Full text of "Art & Architecture: The Journal of The Institute of Architects of New South Wales"

WORTH
NOTING.

GHUBB S

FURNITURE

SEASON

PRICE

LISTS

NOW

READY.

+ idvertisements

ftdence th
eace
world for

OB^

WARE II

e pre r
che

.LIA.

CORRUGATED.

PLAIN.

Makr. : JOHN LYSAGHT Ltd.

Bristol, WolverHampton, Newport and L/cmdcm.

IHillar s Karri and ftrrab Co. w Dd.

JARRAH is the best of all Australian Hard
woods for Building purposes, Beams and
Girders, any size and length, Scantlings,
Joists, Floorings, Linings and Weather
boards. Large stocks carried. Also Turned
Posts, Blocks, Posts, Rails and Pickets.

From

B. HAD LEV,

Architect

The Manager,

MILLAR S

Dear Sir,

Camden Build;

418 Georg-e Street.
Sydney, 23rd April

:ARRI & JARRAH co.

White Bay, Balmain.

LTD

itis-
the

Re ST. MONANS , -ELIZA! AY.

I take this opportunity oi my ih&gt;

faction with the timber supplied by your Company, p.
flooring, which has, as yet,she\vn no sign of. 4 - pemng at

the joints ; the timber is easily wrought, takes nd its

richness of varying tone colour gives a ver&gt; inish ; a hardwood

possessing these qualities is almost unobtainable.

I trust to have the opportunity of specifying "Jarrah" tor
many future works.

Yours faithfully,

(Signed) B. HADLEY.

OFFICE AIVD YARDS: WHITE BAY, BALMAIN, N.S.W.

A dvertiseDieii f

CRANE & SONS,

Manufacturers and Importers of

GENERAL BUILDING MATERIALS.

VIEW IN ONE OF OUR SHOW ROOPIS.

Art Wood and Marble Mantelpieces.

TILED and INTERIOR GRATES of Most Modern Styles.
ENAMELLED and MAJOLICA TILES, Newest Colorings.
TESSELATED and CERAMIC MOSAIC FLOOR TILES.

Latest Designs in

Gas Fitting s,

GLOBES and INCANDESCENT BURNERS.

Patent Steel Ceiling s and Walls,
Steel Sashes of all kinds made to order.

CORNICES and CENTREPIECES.

BOSTWICK COLLAPSIBLE STEEL GATES.

GRILLES and ORNAMENTAL WROUGHT IRON WORK.

FACTORIKS:

MARBLE and SLATE WORKS
METAL CEILING FACTORY
ORNAMENTAL WROUGHT IRON WORKS -
Sheet Iron and Acetylene Gas Machine Factory
SYDNEY LEAD WORKS LIMITED }
Rolling Mills and Shot Tower j

Head Office and Showrooms :
33 & 35 RIXX ST., CIRCULAR QUAY, SYPMKY.

Harrington Street, City

Essex Street, City

Wentworth Street, Glebe

Mitchell Street, Glebe

Blackwattle Bay

A dvertisement)

TRADE MARK

OULTON & COY. LTD.,

ART CO. ARCHITECTURAL POTTERS,
And SANITARY ENGINEERS, & ^

Royal Doulton Potteries, LONDON, S.E

123 DIPLOMAS OF HONOUR GRANDS PRIX.
Gold Medals and Firtt Class Awards.

Architectural Works : High St., Lambeth. Bath Foundries : Paisley.

Terra Cotta Works : Albert Embankment. Glazed Fireclay Factories : Rowley
Art Department : Regis.

Sanitary Engineering Works ,, Sanitary Wares : Burslem.

China Factories : Burslem, Staff.

PAVING

REGISTERED

IRONITE

PATENTED.

FLOORING

As laid for

PUBLIC WORKS DEPT.
RAILWAY COMMISSIONERS.
SYDNEY HARBOR TRUST.
FIRE BRIGADES BOARD and
LEADING ARCHITECTS.

The Editor of this Journal in a recent number writes:
One of the most durable of pavement materials is
that known as Ironite. Traffic, however heavy,
makes no impression on it ; some we have examined
that has been down for more than two years iti cart-
ways, dray-docks, etc. , shows absolutely no sign of
wear, and the surface is even and true as the day it
was put down. Bluestone cube setts laid at the .same
time and subject to the same amount of traffic, already
shows a surface so uneven that it is or will be
shortly necessary to re-set them. Besides being
adapted to all the requirements of the heaviest
traffic, it is claimed by the inventors that it isinfmite-
ly superior to slate for treads, copings, hearths, and
nosings. If durability is to be the test and we know
of no other their claim is certainly justified bv the
samples we have seen. Not samples, be it remembered,
prepared for an architect s inspection, but the actual
work that has withstood the severest tests imposed
upon it, in doing the work for which it was designed

Suitable for....

CARTWAYS,
BASEMENTS,
FOOTWAYS,
VERANDAHS.
STEPS & NOSING

-SEND FOR REDUCED PRICE LIST-

-TO

W. H. HUGHES & CO.

WORKS :

BLACKWATTUE
GLEBE.

BAY,

HEAD OFFICE :

3i Queen Uictoria markets, 6eor0e street.

TELEPHONE 3210.

W. H. HUGHES, Manager.

A dsvertisemenh

DAMPNEVS DISTEMPER.

A Sanitary, Washable, Water Paint, in paste form, for
interior and exterior use, quarter the price of oil paint.

For Painting House Fronts, and as a Roof Cooling Paint.

FULL PARTICULARS AND COLOUR SHEETS ON APPLICATION.

Qampney paint Go. (Australia) &lt;td.,

PAINT AND COLOUR WORKS,

Co rig jfoss j&gt;oM, ]) aim a in, Sydney, jf.S.W.
Cardiff and j&gt;lymouth, England.

7 ELEPHONE
299 BALMAIN.

OFFICES-

MELBOURNE AND
ADELAIDE.

Union
Cement

The...

Commonwealth
Portland
Cement Co. Ltd.

Sydney Office :

Mutual Life of
New York Building,
Martin Place.

Works :
Portland, N S.W.

AGENTS

Melbourne :

R. TAYLOK, 31 Queen St.
Adelaide :

DAI.OETY & Co., LTD.

Perth & Fremantle :
\V. SASDOVKR Co.

Brisbane & Townsville :
THOS. BROWN & SONS,
LIMITED.

Hobart :

JAMKS MACFARLA E BROS.
& Co.

A dvcrtisements

WORMALD BROTHERS,

Fire Appliance Manufacturers,

Metal Ceilings

Plain and Enriched.

Cornices, Friezes, Panels, Centres, and
Mouldings. Thousands of Artistic and
Beautiful Designs. Excellent Quality and

PRICES LOWEST in Australia.

Large Stocks always on hand.

17 Bond Street, Sydney.

413 Collins Street. Melbourne.

The Grinnell Automatic Sprinkler and Fire Alarm.

FIRE RESISTING DOORS AND SHUTTERS.

WIRED GLASS WINDOWS.
PATENT WIRE GAUGE SHUTTERS.

THE: SIMPLEX CHEMICAL FIRE: EXTINGUISHER

BRADY,

Manufacturer of Patent REVOLVING SHUTTERS, balanced with Weights or Spring*,

- IN WOOD or IRON -

NO. 20 PYRMONT BRIDGE ROAD, opp. Kauri Timber Co.,

GLEBE, SYDNEY.

. 53 o/e*..

JOHN DANKS & SON PROPRIETARY, LTD.,

324 Pitt Street, Sydney.

Telephone
280.

Originators of Artistic Gasfitiings for Cottage,
&lt; * Villa, or Mansion. * *

Telephone
2814.

Our New Art Catalogue

is posted anywhere free.
Get interested in it. &

Bracket, with Inverted Burner. Plug Basins. Lavatory Basins, Various Designs.

WE HAVE LARGE STOCKS OF :

Sanitary Fittings, Enamelled Sinks, Regulation Cisterns, Pedestal Pans, Pedestal Seats,
Cast Lavatories, Enamelled Baths, Bath Water Heaters, Electric Indicators, Bells,

Pushes, Pulls, Wire, &c., &c.

JOHN DANKS & SON PROPRIETARY, LTD., 324 Pitt Street, Sydney.

A dverlisenn

CHANCE BROTHERS & Co., Limited,

GLASS WORKS, NEAR BIRMINGHAM.

Telegraphic Address CHANCE SMETHWICK."

MANUFACTURERS OF WINDOW GLASS OF ALL DESCRIPTIONS

SHEET, PATENT PLATE, PLAIN ROLLED AND ROUGH CAST PLATE, FIGURED ROLLED,

ROLLED, DOUBLE ROLLED AND SHEET CATHEDRAL, MUFFLED, "FLEMISH" AND

COLOURED GLASS, OLD ENGLISH CROWN GLASS AND GENUINE CROWN BULLIONS,

OPTICAL AND MICROSCOPICAL GLASS, &c., &c.

FIGURED ROLLED. FLANNEL FLOWER PATTERN.

Registered No- 448986.

CHANCE S " FLEMISH " GLASS is a new and most attractive variety of ornamental window glass,
having- an orig-inal and hig-hly effective appearance, and is rapidly gaining in popularity owing to its
character and brilliancy.

SAMPLES of Figured Rolled, Flemish, Cathedral and Muffled Glass, in White and Tints, will be sent free
on application.

A dvertisement

Instantaneous

FOR BATH AND DOMESTIC
USE.

Water Heaters.

Unrivalled for Efficiency
Compactness and Beauty.

Made of the best grade Copper, Nickel-plated, the Valves of Brass, and the large powerful Burners and
Shelf of Steel. Fitted with Duplex Safety Valves, which prevent Gas being turned on without the Water.
PRACTICALLY INDESTRUCTIBLE. A NECESSITY IN EVERY BATHROOM.

THE No. 1

Crescent Instantaneous
Water Heater.

The Products of Consumption of the Gas do not come in contact with t 1 e water

in this Heater.
Tlie Heating Surface being Tinned, the water is absolutely pure, therefore suitable

for Hot Drinks and all Domestic Purposes.
Made of Copper, Nickel-plated and highly Polished.

No. of
Heater.

Gas Supply
from
Meter.

Heats per min.
50 above
Temperature
ot Water.

Height."

Diameter.

Price.
s. d.

f-inch

2 galls.

31 inches.

10$ inches.

Water of a ver3 much greater Temperature may be obtained by slightly reducing
flow of water to Heater, without injuring the Heater.

Sectional Illustration

OF TIIK

\H-2

H-l

EXPLANATION.

A Gas Vahe. HI & H2 Bolts to hold water

K Water Valve. parts to shelf.

C Water Regulator. H & I Corrugated Copper

D Pilot. Tubes.

E & F Air Shields. J Cold Water Supply.

Crescent Instantaneous Water Heaters produce a continuous stream of hot water

instantly whenever required, and utilize ninety per cent, of the heat units of

the gas.
All these Instantaneous Water Heaters are Simple and Efficient in Construction,

Simple and Compact in Design, made of Copper, Nickel-plated, and highly

Polished.

Heats per min. ;

No. of
Heater.

Gas Supply
from Meter.

50 above
Normal
Temperatare

Height.

Diameter.

Price.
s. d.

of Water.

f-inch

1 gal.

24 inches

9| inches

600

J-inch

28i

10i

700

f-inch

3 ,,

29| ,,

8 15

Water of much greater temperature can be obtained by slightly reducing the flo\
of water to neater, without injuring heater.

Every Heater guaranteed as described.

A Gas Valve.
B Water Valve.
C W T ater Regulator.
D Pilot Pipe.
E Air Shields.
F & F Burner Piju &gt;.
G Drip King.
HI & H2 Bolts to hold
water parts to shelf.

CTiONAL. CUT.

I Conical Heating Tube.
I Discs to spread and re
tard passing heat.
K Perforated Copper

Screens.

L Revolving Water Dis
tributor.

M Disc to carry falling
water to tube.

Sole
Agents

W. S. FRIEND & CO.,

113 York Street, Sydney.
Builders Hardware of every description.

A dvertisement

Concrete Construction

Re-inforced with

THREE-INCH

Diamond Mesh

EXPANDED

STEEL.

ENGLISH MANUFACTURE.

Absolute Fire Resisting,

No. 62 Expanded Steel, 3in. Mesh, 516x3/16 Strands used throughout
"Challis House," Martin Place, as described on pages 23-25.

WALLS, COLUMNS, STANCHIONS,
GIRDERS, BEAMS, FLOORS, PARTITIONS,
ROOFS, BRIDGES, CULVERTS, CONDUITS,
RESERVOIRS, TANKS, SILOS, etc.

Foundations Made Perfect
on Faulty Ground,

We shall be pleased to afford Architects and Engineers every
assistance in connection with Reinforced Concrete Work. Upon
receipt of particulars we will submit designs showing system of
Reinforcement, provide specification and estimate of quantities.

WEBER S REINFORCED CONCRETE
CHIMNEYS.

will note we are prepared to erect
Re-inforced Concrete Chimneys anywhere any height and any size
cheaper, quicker, lighter, and more effective than of any other material,
on methods fully covered by PATENTS.

Chief Australian

ELLIOTT MACLEAN & Co.,

6 DEAN S PLACE, SYDNEY.

WEBER S PATENT

dvertisement

nn.

Advertise?

DRAWING
MATERIALS.

ENGINEERS DRAWING BOARDS.

T SQUARES, PEAR WOOD, TAPERED BLADE.

9d, 18in. 1/3, 24in. 1/9, 32in. 2/-, 36in. 2/3, 42in. 2/6.

POLISHED MAHOGANY WITH EBONY EDGE.

24in. 2/9, 32in. 3/3, 36in. 4/-, 42in. 5/-

Ilalf Imperial, 23in. x 16in.
Half Double Klephant, 28in. x 21in.
Imperial, 32iti. x 23in.
Double hlephant, 41in. x 28in,
Antiquarian, 54in. x 32iu.

All the very finest quality patent clamped
drawing boards, made of English deal.

Uoyal 4to, 13in. x 9iin.

Imperial 4to, l(iin. x ll^in.

Half Imperial, 22Jin. x l(iin.

Half Double Klephant, 24in. x 19in.

Imperial, 31in. x 231 n.

Double Elephant, 88in. x 24in.

ENGINEERS SUPERIOR QUALITY MAHOGANY, EBONY EDGE.
32in. 0/9, 42in, 7/9. film. 10/0.

WHATMAN S DRAWING PAPERS, all Surfaces.

Imperial, 5d Sheet. Double Elephant, lOd. Antiquarian 4/- sheet

Illustrated Catalogue Free on Application.

C. PENFOLD & CO., Stationers and Printers,

183 PITT STREET, SYDNEY.

Estab. 1S30.

Phones 873 & 3422.

CONTENTS January-February Number,

I AOK.

ARCHITECTS CHARGES ... ... ... ... . ... 5

FRED LEIST, ARTIST AND ILLUSTRATOR. By D. H.

Souter ... ... ... ... ... ... ... 6

THE 1907 EXHIBITION OF THE IXSTITI T TK OF ARCHITECTS OF

N.S. WALES 13

SOME EARLY AUSTRALIAN BOOK PLATES. By John Lane

Mnllins 16

AN ART TOUR THROUGH THE OLD WORLD. By W A. Moir 18

CHALLIS HOUSE 23

THE DEVELOPMENT OF SCHOOL ARCHITECTURE ... .. 25

A SYDNEY ENSAMPLE OF COLOUR ARCHITECTURE 27

THE ARTS OF ANCIENT ECJYPT By Frank Walker, M.I. A 32

AUSTRALIAN MUTUAL PROVIDENT SOCIETY

PAOK.
34

NOTICE TO ARTISTS FROM THE NATIONAL ART GALLERY OF

N.S. WALES 37

OBITUARY. THE LATE GEOROE ALLEN MANSFIELD 38

NOTES AND COMMENTS ... ... ... ... ... ... 39

REVIEWS ... .. .. ... ... ... 41

IsigjiTCTE OF ARCHITECTS OF N.S. WALES ... .. ... 40

SUPPLEMENTS : -

" NOCTURNIENNE, By Fred Leist ... ... Frontispiece

A SYDNEY ENSAMPLE OF COLOUR ARCHITECTURE 29

MAXIMUM
QUALITY.

MINIMUM
COST.

BEAUTIFULLY BRIGHT AND CLEAN.

BEST

EMU

GALVANIZED IRON.

OBTAINABLE AT ALL
WHOLESALE HOUSES, IRONMONGERS AND STOREKEEPERS.

APPROVED OF AND SPECIFIED BY ALL THE LEADING ARCHITECTS.

NO YES BROS. (SYDNEY), LIMITED,

SOLE AUSTRALIAN AGENTS,
109 PITT STREET, SYDNEY;
And at Melbourne, Brisbane, Perth, Dunedin.

IX.

- ._.- &gt;_ ..

A dvertisements

Interior
Fitting s.

It is more than important that the fittings for
the interior of a house should be of an artistic nature
harmonising with the various architectural details.

Architects and Builders may rely on our
supplying at all times the very latest designs in
Marble and Wooden Mantelpieces, Gas Fittings in
all styles, Baths, White Silicate and Sienna, Sanitary
Ware, Lavatories, Sinks. Basins, etc.

Tiles for Halls, Bathrooms, Porches, and
Verandahs. Tiles specially made to specification.

BUILDERS HARDWARE OF
EVERY DESCRIPTION,

WHOLESALE IRONMONGERS AND HARDWARE MERCHANTS,

252 GEORGE STREET, SYDNEY.

IF YOU ARE INTERESTED
IN HAVING

AN ARTISTIC HOME

We would like you to call and see our Showroom at
69 King Street, between George and York Streets. We
specialise in

Friezes and
Wall Covering s.

Our Wall Coverings introduce distinction into the
most commonplace details of renovation and equipment.

They are inexpensive when compared with the better
class of wall papers, and it is difficult to describe the
restfulness and artistic beauty of these Wall Coverings.

We would like to point out that all our goods are
made in Sydney by Sydney people.

ARTHUR. GILKES &lt;a CO.,

69 KING STREET. SYDNEY.
Telephone 2351.

APT AND ARCHITECTURE

THE JOURNAL OF THE INSTITUTE OE
ARCHITECTS OE NEW SOUTH WALES

Vol. V. No. I.
January-February, 1905.

WILLIAM 5ROOKS & CO., LTD.,

Publishers,

17 CASTLCPtAGH ST., SYDNCY.
And at MELBOURNE, BRISBANE, PERTH, HOBHRT, and WELLINGTON. N.Z.

A dvertisement

TITANIC

(Reg.)

SLATES

and

SHEETS

"DIFFERENT TO ANYTHING ELSE.

vSecond

..NONE..

FOR

QUALITY. . . .
APPEARANCE.
COLOURS.. . .
INSULATING .
PURPOSES. . .
DURABILITY.

Approved and Specified by the Leading Architects.

Sole Agents:

NOYES BROS. (SYDNEY) LTD.,

109 Pitt Street, Sydney.

XII

TRADE NOTES.

TITANIC SLATES.

OF roofing materials there is seemingly no
end. Many are lasting, but very few are
artistic; and the iron roof the most
inartistic of all is neither lasting, sightly,
nor cool, and yet it is more used than any
other, simply on account of its cheapness
and the facility with which it can be fixed
in position. Any other material possessing
equal advantages, while being at the same
time less objectionable to the aesthetic eye,
should, one would think, meet with a ready
sale. If, in addition, the substituted
material has a really artistic effect, the
sale throughout Austral a should be con
tinuous and ever increasing.

The Titanic Asbestos Slates, for which
Messrs. Noyes Bros., of 109 Pitt Street,
Sydney, are the agents, seem to supply a

long-felt want. They are light, fire-resist
ing, excellent non-conductors of either heat
or cold, and good in colour. They are of
the thickness of ordinary slates, and have
a pleasing effect upon the roof. They are
laid diamond-wise, and require no skilled
labour in their fixing. They will probably
never oust Welsh slates or first-rate tiles
for roofing purposes in the city, or where
money is of no object; but for large
sheds or country houses it should prove
invaluable. If it only supplants the
bilious, ubiquitous, galvanized, corrugated
iron, it will be an artistic gain to the Com
monwealth.

The same composition is made up in
sheets for lining and partition purposes.
The Company have now a full stock of
materials, and are ready to fill any speci
fication which may be submitted to them.

INCREASE YOUR BUSINESS &
SATISFY YOUR CUSTOMERS

HY STOCKING TH15 FOLLOWING

A.RT Brand Specialities

JAMES
SANDY

co.

KST.VHI.ISIIKI)

Oil and Colour Warehouse :

326 and 328 GEORGE STREET.

Glass Warehouse:

No. 1 ASH ST. (rear of Equitable Building).

Glass Silvering-, Bevelling & Embossing Works :
BORONIA STREET, REDFERN.

N OTK TIIK NKW ADDRESS :

. 528 GEORGE ST.

Best Ready-mixed Paint

In i, 2, 4, 7, and 14 Ib. Tins.

Cold Water Kalsomine

In 5 Ib. Packets.

VarnisHes-FoR HOUSE PAINTERS

and DECORATORS.

Best British Joiners Glue

Linoleum Cream

In Tins for Furniture and Floors.

Amber .Soft Soap

Best Cleanser for Households, Stables, &c.

Stainers

In i, 2, 7, 14, and 28 Ib. Tins. Extra strong
in quality for producing purest tints.

Window Glass

Best for Picture Framers and Glaziers.
Even in surface and true to weight.

A dvertisements

Extension of Show Rooms.

Wi; ask you to Visit our NEW AND EXTENSIVE SHOW ROOMS
to inspect our Fine Selection of

Artistic Gas Fittings. Hearth and Floor Tiles-

Marble and Wooden Mantels- Latest Interior and Tiled Grates.

We can offer SPLENDID VALUE in
Verandah and Floor Tiles, Stamped Steel Ceilings a Speciality.

f~*DlTTAI I ^ Supplied to Messrs. Henry Bull & Co., Warehouse, Sydney.

^^ MX. I M. I A\ 1 -f * -4 ^5 Lombard Chambers, Pitt Street, Sydney.

^ ^ ^^^B Mitchell Library, .Sydney.

School of Engineering, University, Sydney.

Wrought Iron and Steel Sashes and Casements, Hospital for Women, Paddington, Sydney.

i ir-i i IT Benevolent Asylum, Ultimo, Sydney.

Milled and Mitred- Fireproof Wind and Weather Electric Tramway Power House, Ultimo, Sydney,

- Savinff Of Liffht Everlasting Mr- John ^ nds Factor y. Druitt Street, Sydney.

*" Australian Mutual Provident Society, Melbourne.

Etc. Etc. Etc.

CRITTALL f S New Improved Putty less Glazing Bar.

Every Description of General Wrought Construction Work.

CHAS. DOBSON, FRANKS & CO.,

Phone, 4048. 156 Clarence Street, Sydney.

.Also Melbourne and Brisbane.

RE-INFORCED CONCRETE

Johnson s Wire Lattice System.

Establishes a continuous Bond and creates an actually
Monolithic construction.

The Wires running on the direct line of Tension, there are no angles of

stress, which reduce the value of Steel in tension so greatly. -

Less than one penny per yard covers the cost of laying.--

Saving in area. Being in continuous lengths it requires only laps in one

direction of one-and-a-half inches. The saving over other systems

is apparent. -

The system is on absolutely true scientific principles.

Catalogues and further information on application to the Manufacturers:

R. Johnson, Clapham & Morris, Ltd.,

107 Pitt St., Sydney ; 231 Elizabeth St., Melbourne.
Selling Agents : C. Dobson, Franks As Co., Sydney and Melbourne.

The Home of
ANTHONY
HORDERNS

FAMOUS

Low Prices.

On the -
Historic Slope

Brickfield Hill,
Sydney. -

Luxury in Library and Office Furniture.

High-Class Cutler Roll Top Desks and Writing- Tables.
Roll Top Cxitler Desks.

A Roll Top Cutler has been aptly described as an office in itself. Lovers of system are
wedded to the Cutler, which finds a place for everything. The drawers in both the Roll Top
and Flat Top Cutlers are automatically locked, one turn of the key releasing the whole The
distinguishing characteristics of the ( utler Desks are, a flexible curtain that is acknowledged
to have no equal; an automatic locking device that is a perfect working mechanism, and
various ingenious attachments, the great convenience and practical value to the comfort of all
who profit by their use.

Solid OalE Roll Top Cutler Pesh: (as illustrated).

Finished Walnut, 4ft. 2 in. wide, 2ft Gin. deep, 3ft. 10 in. high, with 3 rows of
G pigeon-holes, 2 large and 2 small book pigeon-holes, sliding and fitted trays in centre, 2
drawers under pigeon-holes, patent 3 ink well and blotting pad, 2 pedestals fitted with 2 rest
slides, -2 drawers 9 in. deep and 6 drawers 34 in. deep, with patent lock and key (as illustrated),
12 2s. 6d. ; with two rows of six pigeon hole*, 1O 2s 6d.

Single Pedestal Cutler Roll Top Desk.

Solid Oak, Cutler Roll Top Desk, Finished Walnut, 3 ft. Gin.
wide, 2 ft. 6 in. deep, 3 ft. 10 in. high, with 2 rows of 6 pigeon-holes,
one pedestal fitted with 1 rest slide, 1 drawer 9 in deep, and 3
drawers 3^ in. deep ; with patent lock and key (as illustrated).
9 2s.6d.

Double Pedestal Cutler Writing- Table.

ROLL TOP CUTLER DESK 12 2s- 60.

Roll Top Cutler Desk (very similar to illustration).
Solid Oak Finished Walnut, 4ft. Gin. wide, 2ft, Gin. deep, 3ft.
lOin. high, 2 rows of G pige&lt;&gt;n-holts over 2 drawers, centre trays, 2
small and 2 large pigeon-holes for books, patent 3 ink wells" and
blotting pad, 2 pedestals fitted with 2 rest slides, 2 drawers 9in.
deep and G drawers 3^in. deep, with patent lock and key (similar to
illustration). 12 2s. 6d.

Solid Oak, Finished Walnut, 5ft. wide, 2ft. Gin. deep, 3ft. lOin.
high, with 2 rows of G pigeon-holes over 2 drawers, centre trays,
pigeon-holes, patent 3 ink wells and blotting pad ; two pedestals,
fitted with 2 rest slides, 2 drawers 9in. deep, and 6 drawers 3^in
deep, with patent lock and key. Similar to illustration

13 12s. 6d.
Cutler Writing? Tables.

Cutler -

f Writing: -
Tables --

Solid Oak, Walnut
Finished, Flat Top
Writing Table, 4ft.
wide, 2ft. Gin. deep,
2 pedestals, fitted
with 2 rest slides, 2
drawers 9in. deep,
and 6 drawers 3^ in.
deep, with patent
lock and key, as illus
tration, 6 12s. 6d.

Cutler Writing Table.

Solid Oak, Antique Finish, Flat Top Writing Table, 4ft. wide,
2ft. Gin. deep, 2 pedestals, fitted with 2 rest slides, 2 drawer! 9in.
deep, and 6 diawers 3 Jin. deep; with patent lock and key, as
illustrated, 6 5s.

Solid Oak, Walnut Finish, Double Pedestal Flat-top Table, 5 feet
wide, 4 feet deep, consisting of 2 Double Pedestals, each fitted with
rest slide, 1 drawer 9 in. deep, and 3 drawers 3iin. dee]), with patent
lock and key; knee-hole in each side. As illustrated,
13 15s.

English Roll Top Desks.

Fumed Solid Oak Roll Top Desk, 4 ft. 6 in. wide, 2 ft. Sin. deep,
3ft. Gin. high, two rows of pigeon-holes, Oak lined, with movable
partitions ; 2 pedestals fitted with 2 rest slides, and drawers for in
voice or letter paper, with automatic lock and key, 12 1Os.

Fumed Solid Oak Roll Top Desk, 4 ft. 2 in. wide, 2 ft. 8 in deep,
4ft. 9in. high, with 6 enclosed wood pigeon-holes and paper divisions;
2 pedestals fitted witli 2 rest slides and drawers for invoice or letter
paper ; with automatic lock and key. 1O Ts. 6d.

Send for our Guide to Furnishing 1 ,
illustrating 1 Library and Office
Furniture. Posted Free on Appli
cation.

ANTHONY HORDERN & SONS,

ONLY UNIVERSAL PROVIDERS,
NEW PALACE EMPORIUM, Brickfield Hill, SYDNEY.

A dvertisements

The Sydney and Suburban...
Hydraulic Power Company, Limited.

TELEPHONE: J HEAD OFFICE: ~\ TELEPHONE:

Office,

No. 1047.

Mutual Life of New York Building,
Martin Place, Sydney.

No 3668 nnarTin Kiann sftvanev. No. 1050.

Pumping
Station,

(Incorporated by Special Act of Parliament, 13th December, 1888.)

Hydraulic Power is supplied at a pressure of 700 Ibs. per square inch continuously day
and night throughout the year.

The Mains for distributing the Power throughout the City and Suburbs now exceed
in length 15 miles.

The Power is being utilised extensively for the working of Hydraulic Passenger and

Freight Lifts, Hoists, Cranes, Motors, &c., also for Wool Dumping and Baling Presses.

At date, 613 Hydraulic operated machines are being worked from the Company s Supply,
not including the Supply of Power to 23 Lifts contracted for, and now in course of construction
or erection.

Estimates for the Supply of Hydraulic Lifts, Hoists, Cranes, Wool Dumping and Baling
Presses, or similar machinery will be submitted on receipt of particulars.

For full particulars and terms of Supply apply to the Company.

TOM DICKINSON, Engineer and Secretary.

THE =

Ld.

Sydney Hydraulic & General Engineering Co.

MUTUAL LIFE OF NEW YORK BUILDING, SYDNEY.

HYDRAULIC & GENERAL ENGINEERS.

HYDRAULIC PASSENGER AND FREIGHT LIFTS, Direct Acting and Suspended Types for High
and Low Pressures. In Sydney alone over 500 Lifts have been supplied and erected by the
Company.

HYDRAULIC CRANES, HOISTS, &c., as supplied and erected for the New South Wales Government
Railways, The Sydney Harbour Trust, and many of the largest Wool Stores and Warehouses in
Sydney and the States.

HYDRAULIC PRESSURE PUMPS, Steam, Three-throw, Duplex and Belt-driven Types ; several sizes
in stock and in course of construction.

HYDRAULIC PRESSES, INTENSIFIERS FOR WOOL DUMPING, as supplied to the German-Aus-
tralian Steamship Company, Messrs. Flood & Company, Parbury, Lamb & Company, Gilchrist,
Watt & Company and others.

HYDRAULIC WOOL DUMPING AND BALING PRESSES, complete with Power Generating Plants
for Stations, as supplied to the Australian Agricultural Company s Warrah and Windy Stations.

HYDRAULIC WINE PRESSES, Complete with Hand Pumps and Connections.

HYDRAULIC ACCUMULATORS, VALVES, PIPES AND CONNECTIONS in stock
(for working pressures of from 700 Ibs. to 7500 Ibs. per square inch).

ESTIMATES AND DESIGNS submitted on receipt of particulars of requirements.

Head office: Mutual Life of New York Building, Martin Place, Sydney.

TOM DICKINSON, Manager.

xvi.

"NOCTURXIENNE.

From the Water Color Ity Fred Leist,
in the National Art Gallery, N.S.W.

Advertiser*

" IF IT IS NOT SEEMLY, DO IT NOT J IF IT IS NOT TRUE, SPEAK IT NOT." MaTCUS AurellUo.

RE.INFORCED MALTHOID FLAT Roor.

Residence of Mr. H. P. Rawson, Wellington, New Zealand.

Coolness ensured
by using P. & B.
Paper to form air
spaces between the
joists.

The expense of
parapets may be
obviated if desired

Eave Gutters are
unnecessary as
they can form part
of the flat roof.

The high priced
ground space in
stead of being lost
is transferred to
the roof to greater
advantage.

The roof most desirable in a climate like Australia is undoubtedly a flat
one, one that can be utilised for promenading or sleeping.

Amongst its many advantages may be mentioned the fact that a flat roof
allows the installation of a hydrant enabling one to attack a fire either in their
house or to afford protection from fire in adjacent buildings.

ILLUSTRATED BOOKLET, POST FREE.

ESTABLISHED 1884.
SAN FRANCISCO, and Challis House, Martin Place, Sydney.

SYDNEY AGENTS :

W. S- FRIEND & CO. SORBY & CO. (NEWCASTLE).

JAMES SANDY & CO- JOHN KEEP & SONS, LTD.

G. A. GARDJNER. F. LASSETTER & CO., LTD.

WILLIAM BALDWIN, Foteign Manager, Sydney, N.S.W.

^w^^v^^v/

fV^ "

W*fi

* v-.m-j/v/ ;

JNt;

All our Goods
are manufactured at
our Redfern Works.

Complete Designs &
Estimates submitted
free of charge _

Catalogues & Prices
on application. , ^

Manufacturers of

3RT MET^L CEILINGS
^ /IRCHITECTUR^IL

WORK

it\

riV

" 7 ^

^S*v^^x *

N.S.W Postal Address
Box 474 G.P.O.

I.** N^J -- V .^ \ J^,.. .^/ ^*S^^ "V^/

^^/f X^^/773 5^ Pitt St.

*ppr

L fcj

Art and Architecture

RCHITECTS CHARGES.

THE American Institute of Architects has
recently adopted a new schedule of
charges, for in the United States, as
elsewhere, it has long been felt that some
reform was necessary in computing the re
muneration an architect should receive for
his work. A percentage basis is always
inequitable and sometimes absurd ; and,
owing to the peculiar relations that exist
between owner and architect, it must
be always more or less unsatisfactory
and open to suspicion. For the position Is
practically this: the owner says in effect
to his architect: "I want you to design me
a building that will not cost more than
such a sum. and I expect you to exercise
every care in order that the amount men
tioned shall not be exceeded. In this
work I look to you for advice in all mat
ters of expenditure, and I know very well
that such advice, if honestly given, must
be often contrary to your own interests;
but then it is part of your business to give
honest advice. It is your duty to save
me all unnecessary expenditure. If the
building satisfies me when it is finished,
I will pay you five per cent, upon
the total cost, and for every pound
you save me / will deduct one shilling
from the amount of \our commission.
Is ever such a foolish contract entered
into in any other profession? In
every other walk in life, the man who is
placed in a position of trust is paid to
protect the interests of his employers.
Apart from any sense of personal recti
tude he may possess, he is made to feel
that it is to his material interest to be
honest. If he is not, then his employers,
some day, may have to suffer for their short
sightedness. The architect s client would
probably retort that all this has nothing to

do with him, the basis of payment and the
amount to be paid having both been fixed
by the architects themselves. He merely
conforms to custom. This is perfectly
true, and consequently any reform in this
ineffably stupid mode of payment must
proceed from the governing bodies of the
architectural profession.

The charges are just as unfair to the
client in many instances. A depth much
greater than that specified may be found
necessary in the foundations, or it may be
considered advisable to increase the height
of the walls. All this can be done without
any extra trouble or expense to the archi
tect, and yet he charges his commission
upon the total cost. Of course, on the
other hand, he is expected to be equally
ready to reduce his fees if the cost of the
building should be reduced. Any way one
takes it, the system is an absurd one. A
large shed, involving very little thought or
trouble, will bring in a commission equal
to that earned in designing and supervising
the erection of a comparatively ornate resi
dence, if the total outlay be the same in
each instance; and the man who conscien
tiously devotes all the skill and care at his
command to the production of an archi
tectural work of art earns no more than
the one who is content to erect any struc
ture upon which an equal amount is ex
pended that will satisfy his employer. This
difficulty has arisen because in the first
instance five per cent, was fixed as the
minimum, and in course of time it has
come to be looked upon as the maximum
fee to which an architect is entitled.

The American Institute of Architects
has lately revised its schedule of charges, in
the hope of remedying some of these
anomalies; hut the result is somewhat dis
appointing. On the first $10,000 of cost
it is proposed that the charge shall be TO
per cent. ; on the second $10,000 of cost,
or any part thereof, 7 per cent.; on the
next $30,000 of cost, or any part thereof,

FRED. LfilST ARTIST AND ILLUSTRATOR

6 per cent. ; on any balance of cost, 5 per
cent. This is all very well, but, while

S It is the deliberate judgment of the Institute that for
full professional services adequately rendered, an archi
tect should receive, as reasonable remuneration there
for, at least the compensation mentioned in the . . .
schedule of charges, . . any variation may properly
be left to individual members or chapters of the In
stitute. "

The document is described as the
"Schedule of Proper and Minimum
Charges," but the Institute admits that it
is both unwilling- and unable to enforce
them. Each member may make his own
schedule; and, according to the President,
his charges may be either higher or lower :
the proposed schedule is only suggested
as a basis. The Institute, it is claimed, is
not a trades union to fix the rate of fees,
and consequently each architect must do
as he thinks best. This leaves things in a
somewhat worse state of confusion than
they were, and does nothing towards de
termining what a fair remuneration shall
be, because custom as fixed by the smaller
practitioners, who are naturally greatly in
the majority, will soon over-ride any
schedule of professional practice, and thus
render the work of recovering the fees set
down by the Institute more difficult even
than it was before.

RED LEIST, ARTIST AND
ILLUSTRATOR. By D. H.

SOU IER.

FOR all time we must look to Europe as
the world s art centre the great univer
sity whereto all artists gravitate, and
where for many years yet they must
graduate before receiving the world s hall
mark .of approbation.

Mr. Fred Leist is the next Australian
artist who leaves us; with this agreeable
difference, tint his migration is quite
voluntary, and it is merely a desire to see
how they do things at the other end of the
world that starts him on his travels. He
leaves an appreciative public behind him in
Australia, and resigns a position on one
of our leading weeklies which he has held
with credit to himself and satisfaction to
his principals for several interesting years.

So much has been made of the necessi
tous exodus of talented Australia that it

is quite pleasurable to tind at least one
who has no reason to complain of an u-i-
grateful country. In the natural develop
ment of our nationhood, this favourable
condition is sure to become permanent
some day, and we, who fcr many years
have materially added to the artistic
enjoyment of rations, may soon expect to
attain that atmosphere of leisured and cul
tured opportunity wl en our painters
painting in our own land and our singers
singing in our own cities will obtain the
same meed of profitable appreciation which
hitherto has only l.een obtainable in the
older centres of civilization.

This, however, is somewhat beyond the
purpose of this article, which is merely the
stringing together of a few pleasant
memories for the friends the artist leaves
behind him, and an appreciative introduc
tion to those he will make before he re
turns to us again.

* * * * #

I first happened on him in Double Bay
Gully, which, before the advent of the time-

FRED LEIST, ARTIST AND ILLUSTRATOR

FIIOM THE BATSMAN S POINT OF VIEW.

payment cottage builder, was a favourite-
resort of those who sought to commune
with Nature, whether with brush or pen.
He and Francis McComas were there
sketching in water-colours, and breaking
the Sabbath at the same time.

So was I.

In later years Leist told me in confidence
that he thought I was making a fine
sketch, and there being no evidence to the
contrary, I am entitled to the benefit of
the doubt. Of course, he was a trifle in
experienced to be then a reliable judge, but
I remember that he was making a rather
bad one, and expressing his opinion of it
in forcible terms.

Said I to myself, "That boy will get on
he knows when he misses it."

And this quality has remained his saving
grace, lifting him into the position of one
of cur foremost illustrators, if it be not too
narrow a definition. Few of us can look
at our work as dispassionately as Fred
Leist, and none of us are more tolerant of
criticism, even if it be intelligent criticism.
It is hardly necessary to mention that
"criticism" is used in the sense of adverse
comment.

The dictionary gives one definition of a
critic as "one who censures or finds fault."

Therefore the painter, poet, and littera
teur, finding few intelligences equal to their
own, have come to the forgetting of all
other qualities in the critic, and recognises
him chiefly as "one who censures or finds
fault."

Fred Leist commenced his artistic educa
tion at the Technical College he continued
it for a little while in the studio of J. S.

STUDY.

Fred Leist.

FRED LEIST, ARTIST AND ILLUSTRATOR

"ON GUABD."

Watkins, but it was mainly under the able
guidance of Julian Ashton that he began
to draw and paint. Professionally he was
being- trained as a furniture designer in
the workshops of David Jones, under the
superintendence of F. Dickin, when, feel
ing the need of a wider horizon, he rented
a studio in Norwich Chambers, and de
signed furniture and fitments until he
found a firm footing in the art colony
which for years has roosted high on the
corner of Hunter and Bligh Streets.

About this time A. H. Fullwood was the
New South Wales representative of The
Graphic and The Daily Graphic, of London,
a position which, on his return to England,
fell to Fred Leist, who during the Com
monwealth celebrations was appointed to
specially represent these papers in Victoria

Fred Leist.

and New South Wales, contributing to
their pages some of the most striking illus
trations of that epoch-marking period of
Australian History.

Before this, however, he had made his
debut on the Bulletin, that alma mater of
all that is notable and national in Austra
lian art and literature. His first contribu
tions were studies of Sydney newsboys ;
ragged little urchins who picked up a pre
carious living on our street corners and
dared with almost perfect immunity the
dangers of the cumbrous steam trams
which infested our thoroughfares in the
middle nineties.

Many and interesting were the experi
ences of those clays, sometimes humorous,
sometimes pathetic, as witness the story of
"Pigf ace" "Piggy" for short.

FRED LEIST, ARTIST AND ILLUSTRATOR

THE BUSH FIRE.

Fred Leist.

He was an ideal newsboy for the stage
or the novelette, with a face like an
angel and a vocabulary like a drunken coal-
lumper. For business purposes he had
several tales of domestic poverty and afflic
tion ; a mother who was sometimes
widowed and sometimes dead, and a
father who spent much of his time in the
hospital or the grave. The calamities
which dogged the steps of his younger
brothers and sisters would have doae
credit to his imagination had we not
known that he epitomised them from the
fatalities column of the evening papers.

He had favoured Leist with a sitting,
and eagerly scanned the next issue of the
Bulletin to show "his picture" to his
mates, but no picture was there.

"Say, mister," he accosted Leist that
Thursday afternoon, "was yer pullin me
laig erbout that there picher, cause it ain t
in the bloomin pyper."

Fred explained that it would probably
appear at a later date, but drawing after
drawing was published, and yet no Piggy.
Keen to note his disappointment, his mates
advised him every Thursday morning of
the regrettable fact, and goaded him
almost to madness by pointing proudly *o

many an illustration of their quaint
figures from Mr. Leist s pen.

It hurt Piggy very much. The cheer
ful "G day, boss," with which he was accus
tomed to greet Fred changed to bitter
invective, and many and deep were the
picturesque curses which he hurled at the
helpless artist, until Nemesis stepped in
and Piggy, crushed and bruised and dying,
.was borne to the Hospital one wet win
ter s night.

Only a few hours of life were left for
him, but they included a Thursday morn
ing, and among his last visitors was one
of his confreres of the street corner, who,
timid and tearful-eyed, tiptoed to the bed
side.

"It s all right, Piggy," he said, pushing
a still damp Bulletin into the little chap s
hand; "yer picture s in it!"

There was considerable doubt at the
time whether the picture didn t kill Piggy
just as much as the tram did.

From newsboys he turned his attention
to the now almost extinct type of "Domain-
ites," and worked his way up the pictorial
scale until he developed something which
came to be known as "The Leist Girl."
She is a dainty production always pleas^

FRED LEIST, ARTIST AND ILLUSTRATOR

THE FAVOURITE WINS.

ing and quite respectable. Any man could
introduce her with perfect safety into the
bosom of his family. Only once did she
fall from grace, but he labelled her &lt;n
"Waverley French," and the trustees of our
National Gallery purchased her before
learning her true character. As "Noctur-

Fred Lcist.

nienne" she hangs in the Australian Court,
one of the best of our water-colours, her
great grey eyes peering out of the wet
night, and the half- formed invitation hover
ing on her lips, preaching a perpetual
sermon for such of us who have eyes to
see and a heart to feel for erring humanity.

FRED LEIST, ARTIST AND ILLUSTRATOR

THE ARCHITECTURAL EXHIBITION

He also contributed work of a very high
order to other journals notably "Rowland-
son s Commonwealth Annual," the origi
nals of some of his work in its pages being
also secured for the National Gallery.

He was by this time a fairly regular con
tributor to the Sydney Mail, under the
editorship of the late J. P. Bowling, and
soon joined the staff as its special artist,
a position which he now resigns to go and
see if the world is really round.

On the formation of the Society of
Artists, he was one of its original mem
bers, sitting on its committee for several
years; and on the re-establishment of that
body he was included among The Twelve.

The Royal Art Society, on being joined
by the Society of Artists, also gave him
a seat at their counc l table, and scored
high for h- m at every election, placing
great regard on his services on their selec
tion and hanging committees.

Several of his more serious productions
are in our National Collection, and a space
is reserved for the big picture he is going
to paint when he returns to us with an
experience widened by travel and observa
tion in the four corners of the earth.

HE 1907 EXHIBITION OF THE
INSTITUTE OF ARCHI
TECTS OF N. S. WALES.

THE Exhibition of Architectural Drawings,
held last December, under the auspices of
the Institute of Architects of New South
Wales, though interesting to those con
nected with the profession, did not attract
the general public, to any great extent, and
consequently failed in one of its principal
objects.

The chief motive of such exhibitions is
to interest those and there are many
who take an unprofessional pleasure in the
architect s work; but these intelligent
amateurs are concerned principally with
the pictorial side of the craft, and this, it
seems, the architect is too busy to bother
about.

The art of perspective drawing would
appear to be falling into disuse. Want of
time, or want of incentive whichever may
be the case compels the designer of
buildings to trust entirely to his geometri
cal drawings, except in very large work,
and chance the rest. This is not as it
should be; for perspective to an architect

RESIDENCE, BEEOBOFT.
N.E. VIEW,

G. Sydney Jones, Architect.

THE ARCHITECTURAL EXHIBITION 7

PROPOSED

DWELL ING AT
TURRAMURRA

PETER SEN
9CAUC 18 FEET

TO QME

FRONT

should mean something more than the mere
making of a pretty picture. It is one of
the two means at his disposal by which he
may judge the effect of his building when
completed. The other is by making a
model, but, on account of the time and
trouble involved, this can seldom be done
until the plan is fixed and the design prac
tically decided upon. The perspective
sketch, on the other hand, can be made
when the first studies have assumed

Sulman and Power, Architects.

shape, and, however slight and inartistic
it may be, it will convey, even to the de
signer, a better idea of what the finished
structure will look than any number of
purely geometrical elevations. In fact, it
is not too much to say that any building
of importance should be more or less de
signed in perspective. The practice at
present is to make the perspective drawing
when the plans are quite finished, and if any
portion of the building is then found to

THE ARCHITECTURAL EXHIBITION

DESIGN SUBMITTED IN COMPETITION FOR
THE COMMERCIAL TRAVELLERS CLUB.

Kent and

Architects.

look awkward, or susceptible of improve
ment, the perspective is promptly "faked"
until it satisfies the architect s eye; but It
is seldom considered necessary or practic
able to alter the working- drawings them
selves, as the preliminaries are generally
too far advanced.

Of course, the obvious answer to all
this is that the clie.it will not pay for
perspectives or models, and that conse
quently the architect cannot afford the time

or expense necessary for their production.
But if architectural exhibitions are to be a
success, some sacrifice must be made; for
the intelligent amateur has grown decid
edly tired of photogiaphs.

We illustrate a few of the many excellent
drawings shown ; but many others that
we would have liked to reproduce are
unavailable, having been sent to the Aus
tralian Natives Exhibition in Melbourne.

SOME fiARLY AUSTRALIAN BOOK-PLATES

OME EARLY AUSTRALIAN
BOOK-PLATES. By JOHN

LANE MULLINS.

MR. JUSTICE FIELD.

AMONG the earliest book-plates used in
Australia were those of Barren Field, who
arrived in Sydney in February, 1817, hav
ing previously been appointed a judge of
the Supreme Court of New South Wales.
In December of the following year he held

in Hobart Town his first circuit of the
Supreme Court in Van Dieman s Land,
and returned to Sydney in January, 1819.

To readers of the delightful "Essays of
Elia" he is known as the recipient of an
amusing and somewhat satirical epistle
from Charles Lamb in 1823, in which the
writer confesses that he knows "less
geography than a schoolboy of six weeks
standing," and cannot "form the remotest
conjecture of the position of New South
Wales or Van Dieman s Land."

The essayist, who was born under the
shadow of the cognisance of the Winged
Horse, addressing his distant correspondent
"in that strange world to which he has
been transplanted," and in a reminiscent

vein, writes: "I am insensibly chatting to
you as familiarly as when we used to ex
change good morrows out of our old
contiguous windows, in pump-famed Hare-
court, in the Temple."

Field collected and edited "Geographical
Memoirs in New South Wales," published
in London in 1825, a number of papers
on Australian explorations, geology and
meteorology; contributed several from his
own pen on "The Aborigines of New Hol
land and Van Dieman s Land" and "The
Rivers of Australia," and also gathered the
first fruits of Australian poetry.

It is curious to find that his first name
provoked the cynical criticism of Lord
Beaconsfield, who said of him: "The
Judge Advocate is that Mr. Baron Field
who once wrote a book, and whom all the
world took for a noble; but it turned out
that Baron was to him what Thomas is to
other men. I find him a bore and vulgar, "
and makes another unkind reference to
him as the "noisy, obtrusive, jargonic
judge." However, this narrow estimate is
not shared by Commissioner Bigge, who
bestows unqualified praise on his legal
attainments; testifies to his employing his
influence to promote the purposes of
justice; to his display of a very indepen
dent judgment, and to the soundness and

SOME EARLY AUSTRALIAN BOOK-PLATES

impartiality .of his decisions. Mr. Justice
Field is of the greatest interest to collec
tors of Australian book-plates as one of
the earliest Australian officials who pos
sessed a book-plate. It is not claimed that
his book-plates, for there are two of them,
were engraved in New South Wales. Both
are armorial, though distinct in design and
treatment. The first shows a crest with plain
shield, and on a ribbon underneath "Barron
Field, Esq., of the Inner Temple, Barrister-
at-Law." No motto is found, and the
arms are: Quarterly first and fourth, sable
a chevron engrailed between three garbs,
argent; second and third quarters, sable,
a lion rampant, argent; impaling argent a
cross crosslet fitchee i.i chief and a stag s
head erased in base, all gules. No mant
ling or helmet is shown, and the crest is
an arm in armour fesseways issuant from
clouds from the sinister, holding in the
hand an armillary sphere erect.

The second book-plate is much more
elaborate and embellished. Helmet, mant
ling, and motto are added, and the arms
occupying the dexter half of the shield
above described are displayed upo.i the
whole of a shield of Jacobean design bal
anced upon an ornamental scroll or gas
bracket, from which hangs a ribbon with
the motto: "Nil a git liteni quod lite
resolvit," and underneath in Italian script
the name Barron Field. In this plate
impalement is not made use of, but a
small escutcheon is superimposed on the
centre of his arms, with his wife s
infectence. They are not identical with
those impaled in the first plate, but show
argent, on a bend sinister gules three
escallops of the first between a stag s head
erased, between the attires a cross crosslet
fitchee, and in the sin : ster base point a
bugle horn stringed both of the second.
Mr. Justice Field sailed for England in
February, 1824.

DR. WILLIAM BLAND.
Another historical personage connected
with the early history of New South Wales
is Dr. William Bland. Destined to follow
the example of his distinguished father, a
medical practitioner in London, he was
scarcely 21 years of age when he l:ecame
a member of the Royal College of Sur
geons of England, and received an appoint
ment in the Royal Navy. Like Shaks-
pere s typical soldier, he appears to have
been "jealous in honour, sudden and quick
in quarrel," and on the voyage to India,
whither his ship was bound, he took
offence at the action of the purser. A
duel resulted, which proved fatal to Dr.
Bland s adversary. He then challenged a
brother officer, who had imputed unfair
ness in the first encounter, and a second
duel resulted, in which neither principal
was hurt, but both officers were arrested
and tried at Calcutta. Dr. Bland was
exiled to Sydney, where he arrived in
1814, in his 25th year. From that period
until his death (in 1868) his name is asso
ciated with acts of philanthropy and charity
administered through the medium of pro
fessional channels, while his enlightened
spirit roused him to embark on a career
of public usefulness opened for him by his
return in 1843 as one of the members for
Sydney to the first elective Legislature, the
old Legislative Council. His armorial
book-plate, about which we are chiefly con
cerned, is an exact copy of that used by
his father, except that under the name in
the elder Bland s plate the letters M.D.
denote the degree in medicine betokening
the qualification of its owner, and the arms
displayed are on a plain modern shield with
mantling but no helmet or motto. They
are: Argent, on a bend sable 3 pheons or,
surmounted by a crest; out of a ducal
coronet or, a lion s head proper. Under
neath in Italian script is engraved the name
William Bland. He employed also a plain
label with the name Willm. Bland engraved
in small German text.

AN ART TOUR THROUGH THE OLD WORLD

N ART TOUR THROUGH
THE OLD WORLD. By

W. A. MOIR.

THIS is undoubtedly the age of travel ;
the desire to move about and visit foreign
lands is perhaps one of the most striking-
features of modern life.

The marked increase and rapidly increas
ing number of travellers has been accom
panied by a simultaneous increase in the
facilities for travelling, and the trend :&gt;f
scientific research and engineering skill
point to the means of intercommunication
becoming still more luxurious and quicker
in the near future.

Our party, in quest of Art experience and
other education, left the P. and O. Com
pany s steamship "Mooltan" at Port Said,
and journeyed by rail to Cairo.

We arrived about twelve o clock at
night, and were struck with the brilliantly-
lighted shops, and cafes, with busy throngs
of people about at what we considered that
late hour of night : but we were informed
that the cafes rre open until three o clock,
and sometimes all night.

The hotel accommodation in the Savoy
and Shepherds is about as good as the very
be.-t in England. The latter is splendidly
designed and decorated ; an imposing
Egyptian arch spans the entrance to the
smoking and dining rooms, and the Eastern
effect is heightened by the fine palm and
Moral decorations around the walls.

The dimly-lighted smoking-room is in
tended to refresh and cool the visitor
after coming out of the fierce heat and
glare of the street.

We visited some of the finest mosques;
and there are upwards of two hundred in
Cairo. The huge dome, \\ith the dim
light coming through small coloured win
dows high up, the lamps hanging from the
roof, the beautifully-carved woodwork, the
tiled floor with richly-worked mats, give
these places of worship an air of imposing
solemnity which cannot fail to impress
one after coming from the brilliant sun-
hght and barren ugliness of the desert.

The mosque of Amru is about three
miles from Cairo, and is held in great
veneration, as it is not only one of the
oldest, but is an exact reproduction of the

Mecca Mosque. A pair of columns in the
front are called "The Needle s Eye," and,
according to the Arab tradition, only men
of the highest integrity can squeeze
through. When Ismail saw that his
portly figure could not squeeze through, he
ordered the space to be filled up ; now it
is taken down again, and the Arab guide
demonstrated that he could get through
easily, for he was a good man."

The European delights to w r ander
through the Arab quarters of Cairo, to see
the novel sights, and the ebb and flow of
the human tide along the famous Mouski,
which is perhaps the busiest street in the
world. We felt that it was quite impos
sible to give an adequate impression or
picture of Eastern life by description.

New Cairo, on the other hand, compares
with some of the best streets of Paris.
There are fine substantial buildings, boule
vards, cafes and shops equal to some of
the best in the gay capiial; and when the
fashion and style are out driving in their
carriages, with high-stepping horses and
luxurious motor-cars, one can imagine
oneself in the Champs Elysees or Hyde
Park.

The great excursion of Cairo is to the
Pyramids, and the bailders of those im
perishable masses of stone seem to have
invaded the realms of immortality; they
have been theie for over four thousand
years, and seem likely to remain there for
ages yet to come.

And a trip to Sakkara on camels across
the desert to the Temple of Ti is ex
tremely interesting. The entrance is by a
path cut in the sand, and down below the
surface of the desert, on the threshold,
stands a figure of the god himself, leaning
on his rod of office.

The frescoes are as fresh as the day
they were painted, and represent acro
batic exercises, capture of animals in the
wilderness, musical entertainments. All
that was noble in life has been portrayed
by the artist. In some places the carvings
are in relief, and wrought with extreme
delicacy and finish.

The tombs of the sacred bulls contain
twenty huge sarcophagi, brought from
Syrene, a distance of about 600 miles, and
weigh about 65 tons each. The Viceroy

AN ART TOUR THROUGH THE OLD WORLD

desired one for the Cairo Museum, but
found the difficulty of transport so great
that he abandoned the attempt, and it re
mains in the doorway to this day, a
tribute to the mechanics who accomplished
this stupendous undertaking 4000 years
ago.

squares, and hundreds of thousands of
people lived and toiled here for centuries.

Abdal Latief, the historian of Bagdad,
visited Memphis about 700 years ago, and
we gather from his writings that it must
have been an immense and beautiful citv.

He says: "Though more than one
nation has been at great pains to destroy
this vast and ancient city; and carry away
the stones and materials of which it was
constructed, and to mutilate the statues
that adorned it, in spite of this, and all that
more than thousands of years have done
in addition to man, these ruins still offer

A CONTINENTAL BULLOCK TEAM.

We passed through the site of the ancient
city of Memphis, which has now completely
vanished from the face of the earth ; all
that remains to mark the spot is a statue
of Rameses II., and a few trees.

On this barren plain stood a magnificent
city, with imposing palaces, temples, and

to the eye of the beholder a mass of mar
vels that bewilder the senses, and which
the most skilful pen must fail to describe."
Stones, marble slabs, and statues were
carried away to build Cairo, and some of
the pillars arc to be found in the older
mosques, and as we passed through this

AN ART TOUR THROUGH THE OLD WORLD

desolate spot on camels we could hardly
realize that such a wonderful change could
ever have taken place.

Our party reluctantly left these enchant
ing and historical cities of the East, and
crossed the Mediterranean in the P. and
O. Company s steamer "Isis" to Brindisi;
proceeding by rail across Italy to Naples
to see the famous gallery of sculpture,
Vesuvius, and the ruins of Pompeii and
Herculaneum.

Rome was one of the places that fascin
ated us beyond all expectations. It is a
place of amazing interest, and would take
months to see properly, and its art treasures
would be unending labour to describe.

The majestic pile of St. Peters and the
Vatican, regarded from an art and archi
tectural point of view alone, will be an
eternal delight to mankind.

The magnificent library, with its price
less manuscripts, is one of the world s
treasures. Then there are many famous
originals in art and sculpture beyond all
monetary computation, such as the Lao-
coon, the Apollo Belvidere, the Boxers,
Meleager, and many other well-known
statues.

Also the frescoes in the Sistine Chapel,
by Michael Angelo, are of world- wide
fame, and those painted by Raphael in the
apartments known as Raphael s "stanze"
are very beautiful.

The picture galleries contain some of the
finest examples of the art of Leonardo da
Vinci, Titian, Corregio, Paul Veronese, and
other masters of the Italian school.

After visiting the many fine temples and
ruins of the Forum, the Coliseum, the
church where St. Paul was supposed to
have been beheaded, and the dungeon
where St. Peter was imprisoned, and many
other historical sights, we pushed on to
Florence, the city of beautiful surround
ings, and the favourite resting-place for
tourists, on account of its many fine walks
and drives.

The Pitti Palace and the Uffizi gal
leries are two of the most interesting gal
leries in Italy. The former collection is
due to the art culture and taste of the
famous Medici family; they encouraged
every artist of note, and spent huge sums
of money in acquiring beautiful things,

and this noble passion descending from
father to son, they gradually enriched their
palace with many of the finest art treasures
of mediaeval times.

The Uffizi Gallery is unique from the
fact that in one section it contains por
traits of nearly all the best artists of the
world, painted by themselves.

It is considered to be one of the highest
honours in the artistic profession to be
honoured with a place with Velasquez,
Rembrandt, Titian, Van Dyck, Michael
Angelo, Raphael, G. F. Watts, Lord Leigh-
ton, and other leaders of their periods.

After wandering through miles of old
masters and galleries of statuary, some of
our party showed signs of acute artistic
indigestion, and we found the exposition
of modern art at Venice a welcome change
from monotonous Madonnas and unhealthy-
looking saints.

The beautiful pile of buildings situated
in the public gardens, on the banks of the
Grand Canal, are a sight in themselves.

There are over thirty spacious galleries,
containing masterpieces from all countries
and schools of modern art, very tastefully
displayed on walls, beautifully decorated,
and lighted to show the paintings to the
best advantage.

The English school was principally re
presented by John Sargent, R.A., and John
Lavery, and nothing in the whole collec
tion exceeded the work of these two
artists.

Sargent had fourteen of his best Works,
and Lavery had a number of fine portraits
and figure subjects, which were always
surrounded by appreciative groups of
artists and art lovers of all nationalities.

The French, Italian, Austrian, German,
Spanish, Russian, Norwegian, Dutch, and
other schools were well represented, and
nothing finer could be placed before an art
student from an educational point of
view.

Although the methods and technique of
these schools showed great variety when
brought into juxtaposition, the general
trend seemed to be in the direction of
realistic and subtle effects and expression ;
the large and gaudy exhibits were treated
as the vulgar in art, and were freely rele
gated to the corners and ceilings.

AN ART TOUR THROUGH THE OLD WORLD

It is fully realized amongst artists and
critics that the modern exhibition has a
deleterious effect upon art, for it has a
tendency to make men paint things that
"shriek" in order to attract attention.

Our wanderings in search of art educa
tion next led us to the picturesque city of
Vienna, on the blue Danube; here we were
entranced with the many fine public build
ings, well-laid-out streets and parks,
adorned with statuary and fountains.

The National Museum is a splendid
edifice, enriched with one of the finest
collections of mediaeval art; there are
thousands of works by old masters of all
ages, but a great many of them are very
poor productions, and deserve very little
attention, and surely must have been very
early works, or painted by their pupils.

But there are many fine examples worth
the closest study, especially the Velasquez
collection, which is the best to be found
out of Spain.

There are also some of the finest
works by Michael Angelo, Titian, Tinto
retto, Raphael, Van Dyck, and many other
famous painters of bygone days.

Here we saw Raphael s famous "Ma
donna among the Verdure/ , and Corregio s
celebrated "Jupiter and Io 5 ; also the
"Church Fair," by Peter Brueghels, which
is a beautiful work, full of fine grey tones,
and in a splendid state of preservation.

There are many fine examples of Aus
trian art in the modern galleries, and there
are numbers of private collections, of which
that owned by Prince Lichenstein is one
of the finest in the world.

The Munich school is the centre of
German art culture, and, unlike other
academies, it is divided into distinct de
partments.

The students have the privilege of select
ing the instructors most in sympathy with
their ideas., and the advantage of this
method is obvious, and the excellent results
achieved go far to prove the wisdom of
this arrangement.

In addition to this, the Academy is very
liberal in providing studios for the most
promising students, who also have access
to the valuable collection of costumes be
longing to the institution.

In the permanent gallery of modern art
there are many fine pictures well worth

W. A. MOIR, A CAMKI, AND THE SPiltNX.

studying, by men such as Holmberg, Franz
Stuck, Karl Marr, Lenbach, and many other
famous painters of this school.

To write about the art of Paris and
London would occupy the space of
volumes, but we still noted the trend and
dominant note of modern art is to paint
realistic and subtle pictures, with fine tech
nical qualities, and the finest thing in the
French Salon was a work by L. Camerre,
"Golden Rain" a nude figure, with a
golden shower descending. The drops of
rain were so realistic that they looked like

AN ART TOUR THROUGH THE OLD WORLD

nuggets of gold. The drawing and pose
of the figure was exquisite, and the picture
was purchased by the Government.

The Salon galleries and sculpture garden
would occupy weeks to study and examine
thoroughly ; the Louvre and Luxemburg,
and the many private collections, are verit
able feasts for the art lover.

In London the quantities of art treasures
which ought to be inspected are simply
stupendous.

One can gather no idea of the wealth
of this great centre from the National
Museum, Tate Gallery, Wallace Collection,
Hampton Court, and the other public gal
leries. It is when the private collections
and studios are opened up that the student
gets an idea of what there is to be seen.

A private gentleman, Mr. F. V. Lane,
of South Kensington, owns a number of
Corots, Whistlers, Mancines, Marrs that
are worth hundreds of thousands of
pounds.

Madame Marchesi, the great teacher of
singing, and one of London s best opera
tic artists, has a magnificent private col
lection of works by Degas, Whistler,
Mancini, Josef Israels, Fantin La Tour,
Manet, and C. H. Shannon; she has
also some of the original manuscripts by
\Vagner and Beethoven. The former per
sonally instructed her mother to sing his
operatic music, and this is why her musi
cal instruction is so much sought after.
Madame Marchesi and her mother retain
the direct traditions from the composers,
and, as she herself says, the music is not
always sung as it is written.

Frank Dicksee, R.A., has a beautiful
studio in Maida Vale, a few doors from
Madame Marchesi s residence. We had
the pleasure of seeing several of his impor
tant works, including the well-known
La Belle Dame Sans Merci." He was
painting the Countess of Camden at the
time, and he freely allowed us to inspect
the work in progress, which was of great
benefit and education. He is a fine,
genial type of man, is very popular in the
London art world, and is going to be the
next President of the Royal Academy,
from accounts we heard on all sides.

John Lavery has a large studio in South

Kensington, where he is at home every
Sunday to receive visitors.

Some of the finest musical talent of
London find their way here to these "show
Sundays," and many a delightful informal
concert we heard amongst Lavery s splen
did portraits and figure paintings.

He is a little man, full of genial Scotch
humour, and is a delightful host. He is
looked upon by the French as the represen
tative of British portrait-painting, and his
beautiful grey colour schemes and fine
technique place him amongst the best living
portrait-painters.

George Henry, A.R.A., occupies a quiet
studio in Chelsea, in the same house as
Derwent Wood, the sculptor (Florence
Schmidt s husband).

Henry is also a fine portrait-painter, and
is doing splendid work, and he also freely
allowed us to inspect his methods, and
showed all his unfinished canvases.

W. Reynolds-Stephens is one of the
coming sculptors, and has just built one
of the best studios in London. He is en
gaged on some very important commissions,
and it would be well if our Art Gallery
Trustees secured an example of his work,
which is much sought after by London
buyers, and will soon become very costly
as the sculptor s reputation becomes known
beyond London.

He is the author of the well-known
group, "The Royal Game," where Queen
Elizabeth and Phillip of Spain are playing
chess with the ships of the Armada.

J. M. Swan, R.A., the animal painter
and instructor of the London Art School,
has a fine house and studio in St. John s
Wood ; he is an excellent teacher, and will
take the palette and brushes and work for
hours amongst the students in the most
painstaking and genial way.

Frank Brangwyn, A.R.A., on the other
hand, is an extremely rapid worker, and
gives the student the benefit of his fine,
free handling, and his decorative ideas are
extremely valuable and wonderful as re
gards rapidity.

In the composition class he turns a
hopeless student production into a very pre
sentable picture with a few masterly
strokes of the brush.

John Hassell is one of the leading black-
and-white artists, and, judging from the

CHALLIS HOUSE

luxuriant appurtenances of his studio, has
made piles of money.

He also showed us some beautiful water-
colours of old English traditions and sub
jects, treated with great delicacy and finish,
without sacrificing the breadth of the
work.

George Frampton, R.A., one of the
leading sculptors, is a fine, burly type of
an Englishman ; in his lighter moods he
is a great man amongst children.

He is also a very popular man amongst
the other artists, and his sound common
sense and fine work make him one of the
most distinguished men in the London art
world.

We met Sir E. J. Poynter, P.R.A.,
David Murray, R.A., and Solomon J. Solo
mon, R.A., at the Royal Academy soiree.
The President is an aged man, beginning
to stoop, and, like his work, shows signs
of loss of power.

David Murray is one of the most-loved
men amongst the art brethren of London;
he will go out of his way to help anyone
who shows any signs of talent or ability,
and his work is just as robust and sympa
thetic as himself.

Solomon J. Solomon is a little man of
extremely engaging manners and conver
sation; he exhibited a finely-painted por
trait at the Academy this year. The treat
ment and textures were excellent, but all
his work verges on to the "pretty" and
"popular."

|~Mr. Moir has promised to continue his story
of the London Studios in a subsequent issue. 1

H A L L I S

HOUSE

Tins building, which has recently been
completed, has a frontage to Martin
Place of a little over 134 feet, and adjoins
the Rank of Australasia on the one side
and that of the Mutual Life Insurance
Company of New York on the other, with
a depth to Martin Lane of 56 feet.

The building is eight stories in height
above the footpath, with an attic floor
additional in the roof, and has also a base
ment and sub-basement.

The total height from the footway to
the apex of the roof is 130 feet.

Excavations had to be made to a depth
of over 30 feet below the level of Martin
Lane to obtain sound rock for the founda
tions, which are of cement concrete.

The old Tank stream passes through
the centre of the land, and had to be care
fully treated.

The facade to Martin Place, which is de
signed in Jacobean style, is entirely of
sandstone obtained from the Waverley
Quarries, excepting the base and ground-
floor columns, which are of Bowral
trachyte, polished.

The whole of the internal construction is
of steel and reinforced concrete, the floors
being of cinder concrete on expanded
metal, finished on top with 3 in. hardwood
boards.

The partitions dividing the offices are
of terra-cotta lumber built in cement.

The stairs from top to bottom of the
building are also of steel and concrete
construction covered with marble.

The walls of vestibule and staircase-hall
are lined with marble, which was all
obtained from local quarries.

The joinery throughout is of picked
colonial cedar.

Electric lighting and heating is pro
vided throughout the premises.

The slates for the roof, which are of a
particular shade of green, were specially
imported.

A portion of the roof for the use of t*he
caretaker is flat, and covered on top of the
concrete with malthoid.

All the ridges, hips, gutters, and down-
pipes are of copper.

Two hydraulic and one electric elevator
are provided.

The lower portion of the eastern half
of the building was specially planned for
the Railway Parcels and Ticket Offices, and
the Tourist Bureau. The Intelligence De
partment also occupies some of the upper
floors, the remainder being divided up into
offices.

The western half was planned wholly
for offices, and, as the majority are
already let, the Senate of the University of
Sydney, who are the owners of the pro
perty, are to be congratulated upon having

CHALLIS HOUSE

CIIAT.I.TS HOVSE.

IT. L. Ycrnon, (Qovt. Arcli.).
Robert sun and Marks. Joint Architect*.

secured a profitable investment for the queathed to the University the funds which

funds of that institution.

In the vestibule can be seen a very
handsome bronze tablet, erected to the
memory of John Henry Challis, who be-

enabled the Senate to erect this handsome
structure.

The contractors for the building were
Messrs. McLeod Bros., who completed

THE DEVELOPMENT OF SCHOOL ARCHITECTURE

their contract in the record time of fifteen
months. Clerk of works, William
Pritchard.

W. L. Vernon (Government Architect)
and Roberson and Marks are the joint
architects.

Sub-contractors : Steelwork, White Bay
Company; expanded metal, Elliott and
McLean; joinery, G. P. Jones; stone carv
ing, Sherriff and Son ; plumbing 1 , Tom
Jones; fibrous plaster, Grant and Cocks,
Ltd. ; sanitary fittings, J. Taylor and
Sons ; repousse work, J. Lynch ; electric
lighting, Cook, Stanton and Co. ; electric
fittings and elevator cars, J. Castle and
Sons ; wrought-iron work, J. Connelly ; art
metal-work, J. Richard and Son; marble-
work, Anthony Hordern and Sons; tiling,
Dobson, Franks and Co.; hydraulic eleva
tors, Sydney Hydraulic and General Engi
neering Co., Ltd.; electric elevator, Gibson,
Battle and Co. ; malthoid roofing, The
Paraffine Paint Co.; lead-lights, Lyons and
Cottier; painting, A. P. and D. Company.

HE DEVELOPMENT OF
SCHOOL ARCHITECTURE.

THE difference, vast as it is, between the
"little red school-house" of a country dis
trict a hundred years ago, and the huge,
substantial and well-equipped urban school-
house of to day is closely paralleled by
the advance from the teaching of the
"three R s" during the short-winter term
by pedagogues who were thorough be
lievers in corporal punishment to the
assorted smatterings of pretty much every
thing that are found in the school curri
culum of to-day and imparted to children
of all kinds of provenance by the aid of
moral suasion only. The change in the
scope of public-school instruction has been
as impressive as has been the development
in the architectural character of the
school-houses. Two factors have changed,
developed, perhaps improved adequately;
but the third factor, the most important
one of the trinity, has been unduly
neglected ; but there are signs that changes
are impending in its behalf that are im
portant at least, perhaps immeasurable \a

their potential effect. Within the last
half-dozen years there has been borne in
upon the great body of educators the folly,
the great economic waste, of attempting to
educate mental faculties that are allied to,
housed in, ill-nourished, stunted or defec
tive bodies; and yet there probably has
not been for many years a school-commit
tee that has not used in its reports the
hackneyed apothegm, "mcns sana in corporc
sano." Yet, in spite of this, committees
and hygienists have devoted their thought
and energies and some considerable por
tion of their appropriation to improving
and really improving the hygienic condi
tion of the school building. But at last a
serious movement has begun which has as
its object the fitting of the bodies of
children to benefit fairly by the educational
advantages offered, and these physical
changes in animate nature will require
changes in the inanimate structures that
architects are called on to provide.

Medical examination of school children
is already effectively established in some
cities and a few whole States, and in this
movement, we believe, the oculists led the
way, and naturally, for they not only are
brought into contact with weaknesses of the
eye caused by unfortunate lighting condi
tions of school-rooms, but they know how
many nervous diseases are superinduced by
eye-strain. Dentists in their turn, knowing
how diseases of the digestive organs and
general malnutrition are caused by defec
tive teeth, followed the good example, and
the general practitioner has not been slow
in coming into line; so that, now, the pupils
of a well-conducted public school are
examined by oculists and dentists at least
once a year, while they are subjected to
more frequent general medical inspection,
which in some cases amounts to passing
daily under the eye of a competent
observer. This medical inspection is sup
plemented in the tenement districts by the
visits of a corps of trained nurses, who
follow up the cases and see that parents
where hospital treatment is not called
for give the children the proper care.
Now, this new movement, if it is to have
any effect and the statistics of medical
inspection in the city of New York has
disclosed in a startling way the real need
there is for such hygienic overlooking will

THE DEVELOPMENT OF SCHOOL ARCHITECTURE

have a very distinct effect in magnifying
the school population, by shortening
periods of absence through giving prompt
treatment at the beginning of disease,
through preventing the outbreak and
spread of epidemics and through curtailing
mortality. This cannot but mean that
more and larger school-houses will be
needed, and this, of course, means more
work for architects.

But the new movement means more
than simply more work for architects ; it
means certain changes in planning and
certain additions to school equipment. It
is easy to see that the medical inspector
must have his office at the school, large
enough for himself and his clerk, for re
ports must be made and statistics recorded,
and also a dispensary where first aid may
be administered. It is easy to see that a
more generous supply of lavatory appara
tus must be provided, but it is not so
apparent that a well-equipped school-house
in a tenement district should have a large
and effective laundry, with a drying-room
of unusual capacity. Already the up-to-
date school-house is equipped with cloak
rooms so heated and ventilated that wet
undergarments are pretty effectively dried
and aired during the school session; but
more than this is needed. The well-to-do
child s wardrobe is supplied with Sunday-
clothes, school-clothes, and play-clothes,
but the tenement child, in most cases,
has to make one suit serve all its needs,
and we believe that right here is a root
of much evil, and if medical inspectors,
hygienists, and philanthropists will fix
their attention on the clothes question,
tlieir work will be much simplified. The
theory and practice of the ventilation of
rooms, as everyone knows, is based on the
computed vitiation of the air through the
breathing of its occupants, together with
certain allowances for exhalations of
various kinds. We believe that medical
inspectors and ventilating experts would do
well to recognize to how great an extent
damp and dirty clothing is not only a
vehicle for the carrying of disease germs,
but a causa of that "stuffiness" which so
often pervades the school-room. If it i.s
right to spend millions of dollars yearly
in educating children, it is equally right

to make sure that a great economic waste
is not entailed in the process. "School
clothes/ in the larger cities at least,
might well imply that such clothes are
public property, to be worn only on the
school premises. Each child in the primary
and grammar school grades should, on
reaching school, pass to a suitable vestiary,
there removing its outer clothing to be
hung in drying and ventilating closets
and donning a suit of plain and serviceable
school clothes. It is unreasonable to ex
pect anything but an economic waste if the
pupil is obliged to sit through a school
session in wet and dirty clothing surround
ed by others equally uncomfortable and
unfortunate. When this common-sense
hygienic advance has been made, it is easy
to see that the school-house must include
a laundry, unless a central laundry is
established, and that architects will be
obliged to devise a new treatment for
vestiaries and their accessories. Moreover,
although the allegation, made a year or 10
ago, that many children went breakfastless
to school in Xevv York turned out on
examination to be grossly exaggerated, if
not altogether without foundation, the
soup-kitchen and the lunch-counter have
been found in many cases desirable ad
juncts; and it may well happen that archi
tects will be sometimes called on to include
kitchens and dining-rooms in their school-
house plans.

******

The above remarks are lifted wholesale
from a November issue of The American
Architect and Building News, their distinct
applicability to our own case excusing this
otherwise indefensible journalistic steal.

Fortunately, the latter portion of the
article does not apply to us to the same
extent as it may do in New York, where
large numbers of poverty-stricken children
form in some districts the majority of the
pupils, but we have kept the article un
abridged to show the thoroughness with
which our trans-Pacific friends perform
some of their communal duties.

The majority of our public school build
ings were erected at a time when the
science of scholastic architecture was not
considered of any special moment. Im
posing exteriors were sought for more than

A DOULTON FRONTAGE IN CLARENCE STREET

1 )i( urn
rchitecture.

of Colour

A SYDNEY ENSAMPLE OF COLOUR ARCHITECTURE

hygienic interiors, and so long as a certain
number of pupils could be mathematically
calculated to go within the walls of the
building, the architect was not supposed to
bring any special knowledge to bear on his
sub j ect.

Quite recently Dr. Roth, the medical
officer attached to the Department of
Public Instruction, made a tour of the
Continent of Europe to collect information
on this most important subject. We trust
that his labours will not be \\asted, but
that he will be accorded a consultant voice
on all occasions when scholastic architec
ture is under discussion.

SYDNEY ENSAMPLE OF
COLOUR ARCHITECTURE.

THE learned authors of the articles on
"Architecture" in The Encyclopedia Brit-
tanica" (gth edn.), in dealing with Colour
in Architecture, observe : "It is abundantly
clear that those who argue against the
application of colour to Architecture do so
without the weight which the authority of
their ancestors would have given them."
Professor Semper, of Berlin, in treating
of the origin of architectural polychromy,
proves that the Syrians, Persians, Egyp
tians, Chinese, Indians, Jews, Phoenicians,
and Greeks all used colour in their Archi
tecture and Sculpture.

It is almost superfluous to say that
there are most abundant evidences of the
fact that the architects of the middle ages
were seldom satisfied until they had
covered their walls with colour. Nor was
the practice of this peculiar to the
mediaeval artists, for the earlier Renais
sance had the same feeling in the same
degree. It was not only in Italy, the land
par excellence of colour, that men had the
true appreciation of its value. St. Louis
in the palmiest days of the French King
dom covered the walls of the Sai:it
Chapelle of Paris with gold, and colour,
and mosaic; and when our monarchs
wished to rival the zeal of St. Louis they
did so in St. Stephen s Chapel, Westmin
ster, an example equally sumptuous and

rich in colour effects. It may be confi
dently asserted that modern schools of
Architecture cannot with safety ignore so
interesting a development of the art.

Mr. Wallace Remington read a paper
before the Architectural Association of
Great Britain in December, "1900, "Colour
in Architecture, seen through an Artist s
glasses," in which he emphasised the de
lightful theory that colour, like music,
was subject to laws of chords and waves
and vibrations, which had, as the Presi
dent said, when first evolved, taken London
by storm, and there is little doubt but that
eloquent, earnest paper, and its widespread
discussion, did much to awaken British
architects to the fact that there was a de
lightful field of adventure which they had
not fully explored. Those who desire to
read this epoch-marking discussion can see
it in the Builder of December I5th, of
1900. Two years later, January 2ist, 1902,
Mr. Halsey Ricardo read a paper before
the Society of Arts on "The Architects
use of Enamelled Tiles," where he gets
to grips with the subject from a practical
standpoint, and briefly and succinctly tells
the story of history in relation to colour in
Architecture in positive poetic prose, if you
will allow such a phrase; and, were it not
for the limitations of space, some of his
blank verse should adorn these dry details.
But here is a touch of colour dealing with
climates such as our own :

"Both in Persia, Tunis, and the Spanish
Sierras we are in the presence of and
wastes. Outside the towns there are no
trees, no pastures. There is the blue sky
. over us but still twilight too blinding for
the eye to contemplate. The spring brings
a flush of blossom and a short-lived ver
dure, but for the greater part of the year
the landscape is a sober drab affair, with
little moisture in the air to temper the
brilliancy of the sunshine. The great
function, then, of these enamelled tiles was
to catch the fleeting glories of the fields
and gardens, and, Orpheus like, to fix them
as a lasting spring. Both by their design
and colour they recall the starry meads,
and their wondrous variety of hues and
the lush luxuriance of their verdure."

Dealing with the practical part, although
in those days he evidently had not the

A SYDNEY ENSAMPLE OF COLOUR ARCHITECTURE

potter s knowledge of his materials, he says
of London and its begrimed buildings,
"Stone perishes rapidly, brick and terra
cotta get befouled, marble requires frequent
re-polishing, and granite has the same de
fect ; no other surface we?rs so well as
a good glazed tile, which should be as
durable as a plate-glass window, unaffected
by the wildest acids that infect our atmos
phere. Moreover, the rain, instead of dirty
ing the house, will help to keep it clean;
after each shower, the bulk of the filth,
disease germs, and acids will be washed
into the drains." Even five years ago he
speaks of steel and terra-cotta casings for
buildings as a thing of the future, and says
the French have already made some excur
sions into this field. The Chairman, Mr.
Alfred Waterhouse, in proposing a vote of
thanks to Mr. Ricardo, dealt with the ques
tion of glazing, and dwelt with satisfaction
en the progress made by manufacturers in
producing a leadless glaze for Faience then
in vogue.

It is pleasing, therefore, to say that in
our Sydney example, which we illustrate
to-day, we have a more brilliant and much
harder glaze than any then referred to by
either Messrs. Waterhouse or Ricardo, in
the homely but absolutely perfect glaze of
common salt, in its glorified term, Doulton
Ware, of which Burton in his latest work
on "English Earthenware and Stoneware"
says: "When the kiln has attained its
full heat and the ware is already becoming
vitrified, wet common salt is shovelled into
the kiln through holes left for the purpose :
wherever the vapours thus produced come
into contact with the white-hot stoneware
it acquires a beautiful thin skin of trans
parent glaze. It has been proved that the
soda vapours attack not only the silica of
the ware, but some of the clay substances,
too. Thus salt glaze is not merely a sili
cate of soda, but a silicate of soda and
alumina, the soda being furnished by the
vapours of the common salt, and the
alumina and silica by the outer layer of
the clay itself."

A little, more than five years later
March, 1907, Mr. Ricardo, in his notes on
Mr. Debenham s house (see Architectural
Review of March, 1907) : "To build with
imperishable materials ill London has now

become a reasonable aim. Such materials,
to meet these requirements, must be glazed
materials, and the whole building must be
built of such. With the use of glazed
materials the question of colour crops up,
and the invitation to take advantage of the
capabilities of the material is irresistible.
Naturally, the arguments for sheeting our
buildings externally with glass apply also
in great measure to the interior, but this
is now an accepted doctrine."

So rapidly is the question of vitrifaction
becoming the test of resistance that we
here reprint a sentence from a paper
that was read only two years ago, having
in view the Carrara Ware, now used for
the Savoy Hotel and Mr. Debenham s
house. "The latest form of architectural
terra-cotta, and glazed at that, is a mixture
of clays enabling it to be fired almost as
hard as stoneware; so that, when my suc
cessor of the next decade lectures, the
technical axiom that clay suitable for terra
cotta will not retain its form if fired to
stoneware heat will be obsolete."

This Carrara has, however, scarcely
reached that stage; it is more correctly a
terra-cotta coated and hidden by an opaque
crystalline enamel, that fires with a slight
gloss or egg-shell surface, that commends
the material for use in architectural work
where glitter is not desired. The Sydney
example is a good exposition of the possi
bilities and limitations of stonew r are for
architectural purposes, and the fact that,
with all its simplicity of manufacture,
Messrs. Doulton and Co. have no competi
tors, bespeak at once the technical know
ledge that few clays, and these under con
tinuous chemical testing, and most careful
preparation, emerge perfect from the fiery
ordeal of a 72 hours firing; and it is
doubtless correct that in the whole history
of Keramics nothing approaching the per
fection in form, or in colour palette, has
ever been seen to equal present-day produc
tions in salt glaze stone\vare.

As the architects had in their design
reached the limitations of form in stone-
ware, it was decided that the colourings
should be simple blues and browns, such
as an early critic described as "sober, quiet,
harmonious and deep, and full of quality."
These tints, however, are used for the first
time in this building, and will be, we

A SYDNEY ENSAMPLE OF COLOUR ARCHITECTURE

think, appreciated by the connoisseur; pos
sessing, as Mr. Miller Carr has said, the
"hall-mark of the ardent tongues of the
kiln flames" ; and those who, like Mr.
Alfred Waterhouse, glory in having on
their buildings the results of "the accidents
of the kiln," as he phrased it, will find
some good specimens in this frontage,
perhaps, more especially, in the dado of
Cornelian Ware. The Renaissance style
has been adopted, the too narrow frontage
being divided into three bays by enriched
columns and pilasters, in a scheme of rare
blue and chocolate-brown, on a dado of
Cornelian Ware in grey-green tones, with
an entablature and panelled soffitis over.
The hall-mark of open kiln work is well
accentuated in the gradation and variation
of colour tones throughout the exterior
work. Two bays of the front are frames
for windows, while the third forms the
entrance through a highly-enriched lobby,
on the walls of which are two paintings
emblematic of "Earth" and "Water," by
Mr. Arthur E. Pearce, and connoisseurs
will note with pleasure the wide range Df
colour the Faience palette now presents,
whilst admitting the skill of the artist in
his figure subjects. Above them is a frieze
in which the conventionalized waratah has
been introduced; the ceiling is in panels
of Faience tiling.

Inside Mr. Shorter s office the walls have
been divided into panels by enriched pilas
ters similar in lines to those outside, m
good effects of green and yellow ; a charm
ing frieze of water-lilies and a dado in
peacock blues and greens makes a fine tout
ensemble; these are all in Faience. The
entrance, showing the panel "Earth," is
given as a frontispiece, in its full range
of colours, and we may again remark the
great difference between these Faience
blocks and tilings, with their delightful
breaking up of colour effects, by the craz
ing, or "crackled," glazes, and the hard,
stern, full-shining stoneware. But for
weathering conditions nothing yet ap
proaches the salt glazes, and the Faiences
are certainly not to be the outside medium
of the future. The Carrara, or coloured,
hard-fired terra-cotta, is being more largely
used, and its wearing qualities have been
fairly well established, now, in its splendid
condition, in that, so far, the largest and

most ambitious building yet attempted, the
Birkbeck Bank and Offices, designed by
Mr. T. E. Knightly, the first architect to
demonstrate the true use of these materials.

In this Sydney example, the first of its
kind in Australasia, we think the practi
cability of architectural keramics has been
sufficiently demonstrated, and the possi
bility of giving permanent colour and dis
tinction to our streets has been plainly
indicated. Lecturing last year to the
Builders Exchange, in Birmingham, Mr.
Miller Carr remarked : "Birmingham is a
fine city, but it is only a body. Yet if she
could only attain the dignity of a soul,
what possibilities are hers ? O ! if the
citizens of Birmingham would say to their
architects, Tut on strength, O arm of the
Lord instead of telling them to make it
cheap ! But let me say to those citizens, it
pays to be distinguished ! It is true enough
the architect is the arm of the Lord/
employed to perform that writing on the
wall which is the final character of the
city. If a man be a Quaker, let him in
struct his architect to express himself in
a dainty white and silver-grey; it will be
all the more quaint if the next frontage
is in Byzantine style, with colour and pat
tern work all over, and blazoned with
heraldry."

If such is true of a city, in a climate
like England, how much more in a semi-
tropical climate like ours, where the
glowing sun gives jewel-like splendour and
brightness to colours that are dull and grey
in a less bright atmosphere. How much
more where Nature paints our arid wastes
with flora whose glowing, living colours
no artist has yet truly transferred ro
canvas, whose spring-clad bush is clothed
in a veritable "cloth of gold" of wattles
and gorgeous blood-crimson waratahs ;
with dainty-tinted cream flannel-flowers,
and most gracefully- fragile purple-fringed
violets; with the ardent, strident Christ
mas Bell, and the graceful, delicate-hued
Christmas Bush; whose mountain slopes
are outlined by health-giving blue-gum and
brilliant flame-tree, and tree-ferns in myriad
greens and browns, made more glorious
than "Solomon in all his glory" by armies
of lancers bearing Gigantic Lilies, in lakes
and madders never yet put on mortal
palette ; and nestling round the trickling
brooklet in the valleys are dainty Lillipilles,

THE ARTS OF ANCIENT EGYPT

that might be manna created for the gods,
and myrtles whose sheen of foliage is a
titting background for the darting king
fisher, in his coat of many colours, and the
brilliant reds and yellows of the parrokeet
and cockatoo.

Such is Nature s gift to us, and when
the sober, not to say sombre, British tem
perament has been amalgamated with the
sun-blood of our Australian-born sons and
daughters, we shall dare to accept
Nature s invitation and build cities that are
fit companions for her gorgeous and
glorious handiwork.

HE ARTS OF ANCIENT
EGYPT. By FRANK WALKER,
MJ.A.

Ix all the history of the world s art, no
fact is more astonishing and seemingly
incomprehensible as regards Ancient
Egypt than that, the older the period, the
better the workmanship. There is practi
cally no beginning; or, if there is, it is still
buried in the mists of antiquity. The
annually-changed theories of prehistoric
races do not help us to solve this riddle.
We know that prehistoric races must have
existed, but to this proposition we cannot
add a record. There were there must
have been buildings before the Pyramids;
there must have been crude attempts and
relics of statuary before we meet with the
finished examples discovered at Meydoum.
There were certainly letters and a gram
mar ages before the earliest-known inscrip
tions, but they have not been discovered.
The first and earliest w r orks of art to which
a date has been assigned are better in
every way than those of a period which
must be placed hundreds and even thou
sands of years further down the stream of
time.

Visitors to the Gizeh Museum cannot
but be struck with this strange fact. No
royal statue has ever, in the six or seven
thousand years of its existence, exceeded
that of Kahfra, in dignity, in grandeur, in
expression, and fidelity to Nature, though
it is cut in the hardest stone known to the
chisel of the sculptor, and. being of life
size, and almost undraped, has none of the

advantages which modern artists can
borrow from colossal magnitude and royal
vestments. Kahfra could not look more
fitting to command, more imperial in mien,
if his effigy was 60 feet high.

KMP.KOIDERY STAND.

Turning then to the pictorial represen
tation of scenes and incidents, everywhere
most carefully coloured, and giving evi
dence of painstaking work, the fact is again
brought forth that, the earlier the period,
the more artistic and complete are the pic
tures. One of the scenes, dating, in round
numbers, some 5000 years before the
Christian era, is a flock of geese, which, in
point of execution and faithful portrayal
of these familiar birds, is without
parallel. This picture originally came
from the tomb of a great lord of the Court,
known as Nefermat, whose burying-place
was located at Meydoum. Many othor
remarkable scenes in this tomb were dis
covered, all set forth with a minuteness
and attention to detail which is striking in
the extreme. These pictures were produced
in a peculiar way. The stones were
divided into slightly-recessed squares, and
the coloured plaster, painted in a kind of
frescoe, adhered to the walls, being kept
in its place by the recesses, which were,
in fact, invisible till the painted plaster
had been hacked away. This method of
securing permanence occurs but very
rarely in Egypt, and was probably only
thought necessary under certain circum
stances of surface and slope.

One of the most interesting discoveries

THE ARTS OF ANCIENT EGYPT

of priceless relics was made in the year
1906 by Mr. Theodore M. Davis, during
excavation work in the Valley of the
Kings. A flight of rock-hewn steps, half-
hidden by ancient debris, were suddenly
come upon in the hillside, leading down to
an unknown tomb. Later on the sepulchre
was entered, and strewn about in extra
ordinary profusion in a large apartment
were found chariots, richly-gilded furni
ture, alabaster vases, royal bedsteads, and
a host of other articles, whose beauty of
workmanship astonished and delighted the
discoverer. One of the articles, an
ancient Egyptian embroidery stand, was
especially noticed for its beauty of design
and colouring. The surface was tinted
sky-blue, and had been partly covered with
gilded plaster bas-reliefs, framed with
wood and ivory, in a design whose straight
brown and white lines, bordered and separ
ated alternate gay squares of bright blue
and red. Two richly-gilt mummy-cases
were also found, and, from the hiero
glyphics that were plentifully engraved
on the outer covering, the discoverer was
able to ascertain that they belonged to
"lioua" and "loua," the former being an
hereditary prince, and, as the inscription
reads "Chief friend among the friends of
the Sovereign." The latter was his wife,

and subsequent research revealed the fact
that they were the parents of Queen Tii,
a much-discussed Sovereign of the i8th
dynasty (B.C. 1700). It is a significant
fact that the tomb had been rifled long ages
ago, every jewel and trinket that formerly
adorned the mummies having been ruth
lessly appropriated, a portion of a necklace
alone remaining. In spite of this fact,
what remained was a rich haul for archae
ologists, and the objects secured will de
light the eye and charm the beholder in
long years to come.

In conclusion, the true art of Ancient
Egypt must never be confounded with the
examples of a later day. The Egyptian
was essentially a copyist, and, lacking the
inventive genius of his ancestors, or their
creative faculty, he merged into a mere
plagiarist, and, as the ages rolled on, the
article copied lost more and more of its
original beauty and strength of design.
This fact would in a measure account for
the extreme beauty and clever workman
ship of the very earliest works of art; but
how this was attained, or how many
countless generations passed before the
ancient inhabitants found themselves able
to produce such work, is a question that
still remains to be solved.

AUSTRALIAN MUTUAL PROVIDENT SOCIETY

. P.

ami / o/rir, Arcliittcts. Sydney.

AUSTRALIAN MUTUAL PROVIDENT SOCIETY

At^TRALIAM I il TVAU
PROVinEHT bOCItTY

fOl NDED 18-19
BinUT 1877 RRBVU T IMfc.

Jt &lt;-U of ft c .

NOTICE TO ARTISTS

OTICE TO ARTISTS FROM
THE NATIONAL ART GAL
LERY OF N.S. WALES.

"For the encouragement of Australian Art and
for the purpose of acquiring Paintings of the less
known and more remote scenery of the Common
wealth and New Zealand."

Thus the Trustees of our National Art
Gallery take up again the good work which
they initiated in the early nineties, but
which, through the arrival of unprosperous
times, they were compelled to abandon for
an indefinite period.

Without the encouragement of the
Gallery as something more than a merely
possible prospective buyer, there is little
to induce the painter to produce big pic
tures. And yet for his own sake he must
include at least one fairly big thing in
his annual exhibit, or risk sinking his
individuality, as far as the general public
is concerned. In a collection of three
hundred works of average style, the public
is not able, or has not.the time, to discrimin
ate between Long or Lister and Smith or
Brown. Therefore a man must paint big
pictures, and charge the cost to his adver
tising account.

We don t hang big pictures in our
private houses nowadays ; therefore the
artist looks to the National Gallery to
occasionally purchase his more ambitions
efforts. At the same time this market is
necessarily limited, as it can only absorb
a very few of one painter s work and
these must not only be his best but his most
characteristic examples.

Now with an expressed desire to pur
chase a particular class of picture, our
painters are encouraged to go further
afield for their subjects, and at forthcom
ing exhibitions "On the Parramatta River"
will be displaced by a "Bend on the
Darling," and next year, when figure sub
jects are requested, "A Bender on the
Murrumbidgee" should be a good seller.

The Trustees state definitely that they
will purchase t\vo or more works for sums
not exceeding one hundred pounds for oils
or pieces of sculpture, and seventy-five
pounds for water-colours, and this we may
take to mean that one or two works will
be purchased at these figures, and others,
if of sufficient merit, for less, but still
satisfactory sums.

This step on the part of the Trustees
is not to interfere with their present prac
tice of inspecting the local Art Exhibitions
with the view of possible purchase.

National Art Gallery of H.S.W.

For the Encouragement of Australian Art, and
for the purpose of acquiring Paintings of the less
known and more remote scenery of the Common
wealth and New Zealand.

NOTICE TO ARTISTS.

The Trustees of the National Art Gallery of
Xew South Wales will consider the purchase of
two or more works each year (for two years) by
Artists resident in the Australian States and New-
Zealand to the following values, viz. :

Not exceeding ^ 100 each for Oil Paintings or

pieces of Sculpture.

Not exceeding ^75 each for Water Colours.
NOTE. This action will in no way interfere with the Trustees
present practice of inspecting the Annual Exhibitions of the
Local Art Societies with the view of possible purchaser.

SUBJECTS, ETC.

Paintings of Scenery, or Subjects in the more
remote districts of the various States and Col
onies are specially desired. (Figure Subject and
Sculpture excepted.)

ELIGIBLE WORK.

No work will be considered eligible, if it has
been previously on public exhibition.

SUBJECTS.

The following subjects for each year will be as
follows, viz. :

FIRST YBAR. 1. Water Colour. 1. Oil Painting.

SCB.UCTS. Coastal, River, Landscape, or Marine.

SKCOXB YKAR. 1. Water Colour. 1. Oil Painting or Sculpture.
Si EJECTS. Figure and Landscape (combined).

Figure Subject ("Painting or &gt;culpture .

C attle and Landscape Subject (combined), or

Pastoral and Agricultural.

SIZE OF WORKS.

No Water Colour Drawing will be admissible
which is less than 3oin. x 22in. or Oil Painting
\vhich is less than 5&lt;jin. x 3oin., or of a corres
ponding superficial area, in any other shape.

MOUNTS.

Water Colour Drawings should be suitably
mounted with bronze or gilt mounts, not exceed
ing bin. wide. Frames will not be admissible.

Oil Paintings will be admitted with or without
frames.

PAINTINGS.

All paintings must be the bona-fide work and
property of the Artist submitting same, and
painted expressly for the Trustees.

DELIVERY OF WORKS.

Works should be delivered at this Gallery,
free of expense, not later than June isth, 1908.

RESPONSIBILITY.

Every care will be taken of the works sub
mitted, but the Trustees will not hold themselves
responsible for any damage or loss.

Works not accepted, will be carefully re
packed, and delivered upon presentation of the
Artist s order, at the Art Gallery.

SELECTION OF WORKS.

The Trustees will consider the works on theii
merits, but it must be distinctly understood that
they do not bind themselves to accept any one
of the works submitted.

THE WYNNE ART PRIZE.

Any works which comply with the following Terms of the
Annual Wynne Art 1 ri/e. \\ill be noted in connection with the
award for that Prize.

This Prize, which is offered for competition each year, was
bequeathed by the late Richard Wynne, to be awarded to the
Au-tralian Artist producing the best landscape -painting of Aust
ralian Scenery in oils or wa er colours, or the best example of
Figure Sculpture, executed by an Australian Sculptor.

(Value of Prize between t;30and 40 )
E. DU FAUR, President.

O. F. V. MANN, Secretary and Superintendent

OBITUARY

GEORGE ALLEN MANSFIELD.

BITUARY. THE LATE
GEORGE ALLEN MANS
FIELD.

BY the death of Mr. G. A. Mansfield,
Sydney loses another of its architectural
pioneers, and one to whom she is indebted
for many of her finest buildings. The
profession, too, has suffered an irreparable
loss, for not only was Air. Mansfield the
first President of the Institute he ably
filled the chair again when, after troublous
times, it entered upon a period of compara
tive prosperity but he was at all times
the friend of all who needed help, ever
willing and ready to assist his professional
brethren by his valuable advice, and often

in a more material manner. His long
experience, and his exceptionally keen
intellect, his incisive manner of speech, and
the respect that his personality always
inspired, caused him to be looked up to for
more than a quarter of a century as the
leader of his profession in Sydney, and the
general public was not niggardly in be
stowing its commissions upon him. His
business suffered after the bank crisis of
1893, though in this his experience was in
no way singular ; but, notwithstanding that
lie struggled bravely onwards, the strain
told upon him, and he lost to a certain
extent the buo&gt;ancy of spirit and bon
homie which previously had characterised
him. The last two years of his life was
clouded by illness, and he died painlessly,
as if in sieep, on January 2Otn, 1908.

The late Mr. Mansfield was a native of Syd
ney, iie was the eldest son of the late Kev.
Kalph Mansfield, a name closely identified with the
early history ot the colony, and was educated at
the school of the late Mr. NV. T. Cape. Amongst
his contemporaries were the late Mr. Justict
Windeyer, the late Sir George Innes, and the late
Mr. Alexander Oliver. In 1850 Mr. Mansfield
was articled to the late John Frederick Hilly,
who was then the leading architect of Sydney.
Soon after the expiration ol his articles he was
taken into partneiship, and for several years the
firm of Hilly and Mansfield carried on business
in this city. Finally, Mr. Mansfield entered
into business on his own account, and he re
ceived the support of the principal capitalists of
Sydney, and rapidly acquired an extensive busi
ness. Amongst the principal buildings erected
from his designs, and under his supervision, were
the Royal Prince Alfred Hospital, the A.M. P.
Society s building in Pitt-street, the Australia
Hotel, the Savings Bank of New South Wales,
the old and new City Bank, the City Mutual Life
Assurance Company s offices, the Civil Service
Co-operative Stores, Commercial Bank of Austra
lia, Pitt-street, and the country branches of the
Commercial Bank. Nearly the whole of the prin
cipal buildings in O Conneli-street, including thr&gt;
stores of Messrs. Bradley, Newton, and Lamb, and
David Cohen and Co., were erected by him. In
the year 1860 the Government of the colony in
vited designs for new Houses of Parliament in
Sydney, the competition for which was thrown
open to the world, first and second premiums of
;6oo and ^300, respectively, being offered for the
most successful designs. A large number of
plans were received from England, and the Con
tinent of Europe, and even from America, with
a few from the colonies. Though a very young
man, and with the limited advantages of a col
onial education such as it was then, Mr. Mans
field determined to compete for the prize. A
commission was appointed by the Government of
the day to adjudicate upon the designs which
were sent in under motto. After long and care
ful consideration three designs were selected, from
which the final choice had to be made. The
first and second were accorded to designs fro
England. The third design which approached

NOTES AND COMMENTS

so nearly to success was found to be the work of
the young Australian architect.

Not very long after this the office of Colonial
Architect became vacant, and the position was
offered by the late Sir Charles Cowper, then
Premier, to Mr. Mansfield, who declined it, pre
ferring the freedom and the chances of private
practice. In 1867 when the Council of Educa
tion was established under the Public Schools
Act, Mr. Mansfield was appointed as its archi
tect, and assumed the charge of all existing Pub
lic School buildings, and the designing and con
struction of all new ones. At this time the pub
lic schools were in a very unsatisfactory condi
tion, as to lighting, ventilation, and sanitary
arrangements. A marked alteration soon took
place. A type of building was selected by M .
Mansfield which admitted of wide differences in
size and cost, yet stamped a uniform character
on all the new schools built at that time. Ex
amples of the larger schools erected in this
style may be seen in the fine buildings at Crown-
street, Snrry Hills, Cleveland-street, Pyrmont,
and Sussex-street. In December, 1879, a Min
isterial Department of Instruction took the placr-
of the Council of Education, and it became neces
sary that all officers connected with it should
come into the Civil Service. As this would
have involved the loss of Mr. Mansfield s pri
vate practice he resigned his position as architect
to the department.

In 1871 the architects of Sydney decided to
form an association, and the Institute of Archi
tects was established. Mr. Mansfield was unani
mously chosen its first president, and on August
21, 1871, he delivered an inaugural address before
his Excellency the Governor, Lord Belmore, and
a crowded audience in the Chamber of Com
merce. For many years he filled the post of
president of the Institute. He was again elected
President in the year 1901. In 1873 Mr. Mans
field was elected a Fellow of the Royal Institute
of British Architects. He was the first Austra
lian-born architect to attain to that distinguished
honour. For many years Mr. Mansfield acted
as architect to the Australian Gaslight Company,
and he designed and erected all the buildings
connected with the Darling Harbour establish-
.ment, in addition to many difficult and important
engineering works.

He was one of those who took an active part
in the establishment of the volunteer system of
national defence in 1860. He was one of the
first enrolled in one of the original companies,
that of the Glebe, and for five years he held a
commission as first lieutenant in that company,
devoting much time and attention to promoting
its efficiency. For nine years he was an alder
man of the borough of the Glebe, and afforded
much assistance by his professional knowledge
in the laying out of that borough. Though not a
prominent politician, Mr. Mansfield always took
a keen interest in the public affairs of his native
country. On several occasions he was urged to
stand for East Sydney, but always declined.
For many years Mr. Mansfield practised as an
architect in this city with his brother Ralph, and
some of Svdney s leading architects to-day, men
such as Mr. John Reid, Mr. Robertson, Mr.
Marks, Mr. John Kemp, and others, received
much of their training in his office.

For .the last th^ee years Mr. Mansfield s health
nrecluded him from taking an active part in his
business, which has been carried on by his son.
He was also well known in sporting circles, hav
ing been a keen cricketer, and the founder of
the old Toxteth Cricket Club. He was also a
successful yachtsman in his young days, He
leaves a widow and a family of seven,

O T E S AND COMMENTS.

Ihe -success of Mr. Ralph Knott in the final
competition for the London County Council s
Hall has apparently excited some interest outside
the profession, due in a measure, no doubt, to
the statement that "his commission will amount
to .38.250." One is curious to know how this
amount was arrived at, for it does not represent
any recognised percentage upon the total cost ;
but this is a minor matter. The tendency among
the general public, however, is to look upon this
victory as a huge stroke of luck, and the com
mission is sooken of a.s if it were a prize, to be
acquired without effort, in a lottery. And yet
we venture to say that Mr. Knott will more than
earn every penny of it before his Hall is ready
for the opening ceremony.

Elmes, another young architect until then
unheard of, many years ago von the competition
for St. George s Hall, Liverpool, and the build
ing is still the finest example of classical archi
tecture in England. But he was harassed during
the progress of the work by matters and people
connected with it, and c led before its comple
tion at the age of 28. Worry may not actually
have brought about his death, but it was at
{east a contributory cause. George Edmund
Street, too, had his life shortened by the trouble
incidental to the erection of the new Law Courts
in the Strand. Mr. George Gilbert Scott, a
young architect, bearer of his grandfather s name,
and evidently inheritor to some extent of his
genius, won the second competition for the new
Liverpool Cathedral when he was only twenty-
one. His church will be the largest and pro
bably the finest Gothic ecclesiastical structure
erected in England since the i6th century, but
its foundations are not yet laid, and consequently
his troubles have hardly begun. Besides he has
hitherto been orotected by being associated with
the late G. F. Bodley, R.A., an architect so
eminent that even a church committee would
hesitate to assail him.

The winner of a great public building com
petition has need to watch and pray that he may
be delivered from malice, envy, and all uncharit-
ableness, as well as from the tyrannical ignorance
of^ building committees and the attacks of the
soi-disant architectural critics who write letters
to the newspapers, and sneer at and condemn
work they are incapable of understanding.

In no profession or is it a trade? is a com
mission more hardly earned than in that of an
architect.

******

Mr. Knott s success is, however, a matter for
congratulation, for it seems to point to absolute
fairness in regard to the judging. The com
petition a double one was open to the world,
and there were 99 competitors, 91 of these being
English. Among them were such well-known
names as John Belcher, A.R.A., Ernest George
and Yeates, H. T. Ha-e, E. W. Mountford,
Nicholson & Corlette, and many other prominent
men. That they were beaten is proof, if any were
needed, that the best architect or other artist,
is not at his best all the time ; and that one,
in other rcsrje^ts his inferior, may upon occasion
beat him on his own ground. This is a truism
the N,S. Waleg Government has not yet learned.

NOTES AND COMMENTS

A SOUTHERLY GALE, SOUTH HEAD.

A. R, Cofjeij.

The Sydney Daily Telegraph s London cor
respondent expressjes surprise that an obscure
London architect should have "been selected to
design the proposed Commonwealth offices in the
Strand," and he rightly thinks that the design
should have been the result of an Australian
competition. Such a competition should most
certainly take place, and it probably will when
the site has been definitely secured ; but why or
how the design in question was obtained is a mys
tery which perhaps some member of the Federal
Ministry may explain.

In connection with the cabled account of Mr.
Knott s success, it is amusing to note that a
paragraph in a recent number of The American
Architect calls attention to the remarks of the
editor of a paper called Vogue. It is the belief
of those best informed, he says "that the ave
rage artist of to-day, especially the architect,
will be a pauper ten years from now." If this
pessimistic gentleman has any grounds for his
assertion, the outlook for the artistic student is
distinctly unpromising.

Engineers architecture has become a byword,
and one is unpleasantly reminded of it by the
pointsman s box perched some eight or ten feet
above the footpath at the comer of Elizabeth
and Liverpool Streets. Such a building, we think,
might have been made a picturesque and pleasing
little structure, if built of tastefully conceived
forms of iron and steel. Surelv the designing
staff of the Tramway Department can do bette -
than this. If not, it is time they stood aside
and allowed others to try.

Want of taste is also evidenced by the Harbour
Trust in the vulgar green paint they have recently
applied to the ferry waiting-rooms at the Quay.
Buildings blocking out a view of the harbour
should never have been erected in the first place ;
but now they are there, they should be made as
picturesque as may be. This effact, however,
is not obtained by painting them with Fhe ver
dant paint that has become associated in our
minds with the common or garden barrow. The
colour looks even more dull and dingy by com
parison with the brilliant emerald of the little
oases encircled by the dragons teeth border, that
the City Council has lately provided in the vicin
ity. The numerous bodies who have the right
to, and apparently take p eas jre in disfiguring
our streets, should look at some of the types of
Parisian subway entrances illustrated in The
American Architect for October ^th, 1907. Of
wrought iron, cast iron, terra-cotta and glass,
the treatment is of the freest of Art Moderne,
treating each material in an entirely abstract
manner, for what there is in the material itself,
and with no apparent reference to precedent."
The result is that these buildings are fanciful
almost fantastic but they answer their purpose,
and they are eminently pleasing to the eye.

The Dominion of New Zealand is the home of
politic and economic experiments, and one is
never much surprised at anything they may do
there. When Richard Seddon died, several pro
jects were inaugurated for the purpose of keeping
his memory green. Among others was one by
the Board of Education of the District of Auck
land, who determined to erect a technical college
in the City of Auckland as a memorial to the.
late Premier. Jrt furtherance of this laudable

NOTES AND COMMENTS

purpose, they conceived it necessary to go abroad
for their plans, and accordingly commissioned
their architect, Mr. John Mitchell, to proceed to
America, and to use the best means available
(or securing the best design. This he did by
asking for competitive designs in the United
States to the exclusion of British and Australian
architects. The prizes were $500 for the design
placed first, and $200 for that placed second.
Twelve designs were submitted, and the first prize
was awarded to Mr. Horace Trumbauer. His
design is a good one, especially with regard to
the planning, but it is safe to say that it would
not have been difficult to procure one equally good
much nearer home.

******

Some two months ago the New South Wales
Government requested artists to submit specimens
of their work, illustrating Australian subjects and
scenery, for selection and subsequent transmission
to London, in o-der that they might be exhibited
at the Franco-British Exhibition in May next.
By this means a good representative collection
of Australian pictures should be obtained. Mr.
Alfred C offey lately issued invitations to view
the paintings which he purposes to send in res
ponse to this request, and those who inspected
his pictures were agreeably surprised at the ad
vance the young painter has made within the
last few yea s. For some reason, his work is
now seldom seen at the local exhibitions, but
much of it is of undoubted merit.

His principal pictures are four large oils
three landscapes and one sea-piece. Of the
landscapes the "Jamieson Valley, seen from
Wentworth Falls," is undoubtedly the best. On
one side the clean-cut cliffs rise clear, like vast
walls of cyclopean masonry. Through the vio
let haze the sunlit mist drifts over the valley,
half shrouding the gray-green depths where the
giant eucalypts flourish, but so far below that
they are relatively less in size than the stunted
shrubs which grow on the barren places of the
mountains. The grandeur and sublimity of the
scene are well depicted, and one is impressed
with the sense of vastness and profundity that
broods over the wild valley. The "Rodriguez
Pass, Blackheath,." is another fine work, but
here the whole of the middle distance is bathed in
sunlight contrasting sharply with the rocks, cool
in shadow, and the vivid green of the Sassafras
trees in the foreground. "The Grose Valley
from Govett s Leap," is, perhaps, less attractive
than the others. It is an artistic transcript from
Nature in her wilder moods a difficult subject,
but cleverly handled. The seascape A Southerly
Gale, South Head (illustrated on page 40), is a
fine rendering of surf dashing itself to sprav
against huge sandstone cliffs. The swirl of the
water, as it sweeps ove r the shelving rocks in tru:
foreground, the swathing foam, and the spume
of the breaking wave, are excellently suggested.
Some smaller studies of mountain scenery strike
one at first as being un-Australian, on account
of the almost English greenness of the Sassafras
a tree that grows by hidden streams in seques
tered mountain valleys, where it is not burnt by
summer suns, and where its roots strike deep
into a soil less arid than tnat the gums cling
to higher up in the hills. In any case these pic
tures of Mr. Coffey s will come as a relief to
those who have been taught to think of Australia
as a land that any artist can render pictorially.
if he is only provided with plenty of cobalt and

yellow ochre.

******

In an article appearing in our last issue,
entitled "The Vice Regal Residences of New
South Wales," the block of Government House,
Parramatta, was obtained from a photo, kindly
lent by Mr. Nurzey, of Messrs. Nangle and Nurzey,
Elizabeth Street,

W. A. Moir, fresh from his travels in Europe,
and considerably broadened in experience, held
an interesting one-man show in his studio, 70
Pitt-street. Some of the exhibits are only sket
ches, but others rise to the dignity of pictures
of more than usual merit. He seems to have
travelled mostly in "A land where it was always
afternoon," or a little later, say just on sundown,
when the yellows turn to orange, and the
orange changes to red before the sun sinks
flamboyantly to rest beneath the horizon.
Most successfully he has caught the restful effect
of sunset in the more nortnern latitudes the
subtler tones of the Nilean regions have evaded
his brush, and we get crudity, where we should
have feasted our eyes on phantasmagoric bril
liancy. But as he journeys north his pictures be
come more pleasing, and if the time at his dis
posal had permitted his continuing his travels
into the Arctic regions, one might naturally have
expected work of transcendental merit. As it
is, his work is gratifying, and we can confidently
welcome back a man of untiring industry, un
usual versatility and merit. Among his best
works are notably (8) "Evening on the Thames" ;
(7) "Twickenham," a warm sunset effect on
the rustic church, bowered in Autumn foliage
reflected in the placid river, whose surface is
scarcely broken by the brown and yellow-sailed
boats mirrored upon it ; (24) "The Indian Ocean"
shows an iron full-rigged ship with her royals
drawing, bowling merrily before the wind. The
effect is fresh and breezy.

Du r ing his short stay abroad Mr. Moir wasted
no time. Sketches from Cairo, Switzerland, and
Wales attest his industry, besides four replicas of
prominent figures in early Australian history,
painted from the originals in the National Por
trait Gallery. Captain Cook, Governor Phillip,
and Viscount Sydney should be of unusual in
terest to Australians, and Mr. Moir deserves the
thanks of the community for bringing them be
fore us.

REVIEWS.

Walter Crane has published his autobiography
as far as it has gone in a solid and freely illus
trated volume, issued from the press of Methuen
and Co., London. Whether we regard Mr. Crane
as artist, craftsman or illustrator, we must credit
him with material success in whatever branch ot
art he has applied himself, and no history of later
Victorian or early Edwardian Art will be complete
without copious reference to his work. As a re
former both social and artistic he commands our
admiration, but we venture the opinion that the
public are more interested in Walter Crane, the
artist and craftsman, than in Walter Crane, the
man.

The book contains much that is interesting and
a good deal that is not, and would have been a
smaller and a better volume with a little judicious
editing.

Lawrence Housman retells some stories from
the Arabian Nights mainly to give Edmund
Dulac an opportunity to design some exquisite
illustrations. The success of Rackman s drawings
in Peter Pan seem to have suggested the volume
under notice, and despite the excellence of the
model, Dulac has thrown much originality into
his work. There are fifty pictures in fac-simile,
mounted on grey-toned boards at the end of the
volume, and the price of the book is i8s. R. 4to.
Hodder and Stoughton. Our copy from Dymock
& Co.

INSTITUTE OF ARCHITECTS OE NEW SOUTH WALES

NSTITUTE OF ARCHITECTS OF
NEW SOUTH WALES.

MINUTES OF ANNUAL MEETING HELD IN
THE HALL OF THE ROYAL SOCIETY S
HOUSE, 5 ELIZABETH-STREET, SYD
NEY, OCTOBER 3rd, 1907.

PRESENT. H. C. Kent, F.R.I.B.A. (Presi
dent), in the chair, Messrs. E. A. Scott, A. K
Pritchard, G. Sydney Jones, G. B. Robertson,
G. A. Roberts, J. F. Hennessey, A. Spain, J.
Barlow, J. B. Clamp, R. Shute, J. J. Sheerm,
C. Kemmis, and A. W. Anderson (Fellows),
Messrs. Shiels, Uttley Todd, Buchanan, Somer-
ville, Rowe, Carter, Nurzey, Peploe; Jose-
land, and De Putron (Associates). Several
students and visitors.

MINUTES. The minutes of previous meeting
were read and confirmed after the Secretary read
the notice calling the meeting.

APOLOGIES were read from the President of the
Master Builders Association, F. Walker, J.
Nangle, B. Hadley, and J. H. Maiden.

CORRESPONDENCE. A letter was read from the
Premier s Secretary, stating that no decision had
been arrived at in connection with the competi
tion for memorial to Forby Sutherland, and ot
Captain Cook s landing-place, but that he hoped
the trustees would be able to announce the re
sult at an early date.

LIBRARY. A letter was read from Mr. J. Sul-
man re the Library Fund, and the Hon. Sec.
stated that the Council had agreed to get in the
subscriptions promised by the members before
asking Mr. Sulman for his cheque.

W. AND S. DEPARTMENT. A letter was read
from the Secretary of the Water and Seweragr
Board to the effect that the new Bye-law renting
to the waste pipes had been misinterpreted, and
a new Bye-law would be drafted.

W. LAMROCK. A letter was read from Mr.
Lamrock, of Orange, cordially inviting members
to call and see him when in that town.

BALLOT. Messrs. Pritchard and Shiels having
been appointed scrutineers, the ballot for new
members resulted in the election of Messrs. J.
Campbell and C. H. Slatyer, as Fellows.

REPORTS. The Hon. Secretary read the Annual
Report of the Council.

The Hon. Treasurer read the financial state
ment and balance-sheet, which were received, and
the President, in moving their adoption, referred
to two matters, which, in his opening address,
he had hoped would be accomplished during his
two years of office. First, internal reform, and
then the Institute s position in regard to outside
affairs. The former had been attended to, the
Register and declarations which had been allowed
to fall into disuse were now practically complete,
and all, or nearly all the members had signed
them.

The Committee of Studies had prepared a
course covering four years, and it had been sent
to both students and principals, and there was
every hope of an additional advantage through
Mr. Sulman s generous offer of the Institute pos
sessing a good students library. In reference to
outside matters, he would particularly draw the
attention of the members to that portion of the
report referring to the growth of the Government
Architect s Department, and its encroachment
upon the field of operations of the architects in
Drivate practice. He wished to emphasize the
fact that the Institute had no fault to find with
the Government Architect in his professional capa
city, and he had plainly expressed his views to
Mr. Vernon. The Department is growing larger
than ever, and its operations are not confined to

State buildings, but include country hospitals and
shops, and unless he was misinformed was under
taking artizans dwellings. He hoped the Insti
tute would take decided action during the com
ing year. In England no such unwieldy depart
ment exists. Every large building in London
was either competed for, or given to an outside
architect. We would soon find that there were
more architects inside the Department than out
side, and it seemed that it was becoming a species
of State Socialism. He would suggest that the
Institute should give its attention to such ques
tions as "Registration" and City Improvements.
He referred to the sympathetic reception the Lord
Mayor had given to the suggestions of the Insti
tute.

Mr. J. F. Hennessey seconded the adoption of
the report, and referred to the satisfactory attend
ances of members of the Council. The report
just read was one of the most satisfactory they
had heard. The basis of the profession had been
broadened by the operations of the Institute. He
regretted that so many members of the Council
had to retire under the Articles of Association.
He agreed with the President s remarks in refer
ence to the Government Architect Department, and
it seemed that a Government promising reform
had extended socialism in connection with its
architectural work. The~e was no gain to be
derived from its so doing, and he considered that
there were men outside the Department who \ve-e
equal in ability and superior in experience to
most of those inside. If the work were entrusted
to outside architects, it would be quite as well
done, and would be less costly. He considered
that a Ministry pledged to reform should act up
to its promises ; the works of local architects
would compare favourably with those in the othe"
cities of the world. He hoped the new Council
would take the matter up and secure fairplay for
the outside architects. He also referred to the
work of the Committee of Studies, and the good
it was accomplishing. The Building Act Com
mittee had also done very well in dealing with
such a complicated measure. The prestige of
the Institute had been extended in a marked de
gree, and he congratulated the treasurer on his
satisfactory financial statement.

Mr. Spain supported the resolution, and endorsed
the remarks of the previous speakers in regard to
the Government Architect s Department, which he
referred to as an octopus.

Mr. Shiels referred to a passage in ART AND
ARCHITECTURE, which he thought was too severe
on the Art Society.

Mr. Barlow, the Editor, replied to Mr. Shiels
comments.

The adoption of the reports was carried unani
mously.

STANDING COMMITTEES REPORTS. The Com
mittees reports by City Improvement Committee,
Journal Committee and Committee of Studies were
read and received.

The Students Association report was read and
received.

The meeting then terminated.

MINUTES OF SPECIAL GENERAL MEETING
HELD IN THE HALL OF THE ROYAL
SOCIETY S HOUSE, 5 ELIZABETH-
STREET, SYDNEY, JANUARY 23rd, 1908.

PRESENT. H. C. Kent, F.R.I.B.A. (President),
in the chair, Messrs. E. A. Scott (Yice-President),
A. Spain, J. Barlow, C. H. Slatyer, G. S. Jones,
W. Newman, J. Dunstan, J. F. Hennessey, A. F.
Pritchard, C. E. Kemmis, J. B. Clamp, J. J.
Sheerin, G. A, Roberts, and A, W. Anderson

INSTITUTE OF ARCHITECTS OF NEW SOUTH WALES

(Fellows) ; Messrs. Somerville, Budden, Withers,
Isaacs, Uttley Todd, Shiels, De Putron, and
Huchanan (Associates).

NOTICE. The Hon. Secretary read the notice
calling the meeting.

ADMISSION OK NEW MEMBERS. Messrs. J. Dun-
stan and C. H. Slatyer were formally admitted
as members of the Institute.

LATE G. A. MANSFIELD. The President referred
to the death of the late G. A. Mansfield, the first
President of the Institute, and proposed the
following resolutions : "That the Institute of
Architects of New South Wales at its first meet
ing after the death of the late George Allen Mans
field, F.R.I.B.A., who was its first president, de
sires to place on record its sincere appreciation
of his enduring work in this State, and of the
service he rendered to the profession during his
long career." "That a copy of this resolution
be sent to Mrs. Mansfield and Mr. W T ilfred Mans
field," which were seconded by Mr. A. Spain,
and carried unanimously, the members standing.

QUANTITY SYSTEM. The President introduced
the special business of the meeting, and reported
that the representatives of the Institute (viz., H.
C. Kent, E. A. Scott, A. Spain, G. B. Robertson,
J. F. Hennessey, and A. W. Anderson^ had met
the representatives of the Master Builders Asso-
ciatio n (viz., Messrs. E. H. Buchanan, J.
Wall, H. J. Thompson, J. Howie, W. Stuart, and
J. M. Pringle, with Mr. T. Loveridge as Presi
dent of the Federated Master Builders Association
of Australia), and had, after long discussion,
agreed to a series of resolutions, copies of which
had been issued to the members of the Institute.
These resolutions had that day been considered
by the Council, and slightly amended, and they
were now before them for discussion. The pro
ceedings would be conducted as in committee,
and he called on the Hon. Secretary to read the
resolutions. After the resolutions were read,
the Hon. Secretary stated that to expedite matters,
he would propose each resolution, and they were
dealt with seriatim.

RESOLUTION No. i. "That the principle of in
stituting the Quantity System be approved."
Seconded by Mr. Newman, and carried unani
mously.

RESOLUTION No. 2. "That quantities be pro
vided for all works exceeding ^ 2000 in value, but
be optional for works of less value." Seconded
by Mr. Scott, and carried unanimously.

RESOLUTION No. 3. "That instead of making the
quantities a portion of the contract, the selected
tenderer should verify the quantities and accept
the responsibility in the form of a lump sum con
tract, but that the priced bill of quantities should,
after perusal by the architects, in all cases b&lt;;
kept sealed in the confidential custody of the
architect, to be opened only and resealed in the

presence of the contractor, and that the prices
therein should constitute schedule rates for all
additions and reductions." Seconded by Mr.
Spain. The wot.d "additions" was altered to
"extras, 1 ana the resolution carried unani
mously.

RESOLUTION No. 4.- "That a certain number of
qualified quantity surveyors be mutually recog
nised by the Institute of Architects and the Master
Builders Association, with power to add to the
list as necessity arises, and that such quantity
surveyors shall sign a coae of rules approved by
the Institute and the Association." Seconded by
Mr. Scott, and carried unanimously.

RESOLUTION No. 5 (a). "That the quantity sur
veyor s fees be a portion of the tender and con
tract amount." Seconded by Mr. W. Newman,
and carried unanimously.

RESOLUTION No. 5 (b). "That such fees be at
ihe rate of one per cent, on the contract amount."
Seconded by Mr. Spain, and carried unanimously.

Resolution No. 5 (c). "That such fees be paid
by the contractor out of the amount of the first
certificate, and be included therewith, and within
fourteen days from the issue thereof, or before
the issue of the second certificate, whichever shall
first happen, and shall be payable only on pro
duction of an order on the. contractor from the
architect." Seconded by Mr. J. F. Hennessey,
and carried unanimously.

The President then moved that the whole of
the foregoing resolutions be adopted, and for
warded to the Master Builders Association, as the
resolutions of the Institute. Seconded by Mr.
Spain, and carried unanimously.

The meeting then terminated.

At the first General Meeting of the Session,
held in the Royal Society s House, on February
2oth, 1908, the following gentlemen were elected
as office-bearers for the ensuing year :

OFFICE-BEARERS :

President: E. A. SCOTT.
Vice-President : G. B. ROBERTSON.
Hon. Treasurer : A. F. PRITCHARD.
Hon. Secretary : A. W. ANDERSON.

COUNCIL :

IT. C. KKNT, F.R.I.B.A. (F.x-officio).

J. F. HENNESSEY.

G. S. JONES, A. R.I.I . A.

W. NEWMAN.

ALFRED SPAIN.

Associate Member: C. ST. .

The Index for iqoy will appear in our next issue.

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CO. PROPRIETARY LTD.

Manufacturers of

encaustic and Plain flooring tiles, Glazed
Wall tiles? Printed, Painted, enamelled,
and majolica tiles ; White Glazed and Col
oured tiles ; Panels; Hearths ; faience Work
for Building Tronts, Halls, etc., a Speciality.

Head Office a T^ Works: Mitcham (Telephone 2369).
Showrooms : Flincing Lane Chambers, Flinders Lane,

Melbourne.
Sydney Branch : Corner Clarence and Druitt Streets

(Telephone 3514).

. E. WALKER, Managing Director.
F: A. HARRIS, Sydney Representative.

Advertisem*.

Telegraphic Address " Pilkington, St. Helens."

PILKINGTON BROTHERS, LTD.

The St. Helens Glass Company, St. Helens, England.

PATENT WIRED GLASS, CLEAR

POLISHED, CAST, and ROLLED.

Tested by the British Fire Prevention Committee.

(See Report No. 79.)

For Roofs, Windows and Doors in Workshops,jMills, Factories,-|Car Sheds, Electric Power
Stations, Lift Doors, Sides of Lifts, Skylights, Verandahs, Motor Garages, Covered Ways, &c*

(ABOUT |-INCH THICK.)

Resists Fire. Protects Life* Prevents Accidents
A Constant and Reliable Protection to Life and Property*

This Glass is used in the roofs of South Australian Government Railway Station, Adelaide, and New
South Wales Government Railways New Station, Sydney, and many other large Buildings in the

Commonwealth.

MANUFACTURERS OF EVERY KIND OF

British Window Glass

SHEET, POLISHED PLATE, Silvered and BEVELLED PLATE for
MIRRORS, PATENT ROLLED and ROUGH CAST PLATE,

Enamelled, Obscured, Coloured, Brilliant Cut, Embossed
and BENT GLASS, LEAD LIGHTS, Etc., Etc.

Resident Agent:

MR. H. MEES,

P.O. BOX 296, Melbourne.

Resident Agents :
ADDERLEY, WILLCOCKS and Co.,

p.o BOX 410, Wellington, N.Z.

XIX.

vertisements

P.O. Bor 1328.

Telephone No. 754.

J. TYLOR & SONS Limited,

Hydraulic and Sanitary Engineers and Brass Founders,

WORKS-
BELLE ISLE, KINO S CROSS, LONDON

13 BRIDGE STREET, SYDNEY

MANUFACTURERS OF
Baths, Lavatories, Water Closets, Urinals, Sinks, .Sanitary Appliances, and Fire-clay Hospital Appliances of

every description.

Patent Water Meters, Sluice Valves, Sydney Pattern Taps and Water Works Fittings.

Fire Valves and Fittings, Canvas Hose, Patent Apparatus for Tapping Mains under Pressure, Pumps, Fire Engines, &c.
Petrol Engines and Power Plants for Driving Machinery. Electric Lighting, Pumping and Marine Motors.

Sole Agents, W. H. HEYWOOD & Co., Huddersfield, Patent Glazing Bars.

Stained

Glass
CUoi Ks

f . flslwin & Co.,

314

Pitt Street,
Sydney....

J. JAMES & COMPANY

Builders Hardware, LocK Sets,
Window Fittings, &c.

Tel. 1254.

Lyon, Cottier &lt;*

779 Liverpool St., fjyde Park,
Sydney.

Stained Glass Memorial Windows.
Ecclesiastical and Domestic Glass.
Gold Medal awarded at the Christchurch Exhibition.

TKL. 3284.

TEL 3995.

J. 6. West and

Contractors,

Plumbers, (fasfitters and Bellhangers,
lyot Water and Steam fitters,

n 9 A PITT STREET. SYDNEY.
TEL. 1790.

. W. Kobe?,

Licensed Plumber and I)ot Water engineer,

228 PITT STREET, CITY.

B. J. 6 rice & Co.,

Jtrtistic Decorators and lyouse Painters,

56 HUNTER STREET, SYDNEY,

xx.

A dvertisemen

Royal "Ed is wan" Lamp

Used by the Admiralty, -War Office, Colonial Govern
ments, Foreign Navies, Principal Steamship Corhpanies,
Municipalities, and Chief Electric Light Stations. *

The Edison & Swan lliiited Electric Light Co/Ltd.

AUSTRALASIAN BRANCHES: -i

: STREET, SYDNEY;

/COMMONWEALTH BUILDINGS. ADELAIDE STREET, BRISBANE
Vhefe Large Stocks of aUfciads of, ELECTRICAL GOODS are always on hand.

ROBERT C SWAN & Co.

importers $ manufacturer* or Plumbers $ 6a$fitter$ materials.

GAS CHANDUJERS nd PENDANTS nude to Archtect i Designs.

PATBNTBBS OF

SWAN S PA THNT MAIN CONNECTION, adopted try Boad of Wt Supply nd Swcr|c.

TELEPHONES :

, Nos. 305 & 2422.

119 BATHURJPT STREET, SYDNEY-

BULK STORE5 : JAMES STREET. RfaDFERN.

JOHN KEEP & SONS, LTD.,

MILNERS Sales

MILNERS* SAFES
AGAIN SUCCESSFUL.

IN THE RECENT

Disastrous
FIRE

Murwillumbali

Preserved
THeir Contents
UfeS Intact.

OFFICES ANI&gt; \VAREHOXJSE:

KING AND CLARKNCK STREET, ? SYDNEY.

.*.

TcUphonc* 349
508

3414

Works and Yard: ULTIMO.

TeUphone 335 GLEBE

MANUFACTURERS OF EVERY DESCRIPTION OF

Ctructural Steel
*^ and Ironwork

SOLE AGENTS FOR

IN ALL
BRANCHES.

Dorman, Long & Co* Ltd., England,

MAKERS OF JOISTS, CHANNELS, TEES, &c.
(By SIEMMENS-MARTIN PROCESS.)

Government and Municipal Contractors

DESIGNS SUBMITTED and PRICES GIVEN to
INTENDING CONTRACTORS.

SECTION BOOK, indispensable t.
ARCHITECTS and ENGINEERS, to be had
on application. J* ^ ^ Box 378, G.P.O.

DORMAN, LONG & CO. S JOISTS, &c., ARE BRITISH
^ MATERIAL, MADE BY BRITISH WORKMEN. #