View allAll Photos Tagged bluestone
No need to comment on these - I'm uploading a series of shots from our woods. In this area, the bluestone breaks the surface of the ground. You can see how this dense sandstone would split along clear lines, and there is a lot of quarrying of this rock, to use as walkways.
Gawler’s Water Works Building - GWW.
From its founding the town had to rely on rainwater tanks and carting water from the North or the South Para rivers. But in 1879 spring water was found at a depth of 57 feet along the banks of the South Para River and it was in plentiful supply. Water was pumped from this site to a storage tank on Calton Hill from where it could be piped to households using gravity. The pumping station and GWW building was erected in local bluestone in 1882. Around this time water was railed from the Gawler well and pumping station to the copper mining towns of Moonta and Kadina on Yorke Peninsula. After the Barossa Reservoir was built on the South Para River in 1901 reticulated water was provided to Gawler from this reservoir but the old well and pump works still remain on the site although they have not been used since 1901.
The former Saint George's Presbyterian Church, which stands on busy Chapel Street in St Kilda East, is a well known and loved local landmark, not least of all because of its strikingly tall (33.5 metre or 110 foot) banded bell tower which can be spotted from far away. In the Nineteenth Century when it was built, it would have been even more striking for its great height and domineering presence. Designed by architect Albert Purchas, the former Saint George's Presbyterian Church is often referred to as his ecclesiastical tour-de-force, and it is most certainly one of his most dramatic and memorable churches.
The former Saint George's Presbyterian Church was constructed on a plot of land reserved in Chapel Street for the Presbyterian Church of Victoria in 1866. Initially services were held in a small hall whilst fundraising efforts advanced the erection of a church. The architect Albert Purchas was commissioned to design the church and the foundation stone for the western portion of the nave was finally laid in April 1877 by Sir James McCulloch. The first service was held in the church on the 1st of October 1877. The first clergyman of the former Saint George's Presbyterian Church was the Reverend John Laurence Rentoul (father to world renown and much loved Australian children's book illustrator Ida Rentoul Outhwaite). However, the swelling Presbyterian congregation of St Kilda and its surrounding districts quickly outgrew the initial Saint George's Presbyterian Church building, so Albert Purchas was obliged to re-design and enlarge the church to allow a doubling in capacity. Robert S. Ekins was the contractor and his tender was £3000.00. It is this imposing church building, reopened in 1880, that we see today. The "Australasian Sketcher with Pen and Pencil" noted that the total length of the building was 118 feet and 6 inches (36 metres), by 40 foot (12 metres) wide and that the striking octagonal tower to the north-west was 110ft 6 in high. It perhaps reflected better the wealth and aspirations of the congregation.
The former Saint George's Presbyterian Church is constructed on bluestone foundations and is built in an ornate polychromatic Gothic Revival style in the tradition of English designers like William Butterfield and John L. Pearson. Built of red brick building, it is decorated in contrasting cream bricks and Waurn Ponds freestone dressings. It features a slate roof with prominent roof vents, iron ridge cresting and fleche at the intersection of the nave and transepts. The front facade of the church is dominated by the slender, banded octagonal tower topped by a narrow spire. The entrance features a double arched portal portico. The facade also features a dominant triangular epitrochoidal (curved triangular form) rose window. The church, like its bluestone neighbour All Saints Church of England, is built to a T-shaped plan, with an aisleless nave, broad transepts and internal walls of cream brick, relieved with coloured brickwork. The former Saint George's Presbyterian Church was one of the first major church design in Melbourne in which polychrome brickwork was lavishly employed both externally and internally.
The inside of the former Saint George's Presbyterian Church is equally as grand as the exterior, with ornamental Gothic Revival polychromatic brickwork, a lofty vaulted ceiling, deal and kauri pine joinery and pulpit and reredos of Keene's cement. The building originally contained a complete set of Victorian stained glass windows by well known and successful Melbourne manufacturers Ferguson and Urie, all of which remain intact today except for one of the non-figurative windows which was replaced by a memorial window to Samuel Lyons McKenzie, the congregation’s beloved minister, who served from 1930 to 1948, in 1949. The earliest of the Ferguson and Urie windows are non-figurative windows which feature the distinctive diaper pattern and floral motifs of Fergus and Urie's work, and are often argued to be amongst the finest of their non-figurative designs. The large triple window in the chancel was presented by Lady McCulloch in memory of the ‘loved and dead’. Another, in memory of John Kane Smyth, the Vice-Consul for the United States of America in Melbourne, has the American Stars and Stripes on the top ventilator above it. An organ by Thomas C. Lewis of London, one of the leading 19th century English organ builders, was installed in the south transept in 1882. It was designed to blend with its architectural setting, with pipework styled to avoid the obstruction of windows. The action of this organ was altered in 1935, but the pipework, and the original sound, have been retained.
Over the years many spiritual and social activities were instituted at Saint George’s, Presbyterian Church some of short duration such as the Ladies’ Reading Club which operated between 1888 and 1893. There were segregated Bible classes for young men and women, the Presbyterian Women’s Missionary Union, formed in 1892, a cricket club and a floral guild. Guilds teaching physical culture for girls, boys and young men began in 1904. They were entirely financed by John Maclellan and the idea extended to other denominations throughout Victoria. John Maclellan died in 1936 and the guilds ceased at Saint George’s Presbyterian church through lack of funds although in 1977 the members of the girls’ guild were still holding bi-annual reunions and raising money for charity. Sadly, the Presbyterian congregations may have been large in the Nineteenth Century, but by St George's Presbyterian Church's 110th centenary, its doors had already closed during the week due to dwindling numbers and an ageing congregation as a result of the general decline in church attendances after the Second World War exacerbated by the changing nature of St Kilda and the decrease in numbers of residents living in the vicinity of the church. So it stood, forlorn and empty and seemingly nothing more than a relic of a glorious but bygone religious past. However in 1990, Saint Michael's Grammar School across the road leased the Victorian Heritage listed building during weekdays, and it was eventually sold to them in 2015. It now forms part of the school's performing-arts complex, and it has a wonderful new lease of life.
St George's Presbyterian Church is sometimes hired out for performances, and I had the pleasure of receiving an invitation to hear Handel's Messiah performed there in 2009. The ecclesiastical acoustics made the performance all the more magnificent. I remember as I sat on one of the original (hard) kauri pine pews, I looked around me and admired the stained glass and ornamental brickwork. I tried without success over several subsequent years to gain access to the church's interior, settling for photographs of the exterior instead, but it wasn't until 2018 that I was fortunate enough to gain entry to photograph the church's interior. The former St George's Presbyterian Church was opened up to the public for one Sunday morning only as part of Open House Melbourne in July 2018. It was a fantastic morning, and I am very grateful to the staff who manned the church for the day and watched bemused as I photographed the stained glass extensively and in such detail.
Albert Purchas, born in 1825 in Chepstow, Monmouthshire, Wales, was a prominent Nineteenth Century architect who achieved great success for himself in Melbourne. Born to parents Robert Whittlesey Purchas and Marianne Guyon, he migrated to Australia in 1851 to establish himself in the then quickly expanding city of Melbourne, where he set up a small architect's firm in Little Collins Street. He also offered surveying services. His first major building was constructing the mansion "Berkeley Hall" in St Kilda on Princes Street in 1854. The house still exists today. Two years after migrating, Albert designed the layout of the Melbourne General Cemetery in Carlton. It was the first "garden cemetery" in Victoria, and his curvilinear design is still in existence, unaltered, today. In 1854, Albert married Eliza Anne Sawyer (1825 - 1869) in St Kilda. The couple had ten children over their marriage, including a son, Robert, who followed in his father's footsteps as an architect. Albert's brother-in-law, Charles Sawyer joined him in the partnership of Purchas and Sawyer, which existed from 1856 until 1862 in Queens Street. The firm produced more than 140 houses, churches, offices and cemetery buildings including: the nave and transepts of Christ Church St Kilda between 1854 and 1857, "Glenara Homestead"in Bulla in 1857, the Melbourne Savings Bank on the corner of Flinders Lane and Market Street (now demolished) between 1857 and 1858, the Geelong branch of the Bank of Australasia in Malop Street between 1859 and 1860, and Beck's Imperial Hotel in Castlemaine in 1861. When the firm broke up, Albert returned to Little Collins Street, and the best known building he designed during this period was Saint. George's Presbyterian Church in St Kilda East between 1877 and 1880. The church's tall polychomatic brick bell tower is still a local landmark, even in the times of high rise architecture and development, and Saint, George's itself is said to be one of his most striking church designs. Socially, Albert was vice president of the Royal Victorian Institute of Architects for many years, before becoming president in 1887. He was also an inventor and philanthropist. Albert died in 1909 at his home in Kew, a wealthy widower and much loved father.
Virginia & Truckee Baldwin 4-4-0 No. 12 "Genoa" sits on display at the Nevada State Railroad Museum in Carson City, NV for the Great Western Steam Up.
Genoa is a classic example of the conventional 4-4-0 American-type steam locomotive, the standard engine of most railroads in the United States for nearly three decades. By 1870 over half the locomotives in the nation were of this type. The 4-4-0 wheel arrangement was designed for maximum traction, power and speed. The light-weight and compact nature of the engine made it very flexible for all types of track conditions and train operations.
By 1873 (the year the Genoa was completed), the 4-4-0 had reached a mature design with calculated proportions, improved details, a graceful appearance, and an elegance and effectiveness which remained unchanged for nearly a quarter of a century.
The Virginia & Truckee Railroad Company was organized in Nevada on March 5, 1868 to connect the Comstock ore-producing mines with quartz-reduction mills located along the Carson River approximately three miles east of Carson City. The twenty-one mile standard-gauge line between Carson City and Virginia City was completed on January 29, 1870. A thirty-one mile extension south from Reno through Franktown, Washoe City, and Steamboat Springs connected the Comstock with the Central Pacific Railroad in August 1872.
The wood-burning "Genoa" was outshopped in January of 1873 by the Baldwin Locomotive Works of Philadelphia. For nearly thirty years, No. 12 hauled passenger, mixed, and occasionally freight trains for the Virginia & Truckee Railroad between Carson City, Virginia City and Reno, Nevada.
Early Virginia & Truckee engineers liked to operate the Genoa, believing her to be one of the fastest of the railroad's original twenty-four steam locomotives. For this reason, she saw considerable duty on special and excursion trains. When requisitioned for freight service, the Genoa easily handled up to seven of the Virginia & Truckee's fully loaded wooden freight cars. Locomotives were once colorfully painted and trimmed. Shop wipers worked at 25 cents per hour for ten-hour days to polish brass fittings and keep V&T locomotives sparkling. The Virginia & Truckee took great pride in its maintenance procedures, and the passenger locomotives in particular received special attention. By 1902 the paint scheme of locomotives on the Virginia & Truckee and most other railroads, had been simplified considerably with black replacing the bright colors of earlier years. Even then, the Genoa retained most of her brass trim and V&T crews continued to provide careful maintenance and cleaning.
By 1908 passenger service had declined to a point where the locomotive was no longer needed for revenue service. On December 31, 1908, No. 12 was retired to a stall in the Carson City enginehouse. As she had run only 3,246 miles since her last overhaul, she was stored in prime operating condition.
The locomotive remained in storage until 1939 when, after sale to the Eastern Railroads Presidents' Conference, it left for the East Coast to begin a two-year career in excursion and display service. The Genoa was modified to represent Central Pacific's No. 119 "Jupiter" for performances in the Golden Spike scene at the pageant "Railroads on Parade" during the New York World's Fair (1939-1940). It also operated at the Chicago Railroad Fair in 1948. After the Chicago fair, ownership was transferred to the Pacific Coast Chapter of the Railway & Locomotive Historical Society which in turn presented the locomotive to the State of California in 1969.
In 1969 the Genoa again appeared as the Jupiter in the one hundredth anniversary celebration of the completion of the transcontinental railroad held at Golden Spike National Historic Site in Promontory, Utah.
After its last wood-fired operation under steam in May 1979, the Genoa was restored to its 1902 appearance.
This sandstone (a feldspathic greywacke) was widely used for sidewalks and the like in New York City, back in the day.
Kyneton.
The Carlsruhe sheep run taken up in 1838 by Ebden covered a huge area from modern Woodend to Kyneton. In 1839 it was split into two pastoral runs and the run near Kyneton was taken over my Charles Wedge and then shortly after by Henry Jeffreys who built his slab homestead on the current town site astride the Campaspe River. In 1848 Henry Jeffreys went into partnership with Lieutenant Governor Charles La Trobe as this was still part of NSW then (the Governor was based in Sydney but the Lieutenant Governor was based on Port Phillip Bay.) Perhaps not coincidentally a small courthouse was established in 1848 on the Campaspe River at this spot after La Trobe had visited his and his partner’s property. La Trobe decided to make the courthouse site a town site which he called Kyneton after the birthplace of Henry Jeffreys’ wife who was born in Kineton Warwickshire. The town was gazetted as Kyneton in 1850 just before the first gold was found at Bendigo and around Mt Alexander in late 1851. Kyneton grew quickly as it was a resting place on the journey from Melbourne to Bendigo and impressive basaltic bluestone buildings were erected as there was a plentiful supply of good bluestone between Kyneton and Taradale. By the late 1850s there was an impressive array of bluestone public buildings in Kyneton including: the Kyneton Courthouse erected in 1856; the Anglian church (built 1852 and rebuilt 1856 with the west tower added 1928); the Congregational Church (built 1853 and rebuilt 1860 but now a theatre); the Mechanics Institute built 1854 (and rebuilt 1897); the Catholic Church built in 1857, the Presbyterian Church also built in 1857 and numerous banks, shops, the school (built in 1855, extended 1861 and in 1906 and still in use as the state school) and the hospital. Also built in the 1850s in bluestone was the De Graves three storey flourmill (1857) a few kilometres out of the town and another steam flourmill for Willis Brothers was built partially in bluestone in Piper Street in 1862. Some notable houses and residences were also built in the 1850s including the Attic House in 1858, the rear part of Carn Brae built in 1854 and Inverugie opposite the old town school which was built in 1858. The two storey grand Kyneton Hospital built between 1854 and 1856 with an amazing little morgue behind it of the same vintage as it was built in 1859 when the east wing was added to the hospital. The west wing was added in 1874. The hospital’s lacework wrought iron veranda was added in 1910 thus destroying the Georgian appearance of the hospital. General use of the hospital ceased in 1942. Alas it is now vacant and vandalised but there are plans to restore it and convert it into apartments. The oldest house in Kyneton is believed to be the Anglican rectory built in 1853. One of the many fine two storey banks - the former Bank of NSW built in 1856 is now the town museum which has the homestead of Theaden station (1840) relocated in its grounds.
Keyneton also has a fine Botanic Garden along the edge of the Campaspe River. It was established in the 1880s although the site was reserved for this purpose back in 1867. Across the river from the Botanic Gardens is the bluestone railway station and goods shed which were built in 1862. Some of the later buildings of Kyneton, not in bluestone, are also of great interest. They include the rebuilt Royal George Hotel which was built in its current style in 1915 to replace an earlier structure from 1860 which was called the Diggers Arms Hotel; the wonderful Art Nouveau style Bank of New South Wales built in 1904 in Mollison Street; the impressive Post Office and tower built in 1871; the Congregational Sunday School built in Arts and Crafts style in 1898; the former Kyneton Market on the corner of Piper and Ebden Streets built in 1878 which is again being sued for that purpose; and the slightly bizarre Ellim Eek house with tower and griffins along the roof which was built in 1890 and remodelled in 1906 with the griffins etc. It is now used as solicitor’s offices. Many of the shops of Kyneton date from the 1850s but one in classical style is worth special mention as it was constructed in 1852 exemplifying the optimism and confidence of the early settlers of Kyneton because of the nearby goldfields. This fine classical store is at 68 Piper Street almost opposite the town museum.
Stones in an empty blueberry soda bottle. #194 in Explore the 9th of December, 2007! My 3rd pic in explore(and the one closest to the top, too! I'm so happy!)!!! = D
Goes out, comes in, what a flutterer(I'm referring to explore)!
Installed in the 1920s after a major renovation, the St. John the Baptist and Jesus window was created by Melbourne stained glass manufacturer Brooks, Robinson and Company Glass Merchants, who dominated the market in stained glass in Melbourne during the 1920s, 1930s and 1940s. The baptism of Jesus by his cousin John the Baptist is frequently placed in the baptistery, although it is not the case with St. Mark the Evangelist. The baptism of Jesus by John comes from the Book of Luke: "it came to pass that Jesus also being baptized and praying the heavens opened." The window depicts John baptizing Jesus in the River Jordan whilst the heavens open above them. The Holy Spirit flies at the top of the lancet window. The window signals the beginning of Jesus' public ministry, as related in the New Testament. John preached repentance and reinvigoration of religious practice, but did so from outside the heirachy of the Jewish religion, following the tradition of the Old Testament prophets. He is described as the one coming before jesus to announce his coming and reawakens people to their faith in God. His radical asceticism was a protest against the religious complacency commonplace in his lifetime. He used the act of baptism of his followers in the River Jordan as a central sacrament, whereby a follower's zeal for faithful worship in God was renewed.
Beneath the main depiction of Jesus' baptism by John, a smaller vignette of Jesus with the children appears. Jesus with the children comes from the Book of Matthew, where Jesus said, "Let the little children come to me, and do not hinder them, for the Kingdom of Heaven belongs to such as these." The window depicts Jesus with a young child sitting upon his knee, whilst three other small children gather at Jesus' feet.
Built amid workers' cottages and terrace houses of shopkeepers, St. Mark the Evangelist Church of England sits atop an undulating rise in the inner Melbourne suburb of Fitzroy. Nestled behind a thick bank of agapanthus beyond its original cast-iron palisade fence, it would not look out of place in an English country village with its neat buttresses, bluestone masonry and simple, unadorned belfry.
St. Mark the Evangelist was the first church to be built outside of the original Melbourne grid as Fitzroy developed into the city's first suburb. A working-class suburb, the majority of its residents were Church of England and from 1849 a Mission Church and school served as a centre for religious, educational and recreational facilities. The school was one of a number of denominational schools established by the Church of England and was partly funded by the Denominational School Board.
St. Mark the Evangelist Church of England was designed by architect James Blackburn and built in Early English Gothic style. Richard Grice, Victorian pastoralist and philanthropist, generously contributed almost all the cost of its construction. Work commenced in 1853 to accommodate the growing Church of England congregation of Fitzroy. On July 1st, 1853, the first stone of St. Mark the Evangelist was laid by the first Bishop of Melbourne, The Right Rev. Charles Perry.
Unfortunately, Blackburn did not live to see its completion, dying the following year in 1854 of typhoid. This left St. Mark the Evangelist without an architect to oversee the project, and a series of other notable Melbourne architects helped finish the church including Lloyd Tayler, Leonard Terry and Charles Webb. Even then when St. Mark the Evangelist opened its doors on Sunday, January 21st, 1855, the church was never fully completed with an east tower and spire never realised. The exterior of the church is very plain, constructed of largely unadorned bluestone, with simple buttresses marking structural bays and tall lancet windows. The church's belfry is similarly unadorned, yet features beautiful masonry work. It has a square tower and broach spire.
Inside St. Mark the Evangelist Church of England it is peaceful and serves as a quiet sanctuary from the noisy world outside. I visited it on a hot day, and its enveloping coolness was a welcome relief. Walking across the old, highly polished hardwood floors you cannot help but note the gentle scent of the incense used during mass. The church has an ornately carved timber Gothic narthex screen which you walk through to enter the nave. Once there you can see the unusual two storey arcaded gallery designed by Leonard Terry that runs the entire length of the east side of building. Often spoken of as “The Architect’s Folly” Terry's gallery was a divisive point in the Fritzroy congregation. Some thought it added much beauty to the interior with its massive square pillars and seven arches supporting the principals of the roof. Yet it was generally agreed that the gallery was of little effective use, and came with a costly price tag of £3,000.00! To this day, it has never been fully utlised by the church. St. Mark the Evangelist has been fortunate to have a series of organs installed over its history; in 1854 a modest organ of unknown origin: in 1855 an 1853 Foster and Andrews, Hull, organ which was taken from the Athenaeum Theatre in Melbourne's Collins Street: in 1877 an organ built by Melbourne organ maker William Anderson: and finally in 1999 as part of major renovation works a 1938 Harrison and Harrison, Durham, organ taken from St. Luke's Church of England in Cowley, Oxfordshire. The church has gone through many renovations over the ensuing years, yet the original marble font and pews have survived these changes and remain in situ to this day. Blackwood reredos in the chancel, dating from 1939, feature a mosaic of the last supper by stained glass and church outfitters Brooks, Robinson and Company. A similar one can be found at St. Matthew's Church of England in High Street in Prahran. The fine lancet stained glass windows on the west side of St. Mark the Evangelist feature the work of the stained glass firms Brooks, Robinson and Company. and William Montgomery. Many of the windows were installed in the late Nineteenth Century.
The St. Mark the Evangelist Parish Hall and verger's cottage were added in 1889 to designs by architects Hyndman and Bates. The hall is arranged as a nave with clerestorey windows and side aisles with buttresses. In 1891 the same architects designed the Choir Vestry and Infants Sunday School on Hodgson Street, to replace the earlier school of 1849 which had been located in the forecourt of the church.
The present St. Mark the Evangelist's vicarage, a two-storey brick structure with cast-iron lacework verandahs, was erected in 1910.
I am very grateful to the staff of Anglicare who run the busy adjoining St. Mark's Community Centre for allowing me to have free range of the inside of St. Mark the Evangelist for a few hours to photograph it so extensively.
James Blackburn (1803 - 1854) was an English civil engineer, surveyor and architect. Born in Upton, West Ham, Essex, James was the third of four sons and one daughter born to his parents. His father was a scalemaker, a trade all his brothers took. At the age of 23, James was employed by the Commissioners of Sewers for Holborn and Finsbury and later became an inspector of sewers. However, his life took a dramatic turn in 1833, when suffering economic hardship, he forged a cheque. He was caught and his penalty was transportation to Van Diemen’s Land (modern day Tasmania). As a convicted prisoner, yet also listed as a civil engineer, James was assigned to the Roads Department under the management of Roderic O’Connor, a wealthy Irishman who was the Inspector of Roads and Bridges at the time. On 3 May 1841 James was pardoned, whereupon he entered private practice with James Thomson, another a former convict. In April 1849, James sailed from Tasmania aboard the "Shamrock" with his wife and ten children to start a new life in Melbourne. Once there he formed a company to sell filtered and purified water to the public, and carried out some minor architectural commissions including St. Mark the Evangelist in Fitzroy. On 24 October he was appointed city surveyor, and between 1850 and 1851 he produced his greatest non-architectural work, the basic design and fundamental conception of the Melbourne water supply from the Yan Yean reservoir via the Plenty River. He was injured in a fall from a horse in January 1852 and died on 3 March 1854 at Brunswick Street, Collingwood, of typhoid. He was buried as a member of St. Mark The Evangelist Church of England. James is best known in Tasmania for his ecclesiastical architectural work including; St Mark's Church of England, Pontville, Tasmania (1839-1841), Holy Trinity Church, Hobart, Tasmania (1841-1848): St. George's Church of England, Battery Point, Tasmania, (1841-1847).
Leonard Terry (1825 - 1884) was an architect born at Scarborough, Yorkshire, England. Son of Leonard Terry, a timber merchant, and his wife Margaret, he arrived in Melbourne in 1853 and after six months was employed by architect C. Laing. By the end of 1856 he had his own practice in Collins Street West (Terry and Oakden). After Mr. Laing's death next year Leonard succeeded him as the principal designer of banks in Victoria and of buildings for the Anglican Church, of which he was appointed diocesan architect in 1860. In addition to the many banks and churches that he designed, Leonard is also known for his design of The Melbourne Club on Collins Street (1858 - 1859) "Braemar" in East Melbourne (1865), "Greenwich House" Toorak (1869) and the Campbell residence on the corner of Collins and Spring Streets (1877). Leonard was first married, at 30, on 26 June 1855 to Theodosia Mary Welch (d.1861), by whom he had six children including Marmaduke, who trained as a surveyor and entered his father's firm in 1880. Terry's second marriage, at 41, on 29 December 1866 was to Esther Hardwick Aspinall, who bore him three children and survived him when on 23 June 1884, at the age of 59, he died of a thoracic tumor in his last home, Campbellfield Lodge, Alexandra Parade, in Collingwood.
Lloyd Tayler (1830 - 1900) was an architect born on 26 October 1830 in London, youngest son of tailor William Tayler, and his wife Priscilla. Educated at Mill Hill Grammar School, Hendon, and King's College, London, he is said to have been a student at the Sorbonne. In June 1851 he left England to join his brother on the land near Albury, New South Wales. He ended up on the Mount Alexander goldfields before setting up an architectural practice with Lewis Vieusseux, a civil engineer in 1854. By 1856 he had his own architectural practice where he designed premises for the Colonial Bank of Australasia. In the 1860s and 1870s he was lauded for his designs for the National Bank of Australasia, including those in the Melbourne suburbs of Richmond and North Fitzroy, and further afield in country Victoria at Warrnambool and Coleraine. His major design for the bank was the Melbourne head office in 1867. With Edmund Wright in 1874 William won the competition for the design of the South Australian Houses of Parliament, which began construction in 1881. The pair also designed the Bank of Australia in Adelaide in 1875. He also designed the Australian Club in Melbourne's William Street and the Melbourne Exchange in Collins Street in 1878. Lloyd's examples of domestic architecture include the mansion "Kamesburgh", Brighton, commissioned by W. K. Thomson in 1872. Other houses include: "Thyra", Brighton (1883): "Leighswood", Toorak, for C. E. Bright: "Roxcraddock", Caulfield: "Cherry Chase", Brighton: and "Blair Athol", Brighton. In addition to his work on St. Mark the Evangelist in Fitzroy, Lloyd also designed St. Mary's Church of England, Hotham (1860); St Philip's, Collingwood, and the Presbyterian Church, Punt Road, South Yarra (1865); and Trinity Church, Bacchus Marsh (1869). The high point of Lloyd's career was the design for the Melbourne head office of the Commercial Bank of Australia. His last important design was the Metropolitan Fire Brigade Headquarters Station, Eastern Hill in 1892. Lloyd was also a judge in 1900 of the competition plans for the new Flinders Street railway station. Lloyd was married to Sarah Toller, daughter of a Congregational minister. They established a comfortable residence, Pen-y-Bryn, in Brighton, and it was from here that he died of cancer of the liver on the 17th of August 1900 survived by his wife, four daughters and a son.
Charles Webb (1821 - 1898) was an architect. Born on 26 November 1821 at Sudbury, Suffolk, England, he was the youngest of nine children of builder William Webb and his wife Elizabeth. He attended Sudbury Academy and was later apprenticed to a London architect. His brother James had migrated to Van Diemen's Land in 1830, married in 1833, gone to Melbourne in 1839 where he set up as a builder in and in 1848 he bought Brighton Park, Brighton. Charles decided to join James and lived with James at Brighton. They went into partnership as architects and surveyors. The commission that established them was in 1850 for St Paul's Church, Swanston Street. It was here that Charles married Emma Bridges, daughter of the chief cashier at the Bank of England. Charles and James built many warehouses, shops and private homes and even a synagogue in the city. After his borther's return to England, Charles designed St. Andrew's Church, Brighton, and receiving an important commission for Melbourne Church of England Grammar School in 1855. In 1857 he added a tower and a slender spire to Scots Church, which James had built in 1841. He designed Wesley College in 1864, the Alfred Hospital and the Royal Arcade in 1869, the South Melbourne Town Hall and the Melbourne Orphan Asylum in 1878 and the Grand Hotel (now the Windsor) in 1884. In 1865 he had designed his own home, "Farleigh", in Park Street, Brighton, where he died on 23 January 1898 of heat exhaustion. Predeceased by Emma in 1893 and survived by five sons and three daughters, he was buried in Brighton cemetery.
Brooks, Robinson and Company first opened their doors on Elizabeth Street in Melbourne in 1854 as importers of window and table glass and also specialised in interior decorating supplies. Once established the company moved into glazing and were commonly contracted to do shopfronts around inner Melbourne. In the 1880s they commenced producing stained glass on a small scale. Their first big opportunity occurred in the 1890s when they were engaged to install Melbourne's St Paul's Cathedral's stained-glass windows. Their notoriety grew and as a result their stained glass studio flourished, particularly after the closure of their main competitor, Ferguson and Urie. They dominated the stained glass market in Melbourne in the early 20th Century, and many Australian glass artists of worked in their studio. Their work may be found in the Princess Theatre on Melbourne's Spring Street, in St John's Church in Toorak, and throughout churches in Melbourne. Brooks, Robinson and Company was taken over by Email Pty Ltd in 1963, and as a result they closed their stained glass studio.
... except maybe the guy in the background.
This was taken near the corner of Greenwich Ave and Perry Street.
More details about the Bluestone Collective Cafe here:
www.bluestonelaneny.com/coffee-shops/
Note: I chose this as my "photo of the day" for Oct 30, 2014.
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This set of photos is based on a very simple concept: walk every block of Manhattan with a camera, and see what happens. To avoid missing anything, walk both sides of the street.
That's all there is to it …
Of course, if you wanted to be more ambitious, you could also walk the streets of Brooklyn, Queens, Staten Island, and the Bronx. But that's more than I'm willing to commit to at this point, and I'll leave the remaining boroughs of New York City to other, more adventurous photographers.
Oh, actually, there's one more small detail: leave the photos alone for a month -- unedited, untouched, and unviewed. By the time I actually focus on the first of these "every-block" photos, I will have taken more than 8,000 images on the nearby streets of the Upper West Side -- plus another several thousand in Rome, Coney Island, and the various spots in NYC where I traditionally take photos. So I don't expect to be emotionally attached to any of the "every-block" photos, and hope that I'll be able to make an objective selection of the ones worth looking at.
As for the criteria that I've used to select the small subset of every-block photos that get uploaded to Flickr: there are three. First, I'll upload any photo that I think is "great," and where I hope the reaction of my Flickr-friends will be, "I have no idea when or where that photo was taken, but it's really a terrific picture!"
A second criterion has to do with place, and the third involves time. I'm hoping that I'll take some photos that clearly say, "This is New York!" to anyone who looks at it. Obviously, certain landscape icons like the Empire State Building or the Statue of Liberty would satisfy that criterion; but I'm hoping that I'll find other, more unexpected examples. I hope that I'll be able to take some shots that will make a "local" viewer say, "Well, even if that's not recognizable to someone from another part of the country, or another part of the world, I know that that's New York!" And there might be some photos where a "non-local" viewer might say, "I had no idea that there was anyplace in New York City that was so interesting/beautiful/ugly/spectacular."
As for the sense of time: I remember wandering around my neighborhood in 2005, photographing various shops, stores, restaurants, and business establishments -- and then casually looking at the photos about five years later, and being stunned by how much had changed. Little by little, store by store, day by day, things change … and when you've been around as long as I have, it's even more amazing to go back and look at the photos you took thirty or forty years ago, and ask yourself, "Was it really like that back then? Seriously, did people really wear bell-bottom jeans?"
So, with the expectation that I'll be looking at these every-block photos five or ten years from now (and maybe you will be, too), I'm going to be doing my best to capture scenes that convey the sense that they were taken in the year 2013 … or at least sometime in the decade of the 2010's (I have no idea what we're calling this decade yet). Or maybe they'll just say to us, "This is what it was like a dozen years after 9-11".
Movie posters are a trivial example of such a time-specific image; I've already taken a bunch, and I don't know if I'll ultimately decide that they're worth uploading. Women's fashion/styles are another obvious example of a time-specific phenomenon; and even though I'm definitely not a fashion expert, I suspected that I'll be able to look at some images ten years from now and mutter to myself, "Did we really wear shirts like that? Did women really wear those weird skirts that are short in the front, and long in the back? Did everyone in New York have a tattoo?"
Another example: I'm fascinated by the interactions that people have with their cellphones out on the street. It seems that everyone has one, which certainly wasn't true a decade ago; and it seems that everyone walks down the street with their eyes and their entire conscious attention riveted on this little box-like gadget, utterly oblivious about anything else that might be going on (among other things, that makes it very easy for me to photograph them without their even noticing, particularly if they've also got earphones so they can listen to music or carry on a phone conversation). But I can't help wondering whether this kind of social behavior will seem bizarre a decade from now … especially if our cellphones have become so miniaturized that they're incorporated into the glasses we wear, or implanted directly into our eyeballs.
Oh, one last thing: I've created a customized Google Map to show the precise details of each day's photo-walk. I'll be updating it each day, and the most recent part of my every-block journey will be marked in red, to differentiate it from all of the older segments of the journey, which will be shown in blue. You can see the map, and peek at it each day to see where I've been, by clicking on this link
URL link to Ed's every-block progress through Manhattan
If you have any suggestions about places that I should definitely visit to get some good photos, or if you'd like me to photograph you in your little corner of New York City, please let me know. You can send me a Flickr-mail message, or you can email me directly at ed-at-yourdon-dot-com
Stay tuned as the photo-walk continues, block by block ...
No need to comment on these - I'm uploading a series of shots from our woods. In this area, the bluestone breaks the surface of the ground. You can see how this dense sandstone would split along clear lines, and there is a lot of quarrying of this rock, to use as walkways.
On the New River near Hinton, WV. The dam's construction began in 1941, and was put into operation in 1949. The dam created a reservoir known as Bluestone Lake.
My mother-in-law grew up in the surrounding hills, and her family farmed river bottom that was later flooded during the creation of the reservoir.
Coincidently, we stayed at the Meador Campground at Bluestone State Park. Her maiden name is Meador, but in that area, the name Meador is as common as "Smith" or "Jones" elsewhere.
The dam is currently undergoing major repairs and improvements.
Duck Reach Managers House
1897 heritage-listed Duck Reach Power Station manager's house in West Launceston destroyed by fire in 2011
Bluestone Bay, Freycinet National Park, Tasmania, AUSTRALIA
Despite the name of the bay, these rocks in fact come in many colours. Specifications : Canon 5D, 16-35mm 2.8L, Gitzo tripod, polarizing filter, ISO 100, f22, shutter 3.2 seconds.
Bluestone Lane
(Financial District)
New York, New York
(May 10, 2014)
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Built on the crest of a hill in a prominent position overlooking St Kilda and the bay is the grand St Kilda Presbyterian Church. Opened in 1886, the St Kilda Presbyterian church was designed by the architects firm of Wilson and Beswicke, a business founded in 1881 by Ralph Wilson and John Beswicke (1847 - 1925) when they became partners for a short period. The church is constructed of bluestone with freestone dressings and designed in typical Victorian Gothic style. The foundation stone, which may be found on the Alma Road facade, was laid by the Governor of Victoria Sir Henry Barkly on 27 January. When it was built, the St Kilda Presbyterian Church was surrounded by large properties with grand mansions built upon them, so the congregation were largely very affluent and wished for a place of worship that reflected its stature not only in location atop a hill, but in size and grandeur.
The exterior facades of the church on Barkley Street and Alma Road are dominated by a magnificent tower topped by an imposing tower. The location of the church and the height of the tower made the spire a landmark for mariners sailing into Melbourne's port. The tower features corner pinnacles and round spaces for the insertion of a clock, which never took place. Common Victorian Gothic architectural features of the St Kilda Presbyterian Church include complex bar tracery over the windows, wall buttresses which identify structural bays, gabled roof vents, parapeted gables and excellent stone masonry across the entire structure.
The St Kilda Presbyterian Church's interior is cool, spacious and lofty, with high ceilings of tongue and groove boards laid diagonally, and a large apse whose ceiling was once painted with golden star stenciling. The bluestone walls are so thick that the sounds of the busy intersection of Barkley Street and Alma Road barely permeate the church's interior, and it is easy to forget that you are in such a noisy inner Melbourne suburb. The cedar pews of the church are divided by two grand aisles which feature tall cast iron columns with Corinthian capitals. At the rear of the building towards Alma Road there are twin porches and a narthex with a staircase that leads to the rear gallery where the choir sang from. It apparently once housed an organ by William Anderson, but the space today is used as an office and Bible study area. The current impressive Fincham and Hobday organ from 1892 sits in the north-east corner of the church. It cost £1030.00 to acquire and install. The church is flooded with light, even on an overcast day with a powerful thunder storm brewing (as the weather was on my visit). The reason for such light is because of the very large Gothic windows, many of which are filled with quarry glass by Ferguson and Urie featuring geometric tracery with coloured borders. The church also features stained glass windows designed by Ferguson and Urie, British stained glass artist Ernest Richard Suffling, Brooks, Robinson and Company Glass Merchants, Mathieson and Gibson of Melbourne and one by Australian stained glass artist Napier Waller.