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Kanunnah’ Commem­ Thylacines in Mainland Australia Were Dated at Orates the Tasmanian Aboriginal Word Used Just Over 3000 Years Old (Archer 1974)

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Kanunnah’ Commem­ Thylacines in Mainland Australia Were Dated at Orates the Tasmanian Aboriginal Word Used Just Over 3000 Years Old (Archer 1974) K ANUNNAH The Research Journal of the Tasmanian Museum and Art Gallery VOLUME 6 Ka-nunnah – ‘Thylacine’ The oldest fossils of thylacines are Late Oligo­ and the North­west and Western Tribes called it cene to Middle Miocene in age (20–25 My B.P.) ‘Loarinnah’ (Milligan 1859). Famous Tasmanian and are from the Riversleigh deposits in north­ Aboriginal chief Mannalargenna from the East western Queensland (Vickers­Rich et al. 1991). Coast of Tasmania called the thylacine ‘Cab­ It is speculated that competition with introduced berr­one­nen­er’, while Truganinni and Worrady, dingoes in mainland Australia may have caused (Bruny Island) called it ‘Can­nen­ner’. their extinction in mainland Australia during The thylacine is the state logo for Tasmania. the last 5000 years. The most recent remains of The title of the journal ‘Kanunnah’ commem­ thylacines in mainland Australia were dated at orates the Tasmanian Aboriginal word used just over 3000 years old (Archer 1974). by tribes from southern Tasmania for the The thylacine (Thylacinus cynocephalus) in thylacine. Tasmania coexisted with Aboriginal people for millennia. The arrival of Europeans in Archer M (1974) New information about the Tasmania resulted, in just over a hundred years, Quaternary distribution of the thylacine in the extinction of thylacines from their last (Marsupialia: Thylacinidae) in Australia. refuge. The demise of the thylacine resulted in Journal and Proceedings of the Royal Society of the extinction of an entire lineage of marsupials Western Australia 57: 43–50. from the planet. Milligan J (1859) Vocabulary of dialects of To the Aboriginal people of Tasmania the Aboriginal Tribes of Tasmania. Papers and thylacine was called many things due to its wide Proceedings of the Royal Society of Tasmania 3(2): spread distribution in the State. Tribes from the 239–282. areas of Mount Royal, Bruny Island, Recherche Vickers­Rich P, Monaghan JM, Baird RF, Bay, and the south of Tasmania referred to the Rich TM (1991) Vertebrate Palaeontology of Tiger as ‘Ka­nunnah’ or ‘Laoonana’, while tribes Aust ralasia (Monash University Publications from Oyster Bay to Pittwater called it ‘Langunta’ Com mittee: Melbourne). Premier and Minister for the Arts: Hon. Lara Giddings MHA Director: Mr Bill Bleathman Managing Editor: Rodney D. Seppelt Publication Date: 9 December 2013 K ANUNNAH The Research Journal of the Tasmanian Museum and Art Gallery The Tasmanian Museum and Art Gallery and Art Gallery. These areas include the is a combined museum, art gallery and life sciences, culture, history and the arts. state herbarium. It has the broadest col­ Papers on any of these research areas will be lection range of any single institution in considered, but papers dealing with Tasman­ Australia and these collections span the ian, southern Australian and sub­Antarctic arts, sciences, history and technology. The ssues will be particularly welcome. Tasmanian Museum and Art Gallery’s Short communications and reviews are role is to collect, conserve and interpret also welcome. Researchers based outside material evidence on the State’s natural the institution are encouraged to submit history and cultural heritage. manuscripts for publication to the journal, Kanunnah is a peer­reviewed journal pub­ although they must be relevant to the lished by the Tasmanian Museum and Art Museum’s primary areas of study. Gallery in Hobart, Tasmania. Its aim is to Kanunnah will be published occasionally, disseminate research in all areas of study depending upon budgetary considerations undertaken by the Tasmanian Museum and available manuscripts. Annual Subscriptions Within Australia* Individuals $30 Institutions $50 Overseas Individuals and institutions (surface mail) $70 *This subscription includes an amount for GST ($3.00/$5.00) Subscription details, with a cheque or money order made out to the Tasmanian Museum and Art Gallery, should be sent to: Museum Shop Tasmanian Museum and Art Gallery GPO Box 1164 Hobart TAS 7001 Australia www.tmag.tas.gov.au COVER IMAGE: The new Central Gallery at the Tasmanian Museum and Art Gallery. See pp. 1–14 Kanunnah 6: 1–144, 20 December 2013 EDitorial team Rodney D. Seppelt (Managing Editor) Bill Bleathman Eleanor Cave Peter Hughes Layout and design: Forty South Publishing Pty Ltd, Hobart Printer: On-Demand Pty Ltd, Melbourne ISSN 1832­536X GPO Box 1164 Hobart Tas 7001 Australia Statements and opinions expressed in papers in this volume reflect the views of the author(s) and are not necessarily those of the Tasmanian Museum and Art Gallery. IntroDuction to the reDevelopment of the Tasmanian Museum anD Art GallerY The Tasmanian Museum and Art Gallery tapestry of Tasmania and also interspersed is a unique cultural facility. It provides evidence of our place within a broader visitors with the most comprehensive global context. museum experience in the nation. One hundred and fifty years of additions On the site on which our Museum and modifications had somewhat camou­ stands exists rare evidence of pre­Euro­ flaged the original intention of the interior pean Aboriginal co­existence with the of this collection of heritage buildings. land, including some of the only undis­ Put simply, the visitor to the Museum turbed Aboriginal middens in Hobart. had no idea where they were or had any On this unique site also stands a opportunity to appreciate the diverse collection of the most significant and archi tectural styles that were surrounding diverse heritage buildings anywhere in them. the nation. Intermingled with these buil­ In 2007 the then Premier, Paul Lennon, dings are the collections that comprise was enthusiastic about showcasing our the collecting wisdom of many curators land, our buildings and our collections which showcase the broadest collection of to Tasmanians and visitors to our island. any single institution in Australia. He announced the bold vision of a $200 Established by the Royal Society of million redevelopment of the site and Tasmania in 1843 the Royal Society provided $30 million in funding to enable Museum, later the Tasmanian Museum the Museum to complete Stage One of this and Art Gallery, has been continuously bold vision. occupying its existing site since 1863. In March this year Premier Lara Over those intervening years additional Giddings officially opened the completed buildings on site were acquired and many first stage of our redevelopment which has new collections helped to weave the rich increased public space, reactivated every heritage building on site for public access Museums and Galleries national award for and exposed the diversity of architectural outstanding achievement. styles that a museum visitor can experience Our capacity to deliver Stage One of in very few museums throughout the this exciting redevelopment has been world. made possible by the sheer hard work Modern infrastructure was hidden, and determination of all TMAG Trustees, but enabled TMAG to provide twenty­ staff and volunteers, our builders and first century interaction with the various contractors, who have combined to collections. develop and deliver a truly remarkable School and education programs became visitor experience. a priority and have significantly increased We all hope that you have the the academic offer to the broader com­ opportunity to enjoy our Tasmanian munity. Museum and Art Gallery. In the four months since the reopening over 400 000 visitors have experienced our new Museum. The feedback of these Bill Bleathman visitors has been overwhelmingly positive Director, culminating in our Museum winning the Tasmanian Museum and Art Gallery KANUNNAH Volume 6 (2013) CONTENTS Jennifer Storer and Bill Seager A redeveloped Tasmanian Museum and Art Gallery. Stage One .......................... 1 Malcolm Kays Orlando Baker (1834–1912). Architect for the Federation period buildings on the Tasmanian Museum and Art Gallery site ................................................... 15 Ralph Bottrill and Garry Davidson Tasmanian Museum rock wall: a difficult birth! ................................................... 59 Elspeth Wishart Welcome to Tasmania. Illuminating the 1868 Royal Visit transparency ............ 68 Peter Hughes The Hannah Dyer sampler ...................................................................................... 82 Rod Ewins Two important whale­tooth ivory objects from Fiji, hidden under the sobriquet of “scrimshaw” in the W.L. Crowther Library Collection, Hobart ........................................................... 94 Gintaras Kantvilas and Ulrik Søchting A new alpine species of Caloplaca (lichenised Ascomycetes) from Tasmania and New Zealand ......................................................................... 108 Gintaras Kantvilas A new status for Cladonia sulcata (Cladoniaceae), a common Australian lichen, with notes on the C. cariosa group in Tasmania .................................................... 114 Simon Grove and Dick Bashford The Tasmanian Forest Insect Collection and its transfer to TMAG ..................... 126 A REDEVELOPED tasmaNIAN MUSEUM AND art gaLLERY. stagE ONE Jennifer Storer and Bill Seager Storer, Jennifer, and Seager, Bill, 2013. A redeveloped Tasmanian Museum and Art Gallery. Stage One. Kanunnah 6: 1–14. ISSN 1832-536X. The Tasmanian Museum and Art Gallery is unique in Australia, being a combined museum, art gallery and State herbarium. In 2006 a multi-million dollar project to redevelop TMAG to create a world-class intellectual and cultural icon befitting its history, collections and research, was announced. The
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