Created in 1854 as a memorial to Alfred Thackeray Purdon Bardin by Melbourne stained glass manufacturer Ferguson and Urie, the Presentation of Jesus at the Temple stained glass window may be found at the north end of the nave, to the left of the ornate baptismal font. The window has a pair on the right. The window depicts the presentation of Jesus at the Temple in Jeusalem in order to officially induct him into Judaism. At the bottom Mary and Joseph sit and pray. You can just see one of the two turtle doves Mary brought as sacrificial birds in a cage that Joseph holds. Jesus appears above them, held by Simeon dressed in elaborate vestments, whilst the elderly phrophetess Anna stands at his right.

Alfred Thackeray Purdon Bardin died on the 19th of December 1854 according to the beautiful brass plaque below the Holy Family window dedicated to him. Interestingly enough, whether Afred was a member of the congregation or not, he was buried quite some distance away in Buninyong outside of Ballarat in central Victoria. Afred Bardin was a son of the Reverend Charles Bardin (who was for many years the Rector of Derryloran, Cookstown, Diocese of Armagh in Ireland) and his wife Julia Helena Hodgkinson. His brother Edmund William Johnson Bardin has a memorial window of the Holy Family next to him on the opposite side of the baptismal font in Christ Church, Brunswick.

Christ Church, built almost on the corner of Glenlyon Road and Brunswick Street in Brunswick, is a picturesque slice of Italy in inner city Melbourne. With its elegant proportions, warm yellow stuccoed facade and stylish Romanesque campanile, the church would not look out of place sitting atop a rise in Tuscany, or being the centre of an old walled town. This idea is further enhanced when the single bell rings from the campanile, calling worshipers to prayer.

Christ Church has been constructed in a cruciform plan with a detached campanile. Although not originally intended as such, at its completion, the church became an excellent example of "Villa Rustica" architecture in Australia. Like other churches around the inner city during the boom and bust eras of the mid Nineteenth Century as Melbourne became an established city, the building was built in stages between 1857 and 1875 as money became available to extend and better what was already in existence. Christ Church was dedicated in 1857 when the nave, designed by architects Purchas and Swyer, was completed. The transepts, chancel and vestry were completed between 1863 and 1864 to the designs created by the architects' firm Smith and Watts. The Romanesque style campanile was also designed by Smith and Watts and it completed between 1870 and 1871. A third architect, Frederick Wyatt, was employed to design the apse which was completed in 1875.

Built in Italianate style with overture characteristics of classical Italian country house designs, Christ Church is one of the few examples of what has been coined "Villa Rustica" architecture in Victoria.

Slipping through the front door at the bottom of the campanile, the rich smell of incense from mass envelops visitors. As soon as the double doors which lead into the church proper close behind you, the church provides a quiet refuge from the busy intersection of Glenlyon Road and Brunswick Street outside, and it is quite easy to forget that cars and trams pass by just a few metres away. Walking up the aisle of the nave of Christ Church, light pours over the original wooden pews with their hand embroidered cushions through sets of luminescent stained glass windows by Melbourne manufacturers, Ferguson and Urie, Mathieson and Gibson and Brooks Robinson and Company. A set of fourteen windows from the mid-to-late Nineteenth Century by Ferguson and Urie depicting different saints are especially beautiful, filled with painted glass panes which are as vivid now as when they were created more than one hundred years ago. The floors are still the original dark, richly polished boards that generations of worshipers have walked over since they were first laid. The east transept houses the Lady Chapel, whilst the west transept is consumed by the magnificent 1972 Roger H. Pogson organ built of cedar with tin piping. This replaced the original 1889 Alfred Fuller organ. Beautifully executed carved rood figures watch over the chancel from high, perhaps admiring the marble altar.

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 St. George's Presbyterian Church in East St Kilda 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 St, 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.

The stained glass firm of Ferguson and Urie was established by Scots James Ferguson (1818 – 1894), James Urie (1828 – 1890) and John Lamb Lyon (1836 – 1916). They were the first known makers of stained glass in Australia. Until the early 1860s, window glass in Melbourne had been clear or plain coloured, and nearly all was imported, but new churches and elaborate buildings created a demand for pictorial windows. The three Scotsmen set up Ferguson and Urie in 1862 and the business thrived until 1899, when it ceased operation, with only John Lamb Lyon left alive. Ferguson and Urie was the most successful Nineteenth Century Australian stained glass window making company. Among their earliest works were a Shakespeare window for the Haymarket Theatre in Bourke Street, a memorial window to Prince Albert in Holy Trinity, Kew, and a set of Apostles for the West Melbourne Presbyterian Church. Their palatial Gothic Revival office building stood at 283 Collins Street from 1875. Ironically, their last major commission, a window depicting “labour”, was installed in the old Melbourne Stock Exchange in Collins Street in 1893 on the eve of the bank crash. Their windows can be found throughout the older suburbs of Melbourne and across provincial Victoria.

Created in the mid-to-late Nineteenth Century by Melbourne stained glass manufacturer Ferguson and Urie, the Saint Peter stained glass window may be found on the left hand side of the nave, in the eastern wall, when approaching the altar of Christ Church Brunswick.

Saint Peter was one of the twelve apostles of Jesus. He is often called the Prince of the Apostles. Jesus promised Peter a special place in his church. He is commonly identified as the first Bishop of Rome and the founder of the Church of Antioch and the Roman Church. Dressed in papal vestments, he holds in his left hand an open book, whilst in his right hand, his most commonly recognised symbols; the Keys to Heaven, in this case executed in silver and gold. Traditionally he is portrayed with a white beard, however in this window he has a brown beard.

This window was erected by James Grice, eldest son of pastoralist, businessman, philanthropist and churchman Richard Grice. Richard was born on October the 30th 1813 in Cumberland, England. The son of William Grice and his wife Sarah, née Parke. he was born into a family who ran a private family bank in Cumberland, built on generations of his family who had begun as farmers in the area before becoming successful businessmen in Cumberland. Richard attended Walker's School in Whitehaven, and gained farming experience on one of his family's properties. However, in his mid twenties, Richard felt that his future did not lie in England, so he set sail to Australia in 1839. He arrived at Adelaide in September 1839 with shepherds and a business partner named Benjamin Heape. They did not stay in Adelaide, and journeyed east to Melbourne where Richard and Benjamin set up an importing and exporting business. Richard decided to explore the idea of pastoral opportunities in the Western District where he successfully raised and bred sheep, going on to become one of the most successful pastoralists in Australia. He expanded his pastoral holdings into Queensland. In 1844 Richard married the daughter of James Hibberson, Anne Lavinia. In 1847 they did a Grand Tour of Europe and then settled in the affluent Melbourne suburb of Fitzroy. They had twelve children. Benjamin returned to England in 1852, so Richard entered into a partnership with Mr. T. J. Sumner, who had worked as a clerk within the original firm. Mr. Sumner's eldest daughter married Richard's son James, and the firm became known as Grice, Sumner & Co. The business flourished and by the mid 1870s the firm held vast grazing properties in Victoria, New South Wales, South Australia and Queensland. Richard died at his home in Fitzroy on November the 4th 1882, survived by his wife and by three sons and four daughters.

Christ Church, built almost on the corner of Glenlyon Road and Brunswick Street in Brunswick, is a picturesque slice of Italy in inner city Melbourne. With its elegant proportions, warm yellow stuccoed facade and stylish Romanesque campanile, the church would not look out of place sitting atop a rise in Tuscany, or being the centre of an old walled town. This idea is further enhanced when the single bell rings from the campanile, calling worshipers to prayer.

Christ Church has been constructed in a cruciform plan with a detached campanile. Although not originally intended as such, at its completion, the church became an excellent example of "Villa Rustica" architecture in Australia. Like other churches around the inner city during the boom and bust eras of the mid Nineteenth Century as Melbourne became an established city, the building was built in stages between 1857 and 1875 as money became available to extend and better what was already in existence. Christ Church was dedicated in 1857 when the nave, designed by architects Purchas and Swyer, was completed. The transepts, chancel and vestry were completed between 1863 and 1864 to the designs created by the architects' firm Smith and Watts. The Romanesque style campanile was also designed by Smith and Watts and it completed between 1870 and 1871. A third architect, Frederick Wyatt, was employed to design the apse which was completed in 1875.

Built in Italianate style with overture characteristics of classical Italian country house designs, Christ Church is one of the few examples of what has been coined "Villa Rustica" architecture in Victoria.

Slipping through the front door at the bottom of the campanile, the rich smell of incense from mass envelops visitors. As soon as the double doors which lead into the church proper close behind you, the church provides a quiet refuge from the busy intersection of Glenlyon Road and Brunswick Street outside, and it is quite easy to forget that cars and trams pass by just a few metres away. Walking up the aisle of the nave of Christ Church, light pours over the original wooden pews with their hand embroidered cushions through sets of luminescent stained glass windows by Melbourne manufacturers, Ferguson and Urie, Mathieson and Gibson and Brooks Robinson and Company. A set of fourteen windows from the mid-to-late Nineteenth Century by Ferguson and Urie depicting different saints are especially beautiful, filled with painted glass panes which are as vivid now as when they were created more than one hundred years ago. The floors are still the original dark, richly polished boards that generations of worshipers have walked over since they were first laid. The east transept houses the Lady Chapel, whilst the west transept is consumed by the magnificent 1972 Roger H. Pogson organ built of cedar with tin piping. This replaced the original 1889 Alfred Fuller organ. Beautifully executed carved rood figures watch over the chancel from high, perhaps admiring the marble altar.

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 St. George's Presbyterian Church in East St Kilda 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 St, 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.

The stained glass firm of Ferguson and Urie was established by Scots James Ferguson (1818 – 1894), James Urie (1828 – 1890) and John Lamb Lyon (1836 – 1916). They were the first known makers of stained glass in Australia. Until the early 1860s, window glass in Melbourne had been clear or plain coloured, and nearly all was imported, but new churches and elaborate buildings created a demand for pictorial windows. The three Scotsmen set up Ferguson and Urie in 1862 and the business thrived until 1899, when it ceased operation, with only John Lamb Lyon left alive. Ferguson and Urie was the most successful Nineteenth Century Australian stained glass window making company. Among their earliest works were a Shakespeare window for the Haymarket Theatre in Bourke Street, a memorial window to Prince Albert in Holy Trinity, Kew, and a set of Apostles for the West Melbourne Presbyterian Church. Their palatial Gothic Revival office building stood at 283 Collins Street from 1875. Ironically, their last major commission, a window depicting “labour”, was installed in the old Melbourne Stock Exchange in Collins Street in 1893 on the eve of the bank crash. Their windows can be found throughout the older suburbs of Melbourne and across provincial Victoria.

Built of red brick, "Trerelffe is a grand late Victorian villa that may be found in the Victorian provincial city of Ballarat.

Built between 1893 and 1894 for Ballarat boot merchant, Francis Jago, "Trerelffe" is built in Victorian Free Classical style. "Trerelffe" has many ornamental features of the architectural movement including; a deliberately asymmetrical facade, excellent stone masonry detailing and classical motifs across the facade. The smart villa has a very prominent bay window with grandly proportioned windows, which suggests that the rooms inside "Trerelffe" have extremely high ceilings. The house also features intricate wrought iron lacework and paired columns along the verandah. The roof features its original slate tiles and has been carefully capped. The tall chimneys have been rendered and have ornamental capping.

Francis Jago was born in 1834 in Brighton, England. There is a house in Devon called "Trerelffe" which he may have chanced to pass in his travels before leaving England, and may have inspired him to name his new home after it. Mr. Jago migrated to Australia in 1860 and established a boot making shop in Skipton Street Ballarat around 1866. In later years, Mr. Jago's successful business (now a boot merchants) moved to the corner of Sturt and Bridge Streets, and continued to prosper into the Twentieth Century, even beyond Mr. Jago's passing. Mr. Jago died in 1903 and is buried in the nearby Ballarat Old Cemetery, where his remains lie alongside his wife Jane, who died, sadly, in 1884, ten years before "Trerelffe's" completion.

Created in the mid-to-late Nineteenth Century by Melbourne stained glass manufacturer Ferguson and Urie, the Holy Spirit trefoil may be found in the northern wall of Christ Church, Brunswick.

The dove represents the Holy Spirit. It seems that early Christians derived this image from the simile in the Gospels, combining it with the symbol of the olive branch, which had been used to represent peace by the Greeks and Romans. The dove and olive branch also appeared in Christian images of Noah's ark. Interestingly enough, this dove looks remarkably like a Major Mitchell of Sulphur Crested Cockatoo, with a hooked beak and a small crest on its head. I wonder if this is just a coincidence and the artist was perhaps not so apt at portraying doves, or whether it was done deliberately. I'm thinking the latter is more probable, because the window is very high up, and the detail differences could easily be missed in passing. Perhaps the artist admired the Australian fauna and wished to celebrate it in the most holy of ways!

Christ Church, built almost on the corner of Glenlyon Road and Brunswick Street in Brunswick, is a picturesque slice of Italy in inner city Melbourne. With its elegant proportions, warm yellow stuccoed facade and stylish Romanesque campanile, the church would not look out of place sitting atop a rise in Tuscany, or being the centre of an old walled town. This idea is further enhanced when the single bell rings from the campanile, calling worshipers to prayer.

Christ Church has been constructed in a cruciform plan with a detached campanile. Although not originally intended as such, at its completion, the church became an excellent example of "Villa Rustica" architecture in Australia. Like other churches around the inner city during the boom and bust eras of the mid Nineteenth Century as Melbourne became an established city, the building was built in stages between 1857 and 1875 as money became available to extend and better what was already in existence. Christ Church was dedicated in 1857 when the nave, designed by architects Purchas and Swyer, was completed. The transepts, chancel and vestry were completed between 1863 and 1864 to the designs created by the architects' firm Smith and Watts. The Romanesque style campanile was also designed by Smith and Watts and it completed between 1870 and 1871. A third architect, Frederick Wyatt, was employed to design the apse which was completed in 1875.

Built in Italianate style with overture characteristics of classical Italian country house designs, Christ Church is one of the few examples of what has been coined "Villa Rustica" architecture in Victoria.

Slipping through the front door at the bottom of the campanile, the rich smell of incense from mass envelops visitors. As soon as the double doors which lead into the church proper close behind you, the church provides a quiet refuge from the busy intersection of Glenlyon Road and Brunswick Street outside, and it is quite easy to forget that cars and trams pass by just a few metres away. Walking up the aisle of the nave of Christ Church, light pours over the original wooden pews with their hand embroidered cushions through sets of luminescent stained glass windows by Melbourne manufacturers, Ferguson and Urie, Mathieson and Gibson and Brooks Robinson and Company. A set of fourteen windows from the mid-to-late Nineteenth Century by Ferguson and Urie depicting different saints are especially beautiful, filled with painted glass panes which are as vivid now as when they were created more than one hundred years ago. The floors are still the original dark, richly polished boards that generations of worshipers have walked over since they were first laid. The east transept houses the Lady Chapel, whilst the west transept is consumed by the magnificent 1972 Roger H. Pogson organ built of cedar with tin piping. This replaced the original 1889 Alfred Fuller organ. Beautifully executed carved rood figures watch over the chancel from high, perhaps admiring the marble altar.

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 St. George's Presbyterian Church in East St Kilda 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 St, 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.

The stained glass firm of Ferguson and Urie was established by Scots James Ferguson (1818 – 1894), James Urie (1828 – 1890) and John Lamb Lyon (1836 – 1916). They were the first known makers of stained glass in Australia. Until the early 1860s, window glass in Melbourne had been clear or plain coloured, and nearly all was imported, but new churches and elaborate buildings created a demand for pictorial windows. The three Scotsmen set up Ferguson and Urie in 1862 and the business thrived until 1899, when it ceased operation, with only John Lamb Lyon left alive. Ferguson and Urie was the most successful Nineteenth Century Australian stained glass window making company. Among their earliest works were a Shakespeare window for the Haymarket Theatre in Bourke Street, a memorial window to Prince Albert in Holy Trinity, Kew, and a set of Apostles for the West Melbourne Presbyterian Church. Their palatial Gothic Revival office building stood at 283 Collins Street from 1875. Ironically, their last major commission, a window depicting “labour”, was installed in the old Melbourne Stock Exchange in Collins Street in 1893 on the eve of the bank crash. Their windows can be found throughout the older suburbs of Melbourne and across provincial Victoria.

Created in 1854 as a memorial to Alfred Thackeray Purdon Bardin by Melbourne stained glass manufacturer Ferguson and Urie, the Presentation of Jesus at the Temple stained glass window may be found at the north end of the nave, to the left of the ornate baptismal font. The window has a pair on the right. The window depicts the presentation of Jesus at the Temple in Jeusalem in order to officially induct him into Judaism. At the bottom Mary and Joseph sit and pray. You can just see one of the two turtle doves Mary brought as sacrificial birds in a cage that Joseph holds. Jesus appears above them, held by Simeon dressed in elaborate vestments, whilst the elderly phrophetess Anna stands at his right.

Alfred Thackeray Purdon Bardin died on the 19th of December 1854 according to the beautiful brass plaque below the Holy Family window dedicated to him. Interestingly enough, whether Afred was a member of the congregation or not, he was buried quite some distance away in Buninyong outside of Ballarat in central Victoria. Afred Bardin was a son of the Reverend Charles Bardin (who was for many years the Rector of Derryloran, Cookstown, Diocese of Armagh in Ireland) and his wife Julia Helena Hodgkinson. His brother Edmund William Johnson Bardin has a memorial window of the Holy Family next to him on the opposite side of the baptismal font in Christ Church, Brunswick.

Christ Church, built almost on the corner of Glenlyon Road and Brunswick Street in Brunswick, is a picturesque slice of Italy in inner city Melbourne. With its elegant proportions, warm yellow stuccoed facade and stylish Romanesque campanile, the church would not look out of place sitting atop a rise in Tuscany, or being the centre of an old walled town. This idea is further enhanced when the single bell rings from the campanile, calling worshipers to prayer.

Christ Church has been constructed in a cruciform plan with a detached campanile. Although not originally intended as such, at its completion, the church became an excellent example of "Villa Rustica" architecture in Australia. Like other churches around the inner city during the boom and bust eras of the mid Nineteenth Century as Melbourne became an established city, the building was built in stages between 1857 and 1875 as money became available to extend and better what was already in existence. Christ Church was dedicated in 1857 when the nave, designed by architects Purchas and Swyer, was completed. The transepts, chancel and vestry were completed between 1863 and 1864 to the designs created by the architects' firm Smith and Watts. The Romanesque style campanile was also designed by Smith and Watts and it completed between 1870 and 1871. A third architect, Frederick Wyatt, was employed to design the apse which was completed in 1875.

Built in Italianate style with overture characteristics of classical Italian country house designs, Christ Church is one of the few examples of what has been coined "Villa Rustica" architecture in Victoria.

Slipping through the front door at the bottom of the campanile, the rich smell of incense from mass envelops visitors. As soon as the double doors which lead into the church proper close behind you, the church provides a quiet refuge from the busy intersection of Glenlyon Road and Brunswick Street outside, and it is quite easy to forget that cars and trams pass by just a few metres away. Walking up the aisle of the nave of Christ Church, light pours over the original wooden pews with their hand embroidered cushions through sets of luminescent stained glass windows by Melbourne manufacturers, Ferguson and Urie, Mathieson and Gibson and Brooks Robinson and Company. A set of fourteen windows from the mid-to-late Nineteenth Century by Ferguson and Urie depicting different saints are especially beautiful, filled with painted glass panes which are as vivid now as when they were created more than one hundred years ago. The floors are still the original dark, richly polished boards that generations of worshipers have walked over since they were first laid. The east transept houses the Lady Chapel, whilst the west transept is consumed by the magnificent 1972 Roger H. Pogson organ built of cedar with tin piping. This replaced the original 1889 Alfred Fuller organ. Beautifully executed carved rood figures watch over the chancel from high, perhaps admiring the marble altar.

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 St. George's Presbyterian Church in East St Kilda 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 St, 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.

The stained glass firm of Ferguson and Urie was established by Scots James Ferguson (1818 – 1894), James Urie (1828 – 1890) and John Lamb Lyon (1836 – 1916). They were the first known makers of stained glass in Australia. Until the early 1860s, window glass in Melbourne had been clear or plain coloured, and nearly all was imported, but new churches and elaborate buildings created a demand for pictorial windows. The three Scotsmen set up Ferguson and Urie in 1862 and the business thrived until 1899, when it ceased operation, with only John Lamb Lyon left alive. Ferguson and Urie was the most successful Nineteenth Century Australian stained glass window making company. Among their earliest works were a Shakespeare window for the Haymarket Theatre in Bourke Street, a memorial window to Prince Albert in Holy Trinity, Kew, and a set of Apostles for the West Melbourne Presbyterian Church. Their palatial Gothic Revival office building stood at 283 Collins Street from 1875. Ironically, their last major commission, a window depicting “labour”, was installed in the old Melbourne Stock Exchange in Collins Street in 1893 on the eve of the bank crash. Their windows can be found throughout the older suburbs of Melbourne and across provincial Victoria.

Created in the mid-to-late Nineteenth Century by Melbourne stained glass manufacturer Ferguson and Urie, the Saint Peter stained glass window may be found on the left hand side of the nave, in the eastern wall, when approaching the altar of Christ Church Brunswick.

Saint Peter was one of the twelve apostles of Jesus. He is often called the Prince of the Apostles. Jesus promised Peter a special place in his church. He is commonly identified as the first Bishop of Rome and the founder of the Church of Antioch and the Roman Church. Dressed in papal vestments, he holds in his left hand an open book, whilst in his right hand, his most commonly recognised symbols; the Keys to Heaven, in this case executed in silver and gold. Traditionally he is portrayed with a white beard, however in this window he has a brown beard.

This window was erected by James Grice, eldest son of pastoralist, businessman, philanthropist and churchman Richard Grice. Richard was born on October the 30th 1813 in Cumberland, England. The son of William Grice and his wife Sarah, née Parke. he was born into a family who ran a private family bank in Cumberland, built on generations of his family who had begun as farmers in the area before becoming successful businessmen in Cumberland. Richard attended Walker's School in Whitehaven, and gained farming experience on one of his family's properties. However, in his mid twenties, Richard felt that his future did not lie in England, so he set sail to Australia in 1839. He arrived at Adelaide in September 1839 with shepherds and a business partner named Benjamin Heape. They did not stay in Adelaide, and journeyed east to Melbourne where Richard and Benjamin set up an importing and exporting business. Richard decided to explore the idea of pastoral opportunities in the Western District where he successfully raised and bred sheep, going on to become one of the most successful pastoralists in Australia. He expanded his pastoral holdings into Queensland. In 1844 Richard married the daughter of James Hibberson, Anne Lavinia. In 1847 they did a Grand Tour of Europe and then settled in the affluent Melbourne suburb of Fitzroy. They had twelve children. Benjamin returned to England in 1852, so Richard entered into a partnership with Mr. T. J. Sumner, who had worked as a clerk within the original firm. Mr. Sumner's eldest daughter married Richard's son James, and the firm became known as Grice, Sumner & Co. The business flourished and by the mid 1870s the firm held vast grazing properties in Victoria, New South Wales, South Australia and Queensland. Richard died at his home in Fitzroy on November the 4th 1882, survived by his wife and by three sons and four daughters.

Christ Church, built almost on the corner of Glenlyon Road and Brunswick Street in Brunswick, is a picturesque slice of Italy in inner city Melbourne. With its elegant proportions, warm yellow stuccoed facade and stylish Romanesque campanile, the church would not look out of place sitting atop a rise in Tuscany, or being the centre of an old walled town. This idea is further enhanced when the single bell rings from the campanile, calling worshipers to prayer.

Christ Church has been constructed in a cruciform plan with a detached campanile. Although not originally intended as such, at its completion, the church became an excellent example of "Villa Rustica" architecture in Australia. Like other churches around the inner city during the boom and bust eras of the mid Nineteenth Century as Melbourne became an established city, the building was built in stages between 1857 and 1875 as money became available to extend and better what was already in existence. Christ Church was dedicated in 1857 when the nave, designed by architects Purchas and Swyer, was completed. The transepts, chancel and vestry were completed between 1863 and 1864 to the designs created by the architects' firm Smith and Watts. The Romanesque style campanile was also designed by Smith and Watts and it completed between 1870 and 1871. A third architect, Frederick Wyatt, was employed to design the apse which was completed in 1875.

Built in Italianate style with overture characteristics of classical Italian country house designs, Christ Church is one of the few examples of what has been coined "Villa Rustica" architecture in Victoria.

Slipping through the front door at the bottom of the campanile, the rich smell of incense from mass envelops visitors. As soon as the double doors which lead into the church proper close behind you, the church provides a quiet refuge from the busy intersection of Glenlyon Road and Brunswick Street outside, and it is quite easy to forget that cars and trams pass by just a few metres away. Walking up the aisle of the nave of Christ Church, light pours over the original wooden pews with their hand embroidered cushions through sets of luminescent stained glass windows by Melbourne manufacturers, Ferguson and Urie, Mathieson and Gibson and Brooks Robinson and Company. A set of fourteen windows from the mid-to-late Nineteenth Century by Ferguson and Urie depicting different saints are especially beautiful, filled with painted glass panes which are as vivid now as when they were created more than one hundred years ago. The floors are still the original dark, richly polished boards that generations of worshipers have walked over since they were first laid. The east transept houses the Lady Chapel, whilst the west transept is consumed by the magnificent 1972 Roger H. Pogson organ built of cedar with tin piping. This replaced the original 1889 Alfred Fuller organ. Beautifully executed carved rood figures watch over the chancel from high, perhaps admiring the marble altar.

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 St. George's Presbyterian Church in East St Kilda 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 St, 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.

The stained glass firm of Ferguson and Urie was established by Scots James Ferguson (1818 – 1894), James Urie (1828 – 1890) and John Lamb Lyon (1836 – 1916). They were the first known makers of stained glass in Australia. Until the early 1860s, window glass in Melbourne had been clear or plain coloured, and nearly all was imported, but new churches and elaborate buildings created a demand for pictorial windows. The three Scotsmen set up Ferguson and Urie in 1862 and the business thrived until 1899, when it ceased operation, with only John Lamb Lyon left alive. Ferguson and Urie was the most successful Nineteenth Century Australian stained glass window making company. Among their earliest works were a Shakespeare window for the Haymarket Theatre in Bourke Street, a memorial window to Prince Albert in Holy Trinity, Kew, and a set of Apostles for the West Melbourne Presbyterian Church. Their palatial Gothic Revival office building stood at 283 Collins Street from 1875. Ironically, their last major commission, a window depicting “labour”, was installed in the old Melbourne Stock Exchange in Collins Street in 1893 on the eve of the bank crash. Their windows can be found throughout the older suburbs of Melbourne and across provincial Victoria.

Bubblicity is Irelands first Bubble Tea Shop.

Bubble tea is a Taiwanese tea which is the name for pearl milk tea and other similar tea and juice beverages that originated in tea shops in Taichung, Taiwan during the 1980s. Drink recipes may vary, but most bubble teas contain a tea base mixed with fruit and/or milk. Ice-blended versions of the drinks and are also available, usually in fruit flavors.

Bubble tea began its rise to international recognition, spreading from Taiwan to other East Asian countries. It then migrated to Australia, Canada, Chinatowns throughout the United States, and various college towns along the American West Coast. There are also bubble tea cafes in the UK and Europe.

Spheres was designed by Bert Flugelman (1923–2013) especially for the bustling surroundings of Rundle Mall. The sculpture, comprising two highly polished, stainless steel balls standing one on top of the other, ‘takes in everything around it. The more that goes on in the mall the better the work is’ said the sculptor (Klooster & Bellamy, p26).

Flugelman wanted the balls to be touched and physically enjoyed by the public:

That’s why I like it. Kids go for it, they touch it, smear it and become part of it. Everybody can respond to it … After we put it up on the Sunday afternoon I went back on the Monday to watch community responses to it. A very little old lady came walking up to it and looked at it and then she opened up her handbag and took out her handkerchief and blew on the work and wiped it. I thought it was wonderful. I thought that’s alright. It works! (Flugelman in Klooster & Bellamy, p26)

Herbert (Bert) Flugelman was born in Vienna, Austria on 28 January 1923 and migrated to Australia with his family in 1938. After working in the bush and serving in the Australian Army (1943–46), Flugelman studied at the National Art School, Sydney (1948-51). He then travelled and worked overseas. In spite of contracting polio, Flugelman held successful exhibitions at the Piccadilly Gallery in London and Bourne Gallery in New York. He returned to Australia in 1955.

Between 1972 and 1983 Flugelman lectured at the South Australian School of Art, eventually heading the sculpture section. During this time he was one of four artists approached by the Adelaide City Council for the design of an artwork to be located in Rundle Mall.

His successful design measures 4m high, with each sphere 2.15m in diameter. Largely funded by the Hindmarsh Building Society to mark its centenary, Spheres was presented to Adelaide by A Adcock, the company's chairman, and unveiled in Rundle Mall on 5 October 1977.

Bert Flugelman died on 26 February 2013 at Bowral, New South Wales shortly after the City Council announced that Spheres would be relocated off-centre in a redevelopment of the mall

Created in the mid-to-late Nineteenth Century by Melbourne stained glass manufacturer Ferguson and Urie, the Resurrection of Jesus stained glass window is one of three windows above the altar. It is the right of these three windows.

The resurrection of Jesus or resurrection of Christ is the Christian religious belief that, after being put to death, Jesus rose again from the dead: as the Nicene Creed expresses it, "On the third day he rose again in accordance with the Scriptures". In the window, Jesus leaps from his tomb, much to the surprise of the Roman soldier at the bottom of the panel, whose face shows sheer fright. The golden Kingdom of Heaven awaits Jesus at the top of the panel, light beams streaming down to embrace him and welcome him home. The banner of the triumphal cross, symbolising the victory of the resurrected Christ over death flies to the upper left-hand side of the panel. The symbol is derived from the vision of the Roman Emperor Constantine the Great and his use of a cross on the Roman Standard. There are floral motifs both above and below the main panel. These floral designs are reflected in the other two windows around the altar.

Christ Church, built almost on the corner of Glenlyon Road and Brunswick Street in Brunswick, is a picturesque slice of Italy in inner city Melbourne. With its elegant proportions, warm yellow stuccoed facade and stylish Romanesque campanile, the church would not look out of place sitting atop a rise in Tuscany, or being the centre of an old walled town. This idea is further enhanced when the single bell rings from the campanile, calling worshipers to prayer.

Christ Church has been constructed in a cruciform plan with a detached campanile. Although not originally intended as such, at its completion, the church became an excellent example of "Villa Rustica" architecture in Australia. Like other churches around the inner city during the boom and bust eras of the mid Nineteenth Century as Melbourne became an established city, the building was built in stages between 1857 and 1875 as money became available to extend and better what was already in existence. Christ Church was dedicated in 1857 when the nave, designed by architects Purchas and Swyer, was completed. The transepts, chancel and vestry were completed between 1863 and 1864 to the designs created by the architects' firm Smith and Watts. The Romanesque style campanile was also designed by Smith and Watts and it completed between 1870 and 1871. A third architect, Frederick Wyatt, was employed to design the apse which was completed in 1875.

Built in Italianate style with overture characteristics of classical Italian country house designs, Christ Church is one of the few examples of what has been coined "Villa Rustica" architecture in Victoria.

Slipping through the front door at the bottom of the campanile, the rich smell of incense from mass envelops visitors. As soon as the double doors which lead into the church proper close behind you, the church provides a quiet refuge from the busy intersection of Glenlyon Road and Brunswick Street outside, and it is quite easy to forget that cars and trams pass by just a few metres away. Walking up the aisle of the nave of Christ Church, light pours over the original wooden pews with their hand embroidered cushions through sets of luminescent stained glass windows by Melbourne manufacturers, Ferguson and Urie, Mathieson and Gibson and Brooks Robinson and Company. A set of fourteen windows from the mid-to-late Nineteenth Century by Ferguson and Urie depicting different saints are especially beautiful, filled with painted glass panes which are as vivid now as when they were created more than one hundred years ago. The floors are still the original dark, richly polished boards that generations of worshipers have walked over since they were first laid. The east transept houses the Lady Chapel, whilst the west transept is consumed by the magnificent 1972 Roger H. Pogson organ built of cedar with tin piping. This replaced the original 1889 Alfred Fuller organ. Beautifully executed carved rood figures watch over the chancel from high, perhaps admiring the marble altar.

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 St. George's Presbyterian Church in East St Kilda 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 St, 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.

The stained glass firm of Ferguson and Urie was established by Scots James Ferguson (1818 – 1894), James Urie (1828 – 1890) and John Lamb Lyon (1836 – 1916). They were the first known makers of stained glass in Australia. Until the early 1860s, window glass in Melbourne had been clear or plain coloured, and nearly all was imported, but new churches and elaborate buildings created a demand for pictorial windows. The three Scotsmen set up Ferguson and Urie in 1862 and the business thrived until 1899, when it ceased operation, with only John Lamb Lyon left alive. Ferguson and Urie was the most successful Nineteenth Century Australian stained glass window making company. Among their earliest works were a Shakespeare window for the Haymarket Theatre in Bourke Street, a memorial window to Prince Albert in Holy Trinity, Kew, and a set of Apostles for the West Melbourne Presbyterian Church. Their palatial Gothic Revival office building stood at 283 Collins Street from 1875. Ironically, their last major commission, a window depicting “labour”, was installed in the old Melbourne Stock Exchange in Collins Street in 1893 on the eve of the bank crash. Their windows can be found throughout the older suburbs of Melbourne and across provincial Victoria.

Created in the mid-to-late Nineteenth Century by Melbourne stained glass manufacturer Ferguson and Urie, the Saint Simon stained glass window may be found in Lady Chapel in the eastern transept of Christ Church Brunswick.

Saint Simon is often referred to as Simon the Zealot or Simon the Cananite. He was one of the twelve apostles of Jesus. As the patron saint of tanners, curriers and sawyers, so in this depiction, Saint Simon holds in his right hand a long saw with sharp teeth. It is one of his most commonly recognised pieces of iconography along with a ship, a cross and a fish.

This window was erected by James Grice, eldest son of pastoralist, businessman, philanthropist and churchman Richard Grice. Richard was born on October the 30th 1813 in Cumberland, England. The son of William Grice and his wife Sarah, née Parke. he was born into a family who ran a private family bank in Cumberland, built on generations of his family who had begun as farmers in the area before becoming successful businessmen in Cumberland. Richard attended Walker's School in Whitehaven, and gained farming experience on one of his family's properties. However, in his mid twenties, Richard felt that his future did not lie in England, so he set sail to Australia in 1839. He arrived at Adelaide in September 1839 with shepherds and a business partner named Benjamin Heape. They did not stay in Adelaide, and journeyed east to Melbourne where Richard and Benjamin set up an importing and exporting business. Richard decided to explore the idea of pastoral opportunities in the Western District where he successfully raised and bred sheep, going on to become one of the most successful pastoralists in Australia. He expanded his pastoral holdings into Queensland. In 1844 Richard married the daughter of James Hibberson, Anne Lavinia. In 1847 they did a Grand Tour of Europe and then settled in the affluent Melbourne suburb of Fitzroy. They had twelve children. Benjamin returned to England in 1852, so Richard entered into a partnership with Mr. T. J. Sumner, who had worked as a clerk within the original firm. Mr. Sumner's eldest daughter married Richard's son James, and the firm became known as Grice, Sumner & Co. The business flourished and by the mid 1870s the firm held vast grazing properties in Victoria, New South Wales, South Australia and Queensland. Richard died at his home in Fitzroy on November the 4th 1882, survived by his wife and by three sons and four daughters.

Christ Church, built almost on the corner of Glenlyon Road and Brunswick Street in Brunswick, is a picturesque slice of Italy in inner city Melbourne. With its elegant proportions, warm yellow stuccoed facade and stylish Romanesque campanile, the church would not look out of place sitting atop a rise in Tuscany, or being the centre of an old walled town. This idea is further enhanced when the single bell rings from the campanile, calling worshipers to prayer.

Christ Church has been constructed in a cruciform plan with a detached campanile. Although not originally intended as such, at its completion, the church became an excellent example of "Villa Rustica" architecture in Australia. Like other churches around the inner city during the boom and bust eras of the mid Nineteenth Century as Melbourne became an established city, the building was built in stages between 1857 and 1875 as money became available to extend and better what was already in existence. Christ Church was dedicated in 1857 when the nave, designed by architects Purchas and Swyer, was completed. The transepts, chancel and vestry were completed between 1863 and 1864 to the designs created by the architects' firm Smith and Watts. The Romanesque style campanile was also designed by Smith and Watts and it completed between 1870 and 1871. A third architect, Frederick Wyatt, was employed to design the apse which was completed in 1875.

Built in Italianate style with overture characteristics of classical Italian country house designs, Christ Church is one of the few examples of what has been coined "Villa Rustica" architecture in Victoria.

Slipping through the front door at the bottom of the campanile, the rich smell of incense from mass envelops visitors. As soon as the double doors which lead into the church proper close behind you, the church provides a quiet refuge from the busy intersection of Glenlyon Road and Brunswick Street outside, and it is quite easy to forget that cars and trams pass by just a few metres away. Walking up the aisle of the nave of Christ Church, light pours over the original wooden pews with their hand embroidered cushions through sets of luminescent stained glass windows by Melbourne manufacturers, Ferguson and Urie, Mathieson and Gibson and Brooks Robinson and Company. A set of fourteen windows from the mid-to-late Nineteenth Century by Ferguson and Urie depicting different saints are especially beautiful, filled with painted glass panes which are as vivid now as when they were created more than one hundred years ago. The floors are still the original dark, richly polished boards that generations of worshipers have walked over since they were first laid. The east transept houses the Lady Chapel, whilst the west transept is consumed by the magnificent 1972 Roger H. Pogson organ built of cedar with tin piping. This replaced the original 1889 Alfred Fuller organ. Beautifully executed carved rood figures watch over the chancel from high, perhaps admiring the marble altar.

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 St. George's Presbyterian Church in East St Kilda 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 St, 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.

The stained glass firm of Ferguson and Urie was established by Scots James Ferguson (1818 – 1894), James Urie (1828 – 1890) and John Lamb Lyon (1836 – 1916). They were the first known makers of stained glass in Australia. Until the early 1860s, window glass in Melbourne had been clear or plain coloured, and nearly all was imported, but new churches and elaborate buildings created a demand for pictorial windows. The three Scotsmen set up Ferguson and Urie in 1862 and the business thrived until 1899, when it ceased operation, with only John Lamb Lyon left alive. Ferguson and Urie was the most successful Nineteenth Century Australian stained glass window making company. Among their earliest works were a Shakespeare window for the Haymarket Theatre in Bourke Street, a memorial window to Prince Albert in Holy Trinity, Kew, and a set of Apostles for the West Melbourne Presbyterian Church. Their palatial Gothic Revival office building stood at 283 Collins Street from 1875. Ironically, their last major commission, a window depicting “labour”, was installed in the old Melbourne Stock Exchange in Collins Street in 1893 on the eve of the bank crash. Their windows can be found throughout the older suburbs of Melbourne and across provincial Victoria.

Created in the mid-to-late Nineteenth Century by Melbourne stained glass manufacturer Ferguson and Urie, the Crucifixion of Jesus stained glass window is one of three windows above the altar. It is the central window of the three.

The crucifixion of Jesus is mentioned in all four Gospels of the New Testament. According to them, Jesus was arrested and tried by the Sanhedrin, and then sentenced by Pontius Pilate to be scourged, and finally crucified by the Romans. Jesus was stripped of his clothing and offered wine mixed with myrrh or gall to drink before being crucified. An object of ridicule, a crown of thorns was forced upon his head. The common belief is that Jesus died on the cross to absolve the sins of the peoples of the world, so that they, like he, could rise from death and go to heaven. Considering Jesus' status as King of the Jews and his bloody death, the vivid red stained glass background in this window may have been chosen on purpose. With her long golden tresses spilling about her, Mary Magdeline is depicted embracing the feet of the cross of Christ, the unhappiness clear on her face. An alabaster jar with a finial top (possibly a myrrh bearer) and a skull at the foot of the cross also identify this woman as Mary Magdalene. There are floral motifs both above and below the main panel. These floral designs are reflected in the other two windows around the altar.

Christ Church, built almost on the corner of Glenlyon Road and Brunswick Street in Brunswick, is a picturesque slice of Italy in inner city Melbourne. With its elegant proportions, warm yellow stuccoed facade and stylish Romanesque campanile, the church would not look out of place sitting atop a rise in Tuscany, or being the centre of an old walled town. This idea is further enhanced when the single bell rings from the campanile, calling worshipers to prayer.

Christ Church has been constructed in a cruciform plan with a detached campanile. Although not originally intended as such, at its completion, the church became an excellent example of "Villa Rustica" architecture in Australia. Like other churches around the inner city during the boom and bust eras of the mid Nineteenth Century as Melbourne became an established city, the building was built in stages between 1857 and 1875 as money became available to extend and better what was already in existence. Christ Church was dedicated in 1857 when the nave, designed by architects Purchas and Swyer, was completed. The transepts, chancel and vestry were completed between 1863 and 1864 to the designs created by the architects' firm Smith and Watts. The Romanesque style campanile was also designed by Smith and Watts and it completed between 1870 and 1871. A third architect, Frederick Wyatt, was employed to design the apse which was completed in 1875.

Built in Italianate style with overture characteristics of classical Italian country house designs, Christ Church is one of the few examples of what has been coined "Villa Rustica" architecture in Victoria.

Slipping through the front door at the bottom of the campanile, the rich smell of incense from mass envelops visitors. As soon as the double doors which lead into the church proper close behind you, the church provides a quiet refuge from the busy intersection of Glenlyon Road and Brunswick Street outside, and it is quite easy to forget that cars and trams pass by just a few metres away. Walking up the aisle of the nave of Christ Church, light pours over the original wooden pews with their hand embroidered cushions through sets of luminescent stained glass windows by Melbourne manufacturers, Ferguson and Urie, Mathieson and Gibson and Brooks Robinson and Company. A set of fourteen windows from the mid-to-late Nineteenth Century by Ferguson and Urie depicting different saints are especially beautiful, filled with painted glass panes which are as vivid now as when they were created more than one hundred years ago. The floors are still the original dark, richly polished boards that generations of worshipers have walked over since they were first laid. The east transept houses the Lady Chapel, whilst the west transept is consumed by the magnificent 1972 Roger H. Pogson organ built of cedar with tin piping. This replaced the original 1889 Alfred Fuller organ. Beautifully executed carved rood figures watch over the chancel from high, perhaps admiring the marble altar.

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 St. George's Presbyterian Church in East St Kilda 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 St, 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.

The stained glass firm of Ferguson and Urie was established by Scots James Ferguson (1818 – 1894), James Urie (1828 – 1890) and John Lamb Lyon (1836 – 1916). They were the first known makers of stained glass in Australia. Until the early 1860s, window glass in Melbourne had been clear or plain coloured, and nearly all was imported, but new churches and elaborate buildings created a demand for pictorial windows. The three Scotsmen set up Ferguson and Urie in 1862 and the business thrived until 1899, when it ceased operation, with only John Lamb Lyon left alive. Ferguson and Urie was the most successful Nineteenth Century Australian stained glass window making company. Among their earliest works were a Shakespeare window for the Haymarket Theatre in Bourke Street, a memorial window to Prince Albert in Holy Trinity, Kew, and a set of Apostles for the West Melbourne Presbyterian Church. Their palatial Gothic Revival office building stood at 283 Collins Street from 1875. Ironically, their last major commission, a window depicting “labour”, was installed in the old Melbourne Stock Exchange in Collins Street in 1893 on the eve of the bank crash. Their windows can be found throughout the older suburbs of Melbourne and across provincial Victoria.

Christ Church, built almost on the corner of Glenlyon Road and Brunswick Street in Brunswick, is a picturesque slice of Italy in inner city Melbourne. With its elegant proportions, warm yellow stuccoed facade and stylish Romanesque campanile, the church would not look out of place sitting atop a rise in Tuscany, or being the centre of an old walled town. This idea is further enhanced when the single bell rings from the campanile, calling worshipers to prayer.

Christ Church has been constructed in a cruciform plan with a detached campanile. Although not originally intended as such, at its completion, the church became an excellent example of "Villa Rustica" architecture in Australia. Like other churches around the inner city during the boom and bust eras of the mid Nineteenth Century as Melbourne became an established city, the building was built in stages between 1857 and 1875 as money became available to extend and better what was already in existence. Christ Church was dedicated in 1857 when the nave, designed by architects Purchas and Swyer, was completed. The transepts, chancel and vestry were completed between 1863 and 1864 to the designs created by the architects' firm Smith and Watts. The Romanesque style campanile was also designed by Smith and Watts and it completed between 1870 and 1871. A third architect, Frederick Wyatt, was employed to design the apse which was completed in 1875.

Built in Italianate style with overture characteristics of classical Italian country house designs, Christ Church is one of the few examples of what has been coined "Villa Rustica" architecture in Victoria.

Slipping through the front door at the bottom of the campanile, the rich smell of incense from mass envelops visitors. As soon as the double doors which lead into the church proper close behind you, the church provides a quiet refuge from the busy intersection of Glenlyon Road and Brunswick Street outside, and it is quite easy to forget that cars and trams pass by just a few metres away. Walking up the aisle of the nave of Christ Church, light pours over the original wooden pews with their hand embroidered cushions through sets of luminescent stained glass windows by Melbourne manufacturers, Ferguson and Urie, Mathieson and Gibson and Brooks Robinson and Company. A set of fourteen windows from the mid-to-late Nineteenth Century by Ferguson and Urie depicting different saints are especially beautiful, filled with painted glass panes which are as vivid now as when they were created more than one hundred years ago. The floors are still the original dark, richly polished boards that generations of worshipers have walked over since they were first laid. The east transept houses the Lady Chapel, whilst the west transept is consumed by the magnificent 1972 Roger H. Pogson organ built of cedar with tin piping. This replaced the original 1889 Alfred Fuller organ. Beautifully executed carved rood figures watch over the chancel from high, perhaps admiring the marble altar.

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 St. George's Presbyterian Church in East St Kilda 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 St, 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.

Created in the mid-to-late Nineteenth Century by Melbourne stained glass manufacturer Ferguson and Urie, the Saint Peter stained glass window may be found on the left hand side of the nave, in the eastern wall, when approaching the altar of Christ Church Brunswick.

Saint Peter was one of the twelve apostles of Jesus. He is often called the Prince of the Apostles. Jesus promised Peter a special place in his church. He is commonly identified as the first Bishop of Rome and the founder of the Church of Antioch and the Roman Church. Dressed in papal vestments, he holds in his left hand an open book, whilst in his right hand, his most commonly recognised symbols; the Keys to Heaven, in this case executed in silver and gold. Traditionally he is portrayed with a white beard, however in this window he has a brown beard.

This window was erected by James Grice, eldest son of pastoralist, businessman, philanthropist and churchman Richard Grice. Richard was born on October the 30th 1813 in Cumberland, England. The son of William Grice and his wife Sarah, née Parke. he was born into a family who ran a private family bank in Cumberland, built on generations of his family who had begun as farmers in the area before becoming successful businessmen in Cumberland. Richard attended Walker's School in Whitehaven, and gained farming experience on one of his family's properties. However, in his mid twenties, Richard felt that his future did not lie in England, so he set sail to Australia in 1839. He arrived at Adelaide in September 1839 with shepherds and a business partner named Benjamin Heape. They did not stay in Adelaide, and journeyed east to Melbourne where Richard and Benjamin set up an importing and exporting business. Richard decided to explore the idea of pastoral opportunities in the Western District where he successfully raised and bred sheep, going on to become one of the most successful pastoralists in Australia. He expanded his pastoral holdings into Queensland. In 1844 Richard married the daughter of James Hibberson, Anne Lavinia. In 1847 they did a Grand Tour of Europe and then settled in the affluent Melbourne suburb of Fitzroy. They had twelve children. Benjamin returned to England in 1852, so Richard entered into a partnership with Mr. T. J. Sumner, who had worked as a clerk within the original firm. Mr. Sumner's eldest daughter married Richard's son James, and the firm became known as Grice, Sumner & Co. The business flourished and by the mid 1870s the firm held vast grazing properties in Victoria, New South Wales, South Australia and Queensland. Richard died at his home in Fitzroy on November the 4th 1882, survived by his wife and by three sons and four daughters.

Christ Church, built almost on the corner of Glenlyon Road and Brunswick Street in Brunswick, is a picturesque slice of Italy in inner city Melbourne. With its elegant proportions, warm yellow stuccoed facade and stylish Romanesque campanile, the church would not look out of place sitting atop a rise in Tuscany, or being the centre of an old walled town. This idea is further enhanced when the single bell rings from the campanile, calling worshipers to prayer.

Christ Church has been constructed in a cruciform plan with a detached campanile. Although not originally intended as such, at its completion, the church became an excellent example of "Villa Rustica" architecture in Australia. Like other churches around the inner city during the boom and bust eras of the mid Nineteenth Century as Melbourne became an established city, the building was built in stages between 1857 and 1875 as money became available to extend and better what was already in existence. Christ Church was dedicated in 1857 when the nave, designed by architects Purchas and Swyer, was completed. The transepts, chancel and vestry were completed between 1863 and 1864 to the designs created by the architects' firm Smith and Watts. The Romanesque style campanile was also designed by Smith and Watts and it completed between 1870 and 1871. A third architect, Frederick Wyatt, was employed to design the apse which was completed in 1875.

Built in Italianate style with overture characteristics of classical Italian country house designs, Christ Church is one of the few examples of what has been coined "Villa Rustica" architecture in Victoria.

Slipping through the front door at the bottom of the campanile, the rich smell of incense from mass envelops visitors. As soon as the double doors which lead into the church proper close behind you, the church provides a quiet refuge from the busy intersection of Glenlyon Road and Brunswick Street outside, and it is quite easy to forget that cars and trams pass by just a few metres away. Walking up the aisle of the nave of Christ Church, light pours over the original wooden pews with their hand embroidered cushions through sets of luminescent stained glass windows by Melbourne manufacturers, Ferguson and Urie, Mathieson and Gibson and Brooks Robinson and Company. A set of fourteen windows from the mid-to-late Nineteenth Century by Ferguson and Urie depicting different saints are especially beautiful, filled with painted glass panes which are as vivid now as when they were created more than one hundred years ago. The floors are still the original dark, richly polished boards that generations of worshipers have walked over since they were first laid. The east transept houses the Lady Chapel, whilst the west transept is consumed by the magnificent 1972 Roger H. Pogson organ built of cedar with tin piping. This replaced the original 1889 Alfred Fuller organ. Beautifully executed carved rood figures watch over the chancel from high, perhaps admiring the marble altar.

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 St. George's Presbyterian Church in East St Kilda 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 St, 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.

The stained glass firm of Ferguson and Urie was established by Scots James Ferguson (1818 – 1894), James Urie (1828 – 1890) and John Lamb Lyon (1836 – 1916). They were the first known makers of stained glass in Australia. Until the early 1860s, window glass in Melbourne had been clear or plain coloured, and nearly all was imported, but new churches and elaborate buildings created a demand for pictorial windows. The three Scotsmen set up Ferguson and Urie in 1862 and the business thrived until 1899, when it ceased operation, with only John Lamb Lyon left alive. Ferguson and Urie was the most successful Nineteenth Century Australian stained glass window making company. Among their earliest works were a Shakespeare window for the Haymarket Theatre in Bourke Street, a memorial window to Prince Albert in Holy Trinity, Kew, and a set of Apostles for the West Melbourne Presbyterian Church. Their palatial Gothic Revival office building stood at 283 Collins Street from 1875. Ironically, their last major commission, a window depicting “labour”, was installed in the old Melbourne Stock Exchange in Collins Street in 1893 on the eve of the bank crash. Their windows can be found throughout the older suburbs of Melbourne and across provincial Victoria.

Statue of R O'Hara Burke, Department of Lands building, Bridge St, Sydney.

Each facade has 12 niches whose sculpted occupants include explorers and legislators who made a major contribution to the opening up and settlement of the nation. Although 48 men were nominated by the architect, Barnet, as being suitable subjects, most were rejected as being 'hunters or excursionists'. Only 23 statues were commissioned, the last being added in 1901 leaving 25 niches unfilled (Devine, 2011). In Nov 2010 - a new statue of colonial surveyor James Meehan (1774-1826) was created and placed in an empty niche on cnr. Loftus/Bent Streets.

Burke, Robert O'Hara (1821–1861)

by Kathleen Fitzpatrick

This article was published in Australian Dictionary of Biography, Volume 3, (MUP), 1969

Robert O'Hara Burke (1821-1861), explorer, was born at St Clerans, County Galway, Ireland, second of the three sons of James Hardiman Burke and his wife Anne, née O'Hara. The Burkes were Protestant gentry and landowners, and the father and all his sons were soldiers. Burke was educated at Woolwich Academy, entered the Austrian army and served as lieutenant in a cavalry regiment. Discharged at his own request in June 1848, he took up a command in the Irish Mounted Constabulary until he migrated to Australia in 1853. In April he entered the Victoria police as an acting inspector stationed at Carlsruhe. Next January he was appointed senior inspector at Beechworth; soon afterwards he took leave to go to Europe in the hope of serving in the Crimean war but was too late. He returned to Beechworth and in 1858 became superintendent of police in the Castlemaine district. In 1860 he was given leave to take command of the exploring expedition to cross the continent from south to north organized by the Royal Society of Victoria and supported by the government.

Burke was impulsive, quick-tempered, arbitrary, generous, tender-hearted and charming, and those who did not quarrel with him loved him. He was recklessly brave, a dare-devil with a thirst for distinction as yet unsatisfied. His career seemed likely to peter out in humdrum police duties in Castlemaine. Although 'a well-bred gentleman and quite at home among people of the best class', at 39 he was slipping downhill into slovenly, eccentric habits. There is a strong tradition that he was also infatuated with Julia Matthews, a young siren of the Melbourne light theatre, but she was unresponsive to the ardour of the untidy, middle-aged country policeman with 7s. 8d. in his bank account. Leadership of the expedition was probably Burke's last chance of achieving distinction in his own, the world's and the divine Julia's eyes. He was very anxious for the appointment and admitted that he had used 'every fair, honourable and straightforward means' to get it.

The Burke and Wills expedition, as it has since been called, is a puzzling affair because there seems to have been no sufficient reason for it beyond the desire of the colonists of Victoria, which gold had made mighty, to make it mightier yet by 'taking the lead' in exploration, in which it had not even taken the first step. The objectives of the expedition were hazy and its route, from Cooper's Creek to the Gulf of Carpentaria, was decided less than a month before it set out. Burke's instructions, which were sent after him because they were not ready in time, were incoherent. A curious mixture of scientific curiosity, commercial initiative and sporting excitement added to the drama but the real object appears to have been to snatch from the South Australian explorer, McDouall Stuart, already in the field and formidable, the honour of making the first south-north crossing of the continent. Governor (Sir) Henry Barkly later described the expedition as 'the glorious race across the continent between the expeditions fitted out in this and the adjacent colony of South Australia'. The choice of a totally inexperienced leader is inexplicable if exploration were the real object, but excellent if it were exploit. Burke was a death or glory man and he achieved both.

The Burke and Wills expedition was the most costly in the history of Australian exploration, a symbol of the nouveau riche colony that promoted it. When the last bill came in, for the monument to the dead explorers, it had cost well over £60,000 and seven lives. Burke was the first Australian explorer to be provided with camels, over two dozen of them, both riding and pack animals, imported complete with cameleers. There were horses and wagons, abundant food for two years and lavish equipment, including 6 tons of firewood, 57 buckets and 45 yards of green gossamer for veils. The party consisted of three officers: Burke, Landells the camel-master, and William John Wills surveyor and meteorologist; two German scientific officers, Ludwig Becker naturalist and Herman Beckler medical officer and botanist; a foreman and nine assistants and the camel-drivers. The expedition left Melbourne on 20 August 1860 and made a stately progress through the settled districts to Swan Hill and Balranald and reached Menindee on the Darling at the beginning of October.

Burke wrote in a private letter from Menindee that he was determined that the cursed impedimenta, the ruin of so many explorers, would not ruin him; he was in haste and determined to travel light. He had already left much of his equipment and some of his provisions at Balranald, including the lime-juice which might have saved four of his men from death by scurvy, and at Menindee he dumped more provisions and transport. After quarrelling with Burke, Landells resigned at Menindee and Burke promoted Wills to second-in-command, replacing him as third officer by a local man, William Wright, who was barely literate and proved incompetent and unreliable. Burke's instructions were perfectly clear on one point: his base camp was to be at Cooper's Creek. Instead he divided his party, transport and provisions, dashing on to Cooper's Creek with the advance party and ordering Wright to follow him with as little delay as possible. Wright was in no hurry. He hung about Menindee for three months, and when he at last set out lost his way, half his men and still more time. Burke had had time to go to the Gulf of Carpentaria and back before Wright, with the vital reserve transport and provisions, managed to travel the four hundred miles (644 km) to Cooper's Creek.

Burke selected Wills, John King and Gray to accompany him to the gulf and left four men, under the command of William Brahe, one of the assistants, at Camp LXV at Cooper's Creek. He took provisions for twelve weeks and six camels and a horse, which he used only as pack animals. Other explorers trudged when they had to, but Burke, with the best transport in the history of Australian exploration at his command, is the only one who chose to explore on foot. The march to the gulf was made in extraordinarily favourable conditions, after a season of heavy rain. Charles Sturt's Stony Desert was like a garden, full of lily ponds, and Burke's expedition, in this also unique, was never short of water and was able to travel in an almost straight line to its objective, without losing time searching for water. Even so it took four months to do the 1500 miles (2414 km). They walked from 5 a.m. to 5 p.m. with only a single day of rest in the whole period, and were half-starving in the fourth month. Gray could not stand the pace and died before they reached Camp LXV. Burke wrote, 'I am satisfied that the frame of man never was more severely taxed'. It was magnificent, but it was not exploration. Burke kept no journal; there was no time for scientific observation, and nothing useful was discovered as Burke's route was only practicable in unusual weather. Burke won the race to the north but McDouall Stuart found the all-weather route.

When the explorers reached Camp LXV on 21 April 1861, spent, starving and in rags, they found it deserted. Brahe's party had left that very day for Menindee, with six camels, twelve horses, all the clothes and most of the food. Wills and King were for following Brahe but Burke decided that since they had only two worn-out camels left and were in bad shape themselves they had no hope of catching up and would not survive the four-hundred-mile (644 km) journey unaided. Their best chance, he thought, was to make for the police station at Mount Hopeless, one hundred and fifty miles (241 km) away, and they set off in that direction, leaving a message of their intentions at Camp LXV on the off-chance.

Meanwhile Brahe had met Wright, who had at last arrived from Menindee, and, feeling uneasy about having left his post, decided to return to Camp LXV, which he reached fifteen days after he had left it. But he did not observe the signs of his leader's return that Burke had left and did not find his message, and departed, this time for good, for Menindee. Burke, Wills and King were too weak to get far on their journey to Mount Hopeless; they remained by Cooper's Creek, hoping to be rescued before they starved, but only King lived long enough to be found by Alfred Howitt's search party from Melbourne, which arrived in September 1861. Burke and Wills might also have survived if they had lived with the Aboriginals and shared their food as King did after their deaths. But Burke could not change the habits of a lifetime. He had been born and bred a member of the ruling race in a conquered country and could not bring himself to associate with natives. When they arrived in his camp, bearing gifts of fish, he behaved like an officer of the Irish constabulary plagued by the peasantry, and fired at them.

A royal commission appointed to inquire into the deaths of Burke and Wills censured Burke for having divided his party at Menindee and for entrusting Wright with an important command without sufficient knowledge of his character, and added that he had shown more zeal than prudence in leaving Cooper's Creek before the arrival of Wright and undertaking the journey to the gulf with inadequate provisions. Yet Burke had fulfilled the real object of the expedition. Indirectly, discovery was promoted because, although Burke's own journey was worthless as exploration, solid gains in geographical knowledge were made by the explorers Howitt, John McKinlay and William Landsborough, who led parties in search of him. Burke's ultimate contribution to the history of Victoria was oblique but significant. It had been a success story of needy Scotch crofters turned shepherd kings and of the glitter of treasure trove; the disaster of Burke and Wills added a dimension of tragedy.

A monument depicting Burke and Wills, by Charles Summers, stands at the corner of Collins and Swanston streets, Melbourne, and a portrait of Burke in oils by William Strutt is in the Melbourne Club.

From:

adb.anu.edu.au/biography/burke-robert-ohara-3116

Created in the mid-to-late Nineteenth Century by Melbourne stained glass manufacturer Ferguson and Urie, the Crucifixion of Jesus stained glass window is one of three windows above the altar. It is the central window of the three.

The crucifixion of Jesus is mentioned in all four Gospels of the New Testament. According to them, Jesus was arrested and tried by the Sanhedrin, and then sentenced by Pontius Pilate to be scourged, and finally crucified by the Romans. Jesus was stripped of his clothing and offered wine mixed with myrrh or gall to drink before being crucified. An object of ridicule, a crown of thorns was forced upon his head. The common belief is that Jesus died on the cross to absolve the sins of the peoples of the world, so that they, like he, could rise from death and go to heaven. Considering Jesus' status as King of the Jews and his bloody death, the vivid red stained glass background in this window may have been chosen on purpose. With her long golden tresses spilling about her, Mary Magdeline is depicted embracing the feet of the cross of Christ, the unhappiness clear on her face. An alabaster jar with a finial top (possibly a myrrh bearer) and a skull at the foot of the cross also identify this woman as Mary Magdalene. There are floral motifs both above and below the main panel. These floral designs are reflected in the other two windows around the altar.

Christ Church, built almost on the corner of Glenlyon Road and Brunswick Street in Brunswick, is a picturesque slice of Italy in inner city Melbourne. With its elegant proportions, warm yellow stuccoed facade and stylish Romanesque campanile, the church would not look out of place sitting atop a rise in Tuscany, or being the centre of an old walled town. This idea is further enhanced when the single bell rings from the campanile, calling worshipers to prayer.

Christ Church has been constructed in a cruciform plan with a detached campanile. Although not originally intended as such, at its completion, the church became an excellent example of "Villa Rustica" architecture in Australia. Like other churches around the inner city during the boom and bust eras of the mid Nineteenth Century as Melbourne became an established city, the building was built in stages between 1857 and 1875 as money became available to extend and better what was already in existence. Christ Church was dedicated in 1857 when the nave, designed by architects Purchas and Swyer, was completed. The transepts, chancel and vestry were completed between 1863 and 1864 to the designs created by the architects' firm Smith and Watts. The Romanesque style campanile was also designed by Smith and Watts and it completed between 1870 and 1871. A third architect, Frederick Wyatt, was employed to design the apse which was completed in 1875.

Built in Italianate style with overture characteristics of classical Italian country house designs, Christ Church is one of the few examples of what has been coined "Villa Rustica" architecture in Victoria.

Slipping through the front door at the bottom of the campanile, the rich smell of incense from mass envelops visitors. As soon as the double doors which lead into the church proper close behind you, the church provides a quiet refuge from the busy intersection of Glenlyon Road and Brunswick Street outside, and it is quite easy to forget that cars and trams pass by just a few metres away. Walking up the aisle of the nave of Christ Church, light pours over the original wooden pews with their hand embroidered cushions through sets of luminescent stained glass windows by Melbourne manufacturers, Ferguson and Urie, Mathieson and Gibson and Brooks Robinson and Company. A set of fourteen windows from the mid-to-late Nineteenth Century by Ferguson and Urie depicting different saints are especially beautiful, filled with painted glass panes which are as vivid now as when they were created more than one hundred years ago. The floors are still the original dark, richly polished boards that generations of worshipers have walked over since they were first laid. The east transept houses the Lady Chapel, whilst the west transept is consumed by the magnificent 1972 Roger H. Pogson organ built of cedar with tin piping. This replaced the original 1889 Alfred Fuller organ. Beautifully executed carved rood figures watch over the chancel from high, perhaps admiring the marble altar.

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 St. George's Presbyterian Church in East St Kilda 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 St, 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.

The stained glass firm of Ferguson and Urie was established by Scots James Ferguson (1818 – 1894), James Urie (1828 – 1890) and John Lamb Lyon (1836 – 1916). They were the first known makers of stained glass in Australia. Until the early 1860s, window glass in Melbourne had been clear or plain coloured, and nearly all was imported, but new churches and elaborate buildings created a demand for pictorial windows. The three Scotsmen set up Ferguson and Urie in 1862 and the business thrived until 1899, when it ceased operation, with only John Lamb Lyon left alive. Ferguson and Urie was the most successful Nineteenth Century Australian stained glass window making company. Among their earliest works were a Shakespeare window for the Haymarket Theatre in Bourke Street, a memorial window to Prince Albert in Holy Trinity, Kew, and a set of Apostles for the West Melbourne Presbyterian Church. Their palatial Gothic Revival office building stood at 283 Collins Street from 1875. Ironically, their last major commission, a window depicting “labour”, was installed in the old Melbourne Stock Exchange in Collins Street in 1893 on the eve of the bank crash. Their windows can be found throughout the older suburbs of Melbourne and across provincial Victoria.

Created in the mid-to-late Nineteenth Century by Melbourne stained glass manufacturer Ferguson and Urie, the Saint Matthew stained glass window may be found in the eastern transept of Christ Church Brunswick.

Saint Matthew was one of the twelve apostles of Jesus, and according to Christian tradition, he is also one of the four Evangelists. Mentioned in the Book of Mark and Luke as a tax collector, he is depicted in this stained glass window with his record book and a bag of money.

This window was erected by James Grice, eldest son of pastoralist, businessman, philanthropist and churchman Richard Grice. Richard was born on October the 30th 1813 in Cumberland, England. The son of William Grice and his wife Sarah, née Parke. he was born into a family who ran a private family bank in Cumberland, built on generations of his family who had begun as farmers in the area before becoming successful businessmen in Cumberland. Richard attended Walker's School in Whitehaven, and gained farming experience on one of his family's properties. However, in his mid twenties, Richard felt that his future did not lie in England, so he set sail to Australia in 1839. He arrived at Adelaide in September 1839 with shepherds and a business partner named Benjamin Heape. They did not stay in Adelaide, and journeyed east to Melbourne where Richard and Benjamin set up an importing and exporting business. Richard decided to explore the idea of pastoral opportunities in the Western District where he successfully raised and bred sheep, going on to become one of the most successful pastoralists in Australia. He expanded his pastoral holdings into Queensland. In 1844 Richard married the daughter of James Hibberson, Anne Lavinia. In 1847 they did a Grand Tour of Europe and then settled in the affluent Melbourne suburb of Fitzroy. They had twelve children. Benjamin returned to England in 1852, so Richard entered into a partnership with Mr. T. J. Sumner, who had worked as a clerk within the original firm. Mr. Sumner's eldest daughter married Richard's son James, and the firm became known as Grice, Sumner & Co. The business flourished and by the mid 1870s the firm held vast grazing properties in Victoria, New South Wales, South Australia and Queensland. Richard died at his home in Fitzroy on November the 4th 1882, survived by his wife and by three sons and four daughters.

Christ Church, built almost on the corner of Glenlyon Road and Brunswick Street in Brunswick, is a picturesque slice of Italy in inner city Melbourne. With its elegant proportions, warm yellow stuccoed facade and stylish Romanesque campanile, the church would not look out of place sitting atop a rise in Tuscany, or being the centre of an old walled town. This idea is further enhanced when the single bell rings from the campanile, calling worshipers to prayer.

Christ Church has been constructed in a cruciform plan with a detached campanile. Although not originally intended as such, at its completion, the church became an excellent example of "Villa Rustica" architecture in Australia. Like other churches around the inner city during the boom and bust eras of the mid Nineteenth Century as Melbourne became an established city, the building was built in stages between 1857 and 1875 as money became available to extend and better what was already in existence. Christ Church was dedicated in 1857 when the nave, designed by architects Purchas and Swyer, was completed. The transepts, chancel and vestry were completed between 1863 and 1864 to the designs created by the architects' firm Smith and Watts. The Romanesque style campanile was also designed by Smith and Watts and it completed between 1870 and 1871. A third architect, Frederick Wyatt, was employed to design the apse which was completed in 1875.

Built in Italianate style with overture characteristics of classical Italian country house designs, Christ Church is one of the few examples of what has been coined "Villa Rustica" architecture in Victoria.

Slipping through the front door at the bottom of the campanile, the rich smell of incense from mass envelops visitors. As soon as the double doors which lead into the church proper close behind you, the church provides a quiet refuge from the busy intersection of Glenlyon Road and Brunswick Street outside, and it is quite easy to forget that cars and trams pass by just a few metres away. Walking up the aisle of the nave of Christ Church, light pours over the original wooden pews with their hand embroidered cushions through sets of luminescent stained glass windows by Melbourne manufacturers, Ferguson and Urie, Mathieson and Gibson and Brooks Robinson and Company. A set of fourteen windows from the mid-to-late Nineteenth Century by Ferguson and Urie depicting different saints are especially beautiful, filled with painted glass panes which are as vivid now as when they were created more than one hundred years ago. The floors are still the original dark, richly polished boards that generations of worshipers have walked over since they were first laid. The east transept houses the Lady Chapel, whilst the west transept is consumed by the magnificent 1972 Roger H. Pogson organ built of cedar with tin piping. This replaced the original 1889 Alfred Fuller organ. Beautifully executed carved rood figures watch over the chancel from high, perhaps admiring the marble altar.

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 St. George's Presbyterian Church in East St Kilda 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 St, 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.

The stained glass firm of Ferguson and Urie was established by Scots James Ferguson (1818 – 1894), James Urie (1828 – 1890) and John Lamb Lyon (1836 – 1916). They were the first known makers of stained glass in Australia. Until the early 1860s, window glass in Melbourne had been clear or plain coloured, and nearly all was imported, but new churches and elaborate buildings created a demand for pictorial windows. The three Scotsmen set up Ferguson and Urie in 1862 and the business thrived until 1899, when it ceased operation, with only John Lamb Lyon left alive. Ferguson and Urie was the most successful Nineteenth Century Australian stained glass window making company. Among their earliest works were a Shakespeare window for the Haymarket Theatre in Bourke Street, a memorial window to Prince Albert in Holy Trinity, Kew, and a set of Apostles for the West Melbourne Presbyterian Church. Their palatial Gothic Revival office building stood at 283 Collins Street from 1875. Ironically, their last major commission, a window depicting “labour”, was installed in the old Melbourne Stock Exchange in Collins Street in 1893 on the eve of the bank crash. Their windows can be found throughout the older suburbs of Melbourne and across provincial Victoria.

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).

Annis & George Bills horse trough

George Bills was an Englishman who migrated to Australia, via New Zealand. In Brisbane he met and married Annis Swann from Sheffield, England. The couple had no children but shared a great interest in animal welfare. They ended up in Sydney making a fortune manufacturing mattresses. One thing they thought was important was to see that when a horse came into town there was somewhere for the horse to drink: some also had a dog bowl at the end.

After George's death in 1927 a trust fund of approximately £80,000 was set to manufacture and provide horse troughs wherever they were needed in Australia and the United Kingdom – hence the "Annis and George Bills" trough. Most troughs read "Donated by Annis & George Bills Australia".

The troughs were £13 each plus transport and installation. The majority were installed in Victoria and New South Wales. One is also at Tunbridge Wells UK, and many have been preserved in Victoria.

Reference: ABC Real Stories website and Wikipedia.

“Derrinook”, on the corner of Gellibrand and Manifold Streets in Colac, was originally built as a private hospital for Doctor William Henry Brown (1861 – 1926) in 1900.

Built in the Federation Queen Anne architectural style, “Derrinook” is, unusually for the style, built of timber. Federation Queen Anne architectural style, which was mostly a residential style which was inspired by the Arts and Crafts movement in England, but also encompassed some of the more stylised elements of Art Nouveau, which gave it a much more decorative look. Sprawling across a large block with two street frontages, “Derrinook” has a very complex roofline, a common trait of Federation Queen Anne buildings, aided by a large number of half timbered gables. The former private hospital also has some beautiful Art Nouveau stained glass windows. “Derrinook” has a number of “fish scale” pattern panels decorating its façade above the tall windows. “Fish scales” were very popular thanks to the worldwide craze for all things Japanese in the late Nineteenth and early Twentieth Centuries. “Derrinook” also features very sinewy Art Nouveau fretwork around its bay windows, along its verandahs and employed as decoration on the half timbered gables. This was also common amongst Federation Queen Anne buildings. However it is perhaps “Derrinook’s” many elaborate, tall chimneys capped with ceramic chimney pots where the prevailing, and then fashionable, Art Nouveau decorative style is most apparent. One of the first buildings in Colac to employ electric lighting, “Derrinook” was eventually superceded by the Colac Hospital as a place for medical treatment and recouperation. With the change in fortunes for so many during the Great Depression, “Derrinook” was converted into smaller self-contained flats in 1935 and remains private residences to this day.

Queen Anne style was most popular around the time of Federation. With complex roofline structures, ornamental towers of unusual proportions and undulating facades, many Queen Anne houses fell out of fashion at the beginning of the modern era, and were demolished.

Doctor William Henry Brown was born in Erinth in Kent in 1861 and was educated in both England and Germany. He studied medicine at University College in London. He migrated to Australia in 1885 and originally established a practice in the Victorian Gippsland town of Maffra. In 1891 he moved to Colac where he practiced as a partner with local Doctor T. Foster, before acquiring the practice entirely. Doctor Brown became very well known in Colac as a physician and surgeon, and recognition of his skills spread across the state and across the country. His work gained attention world-wide when he published pieces in various medical journals. With the growth of his renown and his practice, he established “Derrinook” in 1900. When the Great War commenced in 1914, Doctor Brown travelled to various country towns as a representative of the army and acted as a dynamic speaker at recruitment drives, attempting to raise community responsibility and patriotism. His wife Clara (1862 – 1939) also worked enthusiastically for the war effort including for the Red Cross Society. His son, Doctor Arthur Edward Brown (1889 – 1975) followed in his father’s footsteps as a medical practitioner and they two worked in partnership at “Derrinook” after the war. Doctor Brown retired to his beachside Sorrento residence “Kennagh” in 1921 where he continued to play tennis (as he had in Colac where he presided over the tennis club for a number of years as president), and also took up improvement of the local foreshore. He also became a member of the Flinders Shire Council in 1923. He died of heart disease in 1926.

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).

Created in the mid-to-late Nineteenth Century by Melbourne stained glass manufacturer Ferguson and Urie, the Crucifixion of Jesus stained glass window is one of three windows above the altar. It is the central window of the three.

The crucifixion of Jesus is mentioned in all four Gospels of the New Testament. According to them, Jesus was arrested and tried by the Sanhedrin, and then sentenced by Pontius Pilate to be scourged, and finally crucified by the Romans. Jesus was stripped of his clothing and offered wine mixed with myrrh or gall to drink before being crucified. An object of ridicule, a crown of thorns was forced upon his head. The common belief is that Jesus died on the cross to absolve the sins of the peoples of the world, so that they, like he, could rise from death and go to heaven. Considering Jesus' status as King of the Jews and his bloody death, the vivid red stained glass background in this window may have been chosen on purpose. With her long golden tresses spilling about her, Mary Magdeline is depicted embracing the feet of the cross of Christ, the unhappiness clear on her face. An alabaster jar with a finial top (possibly a myrrh bearer) and a skull at the foot of the cross also identify this woman as Mary Magdalene. There are floral motifs both above and below the main panel. These floral designs are reflected in the other two windows around the altar.

Christ Church, built almost on the corner of Glenlyon Road and Brunswick Street in Brunswick, is a picturesque slice of Italy in inner city Melbourne. With its elegant proportions, warm yellow stuccoed facade and stylish Romanesque campanile, the church would not look out of place sitting atop a rise in Tuscany, or being the centre of an old walled town. This idea is further enhanced when the single bell rings from the campanile, calling worshipers to prayer.

Christ Church has been constructed in a cruciform plan with a detached campanile. Although not originally intended as such, at its completion, the church became an excellent example of "Villa Rustica" architecture in Australia. Like other churches around the inner city during the boom and bust eras of the mid Nineteenth Century as Melbourne became an established city, the building was built in stages between 1857 and 1875 as money became available to extend and better what was already in existence. Christ Church was dedicated in 1857 when the nave, designed by architects Purchas and Swyer, was completed. The transepts, chancel and vestry were completed between 1863 and 1864 to the designs created by the architects' firm Smith and Watts. The Romanesque style campanile was also designed by Smith and Watts and it completed between 1870 and 1871. A third architect, Frederick Wyatt, was employed to design the apse which was completed in 1875.

Built in Italianate style with overture characteristics of classical Italian country house designs, Christ Church is one of the few examples of what has been coined "Villa Rustica" architecture in Victoria.

Slipping through the front door at the bottom of the campanile, the rich smell of incense from mass envelops visitors. As soon as the double doors which lead into the church proper close behind you, the church provides a quiet refuge from the busy intersection of Glenlyon Road and Brunswick Street outside, and it is quite easy to forget that cars and trams pass by just a few metres away. Walking up the aisle of the nave of Christ Church, light pours over the original wooden pews with their hand embroidered cushions through sets of luminescent stained glass windows by Melbourne manufacturers, Ferguson and Urie, Mathieson and Gibson and Brooks Robinson and Company. A set of fourteen windows from the mid-to-late Nineteenth Century by Ferguson and Urie depicting different saints are especially beautiful, filled with painted glass panes which are as vivid now as when they were created more than one hundred years ago. The floors are still the original dark, richly polished boards that generations of worshipers have walked over since they were first laid. The east transept houses the Lady Chapel, whilst the west transept is consumed by the magnificent 1972 Roger H. Pogson organ built of cedar with tin piping. This replaced the original 1889 Alfred Fuller organ. Beautifully executed carved rood figures watch over the chancel from high, perhaps admiring the marble altar.

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 St. George's Presbyterian Church in East St Kilda 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 St, 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.

The stained glass firm of Ferguson and Urie was established by Scots James Ferguson (1818 – 1894), James Urie (1828 – 1890) and John Lamb Lyon (1836 – 1916). They were the first known makers of stained glass in Australia. Until the early 1860s, window glass in Melbourne had been clear or plain coloured, and nearly all was imported, but new churches and elaborate buildings created a demand for pictorial windows. The three Scotsmen set up Ferguson and Urie in 1862 and the business thrived until 1899, when it ceased operation, with only John Lamb Lyon left alive. Ferguson and Urie was the most successful Nineteenth Century Australian stained glass window making company. Among their earliest works were a Shakespeare window for the Haymarket Theatre in Bourke Street, a memorial window to Prince Albert in Holy Trinity, Kew, and a set of Apostles for the West Melbourne Presbyterian Church. Their palatial Gothic Revival office building stood at 283 Collins Street from 1875. Ironically, their last major commission, a window depicting “labour”, was installed in the old Melbourne Stock Exchange in Collins Street in 1893 on the eve of the bank crash. Their windows can be found throughout the older suburbs of Melbourne and across provincial Victoria.

Christ Church, built almost on the corner of Glenlyon Road and Brunswick Street in Brunswick, is a picturesque slice of Italy in inner city Melbourne. With its elegant proportions, warm yellow stuccoed facade and stylish Romanesque campanile, the church would not look out of place sitting atop a rise in Tuscany, or being the centre of an old walled town. This idea is further enhanced when the single bell rings from the campanile, calling worshipers to prayer.

Christ Church has been constructed in a cruciform plan with a detached campanile. Although not originally intended as such, at its completion, the church became an excellent example of "Villa Rustica" architecture in Australia. Like other churches around the inner city during the boom and bust eras of the mid Nineteenth Century as Melbourne became an established city, the building was built in stages between 1857 and 1875 as money became available to extend and better what was already in existence. Christ Church was dedicated in 1857 when the nave, designed by architects Purchas and Swyer, was completed. The transepts, chancel and vestry were completed between 1863 and 1864 to the designs created by the architects' firm Smith and Watts. The Romanesque style campanile was also designed by Smith and Watts and it completed between 1870 and 1871. A third architect, Frederick Wyatt, was employed to design the apse which was completed in 1875.

Built in Italianate style with overture characteristics of classical Italian country house designs, Christ Church is one of the few examples of what has been coined "Villa Rustica" architecture in Victoria.

Slipping through the front door at the bottom of the campanile, the rich smell of incense from mass envelops visitors. As soon as the double doors which lead into the church proper close behind you, the church provides a quiet refuge from the busy intersection of Glenlyon Road and Brunswick Street outside, and it is quite easy to forget that cars and trams pass by just a few metres away. Walking up the aisle of the nave of Christ Church, light pours over the original wooden pews with their hand embroidered cushions through sets of luminescent stained glass windows by Melbourne manufacturers, Ferguson and Urie, Mathieson and Gibson and Brooks Robinson and Company. A set of fourteen windows from the mid-to-late Nineteenth Century by Ferguson and Urie depicting different saints are especially beautiful, filled with painted glass panes which are as vivid now as when they were created more than one hundred years ago. The floors are still the original dark, richly polished boards that generations of worshipers have walked over since they were first laid. The east transept houses the Lady Chapel, whilst the west transept is consumed by the magnificent 1972 Roger H. Pogson organ built of cedar with tin piping. This replaced the original 1889 Alfred Fuller organ. Beautifully executed carved rood figures watch over the chancel from high, perhaps admiring the marble altar.

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 St. George's Presbyterian Church in East St Kilda 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 St, 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.

Created in the mid-to-late Nineteenth Century by Melbourne stained glass manufacturer Ferguson and Urie, the Saint Thaddeus stained glass window may be found in Lady Chapel in the eastern transept of Christ Church Brunswick.

Saint Thaddeus is also known as Jude or Judus Thaddeus. He was one of the twelve apostles of Jesus, but he is not to be confused with Judas Iscariot, the apostle who betrayed Jesus prior to his crucifixion. Saint Thaddeus was killed with an axe, and this is what he is depicted holding in this stained glass window as the symbol of his martyrdom.

This window was erected by James Grice, eldest son of pastoralist, businessman, philanthropist and churchman Richard Grice. Richard was born on October the 30th 1813 in Cumberland, England. The son of William Grice and his wife Sarah, née Parke. he was born into a family who ran a private family bank in Cumberland, built on generations of his family who had begun as farmers in the area before becoming successful businessmen in Cumberland. Richard attended Walker's School in Whitehaven, and gained farming experience on one of his family's properties. However, in his mid twenties, Richard felt that his future did not lie in England, so he set sail to Australia in 1839. He arrived at Adelaide in September 1839 with shepherds and a business partner named Benjamin Heape. They did not stay in Adelaide, and journeyed east to Melbourne where Richard and Benjamin set up an importing and exporting business. Richard decided to explore the idea of pastoral opportunities in the Western District where he successfully raised and bred sheep, going on to become one of the most successful pastoralists in Australia. He expanded his pastoral holdings into Queensland. In 1844 Richard married the daughter of James Hibberson, Anne Lavinia. In 1847 they did a Grand Tour of Europe and then settled in the affluent Melbourne suburb of Fitzroy. They had twelve children. Benjamin returned to England in 1852, so Richard entered into a partnership with Mr. T. J. Sumner, who had worked as a clerk within the original firm. Mr. Sumner's eldest daughter married Richard's son James, and the firm became known as Grice, Sumner & Co. The business flourished and by the mid 1870s the firm held vast grazing properties in Victoria, New South Wales, South Australia and Queensland. Richard died at his home in Fitzroy on November the 4th 1882, survived by his wife and by three sons and four daughters.

Christ Church, built almost on the corner of Glenlyon Road and Brunswick Street in Brunswick, is a picturesque slice of Italy in inner city Melbourne. With its elegant proportions, warm yellow stuccoed facade and stylish Romanesque campanile, the church would not look out of place sitting atop a rise in Tuscany, or being the centre of an old walled town. This idea is further enhanced when the single bell rings from the campanile, calling worshipers to prayer.

Christ Church has been constructed in a cruciform plan with a detached campanile. Although not originally intended as such, at its completion, the church became an excellent example of "Villa Rustica" architecture in Australia. Like other churches around the inner city during the boom and bust eras of the mid Nineteenth Century as Melbourne became an established city, the building was built in stages between 1857 and 1875 as money became available to extend and better what was already in existence. Christ Church was dedicated in 1857 when the nave, designed by architects Purchas and Swyer, was completed. The transepts, chancel and vestry were completed between 1863 and 1864 to the designs created by the architects' firm Smith and Watts. The Romanesque style campanile was also designed by Smith and Watts and it completed between 1870 and 1871. A third architect, Frederick Wyatt, was employed to design the apse which was completed in 1875.

Built in Italianate style with overture characteristics of classical Italian country house designs, Christ Church is one of the few examples of what has been coined "Villa Rustica" architecture in Victoria.

Slipping through the front door at the bottom of the campanile, the rich smell of incense from mass envelops visitors. As soon as the double doors which lead into the church proper close behind you, the church provides a quiet refuge from the busy intersection of Glenlyon Road and Brunswick Street outside, and it is quite easy to forget that cars and trams pass by just a few metres away. Walking up the aisle of the nave of Christ Church, light pours over the original wooden pews with their hand embroidered cushions through sets of luminescent stained glass windows by Melbourne manufacturers, Ferguson and Urie, Mathieson and Gibson and Brooks Robinson and Company. A set of fourteen windows from the mid-to-late Nineteenth Century by Ferguson and Urie depicting different saints are especially beautiful, filled with painted glass panes which are as vivid now as when they were created more than one hundred years ago. The floors are still the original dark, richly polished boards that generations of worshipers have walked over since they were first laid. The east transept houses the Lady Chapel, whilst the west transept is consumed by the magnificent 1972 Roger H. Pogson organ built of cedar with tin piping. This replaced the original 1889 Alfred Fuller organ. Beautifully executed carved rood figures watch over the chancel from high, perhaps admiring the marble altar.

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 St. George's Presbyterian Church in East St Kilda 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 St, 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.

The stained glass firm of Ferguson and Urie was established by Scots James Ferguson (1818 – 1894), James Urie (1828 – 1890) and John Lamb Lyon (1836 – 1916). They were the first known makers of stained glass in Australia. Until the early 1860s, window glass in Melbourne had been clear or plain coloured, and nearly all was imported, but new churches and elaborate buildings created a demand for pictorial windows. The three Scotsmen set up Ferguson and Urie in 1862 and the business thrived until 1899, when it ceased operation, with only John Lamb Lyon left alive. Ferguson and Urie was the most successful Nineteenth Century Australian stained glass window making company. Among their earliest works were a Shakespeare window for the Haymarket Theatre in Bourke Street, a memorial window to Prince Albert in Holy Trinity, Kew, and a set of Apostles for the West Melbourne Presbyterian Church. Their palatial Gothic Revival office building stood at 283 Collins Street from 1875. Ironically, their last major commission, a window depicting “labour”, was installed in the old Melbourne Stock Exchange in Collins Street in 1893 on the eve of the bank crash. Their windows can be found throughout the older suburbs of Melbourne and across provincial Victoria.

Built in 1892 on the rise of a hill in the prominent location of the corner of Bromfield and Corangamite Streets in Colac, stands the grand two-storey red brick residence, "Lislea House".

"Lislea House" was built for Doctor Wynne, a local practitioner, for his use as a stylish residence and surgery. "Lislea House" has been constructed in the popular Federation Queen Anne style, which was mostly a residential style established in the 1890s which was inspired by the Arts and Crafts movement in England, but also encompassed some of the more stylised elements of Art Nouveau, which gave it an more decorative look. "Lislea House" has a very complex roofline, which is typical of the Federation Queen Anne architectural movement, as is the steeply pitched roof, ornate wooden fretwork that graces the return verandah and the exaggerated height of the chimneys.

Queen Anne style was most popular around the time of Federation. With complex roofline structures, ornamental towers of unusual proportions and undulating facades, many Queen Anne houses fell out of fashion at the beginning of the modern era, and were demolished.

Doctor Wynne was a prominent and popular figure in the Colac community. Born in Armagh, the county town of County Armagh in Northern Ireland in 1857, Doctor Wynne studied medicine at Dublin University. He migrated to Australia after gaining his degree and took over the Colac practice of Doctor Porter in the late 1880s. He was interested in public affairs and in the forwarding and improvement of Colac; becoming a patron of many establishments in the town including, the Colac Fire Brigade and the Colac Free Library. He even established a local newspaper the "Daily News". He was one of the original shareholders of the Colac Dairying Company, the Colac dairy farmers' co-operative. Doctor Wynne enjoyed horse racing and he and his wife entertained at their fine house often. Doctor Wynne died at "Lislea House" in 1915 as a result of complications. caused by a weak heart.

The descendants of Doctor Wynne no longer live in "Lislea House", and after some years of neglect, it has been restored internally and externally to its original splendor, as well as having had some modern day comforts added. It now serves as self contained apartments which take advantage of the house's location so close to the town's centre.

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).

Shot on iPhone 4.

Several of my 365 contacts have shared pictures of old cameras they treasure. Today I wanted to do the same, and also share some of their history.

Six-16 Kodak Junior (top left and bottom right): My grandfather's brother Lambert bought it in England when he served there with the 460 squadron in World War II. Lambert was like many young men of his generation, caught up in a war half a world away from home. He would use this to take snaps on his days off. I would love to have seen those pictures. He was shot down on 2 January 1944 and lies in a grave in Germany. The camera case still has his military number: 420146. The legendary 460 squadron flew the greatest number of raids and suffered the highest casualty rates of the Australian squadrons in Bomber command.

Kodak Brownie (bottom left): My great grandmother bought it for my then 13-year-old grandmother in 1924 at Boots the Chemist in Forest Hill SE23, the year before they migrated to Australia on the SS Balranald. My grandmother, whose 100th birthday featured on Day 198, gave it to me in 2005 with a note that says: "It was a treasure to me, because my Mother, who I loved dearly, gave it to me. I would like you to keep it."

Leica M2 (top right): This belonged to a friend of my grandfather's. My grandfather, who was one of life's great gentlemen, inherited it and then passed it on to me. I actually used this to shoot black and white at my sister's wedding - although given her eldest son is about to start uni I guess that must have been a while ago. I've got a few extra Leica lenses for this and it's truly one of the great cameras. It's older than I am (I think it's from the early 1960s). Wikipedia tells me that it was a camera this model that Alberto Korda used to take his famous photo of Che Guevara.

Munnawar Kashmir's maternal grandmother Ammi was the daughter in law of the second son of Nawab Wajid Ali Shah, and Munnawar Kashmiris father was late Nawab Kashmiri doyen of the Indian film industry contemporary of Dilip Kumar Sohrab Modi and others ..

Nawab Kashmiri had removed his entire 32 teeth in order to play a role of a old father in a film called Yahudi..and my father Mohomed Shakir my mother Shamim Shakir daughter of Daroga Nabban Saab of Lucknow descendant of poet Mir Anis stayed as tenants at their palatial house at Khatau Bhuvan now Jony Castle..Wodehoue Road Colaba.

Nawab Kashmiri Saab had bought this house and called his children from Kolkata in 1947..

He passed away in 1954

When they came to stay at Nawab Kashmiri Saabs house Wodehouse road , the entire house was under Ammi Nawab Saabs mother in law , the matriarch of the Nawab Kashmiri family , Nawab Saab had three children Akthar Baji a daughter , Anwar and Munnawar two sons..who had initially been bought up in Kolkatta at Wesley Street .

The Nawab Kashmiri family sold ther palatial Wodehouse Road flat 6 to 7 bedrooms servants quarters , Akthar Baji got married in Karachi and Munnawar moved to Juhu with his wife Vijay.

Anwar Kashmiri rugby buff and his Christian wife and children migrated to Australia.

Munnawar has been the link to my childhood my past and my education my upbrnging was the result of his sister Akthar we called Akthar Baji ..with due respect.. she educated me at Private European School affiliated to a Methodist John The Baptist Church opp Usha Sadan Colaba.

Later in 1963 she enrolled me at Holy Name High School..I am a product of her love and perseverance , though she hailed from a blue blooded royal family she was humble kind and loving, she loved my family the most , and Munni my sister and me were her blue eyed kids..

The Nawab Kashmiri house played host to Maulana Kabban Saab grandfather of Kalbe Jawad Saab and Maulana Kalbe Abid Saab his father was a welcome guest at their homes .. Kalbe Sadiq Saab to came here once in a while..

The Film Industry too dropped in and late Begum Akhtar treated Nawab Kashmiri's children as her family ..there used to be ghazal recitals at their house ...

A lot of memories of my childhood are etched in this house , memories that rewaken each time I meet Mannu Bhaiyya , Munnawar Kashmiri and his wife Vijay , they had visited our home today had lunch with us I had specially gone down to the Bandra Bazar fish market and bought some Goan fresh promfrets , that wife had fried and served piping hot..the lunch included crispy chiken fried with dried noodles and the main course was Chicken Biryani..

Marziya took their pictures and Nerjis watched them with glee .. Mannu Bhaiyya and Vijay have a very pretty charming daughter Sabha in America.

Akthar Baji has three loving children Ali Zehra and Abbas and I am told has never forgotten any of us ..she studied law at St Xavier's College along with Mr Rajesh Khanna ..and got her initial schooling at Convent of jesus and Mary ,colleged in Loretto college Calcutta .

Ammi Manus Bhaiyyas grand mothers name Sheryayar Bahu Suriya Mahal Nawab Imtiaz Begum

Moms Name- Nawab Hashmi Begum

Created in the mid-to-late Nineteenth Century by Melbourne stained glass manufacturer Ferguson and Urie, the Saint Peter stained glass window may be found on the left hand side of the nave, in the eastern wall, when approaching the altar of Christ Church Brunswick.

Saint Peter was one of the twelve apostles of Jesus. He is often called the Prince of the Apostles. Jesus promised Peter a special place in his church. He is commonly identified as the first Bishop of Rome and the founder of the Church of Antioch and the Roman Church. Dressed in papal vestments, he holds in his left hand an open book, whilst in his right hand, his most commonly recognised symbols; the Keys to Heaven, in this case executed in silver and gold. Traditionally he is portrayed with a white beard, however in this window he has a brown beard.

This window was erected by James Grice, eldest son of pastoralist, businessman, philanthropist and churchman Richard Grice. Richard was born on October the 30th 1813 in Cumberland, England. The son of William Grice and his wife Sarah, née Parke. he was born into a family who ran a private family bank in Cumberland, built on generations of his family who had begun as farmers in the area before becoming successful businessmen in Cumberland. Richard attended Walker's School in Whitehaven, and gained farming experience on one of his family's properties. However, in his mid twenties, Richard felt that his future did not lie in England, so he set sail to Australia in 1839. He arrived at Adelaide in September 1839 with shepherds and a business partner named Benjamin Heape. They did not stay in Adelaide, and journeyed east to Melbourne where Richard and Benjamin set up an importing and exporting business. Richard decided to explore the idea of pastoral opportunities in the Western District where he successfully raised and bred sheep, going on to become one of the most successful pastoralists in Australia. He expanded his pastoral holdings into Queensland. In 1844 Richard married the daughter of James Hibberson, Anne Lavinia. In 1847 they did a Grand Tour of Europe and then settled in the affluent Melbourne suburb of Fitzroy. They had twelve children. Benjamin returned to England in 1852, so Richard entered into a partnership with Mr. T. J. Sumner, who had worked as a clerk within the original firm. Mr. Sumner's eldest daughter married Richard's son James, and the firm became known as Grice, Sumner & Co. The business flourished and by the mid 1870s the firm held vast grazing properties in Victoria, New South Wales, South Australia and Queensland. Richard died at his home in Fitzroy on November the 4th 1882, survived by his wife and by three sons and four daughters.

Christ Church, built almost on the corner of Glenlyon Road and Brunswick Street in Brunswick, is a picturesque slice of Italy in inner city Melbourne. With its elegant proportions, warm yellow stuccoed facade and stylish Romanesque campanile, the church would not look out of place sitting atop a rise in Tuscany, or being the centre of an old walled town. This idea is further enhanced when the single bell rings from the campanile, calling worshipers to prayer.

Christ Church has been constructed in a cruciform plan with a detached campanile. Although not originally intended as such, at its completion, the church became an excellent example of "Villa Rustica" architecture in Australia. Like other churches around the inner city during the boom and bust eras of the mid Nineteenth Century as Melbourne became an established city, the building was built in stages between 1857 and 1875 as money became available to extend and better what was already in existence. Christ Church was dedicated in 1857 when the nave, designed by architects Purchas and Swyer, was completed. The transepts, chancel and vestry were completed between 1863 and 1864 to the designs created by the architects' firm Smith and Watts. The Romanesque style campanile was also designed by Smith and Watts and it completed between 1870 and 1871. A third architect, Frederick Wyatt, was employed to design the apse which was completed in 1875.

Built in Italianate style with overture characteristics of classical Italian country house designs, Christ Church is one of the few examples of what has been coined "Villa Rustica" architecture in Victoria.

Slipping through the front door at the bottom of the campanile, the rich smell of incense from mass envelops visitors. As soon as the double doors which lead into the church proper close behind you, the church provides a quiet refuge from the busy intersection of Glenlyon Road and Brunswick Street outside, and it is quite easy to forget that cars and trams pass by just a few metres away. Walking up the aisle of the nave of Christ Church, light pours over the original wooden pews with their hand embroidered cushions through sets of luminescent stained glass windows by Melbourne manufacturers, Ferguson and Urie, Mathieson and Gibson and Brooks Robinson and Company. A set of fourteen windows from the mid-to-late Nineteenth Century by Ferguson and Urie depicting different saints are especially beautiful, filled with painted glass panes which are as vivid now as when they were created more than one hundred years ago. The floors are still the original dark, richly polished boards that generations of worshipers have walked over since they were first laid. The east transept houses the Lady Chapel, whilst the west transept is consumed by the magnificent 1972 Roger H. Pogson organ built of cedar with tin piping. This replaced the original 1889 Alfred Fuller organ. Beautifully executed carved rood figures watch over the chancel from high, perhaps admiring the marble altar.

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 St. George's Presbyterian Church in East St Kilda 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 St, 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.

The stained glass firm of Ferguson and Urie was established by Scots James Ferguson (1818 – 1894), James Urie (1828 – 1890) and John Lamb Lyon (1836 – 1916). They were the first known makers of stained glass in Australia. Until the early 1860s, window glass in Melbourne had been clear or plain coloured, and nearly all was imported, but new churches and elaborate buildings created a demand for pictorial windows. The three Scotsmen set up Ferguson and Urie in 1862 and the business thrived until 1899, when it ceased operation, with only John Lamb Lyon left alive. Ferguson and Urie was the most successful Nineteenth Century Australian stained glass window making company. Among their earliest works were a Shakespeare window for the Haymarket Theatre in Bourke Street, a memorial window to Prince Albert in Holy Trinity, Kew, and a set of Apostles for the West Melbourne Presbyterian Church. Their palatial Gothic Revival office building stood at 283 Collins Street from 1875. Ironically, their last major commission, a window depicting “labour”, was installed in the old Melbourne Stock Exchange in Collins Street in 1893 on the eve of the bank crash. Their windows can be found throughout the older suburbs of Melbourne and across provincial Victoria.

Built in the 1870s in Italianate style with overture characteristics of classical Italian country house designs, the vicarage of Christ Church in Brunswick may be found on busy Glenlyon Road. Standing proudly behind a metal picket fence, its walls of stuccoed brick, painted a warm yellow colour glow on sunny days. It makes an excellent companion building to Christ Church, Brunswick, which stands just to the vicarage's right, separated by a piazza with a central fountain. Like the church itself, the vicarage is one of the few examples of what has been coined "Villa Rustica" architecture in Victoria.

Christ Church, built almost on the corner of Glenlyon Road and Brunswick Street in Brunswick, is a picturesque slice of Italy in inner city Melbourne. With its elegant proportions, warm yellow stuccoed facade and stylish Romanesque campanile, the church would not look out of place sitting atop a rise in Tuscany, or being the centre of an old walled town. This idea is further enhanced when the single bell rings from the campanile, calling worshipers to prayer.

Christ Church has been constructed in a cruciform plan with a detached campanile. Although not originally intended as such, at its completion, the church became an excellent example of "Villa Rustica" architecture in Australia. Like other churches around the inner city during the boom and bust eras of the mid Nineteenth Century as Melbourne became an established city, the building was built in stages between 1857 and 1875 as money became available to extend and better what was already in existence. Christ Church was dedicated in 1857 when the nave, designed by architects Purchas and Swyer, was completed. The transepts, chancel and vestry were completed between 1863 and 1864 to the designs created by the architects' firm Smith and Watts. The Romanesque style campanile was also designed by Smith and Watts and it completed between 1870 and 1871. A third architect, Frederick Wyatt, was employed to design the apse which was completed in 1875.

Built in Italianate style with overture characteristics of classical Italian country house designs, Christ Church is one of the few examples of what has been coined "Villa Rustica" architecture in Victoria.

Slipping through the front door at the bottom of the campanile, the rich smell of incense from mass envelops visitors. As soon as the double doors which lead into the church proper close behind you, the church provides a quiet refuge from the busy intersection of Glenlyon Road and Brunswick Street outside, and it is quite easy to forget that cars and trams pass by just a few metres away. Walking up the aisle of the nave of Christ Church, light pours over the original wooden pews with their hand embroidered cushions through sets of luminescent stained glass windows by Melbourne manufacturers, Ferguson and Urie, Mathieson and Gibson and Brooks Robinson and Company. A set of fourteen windows from the mid-to-late Nineteenth Century by Ferguson and Urie depicting different saints are especially beautiful, filled with painted glass panes which are as vivid now as when they were created more than one hundred years ago. The floors are still the original dark, richly polished boards that generations of worshipers have walked over since they were first laid. The east transept houses the Lady Chapel, whilst the west transept is consumed by the magnificent 1972 Roger H. Pogson organ built of cedar with tin piping. This replaced the original 1889 Alfred Fuller organ. Beautifully executed carved rood figures watch over the chancel from high, perhaps admiring the marble altar.

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 St. George's Presbyterian Church in East St Kilda 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 St, 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.

Created in the mid-to-late Nineteenth Century by Melbourne stained glass manufacturer Ferguson and Urie, the Saint Peter stained glass window may be found on the left hand side of the nave, in the eastern wall, when approaching the altar of Christ Church Brunswick.

Saint Peter was one of the twelve apostles of Jesus. He is often called the Prince of the Apostles. Jesus promised Peter a special place in his church. He is commonly identified as the first Bishop of Rome and the founder of the Church of Antioch and the Roman Church. Dressed in papal vestments, he holds in his left hand an open book, whilst in his right hand, his most commonly recognised symbols; the Keys to Heaven, in this case executed in silver and gold. Traditionally he is portrayed with a white beard, however in this window he has a brown beard.

This window was erected by James Grice, eldest son of pastoralist, businessman, philanthropist and churchman Richard Grice. Richard was born on October the 30th 1813 in Cumberland, England. The son of William Grice and his wife Sarah, née Parke. he was born into a family who ran a private family bank in Cumberland, built on generations of his family who had begun as farmers in the area before becoming successful businessmen in Cumberland. Richard attended Walker's School in Whitehaven, and gained farming experience on one of his family's properties. However, in his mid twenties, Richard felt that his future did not lie in England, so he set sail to Australia in 1839. He arrived at Adelaide in September 1839 with shepherds and a business partner named Benjamin Heape. They did not stay in Adelaide, and journeyed east to Melbourne where Richard and Benjamin set up an importing and exporting business. Richard decided to explore the idea of pastoral opportunities in the Western District where he successfully raised and bred sheep, going on to become one of the most successful pastoralists in Australia. He expanded his pastoral holdings into Queensland. In 1844 Richard married the daughter of James Hibberson, Anne Lavinia. In 1847 they did a Grand Tour of Europe and then settled in the affluent Melbourne suburb of Fitzroy. They had twelve children. Benjamin returned to England in 1852, so Richard entered into a partnership with Mr. T. J. Sumner, who had worked as a clerk within the original firm. Mr. Sumner's eldest daughter married Richard's son James, and the firm became known as Grice, Sumner & Co. The business flourished and by the mid 1870s the firm held vast grazing properties in Victoria, New South Wales, South Australia and Queensland. Richard died at his home in Fitzroy on November the 4th 1882, survived by his wife and by three sons and four daughters.

Christ Church, built almost on the corner of Glenlyon Road and Brunswick Street in Brunswick, is a picturesque slice of Italy in inner city Melbourne. With its elegant proportions, warm yellow stuccoed facade and stylish Romanesque campanile, the church would not look out of place sitting atop a rise in Tuscany, or being the centre of an old walled town. This idea is further enhanced when the single bell rings from the campanile, calling worshipers to prayer.

Christ Church has been constructed in a cruciform plan with a detached campanile. Although not originally intended as such, at its completion, the church became an excellent example of "Villa Rustica" architecture in Australia. Like other churches around the inner city during the boom and bust eras of the mid Nineteenth Century as Melbourne became an established city, the building was built in stages between 1857 and 1875 as money became available to extend and better what was already in existence. Christ Church was dedicated in 1857 when the nave, designed by architects Purchas and Swyer, was completed. The transepts, chancel and vestry were completed between 1863 and 1864 to the designs created by the architects' firm Smith and Watts. The Romanesque style campanile was also designed by Smith and Watts and it completed between 1870 and 1871. A third architect, Frederick Wyatt, was employed to design the apse which was completed in 1875.

Built in Italianate style with overture characteristics of classical Italian country house designs, Christ Church is one of the few examples of what has been coined "Villa Rustica" architecture in Victoria.

Slipping through the front door at the bottom of the campanile, the rich smell of incense from mass envelops visitors. As soon as the double doors which lead into the church proper close behind you, the church provides a quiet refuge from the busy intersection of Glenlyon Road and Brunswick Street outside, and it is quite easy to forget that cars and trams pass by just a few metres away. Walking up the aisle of the nave of Christ Church, light pours over the original wooden pews with their hand embroidered cushions through sets of luminescent stained glass windows by Melbourne manufacturers, Ferguson and Urie, Mathieson and Gibson and Brooks Robinson and Company. A set of fourteen windows from the mid-to-late Nineteenth Century by Ferguson and Urie depicting different saints are especially beautiful, filled with painted glass panes which are as vivid now as when they were created more than one hundred years ago. The floors are still the original dark, richly polished boards that generations of worshipers have walked over since they were first laid. The east transept houses the Lady Chapel, whilst the west transept is consumed by the magnificent 1972 Roger H. Pogson organ built of cedar with tin piping. This replaced the original 1889 Alfred Fuller organ. Beautifully executed carved rood figures watch over the chancel from high, perhaps admiring the marble altar.

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 St. George's Presbyterian Church in East St Kilda 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 St, 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.

The stained glass firm of Ferguson and Urie was established by Scots James Ferguson (1818 – 1894), James Urie (1828 – 1890) and John Lamb Lyon (1836 – 1916). They were the first known makers of stained glass in Australia. Until the early 1860s, window glass in Melbourne had been clear or plain coloured, and nearly all was imported, but new churches and elaborate buildings created a demand for pictorial windows. The three Scotsmen set up Ferguson and Urie in 1862 and the business thrived until 1899, when it ceased operation, with only John Lamb Lyon left alive. Ferguson and Urie was the most successful Nineteenth Century Australian stained glass window making company. Among their earliest works were a Shakespeare window for the Haymarket Theatre in Bourke Street, a memorial window to Prince Albert in Holy Trinity, Kew, and a set of Apostles for the West Melbourne Presbyterian Church. Their palatial Gothic Revival office building stood at 283 Collins Street from 1875. Ironically, their last major commission, a window depicting “labour”, was installed in the old Melbourne Stock Exchange in Collins Street in 1893 on the eve of the bank crash. Their windows can be found throughout the older suburbs of Melbourne and across provincial Victoria.

Created in the mid-to-late Nineteenth Century by Melbourne stained glass manufacturer Ferguson and Urie, the Saint Paul stained glass window may be found in Lady Chapel in the eastern transept of Christ Church Brunswick.

Saint Paul was an apostle, although he was not one of Jesus' twelve apostles. He taught the Gospel of Christ to people during the First Century and he founded several churches. He was both a Jew and a Roman citizen, so he was able to minister to both Jewish and Roman audiences. According to this legend, after Paul was decapitated, his severed head rebounded three times, giving rise to a source of water each time that it touched the ground. He is depicted holding a sword in this stained glass window as the symbol of his martyrdom.

This window was erected by James Grice, eldest son of pastoralist, businessman, philanthropist and churchman Richard Grice. Richard was born on October the 30th 1813 in Cumberland, England. The son of William Grice and his wife Sarah, née Parke. he was born into a family who ran a private family bank in Cumberland, built on generations of his family who had begun as farmers in the area before becoming successful businessmen in Cumberland. Richard attended Walker's School in Whitehaven, and gained farming experience on one of his family's properties. However, in his mid twenties, Richard felt that his future did not lie in England, so he set sail to Australia in 1839. He arrived at Adelaide in September 1839 with shepherds and a business partner named Benjamin Heape. They did not stay in Adelaide, and journeyed east to Melbourne where Richard and Benjamin set up an importing and exporting business. Richard decided to explore the idea of pastoral opportunities in the Western District where he successfully raised and bred sheep, going on to become one of the most successful pastoralists in Australia. He expanded his pastoral holdings into Queensland. In 1844 Richard married the daughter of James Hibberson, Anne Lavinia. In 1847 they did a Grand Tour of Europe and then settled in the affluent Melbourne suburb of Fitzroy. They had twelve children. Benjamin returned to England in 1852, so Richard entered into a partnership with Mr. T. J. Sumner, who had worked as a clerk within the original firm. Mr. Sumner's eldest daughter married Richard's son James, and the firm became known as Grice, Sumner & Co. The business flourished and by the mid 1870s the firm held vast grazing properties in Victoria, New South Wales, South Australia and Queensland. Richard died at his home in Fitzroy on November the 4th 1882, survived by his wife and by three sons and four daughters.

Christ Church, built almost on the corner of Glenlyon Road and Brunswick Street in Brunswick, is a picturesque slice of Italy in inner city Melbourne. With its elegant proportions, warm yellow stuccoed facade and stylish Romanesque campanile, the church would not look out of place sitting atop a rise in Tuscany, or being the centre of an old walled town. This idea is further enhanced when the single bell rings from the campanile, calling worshipers to prayer.

Christ Church has been constructed in a cruciform plan with a detached campanile. Although not originally intended as such, at its completion, the church became an excellent example of "Villa Rustica" architecture in Australia. Like other churches around the inner city during the boom and bust eras of the mid Nineteenth Century as Melbourne became an established city, the building was built in stages between 1857 and 1875 as money became available to extend and better what was already in existence. Christ Church was dedicated in 1857 when the nave, designed by architects Purchas and Swyer, was completed. The transepts, chancel and vestry were completed between 1863 and 1864 to the designs created by the architects' firm Smith and Watts. The Romanesque style campanile was also designed by Smith and Watts and it completed between 1870 and 1871. A third architect, Frederick Wyatt, was employed to design the apse which was completed in 1875.

Built in Italianate style with overture characteristics of classical Italian country house designs, Christ Church is one of the few examples of what has been coined "Villa Rustica" architecture in Victoria.

Slipping through the front door at the bottom of the campanile, the rich smell of incense from mass envelops visitors. As soon as the double doors which lead into the church proper close behind you, the church provides a quiet refuge from the busy intersection of Glenlyon Road and Brunswick Street outside, and it is quite easy to forget that cars and trams pass by just a few metres away. Walking up the aisle of the nave of Christ Church, light pours over the original wooden pews with their hand embroidered cushions through sets of luminescent stained glass windows by Melbourne manufacturers, Ferguson and Urie, Mathieson and Gibson and Brooks Robinson and Company. A set of fourteen windows from the mid-to-late Nineteenth Century by Ferguson and Urie depicting different saints are especially beautiful, filled with painted glass panes which are as vivid now as when they were created more than one hundred years ago. The floors are still the original dark, richly polished boards that generations of worshipers have walked over since they were first laid. The east transept houses the Lady Chapel, whilst the west transept is consumed by the magnificent 1972 Roger H. Pogson organ built of cedar with tin piping. This replaced the original 1889 Alfred Fuller organ. Beautifully executed carved rood figures watch over the chancel from high, perhaps admiring the marble altar.

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 St. George's Presbyterian Church in East St Kilda 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 St, 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.

The stained glass firm of Ferguson and Urie was established by Scots James Ferguson (1818 – 1894), James Urie (1828 – 1890) and John Lamb Lyon (1836 – 1916). They were the first known makers of stained glass in Australia. Until the early 1860s, window glass in Melbourne had been clear or plain coloured, and nearly all was imported, but new churches and elaborate buildings created a demand for pictorial windows. The three Scotsmen set up Ferguson and Urie in 1862 and the business thrived until 1899, when it ceased operation, with only John Lamb Lyon left alive. Ferguson and Urie was the most successful Nineteenth Century Australian stained glass window making company. Among their earliest works were a Shakespeare window for the Haymarket Theatre in Bourke Street, a memorial window to Prince Albert in Holy Trinity, Kew, and a set of Apostles for the West Melbourne Presbyterian Church. Their palatial Gothic Revival office building stood at 283 Collins Street from 1875. Ironically, their last major commission, a window depicting “labour”, was installed in the old Melbourne Stock Exchange in Collins Street in 1893 on the eve of the bank crash. Their windows can be found throughout the older suburbs of Melbourne and across provincial Victoria.

ca. 1912

"This is a new bridge they are building over the Hunter River not far from West Maitland, the Government builds all these here. Yours, Nix"

Post card written to Mrs. Endean prior to her migrating to Australia in 1914.

Folder 2 Endean 0003

Image courtesy of Mr. D. Endean

This image can be used for study and personal research purposes. Please observe copyright and acknowledge source of all photos. If you wish to reproduce this image for any other purpose you must obtain permission by contacting Maitland City Library

If you have any further information about the image, please contact us or leave a comment in the box below.

Arthur Gordon McCrae (209), Second Class Passenger.

Mr Arthur Gordon McCrae, 32, was born in Adelaide on 7 January 1880. Arthur's grandmother was Georgiana Huntly McCrae (1804-1890) the (illegitimate) daughter of George, 5th Duke of Gordon and Jane Graham. Georgiana migrated to Australia with her husband Andrew (1800-1874). They had nine children, the fourth was Farquhar Peregrine R. McCrae, Arthur's father

Arthur was the youngest son of Farquhar Peregrine Gordon McCrae (1838-1915), a former inspector of the Bank of Australasia, Sydney, Australia, and Emily Aphrasia Brown.

He was educated at the Sydney Grammar School and at St Paul’s College, Sydney University, and graduated as a Bachelor of Engineering.

After completing his studies he received an appointment at a gold-mine in West Africa, from which he proceeded to the post of assistant-manager of the Spasky copper-mine, Akmolinsk, Siberia. He became engaged to the daughter of the mine manager.

McCrae boarded the Titanic at Southampton as a Second Class passenger. He was travelling to meet friends in Canada. He died in the sinking, his body was recovered by the MacKay Bennett (#209) and buried at Fairview Cemetery, Halifax, Nova Scotia on 10 May 1912.

NO. 209 - MALE. - ESTIMATED AGE, 45. FAIR - HAIR.

CLOTHING - Blue suit; white canvas shoes; flannel shirt.

EFFECTS - Diamond and emerald ring; gold links; two watches; key chain; keys; pencil case; foreign bills; letter case.

NAME - GORDON McCRAE.

Later, a Celtic cross was erected at his grave, the tallest among those in the Titanic section.

The inscription reads:

'In Loving memory of Arthur Gordon McCrae B.E., University of Sydney, NS Wales, Australia who lost his life in the wreck of the Titanic, April 1912, 32 years "Faithful unto death'

Source: livinghistories.newcastle.edu.au/nodes/view/46993

This photo appeared in the UNINEWS in 1988. The text was:

"Better public image for engineers

The Deputy Chairman of one of Australia’s leading engineering companies has expressed the view that engineers have the right to a much higher social status.

‘Engineers are, in my opinion, perceived as a pompous lot who can only speak of their projects,’ Dr Manuel Alves said.

Dr Alves, Deputy Chairman of the Allco Steel Corporation, of Tomago, was commenting during his address to graduates at the Architecture and Engineering graduation ceremony.

Earlier he was admitted to an Honorary Doctor of Engineering degree in recognition of ‘his achievements and contributions to the modern development for engineering and for the example he has set for others to follow.’

Dr Alves migrated to Australia from his native Portugal and, with a partner, formed Allco Steel in 1968. He is a strong supporter of the University and in his address said that the team work which had developed between Allo and the Faculty of Engineering had produced excellent results.

Dr Alves suggested that engineers ‘clearly and openly’ engage in a continuous campaign of public relations to highlight their talents, expertise and commitment to a profession which, when understood and accepted correctly, would be of great benefit to Australia.

‘It would be of great benefit if we start convincing the public that Australian engineers, when given the opportunity, will demonstrate that they are committed and competent professionals.

‘The first benefit will be,’ he said, ‘that engineers will be given the opportunity to produce the goods, and the second that they will be correctly compensated for their achievements, eliminating the need for them to go to competing countries just to gain higher compensation.’

It was important, Dr Alves asserted, that Australia recognised that engineers were grossly underpaid compared with those in competing nations.

‘A fund should be immediately be started to engage specialist public relations personnel to promote to the Australia public the excellence and professional commitment of our engineers.

Dr Alves said: ‘Unless public opinion perceives that engineers are and influential profession, we cannot expect politicians to join us, or even listen to us.’

Dr Alves said that recently he heard the Governor-General, Sir Nintan Stephens, speak about his recent visit to China. ‘He spoke about the enormous value of engineers there and the high position they occupy in the government.’"

The Conferring of Degrees booklet for this ceremony is available via the University of Newcastle Library catalogue.

This image was scanned from a photograph in the University's historical photographic collection held by Cultural Collections at the University of Newcastle, NSW, Australia.

If you have any information about this photograph, or would like a higher resolution copy, please contact us or leave a comment in the box below.

Created in the mid-to-late Nineteenth Century by Melbourne stained glass manufacturer Ferguson and Urie, the Saint Philip stained glass window may be found in the western transept of Christ Church Brunswick adjunct to the 1972 Roger H. Pogson organ built of cedar with tin piping.

Saint Philip was one of the twelve apostles of Jesus, and is believed to have preached in Greece, Phrygia and Syria. He is the patron saint of hatters and pastry chefs, and is often depicted holding a basket of loaves. In this window however, Saint Philip is depicted traditionally, but holding his other symbol of iconography, a latin cross, together with a red bound bible. Both symbolise his openness to God's teachings.

This window was erected by James Grice, eldest son of pastoralist, businessman, philanthropist and churchman Richard Grice. Richard was born on October the 30th 1813 in Cumberland, England. The son of William Grice and his wife Sarah, née Parke. he was born into a family who ran a private family bank in Cumberland, built on generations of his family who had begun as farmers in the area before becoming successful businessmen in Cumberland. Richard attended Walker's School in Whitehaven, and gained farming experience on one of his family's properties. However, in his mid twenties, Richard felt that his future did not lie in England, so he set sail to Australia in 1839. He arrived at Adelaide in September 1839 with shepherds and a business partner named Benjamin Heape. They did not stay in Adelaide, and journeyed east to Melbourne where Richard and Benjamin set up an importing and exporting business. Richard decided to explore the idea of pastoral opportunities in the Western District where he successfully raised and bred sheep, going on to become one of the most successful pastoralists in Australia. He expanded his pastoral holdings into Queensland. In 1844 Richard married the daughter of James Hibberson, Anne Lavinia. In 1847 they did a Grand Tour of Europe and then settled in the affluent Melbourne suburb of Fitzroy. They had twelve children. Benjamin returned to England in 1852, so Richard entered into a partnership with Mr. T. J. Sumner, who had worked as a clerk within the original firm. Mr. Sumner's eldest daughter married Richard's son James, and the firm became known as Grice, Sumner & Co. The business flourished and by the mid 1870s the firm held vast grazing properties in Victoria, New South Wales, South Australia and Queensland. Richard died at his home in Fitzroy on November the 4th 1882, survived by his wife and by three sons and four daughters.

Christ Church, built almost on the corner of Glenlyon Road and Brunswick Street in Brunswick, is a picturesque slice of Italy in inner city Melbourne. With its elegant proportions, warm yellow stuccoed facade and stylish Romanesque campanile, the church would not look out of place sitting atop a rise in Tuscany, or being the centre of an old walled town. This idea is further enhanced when the single bell rings from the campanile, calling worshipers to prayer.

Christ Church has been constructed in a cruciform plan with a detached campanile. Although not originally intended as such, at its completion, the church became an excellent example of "Villa Rustica" architecture in Australia. Like other churches around the inner city during the boom and bust eras of the mid Nineteenth Century as Melbourne became an established city, the building was built in stages between 1857 and 1875 as money became available to extend and better what was already in existence. Christ Church was dedicated in 1857 when the nave, designed by architects Purchas and Swyer, was completed. The transepts, chancel and vestry were completed between 1863 and 1864 to the designs created by the architects' firm Smith and Watts. The Romanesque style campanile was also designed by Smith and Watts and it completed between 1870 and 1871. A third architect, Frederick Wyatt, was employed to design the apse which was completed in 1875.

Built in Italianate style with overture characteristics of classical Italian country house designs, Christ Church is one of the few examples of what has been coined "Villa Rustica" architecture in Victoria.

Slipping through the front door at the bottom of the campanile, the rich smell of incense from mass envelops visitors. As soon as the double doors which lead into the church proper close behind you, the church provides a quiet refuge from the busy intersection of Glenlyon Road and Brunswick Street outside, and it is quite easy to forget that cars and trams pass by just a few metres away. Walking up the aisle of the nave of Christ Church, light pours over the original wooden pews with their hand embroidered cushions through sets of luminescent stained glass windows by Melbourne manufacturers, Ferguson and Urie, Mathieson and Gibson and Brooks Robinson and Company. A set of fourteen windows from the mid-to-late Nineteenth Century by Ferguson and Urie depicting different saints are especially beautiful, filled with painted glass panes which are as vivid now as when they were created more than one hundred years ago. The floors are still the original dark, richly polished boards that generations of worshipers have walked over since they were first laid. The east transept houses the Lady Chapel, whilst the west transept is consumed by the magnificent 1972 Roger H. Pogson organ built of cedar with tin piping. This replaced the original 1889 Alfred Fuller organ. Beautifully executed carved rood figures watch over the chancel from high, perhaps admiring the marble altar.

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 St. George's Presbyterian Church in East St Kilda 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 St, 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.

The stained glass firm of Ferguson and Urie was established by Scots James Ferguson (1818 – 1894), James Urie (1828 – 1890) and John Lamb Lyon (1836 – 1916). They were the first known makers of stained glass in Australia. Until the early 1860s, window glass in Melbourne had been clear or plain coloured, and nearly all was imported, but new churches and elaborate buildings created a demand for pictorial windows. The three Scotsmen set up Ferguson and Urie in 1862 and the business thrived until 1899, when it ceased operation, with only John Lamb Lyon left alive. Ferguson and Urie was the most successful Nineteenth Century Australian stained glass window making company. Among their earliest works were a Shakespeare window for the Haymarket Theatre in Bourke Street, a memorial window to Prince Albert in Holy Trinity, Kew, and a set of Apostles for the West Melbourne Presbyterian Church. Their palatial Gothic Revival office building stood at 283 Collins Street from 1875. Ironically, their last major commission, a window depicting “labour”, was installed in the old Melbourne Stock Exchange in Collins Street in 1893 on the eve of the bank crash. Their windows can be found throughout the older suburbs of Melbourne and across provincial Victoria.

Created in the mid-to-late Nineteenth Century by Melbourne stained glass manufacturer Ferguson and Urie, the Resurrection of Jesus stained glass window is one of three windows above the altar. It is the right of these three windows.

The resurrection of Jesus or resurrection of Christ is the Christian religious belief that, after being put to death, Jesus rose again from the dead: as the Nicene Creed expresses it, "On the third day he rose again in accordance with the Scriptures". In the window, Jesus leaps from his tomb, much to the surprise of the Roman soldier at the bottom of the panel, whose face shows sheer fright. The golden Kingdom of Heaven awaits Jesus at the top of the panel, light beams streaming down to embrace him and welcome him home. The banner of the triumphal cross, symbolising the victory of the resurrected Christ over death flies to the upper left-hand side of the panel. The symbol is derived from the vision of the Roman Emperor Constantine the Great and his use of a cross on the Roman Standard. There are floral motifs both above and below the main panel. These floral designs are reflected in the other two windows around the altar.

Christ Church, built almost on the corner of Glenlyon Road and Brunswick Street in Brunswick, is a picturesque slice of Italy in inner city Melbourne. With its elegant proportions, warm yellow stuccoed facade and stylish Romanesque campanile, the church would not look out of place sitting atop a rise in Tuscany, or being the centre of an old walled town. This idea is further enhanced when the single bell rings from the campanile, calling worshipers to prayer.

Christ Church has been constructed in a cruciform plan with a detached campanile. Although not originally intended as such, at its completion, the church became an excellent example of "Villa Rustica" architecture in Australia. Like other churches around the inner city during the boom and bust eras of the mid Nineteenth Century as Melbourne became an established city, the building was built in stages between 1857 and 1875 as money became available to extend and better what was already in existence. Christ Church was dedicated in 1857 when the nave, designed by architects Purchas and Swyer, was completed. The transepts, chancel and vestry were completed between 1863 and 1864 to the designs created by the architects' firm Smith and Watts. The Romanesque style campanile was also designed by Smith and Watts and it completed between 1870 and 1871. A third architect, Frederick Wyatt, was employed to design the apse which was completed in 1875.

Built in Italianate style with overture characteristics of classical Italian country house designs, Christ Church is one of the few examples of what has been coined "Villa Rustica" architecture in Victoria.

Slipping through the front door at the bottom of the campanile, the rich smell of incense from mass envelops visitors. As soon as the double doors which lead into the church proper close behind you, the church provides a quiet refuge from the busy intersection of Glenlyon Road and Brunswick Street outside, and it is quite easy to forget that cars and trams pass by just a few metres away. Walking up the aisle of the nave of Christ Church, light pours over the original wooden pews with their hand embroidered cushions through sets of luminescent stained glass windows by Melbourne manufacturers, Ferguson and Urie, Mathieson and Gibson and Brooks Robinson and Company. A set of fourteen windows from the mid-to-late Nineteenth Century by Ferguson and Urie depicting different saints are especially beautiful, filled with painted glass panes which are as vivid now as when they were created more than one hundred years ago. The floors are still the original dark, richly polished boards that generations of worshipers have walked over since they were first laid. The east transept houses the Lady Chapel, whilst the west transept is consumed by the magnificent 1972 Roger H. Pogson organ built of cedar with tin piping. This replaced the original 1889 Alfred Fuller organ. Beautifully executed carved rood figures watch over the chancel from high, perhaps admiring the marble altar.

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 St. George's Presbyterian Church in East St Kilda 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 St, 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.

The stained glass firm of Ferguson and Urie was established by Scots James Ferguson (1818 – 1894), James Urie (1828 – 1890) and John Lamb Lyon (1836 – 1916). They were the first known makers of stained glass in Australia. Until the early 1860s, window glass in Melbourne had been clear or plain coloured, and nearly all was imported, but new churches and elaborate buildings created a demand for pictorial windows. The three Scotsmen set up Ferguson and Urie in 1862 and the business thrived until 1899, when it ceased operation, with only John Lamb Lyon left alive. Ferguson and Urie was the most successful Nineteenth Century Australian stained glass window making company. Among their earliest works were a Shakespeare window for the Haymarket Theatre in Bourke Street, a memorial window to Prince Albert in Holy Trinity, Kew, and a set of Apostles for the West Melbourne Presbyterian Church. Their palatial Gothic Revival office building stood at 283 Collins Street from 1875. Ironically, their last major commission, a window depicting “labour”, was installed in the old Melbourne Stock Exchange in Collins Street in 1893 on the eve of the bank crash. Their windows can be found throughout the older suburbs of Melbourne and across provincial Victoria.

Created in 1863 as a memorial to Edmund William Johnson Bardin by Melbourne stained glass manufacturer Ferguson and Urie, the Holy Family stained glass window may be found at the north end of the nave, to the right of the ornate baptismal font. The window has a pair on the left. The window depicts the Holy Family. In the foreground, Mary holds Jesus in her lap. To the right stands Mary's pot with the letter M monogrammed upon it, from which springs the Annunciation lily, which represents Mary's purity. Behind them in the mid ground, Joseph sits in prayer looking sombre, perhaps as a result of his dream where an angel told him to flee to Egypt with his family to protect Jesus from King Herod's murderous plans.

Edmund William Johnson Bardin died on the 17th of August 1863 according to the beautiful brass plaque below the Holy Family window dedicated to him. Interestingly enough, whilst he died in Brunswick, he appears not to have been a member of the congregation. Records from the Londonderry Sentinel indicate that he was from Emerald Downs in Queenland. Edmund Bardin was the youngest son of the Reverend Charles Bardin (who was for many years the Rector of Derryloran, Cookstown, Diocese of Armagh in Ireland) and his wife Julia Helena Hodgkinson. His brother Alfred Thackeray Purdon Bardin has a memorial window next to him of the presentation of Jesus at the Temple on the opposite side of the baptismal font in Christ Church, Brunswick.

Christ Church, built almost on the corner of Glenlyon Road and Brunswick Street in Brunswick, is a picturesque slice of Italy in inner city Melbourne. With its elegant proportions, warm yellow stuccoed facade and stylish Romanesque campanile, the church would not look out of place sitting atop a rise in Tuscany, or being the centre of an old walled town. This idea is further enhanced when the single bell rings from the campanile, calling worshipers to prayer.

Christ Church has been constructed in a cruciform plan with a detached campanile. Although not originally intended as such, at its completion, the church became an excellent example of "Villa Rustica" architecture in Australia. Like other churches around the inner city during the boom and bust eras of the mid Nineteenth Century as Melbourne became an established city, the building was built in stages between 1857 and 1875 as money became available to extend and better what was already in existence. Christ Church was dedicated in 1857 when the nave, designed by architects Purchas and Swyer, was completed. The transepts, chancel and vestry were completed between 1863 and 1864 to the designs created by the architects' firm Smith and Watts. The Romanesque style campanile was also designed by Smith and Watts and it completed between 1870 and 1871. A third architect, Frederick Wyatt, was employed to design the apse which was completed in 1875.

Built in Italianate style with overture characteristics of classical Italian country house designs, Christ Church is one of the few examples of what has been coined "Villa Rustica" architecture in Victoria.

Slipping through the front door at the bottom of the campanile, the rich smell of incense from mass envelops visitors. As soon as the double doors which lead into the church proper close behind you, the church provides a quiet refuge from the busy intersection of Glenlyon Road and Brunswick Street outside, and it is quite easy to forget that cars and trams pass by just a few metres away. Walking up the aisle of the nave of Christ Church, light pours over the original wooden pews with their hand embroidered cushions through sets of luminescent stained glass windows by Melbourne manufacturers, Ferguson and Urie, Mathieson and Gibson and Brooks Robinson and Company. A set of fourteen windows from the mid-to-late Nineteenth Century by Ferguson and Urie depicting different saints are especially beautiful, filled with painted glass panes which are as vivid now as when they were created more than one hundred years ago. The floors are still the original dark, richly polished boards that generations of worshipers have walked over since they were first laid. The east transept houses the Lady Chapel, whilst the west transept is consumed by the magnificent 1972 Roger H. Pogson organ built of cedar with tin piping. This replaced the original 1889 Alfred Fuller organ. Beautifully executed carved rood figures watch over the chancel from high, perhaps admiring the marble altar.

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 St. George's Presbyterian Church in East St Kilda 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 St, 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.

The stained glass firm of Ferguson and Urie was established by Scots James Ferguson (1818 – 1894), James Urie (1828 – 1890) and John Lamb Lyon (1836 – 1916). They were the first known makers of stained glass in Australia. Until the early 1860s, window glass in Melbourne had been clear or plain coloured, and nearly all was imported, but new churches and elaborate buildings created a demand for pictorial windows. The three Scotsmen set up Ferguson and Urie in 1862 and the business thrived until 1899, when it ceased operation, with only John Lamb Lyon left alive. Ferguson and Urie was the most successful Nineteenth Century Australian stained glass window making company. Among their earliest works were a Shakespeare window for the Haymarket Theatre in Bourke Street, a memorial window to Prince Albert in Holy Trinity, Kew, and a set of Apostles for the West Melbourne Presbyterian Church. Their palatial Gothic Revival office building stood at 283 Collins Street from 1875. Ironically, their last major commission, a window depicting “labour”, was installed in the old Melbourne Stock Exchange in Collins Street in 1893 on the eve of the bank crash. Their windows can be found throughout the older suburbs of Melbourne and across provincial Victoria.

Created in the mid-to-late Nineteenth Century by Melbourne stained glass manufacturer Ferguson and Urie, the Crucifixion of Jesus stained glass window is one of three windows above the altar. It is the central window of the three.

The crucifixion of Jesus is mentioned in all four Gospels of the New Testament. According to them, Jesus was arrested and tried by the Sanhedrin, and then sentenced by Pontius Pilate to be scourged, and finally crucified by the Romans. Jesus was stripped of his clothing and offered wine mixed with myrrh or gall to drink before being crucified. An object of ridicule, a crown of thorns was forced upon his head. The common belief is that Jesus died on the cross to absolve the sins of the peoples of the world, so that they, like he, could rise from death and go to heaven. Considering Jesus' status as King of the Jews and his bloody death, the vivid red stained glass background in this window may have been chosen on purpose. With her long golden tresses spilling about her, Mary Magdeline is depicted embracing the feet of the cross of Christ, the unhappiness clear on her face. An alabaster jar with a finial top (possibly a myrrh bearer) and a skull at the foot of the cross also identify this woman as Mary Magdalene. There are floral motifs both above and below the main panel. These floral designs are reflected in the other two windows around the altar.

Christ Church, built almost on the corner of Glenlyon Road and Brunswick Street in Brunswick, is a picturesque slice of Italy in inner city Melbourne. With its elegant proportions, warm yellow stuccoed facade and stylish Romanesque campanile, the church would not look out of place sitting atop a rise in Tuscany, or being the centre of an old walled town. This idea is further enhanced when the single bell rings from the campanile, calling worshipers to prayer.

Christ Church has been constructed in a cruciform plan with a detached campanile. Although not originally intended as such, at its completion, the church became an excellent example of "Villa Rustica" architecture in Australia. Like other churches around the inner city during the boom and bust eras of the mid Nineteenth Century as Melbourne became an established city, the building was built in stages between 1857 and 1875 as money became available to extend and better what was already in existence. Christ Church was dedicated in 1857 when the nave, designed by architects Purchas and Swyer, was completed. The transepts, chancel and vestry were completed between 1863 and 1864 to the designs created by the architects' firm Smith and Watts. The Romanesque style campanile was also designed by Smith and Watts and it completed between 1870 and 1871. A third architect, Frederick Wyatt, was employed to design the apse which was completed in 1875.

Built in Italianate style with overture characteristics of classical Italian country house designs, Christ Church is one of the few examples of what has been coined "Villa Rustica" architecture in Victoria.

Slipping through the front door at the bottom of the campanile, the rich smell of incense from mass envelops visitors. As soon as the double doors which lead into the church proper close behind you, the church provides a quiet refuge from the busy intersection of Glenlyon Road and Brunswick Street outside, and it is quite easy to forget that cars and trams pass by just a few metres away. Walking up the aisle of the nave of Christ Church, light pours over the original wooden pews with their hand embroidered cushions through sets of luminescent stained glass windows by Melbourne manufacturers, Ferguson and Urie, Mathieson and Gibson and Brooks Robinson and Company. A set of fourteen windows from the mid-to-late Nineteenth Century by Ferguson and Urie depicting different saints are especially beautiful, filled with painted glass panes which are as vivid now as when they were created more than one hundred years ago. The floors are still the original dark, richly polished boards that generations of worshipers have walked over since they were first laid. The east transept houses the Lady Chapel, whilst the west transept is consumed by the magnificent 1972 Roger H. Pogson organ built of cedar with tin piping. This replaced the original 1889 Alfred Fuller organ. Beautifully executed carved rood figures watch over the chancel from high, perhaps admiring the marble altar.

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 St. George's Presbyterian Church in East St Kilda 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 St, 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.

The stained glass firm of Ferguson and Urie was established by Scots James Ferguson (1818 – 1894), James Urie (1828 – 1890) and John Lamb Lyon (1836 – 1916). They were the first known makers of stained glass in Australia. Until the early 1860s, window glass in Melbourne had been clear or plain coloured, and nearly all was imported, but new churches and elaborate buildings created a demand for pictorial windows. The three Scotsmen set up Ferguson and Urie in 1862 and the business thrived until 1899, when it ceased operation, with only John Lamb Lyon left alive. Ferguson and Urie was the most successful Nineteenth Century Australian stained glass window making company. Among their earliest works were a Shakespeare window for the Haymarket Theatre in Bourke Street, a memorial window to Prince Albert in Holy Trinity, Kew, and a set of Apostles for the West Melbourne Presbyterian Church. Their palatial Gothic Revival office building stood at 283 Collins Street from 1875. Ironically, their last major commission, a window depicting “labour”, was installed in the old Melbourne Stock Exchange in Collins Street in 1893 on the eve of the bank crash. Their windows can be found throughout the older suburbs of Melbourne and across provincial Victoria.

Created in the mid-to-late Nineteenth Century by Melbourne stained glass manufacturer Ferguson and Urie, the Saint James the Major stained glass window may be found on the left hand side of the nave, in the eastern wall, when approaching the altar of Christ Church Brunswick.

Saint James the Major, or Saint James the Great is also known as James, son of Zebedee. He was one of the twelve apostles of Jesus, and is thought to be the first apostle to be martyred. Like Saint Peter, two windows away, he holds an open book in his left hand. In his right hand he holds his pilgrim's staff, whilst on his head he wears his most commonly recognised piece of iconography, a pilgrim's hat with a wide brim upon which is found a cockle shell. These hats are also known as cockle hats.

This window was erected by James Grice, eldest son of pastoralist, businessman, philanthropist and churchman Richard Grice. Richard was born on October the 30th 1813 in Cumberland, England. The son of William Grice and his wife Sarah, née Parke. he was born into a family who ran a private family bank in Cumberland, built on generations of his family who had begun as farmers in the area before becoming successful businessmen in Cumberland. Richard attended Walker's School in Whitehaven, and gained farming experience on one of his family's properties. However, in his mid twenties, Richard felt that his future did not lie in England, so he set sail to Australia in 1839. He arrived at Adelaide in September 1839 with shepherds and a business partner named Benjamin Heape. They did not stay in Adelaide, and journeyed east to Melbourne where Richard and Benjamin set up an importing and exporting business. Richard decided to explore the idea of pastoral opportunities in the Western District where he successfully raised and bred sheep, going on to become one of the most successful pastoralists in Australia. He expanded his pastoral holdings into Queensland. In 1844 Richard married the daughter of James Hibberson, Anne Lavinia. In 1847 they did a Grand Tour of Europe and then settled in the affluent Melbourne suburb of Fitzroy. They had twelve children. Benjamin returned to England in 1852, so Richard entered into a partnership with Mr. T. J. Sumner, who had worked as a clerk within the original firm. Mr. Sumner's eldest daughter married Richard's son James, and the firm became known as Grice, Sumner & Co. The business flourished and by the mid 1870s the firm held vast grazing properties in Victoria, New South Wales, South Australia and Queensland. Richard died at his home in Fitzroy on November the 4th 1882, survived by his wife and by three sons and four daughters.

Christ Church, built almost on the corner of Glenlyon Road and Brunswick Street in Brunswick, is a picturesque slice of Italy in inner city Melbourne. With its elegant proportions, warm yellow stuccoed facade and stylish Romanesque campanile, the church would not look out of place sitting atop a rise in Tuscany, or being the centre of an old walled town. This idea is further enhanced when the single bell rings from the campanile, calling worshipers to prayer.

Christ Church has been constructed in a cruciform plan with a detached campanile. Although not originally intended as such, at its completion, the church became an excellent example of "Villa Rustica" architecture in Australia. Like other churches around the inner city during the boom and bust eras of the mid Nineteenth Century as Melbourne became an established city, the building was built in stages between 1857 and 1875 as money became available to extend and better what was already in existence. Christ Church was dedicated in 1857 when the nave, designed by architects Purchas and Swyer, was completed. The transepts, chancel and vestry were completed between 1863 and 1864 to the designs created by the architects' firm Smith and Watts. The Romanesque style campanile was also designed by Smith and Watts and it completed between 1870 and 1871. A third architect, Frederick Wyatt, was employed to design the apse which was completed in 1875.

Built in Italianate style with overture characteristics of classical Italian country house designs, Christ Church is one of the few examples of what has been coined "Villa Rustica" architecture in Victoria.

Slipping through the front door at the bottom of the campanile, the rich smell of incense from mass envelops visitors. As soon as the double doors which lead into the church proper close behind you, the church provides a quiet refuge from the busy intersection of Glenlyon Road and Brunswick Street outside, and it is quite easy to forget that cars and trams pass by just a few metres away. Walking up the aisle of the nave of Christ Church, light pours over the original wooden pews with their hand embroidered cushions through sets of luminescent stained glass windows by Melbourne manufacturers, Ferguson and Urie, Mathieson and Gibson and Brooks Robinson and Company. A set of fourteen windows from the mid-to-late Nineteenth Century by Ferguson and Urie depicting different saints are especially beautiful, filled with painted glass panes which are as vivid now as when they were created more than one hundred years ago. The floors are still the original dark, richly polished boards that generations of worshipers have walked over since they were first laid. The east transept houses the Lady Chapel, whilst the west transept is consumed by the magnificent 1972 Roger H. Pogson organ built of cedar with tin piping. This replaced the original 1889 Alfred Fuller organ. Beautifully executed carved rood figures watch over the chancel from high, perhaps admiring the marble altar.

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 St. George's Presbyterian Church in East St Kilda 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 St, 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.

The stained glass firm of Ferguson and Urie was established by Scots James Ferguson (1818 – 1894), James Urie (1828 – 1890) and John Lamb Lyon (1836 – 1916). They were the first known makers of stained glass in Australia. Until the early 1860s, window glass in Melbourne had been clear or plain coloured, and nearly all was imported, but new churches and elaborate buildings created a demand for pictorial windows. The three Scotsmen set up Ferguson and Urie in 1862 and the business thrived until 1899, when it ceased operation, with only John Lamb Lyon left alive. Ferguson and Urie was the most successful Nineteenth Century Australian stained glass window making company. Among their earliest works were a Shakespeare window for the Haymarket Theatre in Bourke Street, a memorial window to Prince Albert in Holy Trinity, Kew, and a set of Apostles for the West Melbourne Presbyterian Church. Their palatial Gothic Revival office building stood at 283 Collins Street from 1875. Ironically, their last major commission, a window depicting “labour”, was installed in the old Melbourne Stock Exchange in Collins Street in 1893 on the eve of the bank crash. Their windows can be found throughout the older suburbs of Melbourne and across provincial Victoria.

1956 Mercury Montclair at the East Kurrajong Hobby and Car Show. This car has quite a history being imported from Iran when the owner migrated to Australia. He has owned the car for over 50 years, since his mid teens.

Built in the 1870s in Italianate style with overture characteristics of classical Italian country house designs, the vicarage of Christ Church in Brunswick may be found on busy Glenlyon Road. Standing proudly behind a metal picket fence, its walls of stuccoed brick, painted a warm yellow colour glow on sunny days. It makes an excellent companion building to Christ Church, Brunswick, which stands just to the vicarage's right, separated by a piazza with a central fountain. Like the church itself, the vicarage is one of the few examples of what has been coined "Villa Rustica" architecture in Victoria.

Christ Church, built almost on the corner of Glenlyon Road and Brunswick Street in Brunswick, is a picturesque slice of Italy in inner city Melbourne. With its elegant proportions, warm yellow stuccoed facade and stylish Romanesque campanile, the church would not look out of place sitting atop a rise in Tuscany, or being the centre of an old walled town. This idea is further enhanced when the single bell rings from the campanile, calling worshipers to prayer.

Christ Church has been constructed in a cruciform plan with a detached campanile. Although not originally intended as such, at its completion, the church became an excellent example of "Villa Rustica" architecture in Australia. Like other churches around the inner city during the boom and bust eras of the mid Nineteenth Century as Melbourne became an established city, the building was built in stages between 1857 and 1875 as money became available to extend and better what was already in existence. Christ Church was dedicated in 1857 when the nave, designed by architects Purchas and Swyer, was completed. The transepts, chancel and vestry were completed between 1863 and 1864 to the designs created by the architects' firm Smith and Watts. The Romanesque style campanile was also designed by Smith and Watts and it completed between 1870 and 1871. A third architect, Frederick Wyatt, was employed to design the apse which was completed in 1875.

Built in Italianate style with overture characteristics of classical Italian country house designs, Christ Church is one of the few examples of what has been coined "Villa Rustica" architecture in Victoria.

Slipping through the front door at the bottom of the campanile, the rich smell of incense from mass envelops visitors. As soon as the double doors which lead into the church proper close behind you, the church provides a quiet refuge from the busy intersection of Glenlyon Road and Brunswick Street outside, and it is quite easy to forget that cars and trams pass by just a few metres away. Walking up the aisle of the nave of Christ Church, light pours over the original wooden pews with their hand embroidered cushions through sets of luminescent stained glass windows by Melbourne manufacturers, Ferguson and Urie, Mathieson and Gibson and Brooks Robinson and Company. A set of fourteen windows from the mid-to-late Nineteenth Century by Ferguson and Urie depicting different saints are especially beautiful, filled with painted glass panes which are as vivid now as when they were created more than one hundred years ago. The floors are still the original dark, richly polished boards that generations of worshipers have walked over since they were first laid. The east transept houses the Lady Chapel, whilst the west transept is consumed by the magnificent 1972 Roger H. Pogson organ built of cedar with tin piping. This replaced the original 1889 Alfred Fuller organ. Beautifully executed carved rood figures watch over the chancel from high, perhaps admiring the marble altar.

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 St. George's Presbyterian Church in East St Kilda 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 St, 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.

Created in the mid-to-late Nineteenth Century by Melbourne stained glass manufacturer Ferguson and Urie, the Crucifixion of Jesus stained glass window is one of three windows above the altar. It is the central window of the three.

The crucifixion of Jesus is mentioned in all four Gospels of the New Testament. According to them, Jesus was arrested and tried by the Sanhedrin, and then sentenced by Pontius Pilate to be scourged, and finally crucified by the Romans. Jesus was stripped of his clothing and offered wine mixed with myrrh or gall to drink before being crucified. An object of ridicule, a crown of thorns was forced upon his head. The common belief is that Jesus died on the cross to absolve the sins of the peoples of the world, so that they, like he, could rise from death and go to heaven. Considering Jesus' status as King of the Jews and his bloody death, the vivid red stained glass background in this window may have been chosen on purpose. With her long golden tresses spilling about her, Mary Magdeline is depicted embracing the feet of the cross of Christ, the unhappiness clear on her face. An alabaster jar with a finial top (possibly a myrrh bearer) and a skull at the foot of the cross also identify this woman as Mary Magdalene. There are floral motifs both above and below the main panel. These floral designs are reflected in the other two windows around the altar.

Christ Church, built almost on the corner of Glenlyon Road and Brunswick Street in Brunswick, is a picturesque slice of Italy in inner city Melbourne. With its elegant proportions, warm yellow stuccoed facade and stylish Romanesque campanile, the church would not look out of place sitting atop a rise in Tuscany, or being the centre of an old walled town. This idea is further enhanced when the single bell rings from the campanile, calling worshipers to prayer.

Christ Church has been constructed in a cruciform plan with a detached campanile. Although not originally intended as such, at its completion, the church became an excellent example of "Villa Rustica" architecture in Australia. Like other churches around the inner city during the boom and bust eras of the mid Nineteenth Century as Melbourne became an established city, the building was built in stages between 1857 and 1875 as money became available to extend and better what was already in existence. Christ Church was dedicated in 1857 when the nave, designed by architects Purchas and Swyer, was completed. The transepts, chancel and vestry were completed between 1863 and 1864 to the designs created by the architects' firm Smith and Watts. The Romanesque style campanile was also designed by Smith and Watts and it completed between 1870 and 1871. A third architect, Frederick Wyatt, was employed to design the apse which was completed in 1875.

Built in Italianate style with overture characteristics of classical Italian country house designs, Christ Church is one of the few examples of what has been coined "Villa Rustica" architecture in Victoria.

Slipping through the front door at the bottom of the campanile, the rich smell of incense from mass envelops visitors. As soon as the double doors which lead into the church proper close behind you, the church provides a quiet refuge from the busy intersection of Glenlyon Road and Brunswick Street outside, and it is quite easy to forget that cars and trams pass by just a few metres away. Walking up the aisle of the nave of Christ Church, light pours over the original wooden pews with their hand embroidered cushions through sets of luminescent stained glass windows by Melbourne manufacturers, Ferguson and Urie, Mathieson and Gibson and Brooks Robinson and Company. A set of fourteen windows from the mid-to-late Nineteenth Century by Ferguson and Urie depicting different saints are especially beautiful, filled with painted glass panes which are as vivid now as when they were created more than one hundred years ago. The floors are still the original dark, richly polished boards that generations of worshipers have walked over since they were first laid. The east transept houses the Lady Chapel, whilst the west transept is consumed by the magnificent 1972 Roger H. Pogson organ built of cedar with tin piping. This replaced the original 1889 Alfred Fuller organ. Beautifully executed carved rood figures watch over the chancel from high, perhaps admiring the marble altar.

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 St. George's Presbyterian Church in East St Kilda 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 St, 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.

The stained glass firm of Ferguson and Urie was established by Scots James Ferguson (1818 – 1894), James Urie (1828 – 1890) and John Lamb Lyon (1836 – 1916). They were the first known makers of stained glass in Australia. Until the early 1860s, window glass in Melbourne had been clear or plain coloured, and nearly all was imported, but new churches and elaborate buildings created a demand for pictorial windows. The three Scotsmen set up Ferguson and Urie in 1862 and the business thrived until 1899, when it ceased operation, with only John Lamb Lyon left alive. Ferguson and Urie was the most successful Nineteenth Century Australian stained glass window making company. Among their earliest works were a Shakespeare window for the Haymarket Theatre in Bourke Street, a memorial window to Prince Albert in Holy Trinity, Kew, and a set of Apostles for the West Melbourne Presbyterian Church. Their palatial Gothic Revival office building stood at 283 Collins Street from 1875. Ironically, their last major commission, a window depicting “labour”, was installed in the old Melbourne Stock Exchange in Collins Street in 1893 on the eve of the bank crash. Their windows can be found throughout the older suburbs of Melbourne and across provincial Victoria.

Peters Hill a Wendish settlement.

On the drive out to Peters Hill we will pass the historic Scottish Ettrick Presbyterian cemetery. It is situated on the banks of a creek which feeds the Gilbert River. Only a few headstones remain in this cemetery. A Presbyterian church was built here in 1864 but closed in 1877 and was demolished in 1881. A school operated in the Ettrick Presbyterian church until its closure in 1877. Further on we reach Peters Hill and St Petri Lutheran Church. This

area was declared as part of the Hundred of Gilbert in 1851 with land sales starting around 1853.The earliest known settler was Johann Duldig in 1855. Another pioneer family were the Huppatz family who took up land in 1857. These families and others who settled were Wends sometimes known as Sorbs. Most Wendish families here arrived in SA on the ship San Francisco in 1848 and moved to Hope valley, then on to Hoffnungsthal near Lyndoch and then finally to Peters Hill in 1856. The Wends came from a specific region of Eastern Germany where they spoke Slavic language related to Polish, but not related at all to German. When the Wends settled in SA the English settlers assumed they were German because they also spoke German and they were Lutheran. But the Wends were a different ethnic group. Today 35,000 people still speak Wendish in Germany, despite the persecution they suffered from the Nazis during World War Two. After the Battle of Waterloo in 1815, the Congress of Vienna redrew the map of Europe and Lusatia, where the Wends lived, was ceded to Prussia from Saxony. The Prussians oppressed the Wends and after 1830 many migrated to Australia (as well as Canada etc.) Although the first Wends arrived in SA in 1848 the largest migration was in 1853-54 after the great European famine of 1848 and the consequent revolutions. The three major Wendish settlements in SA were St Kitts (near Nuriootpa), Peters Hill and Ebenezer (near St Kitts.) No one knows why the area was called Peters Hill but it is believed to be after Martin Petatz whose surname sounded similar to Peters.

The Wends built their first, pug and pine church/school room in 1857. It was replaced by the current larger church in 1864. The Wendish school was established in 1856 and operated here until closed by the government in 1917 during World War One. The first teacher of the Wendish school was Mr. Lehmann and the first pastor Mr. Meir. Until 1917 most lessons were in German. A later pastor was Christian Teichelmann who published the only written record of Kaurna language in 1840 which has been used to revive this dead language recently. His co-author was Lutheran missionary C Shurmann. The first school was located near the first Peters Hill church. In 1864 when the current Lutheran Church was built the congregation also built a teacher’s residence and classroom just south of the church. This was demolished in 1884 when a new solid stone teacher’s residence and school room was built. When the government closed this German Lutheran school it re opened as a state government school with the government paying rent for the school room. When enrolments became too low in the 1955 the government school for Lutherans and Wends and any other locals closed. Unfortunately the stone building was destroyed by a fire in the mid-1960s. The site now has a stone outlined for the original stone school and some remnants like the boys galvanized iron toilet shed and an information board and monument. Beside the school way a half underground cool room.

Wendish family names in this area included Borrack, Duldig, Huppatz, Noack and Schuppan. St Petri’s Lutheran Church is the only church in Australia known to have had services conducted in Wendish. The last known Wendish speaker in the area was Mrs. Seipelt who died in 1957. The church only opens for a few special annual services these days. The cemetery attached to the church is one of two Wendish in cemeteries in the district. The Huppatz family has their own private cemetery. It was the Wendish community, especially from Ebenezer, who began the Great Trek in 1868 to establish the Lutheran settlement of Walla Walla in the Riverina of NSW. Apart from the Wends, Robert Hannaford the portrait artist lives at Peters Hill. This spot can be very cold in winter and the SA archives have a photograph of Peters Hill covered in snow in 1906.The hill itself is 1,728 feet high or 526 metres.

Created in the mid-to-late Nineteenth Century by Melbourne stained glass manufacturer Ferguson and Urie, the Crucifixion of Jesus stained glass window is one of three windows above the altar. It is the central window of the three.

The crucifixion of Jesus is mentioned in all four Gospels of the New Testament. According to them, Jesus was arrested and tried by the Sanhedrin, and then sentenced by Pontius Pilate to be scourged, and finally crucified by the Romans. Jesus was stripped of his clothing and offered wine mixed with myrrh or gall to drink before being crucified. An object of ridicule, a crown of thorns was forced upon his head. The common belief is that Jesus died on the cross to absolve the sins of the peoples of the world, so that they, like he, could rise from death and go to heaven. Considering Jesus' status as King of the Jews and his bloody death, the vivid red stained glass background in this window may have been chosen on purpose. With her long golden tresses spilling about her, Mary Magdeline is depicted embracing the feet of the cross of Christ, the unhappiness clear on her face. An alabaster jar with a finial top (possibly a myrrh bearer) and a skull at the foot of the cross also identify this woman as Mary Magdalene. There are floral motifs both above and below the main panel. These floral designs are reflected in the other two windows around the altar.

Christ Church, built almost on the corner of Glenlyon Road and Brunswick Street in Brunswick, is a picturesque slice of Italy in inner city Melbourne. With its elegant proportions, warm yellow stuccoed facade and stylish Romanesque campanile, the church would not look out of place sitting atop a rise in Tuscany, or being the centre of an old walled town. This idea is further enhanced when the single bell rings from the campanile, calling worshipers to prayer.

Christ Church has been constructed in a cruciform plan with a detached campanile. Although not originally intended as such, at its completion, the church became an excellent example of "Villa Rustica" architecture in Australia. Like other churches around the inner city during the boom and bust eras of the mid Nineteenth Century as Melbourne became an established city, the building was built in stages between 1857 and 1875 as money became available to extend and better what was already in existence. Christ Church was dedicated in 1857 when the nave, designed by architects Purchas and Swyer, was completed. The transepts, chancel and vestry were completed between 1863 and 1864 to the designs created by the architects' firm Smith and Watts. The Romanesque style campanile was also designed by Smith and Watts and it completed between 1870 and 1871. A third architect, Frederick Wyatt, was employed to design the apse which was completed in 1875.

Built in Italianate style with overture characteristics of classical Italian country house designs, Christ Church is one of the few examples of what has been coined "Villa Rustica" architecture in Victoria.

Slipping through the front door at the bottom of the campanile, the rich smell of incense from mass envelops visitors. As soon as the double doors which lead into the church proper close behind you, the church provides a quiet refuge from the busy intersection of Glenlyon Road and Brunswick Street outside, and it is quite easy to forget that cars and trams pass by just a few metres away. Walking up the aisle of the nave of Christ Church, light pours over the original wooden pews with their hand embroidered cushions through sets of luminescent stained glass windows by Melbourne manufacturers, Ferguson and Urie, Mathieson and Gibson and Brooks Robinson and Company. A set of fourteen windows from the mid-to-late Nineteenth Century by Ferguson and Urie depicting different saints are especially beautiful, filled with painted glass panes which are as vivid now as when they were created more than one hundred years ago. The floors are still the original dark, richly polished boards that generations of worshipers have walked over since they were first laid. The east transept houses the Lady Chapel, whilst the west transept is consumed by the magnificent 1972 Roger H. Pogson organ built of cedar with tin piping. This replaced the original 1889 Alfred Fuller organ. Beautifully executed carved rood figures watch over the chancel from high, perhaps admiring the marble altar.

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 St. George's Presbyterian Church in East St Kilda 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 St, 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.

The stained glass firm of Ferguson and Urie was established by Scots James Ferguson (1818 – 1894), James Urie (1828 – 1890) and John Lamb Lyon (1836 – 1916). They were the first known makers of stained glass in Australia. Until the early 1860s, window glass in Melbourne had been clear or plain coloured, and nearly all was imported, but new churches and elaborate buildings created a demand for pictorial windows. The three Scotsmen set up Ferguson and Urie in 1862 and the business thrived until 1899, when it ceased operation, with only John Lamb Lyon left alive. Ferguson and Urie was the most successful Nineteenth Century Australian stained glass window making company. Among their earliest works were a Shakespeare window for the Haymarket Theatre in Bourke Street, a memorial window to Prince Albert in Holy Trinity, Kew, and a set of Apostles for the West Melbourne Presbyterian Church. Their palatial Gothic Revival office building stood at 283 Collins Street from 1875. Ironically, their last major commission, a window depicting “labour”, was installed in the old Melbourne Stock Exchange in Collins Street in 1893 on the eve of the bank crash. Their windows can be found throughout the older suburbs of Melbourne and across provincial Victoria.

Created in the mid-to-late Nineteenth Century by Melbourne stained glass manufacturer Ferguson and Urie, the Saint Philip stained glass window may be found in the western transept of Christ Church Brunswick adjunct to the 1972 Roger H. Pogson organ built of cedar with tin piping.

Saint Philip was one of the twelve apostles of Jesus, and is believed to have preached in Greece, Phrygia and Syria. He is the patron saint of hatters and pastry chefs, and is often depicted holding a basket of loaves. In this window however, Saint Philip is depicted traditionally, but holding his other symbol of iconography, a latin cross, together with a red bound bible. Both symbolise his openness to God's teachings.

This window was erected by James Grice, eldest son of pastoralist, businessman, philanthropist and churchman Richard Grice. Richard was born on October the 30th 1813 in Cumberland, England. The son of William Grice and his wife Sarah, née Parke. he was born into a family who ran a private family bank in Cumberland, built on generations of his family who had begun as farmers in the area before becoming successful businessmen in Cumberland. Richard attended Walker's School in Whitehaven, and gained farming experience on one of his family's properties. However, in his mid twenties, Richard felt that his future did not lie in England, so he set sail to Australia in 1839. He arrived at Adelaide in September 1839 with shepherds and a business partner named Benjamin Heape. They did not stay in Adelaide, and journeyed east to Melbourne where Richard and Benjamin set up an importing and exporting business. Richard decided to explore the idea of pastoral opportunities in the Western District where he successfully raised and bred sheep, going on to become one of the most successful pastoralists in Australia. He expanded his pastoral holdings into Queensland. In 1844 Richard married the daughter of James Hibberson, Anne Lavinia. In 1847 they did a Grand Tour of Europe and then settled in the affluent Melbourne suburb of Fitzroy. They had twelve children. Benjamin returned to England in 1852, so Richard entered into a partnership with Mr. T. J. Sumner, who had worked as a clerk within the original firm. Mr. Sumner's eldest daughter married Richard's son James, and the firm became known as Grice, Sumner & Co. The business flourished and by the mid 1870s the firm held vast grazing properties in Victoria, New South Wales, South Australia and Queensland. Richard died at his home in Fitzroy on November the 4th 1882, survived by his wife and by three sons and four daughters.

Christ Church, built almost on the corner of Glenlyon Road and Brunswick Street in Brunswick, is a picturesque slice of Italy in inner city Melbourne. With its elegant proportions, warm yellow stuccoed facade and stylish Romanesque campanile, the church would not look out of place sitting atop a rise in Tuscany, or being the centre of an old walled town. This idea is further enhanced when the single bell rings from the campanile, calling worshipers to prayer.

Christ Church has been constructed in a cruciform plan with a detached campanile. Although not originally intended as such, at its completion, the church became an excellent example of "Villa Rustica" architecture in Australia. Like other churches around the inner city during the boom and bust eras of the mid Nineteenth Century as Melbourne became an established city, the building was built in stages between 1857 and 1875 as money became available to extend and better what was already in existence. Christ Church was dedicated in 1857 when the nave, designed by architects Purchas and Swyer, was completed. The transepts, chancel and vestry were completed between 1863 and 1864 to the designs created by the architects' firm Smith and Watts. The Romanesque style campanile was also designed by Smith and Watts and it completed between 1870 and 1871. A third architect, Frederick Wyatt, was employed to design the apse which was completed in 1875.

Built in Italianate style with overture characteristics of classical Italian country house designs, Christ Church is one of the few examples of what has been coined "Villa Rustica" architecture in Victoria.

Slipping through the front door at the bottom of the campanile, the rich smell of incense from mass envelops visitors. As soon as the double doors which lead into the church proper close behind you, the church provides a quiet refuge from the busy intersection of Glenlyon Road and Brunswick Street outside, and it is quite easy to forget that cars and trams pass by just a few metres away. Walking up the aisle of the nave of Christ Church, light pours over the original wooden pews with their hand embroidered cushions through sets of luminescent stained glass windows by Melbourne manufacturers, Ferguson and Urie, Mathieson and Gibson and Brooks Robinson and Company. A set of fourteen windows from the mid-to-late Nineteenth Century by Ferguson and Urie depicting different saints are especially beautiful, filled with painted glass panes which are as vivid now as when they were created more than one hundred years ago. The floors are still the original dark, richly polished boards that generations of worshipers have walked over since they were first laid. The east transept houses the Lady Chapel, whilst the west transept is consumed by the magnificent 1972 Roger H. Pogson organ built of cedar with tin piping. This replaced the original 1889 Alfred Fuller organ. Beautifully executed carved rood figures watch over the chancel from high, perhaps admiring the marble altar.

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 St. George's Presbyterian Church in East St Kilda 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 St, 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.

The stained glass firm of Ferguson and Urie was established by Scots James Ferguson (1818 – 1894), James Urie (1828 – 1890) and John Lamb Lyon (1836 – 1916). They were the first known makers of stained glass in Australia. Until the early 1860s, window glass in Melbourne had been clear or plain coloured, and nearly all was imported, but new churches and elaborate buildings created a demand for pictorial windows. The three Scotsmen set up Ferguson and Urie in 1862 and the business thrived until 1899, when it ceased operation, with only John Lamb Lyon left alive. Ferguson and Urie was the most successful Nineteenth Century Australian stained glass window making company. Among their earliest works were a Shakespeare window for the Haymarket Theatre in Bourke Street, a memorial window to Prince Albert in Holy Trinity, Kew, and a set of Apostles for the West Melbourne Presbyterian Church. Their palatial Gothic Revival office building stood at 283 Collins Street from 1875. Ironically, their last major commission, a window depicting “labour”, was installed in the old Melbourne Stock Exchange in Collins Street in 1893 on the eve of the bank crash. Their windows can be found throughout the older suburbs of Melbourne and across provincial Victoria.

Created in the mid-to-late Nineteenth Century by Melbourne stained glass manufacturer Ferguson and Urie, the Saint Philip stained glass window may be found in the western transept of Christ Church Brunswick adjunct to the 1972 Roger H. Pogson organ built of cedar with tin piping.

Saint Philip was one of the twelve apostles of Jesus, and is believed to have preached in Greece, Phrygia and Syria. He is the patron saint of hatters and pastry chefs, and is often depicted holding a basket of loaves. In this window however, Saint Philip is depicted traditionally, but holding his other symbol of iconography, a latin cross, together with a red bound bible. Both symbolise his openness to God's teachings.

This window was erected by James Grice, eldest son of pastoralist, businessman, philanthropist and churchman Richard Grice. Richard was born on October the 30th 1813 in Cumberland, England. The son of William Grice and his wife Sarah, née Parke. he was born into a family who ran a private family bank in Cumberland, built on generations of his family who had begun as farmers in the area before becoming successful businessmen in Cumberland. Richard attended Walker's School in Whitehaven, and gained farming experience on one of his family's properties. However, in his mid twenties, Richard felt that his future did not lie in England, so he set sail to Australia in 1839. He arrived at Adelaide in September 1839 with shepherds and a business partner named Benjamin Heape. They did not stay in Adelaide, and journeyed east to Melbourne where Richard and Benjamin set up an importing and exporting business. Richard decided to explore the idea of pastoral opportunities in the Western District where he successfully raised and bred sheep, going on to become one of the most successful pastoralists in Australia. He expanded his pastoral holdings into Queensland. In 1844 Richard married the daughter of James Hibberson, Anne Lavinia. In 1847 they did a Grand Tour of Europe and then settled in the affluent Melbourne suburb of Fitzroy. They had twelve children. Benjamin returned to England in 1852, so Richard entered into a partnership with Mr. T. J. Sumner, who had worked as a clerk within the original firm. Mr. Sumner's eldest daughter married Richard's son James, and the firm became known as Grice, Sumner & Co. The business flourished and by the mid 1870s the firm held vast grazing properties in Victoria, New South Wales, South Australia and Queensland. Richard died at his home in Fitzroy on November the 4th 1882, survived by his wife and by three sons and four daughters.

Christ Church, built almost on the corner of Glenlyon Road and Brunswick Street in Brunswick, is a picturesque slice of Italy in inner city Melbourne. With its elegant proportions, warm yellow stuccoed facade and stylish Romanesque campanile, the church would not look out of place sitting atop a rise in Tuscany, or being the centre of an old walled town. This idea is further enhanced when the single bell rings from the campanile, calling worshipers to prayer.

Christ Church has been constructed in a cruciform plan with a detached campanile. Although not originally intended as such, at its completion, the church became an excellent example of "Villa Rustica" architecture in Australia. Like other churches around the inner city during the boom and bust eras of the mid Nineteenth Century as Melbourne became an established city, the building was built in stages between 1857 and 1875 as money became available to extend and better what was already in existence. Christ Church was dedicated in 1857 when the nave, designed by architects Purchas and Swyer, was completed. The transepts, chancel and vestry were completed between 1863 and 1864 to the designs created by the architects' firm Smith and Watts. The Romanesque style campanile was also designed by Smith and Watts and it completed between 1870 and 1871. A third architect, Frederick Wyatt, was employed to design the apse which was completed in 1875.

Built in Italianate style with overture characteristics of classical Italian country house designs, Christ Church is one of the few examples of what has been coined "Villa Rustica" architecture in Victoria.

Slipping through the front door at the bottom of the campanile, the rich smell of incense from mass envelops visitors. As soon as the double doors which lead into the church proper close behind you, the church provides a quiet refuge from the busy intersection of Glenlyon Road and Brunswick Street outside, and it is quite easy to forget that cars and trams pass by just a few metres away. Walking up the aisle of the nave of Christ Church, light pours over the original wooden pews with their hand embroidered cushions through sets of luminescent stained glass windows by Melbourne manufacturers, Ferguson and Urie, Mathieson and Gibson and Brooks Robinson and Company. A set of fourteen windows from the mid-to-late Nineteenth Century by Ferguson and Urie depicting different saints are especially beautiful, filled with painted glass panes which are as vivid now as when they were created more than one hundred years ago. The floors are still the original dark, richly polished boards that generations of worshipers have walked over since they were first laid. The east transept houses the Lady Chapel, whilst the west transept is consumed by the magnificent 1972 Roger H. Pogson organ built of cedar with tin piping. This replaced the original 1889 Alfred Fuller organ. Beautifully executed carved rood figures watch over the chancel from high, perhaps admiring the marble altar.

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 St. George's Presbyterian Church in East St Kilda 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 St, 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.

The stained glass firm of Ferguson and Urie was established by Scots James Ferguson (1818 – 1894), James Urie (1828 – 1890) and John Lamb Lyon (1836 – 1916). They were the first known makers of stained glass in Australia. Until the early 1860s, window glass in Melbourne had been clear or plain coloured, and nearly all was imported, but new churches and elaborate buildings created a demand for pictorial windows. The three Scotsmen set up Ferguson and Urie in 1862 and the business thrived until 1899, when it ceased operation, with only John Lamb Lyon left alive. Ferguson and Urie was the most successful Nineteenth Century Australian stained glass window making company. Among their earliest works were a Shakespeare window for the Haymarket Theatre in Bourke Street, a memorial window to Prince Albert in Holy Trinity, Kew, and a set of Apostles for the West Melbourne Presbyterian Church. Their palatial Gothic Revival office building stood at 283 Collins Street from 1875. Ironically, their last major commission, a window depicting “labour”, was installed in the old Melbourne Stock Exchange in Collins Street in 1893 on the eve of the bank crash. Their windows can be found throughout the older suburbs of Melbourne and across provincial Victoria.

Built in 1892 on the rise of a hill in the prominent location of the corner of Bromfield and Corangamite Streets in Colac, stands the grand two-storey red brick residence, "Lislea House".

"Lislea House" was built for Doctor Wynne, a local practitioner, for his use as a stylish residence and surgery. "Lislea House" has been constructed in the popular Federation Queen Anne style, which was mostly a residential style established in the 1890s which was inspired by the Arts and Crafts movement in England, but also encompassed some of the more stylised elements of Art Nouveau, which gave it an more decorative look. "Lislea House" has a very complex roofline, which is typical of the Federation Queen Anne architectural movement, as is the steeply pitched roof, ornate wooden fretwork that graces the return verandah and the exaggerated height of the chimneys.

Queen Anne style was most popular around the time of Federation. With complex roofline structures, ornamental towers of unusual proportions and undulating facades, many Queen Anne houses fell out of fashion at the beginning of the modern era, and were demolished.

Doctor Wynne was a prominent and popular figure in the Colac community. Born in Armagh, the county town of County Armagh in Northern Ireland in 1857, Doctor Wynne studied medicine at Dublin University. He migrated to Australia after gaining his degree and took over the Colac practice of Doctor Porter in the late 1880s. He was interested in public affairs and in the forwarding and improvement of Colac; becoming a patron of many establishments in the town including, the Colac Fire Brigade and the Colac Free Library. He even established a local newspaper the "Daily News". He was one of the original shareholders of the Colac Dairying Company, the Colac dairy farmers' co-operative. Doctor Wynne enjoyed horse racing and he and his wife entertained at their fine house often. Doctor Wynne died at "Lislea House" in 1915 as a result of complications. caused by a weak heart.

The descendants of Doctor Wynne no longer live in "Lislea House", and after some years of neglect, it has been restored internally and externally to its original splendor, as well as having had some modern day comforts added. It now serves as self contained apartments which take advantage of the house's location so close to the town's centre.

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).

Created in the mid-to-late Nineteenth Century by Melbourne stained glass manufacturer Ferguson and Urie, the Pelican trefoil may be found in the northern wall of Christ Church, Brunswick.

The Pelican mother feeding her young is a common Christian Symbol. The pelican was believed to pierce its own breast with its beak and feed its young of its blood. It became a symbol of Christ sacrificing himself for man, and because of this was frequently represented in Christian art.

Christ Church, built almost on the corner of Glenlyon Road and Brunswick Street in Brunswick, is a picturesque slice of Italy in inner city Melbourne. With its elegant proportions, warm yellow stuccoed facade and stylish Romanesque campanile, the church would not look out of place sitting atop a rise in Tuscany, or being the centre of an old walled town. This idea is further enhanced when the single bell rings from the campanile, calling worshipers to prayer.

Christ Church has been constructed in a cruciform plan with a detached campanile. Although not originally intended as such, at its completion, the church became an excellent example of "Villa Rustica" architecture in Australia. Like other churches around the inner city during the boom and bust eras of the mid Nineteenth Century as Melbourne became an established city, the building was built in stages between 1857 and 1875 as money became available to extend and better what was already in existence. Christ Church was dedicated in 1857 when the nave, designed by architects Purchas and Swyer, was completed. The transepts, chancel and vestry were completed between 1863 and 1864 to the designs created by the architects' firm Smith and Watts. The Romanesque style campanile was also designed by Smith and Watts and it completed between 1870 and 1871. A third architect, Frederick Wyatt, was employed to design the apse which was completed in 1875.

Built in Italianate style with overture characteristics of classical Italian country house designs, Christ Church is one of the few examples of what has been coined "Villa Rustica" architecture in Victoria.

Slipping through the front door at the bottom of the campanile, the rich smell of incense from mass envelops visitors. As soon as the double doors which lead into the church proper close behind you, the church provides a quiet refuge from the busy intersection of Glenlyon Road and Brunswick Street outside, and it is quite easy to forget that cars and trams pass by just a few metres away. Walking up the aisle of the nave of Christ Church, light pours over the original wooden pews with their hand embroidered cushions through sets of luminescent stained glass windows by Melbourne manufacturers, Ferguson and Urie, Mathieson and Gibson and Brooks Robinson and Company. A set of fourteen windows from the mid-to-late Nineteenth Century by Ferguson and Urie depicting different saints are especially beautiful, filled with painted glass panes which are as vivid now as when they were created more than one hundred years ago. The floors are still the original dark, richly polished boards that generations of worshipers have walked over since they were first laid. The east transept houses the Lady Chapel, whilst the west transept is consumed by the magnificent 1972 Roger H. Pogson organ built of cedar with tin piping. This replaced the original 1889 Alfred Fuller organ. Beautifully executed carved rood figures watch over the chancel from high, perhaps admiring the marble altar.

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 St. George's Presbyterian Church in East St Kilda 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 St, 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.

The stained glass firm of Ferguson and Urie was established by Scots James Ferguson (1818 – 1894), James Urie (1828 – 1890) and John Lamb Lyon (1836 – 1916). They were the first known makers of stained glass in Australia. Until the early 1860s, window glass in Melbourne had been clear or plain coloured, and nearly all was imported, but new churches and elaborate buildings created a demand for pictorial windows. The three Scotsmen set up Ferguson and Urie in 1862 and the business thrived until 1899, when it ceased operation, with only John Lamb Lyon left alive. Ferguson and Urie was the most successful Nineteenth Century Australian stained glass window making company. Among their earliest works were a Shakespeare window for the Haymarket Theatre in Bourke Street, a memorial window to Prince Albert in Holy Trinity, Kew, and a set of Apostles for the West Melbourne Presbyterian Church. Their palatial Gothic Revival office building stood at 283 Collins Street from 1875. Ironically, their last major commission, a window depicting “labour”, was installed in the old Melbourne Stock Exchange in Collins Street in 1893 on the eve of the bank crash. Their windows can be found throughout the older suburbs of Melbourne and across provincial Victoria.

This photograph depicts a closeup of the foremast of HMS HOOD on 13 April 1924. Frederick Wilkinson took this image from a ferry while travelling on Sydney Harbour. HOOD was flagship of the Royal Navy's Special Service Squadron from 1923 to 1924.

Frederick Wilkinson (1901 - 1975) migrated to Australia from England in 1911. While working various jobs in and around central Sydney, Wilkinson acquired a camera and began taking photographs of vessels and harbour scenes. Many of his images were used by commercial photographers for souvenir postcards.

The ANMM undertakes research and accepts public comments that enhance the information we hold about images in our collection. This record has been updated accordingly.

Photographer: Frederick Garner Wilkinson

Object no. 00037687

Created in the mid-to-late Nineteenth Century by Melbourne stained glass manufacturer Ferguson and Urie, the Lamb of God window may be found in the western wall of the entrance porch of Christ Church, Brunswick. The Lamb of God is holding a banner of the triumphal cross, symbolising the victory of the resurrected Christ over death.

Christ Church has been constructed in a cruciform plan with a detached campanile. Although not originally intended as such, at its completion, the church became an excellent example of "Villa Rustica" architecture in Australia. Like other churches around the inner city during the boom and bust eras of the mid Nineteenth Century as Melbourne became an established city, the building was built in stages between 1857 and 1875 as money became available to extend and better what was already in existence. Christ Church was dedicated in 1857 when the nave, designed by architects Purchas and Swyer, was completed. The transepts, chancel and vestry were completed between 1863 and 1864 to the designs created by the architects' firm Smith and Watts. The Romanesque style campanile was also designed by Smith and Watts and it completed between 1870 and 1871. A third architect, Frederick Wyatt, was employed to design the apse which was completed in 1875.

Built in Italianate style with overture characteristics of classical Italian country house designs, Christ Church is one of the few examples of what has been coined "Villa Rustica" architecture in Victoria.

Slipping through the front door at the bottom of the campanile, the rich smell of incense from mass envelops visitors. As soon as the double doors which lead into the church proper close behind you, the church provides a quiet refuge from the busy intersection of Glenlyon Road and Brunswick Street outside, and it is quite easy to forget that cars and trams pass by just a few metres away. Walking up the aisle of the nave of Christ Church, light pours over the original wooden pews with their hand embroidered cushions through sets of luminescent stained glass windows by Melbourne manufacturers, Ferguson and Urie, Mathieson and Gibson and Brooks Robinson and Company. A set of fourteen windows from the mid-to-late Nineteenth Century by Ferguson and Urie depicting different saints are especially beautiful, filled with painted glass panes which are as vivid now as when they were created more than one hundred years ago. The floors are still the original dark, richly polished boards that generations of worshipers have walked over since they were first laid. The east transept houses the Lady Chapel, whilst the west transept is consumed by the magnificent 1972 Roger H. Pogson organ built of cedar with tin piping. This replaced the original 1889 Alfred Fuller organ. Beautifully executed carved rood figures watch over the chancel from high, perhaps admiring the marble altar.

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 St. George's Presbyterian Church in East St Kilda 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 St, 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.

The stained glass firm of Ferguson and Urie was established by Scots James Ferguson (1818 – 1894), James Urie (1828 – 1890) and John Lamb Lyon (1836 – 1916). They were the first known makers of stained glass in Australia. Until the early 1860s, window glass in Melbourne had been clear or plain coloured, and nearly all was imported, but new churches and elaborate buildings created a demand for pictorial windows. The three Scotsmen set up Ferguson and Urie in 1862 and the business thrived until 1899, when it ceased operation, with only John Lamb Lyon left alive. Ferguson and Urie was the most successful Nineteenth Century Australian stained glass window making company. Among their earliest works were a Shakespeare window for the Haymarket Theatre in Bourke Street, a memorial window to Prince Albert in Holy Trinity, Kew, and a set of Apostles for the West Melbourne Presbyterian Church. Their palatial Gothic Revival office building stood at 283 Collins Street from 1875. Ironically, their last major commission, a window depicting “labour”, was installed in the old Melbourne Stock Exchange in Collins Street in 1893 on the eve of the bank crash. Their windows can be found throughout the older suburbs of Melbourne and across provincial Victoria.

Created in the mid-to-late Nineteenth Century by Melbourne stained glass manufacturer Ferguson and Urie, the Saint James the Minor stained glass window may be found in Lady Chapel in the eastern transept of Christ Church Brunswick.

Saint James Minor appears in early Christianity, and is given the title "the minor" to avoid confusing him with other people named James mentioned in the Bible. James the Minor is only named in the Bible as the son of Mary of Cleopas, who is also the mother of Joseph. James the Minor was a fuller, who is a person who cleanses the impurity out of wool. Therefore he is depicted in this window holding a fuller's club.

This window was erected by James Grice, eldest son of pastoralist, businessman, philanthropist and churchman Richard Grice. Richard was born on October the 30th 1813 in Cumberland, England. The son of William Grice and his wife Sarah, née Parke. he was born into a family who ran a private family bank in Cumberland, built on generations of his family who had begun as farmers in the area before becoming successful businessmen in Cumberland. Richard attended Walker's School in Whitehaven, and gained farming experience on one of his family's properties. However, in his mid twenties, Richard felt that his future did not lie in England, so he set sail to Australia in 1839. He arrived at Adelaide in September 1839 with shepherds and a business partner named Benjamin Heape. They did not stay in Adelaide, and journeyed east to Melbourne where Richard and Benjamin set up an importing and exporting business. Richard decided to explore the idea of pastoral opportunities in the Western District where he successfully raised and bred sheep, going on to become one of the most successful pastoralists in Australia. He expanded his pastoral holdings into Queensland. In 1844 Richard married the daughter of James Hibberson, Anne Lavinia. In 1847 they did a Grand Tour of Europe and then settled in the affluent Melbourne suburb of Fitzroy. They had twelve children. Benjamin returned to England in 1852, so Richard entered into a partnership with Mr. T. J. Sumner, who had worked as a clerk within the original firm. Mr. Sumner's eldest daughter married Richard's son James, and the firm became known as Grice, Sumner & Co. The business flourished and by the mid 1870s the firm held vast grazing properties in Victoria, New South Wales, South Australia and Queensland. Richard died at his home in Fitzroy on November the 4th 1882, survived by his wife and by three sons and four daughters.

Christ Church, built almost on the corner of Glenlyon Road and Brunswick Street in Brunswick, is a picturesque slice of Italy in inner city Melbourne. With its elegant proportions, warm yellow stuccoed facade and stylish Romanesque campanile, the church would not look out of place sitting atop a rise in Tuscany, or being the centre of an old walled town. This idea is further enhanced when the single bell rings from the campanile, calling worshipers to prayer.

Christ Church has been constructed in a cruciform plan with a detached campanile. Although not originally intended as such, at its completion, the church became an excellent example of "Villa Rustica" architecture in Australia. Like other churches around the inner city during the boom and bust eras of the mid Nineteenth Century as Melbourne became an established city, the building was built in stages between 1857 and 1875 as money became available to extend and better what was already in existence. Christ Church was dedicated in 1857 when the nave, designed by architects Purchas and Swyer, was completed. The transepts, chancel and vestry were completed between 1863 and 1864 to the designs created by the architects' firm Smith and Watts. The Romanesque style campanile was also designed by Smith and Watts and it completed between 1870 and 1871. A third architect, Frederick Wyatt, was employed to design the apse which was completed in 1875.

Built in Italianate style with overture characteristics of classical Italian country house designs, Christ Church is one of the few examples of what has been coined "Villa Rustica" architecture in Victoria.

Slipping through the front door at the bottom of the campanile, the rich smell of incense from mass envelops visitors. As soon as the double doors which lead into the church proper close behind you, the church provides a quiet refuge from the busy intersection of Glenlyon Road and Brunswick Street outside, and it is quite easy to forget that cars and trams pass by just a few metres away. Walking up the aisle of the nave of Christ Church, light pours over the original wooden pews with their hand embroidered cushions through sets of luminescent stained glass windows by Melbourne manufacturers, Ferguson and Urie, Mathieson and Gibson and Brooks Robinson and Company. A set of fourteen windows from the mid-to-late Nineteenth Century by Ferguson and Urie depicting different saints are especially beautiful, filled with painted glass panes which are as vivid now as when they were created more than one hundred years ago. The floors are still the original dark, richly polished boards that generations of worshipers have walked over since they were first laid. The east transept houses the Lady Chapel, whilst the west transept is consumed by the magnificent 1972 Roger H. Pogson organ built of cedar with tin piping. This replaced the original 1889 Alfred Fuller organ. Beautifully executed carved rood figures watch over the chancel from high, perhaps admiring the marble altar.

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 St. George's Presbyterian Church in East St Kilda 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 St, 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.

The stained glass firm of Ferguson and Urie was established by Scots James Ferguson (1818 – 1894), James Urie (1828 – 1890) and John Lamb Lyon (1836 – 1916). They were the first known makers of stained glass in Australia. Until the early 1860s, window glass in Melbourne had been clear or plain coloured, and nearly all was imported, but new churches and elaborate buildings created a demand for pictorial windows. The three Scotsmen set up Ferguson and Urie in 1862 and the business thrived until 1899, when it ceased operation, with only John Lamb Lyon left alive. Ferguson and Urie was the most successful Nineteenth Century Australian stained glass window making company. Among their earliest works were a Shakespeare window for the Haymarket Theatre in Bourke Street, a memorial window to Prince Albert in Holy Trinity, Kew, and a set of Apostles for the West Melbourne Presbyterian Church. Their palatial Gothic Revival office building stood at 283 Collins Street from 1875. Ironically, their last major commission, a window depicting “labour”, was installed in the old Melbourne Stock Exchange in Collins Street in 1893 on the eve of the bank crash. Their windows can be found throughout the older suburbs of Melbourne and across provincial Victoria.

Created in the mid-to-late Nineteenth Century by Melbourne stained glass manufacturer Ferguson and Urie, the Saint Andrew stained glass window may be found on the left hand side of the nave, in the eastern wall, when approaching the altar of Christ Church Brunswick.

Saint Andrew was one of the twelve apostles of Jesus, brother of Saint Peter, and is generally agreed that he was the first-called of the Christian Apostles. Crucified on a saltire, which became known as a Saint Andrew's Cross after his martyrdom, in this window Saint Andrew is portrayed leaning against such a cross.

This window was erected by James Grice, eldest son of pastoralist, businessman, philanthropist and churchman Richard Grice. Richard was born on October the 30th 1813 in Cumberland, England. The son of William Grice and his wife Sarah, née Parke. he was born into a family who ran a private family bank in Cumberland, built on generations of his family who had begun as farmers in the area before becoming successful businessmen in Cumberland. Richard attended Walker's School in Whitehaven, and gained farming experience on one of his family's properties. However, in his mid twenties, Richard felt that his future did not lie in England, so he set sail to Australia in 1839. He arrived at Adelaide in September 1839 with shepherds and a business partner named Benjamin Heape. They did not stay in Adelaide, and journeyed east to Melbourne where Richard and Benjamin set up an importing and exporting business. Richard decided to explore the idea of pastoral opportunities in the Western District where he successfully raised and bred sheep, going on to become one of the most successful pastoralists in Australia. He expanded his pastoral holdings into Queensland. In 1844 Richard married the daughter of James Hibberson, Anne Lavinia. In 1847 they did a Grand Tour of Europe and then settled in the affluent Melbourne suburb of Fitzroy. They had twelve children. Benjamin returned to England in 1852, so Richard entered into a partnership with Mr. T. J. Sumner, who had worked as a clerk within the original firm. Mr. Sumner's eldest daughter married Richard's son James, and the firm became known as Grice, Sumner & Co. The business flourished and by the mid 1870s the firm held vast grazing properties in Victoria, New South Wales, South Australia and Queensland. Richard died at his home in Fitzroy on November the 4th 1882, survived by his wife and by three sons and four daughters.

Christ Church, built almost on the corner of Glenlyon Road and Brunswick Street in Brunswick, is a picturesque slice of Italy in inner city Melbourne. With its elegant proportions, warm yellow stuccoed facade and stylish Romanesque campanile, the church would not look out of place sitting atop a rise in Tuscany, or being the centre of an old walled town. This idea is further enhanced when the single bell rings from the campanile, calling worshipers to prayer.

Christ Church has been constructed in a cruciform plan with a detached campanile. Although not originally intended as such, at its completion, the church became an excellent example of "Villa Rustica" architecture in Australia. Like other churches around the inner city during the boom and bust eras of the mid Nineteenth Century as Melbourne became an established city, the building was built in stages between 1857 and 1875 as money became available to extend and better what was already in existence. Christ Church was dedicated in 1857 when the nave, designed by architects Purchas and Swyer, was completed. The transepts, chancel and vestry were completed between 1863 and 1864 to the designs created by the architects' firm Smith and Watts. The Romanesque style campanile was also designed by Smith and Watts and it completed between 1870 and 1871. A third architect, Frederick Wyatt, was employed to design the apse which was completed in 1875.

Built in Italianate style with overture characteristics of classical Italian country house designs, Christ Church is one of the few examples of what has been coined "Villa Rustica" architecture in Victoria.

Slipping through the front door at the bottom of the campanile, the rich smell of incense from mass envelops visitors. As soon as the double doors which lead into the church proper close behind you, the church provides a quiet refuge from the busy intersection of Glenlyon Road and Brunswick Street outside, and it is quite easy to forget that cars and trams pass by just a few metres away. Walking up the aisle of the nave of Christ Church, light pours over the original wooden pews with their hand embroidered cushions through sets of luminescent stained glass windows by Melbourne manufacturers, Ferguson and Urie, Mathieson and Gibson and Brooks Robinson and Company. A set of fourteen windows from the mid-to-late Nineteenth Century by Ferguson and Urie depicting different saints are especially beautiful, filled with painted glass panes which are as vivid now as when they were created more than one hundred years ago. The floors are still the original dark, richly polished boards that generations of worshipers have walked over since they were first laid. The east transept houses the Lady Chapel, whilst the west transept is consumed by the magnificent 1972 Roger H. Pogson organ built of cedar with tin piping. This replaced the original 1889 Alfred Fuller organ. Beautifully executed carved rood figures watch over the chancel from high, perhaps admiring the marble altar.

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 St. George's Presbyterian Church in East St Kilda 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 St, 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.

The stained glass firm of Ferguson and Urie was established by Scots James Ferguson (1818 – 1894), James Urie (1828 – 1890) and John Lamb Lyon (1836 – 1916). They were the first known makers of stained glass in Australia. Until the early 1860s, window glass in Melbourne had been clear or plain coloured, and nearly all was imported, but new churches and elaborate buildings created a demand for pictorial windows. The three Scotsmen set up Ferguson and Urie in 1862 and the business thrived until 1899, when it ceased operation, with only John Lamb Lyon left alive. Ferguson and Urie was the most successful Nineteenth Century Australian stained glass window making company. Among their earliest works were a Shakespeare window for the Haymarket Theatre in Bourke Street, a memorial window to Prince Albert in Holy Trinity, Kew, and a set of Apostles for the West Melbourne Presbyterian Church. Their palatial Gothic Revival office building stood at 283 Collins Street from 1875. Ironically, their last major commission, a window depicting “labour”, was installed in the old Melbourne Stock Exchange in Collins Street in 1893 on the eve of the bank crash. Their windows can be found throughout the older suburbs of Melbourne and across provincial Victoria.