church, Longford (Tas), transporting the window in pieces both to and from Hamilton. When completed Mr Orval guaranteed the window would last at least another century before again needing repairs”.

External References:

A scanned original copy of the c.1958 version of the Christ Church History Booklet (which I purchased from an Antique shop at Battery Point, Hobart, in 2012)

 “A Short Account of Christ Church, Longford: erected 1839, dedicated 1844”-Author Unknown.

Footnotes:

[1] Launceston Advertiser, TAS, Thursday 14th March 1839, page 4.

[8] Church Booklet “Christ Church Longford” by Susan Grant 2000, page 10.

[11] Painted on the window by Orval studios and also mentioned on the Orval web site.

[12] Church Booklet “Christ Church Longford”, Susan Grant 2000, page 10.


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14-10-1874: St David’s Cathedral, Hobart, Tasmania.

Artist/Studio: Burlison & Grylls, London, c.1874.
Location: Hobart, Tasmania, Australia.
Building: St David’s Cathedral, Hobart.
Memorial: Sir Richard Dry.
Photos dated: 7th October 2010 & 12th August 2012.

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The Mercury, Hobart, Wednesday 14th October 1874, page 2.

THE NEW WINDOW IN ST. DAVID’S CATHEDRAL.

– It will be remembered that the public memorial to the late Sir Richard Dry, took three forms – the building of the chancel of the Hagley Church, the founding of a scholarship to be held by the senior Associate of Arts each year, and the erection of a stained glass window in the New Cathedral. The window has been the last of these three objects to be completed. It arrived a few weeks ago aboard the “Ziba,” and is now in its place in the north transept of the Cathedral. In order to enter into the design of this window it will be necessary to remember that all the stained glass windows in the Cathedral form one connected series of subjects. The Ashurst window at the end of the north aisle is the first of the series. In it is represented the fall, the death of Abel, and the building of the Ark. The windows in the north aisle are filled with figures of patriarchs, kings, priests, and prophets, from Moses to Malachi. In the north transept we are lead on to scenes and characters connected with the new covenant. The windows in the chancel, when it is built, will be filled with figures of the apostles and saints of the New Testament, while those in the south aisle windows represent saints of later times, viz., Sts. David, Augustine, and Gregory; Sts. Stephen, Alban and Lawrence, Sts. Anne, Magdalene, and Helena. The subject of the large west window has not yet been determined. Thus it will be seen that the whole series of windows leads the mind on from the Fall through scenes of Jewish history to the events connected with the earliest days and the later times of the Christian Church. The centre of the whole series will be the great east window of the future chancel – fifty-three feet back from the present chancel arch – representing the Crucifixion, and the chief events in the life of our Blessed Saviour. The “Dry Window” marks the transition from the Jewish to the Christian Dispensations. In the lower compartments are represented “The Salutation,” addressed by St. Elizabeth to the Blessed Virgin; “the Rosentatore,” and our Lord in the temple with the Jewish doctors. In the central compartment above is a very striking representation of the Saviour in His mother’s arms, and on each side, in the side compartments, is a beautiful figure of an angel, offering adoration to the infants Redeemer. Above these figures there are other angels bearing scrolls, whereon are inscribed the opening words of the Magnificat. Altogether, this window may be considered to be the most beautiful one in the Cathedral. Its whole tone is subdued in character, but the colours, where they occur, are extremely rich. It is intended to place beneath the window a memorial brass, setting forth the affectionate esteem in which Sir Richard Dry was held, and the manner in which his memory is cherished by all Tasmanians. The window, as in the case with all the stained windows in the Cathedral, is from the design of the architect, Mr. G. F. Bodley, and is the work of Messrs. Burlison and Greyths, [sic] of Newman-street, London. The whole cost of the glass is £150.

Related posts: 3-09-1872: St David’s Cathedral, Hobart, Tasmania

29-07-1905: Church of the Apostles, Launceston, Tasmania.

Artist/Studio: William Montgomery, Melbourne, Australia, c. 1905.
Location: Launceston, Tasmania, Australia.
Building: Church of the Apostles, Launceston.
Memorial: Mary Bourke.
Photos dated: 11th October 2010 & 12th August 2012.

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Examiner, Launceston, TAS, Saturday 29th July 1905, page 7.

“CHURCH OF HE APOSTLES.

SOME VALUABLE GIFTS”.

“Four beautiful stained glass windows have just been placed in the east transept of the Church of the Apostles, Margaret-street, by a well-known Launceston family, to the memory of their deceased mother, who, for many years, worshipped in that church. The windows measure each 6ft. 6in, by 2ft., and each pair of windows is surmounted by a small ornamental light, 22in., by 14in. The large windows must be taken in pairs, because each two make up a separate picture. One picture represents the Holy Family in the stable at Bethlehem, and the magi in adoration of the infant Saviour, offering Him their typical gifts of gold, frankincense, and myrrh. These windows bear the scripture text, “They found the Child with Mary, His mother, and kneeling down, they adored Him.” The other pair of windows represent a convent chapel, with candles lighted upon the altar, and the vision of the Redeemer St. Margaret Mary Alacoque, a French nun, in the seventeenth century, when the Catholic devotion to the Heart of Christ began to be widely practised. On these windows is the prayer, “Heart of Jesus, refuge of sinners, have mercy on us.” Across the four windows runs the inscription. “These windows are erected to the memory of Mary Bourke, by her children. Of your charity, pray for the repose of her soul.” The two small lights bear in each the representation of a heart. The subjects in the large windows are treated with artistic grace and skill, and with marked devotional effect. The windows were manufactured by Mr. W. Montgomery, artist in glass, of Alfred-place, Collins-street East, Melbourne, upon whom they reflect credit. It is not so many years ago that such work could not be done in Australia. Many of the church windows up and down Australia have been supplied by a well known Birmingham house. The Church of he Apostles has been particularly fortunate in having numerous valuable gifts made to it during the rectorship of the Right Rev. Monsignor Beechinor, some of them being personal gifts to himself. The presents made to the church, before these windows in the east transept, have amounted in value to £700. The east transept now becomes a Chapel of St. Joseph, by the erection of an altar, upon which will be placed a large statue of the fosterfather of Christ, which is a recent gift to the church. The new altar and statue and the new stained glass windows will be formally opened at an early date.”

17-10-1868: St Mary’s Cathedral, Hobart, Tasmania.

Artist/Studio: Hardman & Co, London, England, c.1869.
Location: Hobart, Tasmania, Australia.
Building: St Mary’s Cathedral, Hobart.
Memorial: Bishop Willson & Vicar-General Hall.
Photos dated: 11th August 2012.

The five light Crucifixion window was the design of architect Henry Hunter who also designed St Mary’s Cathedral. The window was executed by Hardman & Co, England, and arrived on the ship ‘Runnymede’ in late August or early September of 1869. It is installed as the principal east window of St Mary’s cathedral Hobart.

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Empire, Sydney, NSW, Saturday 17th October 1868, page 4.

“MEMORIAL TO THE LATE CATHOLIC BISHOP AND LATE VICAR GENERAL OF HOBART TOWN.- The committee in connection with the proposed memorial to the late Right Rev, Dr. Willson, Bishop of Hobart Town, and the late very Rev. William Hall, D.D., Vicar General, recently held a meeting in St. Joseph’s school room, the very Rev. William Dunn, Vicar General, in the chair. We take the report of the proceedings from the Mercury. The minutes of the previous meeting having been read and confirmed, and several subscriptions handed in the chairman requested Mr. Henry Hunter to favour the meeting with a view of the intended memorials. The designs were examined by all present with considerable interest, their nature having been previously explained by Mr. Hunter. The larger plan embraced sketches of the stained glass to be placed in the great chancel window of St. Mary’s Cathedral, as a joint memorial to the late Bishop and his Vicar-General. A design was also exhibited of a monumental brass to be inlaid on a marble slab, which will be placed over the tomb of the late Vicar general in the transept of the cathedral. It is deserving of notice that the chief portion of the proposed memorial window comprises precisely the same emblems as those suggested several years since by the late lamented Bishop, whose plan for the chancel window of the cathedral, adopted by himself, is still in existence. With reference to the joint memorial, the window consists of five lights, the centre one being filled with a representation of the “Crucifixion of Our Saviour.” The subjects occupying the side lights are the “Annunciation of the Blessed Virgin,” the “Nativity of Our Lord,” the “Resurrection,” and the “Ascension,” each surmounted by an elaborately enriched canopy. The beautiful tracery of the window head is treated symbolically, each trefoil being filled by an angel bearing various emblems of the Passion. The centre bears the type of the Holy Ghost. At the bottom of the centre light is a shield on which are the arms of the late Bishop Wilson. Along the whole lower part of the window on the glass will be a Latin inscription containing the dedication of the memorial. The contrasts and combinations of the colours are chaste and highly effective. The window, which is being executed by Messrs. Hardman and Co., Birmingham, will undoubtedly rank very high amongst the many works of art now in the colonies. The memorial to the late Vicar-General is also being prepared by the same firm. This consists of a black marble polished slab, with inlaid brass figure of a vested priest, and rich border containing suitable inscriptions. Both memorials are to be ready for shipment by the end of the year. Their cost will be about £400, which is being raised by subscriptions throughout the colony. The Catholics have been most generously aided by many of the numerous friends and admirers of all denominations of the late deservedly esteemed prelate and Vicar-General”.

This window was restored in 2005 by Gavin Merrington of South Hobart in partnership with Cummins & Stehn (Gerry Cummins & Jill Stehn) of Eumundi, Queensland.

In 1871 another memorial window, also by Hardman & Co, was erected in St Joseph’s Church in Hobart as a memorial to Rev’s Wilson & Hall. See: http://wp.me/p2yCYO-2O


Short link to this page: http://wp.me/p2yCYO-eB

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16-01-1871: St Joseph’s, Hobart, Tasmania, Australia.

Artist/Studio: Hardman, Birmingham, England, c. 1870.
Location: Hobart, Tasmania, Australia.
Building: St Joseph’s, 65 Harrington Street,
Memorial: Bishop Wilson & Rev. Dr, Hall.
Photos dated: 8th Oct 2010 & 11th Aug 2012.

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The Mercury, Hobart, Tas, Monday 16th January 1871, page 2

“THE MEMORIAL WINDOW AT ST. JOSEPH’S CHURCH. – The memorial window to the late Rev. Bishop Wilson and the late Vicar-General, Dr. Hall, was unveiled yesterday morning at St. Joseph’s Church. The window of stained glass, a joint memorial to Bishop Wilson and Very Rev. Dr. Hall, was executed by Hardman, of Birmingham, and consists of a tracery light representing St. John the Evangelist, and two large lights illustrating four incidents of the life of Joseph, viz., the marriage with the Blessed Virgin, the nativity of our Blessed Lord, the Presentation in the Temple, and St. Joseph’s dream, or the angel appearing to St. Joseph, ordering the flight into Egypt. A portrait of Bishop Willson at the bottom of one light with his armorial bearings, and the inscription on a scroll ‘Sancta Maria Immaculata, ora pro me”. A portrait of Dr. Hall at the bottom of the other light with inscription on a scroll ‘Sancta Johannes, ora pro me’, The initial J, of the word Joseph, appears with a crown over it in four different places. The colouring of the whole is very rich, and the cost, we are informed was £73. A sermon suited for the occasion, was preached by the Rev. T. Kelsh, of Port Cygnet, who took for his text, the words, selected from 1 Kings x ch., “The Lord has anointed thee to be a prince over His inheritance; and thou shalt deliver His people out of the hands of their enemies.” The collection on the occasion amounted to nearly £30”.

Launceston Examiner, Saturday 21st January 1871, page 4.

“The memorial window to the late Rev. Bishop Wilson and the late Vicar-General, Dr. Hall, was unveiled on Sunday morning at St. Joseph’s Church, Hobart Town. The window of stained glass, a joint memorial to Bishop Wilson and the Very Rev. Dr. Hall, was executed by Hardman, of Birmingham”.

In 1868 another memorial window made by Hardman & Co and also dedicated to Rev’s Wilson & Hall was erected in St Mary’s Cathedral in Hobart. See: http://wp.me/p2yCYO-eB


Short link to this page: http://wp.me/p2yCYO-2O

© Copyright

 

11-09-1871: All Saints Anglican Church, South Hobart, Tasmania.

Atist/Studio: William Wailes, England, c.1871.
Location: South Hobart, Tasmania, Australia.
Building: All Saints Church, Macquarie Street.
Memorial: John Page.
Photos dated: 8th Oct 2010.

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The Mercury, Hobart, TAS, Monday 11th September 1871, page 2.

“MEMORIAL WINDOW.- The pretty little church of All Saints, Macquarie street, has had its stained glass windows, perhaps hitherto, the finest in the colony, increased by the addition of a memorial window, which has been placed on the south side of the church. The window was obtained from the well known firm of Messrs Wailes, of Newcastle, England, and both the design and execution are highly creditable to their taste as church decorators, the centre figures on each half of the window represent respectively St. James and St. John the Baptist. The borders are beautifully illuminated, the colours being remarkably brilliant, while the window as a whole harmonises well with those already erected. The window bears the following inscription at the foot:- “In memory of John Page, Esq, of Lemon Springs, who died 12th September , 1865 [sic]. Erected by his widow.”

Note: The article above incorrectly reports his death as 1865 when it was actually 12th September 1869. The memorial text on the window itself also has an error having “Lemon Springs” spelt “Leman Springs”.

John Page was born 5th September 1808, the son of George Page (1772-1865) of Bermondsey, and his wife Sarah House (1778-1854). His father George, a Waterloo veteran[1], had arrived in Hobart Town in January 1822 from England aboard the “Tiger” and settled at Bagdad 37km north of Hobart. John arrived with his mother and siblings, Samuel & Louisa, a year later aboard the “Belinda” in 1823.

By 1833 John and his father George were running the “Bath Inn” at Lemon Springs just south of Oatlands whilst his brother Samuel ran the Oatlands Hotel from 1839. In November 1843 John had transferred the Publican’s Licence[2] to his father George and probably concentrated his efforts of farming pursuits in the vicinity of Lemon Springs. His brother Samuel later became a highly successful coach proprietor around 1848 until circa 1873 when the railway had been established.

“The original Bath Inn[3] was located at the Lemon Springs homestead some two kilometres away where John Page held the licence in 1833. When the new road opened in 1843, John Page built a new Bath Inn of fine stonework and a fanlight above the front entrance. In 1863 the name was changed to the Coach and Horses Hotel and was owned by Denis Bacon, a celebrated stonemason. The old newspaper cutting advertising the Coach and Horses Hotel still shows ‘J Page’ as the Proprietor”.

“At Anglesea Barracks in Hobart, the archway[4] in the memorial was retrieved from the old Bath Inn near Lemon Springs, a few kilometres South of the Oatlands township”.

John married Mary Ann Wood (1807-1896) in Oatlands 14th January 1841 and they had seven children whilst in the Lemon Springs area. In his later years he and Mary took up residence at 186 Macquarrie-street South Hobart, opposite the All Saints Anglican Church.

Amongst the curious event in his life was that as a Juror in the July 1851 case against George Muckie[5] who was indicted for the wilful murder of Thomas Gilbert at Swansea. The prisoner was found guilty and “He was sentenced to death, without mercy, and his body ordered to be given over for dissection.”

On the 12th of September 1869[6], John died of what would appear, in modern day terms, as a stroke. An inquest was held the following day by the coroner A. B. Jones at the Wheatsheaf Inn where Dr. Smart gave his opinion that he had died of a serious apoplexy. His funeral was held at the Jericho church[7] near Lemon Springs on the 16th September 1869[8].

In September 1871 a two light memorial stained glass depicting St James and St John was unveiled to his memory in All Saints Anglican Church South Hobart.

The memorial text reads”

“IN MEMORY OF JOHN PAGE ESQ OF LEMAN SPRINGS WHO DIED 12th SEPTEMBER 1869. ERECTED BY HIS WIDOW”

(Note spelling of “LEMAN” in the memorial text!)

Significant tabloid transcriptions:

The Mercury, Hobart, TAS, Monday 13th September 1869, page 1.

“PAGE.- On the 12th September, suddenly, at his residence. 186, Macquarie-street, John Page, sen., Esq., late of Lemon Springs, in the 60th year of his age”.

The Mercury, Hobart, Tas, Monday 13th September 1869, page 2.

“SUDDEN DEATH.- A very old resident of Hobart Town, Mr. John Page, brother to Mr. Samuel Page, the coach proprietor, died suddenly at his residence, opposite All Saint’s Church, in Macquarrie-street, yesterday morning. The deceased had gone to bed on the previous evening in his usual state of health, though he complained of a pain in the chest, from which he had suffered at intervals during a series of years. In the morning, as pain was still felt, Mrs Page advised him not to leave his bed, but on entering the bed-room about half past 10 o’clock she found her husband up and dressed. She left the room again, and had not been absent more than two minutes, when, from an adjoining apartment, she heard a fall. She immediately proceeded to the bed-room, where she found her husband lying upon the floor in an insensible condition. Dr. Smart was immediately sent for, but the deceased had expired within two minutes from the time he was heard to fall, and, therefore, medical assistance was of no avail”.

The Mercury, Hobart, Tas, Tuesday 14th September 1869, page 2.

“INQUEST.- Yesterday afternoon and inquest was held at the Wheatsheaf Inn, Macquarrie-street, before Mr. A. B. Jones, Coroner, and a jury of whom Mr. John Featherstone was foreman, touching the cause of death of Mr. John Page, whose sudden death on Sunday was reported in Yesterday’s Mercury. The evidence of Mrs. Page and Dr. Smart having been taken, the jury returned a verdict in accordance with the opinion of Dr. Smart, who had made a post mortem examination, that death was caused by serous appolexy [sic]”.

The Courier, Hobart, Wednesday 2 July 1851, page 3.

At the supreme court at Oatlands, In July 1851 John Page was a juror in the case against George Muckie who was indicted for the wilful murder of Thomas Gilbert at Swansea. The prisoner was found guilty and “He was sentenced to death, without mercy, and his body ordered to be given over for dissection.”

Footnotes: