The former Saint George's Presbyterian Church, which stands on busy Chapel Street in St Kilda East, is a well known and loved local landmark, not least of all because of its strikingly tall (33.5 metre or 110 foot) banded bell tower which can be spotted from far away. In the Nineteenth Century when it was built, it would have been even more striking for its great height and domineering presence. Designed by architect Albert Purchas, the former Saint George's Presbyterian Church is often referred to as his ecclesiastical tour-de-force, and it is most certainly one of his most dramatic and memorable churches.

The former Saint George's Presbyterian Church was constructed on a plot of land reserved in Chapel Street for the Presbyterian Church of Victoria in 1866. Initially services were held in a small hall whilst fundraising efforts advanced the erection of a church. The architect Albert Purchas was commissioned to design the church and the foundation stone for the western portion of the nave was finally laid in April 1877 by Sir James McCulloch. The first service was held in the church on the 1st of October 1877. The first clergyman of the former Saint George's Presbyterian Church was the Reverend John Laurence Rentoul (father to world renown and much loved Australian children's book illustrator Ida Rentoul Outhwaite). However, the swelling Presbyterian congregation of St Kilda and its surrounding districts quickly outgrew the initial Saint George's Presbyterian Church building, so Albert Purchas was obliged to re-design and enlarge the church to allow a doubling in capacity. Robert S. Ekins was the contractor and his tender was £3000.00. It is this imposing church building, reopened in 1880, that we see today. The "Australasian Sketcher with Pen and Pencil" noted that the total length of the building was 118 feet and 6 inches (36 metres), by 40 foot (12 metres) wide and that the striking octagonal tower to the north-west was 110ft 6 in high. It perhaps reflected better the wealth and aspirations of the congregation.

The former Saint George's Presbyterian Church is constructed on bluestone foundations and is built in an ornate polychromatic Gothic Revival style in the tradition of English designers like William Butterfield and John L. Pearson. Built of red brick building, it is decorated in contrasting cream bricks and Waurn Ponds freestone dressings. It features a slate roof with prominent roof vents, iron ridge cresting and fleche at the intersection of the nave and transepts. The front facade of the church is dominated by the slender, banded octagonal tower topped by a narrow spire. The entrance features a double arched portal portico. The facade also features a dominant triangular epitrochoidal (curved triangular form) rose window. The church, like its bluestone neighbour All Saints Church of England, is built to a T-shaped plan, with an aisleless nave, broad transepts and internal walls of cream brick, relieved with coloured brickwork. The former Saint George's Presbyterian Church was one of the first major church design in Melbourne in which polychrome brickwork was lavishly employed both externally and internally.

The inside of the former Saint George's Presbyterian Church is equally as grand as the exterior, with ornamental Gothic Revival polychromatic brickwork, a lofty vaulted ceiling, deal and kauri pine joinery and pulpit and reredos of Keene's cement. The building originally contained a complete set of Victorian stained glass windows by well known and successful Melbourne manufacturers Ferguson and Urie, all of which remain intact today except for one of the non-figurative windows which was replaced by a memorial window to Samuel Lyons McKenzie, the congregation’s beloved minister, who served from 1930 to 1948, in 1949. The earliest of the Ferguson and Urie windows are non-figurative windows which feature the distinctive diaper pattern and floral motifs of Fergus and Urie's work, and are often argued to be amongst the finest of their non-figurative designs. The large triple window in the chancel was presented by Lady McCulloch in memory of the ‘loved and dead’. Another, in memory of John Kane Smyth, the Vice-Consul for the United States of America in Melbourne, has the American Stars and Stripes on the top ventilator above it. An organ by Thomas C. Lewis of London, one of the leading 19th century English organ builders, was installed in the south transept in 1882. It was designed to blend with its architectural setting, with pipework styled to avoid the obstruction of windows. The action of this organ was altered in 1935, but the pipework, and the original sound, have been retained.

Over the years many spiritual and social activities were instituted at Saint George’s, Presbyterian Church some of short duration such as the Ladies’ Reading Club which operated between 1888 and 1893. There were segregated Bible classes for young men and women, the Presbyterian Women’s Missionary Union, formed in 1892, a cricket club and a floral guild. Guilds teaching physical culture for girls, boys and young men began in 1904. They were entirely financed by John Maclellan and the idea extended to other denominations throughout Victoria. John Maclellan died in 1936 and the guilds ceased at Saint George’s Presbyterian church through lack of funds although in 1977 the members of the girls’ guild were still holding bi-annual reunions and raising money for charity. Sadly, the Presbyterian congregations may have been large in the Nineteenth Century, but by St George's Presbyterian Church's 110th centenary, its doors had already closed during the week due to dwindling numbers and an ageing congregation as a result of the general decline in church attendances after the Second World War exacerbated by the changing nature of St Kilda and the decrease in numbers of residents living in the vicinity of the church. So it stood, forlorn and empty and seemingly nothing more than a relic of a glorious but bygone religious past. However in 1990, Saint Michael's Grammar School across the road leased the Victorian Heritage listed building during weekdays, and it was eventually sold to them in 2015. It now forms part of the school's performing-arts complex, and it has a wonderful new lease of life.

St George's Presbyterian Church is sometimes hired out for performances, and I had the pleasure of receiving an invitation to hear Handel's Messiah performed there in 2009. The ecclesiastical acoustics made the performance all the more magnificent. I remember as I sat on one of the original (hard) kauri pine pews, I looked around me and admired the stained glass and ornamental brickwork. I tried without success over several subsequent years to gain access to the church's interior, settling for photographs of the exterior instead, but it wasn't until 2018 that I was fortunate enough to gain entry to photograph the church's interior. The former St George's Presbyterian Church was opened up to the public for one Sunday morning only as part of Open House Melbourne in July 2018. It was a fantastic morning, and I am very grateful to the staff who manned the church for the day and watched bemused as I photographed the stained glass extensively and in such detail.

Albert Purchas, born in 1825 in Chepstow, Monmouthshire, Wales, was a prominent Nineteenth Century architect who achieved great success for himself in Melbourne. Born to parents Robert Whittlesey Purchas and Marianne Guyon, he migrated to Australia in 1851 to establish himself in the then quickly expanding city of Melbourne, where he set up a small architect's firm in Little Collins Street. He also offered surveying services. His first major building was constructing the mansion "Berkeley Hall" in St Kilda on Princes Street in 1854. The house still exists today. Two years after migrating, Albert designed the layout of the Melbourne General Cemetery in Carlton. It was the first "garden cemetery" in Victoria, and his curvilinear design is still in existence, unaltered, today. In 1854, Albert married Eliza Anne Sawyer (1825 - 1869) in St Kilda. The couple had ten children over their marriage, including a son, Robert, who followed in his father's footsteps as an architect. Albert's brother-in-law, Charles Sawyer joined him in the partnership of Purchas and Sawyer, which existed from 1856 until 1862 in Queens Street. The firm produced more than 140 houses, churches, offices and cemetery buildings including: the nave and transepts of Christ Church St Kilda between 1854 and 1857, "Glenara Homestead"in Bulla in 1857, the Melbourne Savings Bank on the corner of Flinders Lane and Market Street (now demolished) between 1857 and 1858, the Geelong branch of the Bank of Australasia in Malop Street between 1859 and 1860, and Beck's Imperial Hotel in Castlemaine in 1861. When the firm broke up, Albert returned to Little Collins Street, and the best known building he designed during this period was Saintt. George's Presbyterian Church in St Kilda East between 1877 and 1880. The church's tall polychomatic brick bell tower is still a local landmark, even in the times of high rise architecture and development, and Saintt, 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 by Melbourne stained glass manufacturer Ferguson and Urie in 1880 for the opening of the former Saint George's Presbyterian Church, the John the Baptist stained glass window sits in the southern transept to the right of the altar. John preached repentance and reinvigoration of religious practice, but did so from outside the hierarchy of the Jewish religion, following the tradition of the Old Testament prophets. He is described as the one coming before Jesus to announce his coming and reawakens people to their faith in God. His radical asceticism was a protest against the religious complacency commonplace in his lifetime. He used the act of baptism of his followers in the River Jordan as a central sacrament, whereby a follower's zeal for faithful worship in God was renewed. He is best known for baptising Jesus. It is perhaps for this reason that his window is paired with that of Saint Philip the Evangelist. Unlike most saints depicted in stained glass iconography, this version of Saint Philip the Evangelist is dressed unusually in Middle-Eastern garb with sandals upon his feet. Saint Philip the Evangelist is referred to in the Book of Acts. He is one of the Seven Deacons chosen to care for the poor of the Jerusalem Christian community. He was a preacher, purportedly performed miracles in Samaria and baptised converts to the Christian faith. He is perhaps best known for baptising an Ethiopian man in Gaza, thus commencing the Ethiopian Church. Both figures stand against the same background: a "diaper pattern" containing yellow fleur-de-lis. They also feature a border of coloured squares dispersed with stylised flowers with an inner border of brightly coloured circles. Both the background and the border are common elements of Ferguson and Urie's stained glass window work, and match other, non-figurative windows in the nave and transepts of the former Saint George's Presbyterian Church. A round vent window above them features a cross in red glass on a blue and yellow background.

The former Saint George's Presbyterian Church, which stands on busy Chapel Street in St Kilda East, is a well known and loved local landmark, not least of all because of its strikingly tall (33.5 metre or 110 foot) banded bell tower which can be spotted from far away. In the Nineteenth Century when it was built, it would have been even more striking for its great height and domineering presence. Designed by architect Albert Purchas, the former Saint George's Presbyterian Church is often referred to as his ecclesiastical tour-de-force, and it is most certainly one of his most dramatic and memorable churches.

The former Saint George's Presbyterian Church was constructed on a plot of land reserved in Chapel Street for the Presbyterian Church of Victoria in 1866. Initially services were held in a small hall whilst fundraising efforts advanced the erection of a church. The architect Albert Purchas was commissioned to design the church and the foundation stone for the western portion of the nave was finally laid in April 1877 by Sir James McCulloch. The first service was held in the church on the 1st of October 1877. The first clergyman of the former Saint George's Presbyterian Church was the Reverend John Laurence Rentoul (father to world renown and much loved Australian children's book illustrator Ida Rentoul Outhwaite). However, the swelling Presbyterian congregation of St Kilda and its surrounding districts quickly outgrew the initial Saint George's Presbyterian Church building, so Albert Purchas was obliged to re-design and enlarge the church to allow a doubling in capacity. Robert S. Ekins was the contractor and his tender was £3000.00. It is this imposing church building, reopened in 1880, that we see today. The "Australasian Sketcher with Pen and Pencil" noted that the total length of the building was 118 feet and 6 inches (36 metres), by 40 foot (12 metres) wide and that the striking octagonal tower to the north-west was 110ft 6 in high. It perhaps reflected better the wealth and aspirations of the congregation.

The former Saint George's Presbyterian Church is constructed on bluestone foundations and is built in an ornate polychromatic Gothic Revival style in the tradition of English designers like William Butterfield and John L. Pearson. Built of red brick building, it is decorated in contrasting cream bricks and Waurn Ponds freestone dressings. It features a slate roof with prominent roof vents, iron ridge cresting and fleche at the intersection of the nave and transepts. The front facade of the church is dominated by the slender, banded octagonal tower topped by a narrow spire. The entrance features a double arched portal portico. The facade also features a dominant triangular epitrochoidal (curved triangular form) rose window. The church, like its bluestone neighbour All Saints Church of England, is built to a T-shaped plan, with an aisleless nave, broad transepts and internal walls of cream brick, relieved with coloured brickwork. The former Saint George's Presbyterian Church was one of the first major church design in Melbourne in which polychrome brickwork was lavishly employed both externally and internally.

The inside of the former Saint George's Presbyterian Church is equally as grand as the exterior, with ornamental Gothic Revival polychromatic brickwork, a lofty vaulted ceiling, deal and kauri pine joinery and pulpit and reredos of Keene's cement. The building originally contained a complete set of Victorian stained glass windows by well known and successful Melbourne manufacturers Ferguson and Urie, all of which remain intact today except for one of the non-figurative windows which was replaced by a memorial window to Samuel Lyons McKenzie, the congregation’s beloved minister, who served from 1930 to 1948, in 1949. The earliest of the Ferguson and Urie windows are non-figurative windows which feature the distinctive diaper pattern and floral motifs of Fergus and Urie's work, and are often argued to be amongst the finest of their non-figurative designs. The large triple window in the chancel was presented by Lady McCulloch in memory of the ‘loved and dead’. Another, in memory of John Kane Smyth, the Vice-Consul for the United States of America in Melbourne, has the American Stars and Stripes on the top ventilator above it. An organ by Thomas C. Lewis of London, one of the leading 19th century English organ builders, was installed in the south transept in 1882. It was designed to blend with its architectural setting, with pipework styled to avoid the obstruction of windows. The action of this organ was altered in 1935, but the pipework, and the original sound, have been retained.

Over the years many spiritual and social activities were instituted at Saint George’s, Presbyterian Church some of short duration such as the Ladies’ Reading Club which operated between 1888 and 1893. There were segregated Bible classes for young men and women, the Presbyterian Women’s Missionary Union, formed in 1892, a cricket club and a floral guild. Guilds teaching physical culture for girls, boys and young men began in 1904. They were entirely financed by John Maclellan and the idea extended to other denominations throughout Victoria. John Maclellan died in 1936 and the guilds ceased at Saint George’s Presbyterian church through lack of funds although in 1977 the members of the girls’ guild were still holding bi-annual reunions and raising money for charity. Sadly, the Presbyterian congregations may have been large in the Nineteenth Century, but by St George's Presbyterian Church's 110th centenary, its doors had already closed during the week due to dwindling numbers and an ageing congregation as a result of the general decline in church attendances after the Second World War exacerbated by the changing nature of St Kilda and the decrease in numbers of residents living in the vicinity of the church. So it stood, forlorn and empty and seemingly nothing more than a relic of a glorious but bygone religious past. However in 1990, Saint Michael's Grammar School across the road leased the Victorian Heritage listed building during weekdays, and it was eventually sold to them in 2015. It now forms part of the school's performing-arts complex, and it has a wonderful new lease of life.

St George's Presbyterian Church is sometimes hired out for performances, and I had the pleasure of receiving an invitation to hear Handel's Messiah performed there in 2009. The ecclesiastical acoustics made the performance all the more magnificent. I remember as I sat on one of the original (hard) kauri pine pews, I looked around me and admired the stained glass and ornamental brickwork. I tried without success over several subsequent years to gain access to the church's interior, settling for photographs of the exterior instead, but it wasn't until 2018 that I was fortunate enough to gain entry to photograph the church's interior. The former St George's Presbyterian Church was opened up to the public for one Sunday morning only as part of Open House Melbourne in July 2018. It was a fantastic morning, and I am very grateful to the staff who manned the church for the day and watched bemused as I photographed the stained glass extensively and in such detail.

Albert Purchas, born in 1825 in Chepstow, Monmouthshire, Wales, was a prominent Nineteenth Century architect who achieved great success for himself in Melbourne. Born to parents Robert Whittlesey Purchas and Marianne Guyon, he migrated to Australia in 1851 to establish himself in the then quickly expanding city of Melbourne, where he set up a small architect's firm in Little Collins Street. He also offered surveying services. His first major building was constructing the mansion "Berkeley Hall" in St Kilda on Princes Street in 1854. The house still exists today. Two years after migrating, Albert designed the layout of the Melbourne General Cemetery in Carlton. It was the first "garden cemetery" in Victoria, and his curvilinear design is still in existence, unaltered, today. In 1854, Albert married Eliza Anne Sawyer (1825 - 1869) in St Kilda. The couple had ten children over their marriage, including a son, Robert, who followed in his father's footsteps as an architect. Albert's brother-in-law, Charles Sawyer joined him in the partnership of Purchas and Sawyer, which existed from 1856 until 1862 in Queens Street. The firm produced more than 140 houses, churches, offices and cemetery buildings including: the nave and transepts of Christ Church St Kilda between 1854 and 1857, "Glenara Homestead"in Bulla in 1857, the Melbourne Savings Bank on the corner of Flinders Lane and Market Street (now demolished) between 1857 and 1858, the Geelong branch of the Bank of Australasia in Malop Street between 1859 and 1860, and Beck's Imperial Hotel in Castlemaine in 1861. When the firm broke up, Albert returned to Little Collins Street, and the best known building he designed during this period was Saint. George's Presbyterian Church in St Kilda East between 1877 and 1880. The church's tall polychomatic brick bell tower is still a local landmark, even in the times of high rise architecture and development, and Saint, George's itself is said to be one of his most striking church designs. Socially, Albert was vice president of the Royal Victorian Institute of Architects for many years, before becoming president in 1887. He was also an inventor and philanthropist. Albert died in 1909 at his home in Kew, a wealthy widower and much loved father.

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 large triple lancet windows in the Chancel of the former Saint George's Presbyterian Church were presented by Lady Margaret McCulloch, second wife of Sir James McCulloch, fifth Premier of Victoria and one of the original founders of the church. Made by Melbourne stained glass manufacturers Ferguson and Urie for the church in 1880, they are perhaps the most beautiful of all the stained glass windows in the church. They are very rich in colour, are quite ornate and would have been very costly to install. The inscription reads: "Presented by Lady McCulloch in Memory of the Loved and Dead."

The centre lancet window picture depicts "Jesus as the Good Shepherd" with a lamb in his arms. The image of Jesus clutching a lamb is commonly found in windows such as these. The image refers to a passage in John's Gospel in the New Testament, wherein Jesus describes himself as the good shepherd. The image of the Good Shepherd is designed to remind parishioners of Jesus' love for all his sheep, even the black ones, and the value that each person has for him. He stands benevolently with his shepherds' crook, clutching the white lamb in the crook of his arm. The lamb's eves are closed and it looks comfortably at peace next to Jesus' breast. At his feet the passages of Mark 10: 13 -14 are referenced: "People were bringing little children to Jesus for him to place his hands on them, but the disciples rebuked them. When Jesus saw this, he was indignant. He said to them, 'Let the little children come to me, and do not hinder them, for the kingdom of God belongs to such as these'."

The outer windows both have a cartouche beautifully depicting a cherubic child of indiscriminate sex with cascading tresses about their face. Such images of children praying were typical in all forms of media during the Victorian era and represent the late Nineteenth Century ideal of piety instilled from a young age. No doubt these two images were meant to instill such thoughts in the children of the congregation, and remind their parents of their parental duty in a Presbyterian household. Both cartouches are flanked above and below by a red quatrefoil with a blue frame, containing green rose boughs and a central white Tudor Rose, representing purity, innocence and yet again, piety. There are also blue quatrefoils with a red frame, containing green rose boughs and a central red, five petal Tudor Rose, representing the five wounds of Jesus Christ from the crucifixion.

The left lancet window depicts a child praying in bed. Beneath is referenced the Biblical passage of Samuel 3 -10: "The Lord came and stood there, calling as at the other times, 'Samuel! Samuel!' Then Samuel said, 'Speak, for your servant is listening'." The child in the cartouche may represent the child Samuel, who looks suitably wide eyed and awe struck to have heard the voice of the Lord as he listens attentively.

The right lancet window depicts Samuel upon his knees praying with his eyes cast upwards. It is based upon "The Infant Samuel" oil painting by Sir Joshua Reynolds painted circa 1776'' which is today held in the collection of the Tate Gallery in London. Whether an intentional design or just a quirk of luck, the child actually looks directly into the face of Jesus in the middle pane. This particular image of Samuel has been reproduced many times in many different medias since the late 1700s. Perhaps more interestingly, "The Infant Samuel" by Sir Joshua Reynolds was used in the first Australian Christmas stamp in 1957, which was a purple four pence stamp, designed and engraved by Mr. Donald Cameron. Beneath the image of Samuel is referenced the Biblical passage of Timothy 3 -15: "and how from infancy you have known the Holy Scriptures, which are able to make you wise for salvation through faith in Christ Jesus".

Lady Margaret McCulloch (née Boak Inglis) (1827 - 1904), was born at Kirkintilloch, Dunbartonshire. The daughter of William Inglis of Wallflat, Dumbartonshire, she was Sir James McCulloch's second wife. She met Sir James by way of her father, who was an associate of Sir James. Sir James McCulloch (1819 - 1893), was a politician and the fifth Premier of Victoria between 1863 and 1868. was born in Born at Glasgow, Scotland, the son of George McCulloch, he grew up in a staunch Presbyterian household. He entered the mercantile house of J. & A. Dennistoun upon the completion of his education. James married Susan Renwick daughter of the Reverend James Renwick a dissenting minister of the Free Church, of Muirton, Forfarshire, Montrose, in 1841. She died at Montrose four years later. As a junior partner James decided to leave Britain and its sad memories, and arrived in Melbourne in 1853 to open a branch of J. & A. Dennistoun with Mr. Robert Sellar. When the branch closed nine years later, McCulloch, Sellar & Co. was formed in connection with Leishman, Inglis & Co. of Leith. Between 1856 and 1857 and again between 1862 and 1863 James was the president of the Melbourne Chamber of Commerce. In addition he was also a local director of the London Chartered Bank. In his last two years in Glasgow he had been collector of the Trades House, an influential educational and charitable institution, and in Melbourne he supported such charities and public causes as the Benevolent Asylum, the Melbourne Hospital and the St Kilda volunteers. James became Premier of Victoria and Chief Secretary in June 1863; in May 1864 he also became the Postmaster-General. James remained in office until September 1869. He took a second wife, Margaret Boak Inglis, daughter of his associate William Inglis of Wallflat, Dumbartonshire, whom he married in Melbourne on the 17th of October 1867. James was knighted in 1870 and made a member of the Most Distinguished Order of Saint Michael and Saint George and Margaret became Lady McCulloch. The newly knighted Sir James McCulloch was Premier of Victoria again between 1870 and 1871 and yet again from 1875 to 1877. During this last period, he passed a bill abolishing all government funding to religious schools, a measure which was supported by all denominations except the Anglicans, since it freed church schools from government supervision. Sir James' government also introduced a bill to create a system of free, secular government schools, but the Catholics and Anglicans joined forces to block it. Tired and disillusioned, he resigned from Parliament in 1878. Residing in St Kilda, it is because of his enthusiasm and liberality that Sir James inspired the founders to think and act in large terms, and establish a proper Presbyterian church in St Kilda which, according to the Saint George's Presbyterian Church's 1876 - 1926 Jubilee Souvenir Book became "a noble edifice of which any denomination might be proud." Sir James became one of Saint George's Presbyterian Church's first elders and trustees. Sir James left for Britain early in 1886 and lived at Garbrand Hall in Ewell, Surrey. Even though he left Australia, he still held a fondness for his beloved Saint George's Presbyterian Church in East St Kilda. In 1890 he inquired what debt still remained on the church, and upon being informed, paid off one half of the amount owing. This was in addition to the countless funds he had already put into the initial Church Building Fund. Sir James died at Garbrand Hall in 1893. He had no children with either his first or second wife. Lady Margaret never ventured back to Australia after her husband's death and lived for the most part in Chislehurst, Kent, where she died in 1904. She bequeathed the sum of £5,000.00 to establish a Sir James McCulloch tutorship in the Theological College of the Presbyterian Church in England. She also bequeathed a painting; "Christ's Lesson in Humility" by English genre painter Charles Robert Leslie (1794 - 1859), and a bust of her late husband to the Melbourne National Gallery (now the National Gallery of Victoria).

The former Saint George's Presbyterian Church, which stands on busy Chapel Street in St Kilda East, is a well known and loved local landmark, not least of all because of its strikingly tall (33.5 metre or 110 foot) banded bell tower which can be spotted from far away. In the Nineteenth Century when it was built, it would have been even more striking for its great height and domineering presence. Designed by architect Albert Purchas, the former Saint George's Presbyterian Church is often referred to as his ecclesiastical tour-de-force, and it is most certainly one of his most dramatic and memorable churches.

The former Saint George's Presbyterian Church was constructed on a plot of land reserved in Chapel Street for the Presbyterian Church of Victoria in 1866. Initially services were held in a small hall whilst fundraising efforts advanced the erection of a church. The architect Albert Purchas was commissioned to design the church and the foundation stone for the western portion of the nave was finally laid in April 1877 by Sir James McCulloch. The first service was held in the church on the 1st of October 1877. The first clergyman of the former Saint George's Presbyterian Church was the Reverend John Laurence Rentoul (father to world renown and much loved Australian children's book illustrator Ida Rentoul Outhwaite). However, the swelling Presbyterian congregation of St Kilda and its surrounding districts quickly outgrew the initial Saint George's Presbyterian Church building, so Albert Purchas was obliged to re-design and enlarge the church to allow a doubling in capacity. Robert S. Ekins was the contractor and his tender was £3000.00. It is this imposing church building, reopened in 1880, that we see today. The "Australasian Sketcher with Pen and Pencil" noted that the total length of the building was 118 feet and 6 inches (36 metres), by 40 foot (12 metres) wide and that the striking octagonal tower to the north-west was 110ft 6 in high. It perhaps reflected better the wealth and aspirations of the congregation.

The former Saint George's Presbyterian Church is constructed on bluestone foundations and is built in an ornate polychromatic Gothic Revival style in the tradition of English designers like William Butterfield and John L. Pearson. Built of red brick building, it is decorated in contrasting cream bricks and Waurn Ponds freestone dressings. It features a slate roof with prominent roof vents, iron ridge cresting and fleche at the intersection of the nave and transepts. The front facade of the church is dominated by the slender, banded octagonal tower topped by a narrow spire. The entrance features a double arched portal portico. The facade also features a dominant triangular epitrochoidal (curved triangular form) rose window. The church, like its bluestone neighbour All Saints Church of England, is built to a T-shaped plan, with an aisleless nave, broad transepts and internal walls of cream brick, relieved with coloured brickwork. The former Saint George's Presbyterian Church was one of the first major church design in Melbourne in which polychrome brickwork was lavishly employed both externally and internally.

The inside of the former Saint George's Presbyterian Church is equally as grand as the exterior, with ornamental Gothic Revival polychromatic brickwork, a lofty vaulted ceiling, deal and kauri pine joinery and pulpit and reredos of Keene's cement. The building originally contained a complete set of Victorian stained glass windows by well known and successful Melbourne manufacturers Ferguson and Urie, all of which remain intact today except for one of the non-figurative windows which was replaced by a memorial window to Samuel Lyons McKenzie, the congregation’s beloved minister, who served from 1930 to 1948, in 1949. The earliest of the Ferguson and Urie windows are non-figurative windows which feature the distinctive diaper pattern and floral motifs of Fergus and Urie's work, and are often argued to be amongst the finest of their non-figurative designs. The large triple window in the chancel was presented by Lady McCulloch in memory of the ‘loved and dead’. Another, in memory of John Kane Smyth, the Vice-Consul for the United States of America in Melbourne, has the American Stars and Stripes on the top ventilator above it. An organ by Thomas C. Lewis of London, one of the leading 19th century English organ builders, was installed in the south transept in 1882. It was designed to blend with its architectural setting, with pipework styled to avoid the obstruction of windows. The action of this organ was altered in 1935, but the pipework, and the original sound, have been retained.

Over the years many spiritual and social activities were instituted at Saint George’s, Presbyterian Church some of short duration such as the Ladies’ Reading Club which operated between 1888 and 1893. There were segregated Bible classes for young men and women, the Presbyterian Women’s Missionary Union, formed in 1892, a cricket club and a floral guild. Guilds teaching physical culture for girls, boys and young men began in 1904. They were entirely financed by John Maclellan and the idea extended to other denominations throughout Victoria. John Maclellan died in 1936 and the guilds ceased at Saint George’s Presbyterian church through lack of funds although in 1977 the members of the girls’ guild were still holding bi-annual reunions and raising money for charity. Sadly, the Presbyterian congregations may have been large in the Nineteenth Century, but by St George's Presbyterian Church's 110th centenary, its doors had already closed during the week due to dwindling numbers and an ageing congregation as a result of the general decline in church attendances after the Second World War exacerbated by the changing nature of St Kilda and the decrease in numbers of residents living in the vicinity of the church. So it stood, forlorn and empty and seemingly nothing more than a relic of a glorious but bygone religious past. However in 1990, Saint Michael's Grammar School across the road leased the Victorian Heritage listed building during weekdays, and it was eventually sold to them in 2015. It now forms part of the school's performing-arts complex, and it has a wonderful new lease of life.

St George's Presbyterian Church is sometimes hired out for performances, and I had the pleasure of receiving an invitation to hear Handel's Messiah performed there in 2009. The ecclesiastical acoustics made the performance all the more magnificent. I remember as I sat on one of the original (hard) kauri pine pews, I looked around me and admired the stained glass and ornamental brickwork. I tried without success over several subsequent years to gain access to the church's interior, settling for photographs of the exterior instead, but it wasn't until 2018 that I was fortunate enough to gain entry to photograph the church's interior. The former St George's Presbyterian Church was opened up to the public for one Sunday morning only as part of Open House Melbourne in July 2018. It was a fantastic morning, and I am very grateful to the staff who manned the church for the day and watched bemused as I photographed the stained glass extensively and in such detail.

Albert Purchas, born in 1825 in Chepstow, Monmouthshire, Wales, was a prominent Nineteenth Century architect who achieved great success for himself in Melbourne. Born to parents Robert Whittlesey Purchas and Marianne Guyon, he migrated to Australia in 1851 to establish himself in the then quickly expanding city of Melbourne, where he set up a small architect's firm in Little Collins Street. He also offered surveying services. His first major building was constructing the mansion "Berkeley Hall" in St Kilda on Princes Street in 1854. The house still exists today. Two years after migrating, Albert designed the layout of the Melbourne General Cemetery in Carlton. It was the first "garden cemetery" in Victoria, and his curvilinear design is still in existence, unaltered, today. In 1854, Albert married Eliza Anne Sawyer (1825 - 1869) in St Kilda. The couple had ten children over their marriage, including a son, Robert, who followed in his father's footsteps as an architect. Albert's brother-in-law, Charles Sawyer joined him in the partnership of Purchas and Sawyer, which existed from 1856 until 1862 in Queens Street. The firm produced more than 140 houses, churches, offices and cemetery buildings including: the nave and transepts of Christ Church St Kilda between 1854 and 1857, "Glenara Homestead"in Bulla in 1857, the Melbourne Savings Bank on the corner of Flinders Lane and Market Street (now demolished) between 1857 and 1858, the Geelong branch of the Bank of Australasia in Malop Street between 1859 and 1860, and Beck's Imperial Hotel in Castlemaine in 1861. When the firm broke up, Albert returned to Little Collins Street, and the best known building he designed during this period was Saint. George's Presbyterian Church in St Kilda East between 1877 and 1880. The church's tall polychomatic brick bell tower is still a local landmark, even in the times of high rise architecture and development, and Saint, George's itself is said to be one of his most striking church designs. Socially, Albert was vice president of the Royal Victorian Institute of Architects for many years, before becoming president in 1887. He was also an inventor and philanthropist. Albert died in 1909 at his home in Kew, a wealthy widower and much loved father.

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 large triple lancet windows in the Chancel of the former Saint George's Presbyterian Church were presented by Lady Margaret McCulloch, second wife of Sir James McCulloch, fifth Premier of Victoria and one of the original founders of the church. Made by Melbourne stained glass manufacturers Ferguson and Urie for the church in 1880, they are perhaps the most beautiful of all the stained glass windows in the church. They are very rich in colour, are quite ornate and would have been very costly to install. The inscription reads: "Presented by Lady McCulloch in Memory of the Loved and Dead."

The centre lancet window picture depicts "Jesus as the Good Shepherd" with a lamb in his arms. The image of Jesus clutching a lamb is commonly found in windows such as these. The image refers to a passage in John's Gospel in the New Testament, wherein Jesus describes himself as the good shepherd. The image of the Good Shepherd is designed to remind parishioners of Jesus' love for all his sheep, even the black ones, and the value that each person has for him. He stands benevolently with his shepherds' crook, clutching the white lamb in the crook of his arm. The lamb's eves are closed and it looks comfortably at peace next to Jesus' breast. At his feet the passages of Mark 10: 13 -14 are referenced: "People were bringing little children to Jesus for him to place his hands on them, but the disciples rebuked them. When Jesus saw this, he was indignant. He said to them, 'Let the little children come to me, and do not hinder them, for the kingdom of God belongs to such as these'."

The outer windows both have a cartouche beautifully depicting a cherubic child of indiscriminate sex with cascading tresses about their face. Such images of children praying were typical in all forms of media during the Victorian era and represent the late Nineteenth Century ideal of piety instilled from a young age. No doubt these two images were meant to instill such thoughts in the children of the congregation, and remind their parents of their parental duty in a Presbyterian household. Both cartouches are flanked above and below by a red quatrefoil with a blue frame, containing green rose boughs and a central white Tudor Rose, representing purity, innocence and yet again, piety. There are also blue quatrefoils with a red frame, containing green rose boughs and a central red, five petal Tudor Rose, representing the five wounds of Jesus Christ from the crucifixion.

The left lancet window depicts a child praying in bed. Beneath is referenced the Biblical passage of Samuel 3 -10: "The Lord came and stood there, calling as at the other times, 'Samuel! Samuel!' Then Samuel said, 'Speak, for your servant is listening'." The child in the cartouche may represent the child Samuel, who looks suitably wide eyed and awe struck to have heard the voice of the Lord as he listens attentively.

The right lancet window depicts Samuel upon his knees praying with his eyes cast upwards. It is based upon "The Infant Samuel" oil painting by Sir Joshua Reynolds painted circa 1776'' which is today held in the collection of the Tate Gallery in London. Whether an intentional design or just a quirk of luck, the child actually looks directly into the face of Jesus in the middle pane. This particular image of Samuel has been reproduced many times in many different medias since the late 1700s. Perhaps more interestingly, "The Infant Samuel" by Sir Joshua Reynolds was used in the first Australian Christmas stamp in 1957, which was a purple four pence stamp, designed and engraved by Mr. Donald Cameron. Beneath the image of Samuel is referenced the Biblical passage of Timothy 3 -15: "and how from infancy you have known the Holy Scriptures, which are able to make you wise for salvation through faith in Christ Jesus".

Lady Margaret McCulloch (née Boak Inglis) (1827 - 1904), was born at Kirkintilloch, Dunbartonshire. The daughter of William Inglis of Wallflat, Dumbartonshire, she was Sir James McCulloch's second wife. She met Sir James by way of her father, who was an associate of Sir James. Sir James McCulloch (1819 - 1893), was a politician and the fifth Premier of Victoria between 1863 and 1868. was born in Born at Glasgow, Scotland, the son of George McCulloch, he grew up in a staunch Presbyterian household. He entered the mercantile house of J. & A. Dennistoun upon the completion of his education. James married Susan Renwick daughter of the Reverend James Renwick a dissenting minister of the Free Church, of Muirton, Forfarshire, Montrose, in 1841. She died at Montrose four years later. As a junior partner James decided to leave Britain and its sad memories, and arrived in Melbourne in 1853 to open a branch of J. & A. Dennistoun with Mr. Robert Sellar. When the branch closed nine years later, McCulloch, Sellar & Co. was formed in connection with Leishman, Inglis & Co. of Leith. Between 1856 and 1857 and again between 1862 and 1863 James was the president of the Melbourne Chamber of Commerce. In addition he was also a local director of the London Chartered Bank. In his last two years in Glasgow he had been collector of the Trades House, an influential educational and charitable institution, and in Melbourne he supported such charities and public causes as the Benevolent Asylum, the Melbourne Hospital and the St Kilda volunteers. James became Premier of Victoria and Chief Secretary in June 1863; in May 1864 he also became the Postmaster-General. James remained in office until September 1869. He took a second wife, Margaret Boak Inglis, daughter of his associate William Inglis of Wallflat, Dumbartonshire, whom he married in Melbourne on the 17th of October 1867. James was knighted in 1870 and made a member of the Most Distinguished Order of Saint Michael and Saint George and Margaret became Lady McCulloch. The newly knighted Sir James McCulloch was Premier of Victoria again between 1870 and 1871 and yet again from 1875 to 1877. During this last period, he passed a bill abolishing all government funding to religious schools, a measure which was supported by all denominations except the Anglicans, since it freed church schools from government supervision. Sir James' government also introduced a bill to create a system of free, secular government schools, but the Catholics and Anglicans joined forces to block it. Tired and disillusioned, he resigned from Parliament in 1878. Residing in St Kilda, it is because of his enthusiasm and liberality that Sir James inspired the founders to think and act in large terms, and establish a proper Presbyterian church in St Kilda which, according to the Saint George's Presbyterian Church's 1876 - 1926 Jubilee Souvenir Book became "a noble edifice of which any denomination might be proud." Sir James became one of Saint George's Presbyterian Church's first elders and trustees. Sir James left for Britain early in 1886 and lived at Garbrand Hall in Ewell, Surrey. Even though he left Australia, he still held a fondness for his beloved Saint George's Presbyterian Church in East St Kilda. In 1890 he inquired what debt still remained on the church, and upon being informed, paid off one half of the amount owing. This was in addition to the countless funds he had already put into the initial Church Building Fund. Sir James died at Garbrand Hall in 1893. He had no children with either his first or second wife. Lady Margaret never ventured back to Australia after her husband's death and lived for the most part in Chislehurst, Kent, where she died in 1904. She bequeathed the sum of £5,000.00 to establish a Sir James McCulloch tutorship in the Theological College of the Presbyterian Church in England. She also bequeathed a painting; "Christ's Lesson in Humility" by English genre painter Charles Robert Leslie (1794 - 1859), and a bust of her late husband to the Melbourne National Gallery (now the National Gallery of Victoria).

The former Saint George's Presbyterian Church, which stands on busy Chapel Street in St Kilda East, is a well known and loved local landmark, not least of all because of its strikingly tall (33.5 metre or 110 foot) banded bell tower which can be spotted from far away. In the Nineteenth Century when it was built, it would have been even more striking for its great height and domineering presence. Designed by architect Albert Purchas, the former Saint George's Presbyterian Church is often referred to as his ecclesiastical tour-de-force, and it is most certainly one of his most dramatic and memorable churches.

The former Saint George's Presbyterian Church was constructed on a plot of land reserved in Chapel Street for the Presbyterian Church of Victoria in 1866. Initially services were held in a small hall whilst fundraising efforts advanced the erection of a church. The architect Albert Purchas was commissioned to design the church and the foundation stone for the western portion of the nave was finally laid in April 1877 by Sir James McCulloch. The first service was held in the church on the 1st of October 1877. The first clergyman of the former Saint George's Presbyterian Church was the Reverend John Laurence Rentoul (father to world renown and much loved Australian children's book illustrator Ida Rentoul Outhwaite). However, the swelling Presbyterian congregation of St Kilda and its surrounding districts quickly outgrew the initial Saint George's Presbyterian Church building, so Albert Purchas was obliged to re-design and enlarge the church to allow a doubling in capacity. Robert S. Ekins was the contractor and his tender was £3000.00. It is this imposing church building, reopened in 1880, that we see today. The "Australasian Sketcher with Pen and Pencil" noted that the total length of the building was 118 feet and 6 inches (36 metres), by 40 foot (12 metres) wide and that the striking octagonal tower to the north-west was 110ft 6 in high. It perhaps reflected better the wealth and aspirations of the congregation.

The former Saint George's Presbyterian Church is constructed on bluestone foundations and is built in an ornate polychromatic Gothic Revival style in the tradition of English designers like William Butterfield and John L. Pearson. Built of red brick building, it is decorated in contrasting cream bricks and Waurn Ponds freestone dressings. It features a slate roof with prominent roof vents, iron ridge cresting and fleche at the intersection of the nave and transepts. The front facade of the church is dominated by the slender, banded octagonal tower topped by a narrow spire. The entrance features a double arched portal portico. The facade also features a dominant triangular epitrochoidal (curved triangular form) rose window. The church, like its bluestone neighbour All Saints Church of England, is built to a T-shaped plan, with an aisleless nave, broad transepts and internal walls of cream brick, relieved with coloured brickwork. The former Saint George's Presbyterian Church was one of the first major church design in Melbourne in which polychrome brickwork was lavishly employed both externally and internally.

The inside of the former Saint George's Presbyterian Church is equally as grand as the exterior, with ornamental Gothic Revival polychromatic brickwork, a lofty vaulted ceiling, deal and kauri pine joinery and pulpit and reredos of Keene's cement. The building originally contained a complete set of Victorian stained glass windows by well known and successful Melbourne manufacturers Ferguson and Urie, all of which remain intact today except for one of the non-figurative windows which was replaced by a memorial window to Samuel Lyons McKenzie, the congregation’s beloved minister, who served from 1930 to 1948, in 1949. The earliest of the Ferguson and Urie windows are non-figurative windows which feature the distinctive diaper pattern and floral motifs of Fergus and Urie's work, and are often argued to be amongst the finest of their non-figurative designs. The large triple window in the chancel was presented by Lady McCulloch in memory of the ‘loved and dead’. Another, in memory of John Kane Smyth, the Vice-Consul for the United States of America in Melbourne, has the American Stars and Stripes on the top ventilator above it. An organ by Thomas C. Lewis of London, one of the leading 19th century English organ builders, was installed in the south transept in 1882. It was designed to blend with its architectural setting, with pipework styled to avoid the obstruction of windows. The action of this organ was altered in 1935, but the pipework, and the original sound, have been retained.

Over the years many spiritual and social activities were instituted at Saint George’s, Presbyterian Church some of short duration such as the Ladies’ Reading Club which operated between 1888 and 1893. There were segregated Bible classes for young men and women, the Presbyterian Women’s Missionary Union, formed in 1892, a cricket club and a floral guild. Guilds teaching physical culture for girls, boys and young men began in 1904. They were entirely financed by John Maclellan and the idea extended to other denominations throughout Victoria. John Maclellan died in 1936 and the guilds ceased at Saint George’s Presbyterian church through lack of funds although in 1977 the members of the girls’ guild were still holding bi-annual reunions and raising money for charity. Sadly, the Presbyterian congregations may have been large in the Nineteenth Century, but by St George's Presbyterian Church's 110th centenary, its doors had already closed during the week due to dwindling numbers and an ageing congregation as a result of the general decline in church attendances after the Second World War exacerbated by the changing nature of St Kilda and the decrease in numbers of residents living in the vicinity of the church. So it stood, forlorn and empty and seemingly nothing more than a relic of a glorious but bygone religious past. However in 1990, Saint Michael's Grammar School across the road leased the Victorian Heritage listed building during weekdays, and it was eventually sold to them in 2015. It now forms part of the school's performing-arts complex, and it has a wonderful new lease of life.

St George's Presbyterian Church is sometimes hired out for performances, and I had the pleasure of receiving an invitation to hear Handel's Messiah performed there in 2009. The ecclesiastical acoustics made the performance all the more magnificent. I remember as I sat on one of the original (hard) kauri pine pews, I looked around me and admired the stained glass and ornamental brickwork. I tried without success over several subsequent years to gain access to the church's interior, settling for photographs of the exterior instead, but it wasn't until 2018 that I was fortunate enough to gain entry to photograph the church's interior. The former St George's Presbyterian Church was opened up to the public for one Sunday morning only as part of Open House Melbourne in July 2018. It was a fantastic morning, and I am very grateful to the staff who manned the church for the day and watched bemused as I photographed the stained glass extensively and in such detail.

Albert Purchas, born in 1825 in Chepstow, Monmouthshire, Wales, was a prominent Nineteenth Century architect who achieved great success for himself in Melbourne. Born to parents Robert Whittlesey Purchas and Marianne Guyon, he migrated to Australia in 1851 to establish himself in the then quickly expanding city of Melbourne, where he set up a small architect's firm in Little Collins Street. He also offered surveying services. His first major building was constructing the mansion "Berkeley Hall" in St Kilda on Princes Street in 1854. The house still exists today. Two years after migrating, Albert designed the layout of the Melbourne General Cemetery in Carlton. It was the first "garden cemetery" in Victoria, and his curvilinear design is still in existence, unaltered, today. In 1854, Albert married Eliza Anne Sawyer (1825 - 1869) in St Kilda. The couple had ten children over their marriage, including a son, Robert, who followed in his father's footsteps as an architect. Albert's brother-in-law, Charles Sawyer joined him in the partnership of Purchas and Sawyer, which existed from 1856 until 1862 in Queens Street. The firm produced more than 140 houses, churches, offices and cemetery buildings including: the nave and transepts of Christ Church St Kilda between 1854 and 1857, "Glenara Homestead"in Bulla in 1857, the Melbourne Savings Bank on the corner of Flinders Lane and Market Street (now demolished) between 1857 and 1858, the Geelong branch of the Bank of Australasia in Malop Street between 1859 and 1860, and Beck's Imperial Hotel in Castlemaine in 1861. When the firm broke up, Albert returned to Little Collins Street, and the best known building he designed during this period was Saint. George's Presbyterian Church in St Kilda East between 1877 and 1880. The church's tall polychomatic brick bell tower is still a local landmark, even in the times of high rise architecture and development, and Saint, George's itself is said to be one of his most striking church designs. Socially, Albert was vice president of the Royal Victorian Institute of Architects for many years, before becoming president in 1887. He was also an inventor and philanthropist. Albert died in 1909 at his home in Kew, a wealthy widower and much loved father.

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 late Nineteenth or early Twentieth Century by Melbourne stained glass manufacturer Ferguson and Urie, the large quatrefoil window in the northern transept of the former Saint George's Presbyterian Church depicts the four Evangelists; Matthew, Mark, Luke and John. All four hold a Gospel Book and a quill symbolising their writings. Matthew appears in the top left-hand pane, Mark in the top right-hand pane, Luke in the bottom left-hand pane and John in the bottom right-hand pane. The window is richly coloured with red and blue glass, and the overall design and palatte has a very Pre-Raphaelite apparance. Each saint sits in a cartouche surrounded by grape vines, symbolising the blood of Christ. Four smaller round windows encircle the quatrefoil featuring a stylised Tudor Rose for England, a thistle for Scotland, a shamrock for Ireland and a fleur-de-lis which symbolises the Holy Trinity.

Matthew the Apostle was one of the twelve Apostles of Jesus. The New Testament records that as a disciple, he followed Jesus, and was one of the witnesses of the Resurrection and the Ascension of Jesus. The Gospel of Matthew is anonymous: the author is not named within the text, and the superscription "according to Matthew" was added some time in the second century.

Mark the Evangelist is the traditionally ascribed author of the Gospel of Mark. Mark is said to have founded the Church of Alexandria, one of the most important episcopal sees of early Christianity.

Luke the Evangelist is one of the Four Evangelists—the four traditionally ascribed authors of the canonical Gospels. The Early Church Fathers ascribed to him authorship of both the Gospel of Luke and the Acts of the Apostles, which would mean Luke contributed over a quarter of the text of the New Testament, more than any other author.

John the Evangelist is the name traditionally given to the author of the Gospel of John. Christians have traditionally identified him with John the Apostle, John of Patmos, or John the Presbyter. The Gospel of John refers to an otherwise unnamed "disciple whom Jesus loved", who "bore witness to and wrote" the Gospel's message.

The former Saint George's Presbyterian Church, which stands on busy Chapel Street in St Kilda East, is a well known and loved local landmark, not least of all because of its strikingly tall (33.5 metre or 110 foot) banded bell tower which can be spotted from far away. In the Nineteenth Century when it was built, it would have been even more striking for its great height and domineering presence. Designed by architect Albert Purchas, the former Saint George's Presbyterian Church is often referred to as his ecclesiastical tour-de-force, and it is most certainly one of his most dramatic and memorable churches.

The former Saint George's Presbyterian Church was constructed on a plot of land reserved in Chapel Street for the Presbyterian Church of Victoria in 1866. Initially services were held in a small hall whilst fundraising efforts advanced the erection of a church. The architect Albert Purchas was commissioned to design the church and the foundation stone for the western portion of the nave was finally laid in April 1877 by Sir James McCulloch. The first service was held in the church on the 1st of October 1877. The first clergyman of the former Saint George's Presbyterian Church was the Reverend John Laurence Rentoul (father to world renown and much loved Australian children's book illustrator Ida Rentoul Outhwaite). However, the swelling Presbyterian congregation of St Kilda and its surrounding districts quickly outgrew the initial Saint George's Presbyterian Church building, so Albert Purchas was obliged to re-design and enlarge the church to allow a doubling in capacity. Robert S. Ekins was the contractor and his tender was £3000.00. It is this imposing church building, reopened in 1880, that we see today. The "Australasian Sketcher with Pen and Pencil" noted that the total length of the building was 118 feet and 6 inches (36 metres), by 40 foot (12 metres) wide and that the striking octagonal tower to the north-west was 110ft 6 in high. It perhaps reflected better the wealth and aspirations of the congregation.

The former Saint George's Presbyterian Church is constructed on bluestone foundations and is built in an ornate polychromatic Gothic Revival style in the tradition of English designers like William Butterfield and John L. Pearson. Built of red brick building, it is decorated in contrasting cream bricks and Waurn Ponds freestone dressings. It features a slate roof with prominent roof vents, iron ridge cresting and fleche at the intersection of the nave and transepts. The front facade of the church is dominated by the slender, banded octagonal tower topped by a narrow spire. The entrance features a double arched portal portico. The facade also features a dominant triangular epitrochoidal (curved triangular form) rose window. The church, like its bluestone neighbour All Saints Church of England, is built to a T-shaped plan, with an aisleless nave, broad transepts and internal walls of cream brick, relieved with coloured brickwork. The former Saint George's Presbyterian Church was one of the first major church design in Melbourne in which polychrome brickwork was lavishly employed both externally and internally.

The inside of the former Saint George's Presbyterian Church is equally as grand as the exterior, with ornamental Gothic Revival polychromatic brickwork, a lofty vaulted ceiling, deal and kauri pine joinery and pulpit and reredos of Keene's cement. The building originally contained a complete set of Victorian stained glass windows by well known and successful Melbourne manufacturers Ferguson and Urie, all of which remain intact today except for one of the non-figurative windows which was replaced by a memorial window to Samuel Lyons McKenzie, the congregation’s beloved minister, who served from 1930 to 1948, in 1949. The earliest of the Ferguson and Urie windows are non-figurative windows which feature the distinctive diaper pattern and floral motifs of Fergus and Urie's work, and are often argued to be amongst the finest of their non-figurative designs. The large triple window in the chancel was presented by Lady McCulloch in memory of the ‘loved and dead’. Another, in memory of John Kane Smyth, the Vice-Consul for the United States of America in Melbourne, has the American Stars and Stripes on the top ventilator above it. An organ by Thomas C. Lewis of London, one of the leading 19th century English organ builders, was installed in the south transept in 1882. It was designed to blend with its architectural setting, with pipework styled to avoid the obstruction of windows. The action of this organ was altered in 1935, but the pipework, and the original sound, have been retained.

Over the years many spiritual and social activities were instituted at Saint George’s, Presbyterian Church some of short duration such as the Ladies’ Reading Club which operated between 1888 and 1893. There were segregated Bible classes for young men and women, the Presbyterian Women’s Missionary Union, formed in 1892, a cricket club and a floral guild. Guilds teaching physical culture for girls, boys and young men began in 1904. They were entirely financed by John Maclellan and the idea extended to other denominations throughout Victoria. John Maclellan died in 1936 and the guilds ceased at Saint George’s Presbyterian church through lack of funds although in 1977 the members of the girls’ guild were still holding bi-annual reunions and raising money for charity. Sadly, the Presbyterian congregations may have been large in the Nineteenth Century, but by St George's Presbyterian Church's 110th centenary, its doors had already closed during the week due to dwindling numbers and an ageing congregation as a result of the general decline in church attendances after the Second World War exacerbated by the changing nature of St Kilda and the decrease in numbers of residents living in the vicinity of the church. So it stood, forlorn and empty and seemingly nothing more than a relic of a glorious but bygone religious past. However in 1990, Saint Michael's Grammar School across the road leased the Victorian Heritage listed building during weekdays, and it was eventually sold to them in 2015. It now forms part of the school's performing-arts complex, and it has a wonderful new lease of life.

St George's Presbyterian Church is sometimes hired out for performances, and I had the pleasure of receiving an invitation to hear Handel's Messiah performed there in 2009. The ecclesiastical acoustics made the performance all the more magnificent. I remember as I sat on one of the original (hard) kauri pine pews, I looked around me and admired the stained glass and ornamental brickwork. I tried without success over several subsequent years to gain access to the church's interior, settling for photographs of the exterior instead, but it wasn't until 2018 that I was fortunate enough to gain entry to photograph the church's interior. The former St George's Presbyterian Church was opened up to the public for one Sunday morning only as part of Open House Melbourne in July 2018. It was a fantastic morning, and I am very grateful to the staff who manned the church for the day and watched bemused as I photographed the stained glass extensively and in such detail.

Albert Purchas, born in 1825 in Chepstow, Monmouthshire, Wales, was a prominent Nineteenth Century architect who achieved great success for himself in Melbourne. Born to parents Robert Whittlesey Purchas and Marianne Guyon, he migrated to Australia in 1851 to establish himself in the then quickly expanding city of Melbourne, where he set up a small architect's firm in Little Collins Street. He also offered surveying services. His first major building was constructing the mansion "Berkeley Hall" in St Kilda on Princes Street in 1854. The house still exists today. Two years after migrating, Albert designed the layout of the Melbourne General Cemetery in Carlton. It was the first "garden cemetery" in Victoria, and his curvilinear design is still in existence, unaltered, today. In 1854, Albert married Eliza Anne Sawyer (1825 - 1869) in St Kilda. The couple had ten children over their marriage, including a son, Robert, who followed in his father's footsteps as an architect. Albert's brother-in-law, Charles Sawyer joined him in the partnership of Purchas and Sawyer, which existed from 1856 until 1862 in Queens Street. The firm produced more than 140 houses, churches, offices and cemetery buildings including: the nave and transepts of Christ Church St Kilda between 1854 and 1857, "Glenara Homestead"in Bulla in 1857, the Melbourne Savings Bank on the corner of Flinders Lane and Market Street (now demolished) between 1857 and 1858, the Geelong branch of the Bank of Australasia in Malop Street between 1859 and 1860, and Beck's Imperial Hotel in Castlemaine in 1861. When the firm broke up, Albert returned to Little Collins Street, and the best known building he designed during this period was Saint. George's Presbyterian Church in St Kilda East between 1877 and 1880. The church's tall polychomatic brick bell tower is still a local landmark, even in the times of high rise architecture and development, and Saint, George's itself is said to be one of his most striking church designs. Socially, Albert was vice president of the Royal Victorian Institute of Architects for many years, before becoming president in 1887. He was also an inventor and philanthropist. Albert died in 1909 at his home in Kew, a wealthy widower and much loved father.

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 is not in a zoo - it is wildlife! I am standing in front of the Komodo Dragon. One hit with their giant claws and you are damaged! And they grow up to 3 meter in length and 70 kilo!

Luckily they are not aggressive . . .

__________________________

The Komodo dragon (Varanus komodoensis), also known as the Komodo monitor, is a large species of lizard found in the Indonesian islands of Komodo, Rinca, Flores, Gili Motang, and Padar. A member of the monitor lizard family Varanidae, it is the largest living species of lizard, growing to a maximum length of 3 metres in rare cases and weighing up to approximately 70 kilograms.

Their unusually large size has been attributed to island gigantism, since no other carnivorous animals fill the niche on the islands where they live. However, recent research suggests the large size of Komodo dragons may be better understood as representative of a relict population of very large varanid lizards that once lived across Indonesia and Australia, most of which, along with other megafauna, died out after the Pleistocene. Fossils very similar to V. komodoensis have been found in Australia dating to greater than 3.8 million years ago, and its body size remained stable on Flores, one of the handful of Indonesian islands where it is currently found, over the last 900,000 years, "a time marked by major faunal turnovers, extinction of the island's megafauna, and the arrival of early hominids by 880 ka [kiloannums]."

As a result of their size, these lizards dominate the ecosystems in which they live. Komodo dragons hunt and ambush prey including invertebrates, birds, and mammals. It has been claimed that they have a venomous bite; there are two glands in the lower jaw which secrete several toxic proteins. The biological significance of these proteins is disputed, but the glands have been shown to secrete an anticoagulant. Komodo dragon group behaviour in hunting is exceptional in the reptile world. The diet of big Komodo dragons mainly consists of deer, though they also eat considerable amounts of carrion. Komodo dragons also occasionally attack humans in the area of West Manggarai Regency where they live in Indonesia.

Mating begins between May and August, and the eggs are laid in September. About 20 eggs are deposited in abandoned megapode nests or in a self-dug nesting hole. The eggs are incubated for seven to eight months, hatching in April, when insects are most plentiful. Young Komodo dragons are vulnerable and therefore dwell in trees, safe from predators and cannibalistic adults. They take 8 to 9 years to mature, and are estimated to live up to 30 years.

Komodo dragons were first recorded by Western scientists in 1910. Their large size and fearsome reputation make them popular zoo exhibits. In the wild, their range has contracted due to human activities, and they are listed as vulnerable by the IUCN. They are protected under Indonesian law, and a national park, Komodo National Park, was founded to aid protection efforts.

ETYMOLOGY

The Komodo dragon is also known as the Komodo monitor or the Komodo Island monitor in scientific literature, although this is not very common. To the natives of Komodo Island, it is referred to as ora, buaya darat (land crocodile), or biawak raksasa (giant monitor).

EVOLUTIONARY HISTORY

The evolutionary development of the Komodo dragon started with the Varanus genus, which originated in Asia about 40 million years ago and migrated to Australia. Around 15 million years ago, a collision between Australia and Southeast Asia allowed the varanids to move into what is now the Indonesian archipelago, extending their range as far east as the island of Timor. The Komodo dragon was believed to have differentiated from its Australian ancestors 4 million years ago. However, recent fossil evidence from Queensland suggests the Komodo dragon evolved in Australia before spreading to Indonesia. Dramatic lowering of sea level during the last glacial period uncovered extensive stretches of continental shelf that the Komodo dragon colonized, becoming isolated in their present island range as sea levels rose afterwards.

DESCRIPTION

In the wild, an adult Komodo dragon usually weighs around 70 kg, although captive specimens often weigh more. According to the Guinness Book of World Records, an average adult male will weigh 79 to 91 kg and measure 2.59 m, while an average female will weigh 68 to 73 kg and measure 2.29 m. The largest verified wild specimen was 3.13 m long and weighed 166 kg, including undigested food. The Komodo dragon has a tail as long as its body, as well as about 60 frequently replaced, serrated teeth that can measure up to 2.5 cm in length. Its saliva is frequently blood-tinged, because its teeth are almost completely covered by gingival tissue that is naturally lacerated during feeding. This creates an ideal culture for the bacteria that live in its mouth. It also has a long, yellow, deeply forked tongue. Komodo dragon skin is reinforced by armoured scales, which contain tiny bones called osteoderms that function as a sort of natural chain-mail. This rugged hide makes Komodo dragon skin poorly suited for making into leather.

SENSES

As with other Varanids, Komodo dragons have only a single ear bone, the stapes, for transferring vibrations from the tympanic membrane to the cochlea. This arrangement means they are likely restricted to sounds in the 400 to 2,000 hertz range, compared to humans who hear between 20 and 20,000 hertz. It was formerly thought to be deaf when a study reported no agitation in wild Komodo dragons in response to whispers, raised voices, or shouts. This was disputed when London Zoological Garden employee Joan Proctor trained a captive specimen to come out to feed at the sound of her voice, even when she could not be seen.

The Komodo dragon can see objects as far away as 300 m, but because its retinas only contain cones, it is thought to have poor night vision. The Komodo dragon is able to see in color, but has poor visual discrimination of stationary objects.

The Komodo dragon uses its tongue to detect, taste, and smell stimuli, as with many other reptiles, with the vomeronasal sense using the Jacobson's organ, rather than using the nostrils. With the help of a favorable wind and its habit of swinging its head from side to side as it walks, a Komodo dragon may be able to detect carrion from 4–9.5 km away. It only has a few taste buds in the back of its throat. Its scales, some of which are reinforced with bone, have sensory plaques connected to nerves to facilitate its sense of touch. The scales around the ears, lips, chin, and soles of the feet may have three or more sensory plaques.

BEHAVIOUR AND ECOLOGY

The Komodo dragon prefers hot and dry places, and typically lives in dry, open grassland, savanna, and tropical forest at low elevations. As an ectotherm, it is most active in the day, although it exhibits some nocturnal activity. Komodo dragons are solitary, coming together only to breed and eat. They are capable of running rapidly in brief sprints up to 20 km/h, diving up to 4.5 m, and climbing trees proficiently when young through use of their strong claws. To catch out-of-reach prey, the Komodo dragon may stand on its hind legs and use its tail as a support. As it matures, its claws are used primarily as weapons, as its great size makes climbing impractical.

For shelter, the Komodo dragon digs holes that can measure from 1–3 m wide with its powerful forelimbs and claws. Because of its large size and habit of sleeping in these burrows, it is able to conserve body heat throughout the night and minimize its basking period the morning after. The Komodo dragon hunts in the afternoon, but stays in the shade during the hottest part of the day. These special resting places, usually located on ridges with cool sea breezes, are marked with droppings and are cleared of vegetation. They serve as strategic locations from which to ambush deer.

DIET

Komodo dragons are carnivores. Although they eat mostly carrion, they will also ambush live prey with a stealthy approach. When suitable prey arrives near a dragon's ambush site, it will suddenly charge at the animal and go for the underside or the throat. It is able to locate its prey using its keen sense of smell, which can locate a dead or dying animal from a range of up to 9.5 km. Komodo dragons have been observed knocking down large pigs and deer with their strong tails.

Komodo dragons eat by tearing large chunks of flesh and swallowing them whole while holding the carcass down with their forelegs. For smaller prey up to the size of a goat, their loosely articulated jaws, flexible skulls, and expandable stomachs allow them to swallow prey whole. The vegetable contents of the stomach and intestines are typically avoided. Copious amounts of red saliva the Komodo dragons produce help to lubricate the food, but swallowing is still a long process (15–20 minutes to swallow a goat). A Komodo dragon may attempt to speed up the process by ramming the carcass against a tree to force it down its throat, sometimes ramming so forcefully, the tree is knocked down. To prevent itself from suffocating while swallowing, it breathes using a small tube under the tongue that connects to the lungs. After eating up to 80% of its body weight in one meal, it drags itself to a sunny location to speed digestion, as the food could rot and poison the dragon if left undigested for too long. Because of their slow metabolism, large dragons can survive on as little as 12 meals a year. After digestion, the Komodo dragon regurgitates a mass of horns, hair, and teeth known as the gastric pellet, which is covered in malodorous mucus. After regurgitating the gastric pellet, it rubs its face in the dirt or on bushes to get rid of the mucus, suggesting, like humans, it does not relish the scent of its own excretions.

The largest animals eat first, while the smaller ones follow a hierarchy. The largest male asserts his dominance and the smaller males show their submission by use of body language and rumbling hisses. Dragons of equal size may resort to "wrestling". Losers usually retreat, though they have been known to be killed and eaten by victors.

The Komodo dragon's diet is wide-ranging, and includes invertebrates, other reptiles (including smaller Komodo dragons), birds, bird eggs, small mammals, monkeys, wild boar, goats, deer, horses, and water buffalo. Young Komodos will eat insects, eggs, geckos, and small mammals. Occasionally, they consume humans and human corpses, digging up bodies from shallow graves. This habit of raiding graves caused the villagers of Komodo to move their graves from sandy to clay ground and pile rocks on top of them to deter the lizards. The Komodo dragon may have evolved to feed on the extinct dwarf elephant Stegodon that once lived on Flores, according to evolutionary biologist Jared Diamond.

The Komodo dragon drinks by sucking water into its mouth via buccal pumping (a process also used for respiration), lifting its head, and letting the water run down its throat.

SALIVA

Auffenberg described the Komodo dragon as having septic pathogens in its saliva (he described the saliva as "reddish and copious"), specifically the bacteria E. coli, Staphylococcus sp., Providencia sp., Proteus morgani, and P. mirabilis. He noted, while these pathogens can be found in the mouths of wild Komodo dragons, they disappear from the mouths of captive animals, due to cleaner diets and the use of antibiotics. This was verified by taking mucous samples from the external gum surfaces of the upper jaws of two freshly captured individuals. Saliva samples were analyzed by researchers at the University of Texas, who found 57 strains of bacteria growing in the mouths of three wild Komodo dragons, including Pasteurella multocida. The rapid growth of these bacteria was noted by Fredeking: "Normally it takes about three days for a sample of P. multocida to cover a Petri dish; ours took eight hours. We were very taken aback by how virulent these strains were". This study supported the observation that wounds inflicted by the Komodo dragon are often associated with sepsis and subsequent infections in prey animals. How the Komodo dragon is unaffected by these virulent bacteria remains a mystery.Research in 2013 suggested that the bacteria in the mouths of komodo dragons are ordinary and similar to those found in other carnivores. They actually have surprisingly good mouth hygiene. As Bryan Fry put it: "After they are done feeding, they will spend 10 to 15 minutes lip-licking and rubbing their head in the leaves to clean their mouth... Unlike people have been led to believe, they do not have chunks of rotting flesh from their meals on their teeth, cultivating bacteria." The observation of prey dying of sepsis would then be explained by the natural instinct of water buffalos, who are not native to the islands where the Komodo dragon lives, to run into water when attacked. The warm, feces filled water would then cause the infections. The study used samples from 16 captive dragons (10 adults and six neonates) from three U.S. zoos.

VENOM

In late 2005, researchers at the University of Melbourne speculated the perentie (Varanus giganteus), other species of monitors, and agamids may be somewhat venomous. The team believes the immediate effects of bites from these lizards were caused by mild envenomation. Bites on human digits by a lace monitor (V. varius), a Komodo dragon, and a spotted tree monitor (V. scalaris) all produced similar effects: rapid swelling, localized disruption of blood clotting, and shooting pain up to the elbow, with some symptoms lasting for several hours.

In 2009, the same researchers published further evidence demonstrating Komodo dragons possess a venomous bite. MRI scans of a preserved skull showed the presence of two glands in the lower jaw. The researchers extracted one of these glands from the head of a terminally ill specimen in the Singapore Zoological Gardens, and found it secreted several different toxic proteins. The known functions of these proteins include inhibition of blood clotting, lowering of blood pressure, muscle paralysis, and the induction of hypothermia, leading to shock and loss of consciousness in envenomated prey. As a result of the discovery, the previous theory that bacteria were responsible for the deaths of Komodo victims was disputed.

Kurt Schwenk, an evolutionary biologist at the University of Connecticut, finds the discovery of these glands intriguing, but considers most of the evidence for venom in the study to be "meaningless, irrelevant, incorrect or falsely misleading". Even if the lizards have venom-like proteins in their mouths, Schwenk argues, they may be using them for a different function, and he doubts venom is necessary to explain the effect of a Komodo dragon bite, arguing that shock and blood loss are the primary factors.

Other scientists such as Washington State University's Biologist Kenneth V. Kardong and Toxicologists Scott A. Weinstein and Tamara L. Smith, have stated that this allegation of venom glands "has had the effect of underestimating the variety of complex roles played by oral secretions in the biology of reptiles, produced a very narrow view of oral secretions and resulted in misinterpretation of reptilian evolution". According to these scientists "reptilian oral secretions contribute to many biological roles other than to quickly dispatch prey". These researchers concluded that, "Calling all in this clade venomous implies an overall potential danger that does not exist, misleads in the assessment of medical risks, and confuses the biological assessment of squamate biochemical systems".

REPRODUCTION

Mating occurs between May and August, with the eggs laid in September. During this period, males fight over females and territory by grappling with one another upon their hind legs, with the loser eventually being pinned to the ground. These males may vomit or defecate when preparing for the fight. The winner of the fight will then flick his long tongue at the female to gain information about her receptivity. Females are antagonistic and resist with their claws and teeth during the early phases of courtship. Therefore, the male must fully restrain the female during coitus to avoid being hurt. Other courtship displays include males rubbing their chins on the female, hard scratches to the back, and licking. Copulation occurs when the male inserts one of his hemipenes into the female's cloaca. Komodo dragons may be monogamous and form "pair bonds", a rare behavior for lizards. Female Komodos lay their eggs from August to September and may use several types of locality; in one study, 60% laid their eggs in the nests of orange-footed scrubfowl (a moundbuilder or megapode), 20% on ground level and 20% in hilly areas. The females make many camouflage nests/holes to prevent other dragons from eating the eggs. Clutches contain an average of 20 eggs, which have an incubation period of 7–8 months. Hatching is an exhausting effort for the neonates, which break out of their eggshells with an egg tooth that falls off soon after. After cutting themselves out, the hatchlings may lie in their eggshells for hours before starting to dig out of the nest. They are born quite defenseless and are vulnerable to predation. Sixteen youngsters from a single nest were on average 46.5 cm long and weighed 105.1 grams. Young Komodo dragons spend much of their first few years in trees, where they are relatively safe from predators, including cannibalistic adults, as juvenile dragons make up 10% of their diets. The habit of cannibalism may be advantageous in sustaining the large size of adults, as medium-sized prey on the islands is rare. When the young approach a kill, they roll around in fecal matter and rest in the intestines of eviscerated animals to deter these hungry adults. Komodo dragons take approximately three to five years to mature, and may live for up to 50 years.

PARTHENOGENESIS

A Komodo dragon at London Zoo named Sungai laid a clutch of eggs in late 2005 after being separated from male company for more than two years. Scientists initially assumed she had been able to store sperm from her earlier encounter with a male, an adaptation known as superfecundation. On 20 December 2006, it was reported that Flora, a captive Komodo dragon living in the Chester Zoo in England, was the second known Komodo dragon to have laid unfertilized eggs: she laid 11 eggs, and seven of them hatched, all of them male. Scientists at Liverpool University in England performed genetic tests on three eggs that collapsed after being moved to an incubator, and verified Flora had never been in physical contact with a male dragon. After Flora's eggs' condition had been discovered, testing showed Sungai's eggs were also produced without outside fertilization. On 31 January 2008, the Sedgwick County Zoo in Wichita, Kansas, became the first zoo in the Americas to document parthenogenesis in Komodo dragons. The zoo has two adult female Komodo dragons, one of which laid about 17 eggs on 19–20 May 2007. Only two eggs were incubated and hatched due to space issues; the first hatched on 31 January 2008, while the second hatched on 1 February. Both hatchlings were males.

Komodo dragons have the ZW chromosomal sex-determination system, as opposed to the mammalian XY system. Male progeny prove Flora's unfertilized eggs were haploid (n) and doubled their chromosomes later to become diploid (2n) (by being fertilized by a polar body, or by chromosome duplication without cell division), rather than by her laying diploid eggs by one of the meiosis reduction-divisions in her ovaries failing. When a female Komodo dragon (with ZW sex chromosomes) reproduces in this manner, she provides her progeny with only one chromosome from each of her pairs of chromosomes, including only one of her two sex chromosomes. This single set of chromosomes is duplicated in the egg, which develops parthenogenetically. Eggs receiving a Z chromosome become ZZ (male); those receiving a W chromosome become WW and fail to develop, meaning that only males are produced by parthenogenesis in this species.

It has been hypothesized that this reproductive adaptation allows a single female to enter an isolated ecological niche (such as an island) and by parthenogenesis produce male offspring, thereby establishing a sexually reproducing population (via reproduction with her offspring that can result in both male and female young). Despite the advantages of such an adaptation, zoos are cautioned that parthenogenesis may be detrimental to genetic diversity.

HISTORY

DISCOVERY BY THE WESTERN WORLD

Komodo dragons were first documented by Europeans in 1910, when rumors of a "land crocodile" reached Lieutenant van Steyn van Hensbroek of the Dutch colonial administration. Widespread notoriety came after 1912, when Peter Ouwens, the director of the Zoological Museum at Bogor, Java, published a paper on the topic after receiving a photo and a skin from the lieutenant, as well as two other specimens from a collector. The first two live Komodo dragons to arrive in Europe were exhibited in the Reptile House at London Zoo when it opened in 1927. Joan Beauchamp Procter made some of the earliest observations of these animals in captivity and she demonstrated the behaviour of one of these animals at a Scientific Meeting of the Zoological Society of London in 1928. The Komodo dragon was the driving factor for an expedition to Komodo Island by W. Douglas Burden in 1926. After returning with 12 preserved specimens and 2 live ones, this expedition provided the inspiration for the 1933 movie King Kong. It was also Burden who coined the common name "Komodo dragon." Three of his specimens were stuffed and are still on display in the American Museum of Natural History.

STUDIES

The Dutch, realizing the limited number of individuals in the wild, outlawed sport hunting and heavily limited the number of individuals taken for scientific study. Collecting expeditions ground to a halt with the occurrence of World War II, not resuming until the 1950s and 1960s, when studies examined the Komodo dragon's feeding behavior, reproduction, and body temperature. At around this time, an expedition was planned in which a long-term study of the Komodo dragon would be undertaken. This task was given to the Auffenberg family, who stayed on Komodo Island for 11 months in 1969. During their stay, Walter Auffenberg and his assistant Putra Sastrawan captured and tagged more than 50 Komodo dragons. The research from the Auffenberg expedition would prove to be enormously influential in raising Komodo dragons in captivity. Research after that of the Auffenberg family has shed more light on the nature of the Komodo dragon, with biologists such as Claudio Ciofi continuing to study the creatures.

CONSERVATION

The Komodo dragon is a vulnerable species and is on the IUCN Red List. There are approximately 4,000 to 5,000 living Komodo dragons in the wild. Their populations are restricted to the islands of Gili Motang (100), Gili Dasami (100), Rinca (1,300), Komodo (1,700), and Flores (perhaps 2,000). However, there are concerns that there may presently be only 350 breeding females. To address these concerns, the Komodo National Park was founded in 1980 to protect Komodo dragon populations on islands including Komodo, Rinca, and Padar. Later, the Wae Wuul and Wolo Tado Reserves were opened on Flores to aid with Komodo dragon conservation.

Komodo dragons avoid encounters with humans. Juveniles are very shy and will flee quickly into a hideout if a human comes closer than about 100 metres. Older animals will also retreat from humans from a shorter distance away. If cornered, they will react aggressively by gaping their mouth, hissing, and swinging their tail. If they are disturbed further, they may start an attack and bite. Although there are anecdotes of unprovoked Komodo dragons attacking or preying on humans, most of these reports are either not reputable or caused by defensive bites. Only a very few cases are truly the result of unprovoked attacks by abnormal individuals, which lost their fear towards humans.

Volcanic activity, earthquakes, loss of habitat, fire, loss of prey due to poaching, tourism, and illegal poaching of the dragons themselves have all contributed to the vulnerable status of the Komodo dragon. Under Appendix I of CITES (the Convention on International Trade in Endangered Species), commercial trade of skins or specimens is illegal.

On Padar, a former population of the Komodo dragon became extinct, of which the last individuals were seen in 1975. It is widely assumed that the Komodo dragon died out on Padar after a strong decline of the populations of large ungulate prey, for which poaching was most likely responsible.

IN CAPTIVITY

Komodo dragons have long been great zoo attractions, where their size and reputation make them popular exhibits. They are, however, rare in zoos because they are susceptible to infection and parasitic disease if captured from the wild, and do not readily reproduce. As of May 2009, there were 13 European, 2 African, 35 North American, 1 Singaporean, and 2 Australian institutions that kept Komodo dragons.

The first Komodo dragons were displayed at London Zoo in 1927. A Komodo dragon was exhibited in 1934 at the National Zoo in Washington, D.C., but it lived for only two years. More attempts to exhibit Komodo dragons were made, but the lifespan of these animals was very short, averaging five years in the National Zoological Park. Studies done by Walter Auffenberg, which were documented in his book The Behavioral Ecology of the Komodo Monitor, eventually allowed for more successful managing and reproducing of the dragons in captivity.

A variety of behaviors have been observed from captive specimens. Most individuals are relatively tame within a short time, and are capable of recognizing individual humans and discriminating between familiar keepers. Komodo dragons have also been observed to engage in play with a variety of objects, including shovels, cans, plastic rings, and shoes. This behavior does not seem to be "food-motivated predatory behavior".

Even seemingly docile dragons may become unpredictably aggressive, especially when the animal's territory is invaded by someone unfamiliar. In June 2001, a Komodo dragon seriously injured Phil Bronstein, the then husband of actress Sharon Stone, when he entered its enclosure at the Los Angeles Zoo after being invited in by its keeper. Bronstein was bitten on his bare foot, as the keeper had told him to take off his white shoes and socks, which the keeper stated could potentially excite the Komodo dragon as they were the same color as the white rats the zoo fed the dragon. Although he escaped, Bronstein needed to have several tendons in his foot reattached surgically.

IN POPULARE CULTURE

Komodo dragons are used as a main theme in Komodo (1999), Curse of the Komodo (2004) and Komodo vs. Cobra (2005).

The comedy team of Bob and Ray performed a popular sketch entitled "The Komodo Dragon Expert."

The plot of the 1990 film, The Freshman, involves a university freshman, an aging mobster and a Komodo dragon.

In the 2012 James Bond film Skyfall, one of the Chinese henchmen in a casino that Bond visits in Macau is overtaken, dragged off and presumably killed by a Komodo dragon.

WIKIPEDIA

This photograph album belonged to Edward Hungerford and contains images of shipping and street scenes around Sydney from the 1880s.

Edward Hungerford was born on 10 June 1863 in Cahirmoore, Ireland (County Cork), the son of Henry Jones Hungerford and Mary Boone Cowper. Hungerford migrated to Australia around 1882 and became a long-serving member of the Royal Sydney Yacht Squadron. He died 24 June 1956 in Newtown, Sydney.

The Australian National Maritime Museum undertakes research and accepts public comments that enhance the information we hold about images in our collection. If you can identify a person, vessel or landmark, write the details in the Comments box below.

Thank you for helping caption this important historical image.

ANMM Collection Gift from the Royal Sydney Yacht Squadron

00013762 [78]

Amid the brightly coloured non-figurative windows on the northern side of Saint George's Presbyterian Church stands one figurative window. Dedicated to American John Kane Smyth, the window was made by Melbourne stained glass manufacturer Ferguson and Urie. Although there is no date on the window, I believe it was created in the 1890s. The window represents two scenes in the life of Jesus: The Settlement about the Tribute Money, and The Interview with the Rich Young Ruler. The right-hand pane is the Interview with the Rich Young Ruler window from the Book of Luke. A certain ruler asks Jesus, "Good teacher, what must I do to inherit eternal life?" As part of his reply Jesus says, "How hard it is for the rich to enter the kingdom of God! Indeed, it is easier for a camel to go through the eye of a needle than for a rich man to enter the kingdom of God", after telling the ruler that he should sell all he has and follow him for a guarantee to eternal life. Jesus stands with his hand raised, whilst the ruler in richly patterned robes and a fine turban stands beside him. Two apostles stand behind them, their faces just visible. The window contains a Biblical quote from the Book of Mark XII - 17 in the bottom dedication panel: "Render to Caesar the things that are Caesar's, and to God the things that are God's".

John Kane Smyth was the Vice-Consul for the United States of America in Melbourne, and he was just one of a number of wealthy Americans who attended services at Saint George's Presbyterian Church. In his honour the top round ventilator window has the American Stars and Stripes in it. Interestingly it features the Thirty-Six Stars and Stripes flag which was well outdated by the time this window as installed. The Thirty-Six Stars and Stripes flag became the official United States Flag on July 4th, 1865 after the admission of Nevada into the union. However it was only to last for two years when Nebraska joined the union. John Kane Smyth served on Saint George's Presbyterian Church's Board of Management for many years and is recognised as having given good service in the Saint George's Presbyterian Church's 1876 - 1926 Jubilee Souvenir Book.

The former Saint George's Presbyterian Church was constructed on a plot of land reserved in Chapel Street for the Presbyterian Church of Victoria in 1866. Initially services were held in a small hall whilst fundraising efforts advanced the erection of a church. The architect Albert Purchas was commissioned to design the church and the foundation stone for the western portion of the nave was finally laid in April 1877 by Sir James McCulloch. The first service was held in the church on the 1st of October 1877. The first clergyman of the former Saint George's Presbyterian Church was the Reverend John Laurence Rentoul (father to world renown and much loved Australian children's book illustrator Ida Rentoul Outhwaite). However, the swelling Presbyterian congregation of St Kilda and its surrounding districts quickly outgrew the initial Saint George's Presbyterian Church building, so Albert Purchas was obliged to re-design and enlarge the church to allow a doubling in capacity. Robert S. Ekins was the contractor and his tender was £3000.00. It is this imposing church building, reopened in 1880, that we see today. The "Australasian Sketcher with Pen and Pencil" noted that the total length of the building was 118 feet and 6 inches (36 metres), by 40 foot (12 metres) wide and that the striking octagonal tower to the north-west was 110ft 6 in high. It perhaps reflected better the wealth and aspirations of the congregation.

The former Saint George's Presbyterian Church is constructed on bluestone foundations and is built in an ornate polychromatic Gothic Revival style in the tradition of English designers like William Butterfield and John L. Pearson. Built of red brick building, it is decorated in contrasting cream bricks and Waurn Ponds freestone dressings. It features a slate roof with prominent roof vents, iron ridge cresting and fleche at the intersection of the nave and transepts. The front facade of the church is dominated by the slender, banded octagonal tower topped by a narrow spire. The entrance features a double arched portal portico. The facade also features a dominant triangular epitrochoidal (curved triangular form) rose window. The church, like its bluestone neighbour All Saints Church of England, is built to a T-shaped plan, with an aisleless nave, broad transepts and internal walls of cream brick, relieved with coloured brickwork. The former Saint George's Presbyterian Church was one of the first major church design in Melbourne in which polychrome brickwork was lavishly employed both externally and internally.

The inside of the former Saint George's Presbyterian Church is equally as grand as the exterior, with ornamental Gothic Revival polychromatic brickwork, a lofty vaulted ceiling, deal and kauri pine joinery and pulpit and reredos of Keene's cement. The building originally contained a complete set of Victorian stained glass windows by well known and successful Melbourne manufacturers Ferguson and Urie, all of which remain intact today except for one of the non-figurative windows which was replaced by a memorial window to Samuel Lyons McKenzie, the congregation’s beloved minister, who served from 1930 to 1948, in 1949. The earliest of the Ferguson and Urie windows are non-figurative windows which feature the distinctive diaper pattern and floral motifs of Fergus and Urie's work, and are often argued to be amongst the finest of their non-figurative designs. The large triple window in the chancel was presented by Lady McCulloch in memory of the ‘loved and dead’. Another, in memory of John Kane Smyth, the Vice-Consul for the United States of America in Melbourne, has the American Stars and Stripes on the top ventilator above it. An organ by Thomas C. Lewis of London, one of the leading 19th century English organ builders, was installed in the south transept in 1882. It was designed to blend with its architectural setting, with pipework styled to avoid the obstruction of windows. The action of this organ was altered in 1935, but the pipework, and the original sound, have been retained.

Over the years many spiritual and social activities were instituted at Saint George’s, Presbyterian Church some of short duration such as the Ladies’ Reading Club which operated between 1888 and 1893. There were segregated Bible classes for young men and women, the Presbyterian Women’s Missionary Union, formed in 1892, a cricket club and a floral guild. Guilds teaching physical culture for girls, boys and young men began in 1904. They were entirely financed by John Maclellan and the idea extended to other denominations throughout Victoria. John Maclellan died in 1936 and the guilds ceased at Saint George’s Presbyterian church through lack of funds although in 1977 the members of the girls’ guild were still holding bi-annual reunions and raising money for charity. Sadly, the Presbyterian congregations may have been large in the Nineteenth Century, but by St George's Presbyterian Church's 110th centenary, its doors had already closed during the week due to dwindling numbers and an ageing congregation as a result of the general decline in church attendances after the Second World War exacerbated by the changing nature of St Kilda and the decrease in numbers of residents living in the vicinity of the church. So it stood, forlorn and empty and seemingly nothing more than a relic of a glorious but bygone religious past. However in 1990, Saint Michael's Grammar School across the road leased the Victorian Heritage listed building during weekdays, and it was eventually sold to them in 2015. It now forms part of the school's performing-arts complex, and it has a wonderful new lease of life.

St George's Presbyterian Church is sometimes hired out for performances, and I had the pleasure of receiving an invitation to hear Handel's Messiah performed there in 2009. The ecclesiastical acoustics made the performance all the more magnificent. I remember as I sat on one of the original (hard) kauri pine pews, I looked around me and admired the stained glass and ornamental brickwork. I tried without success over several subsequent years to gain access to the church's interior, settling for photographs of the exterior instead, but it wasn't until 2018 that I was fortunate enough to gain entry to photograph the church's interior. The former St George's Presbyterian Church was opened up to the public for one Sunday morning only as part of Open House Melbourne in July 2018. It was a fantastic morning, and I am very grateful to the staff who manned the church for the day and watched bemused as I photographed the stained glass extensively and in such detail.

Albert Purchas, born in 1825 in Chepstow, Monmouthshire, Wales, was a prominent Nineteenth Century architect who achieved great success for himself in Melbourne. Born to parents Robert Whittlesey Purchas and Marianne Guyon, he migrated to Australia in 1851 to establish himself in the then quickly expanding city of Melbourne, where he set up a small architect's firm in Little Collins Street. He also offered surveying services. His first major building was constructing the mansion "Berkeley Hall" in St Kilda on Princes Street in 1854. The house still exists today. Two years after migrating, Albert designed the layout of the Melbourne General Cemetery in Carlton. It was the first "garden cemetery" in Victoria, and his curvilinear design is still in existence, unaltered, today. In 1854, Albert married Eliza Anne Sawyer (1825 - 1869) in St Kilda. The couple had ten children over their marriage, including a son, Robert, who followed in his father's footsteps as an architect. Albert's brother-in-law, Charles Sawyer joined him in the partnership of Purchas and Sawyer, which existed from 1856 until 1862 in Queens Street. The firm produced more than 140 houses, churches, offices and cemetery buildings including: the nave and transepts of Christ Church St Kilda between 1854 and 1857, "Glenara Homestead"in Bulla in 1857, the Melbourne Savings Bank on the corner of Flinders Lane and Market Street (now demolished) between 1857 and 1858, the Geelong branch of the Bank of Australasia in Malop Street between 1859 and 1860, and Beck's Imperial Hotel in Castlemaine in 1861. When the firm broke up, Albert returned to Little Collins Street, and the best known building he designed during this period was Saint. George's Presbyterian Church in St Kilda East between 1877 and 1880. The church's tall polychomatic brick bell tower is still a local landmark, even in the times of high rise architecture and development, and Saint, George's itself is said to be one of his most striking church designs. Socially, Albert was vice president of the Royal Victorian Institute of Architects for many years, before becoming president in 1887. He was also an inventor and philanthropist. Albert died in 1909 at his home in Kew, a wealthy widower and much loved father.

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 by Melbourne stained glass manufacturer Ferguson and Urie in 1880 for the opening of the former Saint George's Presbyterian Church, the four northern transept vestibule windows feature quotations from the Bible. Each window, like the other non-figurative windows around Saint George's Presbyterian Church, features design elements typical of their work. This lancet window in the eastern wall of the vestibule features a latticed "diaper" pattern containing stylised floral designs in yellow. It has a border of coloured squares dispersed with stylised flowers with an inner border of brightly coloured circles, also common element of Ferguson and Urie's windows. The quote "Draw nigh to God and he will draw nigh to you", comes from the Book of James 4 - 8. Written in brilliant orange Gothic script against a black background, the Biblical quote appears in a panel midway down the lancet window.

The former Saint George's Presbyterian Church, which stands on busy Chapel Street in St Kilda East, is a well known and loved local landmark, not least of all because of its strikingly tall (33.5 metre or 110 foot) banded bell tower which can be spotted from far away. In the Nineteenth Century when it was built, it would have been even more striking for its great height and domineering presence. Designed by architect Albert Purchas, the former Saint George's Presbyterian Church is often referred to as his ecclesiastical tour-de-force, and it is most certainly one of his most dramatic and memorable churches.

The former Saint George's Presbyterian Church was constructed on a plot of land reserved in Chapel Street for the Presbyterian Church of Victoria in 1866. Initially services were held in a small hall whilst fundraising efforts advanced the erection of a church. The architect Albert Purchas was commissioned to design the church and the foundation stone for the western portion of the nave was finally laid in April 1877 by Sir James McCulloch. The first service was held in the church on the 1st of October 1877. The first clergyman of the former Saint George's Presbyterian Church was the Reverend John Laurence Rentoul (father to world renown and much loved Australian children's book illustrator Ida Rentoul Outhwaite). However, the swelling Presbyterian congregation of St Kilda and its surrounding districts quickly outgrew the initial Saint George's Presbyterian Church building, so Albert Purchas was obliged to re-design and enlarge the church to allow a doubling in capacity. Robert S. Ekins was the contractor and his tender was £3000.00. It is this imposing church building, reopened in 1880, that we see today. The "Australasian Sketcher with Pen and Pencil" noted that the total length of the building was 118 feet and 6 inches (36 metres), by 40 foot (12 metres) wide and that the striking octagonal tower to the north-west was 110ft 6 in high. It perhaps reflected better the wealth and aspirations of the congregation.

The former Saint George's Presbyterian Church is constructed on bluestone foundations and is built in an ornate polychromatic Gothic Revival style in the tradition of English designers like William Butterfield and John L. Pearson. Built of red brick building, it is decorated in contrasting cream bricks and Waurn Ponds freestone dressings. It features a slate roof with prominent roof vents, iron ridge cresting and fleche at the intersection of the nave and transepts. The front facade of the church is dominated by the slender, banded octagonal tower topped by a narrow spire. The entrance features a double arched portal portico. The facade also features a dominant triangular epitrochoidal (curved triangular form) rose window. The church, like its bluestone neighbour All Saints Church of England, is built to a T-shaped plan, with an aisleless nave, broad transepts and internal walls of cream brick, relieved with coloured brickwork. The former Saint George's Presbyterian Church was one of the first major church design in Melbourne in which polychrome brickwork was lavishly employed both externally and internally.

The inside of the former Saint George's Presbyterian Church is equally as grand as the exterior, with ornamental Gothic Revival polychromatic brickwork, a lofty vaulted ceiling, deal and kauri pine joinery and pulpit and reredos of Keene's cement. The building originally contained a complete set of Victorian stained glass windows by well known and successful Melbourne manufacturers Ferguson and Urie, all of which remain intact today except for one of the non-figurative windows which was replaced by a memorial window to Samuel Lyons McKenzie, the congregation’s beloved minister, who served from 1930 to 1948, in 1949. The earliest of the Ferguson and Urie windows are non-figurative windows which feature the distinctive diaper pattern and floral motifs of Fergus and Urie's work, and are often argued to be amongst the finest of their non-figurative designs. The large triple window in the chancel was presented by Lady McCulloch in memory of the ‘loved and dead’. Another, in memory of John Kane Smyth, the Vice-Consul for the United States of America in Melbourne, has the American Stars and Stripes on the top ventilator above it. An organ by Thomas C. Lewis of London, one of the leading 19th century English organ builders, was installed in the south transept in 1882. It was designed to blend with its architectural setting, with pipework styled to avoid the obstruction of windows. The action of this organ was altered in 1935, but the pipework, and the original sound, have been retained.

Over the years many spiritual and social activities were instituted at Saint George’s, Presbyterian Church some of short duration such as the Ladies’ Reading Club which operated between 1888 and 1893. There were segregated Bible classes for young men and women, the Presbyterian Women’s Missionary Union, formed in 1892, a cricket club and a floral guild. Guilds teaching physical culture for girls, boys and young men began in 1904. They were entirely financed by John Maclellan and the idea extended to other denominations throughout Victoria. John Maclellan died in 1936 and the guilds ceased at Saint George’s Presbyterian church through lack of funds although in 1977 the members of the girls’ guild were still holding bi-annual reunions and raising money for charity. Sadly, the Presbyterian congregations may have been large in the Nineteenth Century, but by St George's Presbyterian Church's 110th centenary, its doors had already closed during the week due to dwindling numbers and an ageing congregation as a result of the general decline in church attendances after the Second World War exacerbated by the changing nature of St Kilda and the decrease in numbers of residents living in the vicinity of the church. So it stood, forlorn and empty and seemingly nothing more than a relic of a glorious but bygone religious past. However in 1990, Saint Michael's Grammar School across the road leased the Victorian Heritage listed building during weekdays, and it was eventually sold to them in 2015. It now forms part of the school's performing-arts complex, and it has a wonderful new lease of life.

St George's Presbyterian Church is sometimes hired out for performances, and I had the pleasure of receiving an invitation to hear Handel's Messiah performed there in 2009. The ecclesiastical acoustics made the performance all the more magnificent. I remember as I sat on one of the original (hard) kauri pine pews, I looked around me and admired the stained glass and ornamental brickwork. I tried without success over several subsequent years to gain access to the church's interior, settling for photographs of the exterior instead, but it wasn't until 2018 that I was fortunate enough to gain entry to photograph the church's interior. The former St George's Presbyterian Church was opened up to the public for one Sunday morning only as part of Open House Melbourne in July 2018. It was a fantastic morning, and I am very grateful to the staff who manned the church for the day and watched bemused as I photographed the stained glass extensively and in such detail.

Albert Purchas, born in 1825 in Chepstow, Monmouthshire, Wales, was a prominent Nineteenth Century architect who achieved great success for himself in Melbourne. Born to parents Robert Whittlesey Purchas and Marianne Guyon, he migrated to Australia in 1851 to establish himself in the then quickly expanding city of Melbourne, where he set up a small architect's firm in Little Collins Street. He also offered surveying services. His first major building was constructing the mansion "Berkeley Hall" in St Kilda on Princes Street in 1854. The house still exists today. Two years after migrating, Albert designed the layout of the Melbourne General Cemetery in Carlton. It was the first "garden cemetery" in Victoria, and his curvilinear design is still in existence, unaltered, today. In 1854, Albert married Eliza Anne Sawyer (1825 - 1869) in St Kilda. The couple had ten children over their marriage, including a son, Robert, who followed in his father's footsteps as an architect. Albert's brother-in-law, Charles Sawyer joined him in the partnership of Purchas and Sawyer, which existed from 1856 until 1862 in Queens Street. The firm produced more than 140 houses, churches, offices and cemetery buildings including: the nave and transepts of Christ Church St Kilda between 1854 and 1857, "Glenara Homestead"in Bulla in 1857, the Melbourne Savings Bank on the corner of Flinders Lane and Market Street (now demolished) between 1857 and 1858, the Geelong branch of the Bank of Australasia in Malop Street between 1859 and 1860, and Beck's Imperial Hotel in Castlemaine in 1861. When the firm broke up, Albert returned to Little Collins Street, and the best known building he designed during this period was Saint. George's Presbyterian Church in St Kilda East between 1877 and 1880. The church's tall polychomatic brick bell tower is still a local landmark, even in the times of high rise architecture and development, and Saint, George's itself is said to be one of his most striking church designs. Socially, Albert was vice president of the Royal Victorian Institute of Architects for many years, before becoming president in 1887. He was also an inventor and philanthropist. Albert died in 1909 at his home in Kew, a wealthy widower and much loved father.

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.

Ebenezer Lutheran Church and the Wends.

The Sorbs or Wends came from a specific region of Eastern Germany where they spoke Slavic language related to Polish, but totally unrelated to German. When the Sorbs/Wends settled in SA the English settlers assumed they were German because they all spoke German and they attended Lutheran churches. But the Wends were a different ethnic group. Today 35,000 people still speak Sorbian 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 Sorbs lived, was ceded to Prussia from Saxony. The Prussians oppressed the Sorbs/Wends and after 1830 many migrated to Australia (as well as Canada etc.) Although the first Sorbs/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 Dutton), Peters Hill (near Riverton) and Ebenezer (near Nuriootpa) but there were other settlements too such as Rosedale and Hope Valley. The lack of Wendish pastors meant that few Wends were ever taught or preached at by Wends. Only at Ebenezer were children ever taught in Wendish language but church services were conducted in Wendish at Peters Hill and Ebenezer.

The Ebenezer- Neukirch area a few kilometres north of Nuriootpa appealed to early settlers because of the flat terrain. Johann Dallwitz, a Wend was one of the first white settlers here in 1852 and he is credited with having named the place Ebenezer which is a Biblical phrase meaning “hitherto hath the Lord helped us”. Most of the original 72 Wendish settlers at Ebenezer came to SA on the ship Helene in 1851. A Wendish Lutheran congregation was formed here in 1852 and the first St. John’s Lutheran church was erected in 1859. Dallwitz came to be the teacher at the Lutheran school. The thatched roof church was demolished and replaced in 1905 with this grand church we see today. The Lutheran school here is especially important as it was the only school in Australia to teach in the Wendish or Sorbian language. Dallwitz retired in 1863 when his son took over the school until 1908. In 1871 a new bigger school room was built and it still remains albeit in poor condition today.

The Lutheran church here is important too for a number of reasons. Firstly inside is a Lemke pipe organ hand built by a Barossa Valley resident in 1875. It was built for the original church and was moved into the current 1905 church. Secondly it was from this church that the Great Trek of 1868 started. At that time a group of four Wendish and four German families set out, like the Boers of South Africa, with their covered wagons on a long trek with all their possessions to the new agricultural region of the Riverina in New South Wales. They settled at Walla Walla where their descendants still live. Thirdly the church is important because it was the home of one of the two major Lutheran Synods of SA. A split between two early Lutheran pastors in SA led to divisions within the Lutheran churches in Australia for over 100 years. Basically, followers of Pastor Kavel (Hahndorf/Bethany) ending up forming ELIS, the Immanuel College synod whilst those followers of Pastor Fritsche (Lobethal) formed ELSA (Evangelical Lutheran Synod Australia.) But there were also independent churches and other small Lutheran synods in SA. The independents and ELIS (Immanuel Synod) members met here at Ebenezer in 1921 and formed UELCA – the United Evangelical Lutheran Church of Australia. The driving force behind this amalgamation in 1921 was the ending of World War One and the need for Australian Lutheran synods to take charge of the many German missionaries in Papua New Guinea. It was 1956 before the Evangelical Lutheran Synod Australia (ELSA) amalgamated with UECLA (the former ELIS) to form a single Lutheran church synod in Australia- LCA, Lutheran Church of Australia.

The large triple lancet windows in the Chancel of the former Saint George's Presbyterian Church were presented by Lady Margaret McCulloch, second wife of Sir James McCulloch, fifth Premier of Victoria and one of the original founders of the church. Made by Melbourne stained glass manufacturers Ferguson and Urie for the church in 1880, they are perhaps the most beautiful of all the stained glass windows in the church. They are very rich in colour, are quite ornate and would have been very costly to install. The inscription reads: "Presented by Lady McCulloch in Memory of the Loved and Dead."

The centre lancet window picture depicts "Jesus as the Good Shepherd" with a lamb in his arms. The image of Jesus clutching a lamb is commonly found in windows such as these. The image refers to a passage in John's Gospel in the New Testament, wherein Jesus describes himself as the good shepherd. The image of the Good Shepherd is designed to remind parishioners of Jesus' love for all his sheep, even the black ones, and the value that each person has for him. He stands benevolently with his shepherds' crook, clutching the white lamb in the crook of his arm. The lamb's eves are closed and it looks comfortably at peace next to Jesus' breast. At his feet the passages of Mark 10: 13 -14 are referenced: "People were bringing little children to Jesus for him to place his hands on them, but the disciples rebuked them. When Jesus saw this, he was indignant. He said to them, 'Let the little children come to me, and do not hinder them, for the kingdom of God belongs to such as these'."

The outer windows both have a cartouche beautifully depicting a cherubic child of indiscriminate sex with cascading tresses about their face. Such images of children praying were typical in all forms of media during the Victorian era and represent the late Nineteenth Century ideal of piety instilled from a young age. No doubt these two images were meant to instill such thoughts in the children of the congregation, and remind their parents of their parental duty in a Presbyterian household. Both cartouches are flanked above and below by a red quatrefoil with a blue frame, containing green rose boughs and a central white Tudor Rose, representing purity, innocence and yet again, piety. There are also blue quatrefoils with a red frame, containing green rose boughs and a central red, five petal Tudor Rose, representing the five wounds of Jesus Christ from the crucifixion.

The left lancet window depicts a child praying in bed. Beneath is referenced the Biblical passage of Samuel 3 -10: "The Lord came and stood there, calling as at the other times, 'Samuel! Samuel!' Then Samuel said, 'Speak, for your servant is listening'." The child in the cartouche may represent the child Samuel, who looks suitably wide eyed and awe struck to have heard the voice of the Lord as he listens attentively.

The right lancet window depicts Samuel upon his knees praying with his eyes cast upwards. It is based upon "The Infant Samuel" oil painting by Sir Joshua Reynolds painted circa 1776'' which is today held in the collection of the Tate Gallery in London. Whether an intentional design or just a quirk of luck, the child actually looks directly into the face of Jesus in the middle pane. This particular image of Samuel has been reproduced many times in many different medias since the late 1700s. Perhaps more interestingly, "The Infant Samuel" by Sir Joshua Reynolds was used in the first Australian Christmas stamp in 1957, which was a purple four pence stamp, designed and engraved by Mr. Donald Cameron. Beneath the image of Samuel is referenced the Biblical passage of Timothy 3 -15: "and how from infancy you have known the Holy Scriptures, which are able to make you wise for salvation through faith in Christ Jesus".

Lady Margaret McCulloch (née Boak Inglis) (1827 - 1904), was born at Kirkintilloch, Dunbartonshire. The daughter of William Inglis of Wallflat, Dumbartonshire, she was Sir James McCulloch's second wife. She met Sir James by way of her father, who was an associate of Sir James. Sir James McCulloch (1819 - 1893), was a politician and the fifth Premier of Victoria between 1863 and 1868. was born in Born at Glasgow, Scotland, the son of George McCulloch, he grew up in a staunch Presbyterian household. He entered the mercantile house of J. & A. Dennistoun upon the completion of his education. James married Susan Renwick daughter of the Reverend James Renwick a dissenting minister of the Free Church, of Muirton, Forfarshire, Montrose, in 1841. She died at Montrose four years later. As a junior partner James decided to leave Britain and its sad memories, and arrived in Melbourne in 1853 to open a branch of J. & A. Dennistoun with Mr. Robert Sellar. When the branch closed nine years later, McCulloch, Sellar & Co. was formed in connection with Leishman, Inglis & Co. of Leith. Between 1856 and 1857 and again between 1862 and 1863 James was the president of the Melbourne Chamber of Commerce. In addition he was also a local director of the London Chartered Bank. In his last two years in Glasgow he had been collector of the Trades House, an influential educational and charitable institution, and in Melbourne he supported such charities and public causes as the Benevolent Asylum, the Melbourne Hospital and the St Kilda volunteers. James became Premier of Victoria and Chief Secretary in June 1863; in May 1864 he also became the Postmaster-General. James remained in office until September 1869. He took a second wife, Margaret Boak Inglis, daughter of his associate William Inglis of Wallflat, Dumbartonshire, whom he married in Melbourne on the 17th of October 1867. James was knighted in 1870 and made a member of the Most Distinguished Order of Saint Michael and Saint George and Margaret became Lady McCulloch. The newly knighted Sir James McCulloch was Premier of Victoria again between 1870 and 1871 and yet again from 1875 to 1877. During this last period, he passed a bill abolishing all government funding to religious schools, a measure which was supported by all denominations except the Anglicans, since it freed church schools from government supervision. Sir James' government also introduced a bill to create a system of free, secular government schools, but the Catholics and Anglicans joined forces to block it. Tired and disillusioned, he resigned from Parliament in 1878. Residing in St Kilda, it is because of his enthusiasm and liberality that Sir James inspired the founders to think and act in large terms, and establish a proper Presbyterian church in St Kilda which, according to the Saint George's Presbyterian Church's 1876 - 1926 Jubilee Souvenir Book became "a noble edifice of which any denomination might be proud." Sir James became one of Saint George's Presbyterian Church's first elders and trustees. Sir James left for Britain early in 1886 and lived at Garbrand Hall in Ewell, Surrey. Even though he left Australia, he still held a fondness for his beloved Saint George's Presbyterian Church in East St Kilda. In 1890 he inquired what debt still remained on the church, and upon being informed, paid off one half of the amount owing. This was in addition to the countless funds he had already put into the initial Church Building Fund. Sir James died at Garbrand Hall in 1893. He had no children with either his first or second wife. Lady Margaret never ventured back to Australia after her husband's death and lived for the most part in Chislehurst, Kent, where she died in 1904. She bequeathed the sum of £5,000.00 to establish a Sir James McCulloch tutorship in the Theological College of the Presbyterian Church in England. She also bequeathed a painting; "Christ's Lesson in Humility" by English genre painter Charles Robert Leslie (1794 - 1859), and a bust of her late husband to the Melbourne National Gallery (now the National Gallery of Victoria).

The former Saint George's Presbyterian Church, which stands on busy Chapel Street in St Kilda East, is a well known and loved local landmark, not least of all because of its strikingly tall (33.5 metre or 110 foot) banded bell tower which can be spotted from far away. In the Nineteenth Century when it was built, it would have been even more striking for its great height and domineering presence. Designed by architect Albert Purchas, the former Saint George's Presbyterian Church is often referred to as his ecclesiastical tour-de-force, and it is most certainly one of his most dramatic and memorable churches.

The former Saint George's Presbyterian Church was constructed on a plot of land reserved in Chapel Street for the Presbyterian Church of Victoria in 1866. Initially services were held in a small hall whilst fundraising efforts advanced the erection of a church. The architect Albert Purchas was commissioned to design the church and the foundation stone for the western portion of the nave was finally laid in April 1877 by Sir James McCulloch. The first service was held in the church on the 1st of October 1877. The first clergyman of the former Saint George's Presbyterian Church was the Reverend John Laurence Rentoul (father to world renown and much loved Australian children's book illustrator Ida Rentoul Outhwaite). However, the swelling Presbyterian congregation of St Kilda and its surrounding districts quickly outgrew the initial Saint George's Presbyterian Church building, so Albert Purchas was obliged to re-design and enlarge the church to allow a doubling in capacity. Robert S. Ekins was the contractor and his tender was £3000.00. It is this imposing church building, reopened in 1880, that we see today. The "Australasian Sketcher with Pen and Pencil" noted that the total length of the building was 118 feet and 6 inches (36 metres), by 40 foot (12 metres) wide and that the striking octagonal tower to the north-west was 110ft 6 in high. It perhaps reflected better the wealth and aspirations of the congregation.

The former Saint George's Presbyterian Church is constructed on bluestone foundations and is built in an ornate polychromatic Gothic Revival style in the tradition of English designers like William Butterfield and John L. Pearson. Built of red brick building, it is decorated in contrasting cream bricks and Waurn Ponds freestone dressings. It features a slate roof with prominent roof vents, iron ridge cresting and fleche at the intersection of the nave and transepts. The front facade of the church is dominated by the slender, banded octagonal tower topped by a narrow spire. The entrance features a double arched portal portico. The facade also features a dominant triangular epitrochoidal (curved triangular form) rose window. The church, like its bluestone neighbour All Saints Church of England, is built to a T-shaped plan, with an aisleless nave, broad transepts and internal walls of cream brick, relieved with coloured brickwork. The former Saint George's Presbyterian Church was one of the first major church design in Melbourne in which polychrome brickwork was lavishly employed both externally and internally.

The inside of the former Saint George's Presbyterian Church is equally as grand as the exterior, with ornamental Gothic Revival polychromatic brickwork, a lofty vaulted ceiling, deal and kauri pine joinery and pulpit and reredos of Keene's cement. The building originally contained a complete set of Victorian stained glass windows by well known and successful Melbourne manufacturers Ferguson and Urie, all of which remain intact today except for one of the non-figurative windows which was replaced by a memorial window to Samuel Lyons McKenzie, the congregation’s beloved minister, who served from 1930 to 1948, in 1949. The earliest of the Ferguson and Urie windows are non-figurative windows which feature the distinctive diaper pattern and floral motifs of Fergus and Urie's work, and are often argued to be amongst the finest of their non-figurative designs. The large triple window in the chancel was presented by Lady McCulloch in memory of the ‘loved and dead’. Another, in memory of John Kane Smyth, the Vice-Consul for the United States of America in Melbourne, has the American Stars and Stripes on the top ventilator above it. An organ by Thomas C. Lewis of London, one of the leading 19th century English organ builders, was installed in the south transept in 1882. It was designed to blend with its architectural setting, with pipework styled to avoid the obstruction of windows. The action of this organ was altered in 1935, but the pipework, and the original sound, have been retained.

Over the years many spiritual and social activities were instituted at Saint George’s, Presbyterian Church some of short duration such as the Ladies’ Reading Club which operated between 1888 and 1893. There were segregated Bible classes for young men and women, the Presbyterian Women’s Missionary Union, formed in 1892, a cricket club and a floral guild. Guilds teaching physical culture for girls, boys and young men began in 1904. They were entirely financed by John Maclellan and the idea extended to other denominations throughout Victoria. John Maclellan died in 1936 and the guilds ceased at Saint George’s Presbyterian church through lack of funds although in 1977 the members of the girls’ guild were still holding bi-annual reunions and raising money for charity. Sadly, the Presbyterian congregations may have been large in the Nineteenth Century, but by St George's Presbyterian Church's 110th centenary, its doors had already closed during the week due to dwindling numbers and an ageing congregation as a result of the general decline in church attendances after the Second World War exacerbated by the changing nature of St Kilda and the decrease in numbers of residents living in the vicinity of the church. So it stood, forlorn and empty and seemingly nothing more than a relic of a glorious but bygone religious past. However in 1990, Saint Michael's Grammar School across the road leased the Victorian Heritage listed building during weekdays, and it was eventually sold to them in 2015. It now forms part of the school's performing-arts complex, and it has a wonderful new lease of life.

St George's Presbyterian Church is sometimes hired out for performances, and I had the pleasure of receiving an invitation to hear Handel's Messiah performed there in 2009. The ecclesiastical acoustics made the performance all the more magnificent. I remember as I sat on one of the original (hard) kauri pine pews, I looked around me and admired the stained glass and ornamental brickwork. I tried without success over several subsequent years to gain access to the church's interior, settling for photographs of the exterior instead, but it wasn't until 2018 that I was fortunate enough to gain entry to photograph the church's interior. The former St George's Presbyterian Church was opened up to the public for one Sunday morning only as part of Open House Melbourne in July 2018. It was a fantastic morning, and I am very grateful to the staff who manned the church for the day and watched bemused as I photographed the stained glass extensively and in such detail.

Albert Purchas, born in 1825 in Chepstow, Monmouthshire, Wales, was a prominent Nineteenth Century architect who achieved great success for himself in Melbourne. Born to parents Robert Whittlesey Purchas and Marianne Guyon, he migrated to Australia in 1851 to establish himself in the then quickly expanding city of Melbourne, where he set up a small architect's firm in Little Collins Street. He also offered surveying services. His first major building was constructing the mansion "Berkeley Hall" in St Kilda on Princes Street in 1854. The house still exists today. Two years after migrating, Albert designed the layout of the Melbourne General Cemetery in Carlton. It was the first "garden cemetery" in Victoria, and his curvilinear design is still in existence, unaltered, today. In 1854, Albert married Eliza Anne Sawyer (1825 - 1869) in St Kilda. The couple had ten children over their marriage, including a son, Robert, who followed in his father's footsteps as an architect. Albert's brother-in-law, Charles Sawyer joined him in the partnership of Purchas and Sawyer, which existed from 1856 until 1862 in Queens Street. The firm produced more than 140 houses, churches, offices and cemetery buildings including: the nave and transepts of Christ Church St Kilda between 1854 and 1857, "Glenara Homestead"in Bulla in 1857, the Melbourne Savings Bank on the corner of Flinders Lane and Market Street (now demolished) between 1857 and 1858, the Geelong branch of the Bank of Australasia in Malop Street between 1859 and 1860, and Beck's Imperial Hotel in Castlemaine in 1861. When the firm broke up, Albert returned to Little Collins Street, and the best known building he designed during this period was Saint. George's Presbyterian Church in St Kilda East between 1877 and 1880. The church's tall polychomatic brick bell tower is still a local landmark, even in the times of high rise architecture and development, and Saint, George's itself is said to be one of his most striking church designs. Socially, Albert was vice president of the Royal Victorian Institute of Architects for many years, before becoming president in 1887. He was also an inventor and philanthropist. Albert died in 1909 at his home in Kew, a wealthy widower and much loved father.

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.

Seymour, VIC Australia.

Now overgrown by wild Blackberries, this rocky crevice overlooking the valley is believed to be one of the many hideouts of the 'Wild Man of Tallarook'; A Swede by the name of Henricke Nelson who turned his back against the colonial attitudes of farming and cultivation after migrating to Australia in 1860 and began living a secret life in the bush for over a decade. After numerous sightings by local farmers and rumours regarding his mysterious existence, he was soon arrested and tried for vagrancy and sentenced to 6 months jail. After searching his numerous caves, local police remarked at Nelson's ingenuity and understood that he must be 'a man of great ability and knowledge', the caves containing such complex passages and even incorporating river diversions to suit his needs. Inside various items were found; a broom, clothing, eating utensils, books, a shot bag and firearm and evidence of campfires which stain the granite walls black to this day.

Created by Melbourne stained glass manufacturer Ferguson and Urie in 1880 for the opening of the former Saint George's Presbyterian Church, this non-figurative stained glass window features design elements typical of their work. It features a latticed "diaper" pattern containing stylised floral designs in yellow. It has a border of coloured squares dispersed with stylised flowers, also a common element of Ferguson and Urie's windows. Each lancet window features two diamond shaped panes, one at the top and one at the bottom of the window, and a central round pane of brightly coloured glass, once again featuring a stylised floral image. A round vent at the top features a Tudor Rose sitting in the middle of an eight pointed star of green and golden yellow.

The former Saint George's Presbyterian Church, which stands on busy Chapel Street in St Kilda East, is a well known and loved local landmark, not least of all because of its strikingly tall (33.5 metre or 110 foot) banded bell tower which can be spotted from far away. In the Nineteenth Century when it was built, it would have been even more striking for its great height and domineering presence. Designed by architect Albert Purchas, the former Saint George's Presbyterian Church is often referred to as his ecclesiastical tour-de-force, and it is most certainly one of his most dramatic and memorable churches.

The former Saint George's Presbyterian Church was constructed on a plot of land reserved in Chapel Street for the Presbyterian Church of Victoria in 1866. Initially services were held in a small hall whilst fundraising efforts advanced the erection of a church. The architect Albert Purchas was commissioned to design the church and the foundation stone for the western portion of the nave was finally laid in April 1877 by Sir James McCulloch. The first service was held in the church on the 1st of October 1877. The first clergyman of the former Saint George's Presbyterian Church was the Reverend John Laurence Rentoul (father to world renown and much loved Australian children's book illustrator Ida Rentoul Outhwaite). However, the swelling Presbyterian congregation of St Kilda and its surrounding districts quickly outgrew the initial Saint George's Presbyterian Church building, so Albert Purchas was obliged to re-design and enlarge the church to allow a doubling in capacity. Robert S. Ekins was the contractor and his tender was £3000.00. It is this imposing church building, reopened in 1880, that we see today. The "Australasian Sketcher with Pen and Pencil" noted that the total length of the building was 118 feet and 6 inches (36 metres), by 40 foot (12 metres) wide and that the striking octagonal tower to the north-west was 110ft 6 in high. It perhaps reflected better the wealth and aspirations of the congregation.

The former Saint George's Presbyterian Church is constructed on bluestone foundations and is built in an ornate polychromatic Gothic Revival style in the tradition of English designers like William Butterfield and John L. Pearson. Built of red brick building, it is decorated in contrasting cream bricks and Waurn Ponds freestone dressings. It features a slate roof with prominent roof vents, iron ridge cresting and fleche at the intersection of the nave and transepts. The front facade of the church is dominated by the slender, banded octagonal tower topped by a narrow spire. The entrance features a double arched portal portico. The facade also features a dominant triangular epitrochoidal (curved triangular form) rose window. The church, like its bluestone neighbour All Saints Church of England, is built to a T-shaped plan, with an aisleless nave, broad transepts and internal walls of cream brick, relieved with coloured brickwork. The former Saint George's Presbyterian Church was one of the first major church design in Melbourne in which polychrome brickwork was lavishly employed both externally and internally.

The inside of the former Saint George's Presbyterian Church is equally as grand as the exterior, with ornamental Gothic Revival polychromatic brickwork, a lofty vaulted ceiling, deal and kauri pine joinery and pulpit and reredos of Keene's cement. The building originally contained a complete set of Victorian stained glass windows by well known and successful Melbourne manufacturers Ferguson and Urie, all of which remain intact today except for one of the non-figurative windows which was replaced by a memorial window to Samuel Lyons McKenzie, the congregation’s beloved minister, who served from 1930 to 1948, in 1949. The earliest of the Ferguson and Urie windows are non-figurative windows which feature the distinctive diaper pattern and floral motifs of Fergus and Urie's work, and are often argued to be amongst the finest of their non-figurative designs. The large triple window in the chancel was presented by Lady McCulloch in memory of the ‘loved and dead’. Another, in memory of John Kane Smyth, the Vice-Consul for the United States of America in Melbourne, has the American Stars and Stripes on the top ventilator above it. An organ by Thomas C. Lewis of London, one of the leading 19th century English organ builders, was installed in the south transept in 1882. It was designed to blend with its architectural setting, with pipework styled to avoid the obstruction of windows. The action of this organ was altered in 1935, but the pipework, and the original sound, have been retained.

Over the years many spiritual and social activities were instituted at Saint George’s, Presbyterian Church some of short duration such as the Ladies’ Reading Club which operated between 1888 and 1893. There were segregated Bible classes for young men and women, the Presbyterian Women’s Missionary Union, formed in 1892, a cricket club and a floral guild. Guilds teaching physical culture for girls, boys and young men began in 1904. They were entirely financed by John Maclellan and the idea extended to other denominations throughout Victoria. John Maclellan died in 1936 and the guilds ceased at Saint George’s Presbyterian church through lack of funds although in 1977 the members of the girls’ guild were still holding bi-annual reunions and raising money for charity. Sadly, the Presbyterian congregations may have been large in the Nineteenth Century, but by St George's Presbyterian Church's 110th centenary, its doors had already closed during the week due to dwindling numbers and an ageing congregation as a result of the general decline in church attendances after the Second World War exacerbated by the changing nature of St Kilda and the decrease in numbers of residents living in the vicinity of the church. So it stood, forlorn and empty and seemingly nothing more than a relic of a glorious but bygone religious past. However in 1990, Saint Michael's Grammar School across the road leased the Victorian Heritage listed building during weekdays, and it was eventually sold to them in 2015. It now forms part of the school's performing-arts complex, and it has a wonderful new lease of life.

St George's Presbyterian Church is sometimes hired out for performances, and I had the pleasure of receiving an invitation to hear Handel's Messiah performed there in 2009. The ecclesiastical acoustics made the performance all the more magnificent. I remember as I sat on one of the original (hard) kauri pine pews, I looked around me and admired the stained glass and ornamental brickwork. I tried without success over several subsequent years to gain access to the church's interior, settling for photographs of the exterior instead, but it wasn't until 2018 that I was fortunate enough to gain entry to photograph the church's interior. The former St George's Presbyterian Church was opened up to the public for one Sunday morning only as part of Open House Melbourne in July 2018. It was a fantastic morning, and I am very grateful to the staff who manned the church for the day and watched bemused as I photographed the stained glass extensively and in such detail.

Albert Purchas, born in 1825 in Chepstow, Monmouthshire, Wales, was a prominent Nineteenth Century architect who achieved great success for himself in Melbourne. Born to parents Robert Whittlesey Purchas and Marianne Guyon, he migrated to Australia in 1851 to establish himself in the then quickly expanding city of Melbourne, where he set up a small architect's firm in Little Collins Street. He also offered surveying services. His first major building was constructing the mansion "Berkeley Hall" in St Kilda on Princes Street in 1854. The house still exists today. Two years after migrating, Albert designed the layout of the Melbourne General Cemetery in Carlton. It was the first "garden cemetery" in Victoria, and his curvilinear design is still in existence, unaltered, today. In 1854, Albert married Eliza Anne Sawyer (1825 - 1869) in St Kilda. The couple had ten children over their marriage, including a son, Robert, who followed in his father's footsteps as an architect. Albert's brother-in-law, Charles Sawyer joined him in the partnership of Purchas and Sawyer, which existed from 1856 until 1862 in Queens Street. The firm produced more than 140 houses, churches, offices and cemetery buildings including: the nave and transepts of Christ Church St Kilda between 1854 and 1857, "Glenara Homestead"in Bulla in 1857, the Melbourne Savings Bank on the corner of Flinders Lane and Market Street (now demolished) between 1857 and 1858, the Geelong branch of the Bank of Australasia in Malop Street between 1859 and 1860, and Beck's Imperial Hotel in Castlemaine in 1861. When the firm broke up, Albert returned to Little Collins Street, and the best known building he designed during this period was Saint. George's Presbyterian Church in St Kilda East between 1877 and 1880. The church's tall polychomatic brick bell tower is still a local landmark, even in the times of high rise architecture and development, and Saint, George's itself is said to be one of his most striking church designs. Socially, Albert was vice president of the Royal Victorian Institute of Architects for many years, before becoming president in 1887. He was also an inventor and philanthropist. Albert died in 1909 at his home in Kew, a wealthy widower and much loved father.

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.

Amid the brightly coloured non-figurative windows on the northern side of Saint George's Presbyterian Church stands one figurative window. Dedicated to American John Kane Smyth, the window was made by Melbourne stained glass manufacturer Ferguson and Urie. Although there is no date on the window, I believe it was created in the 1890s. The window represents two scenes in the life of Jesus: The Settlement about the Tribute Money, and The Interview with the Rich Young Ruler. The left-hand pane is the Settlement about the Tribute Money window. It features Jesus and a Roman tax collector who demanded money from him and the twelve apostles when they had none to pay. Jesus performs a miracle and the tax is paid with a Drachma coin found in the mouth of a fish by Saint Peter. The window shows Jesus and the tax collector in beautiful and richly coloured clothing amid a green countryside. It contains a Biblical quote from the Book of Matthew XIX - 19 in the bottom dedication panel: "Thou shalt love thy neighbor as thyself." The right-hand pane is the Interview with the Rich Young Ruler window from the Book of Luke. A certain ruler asks Jesus, "Good teacher, what must I do to inherit eternal life?" As part of his reply Jesus says, "How hard it is for the rich to enter the kingdom of God! Indeed, it is easier for a camel to go through the eye of a needle than for a rich man to enter the kingdom of God", after telling the ruler that he should sell all he has and follow him for a guarantee to eternal life. Jesus stands with his hand raised, whilst the ruler in richly patterned robes and a fine turban stands beside him. Two apostles stand behind them, their faces just visible. The window contains a Biblical quote from the Book of Mark XII - 17 in the bottom dedication panel: "Render to Caesar the things that are Caesar's, and to God the things that are God's".

John Kane Smyth was the Vice-Consul for the United States of America in Melbourne, and he was just one of a number of wealthy Americans who attended services at Saint George's Presbyterian Church. In his honour the top round ventilator window has the American Stars and Stripes in it. Interestingly it features the Thirty-Six Stars and Stripes flag which was well outdated by the time this window as installed. The Thirty-Six Stars and Stripes flag became the official United States Flag on July 4th, 1865 after the admission of Nevada into the union. However it was only to last for two years when Nebraska joined the union. John Kane Smyth served on Saint George's Presbyterian Church's Board of Management for many years and is recognised as having given good service in the Saint George's Presbyterian Church's 1876 - 1926 Jubilee Souvenir Book.

The former Saint George's Presbyterian Church was constructed on a plot of land reserved in Chapel Street for the Presbyterian Church of Victoria in 1866. Initially services were held in a small hall whilst fundraising efforts advanced the erection of a church. The architect Albert Purchas was commissioned to design the church and the foundation stone for the western portion of the nave was finally laid in April 1877 by Sir James McCulloch. The first service was held in the church on the 1st of October 1877. The first clergyman of the former Saint George's Presbyterian Church was the Reverend John Laurence Rentoul (father to world renown and much loved Australian children's book illustrator Ida Rentoul Outhwaite). However, the swelling Presbyterian congregation of St Kilda and its surrounding districts quickly outgrew the initial Saint George's Presbyterian Church building, so Albert Purchas was obliged to re-design and enlarge the church to allow a doubling in capacity. Robert S. Ekins was the contractor and his tender was £3000.00. It is this imposing church building, reopened in 1880, that we see today. The "Australasian Sketcher with Pen and Pencil" noted that the total length of the building was 118 feet and 6 inches (36 metres), by 40 foot (12 metres) wide and that the striking octagonal tower to the north-west was 110ft 6 in high. It perhaps reflected better the wealth and aspirations of the congregation.

The former Saint George's Presbyterian Church is constructed on bluestone foundations and is built in an ornate polychromatic Gothic Revival style in the tradition of English designers like William Butterfield and John L. Pearson. Built of red brick building, it is decorated in contrasting cream bricks and Waurn Ponds freestone dressings. It features a slate roof with prominent roof vents, iron ridge cresting and fleche at the intersection of the nave and transepts. The front facade of the church is dominated by the slender, banded octagonal tower topped by a narrow spire. The entrance features a double arched portal portico. The facade also features a dominant triangular epitrochoidal (curved triangular form) rose window. The church, like its bluestone neighbour All Saints Church of England, is built to a T-shaped plan, with an aisleless nave, broad transepts and internal walls of cream brick, relieved with coloured brickwork. The former Saint George's Presbyterian Church was one of the first major church design in Melbourne in which polychrome brickwork was lavishly employed both externally and internally.

The inside of the former Saint George's Presbyterian Church is equally as grand as the exterior, with ornamental Gothic Revival polychromatic brickwork, a lofty vaulted ceiling, deal and kauri pine joinery and pulpit and reredos of Keene's cement. The building originally contained a complete set of Victorian stained glass windows by well known and successful Melbourne manufacturers Ferguson and Urie, all of which remain intact today except for one of the non-figurative windows which was replaced by a memorial window to Samuel Lyons McKenzie, the congregation’s beloved minister, who served from 1930 to 1948, in 1949. The earliest of the Ferguson and Urie windows are non-figurative windows which feature the distinctive diaper pattern and floral motifs of Fergus and Urie's work, and are often argued to be amongst the finest of their non-figurative designs. The large triple window in the chancel was presented by Lady McCulloch in memory of the ‘loved and dead’. Another, in memory of John Kane Smyth, the Vice-Consul for the United States of America in Melbourne, has the American Stars and Stripes on the top ventilator above it. An organ by Thomas C. Lewis of London, one of the leading 19th century English organ builders, was installed in the south transept in 1882. It was designed to blend with its architectural setting, with pipework styled to avoid the obstruction of windows. The action of this organ was altered in 1935, but the pipework, and the original sound, have been retained.

Over the years many spiritual and social activities were instituted at Saint George’s, Presbyterian Church some of short duration such as the Ladies’ Reading Club which operated between 1888 and 1893. There were segregated Bible classes for young men and women, the Presbyterian Women’s Missionary Union, formed in 1892, a cricket club and a floral guild. Guilds teaching physical culture for girls, boys and young men began in 1904. They were entirely financed by John Maclellan and the idea extended to other denominations throughout Victoria. John Maclellan died in 1936 and the guilds ceased at Saint George’s Presbyterian church through lack of funds although in 1977 the members of the girls’ guild were still holding bi-annual reunions and raising money for charity. Sadly, the Presbyterian congregations may have been large in the Nineteenth Century, but by St George's Presbyterian Church's 110th centenary, its doors had already closed during the week due to dwindling numbers and an ageing congregation as a result of the general decline in church attendances after the Second World War exacerbated by the changing nature of St Kilda and the decrease in numbers of residents living in the vicinity of the church. So it stood, forlorn and empty and seemingly nothing more than a relic of a glorious but bygone religious past. However in 1990, Saint Michael's Grammar School across the road leased the Victorian Heritage listed building during weekdays, and it was eventually sold to them in 2015. It now forms part of the school's performing-arts complex, and it has a wonderful new lease of life.

St George's Presbyterian Church is sometimes hired out for performances, and I had the pleasure of receiving an invitation to hear Handel's Messiah performed there in 2009. The ecclesiastical acoustics made the performance all the more magnificent. I remember as I sat on one of the original (hard) kauri pine pews, I looked around me and admired the stained glass and ornamental brickwork. I tried without success over several subsequent years to gain access to the church's interior, settling for photographs of the exterior instead, but it wasn't until 2018 that I was fortunate enough to gain entry to photograph the church's interior. The former St George's Presbyterian Church was opened up to the public for one Sunday morning only as part of Open House Melbourne in July 2018. It was a fantastic morning, and I am very grateful to the staff who manned the church for the day and watched bemused as I photographed the stained glass extensively and in such detail.

Albert Purchas, born in 1825 in Chepstow, Monmouthshire, Wales, was a prominent Nineteenth Century architect who achieved great success for himself in Melbourne. Born to parents Robert Whittlesey Purchas and Marianne Guyon, he migrated to Australia in 1851 to establish himself in the then quickly expanding city of Melbourne, where he set up a small architect's firm in Little Collins Street. He also offered surveying services. His first major building was constructing the mansion "Berkeley Hall" in St Kilda on Princes Street in 1854. The house still exists today. Two years after migrating, Albert designed the layout of the Melbourne General Cemetery in Carlton. It was the first "garden cemetery" in Victoria, and his curvilinear design is still in existence, unaltered, today. In 1854, Albert married Eliza Anne Sawyer (1825 - 1869) in St Kilda. The couple had ten children over their marriage, including a son, Robert, who followed in his father's footsteps as an architect. Albert's brother-in-law, Charles Sawyer joined him in the partnership of Purchas and Sawyer, which existed from 1856 until 1862 in Queens Street. The firm produced more than 140 houses, churches, offices and cemetery buildings including: the nave and transepts of Christ Church St Kilda between 1854 and 1857, "Glenara Homestead"in Bulla in 1857, the Melbourne Savings Bank on the corner of Flinders Lane and Market Street (now demolished) between 1857 and 1858, the Geelong branch of the Bank of Australasia in Malop Street between 1859 and 1860, and Beck's Imperial Hotel in Castlemaine in 1861. When the firm broke up, Albert returned to Little Collins Street, and the best known building he designed during this period was Saint. George's Presbyterian Church in St Kilda East between 1877 and 1880. The church's tall polychomatic brick bell tower is still a local landmark, even in the times of high rise architecture and development, and Saint, George's itself is said to be one of his most striking church designs. Socially, Albert was vice president of the Royal Victorian Institute of Architects for many years, before becoming president in 1887. He was also an inventor and philanthropist. Albert died in 1909 at his home in Kew, a wealthy widower and much loved father.

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 by Melbourne stained glass manufacturer Ferguson and Urie in 1880 for the opening of the former Saint George's Presbyterian Church, the Saint Philip the Evangelist stained glass window sits in the southern transept to the right of the altar.

Unlike most saints depicted in stained glass iconography, this version of Saint Philip the Evangelist is dressed unusually in Middle-Eastern garb with sandals upon his feet. Saint Philip the Evangelist is referred to in the Book of Acts. He is one of the Seven Deacons chosen to care for the poor of the Jerusalem Christian community. He was a preacher, purportedly performed miracles in Samaria and baptised converts to the Christian faith. He is perhaps best known for baptising an Ethiopian man in Gaza, thus commencing the Ethiopian Church.

It is perhaps for this reason that his window is paired with that of John the Baptist. John preached repentance and reinvigoration of religious practice, but did so from outside the heirachy of the Jewish religion, following the tradition of the Old Testament prophets. He is described as the one coming before Jesus to announce his coming and reawakens people to their faith in God. His radical asceticism was a protest against the religious complacency commonplace in his lifetime. He used the act of baptism of his followers in the River Jordan as a central sacrament, whereby a follower's zeal for faithful worship in God was renewed. He is best known for baptising Jesus.

Both figures stand against the same background: a "diaper pattern" containing yellow fleur-de-lis. They also feature a border of coloured squares dispersed with stylised flowers with an inner border of brightly coloured circles. Both the background and the border are common elements of Ferguson and Urie's stained glass window work, and match other, non-figurative windows in the nave and transepts of the former Saint George's Presbyterian Church. A round vent window above them features a cross in red glass on a blue and yellow background.

The former Saint George's Presbyterian Church, which stands on busy Chapel Street in St Kilda East, is a well known and loved local landmark, not least of all because of its strikingly tall (33.5 metre or 110 foot) banded bell tower which can be spotted from far away. In the Nineteenth Century when it was built, it would have been even more striking for its great height and domineering presence. Designed by architect Albert Purchas, the former Saint George's Presbyterian Church is often referred to as his ecclesiastical tour-de-force, and it is most certainly one of his most dramatic and memorable churches.

The former Saint George's Presbyterian Church was constructed on a plot of land reserved in Chapel Street for the Presbyterian Church of Victoria in 1866. Initially services were held in a small hall whilst fundraising efforts advanced the erection of a church. The architect Albert Purchas was commissioned to design the church and the foundation stone for the western portion of the nave was finally laid in April 1877 by Sir James McCulloch. The first service was held in the church on the 1st of October 1877. The first clergyman of the former Saint George's Presbyterian Church was the Reverend John Laurence Rentoul (father to world renown and much loved Australian children's book illustrator Ida Rentoul Outhwaite). However, the swelling Presbyterian congregation of St Kilda and its surrounding districts quickly outgrew the initial Saint George's Presbyterian Church building, so Albert Purchas was obliged to re-design and enlarge the church to allow a doubling in capacity. Robert S. Ekins was the contractor and his tender was £3000.00. It is this imposing church building, reopened in 1880, that we see today. The "Australasian Sketcher with Pen and Pencil" noted that the total length of the building was 118 feet and 6 inches (36 metres), by 40 foot (12 metres) wide and that the striking octagonal tower to the north-west was 110ft 6 in high. It perhaps reflected better the wealth and aspirations of the congregation.

The former Saint George's Presbyterian Church is constructed on bluestone foundations and is built in an ornate polychromatic Gothic Revival style in the tradition of English designers like William Butterfield and John L. Pearson. Built of red brick building, it is decorated in contrasting cream bricks and Waurn Ponds freestone dressings. It features a slate roof with prominent roof vents, iron ridge cresting and fleche at the intersection of the nave and transepts. The front facade of the church is dominated by the slender, banded octagonal tower topped by a narrow spire. The entrance features a double arched portal portico. The facade also features a dominant triangular epitrochoidal (curved triangular form) rose window. The church, like its bluestone neighbour All Saints Church of England, is built to a T-shaped plan, with an aisleless nave, broad transepts and internal walls of cream brick, relieved with coloured brickwork. The former Saint George's Presbyterian Church was one of the first major church design in Melbourne in which polychrome brickwork was lavishly employed both externally and internally.

The inside of the former Saint George's Presbyterian Church is equally as grand as the exterior, with ornamental Gothic Revival polychromatic brickwork, a lofty vaulted ceiling, deal and kauri pine joinery and pulpit and reredos of Keene's cement. The building originally contained a complete set of Victorian stained glass windows by well known and successful Melbourne manufacturers Ferguson and Urie, all of which remain intact today except for one of the non-figurative windows which was replaced by a memorial window to Samuel Lyons McKenzie, the congregation’s beloved minister, who served from 1930 to 1948, in 1949. The earliest of the Ferguson and Urie windows are non-figurative windows which feature the distinctive diaper pattern and floral motifs of Fergus and Urie's work, and are often argued to be amongst the finest of their non-figurative designs. The large triple window in the chancel was presented by Lady McCulloch in memory of the ‘loved and dead’. Another, in memory of John Kane Smyth, the Vice-Consul for the United States of America in Melbourne, has the American Stars and Stripes on the top ventilator above it. An organ by Thomas C. Lewis of London, one of the leading 19th century English organ builders, was installed in the south transept in 1882. It was designed to blend with its architectural setting, with pipework styled to avoid the obstruction of windows. The action of this organ was altered in 1935, but the pipework, and the original sound, have been retained.

Over the years many spiritual and social activities were instituted at Saint George’s, Presbyterian Church some of short duration such as the Ladies’ Reading Club which operated between 1888 and 1893. There were segregated Bible classes for young men and women, the Presbyterian Women’s Missionary Union, formed in 1892, a cricket club and a floral guild. Guilds teaching physical culture for girls, boys and young men began in 1904. They were entirely financed by John Maclellan and the idea extended to other denominations throughout Victoria. John Maclellan died in 1936 and the guilds ceased at Saint George’s Presbyterian church through lack of funds although in 1977 the members of the girls’ guild were still holding bi-annual reunions and raising money for charity. Sadly, the Presbyterian congregations may have been large in the Nineteenth Century, but by St George's Presbyterian Church's 110th centenary, its doors had already closed during the week due to dwindling numbers and an ageing congregation as a result of the general decline in church attendances after the Second World War exacerbated by the changing nature of St Kilda and the decrease in numbers of residents living in the vicinity of the church. So it stood, forlorn and empty and seemingly nothing more than a relic of a glorious but bygone religious past. However in 1990, Saint Michael's Grammar School across the road leased the Victorian Heritage listed building during weekdays, and it was eventually sold to them in 2015. It now forms part of the school's performing-arts complex, and it has a wonderful new lease of life.

St George's Presbyterian Church is sometimes hired out for performances, and I had the pleasure of receiving an invitation to hear Handel's Messiah performed there in 2009. The ecclesiastical acoustics made the performance all the more magnificent. I remember as I sat on one of the original (hard) kauri pine pews, I looked around me and admired the stained glass and ornamental brickwork. I tried without success over several subsequent years to gain access to the church's interior, settling for photographs of the exterior instead, but it wasn't until 2018 that I was fortunate enough to gain entry to photograph the church's interior. The former St George's Presbyterian Church was opened up to the public for one Sunday morning only as part of Open House Melbourne in July 2018. It was a fantastic morning, and I am very grateful to the staff who manned the church for the day and watched bemused as I photographed the stained glass extensively and in such detail.

Albert Purchas, born in 1825 in Chepstow, Monmouthshire, Wales, was a prominent Nineteenth Century architect who achieved great success for himself in Melbourne. Born to parents Robert Whittlesey Purchas and Marianne Guyon, he migrated to Australia in 1851 to establish himself in the then quickly expanding city of Melbourne, where he set up a small architect's firm in Little Collins Street. He also offered surveying services. His first major building was constructing the mansion "Berkeley Hall" in St Kilda on Princes Street in 1854. The house still exists today. Two years after migrating, Albert designed the layout of the Melbourne General Cemetery in Carlton. It was the first "garden cemetery" in Victoria, and his curvilinear design is still in existence, unaltered, today. In 1854, Albert married Eliza Anne Sawyer (1825 - 1869) in St Kilda. The couple had ten children over their marriage, including a son, Robert, who followed in his father's footsteps as an architect. Albert's brother-in-law, Charles Sawyer joined him in the partnership of Purchas and Sawyer, which existed from 1856 until 1862 in Queens Street. The firm produced more than 140 houses, churches, offices and cemetery buildings including: the nave and transepts of Christ Church St Kilda between 1854 and 1857, "Glenara Homestead"in Bulla in 1857, the Melbourne Savings Bank on the corner of Flinders Lane and Market Street (now demolished) between 1857 and 1858, the Geelong branch of the Bank of Australasia in Malop Street between 1859 and 1860, and Beck's Imperial Hotel in Castlemaine in 1861. When the firm broke up, Albert returned to Little Collins Street, and the best known building he designed during this period was Saint. George's Presbyterian Church in St Kilda East between 1877 and 1880. The church's tall polychomatic brick bell tower is still a local landmark, even in the times of high rise architecture and development, and Saint, George's itself is said to be one of his most striking church designs. Socially, Albert was vice president of the Royal Victorian Institute of Architects for many years, before becoming president in 1887. He was also an inventor and philanthropist. Albert died in 1909 at his home in Kew, a wealthy widower and much loved father.

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 former Saint George's Presbyterian Church, which stands on busy Chapel Street in St Kilda East, is a well known and loved local landmark, not least of all because of its strikingly tall (33.5 metre or 110 foot) banded bell tower which can be spotted from far away. In the Nineteenth Century when it was built, it would have been even more striking for its great height and domineering presence. Designed by architect Albert Purchas, the former Saint George's Presbyterian Church is often referred to as his ecclesiastical tour-de-force, and it is most certainly one of his most dramatic and memorable churches.

The former Saint George's Presbyterian Church was constructed on a plot of land reserved in Chapel Street for the Presbyterian Church of Victoria in 1866. Initially services were held in a small hall whilst fundraising efforts advanced the erection of a church. The architect Albert Purchas was commissioned to design the church and the foundation stone for the western portion of the nave was finally laid in April 1877 by Sir James McCulloch. The first service was held in the church on the 1st of October 1877. The first clergyman of the former Saint George's Presbyterian Church was the Reverend John Laurence Rentoul (father to world renown and much loved Australian children's book illustrator Ida Rentoul Outhwaite). However, the swelling Presbyterian congregation of St Kilda and its surrounding districts quickly outgrew the initial Saint George's Presbyterian Church building, so Albert Purchas was obliged to re-design and enlarge the church to allow a doubling in capacity. Robert S. Ekins was the contractor and his tender was £3000.00. It is this imposing church building, reopened in 1880, that we see today. The "Australasian Sketcher with Pen and Pencil" noted that the total length of the building was 118 feet and 6 inches (36 metres), by 40 foot (12 metres) wide and that the striking octagonal tower to the north-west was 110ft 6 in high. It perhaps reflected better the wealth and aspirations of the congregation.

The former Saint George's Presbyterian Church is constructed on bluestone foundations and is built in an ornate polychromatic Gothic Revival style in the tradition of English designers like William Butterfield and John L. Pearson. Built of red brick building, it is decorated in contrasting cream bricks and Waurn Ponds freestone dressings. It features a slate roof with prominent roof vents, iron ridge cresting and fleche at the intersection of the nave and transepts. The front facade of the church is dominated by the slender, banded octagonal tower topped by a narrow spire. The entrance features a double arched portal portico. The facade also features a dominant triangular epitrochoidal (curved triangular form) rose window. The church, like its bluestone neighbour All Saints Church of England, is built to a T-shaped plan, with an aisleless nave, broad transepts and internal walls of cream brick, relieved with coloured brickwork. The former Saint George's Presbyterian Church was one of the first major church design in Melbourne in which polychrome brickwork was lavishly employed both externally and internally.

The inside of the former Saint George's Presbyterian Church is equally as grand as the exterior, with ornamental Gothic Revival polychromatic brickwork, a lofty vaulted ceiling, deal and kauri pine joinery and pulpit and reredos of Keene's cement. The building originally contained a complete set of Victorian stained glass windows by well known and successful Melbourne manufacturers Ferguson and Urie, all of which remain intact today except for one of the non-figurative windows which was replaced by a memorial window to Samuel Lyons McKenzie, the congregation’s beloved minister, who served from 1930 to 1948, in 1949. The earliest of the Ferguson and Urie windows are non-figurative windows which feature the distinctive diaper pattern and floral motifs of Fergus and Urie's work, and are often argued to be amongst the finest of their non-figurative designs. The large triple window in the chancel was presented by Lady McCulloch in memory of the ‘loved and dead’. Another, in memory of John Kane Smyth, the Vice-Consul for the United States of America in Melbourne, has the American Stars and Stripes on the top ventilator above it. An organ by Thomas C. Lewis of London, one of the leading 19th century English organ builders, was installed in the south transept in 1882. It was designed to blend with its architectural setting, with pipework styled to avoid the obstruction of windows. The action of this organ was altered in 1935, but the pipework, and the original sound, have been retained.

Over the years many spiritual and social activities were instituted at Saint George’s, Presbyterian Church some of short duration such as the Ladies’ Reading Club which operated between 1888 and 1893. There were segregated Bible classes for young men and women, the Presbyterian Women’s Missionary Union, formed in 1892, a cricket club and a floral guild. Guilds teaching physical culture for girls, boys and young men began in 1904. They were entirely financed by John Maclellan and the idea extended to other denominations throughout Victoria. John Maclellan died in 1936 and the guilds ceased at Saint George’s Presbyterian church through lack of funds although in 1977 the members of the girls’ guild were still holding bi-annual reunions and raising money for charity. Sadly, the Presbyterian congregations may have been large in the Nineteenth Century, but by St George's Presbyterian Church's 110th centenary, its doors had already closed during the week due to dwindling numbers and an ageing congregation as a result of the general decline in church attendances after the Second World War exacerbated by the changing nature of St Kilda and the decrease in numbers of residents living in the vicinity of the church. So it stood, forlorn and empty and seemingly nothing more than a relic of a glorious but bygone religious past. However in 1990, Saint Michael's Grammar School across the road leased the Victorian Heritage listed building during weekdays, and it was eventually sold to them in 2015. It now forms part of the school's performing-arts complex, and it has a wonderful new lease of life.

St George's Presbyterian Church is sometimes hired out for performances, and I had the pleasure of receiving an invitation to hear Handel's Messiah performed there in 2009. The ecclesiastical acoustics made the performance all the more magnificent. I remember as I sat on one of the original (hard) kauri pine pews, I looked around me and admired the stained glass and ornamental brickwork. I tried without success over several subsequent years to gain access to the church's interior, settling for photographs of the exterior instead, but it wasn't until 2018 that I was fortunate enough to gain entry to photograph the church's interior. The former St George's Presbyterian Church was opened up to the public for one Sunday morning only as part of Open House Melbourne in July 2018. It was a fantastic morning, and I am very grateful to the staff who manned the church for the day and watched bemused as I photographed the stained glass extensively and in such detail.

Albert Purchas, born in 1825 in Chepstow, Monmouthshire, Wales, was a prominent Nineteenth Century architect who achieved great success for himself in Melbourne. Born to parents Robert Whittlesey Purchas and Marianne Guyon, he migrated to Australia in 1851 to establish himself in the then quickly expanding city of Melbourne, where he set up a small architect's firm in Little Collins Street. He also offered surveying services. His first major building was constructing the mansion "Berkeley Hall" in St Kilda on Princes Street in 1854. The house still exists today. Two years after migrating, Albert designed the layout of the Melbourne General Cemetery in Carlton. It was the first "garden cemetery" in Victoria, and his curvilinear design is still in existence, unaltered, today. In 1854, Albert married Eliza Anne Sawyer (1825 - 1869) in St Kilda. The couple had ten children over their marriage, including a son, Robert, who followed in his father's footsteps as an architect. Albert's brother-in-law, Charles Sawyer joined him in the partnership of Purchas and Sawyer, which existed from 1856 until 1862 in Queens Street. The firm produced more than 140 houses, churches, offices and cemetery buildings including: the nave and transepts of Christ Church St Kilda between 1854 and 1857, "Glenara Homestead"in Bulla in 1857, the Melbourne Savings Bank on the corner of Flinders Lane and Market Street (now demolished) between 1857 and 1858, the Geelong branch of the Bank of Australasia in Malop Street between 1859 and 1860, and Beck's Imperial Hotel in Castlemaine in 1861. When the firm broke up, Albert returned to Little Collins Street, and the best known building he designed during this period was Saint. George's Presbyterian Church in St Kilda East between 1877 and 1880. The church's tall polychomatic brick bell tower is still a local landmark, even in the times of high rise architecture and development, and Saint, George's itself is said to be one of his most striking church designs. Socially, Albert was vice president of the Royal Victorian Institute of Architects for many years, before becoming president in 1887. He was also an inventor and philanthropist. Albert died in 1909 at his home in Kew, a wealthy widower and much loved father.

This photograph album belonged to Edward Hungerford and contains images of shipping and street scenes around Sydney from the 1880s.

Edward Hungerford was born on 10 June 1863 in Cahirmoore, Ireland (County Cork), the son of Henry Jones Hungerford and Mary Boone Cowper. Hungerford migrated to Australia around 1882 and became a long-serving member of the Royal Sydney Yacht Squadron. He died 24 June 1956 in Newtown, Sydney.

The Australian National Maritime Museum undertakes research and accepts public comments that enhance the information we hold about images in our collection. If you can identify a person, vessel or landmark, write the details in the Comments box below.

Thank you for helping caption this important historical image.

ANMM Collection Gift from the Royal Sydney Yacht Squadron

00013762 [69]

The former Saint George's Presbyterian Church, which stands on busy Chapel Street in St Kilda East, is a well known and loved local landmark, not least of all because of its strikingly tall (33.5 metre or 110 foot) banded bell tower which can be spotted from far away. In the Nineteenth Century when it was built, it would have been even more striking for its great height and domineering presence. Designed by architect Albert Purchas, the former Saint George's Presbyterian Church is often referred to as his ecclesiastical tour-de-force, and it is most certainly one of his most dramatic and memorable churches.

The former Saint George's Presbyterian Church was constructed on a plot of land reserved in Chapel Street for the Presbyterian Church of Victoria in 1866. Initially services were held in a small hall whilst fundraising efforts advanced the erection of a church. The architect Albert Purchas was commissioned to design the church and the foundation stone for the western portion of the nave was finally laid in April 1877 by Sir James McCulloch. The first service was held in the church on the 1st of October 1877. The first clergyman of the former Saint George's Presbyterian Church was the Reverend John Laurence Rentoul (father to world renown and much loved Australian children's book illustrator Ida Rentoul Outhwaite). However, the swelling Presbyterian congregation of St Kilda and its surrounding districts quickly outgrew the initial Saint George's Presbyterian Church building, so Albert Purchas was obliged to re-design and enlarge the church to allow a doubling in capacity. Robert S. Ekins was the contractor and his tender was £3000.00. It is this imposing church building, reopened in 1880, that we see today. The "Australasian Sketcher with Pen and Pencil" noted that the total length of the building was 118 feet and 6 inches (36 metres), by 40 foot (12 metres) wide and that the striking octagonal tower to the north-west was 110ft 6 in high. It perhaps reflected better the wealth and aspirations of the congregation.

The former Saint George's Presbyterian Church is constructed on bluestone foundations and is built in an ornate polychromatic Gothic Revival style in the tradition of English designers like William Butterfield and John L. Pearson. Built of red brick building, it is decorated in contrasting cream bricks and Waurn Ponds freestone dressings. It features a slate roof with prominent roof vents, iron ridge cresting and fleche at the intersection of the nave and transepts. The front facade of the church is dominated by the slender, banded octagonal tower topped by a narrow spire. The entrance features a double arched portal portico. The facade also features a dominant triangular epitrochoidal (curved triangular form) rose window. The church, like its bluestone neighbour All Saints Church of England, is built to a T-shaped plan, with an aisleless nave, broad transepts and internal walls of cream brick, relieved with coloured brickwork. The former Saint George's Presbyterian Church was one of the first major church design in Melbourne in which polychrome brickwork was lavishly employed both externally and internally.

The inside of the former Saint George's Presbyterian Church is equally as grand as the exterior, with ornamental Gothic Revival polychromatic brickwork, a lofty vaulted ceiling, deal and kauri pine joinery and pulpit and reredos of Keene's cement. The building originally contained a complete set of Victorian stained glass windows by well known and successful Melbourne manufacturers Ferguson and Urie, all of which remain intact today except for one of the non-figurative windows which was replaced by a memorial window to Samuel Lyons McKenzie, the congregation’s beloved minister, who served from 1930 to 1948, in 1949. The earliest of the Ferguson and Urie windows are non-figurative windows which feature the distinctive diaper pattern and floral motifs of Fergus and Urie's work, and are often argued to be amongst the finest of their non-figurative designs. The large triple window in the chancel was presented by Lady McCulloch in memory of the ‘loved and dead’. Another, in memory of John Kane Smyth, the Vice-Consul for the United States of America in Melbourne, has the American Stars and Stripes on the top ventilator above it. An organ by Thomas C. Lewis of London, one of the leading 19th century English organ builders, was installed in the south transept in 1882. It was designed to blend with its architectural setting, with pipework styled to avoid the obstruction of windows. The action of this organ was altered in 1935, but the pipework, and the original sound, have been retained.

Over the years many spiritual and social activities were instituted at Saint George’s, Presbyterian Church some of short duration such as the Ladies’ Reading Club which operated between 1888 and 1893. There were segregated Bible classes for young men and women, the Presbyterian Women’s Missionary Union, formed in 1892, a cricket club and a floral guild. Guilds teaching physical culture for girls, boys and young men began in 1904. They were entirely financed by John Maclellan and the idea extended to other denominations throughout Victoria. John Maclellan died in 1936 and the guilds ceased at Saint George’s Presbyterian church through lack of funds although in 1977 the members of the girls’ guild were still holding bi-annual reunions and raising money for charity. Sadly, the Presbyterian congregations may have been large in the Nineteenth Century, but by St George's Presbyterian Church's 110th centenary, its doors had already closed during the week due to dwindling numbers and an ageing congregation as a result of the general decline in church attendances after the Second World War exacerbated by the changing nature of St Kilda and the decrease in numbers of residents living in the vicinity of the church. So it stood, forlorn and empty and seemingly nothing more than a relic of a glorious but bygone religious past. However in 1990, Saint Michael's Grammar School across the road leased the Victorian Heritage listed building during weekdays, and it was eventually sold to them in 2015. It now forms part of the school's performing-arts complex, and it has a wonderful new lease of life.

St George's Presbyterian Church is sometimes hired out for performances, and I had the pleasure of receiving an invitation to hear Handel's Messiah performed there in 2009. The ecclesiastical acoustics made the performance all the more magnificent. I remember as I sat on one of the original (hard) kauri pine pews, I looked around me and admired the stained glass and ornamental brickwork. I tried without success over several subsequent years to gain access to the church's interior, settling for photographs of the exterior instead, but it wasn't until 2018 that I was fortunate enough to gain entry to photograph the church's interior. The former St George's Presbyterian Church was opened up to the public for one Sunday morning only as part of Open House Melbourne in July 2018. It was a fantastic morning, and I am very grateful to the staff who manned the church for the day and watched bemused as I photographed the stained glass extensively and in such detail.

Albert Purchas, born in 1825 in Chepstow, Monmouthshire, Wales, was a prominent Nineteenth Century architect who achieved great success for himself in Melbourne. Born to parents Robert Whittlesey Purchas and Marianne Guyon, he migrated to Australia in 1851 to establish himself in the then quickly expanding city of Melbourne, where he set up a small architect's firm in Little Collins Street. He also offered surveying services. His first major building was constructing the mansion "Berkeley Hall" in St Kilda on Princes Street in 1854. The house still exists today. Two years after migrating, Albert designed the layout of the Melbourne General Cemetery in Carlton. It was the first "garden cemetery" in Victoria, and his curvilinear design is still in existence, unaltered, today. In 1854, Albert married Eliza Anne Sawyer (1825 - 1869) in St Kilda. The couple had ten children over their marriage, including a son, Robert, who followed in his father's footsteps as an architect. Albert's brother-in-law, Charles Sawyer joined him in the partnership of Purchas and Sawyer, which existed from 1856 until 1862 in Queens Street. The firm produced more than 140 houses, churches, offices and cemetery buildings including: the nave and transepts of Christ Church St Kilda between 1854 and 1857, "Glenara Homestead"in Bulla in 1857, the Melbourne Savings Bank on the corner of Flinders Lane and Market Street (now demolished) between 1857 and 1858, the Geelong branch of the Bank of Australasia in Malop Street between 1859 and 1860, and Beck's Imperial Hotel in Castlemaine in 1861. When the firm broke up, Albert returned to Little Collins Street, and the best known building he designed during this period was Saint. George's Presbyterian Church in St Kilda East between 1877 and 1880. The church's tall polychomatic brick bell tower is still a local landmark, even in the times of high rise architecture and development, and Saint, George's itself is said to be one of his most striking church designs. Socially, Albert was vice president of the Royal Victorian Institute of Architects for many years, before becoming president in 1887. He was also an inventor and philanthropist. Albert died in 1909 at his home in Kew, a wealthy widower and much loved father.

The former Saint George's Presbyterian Church, which stands on busy Chapel Street in St Kilda East, is a well known and loved local landmark, not least of all because of its strikingly tall (33.5 metre or 110 foot) banded bell tower which can be spotted from far away. In the Nineteenth Century when it was built, it would have been even more striking for its great height and domineering presence. Designed by architect Albert Purchas, the former Saint George's Presbyterian Church is often referred to as his ecclesiastical tour-de-force, and it is most certainly one of his most dramatic and memorable churches.

The former Saint George's Presbyterian Church was constructed on a plot of land reserved in Chapel Street for the Presbyterian Church of Victoria in 1866. Initially services were held in a small hall whilst fundraising efforts advanced the erection of a church. The architect Albert Purchas was commissioned to design the church and the foundation stone for the western portion of the nave was finally laid in April 1877 by Sir James McCulloch. The first service was held in the church on the 1st of October 1877. The first clergyman of the former Saint George's Presbyterian Church was the Reverend John Laurence Rentoul (father to world renown and much loved Australian children's book illustrator Ida Rentoul Outhwaite). However, the swelling Presbyterian congregation of St Kilda and its surrounding districts quickly outgrew the initial Saint George's Presbyterian Church building, so Albert Purchas was obliged to re-design and enlarge the church to allow a doubling in capacity. Robert S. Ekins was the contractor and his tender was £3000.00. It is this imposing church building, reopened in 1880, that we see today. The "Australasian Sketcher with Pen and Pencil" noted that the total length of the building was 118 feet and 6 inches (36 metres), by 40 foot (12 metres) wide and that the striking octagonal tower to the north-west was 110ft 6 in high. It perhaps reflected better the wealth and aspirations of the congregation.

The former Saint George's Presbyterian Church is constructed on bluestone foundations and is built in an ornate polychromatic Gothic Revival style in the tradition of English designers like William Butterfield and John L. Pearson. Built of red brick building, it is decorated in contrasting cream bricks and Waurn Ponds freestone dressings. It features a slate roof with prominent roof vents, iron ridge cresting and fleche at the intersection of the nave and transepts. The front facade of the church is dominated by the slender, banded octagonal tower topped by a narrow spire. The entrance features a double arched portal portico. The facade also features a dominant triangular epitrochoidal (curved triangular form) rose window. The church, like its bluestone neighbour All Saints Church of England, is built to a T-shaped plan, with an aisleless nave, broad transepts and internal walls of cream brick, relieved with coloured brickwork. The former Saint George's Presbyterian Church was one of the first major church design in Melbourne in which polychrome brickwork was lavishly employed both externally and internally.

The inside of the former Saint George's Presbyterian Church is equally as grand as the exterior, with ornamental Gothic Revival polychromatic brickwork, a lofty vaulted ceiling, deal and kauri pine joinery and pulpit and reredos of Keene's cement. The building originally contained a complete set of Victorian stained glass windows by well known and successful Melbourne manufacturers Ferguson and Urie, all of which remain intact today except for one of the non-figurative windows which was replaced by a memorial window to Samuel Lyons McKenzie, the congregation’s beloved minister, who served from 1930 to 1948, in 1949. The earliest of the Ferguson and Urie windows are non-figurative windows which feature the distinctive diaper pattern and floral motifs of Fergus and Urie's work, and are often argued to be amongst the finest of their non-figurative designs. The large triple window in the chancel was presented by Lady McCulloch in memory of the ‘loved and dead’. Another, in memory of John Kane Smyth, the Vice-Consul for the United States of America in Melbourne, has the American Stars and Stripes on the top ventilator above it. An organ by Thomas C. Lewis of London, one of the leading 19th century English organ builders, was installed in the south transept in 1882. It was designed to blend with its architectural setting, with pipework styled to avoid the obstruction of windows. The action of this organ was altered in 1935, but the pipework, and the original sound, have been retained.

Over the years many spiritual and social activities were instituted at Saint George’s, Presbyterian Church some of short duration such as the Ladies’ Reading Club which operated between 1888 and 1893. There were segregated Bible classes for young men and women, the Presbyterian Women’s Missionary Union, formed in 1892, a cricket club and a floral guild. Guilds teaching physical culture for girls, boys and young men began in 1904. They were entirely financed by John Maclellan and the idea extended to other denominations throughout Victoria. John Maclellan died in 1936 and the guilds ceased at Saint George’s Presbyterian church through lack of funds although in 1977 the members of the girls’ guild were still holding bi-annual reunions and raising money for charity. Sadly, the Presbyterian congregations may have been large in the Nineteenth Century, but by St George's Presbyterian Church's 110th centenary, its doors had already closed during the week due to dwindling numbers and an ageing congregation as a result of the general decline in church attendances after the Second World War exacerbated by the changing nature of St Kilda and the decrease in numbers of residents living in the vicinity of the church. So it stood, forlorn and empty and seemingly nothing more than a relic of a glorious but bygone religious past. However in 1990, Saint Michael's Grammar School across the road leased the Victorian Heritage listed building during weekdays, and it was eventually sold to them in 2015. It now forms part of the school's performing-arts complex, and it has a wonderful new lease of life.

St George's Presbyterian Church is sometimes hired out for performances, and I had the pleasure of receiving an invitation to hear Handel's Messiah performed there in 2009. The ecclesiastical acoustics made the performance all the more magnificent. I remember as I sat on one of the original (hard) kauri pine pews, I looked around me and admired the stained glass and ornamental brickwork. I tried without success over several subsequent years to gain access to the church's interior, settling for photographs of the exterior instead, but it wasn't until 2018 that I was fortunate enough to gain entry to photograph the church's interior. The former St George's Presbyterian Church was opened up to the public for one Sunday morning only as part of Open House Melbourne in July 2018. It was a fantastic morning, and I am very grateful to the staff who manned the church for the day and watched bemused as I photographed the stained glass extensively and in such detail.

Albert Purchas, born in 1825 in Chepstow, Monmouthshire, Wales, was a prominent Nineteenth Century architect who achieved great success for himself in Melbourne. Born to parents Robert Whittlesey Purchas and Marianne Guyon, he migrated to Australia in 1851 to establish himself in the then quickly expanding city of Melbourne, where he set up a small architect's firm in Little Collins Street. He also offered surveying services. His first major building was constructing the mansion "Berkeley Hall" in St Kilda on Princes Street in 1854. The house still exists today. Two years after migrating, Albert designed the layout of the Melbourne General Cemetery in Carlton. It was the first "garden cemetery" in Victoria, and his curvilinear design is still in existence, unaltered, today. In 1854, Albert married Eliza Anne Sawyer (1825 - 1869) in St Kilda. The couple had ten children over their marriage, including a son, Robert, who followed in his father's footsteps as an architect. Albert's brother-in-law, Charles Sawyer joined him in the partnership of Purchas and Sawyer, which existed from 1856 until 1862 in Queens Street. The firm produced more than 140 houses, churches, offices and cemetery buildings including: the nave and transepts of Christ Church St Kilda between 1854 and 1857, "Glenara Homestead"in Bulla in 1857, the Melbourne Savings Bank on the corner of Flinders Lane and Market Street (now demolished) between 1857 and 1858, the Geelong branch of the Bank of Australasia in Malop Street between 1859 and 1860, and Beck's Imperial Hotel in Castlemaine in 1861. When the firm broke up, Albert returned to Little Collins Street, and the best known building he designed during this period was Saint. George's Presbyterian Church in St Kilda East between 1877 and 1880. The church's tall polychomatic brick bell tower is still a local landmark, even in the times of high rise architecture and development, and Saint, George's itself is said to be one of his most striking church designs. Socially, Albert was vice president of the Royal Victorian Institute of Architects for many years, before becoming president in 1887. He was also an inventor and philanthropist. Albert died in 1909 at his home in Kew, a wealthy widower and much loved father.

Amid the brightly coloured non-figurative windows on the northern side of Saint George's Presbyterian Church stands one figurative window. Dedicated to American John Kane Smyth, the window was made by Melbourne stained glass manufacturer Ferguson and Urie. Although there is no date on the window, I believe it was created in the 1890s. The window represents two scenes in the life of Jesus: The Settlement about the Tribute Money, and The Interview with the Rich Young Ruler. The left-hand pane is the Settlement about the Tribute Money window. It features Jesus and a Roman tax collector who demanded money from him and the twelve apostles when they had none to pay. Jesus performs a miracle and the tax is paid with a Drachma coin found in the mouth of a fish by Saint Peter. The window shows Jesus and the tax collector in beautiful and richly coloured clothing amid a green countryside. It contains a Biblical quote from the Book of Matthew XIX - 19 in the bottom dedication panel: "Thou shalt love thy neighbor as thyself." The right-hand pane is the Interview with the Rich Young Ruler window from the Book of Luke. A certain ruler asks Jesus, "Good teacher, what must I do to inherit eternal life?" As part of his reply Jesus says, "How hard it is for the rich to enter the kingdom of God! Indeed, it is easier for a camel to go through the eye of a needle than for a rich man to enter the kingdom of God", after telling the ruler that he should sell all he has and follow him for a guarantee to eternal life. Jesus stands with his hand raised, whilst the ruler in richly patterned robes and a fine turban stands beside him. Two apostles stand behind them, their faces just visible. The window contains a Biblical quote from the Book of Mark XII - 17 in the bottom dedication panel: "Render to Caesar the things that are Caesar's, and to God the things that are God's".

John Kane Smyth was the Vice-Consul for the United States of America in Melbourne, and he was just one of a number of wealthy Americans who attended services at Saint George's Presbyterian Church. In his honour the top round ventilator window has the American Stars and Stripes in it. Interestingly it features the Thirty-Six Stars and Stripes flag which was well outdated by the time this window as installed. The Thirty-Six Stars and Stripes flag became the official United States Flag on July 4th, 1865 after the admission of Nevada into the union. However it was only to last for two years when Nebraska joined the union. John Kane Smyth served on Saint George's Presbyterian Church's Board of Management for many years and is recognised as having given good service in the Saint George's Presbyterian Church's 1876 - 1926 Jubilee Souvenir Book.

The former Saint George's Presbyterian Church was constructed on a plot of land reserved in Chapel Street for the Presbyterian Church of Victoria in 1866. Initially services were held in a small hall whilst fundraising efforts advanced the erection of a church. The architect Albert Purchas was commissioned to design the church and the foundation stone for the western portion of the nave was finally laid in April 1877 by Sir James McCulloch. The first service was held in the church on the 1st of October 1877. The first clergyman of the former Saint George's Presbyterian Church was the Reverend John Laurence Rentoul (father to world renown and much loved Australian children's book illustrator Ida Rentoul Outhwaite). However, the swelling Presbyterian congregation of St Kilda and its surrounding districts quickly outgrew the initial Saint George's Presbyterian Church building, so Albert Purchas was obliged to re-design and enlarge the church to allow a doubling in capacity. Robert S. Ekins was the contractor and his tender was £3000.00. It is this imposing church building, reopened in 1880, that we see today. The "Australasian Sketcher with Pen and Pencil" noted that the total length of the building was 118 feet and 6 inches (36 metres), by 40 foot (12 metres) wide and that the striking octagonal tower to the north-west was 110ft 6 in high. It perhaps reflected better the wealth and aspirations of the congregation.

The former Saint George's Presbyterian Church is constructed on bluestone foundations and is built in an ornate polychromatic Gothic Revival style in the tradition of English designers like William Butterfield and John L. Pearson. Built of red brick building, it is decorated in contrasting cream bricks and Waurn Ponds freestone dressings. It features a slate roof with prominent roof vents, iron ridge cresting and fleche at the intersection of the nave and transepts. The front facade of the church is dominated by the slender, banded octagonal tower topped by a narrow spire. The entrance features a double arched portal portico. The facade also features a dominant triangular epitrochoidal (curved triangular form) rose window. The church, like its bluestone neighbour All Saints Church of England, is built to a T-shaped plan, with an aisleless nave, broad transepts and internal walls of cream brick, relieved with coloured brickwork. The former Saint George's Presbyterian Church was one of the first major church design in Melbourne in which polychrome brickwork was lavishly employed both externally and internally.

The inside of the former Saint George's Presbyterian Church is equally as grand as the exterior, with ornamental Gothic Revival polychromatic brickwork, a lofty vaulted ceiling, deal and kauri pine joinery and pulpit and reredos of Keene's cement. The building originally contained a complete set of Victorian stained glass windows by well known and successful Melbourne manufacturers Ferguson and Urie, all of which remain intact today except for one of the non-figurative windows which was replaced by a memorial window to Samuel Lyons McKenzie, the congregation’s beloved minister, who served from 1930 to 1948, in 1949. The earliest of the Ferguson and Urie windows are non-figurative windows which feature the distinctive diaper pattern and floral motifs of Fergus and Urie's work, and are often argued to be amongst the finest of their non-figurative designs. The large triple window in the chancel was presented by Lady McCulloch in memory of the ‘loved and dead’. Another, in memory of John Kane Smyth, the Vice-Consul for the United States of America in Melbourne, has the American Stars and Stripes on the top ventilator above it. An organ by Thomas C. Lewis of London, one of the leading 19th century English organ builders, was installed in the south transept in 1882. It was designed to blend with its architectural setting, with pipework styled to avoid the obstruction of windows. The action of this organ was altered in 1935, but the pipework, and the original sound, have been retained.

Over the years many spiritual and social activities were instituted at Saint George’s, Presbyterian Church some of short duration such as the Ladies’ Reading Club which operated between 1888 and 1893. There were segregated Bible classes for young men and women, the Presbyterian Women’s Missionary Union, formed in 1892, a cricket club and a floral guild. Guilds teaching physical culture for girls, boys and young men began in 1904. They were entirely financed by John Maclellan and the idea extended to other denominations throughout Victoria. John Maclellan died in 1936 and the guilds ceased at Saint George’s Presbyterian church through lack of funds although in 1977 the members of the girls’ guild were still holding bi-annual reunions and raising money for charity. Sadly, the Presbyterian congregations may have been large in the Nineteenth Century, but by St George's Presbyterian Church's 110th centenary, its doors had already closed during the week due to dwindling numbers and an ageing congregation as a result of the general decline in church attendances after the Second World War exacerbated by the changing nature of St Kilda and the decrease in numbers of residents living in the vicinity of the church. So it stood, forlorn and empty and seemingly nothing more than a relic of a glorious but bygone religious past. However in 1990, Saint Michael's Grammar School across the road leased the Victorian Heritage listed building during weekdays, and it was eventually sold to them in 2015. It now forms part of the school's performing-arts complex, and it has a wonderful new lease of life.

St George's Presbyterian Church is sometimes hired out for performances, and I had the pleasure of receiving an invitation to hear Handel's Messiah performed there in 2009. The ecclesiastical acoustics made the performance all the more magnificent. I remember as I sat on one of the original (hard) kauri pine pews, I looked around me and admired the stained glass and ornamental brickwork. I tried without success over several subsequent years to gain access to the church's interior, settling for photographs of the exterior instead, but it wasn't until 2018 that I was fortunate enough to gain entry to photograph the church's interior. The former St George's Presbyterian Church was opened up to the public for one Sunday morning only as part of Open House Melbourne in July 2018. It was a fantastic morning, and I am very grateful to the staff who manned the church for the day and watched bemused as I photographed the stained glass extensively and in such detail.

Albert Purchas, born in 1825 in Chepstow, Monmouthshire, Wales, was a prominent Nineteenth Century architect who achieved great success for himself in Melbourne. Born to parents Robert Whittlesey Purchas and Marianne Guyon, he migrated to Australia in 1851 to establish himself in the then quickly expanding city of Melbourne, where he set up a small architect's firm in Little Collins Street. He also offered surveying services. His first major building was constructing the mansion "Berkeley Hall" in St Kilda on Princes Street in 1854. The house still exists today. Two years after migrating, Albert designed the layout of the Melbourne General Cemetery in Carlton. It was the first "garden cemetery" in Victoria, and his curvilinear design is still in existence, unaltered, today. In 1854, Albert married Eliza Anne Sawyer (1825 - 1869) in St Kilda. The couple had ten children over their marriage, including a son, Robert, who followed in his father's footsteps as an architect. Albert's brother-in-law, Charles Sawyer joined him in the partnership of Purchas and Sawyer, which existed from 1856 until 1862 in Queens Street. The firm produced more than 140 houses, churches, offices and cemetery buildings including: the nave and transepts of Christ Church St Kilda between 1854 and 1857, "Glenara Homestead"in Bulla in 1857, the Melbourne Savings Bank on the corner of Flinders Lane and Market Street (now demolished) between 1857 and 1858, the Geelong branch of the Bank of Australasia in Malop Street between 1859 and 1860, and Beck's Imperial Hotel in Castlemaine in 1861. When the firm broke up, Albert returned to Little Collins Street, and the best known building he designed during this period was Saint. George's Presbyterian Church in St Kilda East between 1877 and 1880. The church's tall polychomatic brick bell tower is still a local landmark, even in the times of high rise architecture and development, and Saint, George's itself is said to be one of his most striking church designs. Socially, Albert was vice president of the Royal Victorian Institute of Architects for many years, before becoming president in 1887. He was also an inventor and philanthropist. Albert died in 1909 at his home in Kew, a wealthy widower and much loved father.

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 by Melbourne stained glass manufacturer Ferguson and Urie in 1880 for the opening of the former Saint George's Presbyterian Church, the King David stained glass window sits in the southern transept to the left of the altar and the left of the Thomas C. Lewis of London organ.

King David is depicted wearing a crown and resting his hand upon a harp. King David is described in the Hebrew Bible as the second king of the United Kingdom of Israel and Judea. He is initially referred to in the bible as a young shepherd who gains fame for his musical talents, and then later for his slaying of Goliath. David becomes King Saul's favourite and is eventually anointed as king after the death of King Saul and his son Jonathan in battle.

His window is paired with that of the Prophet Isaiah, who preached to the Israelites following King David's death. The Prophet Isaiah is usually depicted as an old man with a white beard. This window is unusual in the fact that his beard is brown. he does however hold a scroll featuring words from the Book of Isaiah, which is a common attribute of his depiction. Isaiah was married to a woman referred to as "the prophetess" and together they had three sons.

Both figures stand against the same background: a "diaper pattern" containing floral designs in yellow. They also feature a border of coloured squares dispersed with stylised flowers with an inner border of brightly coloured circles. Both the background and the border are common elements of Ferguson and Urie's stained glass window work, and match other, non-figurative windows in the nave and transepts of the former Saint George's Presbyterian Church. A round vent window above them features a cross in red glass on a blue and yellow background.

The former Saint George's Presbyterian Church, which stands on busy Chapel Street in St Kilda East, is a well known and loved local landmark, not least of all because of its strikingly tall (33.5 metre or 110 foot) banded bell tower which can be spotted from far away. In the Nineteenth Century when it was built, it would have been even more striking for its great height and domineering presence. Designed by architect Albert Purchas, the former Saint George's Presbyterian Church is often referred to as his ecclesiastical tour-de-force, and it is most certainly one of his most dramatic and memorable churches.

The former Saint George's Presbyterian Church was constructed on a plot of land reserved in Chapel Street for the Presbyterian Church of Victoria in 1866. Initially services were held in a small hall whilst fundraising efforts advanced the erection of a church. The architect Albert Purchas was commissioned to design the church and the foundation stone for the western portion of the nave was finally laid in April 1877 by Sir James McCulloch. The first service was held in the church on the 1st of October 1877. The first clergyman of the former Saint George's Presbyterian Church was the Reverend John Laurence Rentoul (father to world renown and much loved Australian children's book illustrator Ida Rentoul Outhwaite). However, the swelling Presbyterian congregation of St Kilda and its surrounding districts quickly outgrew the initial Saint George's Presbyterian Church building, so Albert Purchas was obliged to re-design and enlarge the church to allow a doubling in capacity. Robert S. Ekins was the contractor and his tender was £3000.00. It is this imposing church building, reopened in 1880, that we see today. The "Australasian Sketcher with Pen and Pencil" noted that the total length of the building was 118 feet and 6 inches (36 metres), by 40 foot (12 metres) wide and that the striking octagonal tower to the north-west was 110ft 6 in high. It perhaps reflected better the wealth and aspirations of the congregation.

The former Saint George's Presbyterian Church is constructed on bluestone foundations and is built in an ornate polychromatic Gothic Revival style in the tradition of English designers like William Butterfield and John L. Pearson. Built of red brick building, it is decorated in contrasting cream bricks and Waurn Ponds freestone dressings. It features a slate roof with prominent roof vents, iron ridge cresting and fleche at the intersection of the nave and transepts. The front facade of the church is dominated by the slender, banded octagonal tower topped by a narrow spire. The entrance features a double arched portal portico. The facade also features a dominant triangular epitrochoidal (curved triangular form) rose window. The church, like its bluestone neighbour All Saints Church of England, is built to a T-shaped plan, with an aisleless nave, broad transepts and internal walls of cream brick, relieved with coloured brickwork. The former Saint George's Presbyterian Church was one of the first major church design in Melbourne in which polychrome brickwork was lavishly employed both externally and internally.

The inside of the former Saint George's Presbyterian Church is equally as grand as the exterior, with ornamental Gothic Revival polychromatic brickwork, a lofty vaulted ceiling, deal and kauri pine joinery and pulpit and reredos of Keene's cement. The building originally contained a complete set of Victorian stained glass windows by well known and successful Melbourne manufacturers Ferguson and Urie, all of which remain intact today except for one of the non-figurative windows which was replaced by a memorial window to Samuel Lyons McKenzie, the congregation’s beloved minister, who served from 1930 to 1948, in 1949. The earliest of the Ferguson and Urie windows are non-figurative windows which feature the distinctive diaper pattern and floral motifs of Fergus and Urie's work, and are often argued to be amongst the finest of their non-figurative designs. The large triple window in the chancel was presented by Lady McCulloch in memory of the ‘loved and dead’. Another, in memory of John Kane Smyth, the Vice-Consul for the United States of America in Melbourne, has the American Stars and Stripes on the top ventilator above it. An organ by Thomas C. Lewis of London, one of the leading 19th century English organ builders, was installed in the south transept in 1882. It was designed to blend with its architectural setting, with pipework styled to avoid the obstruction of windows. The action of this organ was altered in 1935, but the pipework, and the original sound, have been retained.

Over the years many spiritual and social activities were instituted at Saint George’s, Presbyterian Church some of short duration such as the Ladies’ Reading Club which operated between 1888 and 1893. There were segregated Bible classes for young men and women, the Presbyterian Women’s Missionary Union, formed in 1892, a cricket club and a floral guild. Guilds teaching physical culture for girls, boys and young men began in 1904. They were entirely financed by John Maclellan and the idea extended to other denominations throughout Victoria. John Maclellan died in 1936 and the guilds ceased at Saint George’s Presbyterian church through lack of funds although in 1977 the members of the girls’ guild were still holding bi-annual reunions and raising money for charity. Sadly, the Presbyterian congregations may have been large in the Nineteenth Century, but by St George's Presbyterian Church's 110th centenary, its doors had already closed during the week due to dwindling numbers and an ageing congregation as a result of the general decline in church attendances after the Second World War exacerbated by the changing nature of St Kilda and the decrease in numbers of residents living in the vicinity of the church. So it stood, forlorn and empty and seemingly nothing more than a relic of a glorious but bygone religious past. However in 1990, Saint Michael's Grammar School across the road leased the Victorian Heritage listed building during weekdays, and it was eventually sold to them in 2015. It now forms part of the school's performing-arts complex, and it has a wonderful new lease of life.

St George's Presbyterian Church is sometimes hired out for performances, and I had the pleasure of receiving an invitation to hear Handel's Messiah performed there in 2009. The ecclesiastical acoustics made the performance all the more magnificent. I remember as I sat on one of the original (hard) kauri pine pews, I looked around me and admired the stained glass and ornamental brickwork. I tried without success over several subsequent years to gain access to the church's interior, settling for photographs of the exterior instead, but it wasn't until 2018 that I was fortunate enough to gain entry to photograph the church's interior. The former St George's Presbyterian Church was opened up to the public for one Sunday morning only as part of Open House Melbourne in July 2018. It was a fantastic morning, and I am very grateful to the staff who manned the church for the day and watched bemused as I photographed the stained glass extensively and in such detail.

Albert Purchas, born in 1825 in Chepstow, Monmouthshire, Wales, was a prominent Nineteenth Century architect who achieved great success for himself in Melbourne. Born to parents Robert Whittlesey Purchas and Marianne Guyon, he migrated to Australia in 1851 to establish himself in the then quickly expanding city of Melbourne, where he set up a small architect's firm in Little Collins Street. He also offered surveying services. His first major building was constructing the mansion "Berkeley Hall" in St Kilda on Princes Street in 1854. The house still exists today. Two years after migrating, Albert designed the layout of the Melbourne General Cemetery in Carlton. It was the first "garden cemetery" in Victoria, and his curvilinear design is still in existence, unaltered, today. In 1854, Albert married Eliza Anne Sawyer (1825 - 1869) in St Kilda. The couple had ten children over their marriage, including a son, Robert, who followed in his father's footsteps as an architect. Albert's brother-in-law, Charles Sawyer joined him in the partnership of Purchas and Sawyer, which existed from 1856 until 1862 in Queens Street. The firm produced more than 140 houses, churches, offices and cemetery buildings including: the nave and transepts of Christ Church St Kilda between 1854 and 1857, "Glenara Homestead"in Bulla in 1857, the Melbourne Savings Bank on the corner of Flinders Lane and Market Street (now demolished) between 1857 and 1858, the Geelong branch of the Bank of Australasia in Malop Street between 1859 and 1860, and Beck's Imperial Hotel in Castlemaine in 1861. When the firm broke up, Albert returned to Little Collins Street, and the best known building he designed during this period was Saint. George's Presbyterian Church in St Kilda East between 1877 and 1880. The church's tall polychomatic brick bell tower is still a local landmark, even in the times of high rise architecture and development, and Saint, George's itself is said to be one of his most striking church designs. Socially, Albert was vice president of the Royal Victorian Institute of Architects for many years, before becoming president in 1887. He was also an inventor and philanthropist. Albert died in 1909 at his home in Kew, a wealthy widower and much loved father.

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.

Amid the brightly coloured non-figurative windows on the northern side of Saint George's Presbyterian Church stands one figurative window. Dedicated to American John Kane Smyth, the window was made by Melbourne stained glass manufacturer Ferguson and Urie. Although there is no date on the window, I believe it was created in the 1890s. The window represents two scenes in the life of Jesus: The Settlement about the Tribute Money, and The Interview with the Rich Young Ruler. The left-hand pane is the Settlement about the Tribute Money window. It features Jesus and a Roman tax collector who demanded money from him and the twelve apostles when they had none to pay. Jesus performs a miracle and the tax is paid with a Drachma coin found in the mouth of a fish by Saint Peter. The window shows Jesus and the tax collector in beautiful and richly coloured clothing amid a green countryside. It contains a Biblical quote from the Book of Matthew XIX - 19 in the bottom dedication panel: "Thou shalt love thy neighbor as thyself."

John Kane Smyth was the Vice-Consul for the United States of America in Melbourne, and he was just one of a number of wealthy Americans who attended services at Saint George's Presbyterian Church. In his honour the top round ventilator window has the American Stars and Stripes in it. Interestingly it features the Thirty-Six Stars and Stripes flag which was well outdated by the time this window as installed. The Thirty-Six Stars and Stripes flag became the official United States Flag on July 4th, 1865 after the admission of Nevada into the union. However it was only to last for two years when Nebraska joined the union. John Kane Smyth served on Saint George's Presbyterian Church's Board of Management for many years and is recognised as having given good service in the Saint George's Presbyterian Church's 1876 - 1926 Jubilee Souvenir Book.

The former Saint George's Presbyterian Church was constructed on a plot of land reserved in Chapel Street for the Presbyterian Church of Victoria in 1866. Initially services were held in a small hall whilst fundraising efforts advanced the erection of a church. The architect Albert Purchas was commissioned to design the church and the foundation stone for the western portion of the nave was finally laid in April 1877 by Sir James McCulloch. The first service was held in the church on the 1st of October 1877. The first clergyman of the former Saint George's Presbyterian Church was the Reverend John Laurence Rentoul (father to world renown and much loved Australian children's book illustrator Ida Rentoul Outhwaite). However, the swelling Presbyterian congregation of St Kilda and its surrounding districts quickly outgrew the initial Saint George's Presbyterian Church building, so Albert Purchas was obliged to re-design and enlarge the church to allow a doubling in capacity. Robert S. Ekins was the contractor and his tender was £3000.00. It is this imposing church building, reopened in 1880, that we see today. The "Australasian Sketcher with Pen and Pencil" noted that the total length of the building was 118 feet and 6 inches (36 metres), by 40 foot (12 metres) wide and that the striking octagonal tower to the north-west was 110ft 6 in high. It perhaps reflected better the wealth and aspirations of the congregation.

The former Saint George's Presbyterian Church is constructed on bluestone foundations and is built in an ornate polychromatic Gothic Revival style in the tradition of English designers like William Butterfield and John L. Pearson. Built of red brick building, it is decorated in contrasting cream bricks and Waurn Ponds freestone dressings. It features a slate roof with prominent roof vents, iron ridge cresting and fleche at the intersection of the nave and transepts. The front facade of the church is dominated by the slender, banded octagonal tower topped by a narrow spire. The entrance features a double arched portal portico. The facade also features a dominant triangular epitrochoidal (curved triangular form) rose window. The church, like its bluestone neighbour All Saints Church of England, is built to a T-shaped plan, with an aisleless nave, broad transepts and internal walls of cream brick, relieved with coloured brickwork. The former Saint George's Presbyterian Church was one of the first major church design in Melbourne in which polychrome brickwork was lavishly employed both externally and internally.

The inside of the former Saint George's Presbyterian Church is equally as grand as the exterior, with ornamental Gothic Revival polychromatic brickwork, a lofty vaulted ceiling, deal and kauri pine joinery and pulpit and reredos of Keene's cement. The building originally contained a complete set of Victorian stained glass windows by well known and successful Melbourne manufacturers Ferguson and Urie, all of which remain intact today except for one of the non-figurative windows which was replaced by a memorial window to Samuel Lyons McKenzie, the congregation’s beloved minister, who served from 1930 to 1948, in 1949. The earliest of the Ferguson and Urie windows are non-figurative windows which feature the distinctive diaper pattern and floral motifs of Fergus and Urie's work, and are often argued to be amongst the finest of their non-figurative designs. The large triple window in the chancel was presented by Lady McCulloch in memory of the ‘loved and dead’. Another, in memory of John Kane Smyth, the Vice-Consul for the United States of America in Melbourne, has the American Stars and Stripes on the top ventilator above it. An organ by Thomas C. Lewis of London, one of the leading 19th century English organ builders, was installed in the south transept in 1882. It was designed to blend with its architectural setting, with pipework styled to avoid the obstruction of windows. The action of this organ was altered in 1935, but the pipework, and the original sound, have been retained.

Over the years many spiritual and social activities were instituted at Saint George’s, Presbyterian Church some of short duration such as the Ladies’ Reading Club which operated between 1888 and 1893. There were segregated Bible classes for young men and women, the Presbyterian Women’s Missionary Union, formed in 1892, a cricket club and a floral guild. Guilds teaching physical culture for girls, boys and young men began in 1904. They were entirely financed by John Maclellan and the idea extended to other denominations throughout Victoria. John Maclellan died in 1936 and the guilds ceased at Saint George’s Presbyterian church through lack of funds although in 1977 the members of the girls’ guild were still holding bi-annual reunions and raising money for charity. Sadly, the Presbyterian congregations may have been large in the Nineteenth Century, but by St George's Presbyterian Church's 110th centenary, its doors had already closed during the week due to dwindling numbers and an ageing congregation as a result of the general decline in church attendances after the Second World War exacerbated by the changing nature of St Kilda and the decrease in numbers of residents living in the vicinity of the church. So it stood, forlorn and empty and seemingly nothing more than a relic of a glorious but bygone religious past. However in 1990, Saint Michael's Grammar School across the road leased the Victorian Heritage listed building during weekdays, and it was eventually sold to them in 2015. It now forms part of the school's performing-arts complex, and it has a wonderful new lease of life.

St George's Presbyterian Church is sometimes hired out for performances, and I had the pleasure of receiving an invitation to hear Handel's Messiah performed there in 2009. The ecclesiastical acoustics made the performance all the more magnificent. I remember as I sat on one of the original (hard) kauri pine pews, I looked around me and admired the stained glass and ornamental brickwork. I tried without success over several subsequent years to gain access to the church's interior, settling for photographs of the exterior instead, but it wasn't until 2018 that I was fortunate enough to gain entry to photograph the church's interior. The former St George's Presbyterian Church was opened up to the public for one Sunday morning only as part of Open House Melbourne in July 2018. It was a fantastic morning, and I am very grateful to the staff who manned the church for the day and watched bemused as I photographed the stained glass extensively and in such detail.

Albert Purchas, born in 1825 in Chepstow, Monmouthshire, Wales, was a prominent Nineteenth Century architect who achieved great success for himself in Melbourne. Born to parents Robert Whittlesey Purchas and Marianne Guyon, he migrated to Australia in 1851 to establish himself in the then quickly expanding city of Melbourne, where he set up a small architect's firm in Little Collins Street. He also offered surveying services. His first major building was constructing the mansion "Berkeley Hall" in St Kilda on Princes Street in 1854. The house still exists today. Two years after migrating, Albert designed the layout of the Melbourne General Cemetery in Carlton. It was the first "garden cemetery" in Victoria, and his curvilinear design is still in existence, unaltered, today. In 1854, Albert married Eliza Anne Sawyer (1825 - 1869) in St Kilda. The couple had ten children over their marriage, including a son, Robert, who followed in his father's footsteps as an architect. Albert's brother-in-law, Charles Sawyer joined him in the partnership of Purchas and Sawyer, which existed from 1856 until 1862 in Queens Street. The firm produced more than 140 houses, churches, offices and cemetery buildings including: the nave and transepts of Christ Church St Kilda between 1854 and 1857, "Glenara Homestead"in Bulla in 1857, the Melbourne Savings Bank on the corner of Flinders Lane and Market Street (now demolished) between 1857 and 1858, the Geelong branch of the Bank of Australasia in Malop Street between 1859 and 1860, and Beck's Imperial Hotel in Castlemaine in 1861. When the firm broke up, Albert returned to Little Collins Street, and the best known building he designed during this period was Saint. George's Presbyterian Church in St Kilda East between 1877 and 1880. The church's tall polychomatic brick bell tower is still a local landmark, even in the times of high rise architecture and development, and Saint, George's itself is said to be one of his most striking church designs. Socially, Albert was vice president of the Royal Victorian Institute of Architects for many years, before becoming president in 1887. He was also an inventor and philanthropist. Albert died in 1909 at his home in Kew, a wealthy widower and much loved father.

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.

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Tasmania Trip Video! - www.youtube.com/watch?v=4WBGjkiarxc

On our trip back from the Port Arthur Historic Site, Ken wanted to see a Tasmanian Devil - and to be honest, the only one I'd ever seen was sadly hit by car in the middle of the road at Cradle Mountain. Apparently they often are hit by vehicles as they venture out to eat other roadkill.

You can visit the Tasmanian Devil Conversation park by going here - www.tasmaniandevilpark.com/ - all proceeds got to support Tasmanian Devils.

If you take a look at the video above, you'll see some footage of these fantastic native animals of Tasmania.

Tasmanian Devil

William Nicholson pictured standing outside the boatmen’s cottages, west of the Pilot’s residence. Also visible to the right of the Pilot’s house is the signal building and the 40 ft high flagstaff.

Painted Rock

Prior to the construction of the breakwater walls, the shipping channel ran close to the base of what is now known as Flagstaff Hill.

The area of the Manning Pilot station was also referred to as the “Painted Rock”; it was claimed that vessels scrapped off paint on the boulders as they passed in too close - others say the discolouring of the rocks was formed by the droppings of sea birds.

History :

1856

June

After repeated representations by the farmers and cedar cutters to the Government, on the treacherous condition of the bar crossing into the Manning River, the Pilot Board of NSW called for applications for the appointment of a Maritime Pilot at Harrington.

August

Captain Richard Powell, who had worked for Alex Newton’s Shipyard was appointed and became the first Maritime pilot at Harrington .

September

Tenders were called for the construction of two pilot’s boats.

1857

An amount of ₤728 was set aside from the Government for the Manning River Pilot station.

Serving Pilots:

- Captain Richard Powell 1856 - 1863

- Captain Joseph Bradley 1863 - 1875

- Captain John Muir 1875 - 1892

- William Scott Murray 1892 - 1901

- Captain James Kerkin 1901 - 1921

- Captain Phillip Brady 1921 - 1936

- M.C. Black 1936 -

- S.W. Muir 1936 - 1937

- M. Cauvin 1937 -

- William Whitmore - 1961 (“Officer in Charge” as he was not a fully qualified Pilot. )

During the mid 40’s pilots by the name of Fitchett and Merrit served for short periods.

Buildings:

The first Pilot Station residence was on the same site that is now occupied by the current Post Office. Evidence of a stump from the original flagpole was uncovered in the 1920’s.

The four boatman’s cottages were situated close to the waters edge, but due to the constant moving of a build up of sand, it prohibited the opening of the front doors.

The first pilot house and boatman’s cottages were built of slab construction, with shingle roofs and wooden shutters instead of glass.

Close by was the boatshed housing the 16ft skiffs and rescue gear.

Eventually the pilot keeper’s residence was later built on Flagstaff Hill, along with the flag pole and signal flag house.

The four boatmen’s cottages were also relocated up the hill, and ran off to the west of the pilot’s residence. The original boatshed was replaced in 1897 on the same site.

"The pilot and his staff are erecting additions to boatman Nicholson's cottage, which will be more comfortable than previously" Manning River Times 20th November 1903

Pilot duties :

The pilot was in charge of the signal station, controlling all shipping movements in and out over the bar, keeping a daily log book, deploying the various flags, black balls, and signals as required.

Boatmen:

The pilot was assisted by a crew of boatmen, who were responsible for taking the daily bar soundings in the skiffs, guiding ships in and out, running tow lines for the tugs, and performing rescues of people, from vessels in distress.

First boatmen employed included:

- Messrs Horn

- Messrs Scott

- George Whitnall

- Augustus Lindaman.

In 1872 under Pilot Joseph Bradley:

- Thomas Cochrane

- Augustus Lindaman

- George Whitnall

Under Pilot James Kerkin:

- Messrs Muir

- Messrs Burless

- William Andrew Nicholson

- Neil McFadyen

- Messrs Scollay

- Harry Seamen

- David McKie

William Andrew Nicholson (Pictured)

Born: 17th February 1851 Aithness / Aithsting, Shetland Islands .

Occupation: Cod Smack Fisherman – Crofter.

Following a seafaring life, he migrated to Australia and settled in Harrington, NSW.

Appointed as a Seaman for the Harbours & Rivers Department in 1883.

Transferred to the Navigation Board in 1889, working as a Pilot’s boatman up until his retirement from the service in 1918.

William Nicholson died on the 7th October 1922 aged 72 years and is buried at Mitchell’s Island NSW.

1897

A lighthouse was established at Crowdy Head, approximately 4 miles to the north east of Harrington.

1961

The Pilot Station was deemed no longer necessary and was closed, the flagstaff dismantled and the boatmen’s cottages sold.

1969

The last pilot house was split into two dwellings and removed from Flagstaff Hill.

Image Source: Nicholson Family Collection

All Images in this photostream are Copyright - Great Lakes Manning River Shipping and/or their individual owners as may be stated above and may not be downloaded, reproduced, or used in any way without prior written approval.

GREAT LAKES MANNING RIVER SHIPPING, NSW - Flick Group --> Alphabetical Boat Index --> Boat builders Index --> Tags List

Created by Melbourne stained glass manufacturer Ferguson and Urie in 1880 for the opening of the former Saint George's Presbyterian Church, the triangular epitrochoidal (curved triangular form) rose window is a very unusual example of such a window.

It features a number of symbols in small circles of brilliantly painted stained glass. These include:

- Alfa and Omega (taken from the statement by Jesus in the Book of Revelations 22 - 13 "I am Alpha and Omega, the First and the Last, the Beginning and the End")

- a set of crossed keys (symbolising the keys to heaven as held by Saint Peter, its traditional gatekeeper)

- a sanctuary lamp (which symbolises the presence of the Lord)

- an anchor (symbolising hope), an eight pointed start (symbolising resurrection)

- the sun (symbolising good shining over evil)

- an Ichthys (fish) (symbolising Christ)

- a dove (symbolising the Holy Spirit)

- a five petal red Tudor Rose (symbolising the five wounds of Jesus Christ from the crucifixion)

- crossed palm branches (representing martyrdom)

- a chalice (taken from the glass from which Jesus drank with his disciples during the Las Supper

- symbolising Christ's power to redeem humankind)

- a wheat sheath (also taken from the Last Supper, symbolising the body of Christ and Christ's power to redeem humankind)

- a bunch of grapes (symbolising the blood of Christ and Christ's power to redeem humankind)

- a harp (symbolising music, musical instruments and the joy and worship in praising God)

- a crown (representing immortality, righteousness and the resurrection)

- the cross in the centre of the window, which is the principal symbol of the Christian religion, recalling the Crucifixion of Jesus Christ and the redeeming benefits of his Passion and death. The cross is thus a sign both of Christ himself and of the faith of Christians

Together, these circles, along with seven stars form the triangular epitrochoidal (curved triangular form) rose window.

The former Saint George's Presbyterian Church, which stands on busy Chapel Street in St Kilda East, is a well known and loved local landmark, not least of all because of its strikingly tall (33.5 metre or 110 foot) banded bell tower which can be spotted from far away. In the Nineteenth Century when it was built, it would have been even more striking for its great height and domineering presence. Designed by architect Albert Purchas, the former Saint George's Presbyterian Church is often referred to as his ecclesiastical tour-de-force, and it is most certainly one of his most dramatic and memorable churches.

The former Saint George's Presbyterian Church was constructed on a plot of land reserved in Chapel Street for the Presbyterian Church of Victoria in 1866. Initially services were held in a small hall whilst fundraising efforts advanced the erection of a church. The architect Albert Purchas was commissioned to design the church and the foundation stone for the western portion of the nave was finally laid in April 1877 by Sir James McCulloch. The first service was held in the church on the 1st of October 1877. The first clergyman of the former Saint George's Presbyterian Church was the Reverend John Laurence Rentoul (father to world renown and much loved Australian children's book illustrator Ida Rentoul Outhwaite). However, the swelling Presbyterian congregation of St Kilda and its surrounding districts quickly outgrew the initial Saint George's Presbyterian Church building, so Albert Purchas was obliged to re-design and enlarge the church to allow a doubling in capacity. Robert S. Ekins was the contractor and his tender was £3000.00. It is this imposing church building, reopened in 1880, that we see today. The "Australasian Sketcher with Pen and Pencil" noted that the total length of the building was 118 feet and 6 inches (36 metres), by 40 foot (12 metres) wide and that the striking octagonal tower to the north-west was 110ft 6 in high. It perhaps reflected better the wealth and aspirations of the congregation.

The former Saint George's Presbyterian Church is constructed on bluestone foundations and is built in an ornate polychromatic Gothic Revival style in the tradition of English designers like William Butterfield and John L. Pearson. Built of red brick building, it is decorated in contrasting cream bricks and Waurn Ponds freestone dressings. It features a slate roof with prominent roof vents, iron ridge cresting and fleche at the intersection of the nave and transepts. The front facade of the church is dominated by the slender, banded octagonal tower topped by a narrow spire. The entrance features a double arched portal portico. The facade also features a dominant triangular epitrochoidal (curved triangular form) rose window. The church, like its bluestone neighbour All Saints Church of England, is built to a T-shaped plan, with an aisleless nave, broad transepts and internal walls of cream brick, relieved with coloured brickwork. The former Saint George's Presbyterian Church was one of the first major church design in Melbourne in which polychrome brickwork was lavishly employed both externally and internally.

The inside of the former Saint George's Presbyterian Church is equally as grand as the exterior, with ornamental Gothic Revival polychromatic brickwork, a lofty vaulted ceiling, deal and kauri pine joinery and pulpit and reredos of Keene's cement. The building originally contained a complete set of Victorian stained glass windows by well known and successful Melbourne manufacturers Ferguson and Urie, all of which remain intact today except for one of the non-figurative windows which was replaced by a memorial window to Samuel Lyons McKenzie, the congregation’s beloved minister, who served from 1930 to 1948, in 1949. The earliest of the Ferguson and Urie windows are non-figurative windows which feature the distinctive diaper pattern and floral motifs of Fergus and Urie's work, and are often argued to be amongst the finest of their non-figurative designs. The large triple window in the chancel was presented by Lady McCulloch in memory of the ‘loved and dead’. Another, in memory of John Kane Smyth, the Vice-Consul for the United States of America in Melbourne, has the American Stars and Stripes on the top ventilator above it. An organ by Thomas C. Lewis of London, one of the leading 19th century English organ builders, was installed in the south transept in 1882. It was designed to blend with its architectural setting, with pipework styled to avoid the obstruction of windows. The action of this organ was altered in 1935, but the pipework, and the original sound, have been retained.

Over the years many spiritual and social activities were instituted at Saint George’s, Presbyterian Church some of short duration such as the Ladies’ Reading Club which operated between 1888 and 1893. There were segregated Bible classes for young men and women, the Presbyterian Women’s Missionary Union, formed in 1892, a cricket club and a floral guild. Guilds teaching physical culture for girls, boys and young men began in 1904. They were entirely financed by John Maclellan and the idea extended to other denominations throughout Victoria. John Maclellan died in 1936 and the guilds ceased at Saint George’s Presbyterian church through lack of funds although in 1977 the members of the girls’ guild were still holding bi-annual reunions and raising money for charity. Sadly, the Presbyterian congregations may have been large in the Nineteenth Century, but by St George's Presbyterian Church's 110th centenary, its doors had already closed during the week due to dwindling numbers and an ageing congregation as a result of the general decline in church attendances after the Second World War exacerbated by the changing nature of St Kilda and the decrease in numbers of residents living in the vicinity of the church. So it stood, forlorn and empty and seemingly nothing more than a relic of a glorious but bygone religious past. However in 1990, Saint Michael's Grammar School across the road leased the Victorian Heritage listed building during weekdays, and it was eventually sold to them in 2015. It now forms part of the school's performing-arts complex, and it has a wonderful new lease of life.

St George's Presbyterian Church is sometimes hired out for performances, and I had the pleasure of receiving an invitation to hear Handel's Messiah performed there in 2009. The ecclesiastical acoustics made the performance all the more magnificent. I remember as I sat on one of the original (hard) kauri pine pews, I looked around me and admired the stained glass and ornamental brickwork. I tried without success over several subsequent years to gain access to the church's interior, settling for photographs of the exterior instead, but it wasn't until 2018 that I was fortunate enough to gain entry to photograph the church's interior. The former St George's Presbyterian Church was opened up to the public for one Sunday morning only as part of Open House Melbourne in July 2018. It was a fantastic morning, and I am very grateful to the staff who manned the church for the day and watched bemused as I photographed the stained glass extensively and in such detail.

Albert Purchas, born in 1825 in Chepstow, Monmouthshire, Wales, was a prominent Nineteenth Century architect who achieved great success for himself in Melbourne. Born to parents Robert Whittlesey Purchas and Marianne Guyon, he migrated to Australia in 1851 to establish himself in the then quickly expanding city of Melbourne, where he set up a small architect's firm in Little Collins Street. He also offered surveying services. His first major building was constructing the mansion "Berkeley Hall" in St Kilda on Princes Street in 1854. The house still exists today. Two years after migrating, Albert designed the layout of the Melbourne General Cemetery in Carlton. It was the first "garden cemetery" in Victoria, and his curvilinear design is still in existence, unaltered, today. In 1854, Albert married Eliza Anne Sawyer (1825 - 1869) in St Kilda. The couple had ten children over their marriage, including a son, Robert, who followed in his father's footsteps as an architect. Albert's brother-in-law, Charles Sawyer joined him in the partnership of Purchas and Sawyer, which existed from 1856 until 1862 in Queens Street. The firm produced more than 140 houses, churches, offices and cemetery buildings including: the nave and transepts of Christ Church St Kilda between 1854 and 1857, "Glenara Homestead"in Bulla in 1857, the Melbourne Savings Bank on the corner of Flinders Lane and Market Street (now demolished) between 1857 and 1858, the Geelong branch of the Bank of Australasia in Malop Street between 1859 and 1860, and Beck's Imperial Hotel in Castlemaine in 1861. When the firm broke up, Albert returned to Little Collins Street, and the best known building he designed during this period was Saint. George's Presbyterian Church in St Kilda East between 1877 and 1880. The church's tall polychomatic brick bell tower is still a local landmark, even in the times of high rise architecture and development, and Saint, George's itself is said to be one of his most striking church designs. Socially, Albert was vice president of the Royal Victorian Institute of Architects for many years, before becoming president in 1887. He was also an inventor and philanthropist. Albert died in 1909 at his home in Kew, a wealthy widower and much loved father.

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 late Nineteenth or early Twentieth Century by Melbourne stained glass manufacturer Ferguson and Urie, the large quatrefoil window in the northern transept of the former Saint George's Presbyterian Church depicts the four Evangelists; Matthew, Mark, Luke and John. All four hold a Gospel Book and a quill symbolising their writings. Matthew appears in the top left-hand pane, Mark in the top right-hand pane, Luke in the bottom left-hand pane and John in the bottom right-hand pane. The window is richly coloured with red and blue glass, and the overall design and palatte has a very Pre-Raphaelite apparance. Each saint sits in a cartouche surrounded by grape vines, symbolising the blood of Christ. Four smaller round windows encircle the quatrefoil featuring a stylised Tudor Rose for England, a thistle for Scotland, a shamrock for Ireland and a fleur-de-lis which symbolises the Holy Trinity.

Matthew the Apostle was one of the twelve Apostles of Jesus. The New Testament records that as a disciple, he followed Jesus, and was one of the witnesses of the Resurrection and the Ascension of Jesus. The Gospel of Matthew is anonymous: the author is not named within the text, and the superscription "according to Matthew" was added some time in the second century.

Mark the Evangelist is the traditionally ascribed author of the Gospel of Mark. Mark is said to have founded the Church of Alexandria, one of the most important episcopal sees of early Christianity.

Luke the Evangelist is one of the Four Evangelists—the four traditionally ascribed authors of the canonical Gospels. The Early Church Fathers ascribed to him authorship of both the Gospel of Luke and the Acts of the Apostles, which would mean Luke contributed over a quarter of the text of the New Testament, more than any other author.

John the Evangelist is the name traditionally given to the author of the Gospel of John. Christians have traditionally identified him with John the Apostle, John of Patmos, or John the Presbyter. The Gospel of John refers to an otherwise unnamed "disciple whom Jesus loved", who "bore witness to and wrote" the Gospel's message.

The former Saint George's Presbyterian Church, which stands on busy Chapel Street in St Kilda East, is a well known and loved local landmark, not least of all because of its strikingly tall (33.5 metre or 110 foot) banded bell tower which can be spotted from far away. In the Nineteenth Century when it was built, it would have been even more striking for its great height and domineering presence. Designed by architect Albert Purchas, the former Saint George's Presbyterian Church is often referred to as his ecclesiastical tour-de-force, and it is most certainly one of his most dramatic and memorable churches.

The former Saint George's Presbyterian Church was constructed on a plot of land reserved in Chapel Street for the Presbyterian Church of Victoria in 1866. Initially services were held in a small hall whilst fundraising efforts advanced the erection of a church. The architect Albert Purchas was commissioned to design the church and the foundation stone for the western portion of the nave was finally laid in April 1877 by Sir James McCulloch. The first service was held in the church on the 1st of October 1877. The first clergyman of the former Saint George's Presbyterian Church was the Reverend John Laurence Rentoul (father to world renown and much loved Australian children's book illustrator Ida Rentoul Outhwaite). However, the swelling Presbyterian congregation of St Kilda and its surrounding districts quickly outgrew the initial Saint George's Presbyterian Church building, so Albert Purchas was obliged to re-design and enlarge the church to allow a doubling in capacity. Robert S. Ekins was the contractor and his tender was £3000.00. It is this imposing church building, reopened in 1880, that we see today. The "Australasian Sketcher with Pen and Pencil" noted that the total length of the building was 118 feet and 6 inches (36 metres), by 40 foot (12 metres) wide and that the striking octagonal tower to the north-west was 110ft 6 in high. It perhaps reflected better the wealth and aspirations of the congregation.

The former Saint George's Presbyterian Church is constructed on bluestone foundations and is built in an ornate polychromatic Gothic Revival style in the tradition of English designers like William Butterfield and John L. Pearson. Built of red brick building, it is decorated in contrasting cream bricks and Waurn Ponds freestone dressings. It features a slate roof with prominent roof vents, iron ridge cresting and fleche at the intersection of the nave and transepts. The front facade of the church is dominated by the slender, banded octagonal tower topped by a narrow spire. The entrance features a double arched portal portico. The facade also features a dominant triangular epitrochoidal (curved triangular form) rose window. The church, like its bluestone neighbour All Saints Church of England, is built to a T-shaped plan, with an aisleless nave, broad transepts and internal walls of cream brick, relieved with coloured brickwork. The former Saint George's Presbyterian Church was one of the first major church design in Melbourne in which polychrome brickwork was lavishly employed both externally and internally.

The inside of the former Saint George's Presbyterian Church is equally as grand as the exterior, with ornamental Gothic Revival polychromatic brickwork, a lofty vaulted ceiling, deal and kauri pine joinery and pulpit and reredos of Keene's cement. The building originally contained a complete set of Victorian stained glass windows by well known and successful Melbourne manufacturers Ferguson and Urie, all of which remain intact today except for one of the non-figurative windows which was replaced by a memorial window to Samuel Lyons McKenzie, the congregation’s beloved minister, who served from 1930 to 1948, in 1949. The earliest of the Ferguson and Urie windows are non-figurative windows which feature the distinctive diaper pattern and floral motifs of Fergus and Urie's work, and are often argued to be amongst the finest of their non-figurative designs. The large triple window in the chancel was presented by Lady McCulloch in memory of the ‘loved and dead’. Another, in memory of John Kane Smyth, the Vice-Consul for the United States of America in Melbourne, has the American Stars and Stripes on the top ventilator above it. An organ by Thomas C. Lewis of London, one of the leading 19th century English organ builders, was installed in the south transept in 1882. It was designed to blend with its architectural setting, with pipework styled to avoid the obstruction of windows. The action of this organ was altered in 1935, but the pipework, and the original sound, have been retained.

Over the years many spiritual and social activities were instituted at Saint George’s, Presbyterian Church some of short duration such as the Ladies’ Reading Club which operated between 1888 and 1893. There were segregated Bible classes for young men and women, the Presbyterian Women’s Missionary Union, formed in 1892, a cricket club and a floral guild. Guilds teaching physical culture for girls, boys and young men began in 1904. They were entirely financed by John Maclellan and the idea extended to other denominations throughout Victoria. John Maclellan died in 1936 and the guilds ceased at Saint George’s Presbyterian church through lack of funds although in 1977 the members of the girls’ guild were still holding bi-annual reunions and raising money for charity. Sadly, the Presbyterian congregations may have been large in the Nineteenth Century, but by St George's Presbyterian Church's 110th centenary, its doors had already closed during the week due to dwindling numbers and an ageing congregation as a result of the general decline in church attendances after the Second World War exacerbated by the changing nature of St Kilda and the decrease in numbers of residents living in the vicinity of the church. So it stood, forlorn and empty and seemingly nothing more than a relic of a glorious but bygone religious past. However in 1990, Saint Michael's Grammar School across the road leased the Victorian Heritage listed building during weekdays, and it was eventually sold to them in 2015. It now forms part of the school's performing-arts complex, and it has a wonderful new lease of life.

St George's Presbyterian Church is sometimes hired out for performances, and I had the pleasure of receiving an invitation to hear Handel's Messiah performed there in 2009. The ecclesiastical acoustics made the performance all the more magnificent. I remember as I sat on one of the original (hard) kauri pine pews, I looked around me and admired the stained glass and ornamental brickwork. I tried without success over several subsequent years to gain access to the church's interior, settling for photographs of the exterior instead, but it wasn't until 2018 that I was fortunate enough to gain entry to photograph the church's interior. The former St George's Presbyterian Church was opened up to the public for one Sunday morning only as part of Open House Melbourne in July 2018. It was a fantastic morning, and I am very grateful to the staff who manned the church for the day and watched bemused as I photographed the stained glass extensively and in such detail.

Albert Purchas, born in 1825 in Chepstow, Monmouthshire, Wales, was a prominent Nineteenth Century architect who achieved great success for himself in Melbourne. Born to parents Robert Whittlesey Purchas and Marianne Guyon, he migrated to Australia in 1851 to establish himself in the then quickly expanding city of Melbourne, where he set up a small architect's firm in Little Collins Street. He also offered surveying services. His first major building was constructing the mansion "Berkeley Hall" in St Kilda on Princes Street in 1854. The house still exists today. Two years after migrating, Albert designed the layout of the Melbourne General Cemetery in Carlton. It was the first "garden cemetery" in Victoria, and his curvilinear design is still in existence, unaltered, today. In 1854, Albert married Eliza Anne Sawyer (1825 - 1869) in St Kilda. The couple had ten children over their marriage, including a son, Robert, who followed in his father's footsteps as an architect. Albert's brother-in-law, Charles Sawyer joined him in the partnership of Purchas and Sawyer, which existed from 1856 until 1862 in Queens Street. The firm produced more than 140 houses, churches, offices and cemetery buildings including: the nave and transepts of Christ Church St Kilda between 1854 and 1857, "Glenara Homestead"in Bulla in 1857, the Melbourne Savings Bank on the corner of Flinders Lane and Market Street (now demolished) between 1857 and 1858, the Geelong branch of the Bank of Australasia in Malop Street between 1859 and 1860, and Beck's Imperial Hotel in Castlemaine in 1861. When the firm broke up, Albert returned to Little Collins Street, and the best known building he designed during this period was Saint. George's Presbyterian Church in St Kilda East between 1877 and 1880. The church's tall polychomatic brick bell tower is still a local landmark, even in the times of high rise architecture and development, and Saint, George's itself is said to be one of his most striking church designs. Socially, Albert was vice president of the Royal Victorian Institute of Architects for many years, before becoming president in 1887. He was also an inventor and philanthropist. Albert died in 1909 at his home in Kew, a wealthy widower and much loved father.

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 by Melbourne stained glass manufacturer Ferguson and Urie in 1880 for the opening of the former Saint George's Presbyterian Church, the Nehemiah stained glass window sits in the northern transept to the left of the altar. Nehemiah is the main figure in the Book of Nehemiah. In it, it describes Nehemiah as the master builder, reconstructing Jerusalem during the Second Temple Period. He was governor of Persia Judea under Artaxerxes I of Persia. The general consensus amongst ecclesiastical scholars is that Nehemiah is not a fictional character. His window is paired with that of Joshua. As Joshua is referred to in the Book of Nehemiah this may be why they are paired together. Joshua, depicted in a Roman helmet and fine robes, is the central figure in the Book of Joshua. He is referred to as Moses' assistant and became the Israelite leader upon the death of Moses. Joshua is known as one of the twelve spies of Israel sent by Moses to explore the land of Canaan. Both figures stand against the same background: a "diaper pattern" containing yellow fleur-de-lis. They also feature a border of coloured squares dispersed with stylised flowers with an inner border of brightly coloured circles. Both the background and the border are common elements of Ferguson and Urie's stained glass window work, and match other, non-figurative windows in the nave and transepts of the former Saint George's Presbyterian Church. A round vent window above them features a cross in red glass on a blue and yellow background.

The former Saint George's Presbyterian Church, which stands on busy Chapel Street in St Kilda East, is a well known and loved local landmark, not least of all because of its strikingly tall (33.5 metre or 110 foot) banded bell tower which can be spotted from far away. In the Nineteenth Century when it was built, it would have been even more striking for its great height and domineering presence. Designed by architect Albert Purchas, the former Saint George's Presbyterian Church is often referred to as his ecclesiastical tour-de-force, and it is most certainly one of his most dramatic and memorable churches.

The former Saint George's Presbyterian Church was constructed on a plot of land reserved in Chapel Street for the Presbyterian Church of Victoria in 1866. Initially services were held in a small hall whilst fundraising efforts advanced the erection of a church. The architect Albert Purchas was commissioned to design the church and the foundation stone for the western portion of the nave was finally laid in April 1877 by Sir James McCulloch. The first service was held in the church on the 1st of October 1877. The first clergyman of the former Saint George's Presbyterian Church was the Reverend John Laurence Rentoul (father to world renown and much loved Australian children's book illustrator Ida Rentoul Outhwaite). However, the swelling Presbyterian congregation of St Kilda and its surrounding districts quickly outgrew the initial Saint George's Presbyterian Church building, so Albert Purchas was obliged to re-design and enlarge the church to allow a doubling in capacity. Robert S. Ekins was the contractor and his tender was £3000.00. It is this imposing church building, reopened in 1880, that we see today. The "Australasian Sketcher with Pen and Pencil" noted that the total length of the building was 118 feet and 6 inches (36 metres), by 40 foot (12 metres) wide and that the striking octagonal tower to the north-west was 110ft 6 in high. It perhaps reflected better the wealth and aspirations of the congregation.

The former Saint George's Presbyterian Church is constructed on bluestone foundations and is built in an ornate polychromatic Gothic Revival style in the tradition of English designers like William Butterfield and John L. Pearson. Built of red brick building, it is decorated in contrasting cream bricks and Waurn Ponds freestone dressings. It features a slate roof with prominent roof vents, iron ridge cresting and fleche at the intersection of the nave and transepts. The front facade of the church is dominated by the slender, banded octagonal tower topped by a narrow spire. The entrance features a double arched portal portico. The facade also features a dominant triangular epitrochoidal (curved triangular form) rose window. The church, like its bluestone neighbour All Saints Church of England, is built to a T-shaped plan, with an aisleless nave, broad transepts and internal walls of cream brick, relieved with coloured brickwork. The former Saint George's Presbyterian Church was one of the first major church design in Melbourne in which polychrome brickwork was lavishly employed both externally and internally.

The inside of the former Saint George's Presbyterian Church is equally as grand as the exterior, with ornamental Gothic Revival polychromatic brickwork, a lofty vaulted ceiling, deal and kauri pine joinery and pulpit and reredos of Keene's cement. The building originally contained a complete set of Victorian stained glass windows by well known and successful Melbourne manufacturers Ferguson and Urie, all of which remain intact today except for one of the non-figurative windows which was replaced by a memorial window to Samuel Lyons McKenzie, the congregation’s beloved minister, who served from 1930 to 1948, in 1949. The earliest of the Ferguson and Urie windows are non-figurative windows which feature the distinctive diaper pattern and floral motifs of Fergus and Urie's work, and are often argued to be amongst the finest of their non-figurative designs. The large triple window in the chancel was presented by Lady McCulloch in memory of the ‘loved and dead’. Another, in memory of John Kane Smyth, the Vice-Consul for the United States of America in Melbourne, has the American Stars and Stripes on the top ventilator above it. An organ by Thomas C. Lewis of London, one of the leading 19th century English organ builders, was installed in the south transept in 1882. It was designed to blend with its architectural setting, with pipework styled to avoid the obstruction of windows. The action of this organ was altered in 1935, but the pipework, and the original sound, have been retained.

Over the years many spiritual and social activities were instituted at Saint George’s, Presbyterian Church some of short duration such as the Ladies’ Reading Club which operated between 1888 and 1893. There were segregated Bible classes for young men and women, the Presbyterian Women’s Missionary Union, formed in 1892, a cricket club and a floral guild. Guilds teaching physical culture for girls, boys and young men began in 1904. They were entirely financed by John Maclellan and the idea extended to other denominations throughout Victoria. John Maclellan died in 1936 and the guilds ceased at Saint George’s Presbyterian church through lack of funds although in 1977 the members of the girls’ guild were still holding bi-annual reunions and raising money for charity. Sadly, the Presbyterian congregations may have been large in the Nineteenth Century, but by St George's Presbyterian Church's 110th centenary, its doors had already closed during the week due to dwindling numbers and an ageing congregation as a result of the general decline in church attendances after the Second World War exacerbated by the changing nature of St Kilda and the decrease in numbers of residents living in the vicinity of the church. So it stood, forlorn and empty and seemingly nothing more than a relic of a glorious but bygone religious past. However in 1990, Saint Michael's Grammar School across the road leased the Victorian Heritage listed building during weekdays, and it was eventually sold to them in 2015. It now forms part of the school's performing-arts complex, and it has a wonderful new lease of life.

St George's Presbyterian Church is sometimes hired out for performances, and I had the pleasure of receiving an invitation to hear Handel's Messiah performed there in 2009. The ecclesiastical acoustics made the performance all the more magnificent. I remember as I sat on one of the original (hard) kauri pine pews, I looked around me and admired the stained glass and ornamental brickwork. I tried without success over several subsequent years to gain access to the church's interior, settling for photographs of the exterior instead, but it wasn't until 2018 that I was fortunate enough to gain entry to photograph the church's interior. The former St George's Presbyterian Church was opened up to the public for one Sunday morning only as part of Open House Melbourne in July 2018. It was a fantastic morning, and I am very grateful to the staff who manned the church for the day and watched bemused as I photographed the stained glass extensively and in such detail.

Albert Purchas, born in 1825 in Chepstow, Monmouthshire, Wales, was a prominent Nineteenth Century architect who achieved great success for himself in Melbourne. Born to parents Robert Whittlesey Purchas and Marianne Guyon, he migrated to Australia in 1851 to establish himself in the then quickly expanding city of Melbourne, where he set up a small architect's firm in Little Collins Street. He also offered surveying services. His first major building was constructing the mansion "Berkeley Hall" in St Kilda on Princes Street in 1854. The house still exists today. Two years after migrating, Albert designed the layout of the Melbourne General Cemetery in Carlton. It was the first "garden cemetery" in Victoria, and his curvilinear design is still in existence, unaltered, today. In 1854, Albert married Eliza Anne Sawyer (1825 - 1869) in St Kilda. The couple had ten children over their marriage, including a son, Robert, who followed in his father's footsteps as an architect. Albert's brother-in-law, Charles Sawyer joined him in the partnership of Purchas and Sawyer, which existed from 1856 until 1862 in Queens Street. The firm produced more than 140 houses, churches, offices and cemetery buildings including: the nave and transepts of Christ Church St Kilda between 1854 and 1857, "Glenara Homestead"in Bulla in 1857, the Melbourne Savings Bank on the corner of Flinders Lane and Market Street (now demolished) between 1857 and 1858, the Geelong branch of the Bank of Australasia in Malop Street between 1859 and 1860, and Beck's Imperial Hotel in Castlemaine in 1861. When the firm broke up, Albert returned to Little Collins Street, and the best known building he designed during this period was Saint. George's Presbyterian Church in St Kilda East between 1877 and 1880. The church's tall polychomatic brick bell tower is still a local landmark, even in the times of high rise architecture and development, and Saint, George's itself is said to be one of his most striking church designs. Socially, Albert was vice president of the Royal Victorian Institute of Architects for many years, before becoming president in 1887. He was also an inventor and philanthropist. Albert died in 1909 at his home in Kew, a wealthy widower and much loved father.

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.

Robert O'Hara Burke:

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.

William John Wills:

William John Wills (1834-1861), explorer, was born on 5 January 1834 at Totnes, Devon, England, son of Dr William Wills and his wife Sarah Mary Elizabeth, née Calley (Kelly). His father had studied medicine at Grainger's anatomical school, Guy's Hospital and St Thomas's, and became a member of the Royal College of Surgeons in 1827. As a youth William John, known as Jack, suffered a fever which left him with a 'slow and hesitating speech'. He was tutored by his father, and then attended St Andrew's Grammar School, Ashburton, in 1845-50. Articled to his father on 30 May 1850, he undertook courses at Guy's and St Bartholomew's hospitals, London.

Interested in Australia, Dr Wills bought a share in a Melbourne gold-mining company in 1852, but cancelled passages to Australia for himself and his sons William John and Thomas after objections from his wife. However, the brothers left Dartmouth in the Janet Mitchell, arriving at Williamstown, Port Phillip, on 3 January 1853. They became shepherds at Deniliquin, New South Wales, where they were joined by their father in October. They went to Ballarat, Victoria, where Dr Wills began to practise, assisted by William, who later worked in the River Wannon district, studied surveying and became an assistant at the astronomical and magnetical observatories at Melbourne under Professor G. B. Neumayer.

Wills's extensive correspondence shows an examining and factual mind, with an interest in natural phenomena, literature and exploration. Described as having a 'clear … complexion, an expressive eye that always outstripped his tongue … golden hair, a thick tawny beard, a smile at once intellectual and sympathising, a light, clean, agile frame', Wills had a keen sense of the ridiculous. He was encouraged by Neumayer who was a member of the exploration committee of the Royal Society of Victoria which organized the government expedition to cross Australia to the Gulf of Carpentaria. When Robert O'Hara Burke was made leader, he chose Wills as surveyor, astronomer and third-in-command.

The well-equipped expedition left Melbourne on 20 August 1860 but after a dispute at Menindee, George James Landells was dismissed and Wills became Burke's lieutenant. The party arrived at Cooper's Creek on 11 November and William Brahe was placed in charge of the depot. Burke, with Wills, J. King and Gray, six camels, one horse and three months provisions, left for the Gulf of Carpentaria on 16 December and reached it on 11 February 1861. Wills's diary of the journey evidences his own physical toughness in the tribulations of rough terrain, tropical rains, hostile Aboriginals, shortage of rations and illness; it describes Gray's death on 17 April and the return to Cooper's Creek on 21 April, only to find that Brahe had left that morning for Menindee, leaving a small cache of supplies. Against Wills's personal judgment the three survivors moved down Cooper's Creek towards Adelaide. Had they followed the route back to Menindee, they could have met Brahe returning to look for them.

After their supplies failed the trio lived precariously on fish and nardoo. Wills was left in camp whilst Burke and King sought Aboriginals to replenish their supplies of nardoo. Burke died on 28 June and King returned to find Wills dead in the camp. He had written a farewell letter dated 27 June to his father, and the last entry in his diary dated 29 June stated 'weaker than ever … my legs and arms are nearly skin and bone'. Relieving expeditions under A. W. Howitt, Landsborough, McKinlay and others were searching for the party. Howitt found King with friendly Aboriginals on 15 September, and buried Wills on 18 September; later he returned the remains of Burke and Wills to Melbourne and they were accorded a public funeral on 21 January 1863.

The government's inquiry into the tragedy criticized Burke's leadership and decisions, the appointment of Landells and William Wright, the unsuitability of Brahe, and the errors and delays of the exploration committee; but there was little or no criticism of Wills, who was a faithful second-in-command, subjugating personal doubts on Burke's decisions: it was natural that at 27 he should have deferred to the 40-year-old leader. As Dr Wills stated 'he fell a victim to errors not originating with himself'. Memorials to the expedition have been erected in Melbourne and many Victorian towns. A memorial to Wills was placed at Totnes, Devon, England, in August 1864.

Source: Australian Dictionary Of Biography.

Red-necked Stint

Calidris ruficollis

December 12th, 2020

Killarney, Victoria, Australia

Canon EOS R5

Canon EF 600mm f4L IS II USM lens

Canon EF 1.4x III Extender

A Red-necked Stint busily feeding on the shoreline on an incoming tide. These common migratory waders are amongst the smallest of all waders & are found widely along coastal Australia.

Red-necked Stints breed in north-eastern Siberia & northern & western Alaska. They migrate to Australia via the East Asian-Australasian Flyway to spend the southern summer months, travelling some 25,000 kms on the return trip!

I love the ethereal feel of this image, created by the soaked sand as a wave recedes back to the ocean.

The Mackay Sugar Research Institute was constructed in 1953 by builder Don Johnstone to a design by prominent architect Karl Langer. Initially, only one section, the eastern wing, was constructed, with the second or western wing opened in August 1966. Mackay architect HVM Brown prepared plans for the second stage of the building in 1963 based on Langer's original design.

Following the exploration and mapping of pastoral runs in the Mackay district in the early 1860s, the fertile land was soon reduced to smaller selections. It was found that the region was particularly suited to the growing of sugar cane and by 1870 the production of sugar was the region's principal industry. The development of the industry was assisted by the opening of a State Nursery in 1889. Originally built to explore the suitability of diverse forms of agriculture, the 'Lagoons' site became the centre for research into cane varieties and more efficient methods of production. Renamed the Mackay Sugar Experiment Station and including laboratories and residences, it was transferred to the Te Kowai mill site in 1935.

The Bureau of Sugar Experiment Stations had been formed in 1900 as part of the Department of Agriculture and Stock with its work financed by levies on sugar growers and millers, matched by government funding. It co-ordinated the research carried out in the three sugar-growing regions of Mackay, Cairns and Bundaberg comparing cane varieties, sampling soils and fostering better farming and irrigation methods. Millers, represented by the Australian Sugar Producers' Association, became increasingly dissatisfied with their lack of control over the direction and activities of the Bureau. This was somewhat deferred by the formation of the technology branch of the Bureau.

Established in 1929, the Queensland Society of Sugar Cane Technologists held its first conference at Cairns in 1930, convened by Norman Bennett of the Bureau of Sugar Experiment Stations. This was after preliminary meetings of the representatives of 16 sugar mills, six engineering firms and the Central Cane Prices Board. Other absentee mill owners were reputedly uncertain about disclosing trade secrets that such an alliance might bring but the formation of the group was in the face of 'stark ruin, with overseas prices on which cheap labour countries could not exist. To some it appeared that the expansion of the previous period had been a mistake...' a situation which was to repeat in years to come. By 1948 both the Queensland Cane Growers' Council and the Australian Sugar Producers' Association were again concerned and angry because the Bureau had lost a string of highly skilled personnel [including two directors], to more highly paid jobs.

In 1949, the Australian sugar industry comprised mainly small cane farms located along the continent's tropical and sub-tropical Queensland and New South Wales coastline. The 5.5 million tonne cane crop, almost entirely grown in Queensland, was crushed by 34 raw sugar mills, most of which were owned co-operatively by growers. The highly regulated sugar industry was still recovering from material and labour shortages caused by World War II and was endeavouring to reassert its position in the world marketplace as a steady, consistent supplier of raw sugar. To achieve this goal, the industry's leaders determined they would have to expand cane production and the factories would have to improve sugar recovery and increase processing rates. The key was a speedy improvement in technological standards. As the government refused to entertain a proposal to place the Bureau of Experiment Stations outside the public service the Sugar Producers' Association formed a committee to draft the constitution for a new sugar industry funded and controlled research institute.

Sugar Research Limited was incorporated on 22 February 1949 with 22 companies representing 24 mills as original subscribers, although some smaller mills joined soon thereafter and the Colonial Sugar Refinery provided an annual payment. The inaugural board of Sugar Research Ltd first met in March 1949 with its most pressing tasks being the appointment of a director and establishing a centre for research.

Dr HW [Bill] Kerr, who had joined the Bureau of Sugar Experiment Stations in 1928, progressing to be the director from 1933 to 1943, was appointed the first Director of the Sugar Research Institute [1949-61]. Kerr was the driving force behind the establishment of the institute and well known in the Australian sugar industry for his important achievements. He developed and implemented soil analytical procedures for the assessment of available phosphorus, potassium and total replaceable bases. He introduced to sugar agriculture a system of replicated experiments, with statistical analysis and interpretation of results. Kerr was a member of the Queensland Society of Sugar Cane Technologists (from 1979 the Australian Society of Sugar Cane Technologists) from its establishment in 1929 until his death in 1992.

The board decided to establish the Sugar Research Institute's central laboratories in Mackay, as an acknowledgement that Mackay in 1949 was both the largest sugar growing district [out of the three main sugar growing areas - Bundaberg, Cairns and Mackay] as well as being the geographical centre of the Australian sugar industry. The board invited Dr Karl Langer to discuss building plans.

Karl Langer was born in Vienna in 1903 where he lived until migrating to Australia in 1939 with his wife Gertrude. Langer studied architecture in Vienna graduating in 1926. During this time he had worked in the office of Josef Frank, who was to be come well known in Swedish modernism. In 1933 Langer was awarded a Doctor of Philosophy for his thesis entitled 'Origins and Development of Concrete Construction'.

At the outbreak of World War II, Langer and Gertrude arrived in Sydney in May of 1939 proceeding to Brisbane in July. Langer left employment with Queensland Railways in 1946 to establish his own architectural practice. He worked throughout Australia and was the initiator of many influential urban design ideas such as the site for the Sydney Opera House and the pedestrianisation of Queen Street. He was the designer of buildings such as Main Roads Building, Spring Hill; St Peters Chapel, Indooroopilly; Lennon's Broadbeach Hotel on the Gold Coast, and worked in the regional centres of Queensland as an architect, town planner and landscape architect.

The name Karl Langer is now synonymous with modernist architecture in Queensland and his connection with Mackay predates the building. Langer had been offered the position of assistant town planner in the Brisbane City Council in 1944 but the controversy and publicity surrounding this appointment brought him to the attention of the Mackay council which commissioned him to revise that city's town plan.

Langer was also an acquaintance of the secretary of the Sugar Research Institute and was engaged to design the building with offices, boardroom, drawing office and a library and lecture room on the ground floor. The first floor was to house research laboratories. The design provided a single storey utility building, an annexe to the main structure, containing workshops, stores and a machinery room. Later, a second wing could be added to the main building providing additional workshops and laboratory space to cater for expansion of the research institute.

A residence for the director was planned next to the laboratories. According to the original plans for the main building and utilities building the tender for the director's house was described as being 'under a separate tender.' However this may refer to the construction of the building being under a separate tender rather than its design which is also attributed to Langer. Mrs Betty Kerr, HW Kerr's wife, discussed with Langer the need for some alterations to the design of the residence. One particular change related to the need to block the view to the kitchen from the front door. Prior to Mrs Kerr requesting this change a person at the front door was able to see through to the kitchen.

Langer's plans also provided for the landscaping of the site as well as the provision of a caretaker's cottage. The caretaker's cottage is currently let to tenants. Whilst Langer's plans provided for a caretaker's cottage it is unclear if the existing building which was used as a caretaker's cottage was purpose-built or if the building was already existing when the land was purchased by the institute. The stylistic indicators of the building including its hipped roof, lack of sunhoods due to wide eaves and its corner casement windows suggest a date of mid to late 1930.

Langer's pioneering use of climatic design in Queensland can be seen in the main institute building in the decorative restraint evident in the facade detailing and composition, the efficient but spacious planning of the building and the consideration given to a northern orientation. The northern orientation allowed for improved shading in summer and better light in winter. With the laboratories located on the southern side of the building this orientation allowed for a more even distribution of light to these areas.

Post-war shortages of both skilled labour and materials caused costs to escalate. The new director insisted that the director's residence both accommodate his wife and family of five children plus their maid and 'be of a type appropriate to the status of director' and suitable for entertaining guests from overseas. Escalating costs meant that Kerr was asked to modify his expectations and the institute building was completed in stages.

The sugar industry, in 1949, was on the threshold of the buoyant sugar markets of the 1950s and in 1950 Justice Mansfield was appointed to head a Royal Commission for the orderly expansion of the industry. Most mills prepared ambitious plans.

The Sugar Research Institute - 'a monument to the Australian sugar industry' - was opened on Saturday, 22 August 1953 by then Federal Treasurer, Sir Arthur Fadden. More than 100 official guests attended the opening during which Fadden stated that 'there was no industry in Australia better organised than sugar production' and that 'sugar is not only a Queensland industry, not only a national industry, but an international industry of great importance'.

The building provided an environment for chemists and engineers to scientifically study the milling process in co-operation with its practical application. The Institute's focus from its establishment was to find solutions to industry problems via a program of short-term research and strategic design and construction projects. As a non-government funded research institute, the Sugar Research Institute is comparably rare. CSR was involved in experimental research, so whilst the Sugar Research Institute is not the only example of a private research institution, it is still unusual.

The landscaping of the Institute was part of Langer's design, which included the planting of royal palms [Roystonea regia] along the roadside perimeter. The palms were planted in 1954 [a total of 58 at the time] to represent each of the Institute's member mills. The second half of the building, the mirror image of the first side, was completed to Langer's original design and opened in August 1966. Mackay architect Harold Vivian Marsh [HVM] Brown prepared plans for the second stage of the building in 1963.

Twenty-five years after being established, Institute-researched improvements in mill technology had tripled sugar production. By 1972 the Institute had developed improvements in cane transportation by improving scheduling, and reducing operating costs and capital expenditure; milling research that improved extraction through improved performance and reductions in capital expenditure; clarification studies that reduced losses and lime consumption; sugar quality; effluent treatment; elongated grain and filterability penalties and air pollution by developing suitable equipment to meet the standards set.

The institute's annual general meetings and technical conferences were always well attended providing opportunities for mill personnel to discuss any issues with factories and to liaise with colleagues. The meetings and conferences were held in the main building in the library/lecture hall on the ground floor, the ETS Pearce Library, until the Charles Young Conference Hall was opened. Eddie Pearce was the General Secretary of the Australian Sugar Producers' Association and was a major contributor in the establishment of the Sugar Research Institute.

On 31 August 1973 the Charles Young Conference Hall and laboratories were opened by Rex A Patterson then Minister for Northern Development. The hall and laboratories is located to west of the main building and is connected via a covered walkway. The building was named in honour of Charles Young in recognition of his services as founding Chairman from January 1949 to August 1973.

The 1990s were a time of economic stringency and an uncertain future. Destabilisation in world markets and changes in US sugar import quotas led to industry restructuring and streamlining in areas such as sugar industry research funding. The Sugar Research Institute, whilst reduced in staff numbers and outsourcing some contracts continued its research and development.

As reported by the Environmental Protection Agency's Sustainable Industries Unit in October 2004, the Institute developed more efficient condensers for sugar mills. Researchers at the Institute had observed that some vapour condensers operated more efficiently than others, requiring less cooling water flow and subsequently less electrical power for the cooling water circuit. The Institute obtained funding through the Sustainable Energy Innovation Fund to analyse the operation of several existing vapour condensers at sugar factories, to develop an improved condenser design to increase efficiency and to monitor the performance of two new condensers built with the new design.

Two prototype condensers were constructed and installed. Compared with conventional designs, the units achieved reductions in cooling water flow rates. By adopting design modifications, the Institute estimated the cooling water flow would be reduced by up to 12%, yielding a proportional reduction in energy consumption for water pumping and cooling tower fans leading to annual energy savings. Besides the two prototype condensers three other condensers at Millaquin and Tully Sugar Mills were subsequently constructed and installed for the 2004 crushing season.

Individual researchers from the Sugar Research Institute have also received peer recognition, including the prestigious Sugar Industry Technologists Crystal Award presented to Dr Peter Wright in 2003. The Crystal Award is presented to individuals who have contributed notably to the technological advancement of the sugar refining industry.

Dr Wright began his career as a sugar technologist with the Sugar Research Institute in 1957. He is the first Queenslander, and the fourth Australian to receive the Crystal Award. Sugar Industry Technologists Inc was founded in the United States in 1941 by several North American sugar refineries. It has since grown to become an international association with a combined membership of approximately 100 corporate sugar refining companies and corporate allied companies with over 500 individual members worldwide.

Source: Queensland Heritage Register.

Farahnaz Ghofrani Majelan is a South Australian artist now. Originally she is a Persian woman who migrated to Australia in 2012 along with her family.

She joined the Royal South Australian Society of Arts in 2016 and has exhibited her art works both in Iran and Adelaide.

Hope

Oil on canvas

'Hope' shows a dark room with a window which light is shining and coming through the window.

The darkness and light in this painting are a metaphor for life.

We might be burdened by doubts, fears and unloved, light shows us the way out of darkness and the way to keep going and never give up.

Associates for Fellowship Exhibition

RSASA Heritage Gallery

Adelaide

RSASAgallery@YouTube

Created by Melbourne stained glass manufacturer Ferguson and Urie in 1880 for the opening of the former Saint George's Presbyterian Church, this non-figurative stained glass window features design elements typical of their work. It features a latticed "diaper" pattern containing stylised floral designs in yellow. It has a border of coloured squares dispersed with stylised flowers, also a common element of Ferguson and Urie's windows. Each lancet window features two diamond shaped panes, one at the top and one at the bottom of the window, and a central round pane of brightly coloured glass, once again featuring a stylised floral image. A round vent at the top features a Tudor Rose sitting in the middle of an eight pointed star of green and golden yellow.

The former Saint George's Presbyterian Church, which stands on busy Chapel Street in St Kilda East, is a well known and loved local landmark, not least of all because of its strikingly tall (33.5 metre or 110 foot) banded bell tower which can be spotted from far away. In the Nineteenth Century when it was built, it would have been even more striking for its great height and domineering presence. Designed by architect Albert Purchas, the former Saint George's Presbyterian Church is often referred to as his ecclesiastical tour-de-force, and it is most certainly one of his most dramatic and memorable churches.

The former Saint George's Presbyterian Church was constructed on a plot of land reserved in Chapel Street for the Presbyterian Church of Victoria in 1866. Initially services were held in a small hall whilst fundraising efforts advanced the erection of a church. The architect Albert Purchas was commissioned to design the church and the foundation stone for the western portion of the nave was finally laid in April 1877 by Sir James McCulloch. The first service was held in the church on the 1st of October 1877. The first clergyman of the former Saint George's Presbyterian Church was the Reverend John Laurence Rentoul (father to world renown and much loved Australian children's book illustrator Ida Rentoul Outhwaite). However, the swelling Presbyterian congregation of St Kilda and its surrounding districts quickly outgrew the initial Saint George's Presbyterian Church building, so Albert Purchas was obliged to re-design and enlarge the church to allow a doubling in capacity. Robert S. Ekins was the contractor and his tender was £3000.00. It is this imposing church building, reopened in 1880, that we see today. The "Australasian Sketcher with Pen and Pencil" noted that the total length of the building was 118 feet and 6 inches (36 metres), by 40 foot (12 metres) wide and that the striking octagonal tower to the north-west was 110ft 6 in high. It perhaps reflected better the wealth and aspirations of the congregation.

The former Saint George's Presbyterian Church is constructed on bluestone foundations and is built in an ornate polychromatic Gothic Revival style in the tradition of English designers like William Butterfield and John L. Pearson. Built of red brick building, it is decorated in contrasting cream bricks and Waurn Ponds freestone dressings. It features a slate roof with prominent roof vents, iron ridge cresting and fleche at the intersection of the nave and transepts. The front facade of the church is dominated by the slender, banded octagonal tower topped by a narrow spire. The entrance features a double arched portal portico. The facade also features a dominant triangular epitrochoidal (curved triangular form) rose window. The church, like its bluestone neighbour All Saints Church of England, is built to a T-shaped plan, with an aisleless nave, broad transepts and internal walls of cream brick, relieved with coloured brickwork. The former Saint George's Presbyterian Church was one of the first major church design in Melbourne in which polychrome brickwork was lavishly employed both externally and internally.

The inside of the former Saint George's Presbyterian Church is equally as grand as the exterior, with ornamental Gothic Revival polychromatic brickwork, a lofty vaulted ceiling, deal and kauri pine joinery and pulpit and reredos of Keene's cement. The building originally contained a complete set of Victorian stained glass windows by well known and successful Melbourne manufacturers Ferguson and Urie, all of which remain intact today except for one of the non-figurative windows which was replaced by a memorial window to Samuel Lyons McKenzie, the congregation’s beloved minister, who served from 1930 to 1948, in 1949. The earliest of the Ferguson and Urie windows are non-figurative windows which feature the distinctive diaper pattern and floral motifs of Fergus and Urie's work, and are often argued to be amongst the finest of their non-figurative designs. The large triple window in the chancel was presented by Lady McCulloch in memory of the ‘loved and dead’. Another, in memory of John Kane Smyth, the Vice-Consul for the United States of America in Melbourne, has the American Stars and Stripes on the top ventilator above it. An organ by Thomas C. Lewis of London, one of the leading 19th century English organ builders, was installed in the south transept in 1882. It was designed to blend with its architectural setting, with pipework styled to avoid the obstruction of windows. The action of this organ was altered in 1935, but the pipework, and the original sound, have been retained.

Over the years many spiritual and social activities were instituted at Saint George’s, Presbyterian Church some of short duration such as the Ladies’ Reading Club which operated between 1888 and 1893. There were segregated Bible classes for young men and women, the Presbyterian Women’s Missionary Union, formed in 1892, a cricket club and a floral guild. Guilds teaching physical culture for girls, boys and young men began in 1904. They were entirely financed by John Maclellan and the idea extended to other denominations throughout Victoria. John Maclellan died in 1936 and the guilds ceased at Saint George’s Presbyterian church through lack of funds although in 1977 the members of the girls’ guild were still holding bi-annual reunions and raising money for charity. Sadly, the Presbyterian congregations may have been large in the Nineteenth Century, but by St George's Presbyterian Church's 110th centenary, its doors had already closed during the week due to dwindling numbers and an ageing congregation as a result of the general decline in church attendances after the Second World War exacerbated by the changing nature of St Kilda and the decrease in numbers of residents living in the vicinity of the church. So it stood, forlorn and empty and seemingly nothing more than a relic of a glorious but bygone religious past. However in 1990, Saint Michael's Grammar School across the road leased the Victorian Heritage listed building during weekdays, and it was eventually sold to them in 2015. It now forms part of the school's performing-arts complex, and it has a wonderful new lease of life.

St George's Presbyterian Church is sometimes hired out for performances, and I had the pleasure of receiving an invitation to hear Handel's Messiah performed there in 2009. The ecclesiastical acoustics made the performance all the more magnificent. I remember as I sat on one of the original (hard) kauri pine pews, I looked around me and admired the stained glass and ornamental brickwork. I tried without success over several subsequent years to gain access to the church's interior, settling for photographs of the exterior instead, but it wasn't until 2018 that I was fortunate enough to gain entry to photograph the church's interior. The former St George's Presbyterian Church was opened up to the public for one Sunday morning only as part of Open House Melbourne in July 2018. It was a fantastic morning, and I am very grateful to the staff who manned the church for the day and watched bemused as I photographed the stained glass extensively and in such detail.

Albert Purchas, born in 1825 in Chepstow, Monmouthshire, Wales, was a prominent Nineteenth Century architect who achieved great success for himself in Melbourne. Born to parents Robert Whittlesey Purchas and Marianne Guyon, he migrated to Australia in 1851 to establish himself in the then quickly expanding city of Melbourne, where he set up a small architect's firm in Little Collins Street. He also offered surveying services. His first major building was constructing the mansion "Berkeley Hall" in St Kilda on Princes Street in 1854. The house still exists today. Two years after migrating, Albert designed the layout of the Melbourne General Cemetery in Carlton. It was the first "garden cemetery" in Victoria, and his curvilinear design is still in existence, unaltered, today. In 1854, Albert married Eliza Anne Sawyer (1825 - 1869) in St Kilda. The couple had ten children over their marriage, including a son, Robert, who followed in his father's footsteps as an architect. Albert's brother-in-law, Charles Sawyer joined him in the partnership of Purchas and Sawyer, which existed from 1856 until 1862 in Queens Street. The firm produced more than 140 houses, churches, offices and cemetery buildings including: the nave and transepts of Christ Church St Kilda between 1854 and 1857, "Glenara Homestead"in Bulla in 1857, the Melbourne Savings Bank on the corner of Flinders Lane and Market Street (now demolished) between 1857 and 1858, the Geelong branch of the Bank of Australasia in Malop Street between 1859 and 1860, and Beck's Imperial Hotel in Castlemaine in 1861. When the firm broke up, Albert returned to Little Collins Street, and the best known building he designed during this period was Saint. George's Presbyterian Church in St Kilda East between 1877 and 1880. The church's tall polychomatic brick bell tower is still a local landmark, even in the times of high rise architecture and development, and Saint, George's itself is said to be one of his most striking church designs. Socially, Albert was vice president of the Royal Victorian Institute of Architects for many years, before becoming president in 1887. He was also an inventor and philanthropist. Albert died in 1909 at his home in Kew, a wealthy widower and much loved father.

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.

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. Further on we reach Peters Hill and St Petri Lutheran Church. This area was settled by Wends, now known as Sorbs. Most Sorbian families here arrived in SA on the ship San Francisco in 1848 and moved to Hope valley, then on to Houffnungsthal near Lyndoch and then finally to Peters Hill in 1856.

The Sorbs came from a specific region of Eastern Germany where they spoke Slavic language related to Polish, but totally unrelated to German. When the Sorbs settled in SA the English settlers assumed they were German because they also spoke German and they were Lutheran. But the Sorbs were a different ethnic group. Today 35,000 people still speak Sorbian 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 Sorbs lived, was ceded to Prussia from Saxony. The Prussians oppressed the Sorbs and after 1830 many migrated to Australia (as well as Canada etc.) Although the first Sorbs 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 Sorbian settlements in SA were St Kitts (near Nurioopta), Peters Hill and Ebenezer (near St Kitts.)

Prominent Sorbian family names in this area included Borrack, Duldig, Huppatz, Noack and Schuppan. St Petri’s Lutheran Church is the only church in Australia to have had services conducted in Sorbian. The last known Sorbian speaker in the area was Mrs. Seipelt who died in 1957. The church was built in 1864 of stone and plastered mud. The cemetery attached to the church is one of two Sorbian cemeteries in the district. The Huppatz family has their own private Sorbian cemetery.

It was the Sorbian community, especially from Ebenezer who began the great trek in 1868 to establish the Lutheran settlement of Walla Walla in the Riverina in NSW. Apart from the Sorbs, 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.

Created by Melbourne stained glass manufacturer Ferguson and Urie in 1880 for the opening of the former Saint George's Presbyterian Church, the triangular epitrochoidal (curved triangular form) rose window is a very unusual example of such a window.

It features a number of symbols in small circles of brilliantly painted stained glass. These include:

- Alfa and Omega (taken from the statement by Jesus in the Book of Revelations 22 - 13 "I am Alpha and Omega, the First and the Last, the Beginning and the End")

- a set of crossed keys (symbolising the keys to heaven as held by Saint Peter, its traditional gatekeeper)

- a sanctuary lamp (which symbolises the presence of the Lord)

- an anchor (symbolising hope), an eight pointed start (symbolising resurrection)

- the sun (symbolising good shining over evil)

- an Ichthys (fish) (symbolising Christ)

- a dove (symbolising the Holy Spirit)

- a five petal red Tudor Rose (symbolising the five wounds of Jesus Christ from the crucifixion)

- crossed palm branches (representing martyrdom)

- a chalice (taken from the glass from which Jesus drank with his disciples during the Las Supper - symbolising Christ's power to redeem humankind)

- a wheat sheath (also taken from the Last Supper, symbolising the body of Christ and Christ's power to redeem humankind)

- a bunch of grapes (symbolising the blood of Christ and Christ's power to redeem humankind)

- a harp (symbolising music, musical instruments and the joy and worship in praising God)

- a crown (representing immortality, righteousness and the resurrection)

- the cross in the centre of the window, which is the principal symbol of the Christian religion, recalling the Crucifixion of Jesus Christ and the redeeming benefits of his Passion and death. The cross is thus a sign both of Christ himself and of the faith of Christians

Together, these circles, along with seven stars form the triangular epitrochoidal (curved triangular form) rose window.

The former Saint George's Presbyterian Church, which stands on busy Chapel Street in St Kilda East, is a well known and loved local landmark, not least of all because of its strikingly tall (33.5 metre or 110 foot) banded bell tower which can be spotted from far away. In the Nineteenth Century when it was built, it would have been even more striking for its great height and domineering presence. Designed by architect Albert Purchas, the former Saint George's Presbyterian Church is often referred to as his ecclesiastical tour-de-force, and it is most certainly one of his most dramatic and memorable churches.

The former Saint George's Presbyterian Church was constructed on a plot of land reserved in Chapel Street for the Presbyterian Church of Victoria in 1866. Initially services were held in a small hall whilst fundraising efforts advanced the erection of a church. The architect Albert Purchas was commissioned to design the church and the foundation stone for the western portion of the nave was finally laid in April 1877 by Sir James McCulloch. The first service was held in the church on the 1st of October 1877. The first clergyman of the former Saint George's Presbyterian Church was the Reverend John Laurence Rentoul (father to world renown and much loved Australian children's book illustrator Ida Rentoul Outhwaite). However, the swelling Presbyterian congregation of St Kilda and its surrounding districts quickly outgrew the initial Saint George's Presbyterian Church building, so Albert Purchas was obliged to re-design and enlarge the church to allow a doubling in capacity. Robert S. Ekins was the contractor and his tender was £3000.00. It is this imposing church building, reopened in 1880, that we see today. The "Australasian Sketcher with Pen and Pencil" noted that the total length of the building was 118 feet and 6 inches (36 metres), by 40 foot (12 metres) wide and that the striking octagonal tower to the north-west was 110ft 6 in high. It perhaps reflected better the wealth and aspirations of the congregation.

The former Saint George's Presbyterian Church is constructed on bluestone foundations and is built in an ornate polychromatic Gothic Revival style in the tradition of English designers like William Butterfield and John L. Pearson. Built of red brick building, it is decorated in contrasting cream bricks and Waurn Ponds freestone dressings. It features a slate roof with prominent roof vents, iron ridge cresting and fleche at the intersection of the nave and transepts. The front facade of the church is dominated by the slender, banded octagonal tower topped by a narrow spire. The entrance features a double arched portal portico. The facade also features a dominant triangular epitrochoidal (curved triangular form) rose window. The church, like its bluestone neighbour All Saints Church of England, is built to a T-shaped plan, with an aisleless nave, broad transepts and internal walls of cream brick, relieved with coloured brickwork. The former Saint George's Presbyterian Church was one of the first major church design in Melbourne in which polychrome brickwork was lavishly employed both externally and internally.

The inside of the former Saint George's Presbyterian Church is equally as grand as the exterior, with ornamental Gothic Revival polychromatic brickwork, a lofty vaulted ceiling, deal and kauri pine joinery and pulpit and reredos of Keene's cement. The building originally contained a complete set of Victorian stained glass windows by well known and successful Melbourne manufacturers Ferguson and Urie, all of which remain intact today except for one of the non-figurative windows which was replaced by a memorial window to Samuel Lyons McKenzie, the congregation’s beloved minister, who served from 1930 to 1948, in 1949. The earliest of the Ferguson and Urie windows are non-figurative windows which feature the distinctive diaper pattern and floral motifs of Fergus and Urie's work, and are often argued to be amongst the finest of their non-figurative designs. The large triple window in the chancel was presented by Lady McCulloch in memory of the ‘loved and dead’. Another, in memory of John Kane Smyth, the Vice-Consul for the United States of America in Melbourne, has the American Stars and Stripes on the top ventilator above it. An organ by Thomas C. Lewis of London, one of the leading 19th century English organ builders, was installed in the south transept in 1882. It was designed to blend with its architectural setting, with pipework styled to avoid the obstruction of windows. The action of this organ was altered in 1935, but the pipework, and the original sound, have been retained.

Over the years many spiritual and social activities were instituted at Saint George’s, Presbyterian Church some of short duration such as the Ladies’ Reading Club which operated between 1888 and 1893. There were segregated Bible classes for young men and women, the Presbyterian Women’s Missionary Union, formed in 1892, a cricket club and a floral guild. Guilds teaching physical culture for girls, boys and young men began in 1904. They were entirely financed by John Maclellan and the idea extended to other denominations throughout Victoria. John Maclellan died in 1936 and the guilds ceased at Saint George’s Presbyterian church through lack of funds although in 1977 the members of the girls’ guild were still holding bi-annual reunions and raising money for charity. Sadly, the Presbyterian congregations may have been large in the Nineteenth Century, but by St George's Presbyterian Church's 110th centenary, its doors had already closed during the week due to dwindling numbers and an ageing congregation as a result of the general decline in church attendances after the Second World War exacerbated by the changing nature of St Kilda and the decrease in numbers of residents living in the vicinity of the church. So it stood, forlorn and empty and seemingly nothing more than a relic of a glorious but bygone religious past. However in 1990, Saint Michael's Grammar School across the road leased the Victorian Heritage listed building during weekdays, and it was eventually sold to them in 2015. It now forms part of the school's performing-arts complex, and it has a wonderful new lease of life.

St George's Presbyterian Church is sometimes hired out for performances, and I had the pleasure of receiving an invitation to hear Handel's Messiah performed there in 2009. The ecclesiastical acoustics made the performance all the more magnificent. I remember as I sat on one of the original (hard) kauri pine pews, I looked around me and admired the stained glass and ornamental brickwork. I tried without success over several subsequent years to gain access to the church's interior, settling for photographs of the exterior instead, but it wasn't until 2018 that I was fortunate enough to gain entry to photograph the church's interior. The former St George's Presbyterian Church was opened up to the public for one Sunday morning only as part of Open House Melbourne in July 2018. It was a fantastic morning, and I am very grateful to the staff who manned the church for the day and watched bemused as I photographed the stained glass extensively and in such detail.

Albert Purchas, born in 1825 in Chepstow, Monmouthshire, Wales, was a prominent Nineteenth Century architect who achieved great success for himself in Melbourne. Born to parents Robert Whittlesey Purchas and Marianne Guyon, he migrated to Australia in 1851 to establish himself in the then quickly expanding city of Melbourne, where he set up a small architect's firm in Little Collins Street. He also offered surveying services. His first major building was constructing the mansion "Berkeley Hall" in St Kilda on Princes Street in 1854. The house still exists today. Two years after migrating, Albert designed the layout of the Melbourne General Cemetery in Carlton. It was the first "garden cemetery" in Victoria, and his curvilinear design is still in existence, unaltered, today. In 1854, Albert married Eliza Anne Sawyer (1825 - 1869) in St Kilda. The couple had ten children over their marriage, including a son, Robert, who followed in his father's footsteps as an architect. Albert's brother-in-law, Charles Sawyer joined him in the partnership of Purchas and Sawyer, which existed from 1856 until 1862 in Queens Street. The firm produced more than 140 houses, churches, offices and cemetery buildings including: the nave and transepts of Christ Church St Kilda between 1854 and 1857, "Glenara Homestead"in Bulla in 1857, the Melbourne Savings Bank on the corner of Flinders Lane and Market Street (now demolished) between 1857 and 1858, the Geelong branch of the Bank of Australasia in Malop Street between 1859 and 1860, and Beck's Imperial Hotel in Castlemaine in 1861. When the firm broke up, Albert returned to Little Collins Street, and the best known building he designed during this period was Saint. George's Presbyterian Church in St Kilda East between 1877 and 1880. The church's tall polychomatic brick bell tower is still a local landmark, even in the times of high rise architecture and development, and Saint, George's itself is said to be one of his most striking church designs. Socially, Albert was vice president of the Royal Victorian Institute of Architects for many years, before becoming president in 1887. He was also an inventor and philanthropist. Albert died in 1909 at his home in Kew, a wealthy widower and much loved father.

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.

Porcelli est né à Bisceglie, Bari, Italie. Sa famille a émigré en Australie et il a étudié à la New South Wales Academy of Art. Il retournera plus tard à Naples pour étudier la sculpture et le dessin avec D'Orsi, président de l'Académie royale. Sa première œuvre commandée fut le buste grandeur nature de Sir John Forrest, situé à l'entrée principale du Parlement. Il a également créé la statue grandeur nature d'Alexander Forrest, le frère de Sir John Forrest et un grand arpenteur et explorateur. La statue d'Alexander Forrest se dresse à l'entrée des jardins de la Cour suprême. Porcelli a créé de nombreuses statues impressionnantes qui sont encore visibles aujourd'hui dans des endroits importants de l'État. Son chef d'oeuvre est sans doute le Mémorial de la paix à l'atelier ferroviaire de Midland Junction.

Porcelli was born in Bisceglie, Bari, Italy. His family migrated to Australia and Pietro Porcelli studied at the New South Wales Academy of Art. He later returned to Naples to study sculpture and drawing with D’Orsi, the President of the Royal Academy. His first commissioned work was the life-sized bust of Sir John Forrest, situated at the main entrance of Parliament House. He also created the full-sized statue of Alexander Forrest, Sir John Forrest’s brother and a great surveyor and explorer. The Alexander Forrest statue stands at the entrance to the Supreme Court Gardens. Porcelli created many impressive statues which are still seen today in prominent locations around the State. His crowning achievement is considered to be the Peace Memorial at the Midland Junction Railway Workshop. Other commissions have included the C.Y. O’Connor bust at Mundaring Weir and the heroic statue at Fremantle Harbour.

I am a huge fan of horses. I think they are beautiful animals, as I have recorded here before.

This image dates back almost 15 years, to 22 November 2009. Not long before we migrated to Australia.

We were on one of our regular trips to the horse sanctuary in Snetterton to amuse the boys and walk our dog. Hopefully we amused the horses in some small way too.

I will be in Norfolk in about two and a half weeks time. Perhaps it is time to have a wander around the sanctuary again?

Re-edited in Lightroom, from the original Canon EOS 350D RAW image. It is interesting to look back on the original, because I knew precious little about editing and not a great deal about composition. I like to think that the 2024 edition of Mark would have taken this image from a slightly different angle, or a moment or two later, to remove the legs of the brown horse from the image. I refuse to yield to AI to do the job for me though.

Created in 1889 by Melbourne stained glass manufacturer Ferguson and Urie, the Mrs. James Hickford memorial stained glass window may be found in the eastern wall of the chancel of Christ Church Brunswick. The window was described in The Argus newspaper of Tuesday 1st of October 1889 as being "of a diaper pattern enriched with appropriate floral designs, and form a welcome addition to the many excellent stained glass windows which now adorn the church." The window has the quite "So He giveth His beloved sleep." The window features beautiful fleur de lys and Tudor roses amid the latticing, and a panel of beautiful white Madonna lilies make up the panel between the biblical quote and the dedication.

Little is known of Mrs. James Hickford, other than she died several years prior to the installation of the window in Christ Church, Brunswick. Her husband however is quite a different matter. When James Hickford died in 1915, the Brunswick and Coburg Leader featured an article about him as one of the oldest residents of Brunswick. An excerpt from the article published on Friday 10th of September, 1915 reads: "The Late James Hickford. By the death of Mr James Hickford, of Barkly street, Brunswick loses one of its earliest residents. He came to Brunswick in 1852, immediately after his arrival in Victoria. Mr Hickford was born in London in 1825, just when George Stephenson was experimenting with the first steam engine, "The Rocket." which was to revolutionise the world. The world since 1825 has seen great changes. The passing of the Reform Bill in 1832, the coronation of Queen Victoria, the abolition of the Corn Laws, and the discovery of gold in California and Australia, bring history down to 1852, when there was a rush of vigorous active young men from all parts of Great Britain to Victoria, laying the foundations of that spirit of enterprise and endeavour which has always been characteristic of Victorians. The spice of uncertainty and reasonable speculation and the taking of risks are generally conducive to great enterprises being undertaken. Mr Hickford's family come from good old English stock. His father attended Christ's Hospital, more familiarly known as the Blue Coats' School and was a contemporary of Coleridge and Charles Lamb. On his arrival, Mr James Hickford. like all new arrivals, went to the diggings, but had no luck there and returned to Brunswick. His artistic taste was evidenced in his decorative skill. shown in many of the chancels of the churches in the metropolitan area. He was for many years the master of the School of Design. ln the early Brunswick days penny readings were much in vogue. and Mr Hickford was a well known figure in Brunswick and Coburg at these social functions, which were always well attended. Mr Hickford was also the oldest Past Grand of the Brunswick Lodge of the Manchester Unity Order of Oddfellows, and was for many years a prominent member of this extensive and useful friendly society. He also took a keen interest in Freemasonry, and was one of the founders of the Davies Lodge, of which he was secretary until the day of his death, when he was in his 91st year. he attended the rank of Past Grand Senior Warden, and was extremely popular amongst the members of the Craft, but especially in his own lodge where he was familiarly known as "Dad". He had gained many friends, who held him in high esteem, and despite his great age, he will be much missed."

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.

Amid the brightly coloured non-figurative windows on the northern side of Saint George's Presbyterian Church stands one figurative window. Dedicated to American John Kane Smyth, the window was made by Melbourne stained glass manufacturer Ferguson and Urie. Although there is no date on the window, I believe it was created in the 1890s. The window represents two scenes in the life of Jesus: The Settlement about the Tribute Money, and The Interview with the Rich Young Ruler. The right-hand pane is the Interview with the Rich Young Ruler window from the Book of Luke. A certain ruler asks Jesus, "Good teacher, what must I do to inherit eternal life?" As part of his reply Jesus says, "How hard it is for the rich to enter the kingdom of God! Indeed, it is easier for a camel to go through the eye of a needle than for a rich man to enter the kingdom of God", after telling the ruler that he should sell all he has and follow him for a guarantee to eternal life. Jesus stands with his hand raised, whilst the ruler in richly patterned robes and a fine turban stands beside him. Two apostles stand behind them, their faces just visible. The window contains a Biblical quote from the Book of Mark XII - 17 in the bottom dedication panel: "Render to Caesar the things that are Caesar's, and to God the things that are God's".

John Kane Smyth was the Vice-Consul for the United States of America in Melbourne, and he was just one of a number of wealthy Americans who attended services at Saint George's Presbyterian Church. In his honour the top round ventilator window has the American Stars and Stripes in it. Interestingly it features the Thirty-Six Stars and Stripes flag which was well outdated by the time this window as installed. The Thirty-Six Stars and Stripes flag became the official United States Flag on July 4th, 1865 after the admission of Nevada into the union. However it was only to last for two years when Nebraska joined the union. John Kane Smyth served on Saint George's Presbyterian Church's Board of Management for many years and is recognised as having given good service in the Saint George's Presbyterian Church's 1876 - 1926 Jubilee Souvenir Book.

The former Saint George's Presbyterian Church was constructed on a plot of land reserved in Chapel Street for the Presbyterian Church of Victoria in 1866. Initially services were held in a small hall whilst fundraising efforts advanced the erection of a church. The architect Albert Purchas was commissioned to design the church and the foundation stone for the western portion of the nave was finally laid in April 1877 by Sir James McCulloch. The first service was held in the church on the 1st of October 1877. The first clergyman of the former Saint George's Presbyterian Church was the Reverend John Laurence Rentoul (father to world renown and much loved Australian children's book illustrator Ida Rentoul Outhwaite). However, the swelling Presbyterian congregation of St Kilda and its surrounding districts quickly outgrew the initial Saint George's Presbyterian Church building, so Albert Purchas was obliged to re-design and enlarge the church to allow a doubling in capacity. Robert S. Ekins was the contractor and his tender was £3000.00. It is this imposing church building, reopened in 1880, that we see today. The "Australasian Sketcher with Pen and Pencil" noted that the total length of the building was 118 feet and 6 inches (36 metres), by 40 foot (12 metres) wide and that the striking octagonal tower to the north-west was 110ft 6 in high. It perhaps reflected better the wealth and aspirations of the congregation.

The former Saint George's Presbyterian Church is constructed on bluestone foundations and is built in an ornate polychromatic Gothic Revival style in the tradition of English designers like William Butterfield and John L. Pearson. Built of red brick building, it is decorated in contrasting cream bricks and Waurn Ponds freestone dressings. It features a slate roof with prominent roof vents, iron ridge cresting and fleche at the intersection of the nave and transepts. The front facade of the church is dominated by the slender, banded octagonal tower topped by a narrow spire. The entrance features a double arched portal portico. The facade also features a dominant triangular epitrochoidal (curved triangular form) rose window. The church, like its bluestone neighbour All Saints Church of England, is built to a T-shaped plan, with an aisleless nave, broad transepts and internal walls of cream brick, relieved with coloured brickwork. The former Saint George's Presbyterian Church was one of the first major church design in Melbourne in which polychrome brickwork was lavishly employed both externally and internally.

The inside of the former Saint George's Presbyterian Church is equally as grand as the exterior, with ornamental Gothic Revival polychromatic brickwork, a lofty vaulted ceiling, deal and kauri pine joinery and pulpit and reredos of Keene's cement. The building originally contained a complete set of Victorian stained glass windows by well known and successful Melbourne manufacturers Ferguson and Urie, all of which remain intact today except for one of the non-figurative windows which was replaced by a memorial window to Samuel Lyons McKenzie, the congregation’s beloved minister, who served from 1930 to 1948, in 1949. The earliest of the Ferguson and Urie windows are non-figurative windows which feature the distinctive diaper pattern and floral motifs of Fergus and Urie's work, and are often argued to be amongst the finest of their non-figurative designs. The large triple window in the chancel was presented by Lady McCulloch in memory of the ‘loved and dead’. Another, in memory of John Kane Smyth, the Vice-Consul for the United States of America in Melbourne, has the American Stars and Stripes on the top ventilator above it. An organ by Thomas C. Lewis of London, one of the leading 19th century English organ builders, was installed in the south transept in 1882. It was designed to blend with its architectural setting, with pipework styled to avoid the obstruction of windows. The action of this organ was altered in 1935, but the pipework, and the original sound, have been retained.

Over the years many spiritual and social activities were instituted at Saint George’s, Presbyterian Church some of short duration such as the Ladies’ Reading Club which operated between 1888 and 1893. There were segregated Bible classes for young men and women, the Presbyterian Women’s Missionary Union, formed in 1892, a cricket club and a floral guild. Guilds teaching physical culture for girls, boys and young men began in 1904. They were entirely financed by John Maclellan and the idea extended to other denominations throughout Victoria. John Maclellan died in 1936 and the guilds ceased at Saint George’s Presbyterian church through lack of funds although in 1977 the members of the girls’ guild were still holding bi-annual reunions and raising money for charity. Sadly, the Presbyterian congregations may have been large in the Nineteenth Century, but by St George's Presbyterian Church's 110th centenary, its doors had already closed during the week due to dwindling numbers and an ageing congregation as a result of the general decline in church attendances after the Second World War exacerbated by the changing nature of St Kilda and the decrease in numbers of residents living in the vicinity of the church. So it stood, forlorn and empty and seemingly nothing more than a relic of a glorious but bygone religious past. However in 1990, Saint Michael's Grammar School across the road leased the Victorian Heritage listed building during weekdays, and it was eventually sold to them in 2015. It now forms part of the school's performing-arts complex, and it has a wonderful new lease of life.

St George's Presbyterian Church is sometimes hired out for performances, and I had the pleasure of receiving an invitation to hear Handel's Messiah performed there in 2009. The ecclesiastical acoustics made the performance all the more magnificent. I remember as I sat on one of the original (hard) kauri pine pews, I looked around me and admired the stained glass and ornamental brickwork. I tried without success over several subsequent years to gain access to the church's interior, settling for photographs of the exterior instead, but it wasn't until 2018 that I was fortunate enough to gain entry to photograph the church's interior. The former St George's Presbyterian Church was opened up to the public for one Sunday morning only as part of Open House Melbourne in July 2018. It was a fantastic morning, and I am very grateful to the staff who manned the church for the day and watched bemused as I photographed the stained glass extensively and in such detail.

Albert Purchas, born in 1825 in Chepstow, Monmouthshire, Wales, was a prominent Nineteenth Century architect who achieved great success for himself in Melbourne. Born to parents Robert Whittlesey Purchas and Marianne Guyon, he migrated to Australia in 1851 to establish himself in the then quickly expanding city of Melbourne, where he set up a small architect's firm in Little Collins Street. He also offered surveying services. His first major building was constructing the mansion "Berkeley Hall" in St Kilda on Princes Street in 1854. The house still exists today. Two years after migrating, Albert designed the layout of the Melbourne General Cemetery in Carlton. It was the first "garden cemetery" in Victoria, and his curvilinear design is still in existence, unaltered, today. In 1854, Albert married Eliza Anne Sawyer (1825 - 1869) in St Kilda. The couple had ten children over their marriage, including a son, Robert, who followed in his father's footsteps as an architect. Albert's brother-in-law, Charles Sawyer joined him in the partnership of Purchas and Sawyer, which existed from 1856 until 1862 in Queens Street. The firm produced more than 140 houses, churches, offices and cemetery buildings including: the nave and transepts of Christ Church St Kilda between 1854 and 1857, "Glenara Homestead"in Bulla in 1857, the Melbourne Savings Bank on the corner of Flinders Lane and Market Street (now demolished) between 1857 and 1858, the Geelong branch of the Bank of Australasia in Malop Street between 1859 and 1860, and Beck's Imperial Hotel in Castlemaine in 1861. When the firm broke up, Albert returned to Little Collins Street, and the best known building he designed during this period was Saint. George's Presbyterian Church in St Kilda East between 1877 and 1880. The church's tall polychomatic brick bell tower is still a local landmark, even in the times of high rise architecture and development, and Saint, George's itself is said to be one of his most striking church designs. Socially, Albert was vice president of the Royal Victorian Institute of Architects for many years, before becoming president in 1887. He was also an inventor and philanthropist. Albert died in 1909 at his home in Kew, a wealthy widower and much loved father.

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 large triple lancet windows in the Chancel of the former Saint George's Presbyterian Church were presented by Lady Margaret McCulloch, second wife of Sir James McCulloch, fifth Premier of Victoria and one of the original founders of the church. Made by Melbourne stained glass manufacturers Ferguson and Urie for the church in 1880, they are perhaps the most beautiful of all the stained glass windows in the church. They are very rich in colour, are quite ornate and would have been very costly to install. The inscription reads: "Presented by Lady McCulloch in Memory of the Loved and Dead."

The centre lancet window picture depicts "Jesus as the Good Shepherd" with a lamb in his arms. The image of Jesus clutching a lamb is commonly found in windows such as these. The image refers to a passage in John's Gospel in the New Testament, wherein Jesus describes himself as the good shepherd. The image of the Good Shepherd is designed to remind parishioners of Jesus' love for all his sheep, even the black ones, and the value that each person has for him. He stands benevolently with his shepherds' crook, clutching the white lamb in the crook of his arm. The lamb's eves are closed and it looks comfortably at peace next to Jesus' breast. At his feet the passages of Mark 10: 13 -14 are referenced: "People were bringing little children to Jesus for him to place his hands on them, but the disciples rebuked them. When Jesus saw this, he was indignant. He said to them, 'Let the little children come to me, and do not hinder them, for the kingdom of God belongs to such as these'."

The outer windows both have a cartouche beautifully depicting a cherubic child of indiscriminate sex with cascading tresses about their face. Such images of children praying were typical in all forms of media during the Victorian era and represent the late Nineteenth Century ideal of piety instilled from a young age. No doubt these two images were meant to instill such thoughts in the children of the congregation, and remind their parents of their parental duty in a Presbyterian household. Both cartouches are flanked above and below by a red quatrefoil with a blue frame, containing green rose boughs and a central white Tudor Rose, representing purity, innocence and yet again, piety. There are also blue quatrefoils with a red frame, containing green rose boughs and a central red, five petal Tudor Rose, representing the five wounds of Jesus Christ from the crucifixion.

The left lancet window depicts a child praying in bed. Beneath is referenced the Biblical passage of Samuel 3 -10: "The Lord came and stood there, calling as at the other times, 'Samuel! Samuel!' Then Samuel said, 'Speak, for your servant is listening'." The child in the cartouche may represent the child Samuel, who looks suitably wide eyed and awe struck to have heard the voice of the Lord as he listens attentively.

The right lancet window depicts Samuel upon his knees praying with his eyes cast upwards. It is based upon "The Infant Samuel" oil painting by Sir Joshua Reynolds painted circa 1776'' which is today held in the collection of the Tate Gallery in London. Whether an intentional design or just a quirk of luck, the child actually looks directly into the face of Jesus in the middle pane. This particular image of Samuel has been reproduced many times in many different medias since the late 1700s. Perhaps more interestingly, "The Infant Samuel" by Sir Joshua Reynolds was used in the first Australian Christmas stamp in 1957, which was a purple four pence stamp, designed and engraved by Mr. Donald Cameron. Beneath the image of Samuel is referenced the Biblical passage of Timothy 3 -15: "and how from infancy you have known the Holy Scriptures, which are able to make you wise for salvation through faith in Christ Jesus".

Lady Margaret McCulloch (née Boak Inglis) (1827 - 1904), was born at Kirkintilloch, Dunbartonshire. The daughter of William Inglis of Wallflat, Dumbartonshire, she was Sir James McCulloch's second wife. She met Sir James by way of her father, who was an associate of Sir James. Sir James McCulloch (1819 - 1893), was a politician and the fifth Premier of Victoria between 1863 and 1868. was born in Born at Glasgow, Scotland, the son of George McCulloch, he grew up in a staunch Presbyterian household. He entered the mercantile house of J. & A. Dennistoun upon the completion of his education. James married Susan Renwick daughter of the Reverend James Renwick a dissenting minister of the Free Church, of Muirton, Forfarshire, Montrose, in 1841. She died at Montrose four years later. As a junior partner James decided to leave Britain and its sad memories, and arrived in Melbourne in 1853 to open a branch of J. & A. Dennistoun with Mr. Robert Sellar. When the branch closed nine years later, McCulloch, Sellar & Co. was formed in connection with Leishman, Inglis & Co. of Leith. Between 1856 and 1857 and again between 1862 and 1863 James was the president of the Melbourne Chamber of Commerce. In addition he was also a local director of the London Chartered Bank. In his last two years in Glasgow he had been collector of the Trades House, an influential educational and charitable institution, and in Melbourne he supported such charities and public causes as the Benevolent Asylum, the Melbourne Hospital and the St Kilda volunteers. James became Premier of Victoria and Chief Secretary in June 1863; in May 1864 he also became the Postmaster-General. James remained in office until September 1869. He took a second wife, Margaret Boak Inglis, daughter of his associate William Inglis of Wallflat, Dumbartonshire, whom he married in Melbourne on the 17th of October 1867. James was knighted in 1870 and made a member of the Most Distinguished Order of Saint Michael and Saint George and Margaret became Lady McCulloch. The newly knighted Sir James McCulloch was Premier of Victoria again between 1870 and 1871 and yet again from 1875 to 1877. During this last period, he passed a bill abolishing all government funding to religious schools, a measure which was supported by all denominations except the Anglicans, since it freed church schools from government supervision. Sir James' government also introduced a bill to create a system of free, secular government schools, but the Catholics and Anglicans joined forces to block it. Tired and disillusioned, he resigned from Parliament in 1878. Residing in St Kilda, it is because of his enthusiasm and liberality that Sir James inspired the founders to think and act in large terms, and establish a proper Presbyterian church in St Kilda which, according to the Saint George's Presbyterian Church's 1876 - 1926 Jubilee Souvenir Book became "a noble edifice of which any denomination might be proud." Sir James became one of Saint George's Presbyterian Church's first elders and trustees. Sir James left for Britain early in 1886 and lived at Garbrand Hall in Ewell, Surrey. Even though he left Australia, he still held a fondness for his beloved Saint George's Presbyterian Church in East St Kilda. In 1890 he inquired what debt still remained on the church, and upon being informed, paid off one half of the amount owing. This was in addition to the countless funds he had already put into the initial Church Building Fund. Sir James died at Garbrand Hall in 1893. He had no children with either his first or second wife. Lady Margaret never ventured back to Australia after her husband's death and lived for the most part in Chislehurst, Kent, where she died in 1904. She bequeathed the sum of £5,000.00 to establish a Sir James McCulloch tutorship in the Theological College of the Presbyterian Church in England. She also bequeathed a painting; "Christ's Lesson in Humility" by English genre painter Charles Robert Leslie (1794 - 1859), and a bust of her late husband to the Melbourne National Gallery (now the National Gallery of Victoria).

The former Saint George's Presbyterian Church, which stands on busy Chapel Street in St Kilda East, is a well known and loved local landmark, not least of all because of its strikingly tall (33.5 metre or 110 foot) banded bell tower which can be spotted from far away. In the Nineteenth Century when it was built, it would have been even more striking for its great height and domineering presence. Designed by architect Albert Purchas, the former Saint George's Presbyterian Church is often referred to as his ecclesiastical tour-de-force, and it is most certainly one of his most dramatic and memorable churches.

The former Saint George's Presbyterian Church was constructed on a plot of land reserved in Chapel Street for the Presbyterian Church of Victoria in 1866. Initially services were held in a small hall whilst fundraising efforts advanced the erection of a church. The architect Albert Purchas was commissioned to design the church and the foundation stone for the western portion of the nave was finally laid in April 1877 by Sir James McCulloch. The first service was held in the church on the 1st of October 1877. The first clergyman of the former Saint George's Presbyterian Church was the Reverend John Laurence Rentoul (father to world renown and much loved Australian children's book illustrator Ida Rentoul Outhwaite). However, the swelling Presbyterian congregation of St Kilda and its surrounding districts quickly outgrew the initial Saint George's Presbyterian Church building, so Albert Purchas was obliged to re-design and enlarge the church to allow a doubling in capacity. Robert S. Ekins was the contractor and his tender was £3000.00. It is this imposing church building, reopened in 1880, that we see today. The "Australasian Sketcher with Pen and Pencil" noted that the total length of the building was 118 feet and 6 inches (36 metres), by 40 foot (12 metres) wide and that the striking octagonal tower to the north-west was 110ft 6 in high. It perhaps reflected better the wealth and aspirations of the congregation.

The former Saint George's Presbyterian Church is constructed on bluestone foundations and is built in an ornate polychromatic Gothic Revival style in the tradition of English designers like William Butterfield and John L. Pearson. Built of red brick building, it is decorated in contrasting cream bricks and Waurn Ponds freestone dressings. It features a slate roof with prominent roof vents, iron ridge cresting and fleche at the intersection of the nave and transepts. The front facade of the church is dominated by the slender, banded octagonal tower topped by a narrow spire. The entrance features a double arched portal portico. The facade also features a dominant triangular epitrochoidal (curved triangular form) rose window. The church, like its bluestone neighbour All Saints Church of England, is built to a T-shaped plan, with an aisleless nave, broad transepts and internal walls of cream brick, relieved with coloured brickwork. The former Saint George's Presbyterian Church was one of the first major church design in Melbourne in which polychrome brickwork was lavishly employed both externally and internally.

The inside of the former Saint George's Presbyterian Church is equally as grand as the exterior, with ornamental Gothic Revival polychromatic brickwork, a lofty vaulted ceiling, deal and kauri pine joinery and pulpit and reredos of Keene's cement. The building originally contained a complete set of Victorian stained glass windows by well known and successful Melbourne manufacturers Ferguson and Urie, all of which remain intact today except for one of the non-figurative windows which was replaced by a memorial window to Samuel Lyons McKenzie, the congregation’s beloved minister, who served from 1930 to 1948, in 1949. The earliest of the Ferguson and Urie windows are non-figurative windows which feature the distinctive diaper pattern and floral motifs of Fergus and Urie's work, and are often argued to be amongst the finest of their non-figurative designs. The large triple window in the chancel was presented by Lady McCulloch in memory of the ‘loved and dead’. Another, in memory of John Kane Smyth, the Vice-Consul for the United States of America in Melbourne, has the American Stars and Stripes on the top ventilator above it. An organ by Thomas C. Lewis of London, one of the leading 19th century English organ builders, was installed in the south transept in 1882. It was designed to blend with its architectural setting, with pipework styled to avoid the obstruction of windows. The action of this organ was altered in 1935, but the pipework, and the original sound, have been retained.

Over the years many spiritual and social activities were instituted at Saint George’s, Presbyterian Church some of short duration such as the Ladies’ Reading Club which operated between 1888 and 1893. There were segregated Bible classes for young men and women, the Presbyterian Women’s Missionary Union, formed in 1892, a cricket club and a floral guild. Guilds teaching physical culture for girls, boys and young men began in 1904. They were entirely financed by John Maclellan and the idea extended to other denominations throughout Victoria. John Maclellan died in 1936 and the guilds ceased at Saint George’s Presbyterian church through lack of funds although in 1977 the members of the girls’ guild were still holding bi-annual reunions and raising money for charity. Sadly, the Presbyterian congregations may have been large in the Nineteenth Century, but by St George's Presbyterian Church's 110th centenary, its doors had already closed during the week due to dwindling numbers and an ageing congregation as a result of the general decline in church attendances after the Second World War exacerbated by the changing nature of St Kilda and the decrease in numbers of residents living in the vicinity of the church. So it stood, forlorn and empty and seemingly nothing more than a relic of a glorious but bygone religious past. However in 1990, Saint Michael's Grammar School across the road leased the Victorian Heritage listed building during weekdays, and it was eventually sold to them in 2015. It now forms part of the school's performing-arts complex, and it has a wonderful new lease of life.

St George's Presbyterian Church is sometimes hired out for performances, and I had the pleasure of receiving an invitation to hear Handel's Messiah performed there in 2009. The ecclesiastical acoustics made the performance all the more magnificent. I remember as I sat on one of the original (hard) kauri pine pews, I looked around me and admired the stained glass and ornamental brickwork. I tried without success over several subsequent years to gain access to the church's interior, settling for photographs of the exterior instead, but it wasn't until 2018 that I was fortunate enough to gain entry to photograph the church's interior. The former St George's Presbyterian Church was opened up to the public for one Sunday morning only as part of Open House Melbourne in July 2018. It was a fantastic morning, and I am very grateful to the staff who manned the church for the day and watched bemused as I photographed the stained glass extensively and in such detail.

Albert Purchas, born in 1825 in Chepstow, Monmouthshire, Wales, was a prominent Nineteenth Century architect who achieved great success for himself in Melbourne. Born to parents Robert Whittlesey Purchas and Marianne Guyon, he migrated to Australia in 1851 to establish himself in the then quickly expanding city of Melbourne, where he set up a small architect's firm in Little Collins Street. He also offered surveying services. His first major building was constructing the mansion "Berkeley Hall" in St Kilda on Princes Street in 1854. The house still exists today. Two years after migrating, Albert designed the layout of the Melbourne General Cemetery in Carlton. It was the first "garden cemetery" in Victoria, and his curvilinear design is still in existence, unaltered, today. In 1854, Albert married Eliza Anne Sawyer (1825 - 1869) in St Kilda. The couple had ten children over their marriage, including a son, Robert, who followed in his father's footsteps as an architect. Albert's brother-in-law, Charles Sawyer joined him in the partnership of Purchas and Sawyer, which existed from 1856 until 1862 in Queens Street. The firm produced more than 140 houses, churches, offices and cemetery buildings including: the nave and transepts of Christ Church St Kilda between 1854 and 1857, "Glenara Homestead"in Bulla in 1857, the Melbourne Savings Bank on the corner of Flinders Lane and Market Street (now demolished) between 1857 and 1858, the Geelong branch of the Bank of Australasia in Malop Street between 1859 and 1860, and Beck's Imperial Hotel in Castlemaine in 1861. When the firm broke up, Albert returned to Little Collins Street, and the best known building he designed during this period was Saint. George's Presbyterian Church in St Kilda East between 1877 and 1880. The church's tall polychomatic brick bell tower is still a local landmark, even in the times of high rise architecture and development, and Saint, George's itself is said to be one of his most striking church designs. Socially, Albert was vice president of the Royal Victorian Institute of Architects for many years, before becoming president in 1887. He was also an inventor and philanthropist. Albert died in 1909 at his home in Kew, a wealthy widower and much loved father.

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 by Melbourne stained glass manufacturer Ferguson and Urie in 1880 for the opening of the former Saint George's Presbyterian Church, these non-figurative stained glass windows features design elements typical of their work. They feature a latticed "diaper" pattern containing stylised floral designs in yellow. They have borders of coloured squares dispersed with stylised flowers, also a common element of Ferguson and Urie's windows. Each lancet window features two diamond shaped panes, one at the top and one at the bottom of the window, and a central round pane of brightly coloured glass, once again featuring either a stylised floral image or a stylised floral image set into an eight pointed star. A round vent at the top features a Tudor Rose sitting in the middle of an eight pointed star of green and golden yellow.

The former Saint George's Presbyterian Church, which stands on busy Chapel Street in St Kilda East, is a well known and loved local landmark, not least of all because of its strikingly tall (33.5 metre or 110 foot) banded bell tower which can be spotted from far away. In the Nineteenth Century when it was built, it would have been even more striking for its great height and domineering presence. Designed by architect Albert Purchas, the former Saint George's Presbyterian Church is often referred to as his ecclesiastical tour-de-force, and it is most certainly one of his most dramatic and memorable churches.

The former Saint George's Presbyterian Church was constructed on a plot of land reserved in Chapel Street for the Presbyterian Church of Victoria in 1866. Initially services were held in a small hall whilst fundraising efforts advanced the erection of a church. The architect Albert Purchas was commissioned to design the church and the foundation stone for the western portion of the nave was finally laid in April 1877 by Sir James McCulloch. The first service was held in the church on the 1st of October 1877. The first clergyman of the former Saint George's Presbyterian Church was the Reverend John Laurence Rentoul (father to world renown and much loved Australian children's book illustrator Ida Rentoul Outhwaite). However, the swelling Presbyterian congregation of St Kilda and its surrounding districts quickly outgrew the initial Saint George's Presbyterian Church building, so Albert Purchas was obliged to re-design and enlarge the church to allow a doubling in capacity. Robert S. Ekins was the contractor and his tender was £3000.00. It is this imposing church building, reopened in 1880, that we see today. The "Australasian Sketcher with Pen and Pencil" noted that the total length of the building was 118 feet and 6 inches (36 metres), by 40 foot (12 metres) wide and that the striking octagonal tower to the north-west was 110ft 6 in high. It perhaps reflected better the wealth and aspirations of the congregation.

The former Saint George's Presbyterian Church is constructed on bluestone foundations and is built in an ornate polychromatic Gothic Revival style in the tradition of English designers like William Butterfield and John L. Pearson. Built of red brick building, it is decorated in contrasting cream bricks and Waurn Ponds freestone dressings. It features a slate roof with prominent roof vents, iron ridge cresting and fleche at the intersection of the nave and transepts. The front facade of the church is dominated by the slender, banded octagonal tower topped by a narrow spire. The entrance features a double arched portal portico. The facade also features a dominant triangular epitrochoidal (curved triangular form) rose window. The church, like its bluestone neighbour All Saints Church of England, is built to a T-shaped plan, with an aisleless nave, broad transepts and internal walls of cream brick, relieved with coloured brickwork. The former Saint George's Presbyterian Church was one of the first major church design in Melbourne in which polychrome brickwork was lavishly employed both externally and internally.

The inside of the former Saint George's Presbyterian Church is equally as grand as the exterior, with ornamental Gothic Revival polychromatic brickwork, a lofty vaulted ceiling, deal and kauri pine joinery and pulpit and reredos of Keene's cement. The building originally contained a complete set of Victorian stained glass windows by well known and successful Melbourne manufacturers Ferguson and Urie, all of which remain intact today except for one of the non-figurative windows which was replaced by a memorial window to Samuel Lyons McKenzie, the congregation’s beloved minister, who served from 1930 to 1948, in 1949. The earliest of the Ferguson and Urie windows are non-figurative windows which feature the distinctive diaper pattern and floral motifs of Fergus and Urie's work, and are often argued to be amongst the finest of their non-figurative designs. The large triple window in the chancel was presented by Lady McCulloch in memory of the ‘loved and dead’. Another, in memory of John Kane Smyth, the Vice-Consul for the United States of America in Melbourne, has the American Stars and Stripes on the top ventilator above it. An organ by Thomas C. Lewis of London, one of the leading 19th century English organ builders, was installed in the south transept in 1882. It was designed to blend with its architectural setting, with pipework styled to avoid the obstruction of windows. The action of this organ was altered in 1935, but the pipework, and the original sound, have been retained.

Over the years many spiritual and social activities were instituted at Saint George’s, Presbyterian Church some of short duration such as the Ladies’ Reading Club which operated between 1888 and 1893. There were segregated Bible classes for young men and women, the Presbyterian Women’s Missionary Union, formed in 1892, a cricket club and a floral guild. Guilds teaching physical culture for girls, boys and young men began in 1904. They were entirely financed by John Maclellan and the idea extended to other denominations throughout Victoria. John Maclellan died in 1936 and the guilds ceased at Saint George’s Presbyterian church through lack of funds although in 1977 the members of the girls’ guild were still holding bi-annual reunions and raising money for charity. Sadly, the Presbyterian congregations may have been large in the Nineteenth Century, but by St George's Presbyterian Church's 110th centenary, its doors had already closed during the week due to dwindling numbers and an ageing congregation as a result of the general decline in church attendances after the Second World War exacerbated by the changing nature of St Kilda and the decrease in numbers of residents living in the vicinity of the church. So it stood, forlorn and empty and seemingly nothing more than a relic of a glorious but bygone religious past. However in 1990, Saint Michael's Grammar School across the road leased the Victorian Heritage listed building during weekdays, and it was eventually sold to them in 2015. It now forms part of the school's performing-arts complex, and it has a wonderful new lease of life.

St George's Presbyterian Church is sometimes hired out for performances, and I had the pleasure of receiving an invitation to hear Handel's Messiah performed there in 2009. The ecclesiastical acoustics made the performance all the more magnificent. I remember as I sat on one of the original (hard) kauri pine pews, I looked around me and admired the stained glass and ornamental brickwork. I tried without success over several subsequent years to gain access to the church's interior, settling for photographs of the exterior instead, but it wasn't until 2018 that I was fortunate enough to gain entry to photograph the church's interior. The former St George's Presbyterian Church was opened up to the public for one Sunday morning only as part of Open House Melbourne in July 2018. It was a fantastic morning, and I am very grateful to the staff who manned the church for the day and watched bemused as I photographed the stained glass extensively and in such detail.

Albert Purchas, born in 1825 in Chepstow, Monmouthshire, Wales, was a prominent Nineteenth Century architect who achieved great success for himself in Melbourne. Born to parents Robert Whittlesey Purchas and Marianne Guyon, he migrated to Australia in 1851 to establish himself in the then quickly expanding city of Melbourne, where he set up a small architect's firm in Little Collins Street. He also offered surveying services. His first major building was constructing the mansion "Berkeley Hall" in St Kilda on Princes Street in 1854. The house still exists today. Two years after migrating, Albert designed the layout of the Melbourne General Cemetery in Carlton. It was the first "garden cemetery" in Victoria, and his curvilinear design is still in existence, unaltered, today. In 1854, Albert married Eliza Anne Sawyer (1825 - 1869) in St Kilda. The couple had ten children over their marriage, including a son, Robert, who followed in his father's footsteps as an architect. Albert's brother-in-law, Charles Sawyer joined him in the partnership of Purchas and Sawyer, which existed from 1856 until 1862 in Queens Street. The firm produced more than 140 houses, churches, offices and cemetery buildings including: the nave and transepts of Christ Church St Kilda between 1854 and 1857, "Glenara Homestead"in Bulla in 1857, the Melbourne Savings Bank on the corner of Flinders Lane and Market Street (now demolished) between 1857 and 1858, the Geelong branch of the Bank of Australasia in Malop Street between 1859 and 1860, and Beck's Imperial Hotel in Castlemaine in 1861. When the firm broke up, Albert returned to Little Collins Street, and the best known building he designed during this period was Saint. George's Presbyterian Church in St Kilda East between 1877 and 1880. The church's tall polychomatic brick bell tower is still a local landmark, even in the times of high rise architecture and development, and Saint, George's itself is said to be one of his most striking church designs. Socially, Albert was vice president of the Royal Victorian Institute of Architects for many years, before becoming president in 1887. He was also an inventor and philanthropist. Albert died in 1909 at his home in Kew, a wealthy widower and much loved father.

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 by Melbourne stained glass manufacturer Ferguson and Urie in 1880 for the opening of the former Saint George's Presbyterian Church, the Kind David stained glass window sits in the southern transept to the left of the altar and the left of the Thomas C. Lewis of London organ. King David is depicted wearing a crown and resting his hand upon a harp. King David is described in the Hebrew Bible as the second king of the United Kingdom of Israel and Judea. He is initially referred to in the bible as a young shepherd who gains fame for his musical talents, and then later for his slaying of Goliath. David becomes King Saul's favourite and is eventually anointed as king after the death of King Saul and his son Jonathan in battle. His window is paired with that of the Prophet Isaiah, who preached to the Israelites following King David's death. The Prophet Isaiah is usually depicted as an old man with a white beard. This window is unusual in the fact that his beard is brown. he does however hold a scroll featuring words from the Book of Isaiah, which is a common attribute of his depiction. Isaiah was married to a woman referred to as "the prophetess" and together they had three sons. Both figures stand against the same background: a "diaper pattern" containing floral designs in yellow. They also feature a border of coloured squares dispersed with stylised flowers with an inner border of brightly coloured circles. Both the background and the border are common elements of Ferguson and Urie's stained glass window work, and match other, non-figurative windows in the nave and transepts of the former Saint George's Presbyterian Church. A round vent window above them features a cross in red glass on a blue and yellow background.

The former Saint George's Presbyterian Church, which stands on busy Chapel Street in St Kilda East, is a well known and loved local landmark, not least of all because of its strikingly tall (33.5 metre or 110 foot) banded bell tower which can be spotted from far away. In the Nineteenth Century when it was built, it would have been even more striking for its great height and domineering presence. Designed by architect Albert Purchas, the former Saint George's Presbyterian Church is often referred to as his ecclesiastical tour-de-force, and it is most certainly one of his most dramatic and memorable churches.

The former Saint George's Presbyterian Church was constructed on a plot of land reserved in Chapel Street for the Presbyterian Church of Victoria in 1866. Initially services were held in a small hall whilst fundraising efforts advanced the erection of a church. The architect Albert Purchas was commissioned to design the church and the foundation stone for the western portion of the nave was finally laid in April 1877 by Sir James McCulloch. The first service was held in the church on the 1st of October 1877. The first clergyman of the former Saint George's Presbyterian Church was the Reverend John Laurence Rentoul (father to world renown and much loved Australian children's book illustrator Ida Rentoul Outhwaite). However, the swelling Presbyterian congregation of St Kilda and its surrounding districts quickly outgrew the initial Saint George's Presbyterian Church building, so Albert Purchas was obliged to re-design and enlarge the church to allow a doubling in capacity. Robert S. Ekins was the contractor and his tender was £3000.00. It is this imposing church building, reopened in 1880, that we see today. The "Australasian Sketcher with Pen and Pencil" noted that the total length of the building was 118 feet and 6 inches (36 metres), by 40 foot (12 metres) wide and that the striking octagonal tower to the north-west was 110ft 6 in high. It perhaps reflected better the wealth and aspirations of the congregation.

The former Saint George's Presbyterian Church is constructed on bluestone foundations and is built in an ornate polychromatic Gothic Revival style in the tradition of English designers like William Butterfield and John L. Pearson. Built of red brick building, it is decorated in contrasting cream bricks and Waurn Ponds freestone dressings. It features a slate roof with prominent roof vents, iron ridge cresting and fleche at the intersection of the nave and transepts. The front facade of the church is dominated by the slender, banded octagonal tower topped by a narrow spire. The entrance features a double arched portal portico. The facade also features a dominant triangular epitrochoidal (curved triangular form) rose window. The church, like its bluestone neighbour All Saints Church of England, is built to a T-shaped plan, with an aisleless nave, broad transepts and internal walls of cream brick, relieved with coloured brickwork. The former Saint George's Presbyterian Church was one of the first major church design in Melbourne in which polychrome brickwork was lavishly employed both externally and internally.

The inside of the former Saint George's Presbyterian Church is equally as grand as the exterior, with ornamental Gothic Revival polychromatic brickwork, a lofty vaulted ceiling, deal and kauri pine joinery and pulpit and reredos of Keene's cement. The building originally contained a complete set of Victorian stained glass windows by well known and successful Melbourne manufacturers Ferguson and Urie, all of which remain intact today except for one of the non-figurative windows which was replaced by a memorial window to Samuel Lyons McKenzie, the congregation’s beloved minister, who served from 1930 to 1948, in 1949. The earliest of the Ferguson and Urie windows are non-figurative windows which feature the distinctive diaper pattern and floral motifs of Fergus and Urie's work, and are often argued to be amongst the finest of their non-figurative designs. The large triple window in the chancel was presented by Lady McCulloch in memory of the ‘loved and dead’. Another, in memory of John Kane Smyth, the Vice-Consul for the United States of America in Melbourne, has the American Stars and Stripes on the top ventilator above it. An organ by Thomas C. Lewis of London, one of the leading 19th century English organ builders, was installed in the south transept in 1882. It was designed to blend with its architectural setting, with pipework styled to avoid the obstruction of windows. The action of this organ was altered in 1935, but the pipework, and the original sound, have been retained.

Over the years many spiritual and social activities were instituted at Saint George’s, Presbyterian Church some of short duration such as the Ladies’ Reading Club which operated between 1888 and 1893. There were segregated Bible classes for young men and women, the Presbyterian Women’s Missionary Union, formed in 1892, a cricket club and a floral guild. Guilds teaching physical culture for girls, boys and young men began in 1904. They were entirely financed by John Maclellan and the idea extended to other denominations throughout Victoria. John Maclellan died in 1936 and the guilds ceased at Saint George’s Presbyterian church through lack of funds although in 1977 the members of the girls’ guild were still holding bi-annual reunions and raising money for charity. Sadly, the Presbyterian congregations may have been large in the Nineteenth Century, but by St George's Presbyterian Church's 110th centenary, its doors had already closed during the week due to dwindling numbers and an ageing congregation as a result of the general decline in church attendances after the Second World War exacerbated by the changing nature of St Kilda and the decrease in numbers of residents living in the vicinity of the church. So it stood, forlorn and empty and seemingly nothing more than a relic of a glorious but bygone religious past. However in 1990, Saint Michael's Grammar School across the road leased the Victorian Heritage listed building during weekdays, and it was eventually sold to them in 2015. It now forms part of the school's performing-arts complex, and it has a wonderful new lease of life.

St George's Presbyterian Church is sometimes hired out for performances, and I had the pleasure of receiving an invitation to hear Handel's Messiah performed there in 2009. The ecclesiastical acoustics made the performance all the more magnificent. I remember as I sat on one of the original (hard) kauri pine pews, I looked around me and admired the stained glass and ornamental brickwork. I tried without success over several subsequent years to gain access to the church's interior, settling for photographs of the exterior instead, but it wasn't until 2018 that I was fortunate enough to gain entry to photograph the church's interior. The former St George's Presbyterian Church was opened up to the public for one Sunday morning only as part of Open House Melbourne in July 2018. It was a fantastic morning, and I am very grateful to the staff who manned the church for the day and watched bemused as I photographed the stained glass extensively and in such detail.

Albert Purchas, born in 1825 in Chepstow, Monmouthshire, Wales, was a prominent Nineteenth Century architect who achieved great success for himself in Melbourne. Born to parents Robert Whittlesey Purchas and Marianne Guyon, he migrated to Australia in 1851 to establish himself in the then quickly expanding city of Melbourne, where he set up a small architect's firm in Little Collins Street. He also offered surveying services. His first major building was constructing the mansion "Berkeley Hall" in St Kilda on Princes Street in 1854. The house still exists today. Two years after migrating, Albert designed the layout of the Melbourne General Cemetery in Carlton. It was the first "garden cemetery" in Victoria, and his curvilinear design is still in existence, unaltered, today. In 1854, Albert married Eliza Anne Sawyer (1825 - 1869) in St Kilda. The couple had ten children over their marriage, including a son, Robert, who followed in his father's footsteps as an architect. Albert's brother-in-law, Charles Sawyer joined him in the partnership of Purchas and Sawyer, which existed from 1856 until 1862 in Queens Street. The firm produced more than 140 houses, churches, offices and cemetery buildings including: the nave and transepts of Christ Church St Kilda between 1854 and 1857, "Glenara Homestead"in Bulla in 1857, the Melbourne Savings Bank on the corner of Flinders Lane and Market Street (now demolished) between 1857 and 1858, the Geelong branch of the Bank of Australasia in Malop Street between 1859 and 1860, and Beck's Imperial Hotel in Castlemaine in 1861. When the firm broke up, Albert returned to Little Collins Street, and the best known building he designed during this period was Saint. George's Presbyterian Church in St Kilda East between 1877 and 1880. The church's tall polychomatic brick bell tower is still a local landmark, even in the times of high rise architecture and development, and Saint, George's itself is said to be one of his most striking church designs. Socially, Albert was vice president of the Royal Victorian Institute of Architects for many years, before becoming president in 1887. He was also an inventor and philanthropist. Albert died in 1909 at his home in Kew, a wealthy widower and much loved father.

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 1910 by Melbourne stained glass manufacturer Ferguson and Urie, the Saint Simon Peter stained glass window may be found in the western wall of the north transept of the former Saint George's Presbyterian Church. Dedicated to the memory of Alexander Purves MacAdam it is installed next to a stained glass window dedicated to his wife Barbara who preceded him in death in 1904. The 1904 Saint Andrew stained glass window dedicated to the memory of Barbara Purves MacAdam features Saint Andrew. Both windows were presented by their daughters Maggie and Effie MacAdam.

Saint Simon Peter (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. He holds in his right hand his most commonly recognised symbols; the Keys to Heaven, in this case two, one executed in silver and the other gold. Traditionally he is portrayed in papal vestments with a white beard, however in this window he has a brown beard and is dressed elegantly, but his robes would hardly be classified as papal. The pane below Saint Simon Peter features a biblical quote from Matthew XVI - 16: "Simon Peter said - Thou art the Christ and the Son of the living God."

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 stained glass window is very similar in design and has a similar colour scheme to an earlier Saint Andrew Window created by Ferguson and Urie at Christ Church, Brunswick. The pane below Saint Andrew features a biblical quote from John I - 41 - 42: "Andrew bindeth his own brother Simon and brought him to Jesus." '

The Saint George's Presbyterian Church's 1876 - 1926 Jubilee Souvenir Book identifies Mr. Alexander Purves MacAdam as "Another of the pioneers of our Church, being a member of the first Board of Management. In I88I he was elected Treasurer, and held this office until 1885. He was a Trustee until 1905. Mr. MacAdam was a liberal contributor to Church funds for many years."

The former Saint George's Presbyterian Church, which stands on busy Chapel Street in St Kilda East, is a well known and loved local landmark, not least of all because of its strikingly tall (33.5 metre or 110 foot) banded bell tower which can be spotted from far away. In the Nineteenth Century when it was built, it would have been even more striking for its great height and domineering presence. Designed by architect Albert Purchas, the former Saint George's Presbyterian Church is often referred to as his ecclesiastical tour-de-force, and it is most certainly one of his most dramatic and memorable churches.

The former Saint George's Presbyterian Church was constructed on a plot of land reserved in Chapel Street for the Presbyterian Church of Victoria in 1866. Initially services were held in a small hall whilst fundraising efforts advanced the erection of a church. The architect Albert Purchas was commissioned to design the church and the foundation stone for the western portion of the nave was finally laid in April 1877 by Sir James McCulloch. The first service was held in the church on the 1st of October 1877. The first clergyman of the former Saint George's Presbyterian Church was the Reverend John Laurence Rentoul (father to world renown and much loved Australian children's book illustrator Ida Rentoul Outhwaite). However, the swelling Presbyterian congregation of St Kilda and its surrounding districts quickly outgrew the initial Saint George's Presbyterian Church building, so Albert Purchas was obliged to re-design and enlarge the church to allow a doubling in capacity. Robert S. Ekins was the contractor and his tender was £3000.00. It is this imposing church building, reopened in 1880, that we see today. The "Australasian Sketcher with Pen and Pencil" noted that the total length of the building was 118 feet and 6 inches (36 metres), by 40 foot (12 metres) wide and that the striking octagonal tower to the north-west was 110ft 6 in high. It perhaps reflected better the wealth and aspirations of the congregation.

The former Saint George's Presbyterian Church is constructed on bluestone foundations and is built in an ornate polychromatic Gothic Revival style in the tradition of English designers like William Butterfield and John L. Pearson. Built of red brick building, it is decorated in contrasting cream bricks and Waurn Ponds freestone dressings. It features a slate roof with prominent roof vents, iron ridge cresting and fleche at the intersection of the nave and transepts. The front facade of the church is dominated by the slender, banded octagonal tower topped by a narrow spire. The entrance features a double arched portal portico. The facade also features a dominant triangular epitrochoidal (curved triangular form) rose window. The church, like its bluestone neighbour All Saints Church of England, is built to a T-shaped plan, with an aisleless nave, broad transepts and internal walls of cream brick, relieved with coloured brickwork. The former Saint George's Presbyterian Church was one of the first major church design in Melbourne in which polychrome brickwork was lavishly employed both externally and internally.

The inside of the former Saint George's Presbyterian Church is equally as grand as the exterior, with ornamental Gothic Revival polychromatic brickwork, a lofty vaulted ceiling, deal and kauri pine joinery and pulpit and reredos of Keene's cement. The building originally contained a complete set of Victorian stained glass windows by well known and successful Melbourne manufacturers Ferguson and Urie, all of which remain intact today except for one of the non-figurative windows which was replaced by a memorial window to Samuel Lyons McKenzie, the congregation’s beloved minister, who served from 1930 to 1948, in 1949. The earliest of the Ferguson and Urie windows are non-figurative windows which feature the distinctive diaper pattern and floral motifs of Fergus and Urie's work, and are often argued to be amongst the finest of their non-figurative designs. The large triple window in the chancel was presented by Lady McCulloch in memory of the ‘loved and dead’. Another, in memory of John Kane Smyth, the Vice-Consul for the United States of America in Melbourne, has the American Stars and Stripes on the top ventilator above it. An organ by Thomas C. Lewis of London, one of the leading 19th century English organ builders, was installed in the south transept in 1882. It was designed to blend with its architectural setting, with pipework styled to avoid the obstruction of windows. The action of this organ was altered in 1935, but the pipework, and the original sound, have been retained.

Over the years many spiritual and social activities were instituted at Saint George’s, Presbyterian Church some of short duration such as the Ladies’ Reading Club which operated between 1888 and 1893. There were segregated Bible classes for young men and women, the Presbyterian Women’s Missionary Union, formed in 1892, a cricket club and a floral guild. Guilds teaching physical culture for girls, boys and young men began in 1904. They were entirely financed by John Maclellan and the idea extended to other denominations throughout Victoria. John Maclellan died in 1936 and the guilds ceased at Saint George’s Presbyterian church through lack of funds although in 1977 the members of the girls’ guild were still holding bi-annual reunions and raising money for charity. Sadly, the Presbyterian congregations may have been large in the Nineteenth Century, but by St George's Presbyterian Church's 110th centenary, its doors had already closed during the week due to dwindling numbers and an ageing congregation as a result of the general decline in church attendances after the Second World War exacerbated by the changing nature of St Kilda and the decrease in numbers of residents living in the vicinity of the church. So it stood, forlorn and empty and seemingly nothing more than a relic of a glorious but bygone religious past. However in 1990, Saint Michael's Grammar School across the road leased the Victorian Heritage listed building during weekdays, and it was eventually sold to them in 2015. It now forms part of the school's performing-arts complex, and it has a wonderful new lease of life.

St George's Presbyterian Church is sometimes hired out for performances, and I had the pleasure of receiving an invitation to hear Handel's Messiah performed there in 2009. The ecclesiastical acoustics made the performance all the more magnificent. I remember as I sat on one of the original (hard) kauri pine pews, I looked around me and admired the stained glass and ornamental brickwork. I tried without success over several subsequent years to gain access to the church's interior, settling for photographs of the exterior instead, but it wasn't until 2018 that I was fortunate enough to gain entry to photograph the church's interior. The former St George's Presbyterian Church was opened up to the public for one Sunday morning only as part of Open House Melbourne in July 2018. It was a fantastic morning, and I am very grateful to the staff who manned the church for the day and watched bemused as I photographed the stained glass extensively and in such detail.

Albert Purchas, born in 1825 in Chepstow, Monmouthshire, Wales, was a prominent Nineteenth Century architect who achieved great success for himself in Melbourne. Born to parents Robert Whittlesey Purchas and Marianne Guyon, he migrated to Australia in 1851 to establish himself in the then quickly expanding city of Melbourne, where he set up a small architect's firm in Little Collins Street. He also offered surveying services. His first major building was constructing the mansion "Berkeley Hall" in St Kilda on Princes Street in 1854. The house still exists today. Two years after migrating, Albert designed the layout of the Melbourne General Cemetery in Carlton. It was the first "garden cemetery" in Victoria, and his curvilinear design is still in existence, unaltered, today. In 1854, Albert married Eliza Anne Sawyer (1825 - 1869) in St Kilda. The couple had ten children over their marriage, including a son, Robert, who followed in his father's footsteps as an architect. Albert's brother-in-law, Charles Sawyer joined him in the partnership of Purchas and Sawyer, which existed from 1856 until 1862 in Queens Street. The firm produced more than 140 houses, churches, offices and cemetery buildings including: the nave and transepts of Christ Church St Kilda between 1854 and 1857, "Glenara Homestead"in Bulla in 1857, the Melbourne Savings Bank on the corner of Flinders Lane and Market Street (now demolished) between 1857 and 1858, the Geelong branch of the Bank of Australasia in Malop Street between 1859 and 1860, and Beck's Imperial Hotel in Castlemaine in 1861. When the firm broke up, Albert returned to Little Collins Street, and the best known building he designed during this period was Saint. George's Presbyterian Church in St Kilda East between 1877 and 1880. The church's tall polychomatic brick bell tower is still a local landmark, even in the times of high rise architecture and development, and Saint, George's itself is said to be one of his most striking church designs. Socially, Albert was vice president of the Royal Victorian Institute of Architects for many years, before becoming president in 1887. He was also an inventor and philanthropist. Albert died in 1909 at his home in Kew, a wealthy widower and much loved father.

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 former Saint George's Presbyterian Church, which stands on busy Chapel Street in St Kilda East, is a well known and loved local landmark, not least of all because of its strikingly tall (33.5 metre or 110 foot) banded bell tower which can be spotted from far away. In the Nineteenth Century when it was built, it would have been even more striking for its great height and domineering presence. Designed by architect Albert Purchas, the former Saint George's Presbyterian Church is often referred to as his ecclesiastical tour-de-force, and it is most certainly one of his most dramatic and memorable churches.

The former Saint George's Presbyterian Church was constructed on a plot of land reserved in Chapel Street for the Presbyterian Church of Victoria in 1866. Initially services were held in a small hall whilst fundraising efforts advanced the erection of a church. The architect Albert Purchas was commissioned to design the church and the foundation stone for the western portion of the nave was finally laid in April 1877 by Sir James McCulloch. The first service was held in the church on the 1st of October 1877. The first clergyman of the former Saint George's Presbyterian Church was the Reverend John Laurence Rentoul (father to world renown and much loved Australian children's book illustrator Ida Rentoul Outhwaite). However, the swelling Presbyterian congregation of St Kilda and its surrounding districts quickly outgrew the initial Saint George's Presbyterian Church building, so Albert Purchas was obliged to re-design and enlarge the church to allow a doubling in capacity. Robert S. Ekins was the contractor and his tender was £3000.00. It is this imposing church building, reopened in 1880, that we see today. The "Australasian Sketcher with Pen and Pencil" noted that the total length of the building was 118 feet and 6 inches (36 metres), by 40 foot (12 metres) wide and that the striking octagonal tower to the north-west was 110ft 6 in high. It perhaps reflected better the wealth and aspirations of the congregation.

The former Saint George's Presbyterian Church is constructed on bluestone foundations and is built in an ornate polychromatic Gothic Revival style in the tradition of English designers like William Butterfield and John L. Pearson. Built of red brick building, it is decorated in contrasting cream bricks and Waurn Ponds freestone dressings. It features a slate roof with prominent roof vents, iron ridge cresting and fleche at the intersection of the nave and transepts. The front facade of the church is dominated by the slender, banded octagonal tower topped by a narrow spire. The entrance features a double arched portal portico. The facade also features a dominant triangular epitrochoidal (curved triangular form) rose window. The church, like its bluestone neighbour All Saints Church of England, is built to a T-shaped plan, with an aisleless nave, broad transepts and internal walls of cream brick, relieved with coloured brickwork. The former Saint George's Presbyterian Church was one of the first major church design in Melbourne in which polychrome brickwork was lavishly employed both externally and internally.

The inside of the former Saint George's Presbyterian Church is equally as grand as the exterior, with ornamental Gothic Revival polychromatic brickwork, a lofty vaulted ceiling, deal and kauri pine joinery and pulpit and reredos of Keene's cement. The building originally contained a complete set of Victorian stained glass windows by well known and successful Melbourne manufacturers Ferguson and Urie, all of which remain intact today except for one of the non-figurative windows which was replaced by a memorial window to Samuel Lyons McKenzie, the congregation’s beloved minister, who served from 1930 to 1948, in 1949. The earliest of the Ferguson and Urie windows are non-figurative windows which feature the distinctive diaper pattern and floral motifs of Fergus and Urie's work, and are often argued to be amongst the finest of their non-figurative designs. The large triple window in the chancel was presented by Lady McCulloch in memory of the ‘loved and dead’. Another, in memory of John Kane Smyth, the Vice-Consul for the United States of America in Melbourne, has the American Stars and Stripes on the top ventilator above it. An organ by Thomas C. Lewis of London, one of the leading 19th century English organ builders, was installed in the south transept in 1882. It was designed to blend with its architectural setting, with pipework styled to avoid the obstruction of windows. The action of this organ was altered in 1935, but the pipework, and the original sound, have been retained.

Over the years many spiritual and social activities were instituted at Saint George’s, Presbyterian Church some of short duration such as the Ladies’ Reading Club which operated between 1888 and 1893. There were segregated Bible classes for young men and women, the Presbyterian Women’s Missionary Union, formed in 1892, a cricket club and a floral guild. Guilds teaching physical culture for girls, boys and young men began in 1904. They were entirely financed by John Maclellan and the idea extended to other denominations throughout Victoria. John Maclellan died in 1936 and the guilds ceased at Saint George’s Presbyterian church through lack of funds although in 1977 the members of the girls’ guild were still holding bi-annual reunions and raising money for charity. Sadly, the Presbyterian congregations may have been large in the Nineteenth Century, but by St George's Presbyterian Church's 110th centenary, its doors had already closed during the week due to dwindling numbers and an ageing congregation as a result of the general decline in church attendances after the Second World War exacerbated by the changing nature of St Kilda and the decrease in numbers of residents living in the vicinity of the church. So it stood, forlorn and empty and seemingly nothing more than a relic of a glorious but bygone religious past. However in 1990, Saint Michael's Grammar School across the road leased the Victorian Heritage listed building during weekdays, and it was eventually sold to them in 2015. It now forms part of the school's performing-arts complex, and it has a wonderful new lease of life.

St George's Presbyterian Church is sometimes hired out for performances, and I had the pleasure of receiving an invitation to hear Handel's Messiah performed there in 2009. The ecclesiastical acoustics made the performance all the more magnificent. I remember as I sat on one of the original (hard) kauri pine pews, I looked around me and admired the stained glass and ornamental brickwork. I tried without success over several subsequent years to gain access to the church's interior, settling for photographs of the exterior instead, but it wasn't until 2018 that I was fortunate enough to gain entry to photograph the church's interior. The former St George's Presbyterian Church was opened up to the public for one Sunday morning only as part of Open House Melbourne in July 2018. It was a fantastic morning, and I am very grateful to the staff who manned the church for the day and watched bemused as I photographed the stained glass extensively and in such detail.

Albert Purchas, born in 1825 in Chepstow, Monmouthshire, Wales, was a prominent Nineteenth Century architect who achieved great success for himself in Melbourne. Born to parents Robert Whittlesey Purchas and Marianne Guyon, he migrated to Australia in 1851 to establish himself in the then quickly expanding city of Melbourne, where he set up a small architect's firm in Little Collins Street. He also offered surveying services. His first major building was constructing the mansion "Berkeley Hall" in St Kilda on Princes Street in 1854. The house still exists today. Two years after migrating, Albert designed the layout of the Melbourne General Cemetery in Carlton. It was the first "garden cemetery" in Victoria, and his curvilinear design is still in existence, unaltered, today. In 1854, Albert married Eliza Anne Sawyer (1825 - 1869) in St Kilda. The couple had ten children over their marriage, including a son, Robert, who followed in his father's footsteps as an architect. Albert's brother-in-law, Charles Sawyer joined him in the partnership of Purchas and Sawyer, which existed from 1856 until 1862 in Queens Street. The firm produced more than 140 houses, churches, offices and cemetery buildings including: the nave and transepts of Christ Church St Kilda between 1854 and 1857, "Glenara Homestead"in Bulla in 1857, the Melbourne Savings Bank on the corner of Flinders Lane and Market Street (now demolished) between 1857 and 1858, the Geelong branch of the Bank of Australasia in Malop Street between 1859 and 1860, and Beck's Imperial Hotel in Castlemaine in 1861. When the firm broke up, Albert returned to Little Collins Street, and the best known building he designed during this period was Saint. George's Presbyterian Church in St Kilda East between 1877 and 1880. The church's tall polychomatic brick bell tower is still a local landmark, even in the times of high rise architecture and development, and Saint, George's itself is said to be one of his most striking church designs. Socially, Albert was vice president of the Royal Victorian Institute of Architects for many years, before becoming president in 1887. He was also an inventor and philanthropist. Albert died in 1909 at his home in Kew, a wealthy widower and much loved father.

The Queen Victoria Building (QVB) is a late 19th century, Romanesque Revival building. It was designed by the architect George McRae (1858 - 1923), a Scottish architect who migrated to Australia and became Government Architect of the State of New South Wales. The building is large - 190 metres long and 30 metres wide - and stands in the heart of the Central Business District of Sydney, Australia. Though it is an architectural gem worthy of admiration, It is also really a good place for some classy shopping...

Created by Melbourne stained glass manufacturer Ferguson and Urie in 1880 for the opening of the former Saint George's Presbyterian Church, this non-figurative stained glass window features design elements typical of their work. It features a latticed "diaper" pattern containing stylised floral designs in yellow. It has a border of coloured squares dispersed with stylised flowers, also a common element of Ferguson and Urie's windows. Each lancet window features two diamond shaped panes, one at the top and one at the bottom of the window, and a central round pane of brightly coloured glass, once again featuring a stylised floral image. A round vent at the top features a Tudor Rose sitting in the middle of an eight pointed star of green and golden yellow.

The former Saint George's Presbyterian Church, which stands on busy Chapel Street in St Kilda East, is a well known and loved local landmark, not least of all because of its strikingly tall (33.5 metre or 110 foot) banded bell tower which can be spotted from far away. In the Nineteenth Century when it was built, it would have been even more striking for its great height and domineering presence. Designed by architect Albert Purchas, the former Saint George's Presbyterian Church is often referred to as his ecclesiastical tour-de-force, and it is most certainly one of his most dramatic and memorable churches.

The former Saint George's Presbyterian Church was constructed on a plot of land reserved in Chapel Street for the Presbyterian Church of Victoria in 1866. Initially services were held in a small hall whilst fundraising efforts advanced the erection of a church. The architect Albert Purchas was commissioned to design the church and the foundation stone for the western portion of the nave was finally laid in April 1877 by Sir James McCulloch. The first service was held in the church on the 1st of October 1877. The first clergyman of the former Saint George's Presbyterian Church was the Reverend John Laurence Rentoul (father to world renown and much loved Australian children's book illustrator Ida Rentoul Outhwaite). However, the swelling Presbyterian congregation of St Kilda and its surrounding districts quickly outgrew the initial Saint George's Presbyterian Church building, so Albert Purchas was obliged to re-design and enlarge the church to allow a doubling in capacity. Robert S. Ekins was the contractor and his tender was £3000.00. It is this imposing church building, reopened in 1880, that we see today. The "Australasian Sketcher with Pen and Pencil" noted that the total length of the building was 118 feet and 6 inches (36 metres), by 40 foot (12 metres) wide and that the striking octagonal tower to the north-west was 110ft 6 in high. It perhaps reflected better the wealth and aspirations of the congregation.

The former Saint George's Presbyterian Church is constructed on bluestone foundations and is built in an ornate polychromatic Gothic Revival style in the tradition of English designers like William Butterfield and John L. Pearson. Built of red brick building, it is decorated in contrasting cream bricks and Waurn Ponds freestone dressings. It features a slate roof with prominent roof vents, iron ridge cresting and fleche at the intersection of the nave and transepts. The front facade of the church is dominated by the slender, banded octagonal tower topped by a narrow spire. The entrance features a double arched portal portico. The facade also features a dominant triangular epitrochoidal (curved triangular form) rose window. The church, like its bluestone neighbour All Saints Church of England, is built to a T-shaped plan, with an aisleless nave, broad transepts and internal walls of cream brick, relieved with coloured brickwork. The former Saint George's Presbyterian Church was one of the first major church design in Melbourne in which polychrome brickwork was lavishly employed both externally and internally.

The inside of the former Saint George's Presbyterian Church is equally as grand as the exterior, with ornamental Gothic Revival polychromatic brickwork, a lofty vaulted ceiling, deal and kauri pine joinery and pulpit and reredos of Keene's cement. The building originally contained a complete set of Victorian stained glass windows by well known and successful Melbourne manufacturers Ferguson and Urie, all of which remain intact today except for one of the non-figurative windows which was replaced by a memorial window to Samuel Lyons McKenzie, the congregation’s beloved minister, who served from 1930 to 1948, in 1949. The earliest of the Ferguson and Urie windows are non-figurative windows which feature the distinctive diaper pattern and floral motifs of Fergus and Urie's work, and are often argued to be amongst the finest of their non-figurative designs. The large triple window in the chancel was presented by Lady McCulloch in memory of the ‘loved and dead’. Another, in memory of John Kane Smyth, the Vice-Consul for the United States of America in Melbourne, has the American Stars and Stripes on the top ventilator above it. An organ by Thomas C. Lewis of London, one of the leading 19th century English organ builders, was installed in the south transept in 1882. It was designed to blend with its architectural setting, with pipework styled to avoid the obstruction of windows. The action of this organ was altered in 1935, but the pipework, and the original sound, have been retained.

Over the years many spiritual and social activities were instituted at Saint George’s, Presbyterian Church some of short duration such as the Ladies’ Reading Club which operated between 1888 and 1893. There were segregated Bible classes for young men and women, the Presbyterian Women’s Missionary Union, formed in 1892, a cricket club and a floral guild. Guilds teaching physical culture for girls, boys and young men began in 1904. They were entirely financed by John Maclellan and the idea extended to other denominations throughout Victoria. John Maclellan died in 1936 and the guilds ceased at Saint George’s Presbyterian church through lack of funds although in 1977 the members of the girls’ guild were still holding bi-annual reunions and raising money for charity. Sadly, the Presbyterian congregations may have been large in the Nineteenth Century, but by St George's Presbyterian Church's 110th centenary, its doors had already closed during the week due to dwindling numbers and an ageing congregation as a result of the general decline in church attendances after the Second World War exacerbated by the changing nature of St Kilda and the decrease in numbers of residents living in the vicinity of the church. So it stood, forlorn and empty and seemingly nothing more than a relic of a glorious but bygone religious past. However in 1990, Saint Michael's Grammar School across the road leased the Victorian Heritage listed building during weekdays, and it was eventually sold to them in 2015. It now forms part of the school's performing-arts complex, and it has a wonderful new lease of life.

St George's Presbyterian Church is sometimes hired out for performances, and I had the pleasure of receiving an invitation to hear Handel's Messiah performed there in 2009. The ecclesiastical acoustics made the performance all the more magnificent. I remember as I sat on one of the original (hard) kauri pine pews, I looked around me and admired the stained glass and ornamental brickwork. I tried without success over several subsequent years to gain access to the church's interior, settling for photographs of the exterior instead, but it wasn't until 2018 that I was fortunate enough to gain entry to photograph the church's interior. The former St George's Presbyterian Church was opened up to the public for one Sunday morning only as part of Open House Melbourne in July 2018. It was a fantastic morning, and I am very grateful to the staff who manned the church for the day and watched bemused as I photographed the stained glass extensively and in such detail.

Albert Purchas, born in 1825 in Chepstow, Monmouthshire, Wales, was a prominent Nineteenth Century architect who achieved great success for himself in Melbourne. Born to parents Robert Whittlesey Purchas and Marianne Guyon, he migrated to Australia in 1851 to establish himself in the then quickly expanding city of Melbourne, where he set up a small architect's firm in Little Collins Street. He also offered surveying services. His first major building was constructing the mansion "Berkeley Hall" in St Kilda on Princes Street in 1854. The house still exists today. Two years after migrating, Albert designed the layout of the Melbourne General Cemetery in Carlton. It was the first "garden cemetery" in Victoria, and his curvilinear design is still in existence, unaltered, today. In 1854, Albert married Eliza Anne Sawyer (1825 - 1869) in St Kilda. The couple had ten children over their marriage, including a son, Robert, who followed in his father's footsteps as an architect. Albert's brother-in-law, Charles Sawyer joined him in the partnership of Purchas and Sawyer, which existed from 1856 until 1862 in Queens Street. The firm produced more than 140 houses, churches, offices and cemetery buildings including: the nave and transepts of Christ Church St Kilda between 1854 and 1857, "Glenara Homestead"in Bulla in 1857, the Melbourne Savings Bank on the corner of Flinders Lane and Market Street (now demolished) between 1857 and 1858, the Geelong branch of the Bank of Australasia in Malop Street between 1859 and 1860, and Beck's Imperial Hotel in Castlemaine in 1861. When the firm broke up, Albert returned to Little Collins Street, and the best known building he designed during this period was Saint. George's Presbyterian Church in St Kilda East between 1877 and 1880. The church's tall polychomatic brick bell tower is still a local landmark, even in the times of high rise architecture and development, and Saint, George's itself is said to be one of his most striking church designs. Socially, Albert was vice president of the Royal Victorian Institute of Architects for many years, before becoming president in 1887. He was also an inventor and philanthropist. Albert died in 1909 at his home in Kew, a wealthy widower and much loved father.

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 1910 by Melbourne stained glass manufacturer Ferguson and Urie, the Saint Simon Peter stained glass window and its pair the Saint Andrew stained glass window may be found in the western wall of the north transept of the former Saint George's Presbyterian Church. Dedicated to the memory of Alexander Purves MacAdam the Saint Simon Peter stained glass window is installed next to the Saint Andrew stained glass window which is dedicated to his wife Barbara who preceded him in death in 1904. Both windows were presented by their daughters Maggie and Effie MacAdam.

Saint Simon Peter (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. He holds in his right hand his most commonly recognised symbols; the Keys to Heaven, in this case two, one executed in silver and the other gold. Traditionally he is portrayed in papal vestments with a white beard, however in this window he has a brown beard and is dressed elegantly, but his robes would hardly be classified as papal. The pane below Saint Simon Peter features a biblical quote from Matthew XVI - 16: "Simon Peter said - Thou art the Christ and the Son of the living God."

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 stained glass window is very similar in design and has a similar colour scheme to an earlier Saint Andrew Window created by Ferguson and Urie at Christ Church, Brunswick. The pane below Saint Andrew features a biblical quote from John I - 41 - 42: "Andrew bindeth his own brother Simon and brought him to Jesus."

The Saint George's Presbyterian Church's 1876 - 1926 Jubilee Souvenir Book identifies Mr. Alexander Purves MacAdam as "Another of the pioneers of our Church, being a member of the first Board of Management. In I88I he was elected Treasurer, and held this office until 1885. He was a Trustee until 1905. Mr. MacAdam was a liberal contributor to Church funds for many years."

The former Saint George's Presbyterian Church, which stands on busy Chapel Street in St Kilda East, is a well known and loved local landmark, not least of all because of its strikingly tall (33.5 metre or 110 foot) banded bell tower which can be spotted from far away. In the Nineteenth Century when it was built, it would have been even more striking for its great height and domineering presence. Designed by architect Albert Purchas, the former Saint George's Presbyterian Church is often referred to as his ecclesiastical tour-de-force, and it is most certainly one of his most dramatic and memorable churches.

The former Saint George's Presbyterian Church was constructed on a plot of land reserved in Chapel Street for the Presbyterian Church of Victoria in 1866. Initially services were held in a small hall whilst fundraising efforts advanced the erection of a church. The architect Albert Purchas was commissioned to design the church and the foundation stone for the western portion of the nave was finally laid in April 1877 by Sir James McCulloch. The first service was held in the church on the 1st of October 1877. The first clergyman of the former Saint George's Presbyterian Church was the Reverend John Laurence Rentoul (father to world renown and much loved Australian children's book illustrator Ida Rentoul Outhwaite). However, the swelling Presbyterian congregation of St Kilda and its surrounding districts quickly outgrew the initial Saint George's Presbyterian Church building, so Albert Purchas was obliged to re-design and enlarge the church to allow a doubling in capacity. Robert S. Ekins was the contractor and his tender was £3000.00. It is this imposing church building, reopened in 1880, that we see today. The "Australasian Sketcher with Pen and Pencil" noted that the total length of the building was 118 feet and 6 inches (36 metres), by 40 foot (12 metres) wide and that the striking octagonal tower to the north-west was 110ft 6 in high. It perhaps reflected better the wealth and aspirations of the congregation.

The former Saint George's Presbyterian Church is constructed on bluestone foundations and is built in an ornate polychromatic Gothic Revival style in the tradition of English designers like William Butterfield and John L. Pearson. Built of red brick building, it is decorated in contrasting cream bricks and Waurn Ponds freestone dressings. It features a slate roof with prominent roof vents, iron ridge cresting and fleche at the intersection of the nave and transepts. The front facade of the church is dominated by the slender, banded octagonal tower topped by a narrow spire. The entrance features a double arched portal portico. The facade also features a dominant triangular epitrochoidal (curved triangular form) rose window. The church, like its bluestone neighbour All Saints Church of England, is built to a T-shaped plan, with an aisleless nave, broad transepts and internal walls of cream brick, relieved with coloured brickwork. The former Saint George's Presbyterian Church was one of the first major church design in Melbourne in which polychrome brickwork was lavishly employed both externally and internally.

The inside of the former Saint George's Presbyterian Church is equally as grand as the exterior, with ornamental Gothic Revival polychromatic brickwork, a lofty vaulted ceiling, deal and kauri pine joinery and pulpit and reredos of Keene's cement. The building originally contained a complete set of Victorian stained glass windows by well known and successful Melbourne manufacturers Ferguson and Urie, all of which remain intact today except for one of the non-figurative windows which was replaced by a memorial window to Samuel Lyons McKenzie, the congregation’s beloved minister, who served from 1930 to 1948, in 1949. The earliest of the Ferguson and Urie windows are non-figurative windows which feature the distinctive diaper pattern and floral motifs of Fergus and Urie's work, and are often argued to be amongst the finest of their non-figurative designs. The large triple window in the chancel was presented by Lady McCulloch in memory of the ‘loved and dead’. Another, in memory of John Kane Smyth, the Vice-Consul for the United States of America in Melbourne, has the American Stars and Stripes on the top ventilator above it. An organ by Thomas C. Lewis of London, one of the leading 19th century English organ builders, was installed in the south transept in 1882. It was designed to blend with its architectural setting, with pipework styled to avoid the obstruction of windows. The action of this organ was altered in 1935, but the pipework, and the original sound, have been retained.

Over the years many spiritual and social activities were instituted at Saint George’s, Presbyterian Church some of short duration such as the Ladies’ Reading Club which operated between 1888 and 1893. There were segregated Bible classes for young men and women, the Presbyterian Women’s Missionary Union, formed in 1892, a cricket club and a floral guild. Guilds teaching physical culture for girls, boys and young men began in 1904. They were entirely financed by John Maclellan and the idea extended to other denominations throughout Victoria. John Maclellan died in 1936 and the guilds ceased at Saint George’s Presbyterian church through lack of funds although in 1977 the members of the girls’ guild were still holding bi-annual reunions and raising money for charity. Sadly, the Presbyterian congregations may have been large in the Nineteenth Century, but by St George's Presbyterian Church's 110th centenary, its doors had already closed during the week due to dwindling numbers and an ageing congregation as a result of the general decline in church attendances after the Second World War exacerbated by the changing nature of St Kilda and the decrease in numbers of residents living in the vicinity of the church. So it stood, forlorn and empty and seemingly nothing more than a relic of a glorious but bygone religious past. However in 1990, Saint Michael's Grammar School across the road leased the Victorian Heritage listed building during weekdays, and it was eventually sold to them in 2015. It now forms part of the school's performing-arts complex, and it has a wonderful new lease of life.

St George's Presbyterian Church is sometimes hired out for performances, and I had the pleasure of receiving an invitation to hear Handel's Messiah performed there in 2009. The ecclesiastical acoustics made the performance all the more magnificent. I remember as I sat on one of the original (hard) kauri pine pews, I looked around me and admired the stained glass and ornamental brickwork. I tried without success over several subsequent years to gain access to the church's interior, settling for photographs of the exterior instead, but it wasn't until 2018 that I was fortunate enough to gain entry to photograph the church's interior. The former St George's Presbyterian Church was opened up to the public for one Sunday morning only as part of Open House Melbourne in July 2018. It was a fantastic morning, and I am very grateful to the staff who manned the church for the day and watched bemused as I photographed the stained glass extensively and in such detail.

Albert Purchas, born in 1825 in Chepstow, Monmouthshire, Wales, was a prominent Nineteenth Century architect who achieved great success for himself in Melbourne. Born to parents Robert Whittlesey Purchas and Marianne Guyon, he migrated to Australia in 1851 to establish himself in the then quickly expanding city of Melbourne, where he set up a small architect's firm in Little Collins Street. He also offered surveying services. His first major building was constructing the mansion "Berkeley Hall" in St Kilda on Princes Street in 1854. The house still exists today. Two years after migrating, Albert designed the layout of the Melbourne General Cemetery in Carlton. It was the first "garden cemetery" in Victoria, and his curvilinear design is still in existence, unaltered, today. In 1854, Albert married Eliza Anne Sawyer (1825 - 1869) in St Kilda. The couple had ten children over their marriage, including a son, Robert, who followed in his father's footsteps as an architect. Albert's brother-in-law, Charles Sawyer joined him in the partnership of Purchas and Sawyer, which existed from 1856 until 1862 in Queens Street. The firm produced more than 140 houses, churches, offices and cemetery buildings including: the nave and transepts of Christ Church St Kilda between 1854 and 1857, "Glenara Homestead"in Bulla in 1857, the Melbourne Savings Bank on the corner of Flinders Lane and Market Street (now demolished) between 1857 and 1858, the Geelong branch of the Bank of Australasia in Malop Street between 1859 and 1860, and Beck's Imperial Hotel in Castlemaine in 1861. When the firm broke up, Albert returned to Little Collins Street, and the best known building he designed during this period was Saint. George's Presbyterian Church in St Kilda East between 1877 and 1880. The church's tall polychomatic brick bell tower is still a local landmark, even in the times of high rise architecture and development, and Saint, George's itself is said to be one of his most striking church designs. Socially, Albert was vice president of the Royal Victorian Institute of Architects for many years, before becoming president in 1887. He was also an inventor and philanthropist. Albert died in 1909 at his home in Kew, a wealthy widower and much loved father.

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 by Melbourne stained glass manufacturer Ferguson and Urie in 1880 for the opening of the former Saint George's Presbyterian Church, this non-figurative stained glass window features design elements typical of their work. It features a latticed "diaper" pattern containing stylised floral designs in yellow. It has a border of coloured squares dispersed with stylised flowers, also a common element of Ferguson and Urie's windows. Each lancet window features two diamond shaped panes, one at the top and one at the bottom of the window, and a central round pane of brightly coloured glass, once again featuring a stylised floral image. A round vent at the top features a Tudor Rose sitting in the middle of an eight pointed star of green and golden yellow.

The former Saint George's Presbyterian Church, which stands on busy Chapel Street in St Kilda East, is a well known and loved local landmark, not least of all because of its strikingly tall (33.5 metre or 110 foot) banded bell tower which can be spotted from far away. In the Nineteenth Century when it was built, it would have been even more striking for its great height and domineering presence. Designed by architect Albert Purchas, the former Saint George's Presbyterian Church is often referred to as his ecclesiastical tour-de-force, and it is most certainly one of his most dramatic and memorable churches.

The former Saint George's Presbyterian Church was constructed on a plot of land reserved in Chapel Street for the Presbyterian Church of Victoria in 1866. Initially services were held in a small hall whilst fundraising efforts advanced the erection of a church. The architect Albert Purchas was commissioned to design the church and the foundation stone for the western portion of the nave was finally laid in April 1877 by Sir James McCulloch. The first service was held in the church on the 1st of October 1877. The first clergyman of the former Saint George's Presbyterian Church was the Reverend John Laurence Rentoul (father to world renown and much loved Australian children's book illustrator Ida Rentoul Outhwaite). However, the swelling Presbyterian congregation of St Kilda and its surrounding districts quickly outgrew the initial Saint George's Presbyterian Church building, so Albert Purchas was obliged to re-design and enlarge the church to allow a doubling in capacity. Robert S. Ekins was the contractor and his tender was £3000.00. It is this imposing church building, reopened in 1880, that we see today. The "Australasian Sketcher with Pen and Pencil" noted that the total length of the building was 118 feet and 6 inches (36 metres), by 40 foot (12 metres) wide and that the striking octagonal tower to the north-west was 110ft 6 in high. It perhaps reflected better the wealth and aspirations of the congregation.

The former Saint George's Presbyterian Church is constructed on bluestone foundations and is built in an ornate polychromatic Gothic Revival style in the tradition of English designers like William Butterfield and John L. Pearson. Built of red brick building, it is decorated in contrasting cream bricks and Waurn Ponds freestone dressings. It features a slate roof with prominent roof vents, iron ridge cresting and fleche at the intersection of the nave and transepts. The front facade of the church is dominated by the slender, banded octagonal tower topped by a narrow spire. The entrance features a double arched portal portico. The facade also features a dominant triangular epitrochoidal (curved triangular form) rose window. The church, like its bluestone neighbour All Saints Church of England, is built to a T-shaped plan, with an aisleless nave, broad transepts and internal walls of cream brick, relieved with coloured brickwork. The former Saint George's Presbyterian Church was one of the first major church design in Melbourne in which polychrome brickwork was lavishly employed both externally and internally.

The inside of the former Saint George's Presbyterian Church is equally as grand as the exterior, with ornamental Gothic Revival polychromatic brickwork, a lofty vaulted ceiling, deal and kauri pine joinery and pulpit and reredos of Keene's cement. The building originally contained a complete set of Victorian stained glass windows by well known and successful Melbourne manufacturers Ferguson and Urie, all of which remain intact today except for one of the non-figurative windows which was replaced by a memorial window to Samuel Lyons McKenzie, the congregation’s beloved minister, who served from 1930 to 1948, in 1949. The earliest of the Ferguson and Urie windows are non-figurative windows which feature the distinctive diaper pattern and floral motifs of Fergus and Urie's work, and are often argued to be amongst the finest of their non-figurative designs. The large triple window in the chancel was presented by Lady McCulloch in memory of the ‘loved and dead’. Another, in memory of John Kane Smyth, the Vice-Consul for the United States of America in Melbourne, has the American Stars and Stripes on the top ventilator above it. An organ by Thomas C. Lewis of London, one of the leading 19th century English organ builders, was installed in the south transept in 1882. It was designed to blend with its architectural setting, with pipework styled to avoid the obstruction of windows. The action of this organ was altered in 1935, but the pipework, and the original sound, have been retained.

Over the years many spiritual and social activities were instituted at Saint George’s, Presbyterian Church some of short duration such as the Ladies’ Reading Club which operated between 1888 and 1893. There were segregated Bible classes for young men and women, the Presbyterian Women’s Missionary Union, formed in 1892, a cricket club and a floral guild. Guilds teaching physical culture for girls, boys and young men began in 1904. They were entirely financed by John Maclellan and the idea extended to other denominations throughout Victoria. John Maclellan died in 1936 and the guilds ceased at Saint George’s Presbyterian church through lack of funds although in 1977 the members of the girls’ guild were still holding bi-annual reunions and raising money for charity. Sadly, the Presbyterian congregations may have been large in the Nineteenth Century, but by St George's Presbyterian Church's 110th centenary, its doors had already closed during the week due to dwindling numbers and an ageing congregation as a result of the general decline in church attendances after the Second World War exacerbated by the changing nature of St Kilda and the decrease in numbers of residents living in the vicinity of the church. So it stood, forlorn and empty and seemingly nothing more than a relic of a glorious but bygone religious past. However in 1990, Saint Michael's Grammar School across the road leased the Victorian Heritage listed building during weekdays, and it was eventually sold to them in 2015. It now forms part of the school's performing-arts complex, and it has a wonderful new lease of life.

St George's Presbyterian Church is sometimes hired out for performances, and I had the pleasure of receiving an invitation to hear Handel's Messiah performed there in 2009. The ecclesiastical acoustics made the performance all the more magnificent. I remember as I sat on one of the original (hard) kauri pine pews, I looked around me and admired the stained glass and ornamental brickwork. I tried without success over several subsequent years to gain access to the church's interior, settling for photographs of the exterior instead, but it wasn't until 2018 that I was fortunate enough to gain entry to photograph the church's interior. The former St George's Presbyterian Church was opened up to the public for one Sunday morning only as part of Open House Melbourne in July 2018. It was a fantastic morning, and I am very grateful to the staff who manned the church for the day and watched bemused as I photographed the stained glass extensively and in such detail.

Albert Purchas, born in 1825 in Chepstow, Monmouthshire, Wales, was a prominent Nineteenth Century architect who achieved great success for himself in Melbourne. Born to parents Robert Whittlesey Purchas and Marianne Guyon, he migrated to Australia in 1851 to establish himself in the then quickly expanding city of Melbourne, where he set up a small architect's firm in Little Collins Street. He also offered surveying services. His first major building was constructing the mansion "Berkeley Hall" in St Kilda on Princes Street in 1854. The house still exists today. Two years after migrating, Albert designed the layout of the Melbourne General Cemetery in Carlton. It was the first "garden cemetery" in Victoria, and his curvilinear design is still in existence, unaltered, today. In 1854, Albert married Eliza Anne Sawyer (1825 - 1869) in St Kilda. The couple had ten children over their marriage, including a son, Robert, who followed in his father's footsteps as an architect. Albert's brother-in-law, Charles Sawyer joined him in the partnership of Purchas and Sawyer, which existed from 1856 until 1862 in Queens Street. The firm produced more than 140 houses, churches, offices and cemetery buildings including: the nave and transepts of Christ Church St Kilda between 1854 and 1857, "Glenara Homestead"in Bulla in 1857, the Melbourne Savings Bank on the corner of Flinders Lane and Market Street (now demolished) between 1857 and 1858, the Geelong branch of the Bank of Australasia in Malop Street between 1859 and 1860, and Beck's Imperial Hotel in Castlemaine in 1861. When the firm broke up, Albert returned to Little Collins Street, and the best known building he designed during this period was Saint. George's Presbyterian Church in St Kilda East between 1877 and 1880. The church's tall polychomatic brick bell tower is still a local landmark, even in the times of high rise architecture and development, and Saint, George's itself is said to be one of his most striking church designs. Socially, Albert was vice president of the Royal Victorian Institute of Architects for many years, before becoming president in 1887. He was also an inventor and philanthropist. Albert died in 1909 at his home in Kew, a wealthy widower and much loved father.

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 late Nineteenth or early Twentieth Century by Melbourne stained glass manufacturer Ferguson and Urie, the Second Saint Stephen stained glass window and its partner the Martyr Saint Stephen stained glass window may be found in the eastern wall of the north transept of the former Saint George's Presbyterian Church. It was presented by Miss Inglis in memorandum. Saint Stephen, is traditionally venerated as the first martyr of Christianity. He was, according to the Acts of the Apostles, a deacon in the early church at Jerusalem who aroused the enmity of members of various synagogues by his teachings. Accused of blasphemy, at his trial, he made a long speech denouncing the Jewish authorities who were sitting in judgment on him and was then stoned to death. His martyrdom was witnessed by Saul of Tarsus, a Pharisee who would later become a follower of Jesus and known as Paul the Apostle. The window depicts Saint Stephen beautifully arrayed in a red orarion, the distinguishing vestment of a deacon. In his left hand he holds one of his common attributes; a Gospel book. In his right he holds a sheathed sword. The design of this window is almost identical in design and colour palette to that of a stained glass window of Saint Paul in the Lady Chapel of Christ Church, Brunswick. The latter window is earlier, so this Second Saint Stephen window was obviously modeled on the earlier version. The pane below Saint Stephen features a biblical quote from II Timothy IV - 7 - 8: "I have fought the good fight: henceforth there is laid up for me the Crown."

Miss Inglis was originally from New York, and was possibly allowed to donate a window because she was very wealthy and "contributed generously to the Building Fund" according to the Saint George's Presbyterian Church's 1876 - 1926 Jubilee Souvenir Book. Miss Inglis was heavily involved in good deeds associated to the church including fundraising for different causes and in 1879 made a handsome presentation to the congregation of Saint George's Presbyterian Church of a sterling silver communion service (sadly stolen in 1973 and never recovered), a Bible, a Psalms Book and a Hymn Book.

The former Saint George's Presbyterian Church, which stands on busy Chapel Street in St Kilda East, is a well known and loved local landmark, not least of all because of its strikingly tall (33.5 metre or 110 foot) banded bell tower which can be spotted from far away. In the Nineteenth Century when it was built, it would have been even more striking for its great height and domineering presence. Designed by architect Albert Purchas, the former Saint George's Presbyterian Church is often referred to as his ecclesiastical tour-de-force, and it is most certainly one of his most dramatic and memorable churches.

The former Saint George's Presbyterian Church was constructed on a plot of land reserved in Chapel Street for the Presbyterian Church of Victoria in 1866. Initially services were held in a small hall whilst fundraising efforts advanced the erection of a church. The architect Albert Purchas was commissioned to design the church and the foundation stone for the western portion of the nave was finally laid in April 1877 by Sir James McCulloch. The first service was held in the church on the 1st of October 1877. The first clergyman of the former Saint George's Presbyterian Church was the Reverend John Laurence Rentoul (father to world renown and much loved Australian children's book illustrator Ida Rentoul Outhwaite). However, the swelling Presbyterian congregation of St Kilda and its surrounding districts quickly outgrew the initial Saint George's Presbyterian Church building, so Albert Purchas was obliged to re-design and enlarge the church to allow a doubling in capacity. Robert S. Ekins was the contractor and his tender was £3000.00. It is this imposing church building, reopened in 1880, that we see today. The "Australasian Sketcher with Pen and Pencil" noted that the total length of the building was 118 feet and 6 inches (36 metres), by 40 foot (12 metres) wide and that the striking octagonal tower to the north-west was 110ft 6 in high. It perhaps reflected better the wealth and aspirations of the congregation.

The former Saint George's Presbyterian Church is constructed on bluestone foundations and is built in an ornate polychromatic Gothic Revival style in the tradition of English designers like William Butterfield and John L. Pearson. Built of red brick building, it is decorated in contrasting cream bricks and Waurn Ponds freestone dressings. It features a slate roof with prominent roof vents, iron ridge cresting and fleche at the intersection of the nave and transepts. The front facade of the church is dominated by the slender, banded octagonal tower topped by a narrow spire. The entrance features a double arched portal portico. The facade also features a dominant triangular epitrochoidal (curved triangular form) rose window. The church, like its bluestone neighbour All Saints Church of England, is built to a T-shaped plan, with an aisleless nave, broad transepts and internal walls of cream brick, relieved with coloured brickwork. The former Saint George's Presbyterian Church was one of the first major church design in Melbourne in which polychrome brickwork was lavishly employed both externally and internally.

The inside of the former Saint George's Presbyterian Church is equally as grand as the exterior, with ornamental Gothic Revival polychromatic brickwork, a lofty vaulted ceiling, deal and kauri pine joinery and pulpit and reredos of Keene's cement. The building originally contained a complete set of Victorian stained glass windows by well known and successful Melbourne manufacturers Ferguson and Urie, all of which remain intact today except for one of the non-figurative windows which was replaced by a memorial window to Samuel Lyons McKenzie, the congregation’s beloved minister, who served from 1930 to 1948, in 1949. The earliest of the Ferguson and Urie windows are non-figurative windows which feature the distinctive diaper pattern and floral motifs of Fergus and Urie's work, and are often argued to be amongst the finest of their non-figurative designs. The large triple window in the chancel was presented by Lady McCulloch in memory of the ‘loved and dead’. Another, in memory of John Kane Smyth, the Vice-Consul for the United States of America in Melbourne, has the American Stars and Stripes on the top ventilator above it. An organ by Thomas C. Lewis of London, one of the leading 19th century English organ builders, was installed in the south transept in 1882. It was designed to blend with its architectural setting, with pipework styled to avoid the obstruction of windows. The action of this organ was altered in 1935, but the pipework, and the original sound, have been retained.

Over the years many spiritual and social activities were instituted at Saint George’s, Presbyterian Church some of short duration such as the Ladies’ Reading Club which operated between 1888 and 1893. There were segregated Bible classes for young men and women, the Presbyterian Women’s Missionary Union, formed in 1892, a cricket club and a floral guild. Guilds teaching physical culture for girls, boys and young men began in 1904. They were entirely financed by John Maclellan and the idea extended to other denominations throughout Victoria. John Maclellan died in 1936 and the guilds ceased at Saint George’s Presbyterian church through lack of funds although in 1977 the members of the girls’ guild were still holding bi-annual reunions and raising money for charity. Sadly, the Presbyterian congregations may have been large in the Nineteenth Century, but by St George's Presbyterian Church's 110th centenary, its doors had already closed during the week due to dwindling numbers and an ageing congregation as a result of the general decline in church attendances after the Second World War exacerbated by the changing nature of St Kilda and the decrease in numbers of residents living in the vicinity of the church. So it stood, forlorn and empty and seemingly nothing more than a relic of a glorious but bygone religious past. However in 1990, Saint Michael's Grammar School across the road leased the Victorian Heritage listed building during weekdays, and it was eventually sold to them in 2015. It now forms part of the school's performing-arts complex, and it has a wonderful new lease of life.

St George's Presbyterian Church is sometimes hired out for performances, and I had the pleasure of receiving an invitation to hear Handel's Messiah performed there in 2009. The ecclesiastical acoustics made the performance all the more magnificent. I remember as I sat on one of the original (hard) kauri pine pews, I looked around me and admired the stained glass and ornamental brickwork. I tried without success over several subsequent years to gain access to the church's interior, settling for photographs of the exterior instead, but it wasn't until 2018 that I was fortunate enough to gain entry to photograph the church's interior. The former St George's Presbyterian Church was opened up to the public for one Sunday morning only as part of Open House Melbourne in July 2018. It was a fantastic morning, and I am very grateful to the staff who manned the church for the day and watched bemused as I photographed the stained glass extensively and in such detail.

Albert Purchas, born in 1825 in Chepstow, Monmouthshire, Wales, was a prominent Nineteenth Century architect who achieved great success for himself in Melbourne. Born to parents Robert Whittlesey Purchas and Marianne Guyon, he migrated to Australia in 1851 to establish himself in the then quickly expanding city of Melbourne, where he set up a small architect's firm in Little Collins Street. He also offered surveying services. His first major building was constructing the mansion "Berkeley Hall" in St Kilda on Princes Street in 1854. The house still exists today. Two years after migrating, Albert designed the layout of the Melbourne General Cemetery in Carlton. It was the first "garden cemetery" in Victoria, and his curvilinear design is still in existence, unaltered, today. In 1854, Albert married Eliza Anne Sawyer (1825 - 1869) in St Kilda. The couple had ten children over their marriage, including a son, Robert, who followed in his father's footsteps as an architect. Albert's brother-in-law, Charles Sawyer joined him in the partnership of Purchas and Sawyer, which existed from 1856 until 1862 in Queens Street. The firm produced more than 140 houses, churches, offices and cemetery buildings including: the nave and transepts of Christ Church St Kilda between 1854 and 1857, "Glenara Homestead"in Bulla in 1857, the Melbourne Savings Bank on the corner of Flinders Lane and Market Street (now demolished) between 1857 and 1858, the Geelong branch of the Bank of Australasia in Malop Street between 1859 and 1860, and Beck's Imperial Hotel in Castlemaine in 1861. When the firm broke up, Albert returned to Little Collins Street, and the best known building he designed during this period was Saint. George's Presbyterian Church in St Kilda East between 1877 and 1880. The church's tall polychomatic brick bell tower is still a local landmark, even in the times of high rise architecture and development, and Saint, George's itself is said to be one of his most striking church designs. Socially, Albert was vice president of the Royal Victorian Institute of Architects for many years, before becoming president in 1887. He was also an inventor and philanthropist. Albert died in 1909 at his home in Kew, a wealthy widower and much loved father.

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 album belonged to Edward Hungerford and contains images of shipping and street scenes around Sydney from the 1880s.

Edward Hungerford was born on 10 June 1863 in Cahirmoore, Ireland (County Cork), the son of Henry Jones Hungerford and Mary Boone Cowper. Hungerford migrated to Australia around 1882 and became a long-serving member of the Royal Sydney Yacht Squadron. He died 24 June 1956 in Newtown, Sydney.

The Australian National Maritime Museum undertakes research and accepts public comments that enhance the information we hold about images in our collection. If you can identify a person, vessel or landmark, write the details in the Comments box below.

Thank you for helping caption this important historical image.

ANMM Collection Gift from the Royal Sydney Yacht Squadron

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