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The Palace of Fine Arts always stirs something quiet inside—a mix of awe, softness, and stillness—but from this slightly elevated view, there’s also a sense of openness. The neoclassical dome sits regally across the lagoon, framed by lush trees and mirrored in the calm water. In the foreground, a patch of lawn and benches creates space for pause, while a few people stroll the path, lost in their own thoughts. It’s a moment of gentle human presence within a larger, poetic landscape. For a Highly Sensitive Person, the emotional texture of this place is unmistakable: grounding, grand, and deeply peaceful.
A father and son take time out to perform the noon prayer at Petra in The Hashemite Kingdom of Jordan. For Muslims it is obligatory to perform five prayers throughout the day and the night. The times of the prayer are determined by the position of the sun.
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© EVAN READER
Copyright for this photo belongs solely to EVAN READER, GREATEST PAKA PHOTOGRAPHY. Images may not be copied, downloaded, or used in any way without the express written permission of the photographer.
This meticulously detailed Italianate Victorian home in San Francisco’s Bayview neighborhood is a masterclass in 19th-century craftsmanship. Painted in a single tone of warm white that highlights every carved flourish, this home exudes elegance through restraint. The rich cornice detailing, scrollwork corbels, dentils, and pilasters showcase the kind of architectural ornamentation that once signaled prosperity and permanence in a rapidly growing city.
The façade is visually anchored by its bold entrance, where fluted columns support a small projecting portico adorned with heavy brackets and classical motifs. Window surrounds are adorned with rosettes, leafwork, and geometric borders—creating rhythm and depth while preserving historical integrity. A modern fence in rusted steel and frosted glass provides a respectful, contemporary contrast that frames the home without overpowering it.
While Bayview is often thought of for its mid-century and modest working-class housing stock, this home reveals the neighborhood’s deeper architectural legacy. Homes like this one survived waves of change—from postwar industrialization to modern gentrification—and stand today as monuments to San Francisco’s layered history.
For photographers and architecture lovers, it’s the kind of house that rewards close observation. The light plays delicately across its façade, catching the shadows of every carved detail and reminding us that good design, when cared for, transcends time.
The iconic rotunda of San Francisco’s Palace of Fine Arts rises majestically in this carefully framed photograph, its pinkish-red Corinthian columns standing tall against a gentle gray sky. Designed by architect Bernard Maybeck for the 1915 Panama-Pacific International Exposition, the structure evokes the grandeur of ancient Roman and Greek temples, reimagined in a dreamy Beaux-Arts style that still enchants visitors more than a century later.
Surrounded by lush greenery and reflected in the still waters of its surrounding lagoon, the Palace of Fine Arts serves as both an architectural marvel and a romantic retreat within the city. This image captures the full breadth of the central rotunda’s ceremonial portal, complete with ornate sculptural reliefs along the frieze and a procession of female figures perched at the roofline, gazing solemnly toward the horizon.
Maybeck’s design intended to evoke a ruin from a bygone classical civilization, a concept that gave the structure an ethereal and contemplative quality even from its earliest days. Though the original rotunda and colonnades were rebuilt in the 1960s using permanent materials, the magic remains unchanged.
Located in San Francisco’s Marina District near Crissy Field and the Presidio, the Palace is a favorite for photographers, newlyweds, architecture lovers, and movie location scouts. It has appeared in films like The Rock, Vertigo, and The Room, helping cement its place in pop culture.
The elegant detailing, monumental scale, and tranquil setting make this shot a quintessential representation of the city’s unique architectural soul. Even with no people in frame, the structure feels alive—a timeless oasis of art and reflection amid urban San Francisco.
Casa del Mar, one of the three guest houses at Hearst Castle, exudes Mediterranean charm with its Spanish Revival architecture, offering a luxurious glimpse into the grandeur of California’s most iconic estate. Built in the 1920s under the guidance of architect Julia Morgan, the structure seamlessly blends classical and Mediterranean design elements, providing a lavish retreat for William Randolph Hearst’s esteemed guests.
As you approach, the intricate wrought-iron gate draws your attention, framing the entrance beneath the warm terracotta-tiled roof. The detailed craftsmanship is apparent in the stone carvings that adorn the exterior, featuring decorative columns and a pair of mythological figures guarding the doorway. Above, the finely crafted frieze with a detailed bas-relief sculpture encapsulates Morgan’s unique blend of European influence and local craftsmanship.
The villa’s name, meaning “House of the Sea,” is fitting—its proximity to the Pacific Ocean makes this guesthouse one of the most coveted on the estate. From within, guests enjoyed panoramic views of the coastline, basking in the splendor of Hearst’s private paradise. Inside, Casa del Mar was furnished with rare antiques, tapestries, and fine art, all handpicked by Hearst himself. The villa’s intimate setting, combined with its luxurious touches, offered an escape from the main house's grandeur, giving visitors a sense of exclusivity and comfort.
The Palace of Fine Arts in San Francisco is a masterful example of early 20th-century Beaux-Arts architecture. Originally constructed for the 1915 Panama-Pacific International Exposition, this grand structure was designed by architect Bernard Maybeck. Inspired by Roman and Greek classical architecture, the monumental rotunda features Corinthian columns and intricate friezes that tell a story of artistic and cultural ambition. While the original structure was not built to last, it was reconstructed with more durable materials in the 1960s, ensuring its preservation. Set amidst a tranquil lagoon and lush greenery, this space now serves as a peaceful retreat and an open-air gallery for visitors to admire.
The dome, with its intricate patterns and grand scale, draws the eye upward, reflecting Maybeck’s vision of blending natural surroundings with architectural splendor. Its reflection in the lagoon creates a picture-perfect scene that has been the backdrop for countless weddings, films, and photographs. Though the Palace no longer hosts the art exhibits for which it was originally designed, its timeless design continues to inspire awe. The surrounding colonnades, with their solemn elegance, add depth and symmetry to the entire setting. Whether strolling around the grounds or enjoying the serene water views, the Palace of Fine Arts offers a glimpse into San Francisco’s architectural heritage and its role in world expositions.
A crisp morning light catches the classical symmetry of this Renaissance Revival apartment building in San Francisco’s Richmond District. Clad in red brick with pale stone trim, the structure channels early 20th-century confidence — a time when craftsmanship and ornamentation lent even apartment buildings a sense of civic dignity.
The arched ground-floor windows, ornamental cornice, and fire escape zigzagging across the façade all tell a story of enduring urban rhythm. Against the deep blue sky, the warm brick glows like memory itself — part of the city’s vast patchwork of architectural eras, layered and alive.
There’s a hush here that feels almost sacred. Standing between these towering columns, surrounded by urns and trees, you become aware of every subtle sound—the distant flutter of wings, the rustle of leaves, your own breath. The architecture doesn’t overwhelm; it cradles. Light falls gently through the trees and onto the path, softening the classical forms into something intimate and calming. You can feel the energy shift as you move through this space—an unspoken invitation to slow down, notice the details, and connect with the present. In a city known for its motion, this moment offers a rare pause.
Bathed in the soft glow of dusk, the monumental facade of the National Archives Building stands as a stoic guardian of American democracy. Located on Constitution Avenue in Washington, D.C., this neoclassical temple houses some of the nation’s most treasured documents—including the Declaration of Independence, the Constitution, and the Bill of Rights.
This image captures the building’s north-facing entrance, with its grand portico of Corinthian columns and richly sculpted pediment. The pediment relief, The Recorder of the Archives, was designed by James Earle Fraser and depicts the personification of History surrounded by figures representing national progress and wisdom. Beneath the pediment, the inscription reads: The ties that bind the lives of our people in one indissoluble union are perpetuated in the archives of the nation.
The architecture, designed by John Russell Pope and completed in 1935, draws inspiration from classical Greek and Roman civic buildings—symbols of republican ideals and enduring authority. Pope’s design emphasizes symmetry, permanence, and reverence, echoing the building's solemn purpose: to preserve and make accessible the foundational records of American governance.
At twilight, the light softens the stone, emphasizing the sculptural depth of the columns and frieze while casting a serene mood across the facade. The visual harmony of form, scale, and symbolism makes the National Archives one of the most iconic civic structures on the National Mall.
HABS Architectural Survey Standard:
Documented according to standards of the Historic American Buildings Survey (HABS):
Structure Name: National Archives Building
Location: 700 Pennsylvania Avenue NW / Constitution Avenue NW, Washington, D.C.
Style: Neoclassical
Date of Construction: 1931–1935
Architect: John Russell Pope
HABS Reference Number: DC-138
The illustration, that overlays a photo on this postcard, was pretty heavy on the black ink and on ruling pens. This card was, “Made in Germany,” which definitely dates it and being published before the onset of hostilities (WWI ) in 1914.
From the 1800s (Sorry I can't find the year)
In Newport, RI, taken in 2010. It's not being used as a church anymore, but a residence (well, at least it was in 2010 :)
The nice gentleman who lived there for the summer spotted me taking some outside photos and invited me in for a tour--I wish I could remember his name, but he was a great guy, and I just want to say thanks again and God Bless!
Kylemore Abbey (Irish: Mainistir na Coille Móire) is a Benedictine nunnery founded in 1920 on the grounds of Kylemore Castle, in Connemara, County Galway, Republic of Ireland. The abbey was founded when Benedictine Nuns fled Belgium in World War I.
Originally called Kylemore Castle, it was built between 1863 and 1868 as a private home for the family of Mitchell Henry, a wealthy politician from Manchester, England. After the death of his wife Margaret in 1875, Mitchell did not spend much time there. He and his wife are both buried in the small mausoleum near the church in the grounds of the abbey. Notable features of the abbey are the neo-Gothic church (built between 1877 and 1881), a miniature replica of Norwich Cathedral, made from local green Connemara marble, and the Victorian walled garden.
The abbey houses a secondary girls' boarding school, Kylemore Abbey International Girls' School. The house and gardens are open to the public.
During our visit this year we were told that the school is closing in 2010. At present there are only two classes of students left in the school.
This view of the Bourn Mansion on San Francisco’s Nob Hill captures the full theatricality of one of the city’s most enigmatic architectural treasures. Designed in 1896 by celebrated architect Willis Polk for mining baron William Bowers Bourn II, the mansion is a rare and moody example of Renaissance Revival architecture rendered in richly textured red brick. It stands in striking contrast to its stuccoed neighbors, exuding a fortress-like elegance with layered classical detailing.
From this angle, the building’s sculptural elements come into sharper relief. A pedimented stone balcony hovers over the main entryway, while balustrades and dentil cornices crown the upper floors with Gilded Age precision. The three dormers tucked under a steeply pitched slate roof—each crowned with scrollwork and copper accents—evoke the grandeur of 17th-century European châteaux.
The absence of ornamentation on the flanking walls heightens the drama of the entry facade, where wrought iron lanterns and rusticated stone surrounds frame the main doorway. A leafless tree in the foreground adds to the building’s Gothic allure, casting long shadows that feel more literary than residential. This home has been the source of ghost stories, high-society gossip, and architectural pilgrimages for decades—and with good reason.
Tucked quietly into the steep grid of Nob Hill, the Bourn Mansion is more than a historic home—it’s an atmospheric masterpiece. Whether you’re drawn by its architectural pedigree or haunted mystique, it remains one of the city’s most compelling and photogenic private residences.
War Memorial Building on the Capitol Mall in Nashville, TN, part of the Military Branch of the Tennessee State Museum
I photographed the enormous domes worldwide at 366 ft high - St. Paul's Cathedral dome in June 2019. I took this picture in front of the famous coffee house Cafe Rouge located on St. Paul's Churchyard and Godliman Street. Café Rouge St Paul's is the place to enjoy a little slice of Paris in the heart of London. Café Rouge, Britain's best-loved bistro since 1989.
Interested in Print, then contact me at info@kreativelens.com. Each print comes with a hand-signed and numbered certificate of authenticity. Photographs are printed on Photo Rag Baryta by Hahnemühle is a 100% cotton paper with an inkjet coating, giving it a high-gloss finish. Give the images an elegant sheen with warm whites and rich blacks. Have confidence in knowing the inks and papers used to create these works of fine art have been carefully selected to ensure your investment will be enjoyed for generations.
The Alwyne Lane is a 1926 apartment building featuring classical details at its entrance, front facade and roofline--which once had decorative urns. The building makes maximum use of its wedge-shaped lot. The architect was Robert West, who designed several Palmer Park apartment buildings.
Birmingham Town Hall is a Grade I listed concert hall and venue for popular assemblies opened in 1834 and situated in Victoria Square, Birmingham, England. The design was based on the proportions of the Temple of Castor and Pollux in the Roman Forum. "Perfect and aloof" on a tall, rusticated podium, it marked an entirely new concept in English architecture.
The earliest National Bank of Australia in Colac established its premises in the town's main thoroughfare at 28 Murray Street in a two storey brick building erected in 1865 to a design by the architect, Leonard Terry. In 1886 the Leonard Terry bank was demolished to make way for the present two storey stucco and brick building which was completed in August 1887.
Designed by self-trained local Colac architect Alexander Hamilton (1825 - 1901), the current National Bank of Australia building is a good example of transitional boom Classicism architecture. Builders Taylor and Ellis of Ballarat erected the bank at a cost of £3,500.00. The building, which stands detached and complete like the nearby Colac Shire Hall has an iron palisade fence. The design, with rusticated ground floor facade, Corinthian porch, unusual enframed windows and pronounced parapet entablature, is illustrative of trends in bank architecture in the mid 1880s in Victoria and is one of Mr. Hamilton's most significant and scholarly works.
The bank has seen many uses over the years, and was at one stage in its life a gentleman's club for wealthy local landowners to socialise in. Today the National Bank of Australia has moved to more modern premises in Colac, but the building houses professional suites as befits a building which such a fine architectural pedigree.
Alexander Hamilton was born in Moffat, Scotland, but migrated to Australia in 1852. Originally based in Melbourne, he went to the Western District town of Mortlake before moving in 1871 to Colac where he was amongst other professions a millwright, builder and an architect. Alexander Hamilton really concentrated on his profession as an architect when he arrived in Colac and made his name in the area as a number of older homesteads and buildings in the district were built under his instruction and supervision. These include "Illewarra House" which was built for for John Calvert in 1873, "Tarndwarncoort" for Alexander Dennis in 1877 and "Talindert" for James Manifold in 1890. Mr. Hamilton also designed the Presbyterian manse in Colac in 1883 and the Bank of Australasia in Beeac in 1888.
Located approximately 150 kilometres to the south-west of Melbourne, past Geelong is the small Western District city of Colac. The area was originally settled by Europeans in 1837 by pastoralist Hugh Murray. A small community sprung up on the southern shore of a large lake amid the volcanic plains. The community was proclaimed a town, Lake Colac, in 1848, named after the lake upon which it perches. The post office opened in 1848 as Lake Colac and was renamed Colac in 1854 when the city changed its name. The township grew over the years, its wealth generated by the booming grazing industries of the large estates of the Western District and the dairy industry that accompanied it. Colac has a long high street shopping precinct, several churches, botanic gardens, a Masonic hall and a smattering of large properties within its boundaries, showing the conspicuous wealth of the city. Today Colac is still a commercial centre for the agricultural district that surrounds it with a population of around 10,000 people. Although not strictly a tourist town, Colac has many beautiful surviving historical buildings or interest, tree lined streets. Colac is known as “the Gateway to the Otways” (a reference to the Otway Ranges and surrounding forest area that is located just to the south of the town).
For one year starting from January 2013, I aim to create one weekly polyptych photographic composition of Leeds.
Originally, a polyptych was a religious piece of art on a church altar which had four or more hinged panels, with each panel displaying a relief or painting.
I've taken this artistic concept and used it as a vehicle to present a themed photographic series of portraits of the city centre of Leeds in England where each photo will consist of a series of photographs all of which will share a common idea.
I will capture in this project a personal portrait of Leeds, and show the city in all its forms from the grand architecture of buildings from the last century to the small details of everyday objects found on its modern day streets.
Here's the collection so far
(It´s a little counter-intuitive to start a series with night shots, I know.)
Another space ship ready for takeoff.
One of the biggest problems I had at this location (as so often) was the crowd and timing my shots. With the night captures such as this one it was not such a grave issue - however, during day-time it was really difficult and my patience was wearing thin rather quickly.
© Andy Brandl (2012)
Don´t redistribute / use on webpages, blogs or any other media. See my profile page for information regarding licensing of this image for personal or commercial use.
Link to my website, where you can watch a slideshow with my favorite shots, listen to some music, have a look at my photos in better quality, etc.
Framed by a perfect blue sky and a symmetrical arc of neoclassical stone, the Military Women’s Memorial stands as a solemn tribute to the more than three million women who have served in the United States Armed Forces. Located at the ceremonial entrance to Arlington National Cemetery in Washington D.C., this photo captures the serene yet powerful facade of the nation’s only major national memorial honoring women’s contributions to the military across all branches and eras.
Designed by architects Marion Weiss and Michael Manfredi, the structure—officially called the Women In Military Service For America Memorial—was completed in 1997 and integrates seamlessly into the historic landscape. It was built into the existing Hemicycle, an imposing semicircular retaining wall originally intended as part of a ceremonial gateway but left unused since the 1930s. In this view, the monumental granite arch commands attention at the center, framed by clean lines, open walkways, and elegant balustrades.
The memorial is more than architectural splendor; it functions as a museum, archive, and gathering place. Inside, visitors can explore exhibitions, personal stories, and artifacts that illuminate the complex and often underrepresented history of women in uniform—from Revolutionary War heroes disguised as men to contemporary combat commanders. At the heart of the interior is a computerized Register, cataloging the service records of women who have worn the nation’s uniform, preserving their legacies for future generations.
This photograph, taken in daylight under ideal conditions, emphasizes the clarity of the structure’s lines and the harmony between human design and natural surroundings. Leafless trees on the horizon echo the memorial's stark dignity, while the circular plaza in the foreground invites contemplation.
Located just across Memorial Avenue from the iconic Arlington Cemetery Welcome Center, the memorial is an essential stop for any visitor wishing to understand the full scope of American military service. It’s a space for quiet reflection, formal ceremonies, and education—especially on Veterans Day, Memorial Day, and during events celebrating Women’s History Month.
The Military Women’s Memorial stands as a crucial corrective to the historical erasure of women’s service. It tells a broader American story—of duty, perseverance, and change—etched in stone and carried forward through storytelling. This image captures the physical and symbolic gateway to that narrative, as timeless and resilient as the women it honors.
Detail of a larger image. Guy sat on North Bridge in Edinburgh circa 2006.
The bridge gets a lot of suicides and suicide attempts, most of it spans Waverley Station; I've not heard of any in a while, which is good.
This guy was talked down by the police, thankfully.
The neoclassical grandeur of Lisbon’s Teatro Nacional D. Maria II dominates Rossio Square, one of the city’s most historic gathering places. Built in the 1840s on the site of the old Estaus Palace, the theater was named for Queen Maria II and designed by Italian architect Fortunato Lodi. Its symmetrical façade, marked by rounded arched windows and Corinthian columns, reflects Lisbon’s 19th-century ambition to establish a cultural center of national pride. In the foreground, pedestrians and modern storefronts like Caixa Geral de Depósitos highlight the blending of everyday life with Portugal’s artistic heritage, where centuries-old architecture continues to frame Lisbon’s rhythm.
Dusk descending over the Federal Palace in Bern, Switzerland.
The Federal Palace is where the Swiss parlaiment is housed. It is located in Bern, the capital city. The building was completed in 1902.
Jonathan Reid | Travel Portfolio | Architecture Portfolio | Facebook
This elegant corner residence, with its Mediterranean Revival charm and tall arched windows, anchors a serene stretch across from the Palace of Fine Arts. Adorned with ornate stone trim, a decorative balcony, and lush greenery, it effortlessly bridges historical grandeur with residential warmth. A tree-lined sidewalk and neatly parked cars echo the rhythm of everyday San Francisco life. Subtle coastal light softens the stucco façade and frames delicate architectural detail—balancing bold forms with gentle textures. Perfect for lovers of architectural and travel photography, this scene captures a refined slice of city character just steps from one of San Francisco’s most beloved landmarks.
Framed by the soaring arch of the central rotunda, this image draws you into the romantic classicism of San Francisco’s Palace of Fine Arts—a grand Beaux-Arts remnant of the 1915 Panama-Pacific International Exposition. Designed by architect Bernard Maybeck, the colonnade was inspired by Roman and Greek ruins, a deliberate choice meant to evoke the fragility and endurance of beauty. Here, the Corinthian columns stretch upward in graceful symmetry, their fluting and capitals crisply defined in the soft morning light.
The urns and sculpted reliefs along the path suggest a serene, dreamlike quality, echoing Maybeck’s original vision of a ruin pulled from antiquity and dropped into the Marina District. The lush greenery that peeks through the colonnade softens the monumentality, offering contrast and scale. Beyond the columns, a glimpse of the Exhibition Hall's green doors adds a subtle pop of color, grounding the classical fantasy in the real and contemporary.
There’s a reverent hush to the scene—no tourists, no distractions—only the rhythm of the circular plaza and the vertical thrust of the architecture. It’s easy to imagine this site used for photo shoots, weddings, or quiet reflection. What once was a temporary exposition structure now stands immortal, restored and loved by generations.
San Francisco’s Palace of Fine Arts continues to be one of the city’s most photographed and filmed landmarks, from Hitchcock's Vertigo to The Rock and beyond. This image captures not just its aesthetic elegance, but its timeless sense of wonder.
Nestled within the heart of the Music Concourse in Golden Gate Park, the Spreckels Temple of Music stands as an architectural gem and a cultural centerpiece. Commissioned in 1899 by Claus Spreckels, a wealthy sugar magnate, the temple embodies both grandeur and grace. Designed by the Reid Brothers, known for their work on other San Francisco landmarks, this classical-style band shell was crafted from Colusa sandstone. The structure's monumental scale is accentuated by its ornate details, including sculptural carvings by the acclaimed artist Robert I. Aitken.
The Spreckels Temple of Music has been an iconic setting for public concerts, speeches, and performances, serving the community for over a century. Its elegant arches and classical columns reflect Beaux-Arts influences, while the bas-relief sculptures add a sense of timeless artistry. In 2003, the San Francisco Planning Commission recognized the historical significance of this venue, acknowledging its central role in the Music Concourse, which is San Francisco Landmark 249. The area was also listed on the National Register of Historic Places in 2004.
The temple's enduring importance is further highlighted by its ability to connect the past with the present. Today, the Spreckels Temple of Music remains a cherished performance venue and gathering place, surrounded by cultural institutions like the de Young Museum and the California Academy of Sciences. Its location in Golden Gate Park adds to its allure, making it a must-visit for anyone interested in San Francisco’s rich history and vibrant cultural landscape.
These towering Corinthian columns stand just beyond the central rotunda of San Francisco’s Palace of Fine Arts, crowned with sculpted female figures gazing inward in quiet contemplation. Designed by architect Bernard Maybeck for the 1915 Panama-Pacific International Exposition, the intricate capitals and reliefs draw inspiration from Greco-Roman traditions. The overcast sky creates a muted backdrop that highlights the sculptural detail, while the manicured lawn and curved paths below soften the monumentality. This quiet corner of the Palace feels both formal and serene—an architectural pause between grandeur and garden, where historic ornament meets California calm.
《關於島嶼》 雲門舞集
國泰金控 贊助， 7月28日(六) 晚上7:30，台北國家兩廳院藝文廣場 戶外公演。
Cloud Gate Dance Theatre troupe performed ‘Formosa’ at Liberty Plaza in Taipei on Saturday in the first of its two free outdoor performances this summer.
Taipei, Taiwan
2018/7/28
h57329L
Built in 1859 in classical style for the South Australian Banking Company. Later became the Union Bank. In 1938 it was sold to Rudall lawyers who still own it.
A Town of One, Two, Three.
The story of Gawler, the first town developed outside of Adelaide in 1839 is the story of numbers. Colonel William Light, after he resigned as Surveyor General for SA, formed a private surveying company with his friend and former Assistant Surveyor Boyle Finniss. (Remember Boyle Finniss became our first Premier in 1854.) They did some commercial surveying; they surveyed a sort of village along the Sturt River at what is now Marion; but the only other town apart from Adelaide that they surveyed and laid out was Gawler.
•Their township of Gawler had three squares- Light, Orleana and Parnell. Light had planned for the squares to be the centres for the Anglican, Presbyterian and Catholic churches. It did not quite work out like that!
•Light carefully sited this town on a ridge of high ground between three rivers –the North Para, South Para and Gawler Rivers. The first two rivers join just below Light’s town to form the Gawler River which flows out to the sea. The town grew quickly for a non mining town and became the 19th century industrial hub of SA.
•The first settlers around the town grew wheat and consequently flour milling became the first industry with three flour mills –the Albion Mill, the Victoria Mill and the Union Mill.
•The farmers needed plough disks, windmills, strippers and winnowers and other farm machinery. The Gawler residents wanted fancy wrought iron lace work to adorn the verandas of their houses and cottages. So from the mid 19th century Gawler became a town of three foundries- the May Brothers Foundry, the Eagle Foundry and the Phoenix Foundry.
•Like all country towns in the 19th century Gawler was dominated socially by a select group of business and social leaders. In Gawler the well respected and known leaders of the 19th century were three prominent men- Walter Duffield - the flour miller, James Martin - the foundry man and John McKinley - the explorer.
Some Unique Aspects of Gawler’s History.
The origins of Gawler are unique in SA. When the Special Surveys of 1839 were offered for those with £4,000 to select 4,000 acres in an area of the person’s choice, a group of farming settlers who had voyaged out together on the ship the Orleana clubbed together to purchase a Special Survey at the junction of the North and South Para Rivers. Those settlers were John Reid, Henry Dundas Murray, E. Jerningham, Stephen King, William Porter, Patrick Tod, James Fotheringham, John Patterson, Thomas Stubbs, John Sutton, Robert Tod and the Reverend Howard. You will see many of these names on the street signs of Church Hill. These pioneering men came to a strict agreement and each donated a certain number of acres for the township of Gawler (named after the Governor of the day) in proportion to the total number of acres they had purchased from the 4,000 acres. Most of this group purchased around 300 acres and donated 7½ acres for the town and parklands but John Reid, Henry Murray, E Jerningham and
Stephen King purchased between 530 and 932 acres each. Hence the main street of Gawler is Murray Street. John Reid was the first to settle in the town and built a house called Clonlea. Stephen King built his sandstone mansion, Kingsford along the North Para a couple of miles out of Gawler. It was used for the TV series McLeod’s Daughters but is now an upmarket bed and breakfast establishment. Some of the others from this Special Survey appear to have sold their land and moved on quickly rather than settling in the emerging township. Fotheringham stayed and set up the town’s first brewery.
Social aspects and a sense of civic pride were always strong in Gawler. It was remarkable that in 1859 this small “gateway to the north” sponsored a competition for a national song to be conducted by the Institute Committee. As we all know Mrs Caroline Carleton won the competition. The Song of Australia was sung in all SA primary schools and was one of the options voted upon for the new national anthem in the 1970s. The music for the song was written by German born Carl Linger and the lyrics and music were first presented in the Gawler Oddfellows Hall in December 1859. The town also offered a prize for a written history of SA in 1861. Henry Hussey won that award. Also in 1859 the township opened the first museum in SA. At one time Mr Schomburgk, who later became Director of the Botanic Gardens, was the curator of this museum. Gawler also formed the Humbug Society in 1859 to consider social and political issues of the day and in 1863 the town established its own newspaper, which is still published, called the Bunyip. In later years it was unique in building so many steam railway engines that were used in SA or exported for use in other states.