University of Melbourne Collections University of Melbourne Issue 2, July 2008 COLLECTIONS , Issue 2, July 2008 University of Melbourne Collections Issue 2, July 2008

University of Melbourne Collections succeeds University of Melbourne Library Journal, published from 1993 to December 2005.

University of Melbourne Collections is produced by the Cultural Collections Group and the Publications Team, Information Services Division, University of Melbourne.

Editor: Dr Belinda Nemec Assistant editor: Stephanie Jaehrling Design concept: 3 Deep Design Design implementation: Jacqueline Barnett

Advisory committee: Shane Cahill, Dr Alison Inglis, Robyn Krause-Hale, Michael Piggott, Associate Professor Robyn Sloggett

Published by the Information Services Division University of Melbourne Victoria 3010 Australia Telephone (03) 8344 0269 Email [email protected]

© The University of Melbourne 2008

ISSN 1835-6028 (Print) ISSN 1836-0408 (Online)

All material appearing in this publication is copyright and cannot be reproduced without the written permission of the publisher and the relevant author.

The views expressed herein are those of individuals and not necessarily those of the University of Melbourne.

Note to contributors: Contributions relating to one or more of the cultural collections of the University of Melbourne are welcome. Please contact the editor, Belinda Nemec, on (03) 8344 0269 or [email protected]. For more information on the cultural collections see http://www.unimelb.edu.au/culturalcollections.

Additional copies of University of Melbourne Collections are available for $20 plus postage and handling. Please contact the editor.

Front cover: Jan van de Velde II, ‘An antique gate’ (detail), plate 1 of part 1 of the series Sixty landscapes, 1616, etching, 13.3 x 20.0 cm, second state. Reg. no. 1959.3921. Gift of Dr J. Orde Poynton, 1959, Print Collection, Baillieu Library, University of Melbourne. The Jan van de Velde II etchings are among some 2,000 prints being rehoused in a conservation project generously funded by the Miegunyah Trust.

Back cover: Gérard de Nerval, Histoire de la reine du matin & de Soliman prince des génies, Hammersmith: Eragny Press, 1909. Special Collections, Baillieu Library, University of Melbourne. Detail of cover binding.

Cover photography: Lee McRae, Information Services CONTENTS

Page 2 Introduction Warren Bebbington

Page 3 Chance, circumstance and folly Lucinda Spencer

Page 11 Love in taxing times Jay Miller

Page 14 Lonely traveller in a transient world Kathleen Kiernan

Page 21 Dentistry in Australia before the First Fleet Henry F. Atkinson

Page 24 The AXA Collection: Discovering the social value of business records Christine Kousidis and Helen McLaughlin

Page 28 Acquisitions: Eragny Press books Jacinta Fleming

Page 32 Conservation: The Laby X-ray spectrograph Dianne Whittle

Page 35 Review: Symposium on the care and conservation of Middle-Eastern manuscripts Claire Patullo

Page 38 Cultural Treasures Days

Page 40 The provenance of a historic Koran Daria Fedewytsch-Dickson

Page 44 Mr de B*** and his airs of mystery Richard Excell

Page 49 Collections news from across the University

University of Melbourne Collections, Issue 2, July 2008 1 Introduction Warren Bebbington

The University’s cultural collections Parkville campus from Thursday 18 to to identify the specimens they collect have been the centre of much activity Sunday 21 September 2008. Further in the field. The University of since the first issue of this magazine details on the event are on pp. 38–39 Melbourne provides all of these and appeared in November last year. As and you are most warmly invited to many other educational opportunities well as providing their regular join us for exhibitions, special talks, through its cultural collections. personalised service to students, staff, guided tours, and family activities. researchers and the wider community, This year saw the introduction our collection managers, curators, of the University’s new curriculum, librarians and archivists have been known as the Melbourne Model. managing a major program of This curriculum is based on the belief collections renewal, funded by the that a well-rounded graduate needs a Miegunyah Trust. This has involved broad general education as well as cataloguing books and prints in the specialised training. Collections such Baillieu Library Special Collections, as ours have a role to play in both medical rare books and journals, earth the liberal and vocational aspects of sciences and East Asian rare books, university life. Students who can rare and historic maps, and herbarium drop into the campus art museum at eucalyptus and early specimens; lunchtime, walk past a colourful upgrading the collection database for mural or abstract sculpture on the the Henry Forman Atkinson Dental way to a lecture, or listen in on a Museum and conserving historic symposium celebrating the anni- dental drawings; condition surveying versary of the birth of Percy Grainger, and conserving scientific instruments are richer for these experiences. in the Physics Museum; and making On the other hand, medical students digital preservation copies of cassette benefit directly from examining the tapes in the University of Melbourne specimens in their Faculty’s excellent Archives. To share these and others of anatomy and pathology museum; Professor Warren Bebbington is Pro Vice- the University’s collections with both young historians can create original Chancellor (Global Relations) and also Professor of Music. He was Head then Dean of the Faculty the wider University community and work by researching among the of Music from 1991 to 2005. Professor the public at large, the Miegunyah unique manuscript collections at the Bebbington is a graduate of the University of Trust has also funded an event—The University of Melbourne Archives; Melbourne; Queens College, New York; and the Graduate School, City University of New York. University of Melbourne Cultural and botany students need a compre- He was also a Fulbright Scholar and Welsford Treasures Days—to be held on the hensive herbarium collection in order Smithers Scholar (1975–1976).

2 University of Melbourne Collections, Issue 2, July 2008 Chance, circumstance and folly Richard Berry and the plaster anatomical collection of the Harry Brookes Allen Museum of Anatomy and Pathology Lucinda Spencer

Promoting public interest in anatomy, content and style from those used for of unnecessary ornamentation, exotic a profession notorious in the popular public amusement.2 Students were illustrations and expressive figurines. imagination for its mad surgeons and expected to learn from these materials Unchallenged by what art historian body snatchers, was a relatively simple and despite the sensational aspects of Deanna Petherbridge labels the task in the 19th century. Every week public amusement, the requirements ‘frivolity of art’, the new clinical, exhibition halls, public museums and of medical schools created a objective style of model produced for sideshows across Europe and America respectable and profitable market in medical institutions ‘legitimised were crowded with people indulging anatomical model-making. notions of “serious” science and in a little ‘rational amusement’. This tradition of collecting was powerful medicine’, reclaiming the Ranging from moderate to farcical in sustained at the University of use of anatomical models for anatomical accuracy, these public Melbourne well into the 20th century, medicine.3 displays were among the few places enabling the Harry Brookes Allen As the first collector of anatomical where, ideally in separate parties of Museum of Anatomy and Pathology specimens and apparatus for the ladies and gentlemen, the wonders of to amass a large collection of wax, University of Melbourne, Halford’s the human body were visible, through papier-mâché and plaster anatomical work was hampered by difficulties in large collections of wax anatomical models. Dating from the 19th and funding, lack of staff and geographic models. As a colonial outpost in 1861, early 20th centuries, the models are isolation. His successor Harry Melbourne was even the location of a valuable assets to the classroom in Brookes Allen (1854–1926), after public anatomical museum, two years illustrating the three-dimensional whom the current museum is named, before the establishment of the nature of human anatomy, and may chose to focus on pathological University of Melbourne Medical also be valued for their depiction of a specimens, leaving the anatomical School.1 history of medicine. Each model department somewhat neglected. When Melbourne’s first professor displays aesthetics concurrent with Australian universities were poorly of medicine, George Britton Halford movements influential to the funded in comparison to the (1824–1910), arrived at the development of medicine. For prestigious schools of Europe, which University in 1863, the collection he example, one visual theme shared by had outstanding collections of brought with him to found the all the plaster collection is simplicity anatomical paraphernalia. It was not University’s first medical museum was in design. As the explicitness of until the appointment of Richard of a more educational nature. Models popular exhibits was tailored to Berry (1867–1962) as its first chair of used in medical education presented tantalise a curiosity in the taboo, anatomy, that the flagging fortunes of the body in a clinical context; beyond scientific apparatus in the late 19th anatomy at Melbourne were revived. the occasional presentation of century promoted a pared-backed Richard Berry’s tenacity in physiological deformity—by which sobriety as the visual ideal of scientific collecting is well documented.4 anatomists were as enthralled as the medicine. These values are best Arriving in Melbourne in 1906 with a public—the type of anatomical model exemplified by the plaster anatomical large assortment of bones, he oversaw required for teaching differed in model collection, which has disposed the reconstruction of the anatomy

University of Melbourne Collections, Issue 2, July 2008 3 Doris McKellar, Professor R.J. Berry, first Professor of Anatomy at the University of Melbourne, 1906–1929, c.1915–1918, gelatin silver print, 13.5 x 8.0 cm. UMA/I/1976, University of Melbourne Archives.

department, contributing models and Richard Berry’s contribution to the A European influence preserved specimens to the museum. collections of museums and scientific He was also influential in the creation institutions would literally be counted Paris in the 19th century was a city of of a physical anthropology collection. in heads. He was fond of revolution, art and culture, and This collection enabled Berry to bushwalking, and the wilds of coincidentally the capital of combine his expert skills in Tasmania held an abundance of anatomical model-making. When anatomical examination with the interest, both for this activity and on European medical schools required disciplines of anthropology and professional grounds. In the artificial anatomy, their academics eugenic theory; foundling studies in expeditions of one year, he and a would descend on the French city to the 20th century that nonetheless colleague were able to ‘discover’ 42 buy, direct from the manufacturers, blossomed amongst the unfamiliar crania to be distributed to museums the world’s best and most expensive Australian landscape with its exotic in Australia and abroad.5 wax and papier-mâché models. flora and fauna. The indigenous The suspect origin and ethical Names such as Deyrolle and Auzoux population particularly intrigued dilemma of Richard Berry’s collecting promised the latest in scientific Berry. As naturalists had collected the activities are not isolated to one knowledge and technological advance, exotic flora and fauna of the bush, character in University history; rather, producing models of the highest those influences that shaped his quality. One such academic was actions were also responsible for Richard Berry, who travelled to Paris significant directions in early 20th in 1896 during his time as a Fellow of century medicine. Close inspection the Royal College of Surgeons in of the historical anatomical model Edinburgh: collection in the Harry Brookes Allen Museum provides a greater under- Paris was then, the home of the standing of early medical education biological maker of models, and at Melbourne. The creation of to Paris I had to go … Various anatomical models was a late portions of the Human body manifestation of a shared history of were reproduced in wax, papier- art and medicine. The discussion that mâché, and such like, and were follows focuses on three significant often more realistic as they were examples from the plaster collection, built up on the actual bones of and how the story of their origin and some long since dead Parisian.6 the development of artificial anatomy in medical education mirror the Conducting the business of influences on education, experi- modernising his department by day, mentation and sometimes folly at the before descending upon the famous University of Melbourne. nightlife of Montmartre, this trip

4 University of Melbourne Collections, Issue 2, July 2008 Wilhelm His (anatomist) and Franz Josef Steger (sculptor), model of a female, dissected to show organs after the spine has been separated, 1872–1904, plaster of Paris, paint, wooden base, copper plaque. Harry Brookes Allen Museum of Anatomy and Pathology, University of Melbourne.

would be but a pleasant memory Appearing in international when Berry finally arrived at the bare catalogues and German shops of and almost bankrupt University of scientific apparatus, Steger was a Melbourne in 1906. Over time the name that was well regarded yet anatomy department at the University lacked the allure of the French would certainly not overlook the companies. Trading on the scientific exquisite and expensive Parisian ideals championed by Wilhelm His models, yet without a ready supply of and the German university system, teaching apparatus or money, more Steger’s were relatively simple economical alternatives would productions compared to other characterise purchases during Berry’s anatomical models. Without the tenure. As the prestigious reputations staggering production processes of of the Parisian model-makers enabled wax and papier-mâché, costs were them to easily dominate the artificial kept low, effectively eliminating their anatomy market, other European desirability to those buyers looking companies competed by offering for extravagant showpieces. ‘Sensible more affordable options. Across the models for sensible men’ could well border, German manufacturers have been a motto for Steger’s plaster aligned themselves closely with production. Following a process of universities in a different approach to the model-making company Steger. dissection very similar to other anatomical model-making. In no Producing a range of affordable anatomical preparations, plaster other country had the transformation models for use by medical schools in models, particularly the gypsum of modern medicine been as rapid or the latter half of the 19th century, the (plaster of Paris) casts, could be made complete as in the German states sculptor Franz Josef Steger had rapidly and in multiples. With the from 1820 onwards, and with this previously collaborated with skill necessary to hasten the process of medical revolution came pathological anatomist Carl Ernst accurate cast-making, the most labour entrepreneurs, keen to supply the Bock (1809–1874) before continuing intensive element of production— growing medical schools and his university association with apart from the anatomist’s capitalise on the buoyant positivism Wilhelm His (1831–1904). Both in dissection—was the paintwork. As an for the new ideals of science. research and in public deeds, Wilhelm experienced model-maker it is Appearing in a secondary role to that His was an academic powerhouse. In unlikely that Steger would have been of well-known German anatomists, one notable instance, he used forensic forced to consult often with the the model-makers traded on fine anatomy to locate the whereabouts of anatomist on accurate colour and fine workmanship and an authorised composer Johann Sebastian Bach’s detailing, and once mounted on an medical content. One famous union body, which had been lost amongst appropriately understated stand the was between Leipzig University and the graves in Johannis Cemetery.7 model was complete. The professional

University of Melbourne Collections, Issue 2, July 2008 5 Franz Josef Steger, model of thorax and abdomen, date unknown, plaster of Paris, paint, wooden base. Harry Brookes Allen Museum of Anatomy and Pathology, University of Melbourne.

output of the Leipzig workshop, in Fortunately its collection of plaster the anatomy department was as bad volume and variety of anatomical models, unlike those of the as was depicted to me. It was worse. It models, attests to Steger’s skill and universities of Leipzig and other contained literally nothing, not even a ingenuity. German cities, remained intact after skeleton, though later I discovered The main problem with orthodox the catastrophes of war in the 20th quite a lot in the cupboard.’9 anatomical models was their inexact century. Including examples of both Finding the grounds similarly to detail. Although fine paintwork could free-form sculpture and direct casts, his distaste, the new professor was left create an effect similar to human the Steger collection exemplifies the to ponder the wisdom of his organs, it could not replicate their union between anatomical model- immigration. With his career centred texture. Nor were those model- makers and universities that existed exclusively on Europe, Berry had makers truthful in their representations in the late 19th century. This was a flourished within an environment of of the human bodies as imperfect period when anatomical manufacturers progressive scientific medicine. Trips messes. By contrast, in taking a subdued any creative flourishes in to Paris and Germany were regular corpse, freezing it, then slicing the favour of science, famous men, and features of his research, and adjusting torso precisely down the centre, new techniques, all in their quest for to the difficulties of colonial academia Wilhelm His enabled Franz Steger to accurate representation. brought out the more astringent make a precise cast, illustrating the aspects of Berry’s personality. natural placement of organs, muscles An Australian model Regarded as an excellent teacher, he and bones. Even the nature of organs, Richard Berry’s arrival in Australia in was nonetheless a stern character with whether they were solid or cavity, 1906 was an inauspicious event. On a biting sense of humour. such as the heart and stomach, was board the Orient docked at Port From the Royal Colleges of visible. The hyper-realism of Steger’s Melbourne, two Melbourne graduates Edinburgh to an anatomy department frozen cast models, produced in an with an interest in anatomy greeted adorned only with the peculiar age where photography and other him. Compared to congratulatory brownish marks of a student ‘meat means of reproduction and replication dinners he had received upon his fight’, Richard Berry’s initial culture were inexact, is a true credit to his appointment in Edinburgh, their shock would transform into forceful skill as a craftsman. Science had curious questioning on whether he determination to revive the study of overcome the vagaries of artistic might lift anatomy ‘out of the bog, in anatomy at the University of interpretation, and it was through the which’, according to their accounts, ‘it Melbourne.10 Within a month of his anatomist’s preparation, not an artist’s had too long wallowed’ raised appointment a report on the material impression, that Steger models immediate suspicion.8 It was February requirements of anatomy was presented the human body to and amidst the 40 degree swelter submitted to the Council of the generations of students in rational Berry was soon able to absorb the University and the Finance scientific terms. shortcomings of the University of Committee.11 To teach anatomy The University of Melbourne Melbourne: ‘Notwithstanding … I without visual aids was a challenge, purchased eight His-Steger models. determined to go and see for myself if and nearly impossible for students to

6 University of Melbourne Collections, Issue 2, July 2008 Richard Berry, Male, age 2 years, 7 months, model of an infant’s torso, 1906–1929, plaster of Paris, paint, wooden base, height: 42.0 cm. Harry Brookes Allen Museum of Anatomy and Pathology, University of Melbourne.

follow. From his own student days, legs and head, is barely recognisable Berry recalled skipping uninformative to untrained eyes, following a style of lectures, resorting in a panicked rush sanitised anatomical representation at exam time to anatomical books. popular from the early 19th century ‘That a student would always follow through to today. Intended to the man who could give him what he separate serious, supposedly impartial sought—good teaching,’ was a medicine from human emotion, the conviction surely frustrated by the model almost succeeds in presenting a slow processes of bureaucracy purely objective vision of a human hindering the refurbishment of the body. Its flaw in this regard however department.12 is its pitiful size. Only 30 centimetres Berry coped remarkably well in in height, it reveals the human reality these first years and was slowly of anatomical study. granted funds to renovate the Until recently, histories department. His career at the surrounding the dissection of human University of Melbourne progressed bodies at the University of Melbourne to becoming Dean of Faculty, where have skimmed across the topic of he was extremely influential in procurement. From discussing the guiding the direction of medical tight government constraints education and ultimately became regulating the flow of dead bodies responsible for expanding the into the medical school, to the almost collection of artificial anatomy. He creating his own models. farcical theft of human tissue by was even able to contribute to the Understandably, Berry’s effort is the George Halford, there has been little model collection with one model that, least technically accomplished success in overriding the sense of although misshapen and poorly example in the collection. It neglects technical procurement and gallows finished, is extremely precious to the the association of over 400 years humour dominating discussions on story of anatomy at Melbourne. The between art and medicine in the human dissection.13 Most commonly model, Male, age 2 years, 7 months— creation of anatomical models. the lack of bodies to dissect has been R.J.A. Berry is the only complete Another notable difference is the the feature of early stories from the plaster anatomical model in the subject Berry chose. Anatomical anatomy department, and only in collection that was made at the representations of children are less Ross Jones’ Humanity’s mirror, the University. common than of adults, and most most recent and thorough work Compiling a collection of often deliberately stylised. Portraying discussing the study of anatomy at the expensive overseas models, it was a two-year-old child in the manner University of Melbourne, has a sense natural for Berry to utilise the Berry chose is almost unheard of. The of humanity been restored to cadavers resources available to experiment in child’s torso, removed of skin, arms, and medical specimens. Balancing the

University of Melbourne Collections, Issue 2, July 2008 7 quarrels of academics and medical story of the model Male, age 2 years, 7 Serious science and the school administration, Jones months. By the early 20th century the frivolity of art introduces the character of James University of Melbourne and other Halferty, a man whose body became institutions had become selective Collections amassed by institutions the first recorded subject of a student about the types of cadavers their illustrate ideals of modernity, dissection. Over a century after his anatomists and students dissected. specialisation and a professional body involuntarily became the These were usually the poor, criminal, approach to the field of medicine. Yet property of science, restoring to James or institutionalised. Unfortunately for even among university collections are Halferty his name is a small but Richard Berry’s family, death did not anatomical items that have come to significant gesture that penetrates the discriminate between social classes. In symbolise the trial and error of veil of scientific anonymity,14 a veil mid-March 1908 an outbreak of scientific progress. The most visually that, although imposed to protect gastro-enteritis swept through striking models of the plaster both the identity of the subject and Parkville and Carlton, killing many anatomical collection are the three the sensibility of the anatomist, children, including eight-month-old heads made by Casciani and Son of encouraged the view of the dead body Richard Brighouse Berry. His illness, Dublin. Modelled from cranial as a commodity. like those of the other children, was dissections conducted by anatomist It is with regret that I am unable short, and he was buried the next Daniel John Cunningham (1850– to restore a name to the child who day.16 1909), the plaster casts are unusual for died aged two years and seven It is extraordinary to witness the their reproduction of the exact facial months. When the humanity of separation between a person’s features of the cadavers. Most models cadavers and specimens is easily personal and professional lives carried from this period aim to give a overlooked by the medical profession to such an extreme that a man—a dignified face to the human it is perhaps a continuing injustice father—could accept the body of condition, whereas the Casciani trio that a model directly cast from the another parent’s child to dissect in displays an intriguing combination of body of a child should continue to be order to create a model. Objectively, technical accuracy and ghoulish exhibited bearing only the name of Male, age 2 years, 7 months is an realism. In one particularly Richard Berry.15 To which family this important object in the Harry frightening example, a partially little person belonged, where they Brookes Allen Museum of Anatomy dissected brain appears as secondary lived, and how the child died, are and Pathology as evidence of to the weathered face and blank eyes unknown. The likelihood is that they experimentation in techniques of of a man whose mouth hangs ajar in were from the bottom of society, model-making within the University. stupor. Cunningham was an perhaps forced by circumstance to Yet the model also serves as a anatomist interested in physical give their child to an institution. powerful symbol of those individuals anthropology, and like other medical Although I cannot name this who, sometimes willingly, sometimes men of the period, was influenced by child, there is an epilogue—though unknowingly, contributed their bodies research and ideas that would spawn sad and unsettling—to conclude the to medical education in Victoria. the development of eugenic theory.

8 University of Melbourne Collections, Issue 2, July 2008 Daniel John Cunningham (anatomist) and Casciani and Son (model-maker), model of the head of an elderly man, brain exposed on one side, 1883–1903, plaster of Paris, paint, height: 26.0 cm. Harry Brookes Allen Museum of Anatomy and Pathology, University of Melbourne.

Fuelled by increased interest in lectures undertaken in the interwar anatomical model series made by uncovering scientific explanations for years. Concerned by the ‘menace’ Casciani and Cunningham are social questions, eugenics would apply society faced from the ‘uncontrolled included, and are visible in an evolutionary theory as an explanation activities of the feeble minded’, Berry accompanying laboratory photograph for society’s ills. Perhaps the Casciani delighted in his reputation as a as students conduct an experiment.18 model was used to illustrate mental prominent anatomist and toured It is somewhat surprising to find illness to medical students at the regional Victoria.17 Given a little models of the same series in both a University of Melbourne. After all, a freedom from the usually staid topics psychological laboratory and the theory based on a physical correlation of anatomical detail, the evocative contemporary collection of the between skull size and intelligence language in which Berry described his University of Melbourne. Berry was propelled Richard Berry’s career ventures into the asylum and not isolated amongst his peers in beyond the teaching of anatomy, to penitentiary was probably illustrated regarding psychology with scepticism include physical anthropology and by equally dramatic visual aids. Is it and considered the theories of Freud mental studies of criminals and possible that in a public hall crowded to be conceited, exclaiming that the children. Through his studies of with mothers clutching babies, famous psychologist ‘had done more ‘mental deficients’, the kinder concerned citizens and bored to hide the truth than any other man moniker then given to those who teenagers, the topic of public health living’. The Melbourne Medical were intellectually disabled or was sensationalised by the unveiling School would remain, under the psychiatrically ill, Berry established of an anatomical model both professor’s guidance, firmly focussed himself as an expert in the field, frightening and very real? on a hereditary approach to gaining appointments as consulting With such an image in mind, explaining mental illness.19 psychiatrist at the Melbourne and across the oceans, Casciani’s series of Anatomical models can be used to children’s hospitals. Although from models had been put to use in a support arguments for either eugenic today’s perspective it appears absurd decidedly different approach. While or psychological theory. Within this that an anatomist experienced eugenic theory was the predominant history they have come to embody principally in examining the physical influence on early 20th century opposing schools of thought in late remnants of the dead could be the treatment of disability and 19th to early 20th century medicine, reigning authority on psychiatric impairment in Melbourne, the study and only through historical medicine, at the time this application of psychology had gained increased perspective can we appreciate the of science provided a convenient momentum in the late 19th century, failing of one so completely. From answer. If crime, stupidity and general establishing itself as a legitimate field terra firma Richard Berry’s collecting degeneracy were genetic, little of inquiry. During the 1893 World’s and work in eugenics are grossly introspection, or understanding of Fair in Chicago, Harvard University disrespectful to the people whose societal misdeed, were required. would publish a detailed inventory of bodies became subjects of this Berry’s success in promoting these models and equipment used within its pseudoscience. Yet amongst his theories led to a series of public psychological laboratory. The University of Melbourne and

University of Melbourne Collections, Issue 2, July 2008 9 international contemporaries Berry’s This article is based on the author’s historiography 7 George B. Stauffer, ‘Beyond Bach the and catalogue, ‘The artist’s knife: The art and monument, who was Bach the man?’, New work was consistent with mainstream science of plaster anatomical models at the Harry York Times, 2 April 2000, section 2, p. 1. science. It was also a research Brookes Allen Museum of Anatomy and 8 Berry, ‘Chance and circumstance’, approach consistent with the Pathology, the University of Melbourne’, written pp. 109–110. for her Master of Public History Degree at 9 Berry, ‘Chance and circumstance’, preceding history of anatomy; like the Monash University in 2006. That project was pp. 109–110. early anatomist trawling cemeteries completed with support from the University of 10 Berry, ‘Chance and circumstance’, p. 110. for fresh bodies, it quite simply failed Melbourne’s Cultural Collections Student Projects 11 Council of the University of Melbourne, Program and the Harry Brookes Allen Museum of Requirement of the Department of Anatomy, the society it sought to heal. Anatomy and Pathology. Lucinda Spencer also meeting no. 1, 5 February 1906, and Finance Was it by ‘chance and circum- holds a Bachelor of Arts degree, and is currently Committee Minutes, 4. Anatomy Department, stance’ that Berry’s career took the employed as an assistant registrar at the meeting no. 3, 2 April 1906. University of Performing Arts Museum at the Victorian Arts Melbourne Archives. path of a mental specialist? Berry Centre. 12 Berry, ‘Chance and circumstance’, p. 33. himself described it as a ‘leap over 13 For an account of Halford’s theft see Richard the ages’ from his early years at the Notes Selleck, The Shop: The University of Melbourne 20 1850–1939, Carlton: Melbourne University University of Melbourne. For it was 1 Mimi Colligan, ‘Anatomical wax museums in Press, 2003, pp. 105–106. in these first few years, which he Melbourne 1861 to 1867’, Australian Cultural 14 Ross L. Jones, Humanity’s mirror: 150 years of stated in his memoirs were the best History, no. 13, 1994, p. 52. anatomy in Melbourne, South Yarra: 2 Michael Sappol, A traffic of dead bodies: Haddington Press, 2007, pp. 95–96. of his years at Melbourne, that he Anatomy and embodied social identity in 15 See Ruth Richardson, Death, dissection and the achieved the most for the nineteenth-century America, Princeton: destitute, 2nd edition, Chicago: University of Department of Anatomy. From the Princeton University Press, 2002, pp. 276, Chicago Press, 2000. 303–304. 16 Berry, Richard Brighouse. Death Certificate mysterious brown stains of the 3 Deanna Petherbridge, ‘Art and anatomy: The no. 1164, Third Schedule, Deaths in the dissecting room, to the construction meeting of text and image’, in Deanna District of Carlton 1908. Registry of Births of an entirely new building to Petherbridge and Ludmilla Jordanova (eds), Deaths and Marriages, Department of Justice The quick and the dead: Artists and anatomy, Victoria. accommodate rising enrolments, the Berkeley: University of California Press; 17 Berry, ‘Chance and circumstance’, p. 145. study of anatomy was revived and Hayward Gallery, 1997, p. 96. 18 Interior of a laboratory room (chain reaction refreshed under Richard Berry’s 4 See for example a list of skulls acquired by experiment), illustration in [Hugo Berry and others in R.J.A. Berry, A.W.D. Münsterberg], Psychological Laboratory of guidance. The new building, jokingly Robertson and L.W.G. Büchner, ‘The Harvard University, Cambridge, Mass.: The named ‘Berry’s Folly’ for its enormous craniometry of the Tasmanian Aboriginal’, University, 1893, published online at size, was one example of his Journal of the Royal Anthropological Institute of http://psychclassics.yorku.ca/Munster/Lab. Great Britain and Ireland, vol. 44, January–June 19 Ann Westmore, ‘Berry, Richard James Arthur farsightedness; another was his 1914, pp. 122–126. (‘Dicky’) (1867–1962)’, History of medicine, investment in anatomical models. For 5 Berry, Robertson and Büchner, ‘The dentistry and health sciences: Biographical entry, beyond their use in general teaching, craniometry of the Tasmanian Aboriginal’, Centre for the Study of Health and Society, p. 122. University of Melbourne, 2003, the plaster models are valuable 6 R.J.A. Berry, ‘Chance and circumstance’, http://www.jnmhugateways.unimelb.edu.au/ remnants of a history of medicine photocopy of unpublished typescript umfm/biogs/FM00008b.htm, accessed interacting with art, science, the autobiography, c.1954, p. 75. Papers of 22 February 2006. Leonard J.T. Murphy, UMA 91/114, 20 Berry, ‘Chance and circumstance’, pp. 114, public, and education. University of Melbourne Archives. 126–127.

10 University of Melbourne Collections, Issue 2, July 2008 Love in taxing times Jay Miller

When this you see remember me when I am farre away at sea

For the cataloguer or curator, any fragile container. Our example has a been regarded by some as a powerful handwriting attached to or slightly faded and threadbare woven symbol of luck and a protection incorporated in a work of art or craft green ribbon attached. against witchcraft.5 Keeping the provides a fascinating and vivid link In 1845 the British tax on flint container and contents intact and with the creator or past user. When glass was repealed and better quality limiting the use of salt would thereby such handwriting is combined with a glass was more readily available for preserve not only the good fortune miscellany of images the challenge to more decorative versions. A clear but also in retrospect the probable research the work becomes amethyst-coloured glass frigger, health of the household. Friggers compelling.1 The quotation above is which is part of the Ernst Matthaei were sometimes presented as wedding handwritten on a piece of paper, Memorial Collection of Early Glass, gifts but more often as keepsakes or adhered with several other cut-out is on display at University House.4 love tokens by sailors and soldiers. images to the inner surface of a This example is catalogued as being It is difficult to determine for sure cylindrical glass container with two circa 1840, but there is a good chance, if our frigger was a Grimwade family cinched ends. Such objects are given its fine quality, that it may treasure. A label on one end could be nowadays described as rolling pins postdate 1845 and abolition of the an auction label or it could be an early but in the 19th century they were of a tax. catalogue label. The Grimwade category of works in glass known as It could be argued that the design involvement with both glass manu- ‘friggers’. Initially these storage of the frigger in the Grimwade facturing and salt production in late containers were hand-produced Collection almost suggests 19th century Australia could have throughout the British Isles, from the camouflage, an attempt perhaps to inspired an interest in the purchase of mid-18th to mid-19th century (many disguise highly taxed glass by swirling such an item for the family’s private more were later produced by machine white paint inside and forming an collection.6 as 20th century tourist souvenirs). opaque ground. At first sight the The printed paper images decor- According to Howe, the name work appears to be a ceramic ating the container are intriguing, but ‘frigger’ comes from the verb ‘to container rather than glassware. It is offer some clues as to the date of friggle’ or ‘mess abaht’, often the likely the paint used is heavily leaded manufacture. They are an odd result of glass blowers using up and hopefully the stored contents did assortment of images selected by unused glass and at the same time not become a health hazard to the either the maker or giver. For instance developing their craft skills.2 In this owners. Just as glass was taxed, so too there is one graphic of an early steam instance ‘the glass blower would were luxury commodities such as tea, locomotive which resembles a steam skilfully swing the molten glass sugar and salt, and these were engine designed and built by Robert globe’3 until the requisite hollow frequently presented as treasured gifts Stephenson, named The Planet.7 If length was obtained; the narrow stored in these decorative containers. the image does in fact depict The necked ends became a means of Arnold notes also that within a Planet it could perhaps be inspired attaching a ribbon or some wire, with household a concentration of salt in a by its links with the seaport of which to hang and display safely the container such as a frigger would have Liverpool.8 The National Rail

University of Melbourne Collections, Issue 2, July 2008 11 Museum archive at York has also Fair Circassian as a concept was even made in a significant legal case suggested that as rail networks were widely used in literature and on the subject of the status of a established and expanded globally, correspondence of the early 18th slave.10 The exotic concept of fair navvies or engineers, who often century and continued to inspire Circassian slaves—that is, young travelled widely within the British poets and playwrights well into the women from the Caucasus—certainly Isles and abroad, could also have 19th century.9 It is regularly referred appears to have been a popular bestowed such a gift. Another to by travellers and explorers in fantasy of the era. Such an image unusual image for a love token is a eastern Europe and a reference was could also be a reference to the distant child wearing a blood-red dress carrying a pennant, a drum and waving a sword, labelled the ‘Young soldier’, perhaps to invoke a sense of the giver being involved in manly deeds, or protection of the young. The main cut-out graphic that strongly supports the theory that this container was once a love token depicts a well-dressed young woman, whose fashion suggests a date of circa 1820. This image is labelled ‘The love letter’ and she coyly regards the viewer over her left shoulder while holding a love letter in her left hand. This, together with the handwritten message, surely alludes to a romantic purpose, until that is, we inspect the image immediately above. Here a dramatic scene unfolds with a fainting lady and a man in Ottoman dress grasping her hand and waving a dagger; this tableau is labelled ‘The fair Circasian’ [sic], perhaps a warning to the beloved that it would be wise to remain faithful to the absent giver. With further investigation of this reference it became apparent that The

12 University of Melbourne Collections, Issue 2, July 2008 Artist unknown (English, 19th century), ‘Frigger’, glass, paint and paper cut-outs, length: 37.5 cm. Accession no. 1973.0207, University of Melbourne Art Collection. Gift of the Russell and Mab Grimwade Bequest 1973.

lands where a sailor, soldier or 1820 and 1835. This is certainly a manufacture in Australia from 1872, with Victoria’s first Melbourne Bottle Works perhaps an engineer was to be posted. narrower timeframe than the original Company which in 1903 became a Proprietary Maintaining the exotic theme, there is cataloguer’s rather broad designation Ltd. In 1939 Australian Glass Manufacturers also a female figure, almost a of the ‘19th century’ and further became Australian Consolidated Industries. From 1882 to 1900 Alfred Felton and caricature in form, dressed in rather research may lead to a more specific Frederick Shepherd Grimwade were associates, lewd Regency style, wielding a date of manufacture. with business interests in the Australian Salt vegetative branch, who is labelled Manufacturing Company. John Riddoch Poynter, Russell Grimwade, Carlton: ‘Fatima’; perhaps another character in Originally trained as a teacher and then librarian, Melbourne University Press, at the Miegunyah contemporary popular literature. Jay Miller holds a Bachelor of Arts (Fine Arts) Press, 1967. The references to exotic locations degree from RMIT and a Graduate Diploma of 7 This theory is strengthened after consultation Museology from Deakin University. She has done with the curators at the National Railway also prompt speculation that the giver project work for local government and the Museum in York. could have been both soldier and National Trust of Australia (Victoria) and later 8 ‘The Planet’ ran on the Liverpool to sailor: a member of the Marine worked as Collections Officer at Deakin Manchester railway from 1830. University. Jay now works as the Assistant 9 For example, [Samuel J.] Pratt, The fair Corps, employed in the protection Collections Manager with the Ian Potter Museum Circassian: A tragedy, as performed at the and support of naval vessels, and of Art. Theatre-Royal, Drury-Lane by Mr. Pratt, 2nd operational in regions dominated by edition, London: printed for R. Baldwin, 1781; James Sayers, ‘A scene in the Fair Circassian’ the Ottoman Empire. From the early (Robert Bensley; Elizabeth (née Farren), Countess 1800s during the period of the of Derby), 1781?, etching, plate: 28.1 x 36.5 cm, Napoleonic wars and until 1832, the Notes collection of the National Portrait Gallery, London, available online at Greek war of independence was 1 This article began as a small research project to http://www.npg.org.uk/live/search/portrait.asp waged continually against the generate an interpretive label for a homely yet ?LinkID=mp01264&rNo=2&role=sit, accessed Ottoman rulers, a source of romantic intriguing artefact catalogued for the 28 November 2007; Thomas Maclean, ‘Arms University of Melbourne Art Collection as and the Circassian woman: Frances Browne’s inspiration for figures such as Lord part of the Russell and Mab Grimwade “The Star of Attéghéi”’, Victorian Poetry, Byron. As the 1820s progressed this Bequest of 1973, accession no. 1973.0207 vol. 41, issue 3, Fall 2003, pp. 295–318. war became a topic of strategic (originally catalogued as a porcelain and glass 10 ‘Davy asserted that Virginia law could not rolling pin). The primary objective has been to apply in England. England would not permit interest to the British, and their forces try and narrow the possible dates of “a Turk” to “bring here his fair Circasian [sic] eventually combined with those of manufacture; inevitably more questions were slaves” and rape them with impunity’. Henry France and Russia to oppose the raised than answered. Marchant, Diary (R.I. Historical Society MS 2 Bea Howe, Antiques from the Victorian home, 1771–2, typed transcript, Philadelphia Ottoman forces at the naval battle of London: Spring Books, 1973, p. 197. Historical Society, 1:120), quoted by George Navarino in 1827, a significant 3 Ken Arnold, Collector’s companion, Golden Van Cleve, ‘Somerset’s case and its antecedents turning point in that war.11 Square, Vic.: Crown Castleton Publishers, in imperial perspective’, Law and History 1995, p. 106. Review, vol. 24, issue 3, Fall 2006, Considering all the clues available, 4 University of Melbourne Art Collection, http://www.historycooperative.org/journals/lhr the method of manufacture and the accession no. 1991.0022, Gift of Pat and /24.3/cleve.html, accessed 29 June 2007. images incorporated in the design, Roger Daniels in memory of Rex Ebbott, 11 ‘Navarino, Battle of ’, Encyclopaedia Britannica, 1991. 2007, http://www.britannica.com/eb/article- there is a fair chance that our frigger 5 Arnold, Collector’s companion, p. 106. 9055077/Battle-of-Navarino, accessed was produced at some time between 6 The Grimwade family was involved in glass December 2007.

University of Melbourne Collections, Issue 2, July 2008 13 Lonely traveller in a transient world The landscape prints of Jan van de Velde II donated to the Baillieu Library by Dr J. Orde Poynton Kathleen Kiernan

Introduction to the Road area in London and at the Poynton Collection renowned London dealer in paintings, prints and drawings, Colnaghi’s. As a The Print Collection in the Baillieu teenager, Orde Poynton, accompanied Library at the University of by his father, visited the illustrious Melbourne is unique in the sense that staff of the Prints and Drawings no other Australian university holds Department of the British Museum: such a comprehensive collection of Campbell Dodgson (1867–1948), international prints dating from the Arthur M. Hind (1880–1957), 1500s through to the 1850s.1 The Arthur Popham (1889–1970) and collection is of international Laurence Binyon (1869–1943). By significance, both in the range of seeking the opinion of these experts artists represented and the choice of on northern European prints, editions and states of the prints. More Frederick and his son were able to research needs to be undertaken into recognise and thus acquire prints of a this jewel among the University’s high standard,3 including etchings by cultural collections. The 3,700 prints Jan van de Velde II. donated in 1959 by Dr John Orde During World War 2, the Poynton AO, CMG, MA, MD, Adelaide’s medical school, and from Poyntons’ print collection was moved HonLLD represent more than half of 1950 was director of the Institute of from place to place for safe-keeping, the total holding, and form a Medical and Veterinary Science. In including Bath where a bomb significant collection in their own 1959, whilst still living in Adelaide, seriously damaged the house, then to right, worthy of research. he presented to the University of a warehouse in Bristol, also damaged John Orde Poynton was born in Melbourne a significant collection of in bombing raids. Poynton later wrote London in 1906 and was educated at rare books and pictures, at that time about the prints becoming ‘muddled Marlborough College, Caius College the most noteworthy gift ever up’ and dirty as a result of these (Cambridge) and Charing Cross received by an Australian library.2 He moves. Although only a few of the Hospital. After being appointed died in Melbourne in 2001. prints were damaged by bombs senior resident medical officer at the directly, wartime conditions prevented Charing Cross Hospital, he served as Poynton the collector the collection from being ‘organised health officer, research officer and Dr Poynton inherited from his father, and improved’.4 During this period pathologist in Malaya. He was in the Dr Frederick John Poynton (1869– Dr Frederick Poynton passed away British Army until 1946 and was a 1943), a lifelong interest in collecting and Orde Poynton became a prisoner prisoner of war at Changi. In 1947 he rare books and old master prints. of war. When the prints were sent to moved to Adelaide where he was Many of the prints were purchased Australia in 1947 it became obvious lecturer at the University of from dealers in the Charing Cross that about 200 to 300 out of

14 University of Melbourne Collections, Issue 2, July 2008 Opposite: Norman Wodetzki, Queensberry Photography, Dr J. Orde Poynton being admitted to the degree of Doctor of Laws honoris causa at the University of Melbourne on 31 July 1977, photographic print, 17.5 x 12.5 cm. UMA/I/2293, University of Melbourne Archives.

Below: Jan van de Velde II, ‘Evening: Travellers on a road near an inn’, plate 11 from part 1 of Sixty landscapes, 1616, etching, 13.3 x 19.7 cm, second state. Reg. no. 1959.3931. Gift of Dr J. Orde Poynton, 1959, Print Collection, Baillieu Library, University of Melbourne.

examination of his mounts and annotations revealed various patterns of collecting. The Poynton Collection includes parts 1, 2, 3 and 4 of the series Sixty landscapes by Jan van der Velde II.9 Cross-referencing archival material held in the Baillieu Library, such as Poynton’s register book, his annotations on the mounts and his letters to the University, reveals that Poynton’s numbering follows the chronological sequence of acquisition and that he attempted to acquire the complete Sixty landscapes. Three of the four complete parts (1, 3 and 4)10 are numbered sequentially by Poynton, showing they were acquired as complete sets, whereas part 2 is approximately 3,000 prints were collection of the northern European numbered out of sequence, jumping missing, including some of the best in prints that Poynton and his father from 585 to 661, 1227, 1228, 1229, the collection.5 collected are comparable and even 1230, 1774, 1776, etc., showing that Dr Poynton’s relationship with the more comprehensive than many he tried to assemble part 2 by buying University started with a visit to the major international university and individual prints as they came on the newly built Baillieu Library in 1959.6 library collections, albeit smaller.8 market. Van de Velde’s landscape His intention for a University print Poynton’s print collection tells us prints were sought after by artists collection was to assemble a good about his activities as a collector and during the 17th century as teaching representation of the history of also about the wider appreciation of aids and references for composition or printmaking and of the techniques of prints during the early 20th century. motifs, leading to the breaking-up of engraving, etching, mezzotinting and Identification of the artist or engraver many sets. Complete sets are lithography, spanning the period 1500 is often through Poynton’s therefore hard to find.11 –1850, stating that the University of inscriptions on the artwork and Jan van de Velde II etched and Melbourne would be ‘the only mounts. During my Cultural engraved about 500 prints, this large university with such a collection yet’.7 Collections Student Projects number serving as testament to the Internationally, few universities hold internship at the Baillieu Library in artist’s popularity during his such a comprehensive print collection 2006, during which I undertook an lifetime.12 About 200 of his prints as the Baillieu Library, and the inventory of the Poynton prints, an depict landscapes and these are his

University of Melbourne Collections, Issue 2, July 2008 15 Jan van de Velde II, ‘Winter landscape with a square tower used as an inn’, plate 12 of part 3 of Sixty landscapes, 1616, etching, 11.9 x 18.7 cm, first state. Reg. no. 1959.3966. Gift of Dr J. Orde Poynton, 1959, Print Collection, Baillieu Library, University of Melbourne.

most important and original achievement.13 He etched more than 20 landscape series, of which the New York Public Library holds three series, only one being van de Velde’s own designs.14 The National Gallery of Victoria holds only six prints by van de Velde, all after the artist Willem Buytewech (1591/92– 1624),15 and the Art Gallery of South Australia has 21.16 The Rijksmuseum, on the other hand, holds around 700 van de Velde prints,17 and the British Museum also has a large number, around 370.18 The University of Melbourne has 56, comprising parts 1, 2, 3 and 4 (totalling 48 prints) of the Sixty landscapes series, the complete Six landscapes series of his fewer plates, numbered in the lower setting a direction and organising own design, plus two engravings after right corner. When van de Velde scenes that might otherwise appear Buytewech. created more plates in the second repetitious due to their reworking of Recognising the sequence of edition he divided them into five common motifs. The frontispiece to changes in the plates between states parts, preceded each part with a part 1 depicts two men on a road allows us to attribute states to the frontispiece, and re-numbered each passing through a portico, with other University’s prints. The editions of plate at the lower right corner. figures in the distance, drawing the Sixty landscapes, parts 1, 2, 3 and 4 Eventually the plates were acquired viewer into a place, rather than simply collected by Orde Poynton were by the publisher P. Schenck Jr who presenting a realistic scene for published in 1616 and demonstrate added his own monogram.19 This contemplation (see front cover). his connoisseurship since they are the later state is not in the Poynton Inscribed on the tympanum above is first and second states, published by Collection. Eerste Deel (First Part). Three lines of the prolific Haarlem etcher, The frontispieces for the Sixty Latin above the opening of the draughtsman and publisher Claes landscapes series invite the viewer to portico read: Janszoon Visscher (1586/87–1652) as embark on a journey through a series the one body of work during the of landscapes, observing farmers, AMENISSIMÆ ALIQUOT artist’s lifetime, complete with workers and travellers. These REGIUNCULÆ, A frontispieces. The first states were frontispieces help structure the series, I.VELDIO DELINEATÆ, ET A

16 University of Melbourne Collections, Issue 2, July 2008 NICOLAO IO: Jan van de Velde II was probably 1618, after which he based his HANNIS PISCATORE IN born in Rotterdam between 1593 and etchings on drawings by other LUCEM ÆDITÆ. 1597. He was the son of master popular artists such as Buytewech and calligrapher Jan the Elder whose Pieter Molijn, probably from (‘Some very attractive little regions, family was originally from Antwerp. economic necessity, as these would drawn by Jan van de Velde, and In 1613 Jan the Elder sent his son to guarantee sales and were less time- published by Claes Visscher.’)20 Haarlem to undertake an consuming than creating original apprenticeship with the master works. But it is van de Velde’s Jan van de Velde II and engraver Jacob Matham, stepson of landscapes of his own designs that 17th century Dutch Hendrik Goltzius.24 Jan van de Velde have made his reputation as an etcher. landscape prints II entered the Guild of Haarlem in Around 1612 the coming together in 1614, but not as a master. He was Etching technique and Haarlem of a group of talented artists later admitted to the Guild of Saint 17th century Dutch led to a significant change in both the Luke in Haarlem to become a master landscape prints perception and the representation of in 1617, enabling him to engrave and The golden age of Dutch landscape the visible world, through their prints etch freely his own and other artists’ art has its foundations in of the Dutch landscape.21 These designs.25 His last engraving is dated printmaking, in which medium it artists came to Haarlem for various 1633.26 He moved to Enkhuizen in developed well before reaching its reasons: some were attracted by the 1636 and died there in about 1641. apex in painting. Prints were opportunities of learning from Printers and publishers in distributed widely throughout Europe luminaries such as Haarlem’s leading Haarlem in the early 1600s and were used as reference material by printmaker, draftsman and painter commissioned artists to produce painters.32 Hendrick Goltzius (1558–1617) and series depicting a very saleable Etching (from the Dutch etsen, to the poet, biographer and artist Karel subject: the local landscape.27 Jan van eat) is a printing technique in which a van Mander (1548–1606). Flemish de Velde’s entire output, produced metal plate is covered with an acid- immigrants were welcomed to between 1613 and 1633, comprises resistant ground, such as wax, and Haarlem and, consequently, brought portraits, historical plates, bookplates then worked into with an etcher’s other family members, which also and landscapes.28 He was the most needle. The exposed metal is ‘eaten’ in expanded the city’s artist prolific landscape etcher of his an acid bath, creating lines to hold the community.22 Two such individuals generation, establishing the ink. The technique was invented in were Jan van de Velde II and his popularity of Dutch landscape prints about 1500 and in the early 17th cousin Esaias van de Velde (1587– by depicting the local countryside and century became very popular among 1630), whom Arthur Hind named as its residents.29 He worked from his younger Dutch printmakers, being two of the most noteworthy Dutch own designs (greatly influenced by less laborious, cheaper and requiring etchers of the first part of the 17th the landscapes of Visscher30 and less formal training than engraving. century.23 Abraham Bloemaert31) until about Artists also found that etching

University of Melbourne Collections, Issue 2, July 2008 17 Jan van de Velde II, ‘Farm built against a square tower’, plate 11 from part 2 of Sixty landscapes, 1616, etching, 13.6 x 20.1 cm, second state. Reg. no. 1959.3935. Gift of Dr J. Orde Poynton, 1959, Print Collection, Baillieu Library, University of Melbourne.

created a direct and spontaneous image so they were more readily able to render painterly effects.33 Van de Velde’s tidy and highly stylised workmanship typifies early 17th century Netherlandish etching. The two series Sixty landscapes and Six landscapes clearly demonstrate his virtuosic technique: the variety and graduation of lines creating atmos- pheric effects; his wide range of graphic marks from light to dark, soft to hard, and fluid to rigid. The influence of his calligrapher father comes though in his ornamental style, particularly in his depiction of trees and clouds (see p. 15).34 Trained as a professional engraver-etcher, Jan II learned from his cousin Esaias van ‘Into the light’: Symbolism compositions by combining de Velde, a pioneer in painted Dutch in Jan van de Velde II’s topographical motifs and landscape, and other painter-etcher landscapes representations of nature that in friends, to loosen his draughts- reality did not exist together. While manship. His etching technique Van de Velde’s landscapes had a the prints appear realistic, these works evolved, not to purely imitate conscious purpose, demonstrated by convey an emotional moral power by engraving, but to utilise etching’s his recurring use of particular themes incorporating personal experience and characteristics of texture, tone and and motifs. His landscapes are a cultural beliefs into representations of line. sophisticated choice of style and nature. Though not etched directly from subject matter, eliminating some Van de Velde drew upon a bank of nature, van de Velde’s simple views elements, carefully arranging others, motifs such as bridges, dead trees, recreate the experience of walking to create landscapes that appear wagons, old farmhouses, taverns and through the Dutch landscape with its spontaneous. Artists sketched the dovecotes. His recurring patterns of low horizon line, trees and ruins countryside en plein air and relied on composition, structure and motifs against a generous proportion of sky. their sketchbooks, memory and were conventional at the time and The persistent journey theme and the imagination back in the studio to would have been understood by the seemingly natural subject matter compose the final work. It is likely viewer,35 whether consciously or invite a wide range of interpretations. van de Velde manipulated his unconsciously, including their social,

18 University of Melbourne Collections, Issue 2, July 2008 Jan van de Velde II, ‘The “Spaernwoude” or “Amsterdamsche Poort” at Haarlem’, plate 6 of Six landscapes, n.d., etching, 9.9 x 18.9 cm. Reg. no. 1959.3942. Gift of Dr J. Orde Poynton, 1959, Print Collection, Baillieu Library, University of Melbourne.

economic, historical and moral references. While artists such as van de Velde did not celebrate the fundamental Calvinist teachings that emphasised the natural beauty of nature, I believe we cannot dismiss the Calvinist influence. The positive view of nature encouraged by Calvinists to study the natural world comes through van de Velde’s landscapes to a certain extent. On the title page of Sixty landscapes the idea of pleasant landscapes is communicated in the Latin inscription on the portico, AMENISSIMÆ ALIQUOT REGIUNCULÆ (‘Some very attractive little regions’), yet, rather than simply presenting a realistic with a square tower used as an inn’ threatening manner. On the far bank scene, the portico invites the viewer to (see p. 16) features a lone traveller the spire of a church is iridescent in embark on a journey through a series negotiating a lot of activity in order to the distance. of landscapes. stay on the straight and narrow path. We cannot assume that all of van He has passed some peasants in the de Velde’s etchings possess allegorical The traveller foreground transporting barrels of meanings; they also serve the Sixty landscapes depicts the lonely beer on sledges. On the left is a river, traditional function of landscape traveller in a transient world, striving on which there are some skaters. images: enabling the viewer to for eternal bliss, negotiating Further in, someone occupies an experience nature. His art oscillates temptation along the way.36 The outhouse (a symbol of dilapidation between representing Haarlem and its travellers, sometimes resting on the and decay),37 while close by a man physical surrounds (see above) and side of the road, stopping at inns, or urinates against a tree. Across the conveying contemporary moral striving towards their destination road is a square tower that serves as a concepts originating in medieval ideas (often an ethereal city or church on tavern or inn—the embodiment of and traditions. Van de Velde’s prints the horizon, also representing the end depravity in medieval sermons. High do not conform to a single religious, of mortal life) draw the viewer on the tower is a dovecote, symbol of moral or historical interpretation, nor through the series. lust,38 while leafless trees, signifying do they illustrate precise allegories or For example, ‘Winter landscape vanitas, arch over the road in a provide a structure of indisputable

University of Melbourne Collections, Issue 2, July 2008 19 symbolic content. Their naturalism York Public Library in 2006 it became Burlington Magazine, vol. 125, no. 963, June apparent to me that the NYPL’s holdings of 1983, p. 386. leaves them open to a wide range of van de Velde prints are less rich and 23 Arthur M. Hind, A history of engraving and interpretations, encouraging comprehensive than the Baillieu Library’s. etching (originally published 1923), New York: contemplation. 9 Titles of works are from Christiaan Dover Publications, 1963, p. 168. Schuckman and Ger Luijten, ‘Jan van de Velde 24 William Aspenwall Bradley, Dutch landscape Kathleen Kiernan is currently writing her PhD II to Dirk Vellert’, in F.W.H. Hollstein, Dutch etchers of the seventeenth century, New Haven: thesis on the circulation of 17th century Dutch and Flemish etchings, engravings and woodcuts, Yale University Press, 1918, pp. 10–12. landscape prints and drawings in London and ca. 1450–1700, no. 33, Roosendaal: 25 Franken and van der Kellen, L’oeuvre de Jan their influence on 18th century British landscape Koninklijke van Poll, 1989, pp. 75–98. The van de Velde, pp. 5–7. Dates of van de Velde’s art. In 2007 she completed her Master of Art titles used by the Baillieu Library are in the life vary between sources. Franken and van der Curatorship (Melbourne) and in the same year process of being updated as a result of my Kellen’s dates are the most widely cited. was the Harold Wright Scholar at the British research. I was also able to attribute some of 26 Catherine Levesque, ‘Haarlem landscapes and Museum. She holds a Bachelor of Arts in textile the Baillieu Library’s prints, previously ruins: Nature transformed’, in Susan Donahue design (RMIT), a Bachelor of Arts in multimedia catalogued as ‘unknown artist’, to Jan van de Kuretsky (ed.), Time and transformation in (RMIT) and a Postgraduate Certificate in Art Velde II. seventeenth-century Dutch art, Poughkeepsie: Conservation (Melbourne). Kathleen is curating 10 The British Museum holds only part 5 of this Frances Lehman Loeb Art Center, Vassar an exhibition of the etchings of Jan van de Velde II series. College, 2005, p. 114. in the John Orde Poynton Collection, to be held at 11 Daniel Franken and Johann Philippe van der 27 de Groot, Etchings by Dutch masters, p. 2. the Ian Potter Museum of Art in 2009. Kellen, L’oeuvre de Jan van de Velde: Graveur 28 Franken and van der Kellen, L’oeuvre de Jan hollandais, 1593–1641 (originally published van de Velde. 1888), 2nd edition, Amsterdam: Hissink, 1968, 29 Franken and van der Kellen, L’oeuvre de Jan Notes p. 7. van de Velde, pp. 4–7. 12 Irene de Groot, Etchings by Dutch masters of the 30 de Groot, Etchings by Dutch masters, p. 1. 1 Sarah Thomas and Eszter Szabo, ‘Significance seventeenth century, London: Gordon Fraser 31 Hind, A history of engraving and etching, p. 355. assessment: Baillieu Library Print Collection’, Gallery, 1979, p. 6. 32 Brown, Dutch landscape, p. 9. unpublished report, University of Melbourne, 13 Christopher Brown, Dutch landscape: The early 33 Walter S. Gibson, Pleasant places: The rustic November 2005, p. 1. years, London: National Gallery, 1986, p. 173. landscape from Bruegel to Ruisdael, Berkeley: 2 Anonymous, ‘1959: The University of 14 Roberta Weddell, wall text from exhibition Old University of California Press, 2000, p. 43. Melbourne: The Poynton Collection: A master prints, New York Public Library, 2006. 34 Levesque, ‘Haarlem landscapes and ruins’, notable gift to the University’, typescript, 15 National Gallery of Victoria, information p. 54. 7 December 1959. Baillieu Library files. generated from collection database, 2006. 35 Lawrence O. Goedde, ‘Naturalism as 3 J. Orde Poynton, ‘Catalogue of the Print 16 Art Gallery of South Australia, information convention: Subject, style, and artistic self- Collection, together with a small number of generated from collection database, 2007. consciousness in Dutch landscape’, in Wayne pictures and drawings, given to the University 17 Huigen Leeflang, email to Kathleen Kiernan, E. Franits (ed.), Looking at seventeenth-century of Melbourne by Dr Orde Poynton, 1960’, 8 November 2006. Dutch art: Realism reconsidered, Cambridge and unpublished manuscript. Baillieu Library Print 18 British Museum, information generated from New York: Cambridge University Press, 1997, Collection. collection database, 2006. p. 131. 4 Poynton, ‘Catalogue of the Print Collection’. 19 Franken and van der Kellen, L’oeuvre de Jan 36 Josua Bruyn, ‘Toward a scriptural reading of 5 J. Orde Poynton, letter to Axel Lodewycks van de Velde, p. 111. seventeenth-century Dutch landscape [Librarian, University of Melbourne], 20 Piscatore is the Latinised version of the paintings’, in Peter C. Sutton (ed.), Masters of 12 August 1960. Baillieu Library files. surname Visscher, literally meaning fisher or 17th-century Dutch landscape painting, 6 Merete Smith, ‘Dry light is best’, University of fisherman. Philadelphia: University of Pennsylvania Press, Melbourne Library Journal, vol. 7, nos 1–2, 21 Brown, Dutch landscape, p. 34. Haarlem was 1988, p. 100. December 2001, p. 11. the home of many important Dutch artists 37 Walter S. Gibson, ‘Bloemaert’s privy: The 7 Poynton, letter to Lodewycks, 12 August 1960. such as Frans Hals and Adriaen von Ostade. rustic ruin in Dutch art’, in Kuretsky (ed.), 8 For example, after viewing the exhibition 22 Arthur K. Wheelock Jr, ‘Review: Haarlem: The Time and transformation, p. 65. Recent acquisitions: Old master prints at the New seventeenth century, Rutgers University’, 38 Bruyn, ‘Toward a scriptural reading’, p. 85.

20 University of Melbourne Collections, Issue 2, July 2008 Dentistry in Australia before the First Fleet Henry F. Atkinson

The Henry Forman Atkinson Dental handle often of wood, it was brought Museum has a large collection of to my notice that certain Australian instruments for extracting teeth from Aboriginal groups were, in initiation humans. Amongst these are ‘pelicans’, ceremonies, practising methods of keys, pincers, elevators and forceps. tooth removal long before the arrival The forceps alone number over 250. of the First Fleet. The early ‘pelicans’ were Historically, the European essentially a straight shanked operator, dentist, barber surgeon or instrument with a hook for passing tooth drawer would, when removing over the tooth to forcibly lever it from an offending tooth, place the pointed the bone of the jaw. The key was an end of the instrument on the bone improvement on the pelican, having a above the tooth and then strike the similar hook or claw but with a cross other end a sharp blow with a heavy handle for operating from the front object, thus freeing the tooth from the of the mouth. In the hands of a bone. The method was developed in trained person it was a most useful the pre-anaesthetic days when the instrument. short sharp pain resulting from a Pincers were simple hinged single blow was followed by instruments for holding or grasping immediate relief from days of misery. an object but were not designed for The success of the method depended the rigours of tooth removal. In the upon the fact that the roots of the early 1800s they were the forerunners upper central incisors are broadly of the forceps, the design of which straight and conical; a blow delivered has changed little from the 1850s to due to professional sensibilities, to the bone over the root of such a today. Elevators were originally graced with the addition of ‘elevator’, tooth acts to compress the socket and straight shanked, pointed instruments to become known as the ‘punch thus apply an extruding force to the which appeared in a variety of types elevator’. Dating early instruments is tooth. The net result is similar to including straight, curved, left- or an inexact science but some examples squeezing an orange pip between right-handed, and as the name in the Henry Forman Atkinson finger and thumb. Like the slippery indicates were used to tease a root or Dental Museum are thought to be pip the tooth is ejected! tooth from the jaw. Finally, the from the 17th century. A literature search reveals that ‘punch’ was similar to the artisan’s tool When discussing the use of a similar practices were carried out by but in dentistry applied to the role of punch elevator, a relatively simple indigenous Australians in ceremonies knocking out teeth. Whilst originally instrument generally forged in one which were described, sketched, referred to as the punch, this piece from steel or, in the more painted and later photographed by instrument was later, most probably sophisticated types, fitted with a the earliest European explorers,

University of Melbourne Collections, Issue 2, July 2008 21 Previous page: Illustration showing (from left to Below: Joseph Lycett, Corroboree at Newcastle right) two forms of punch and a hook elevator. (detail), c.1818, oil on wood panel, The Henry Forman Atkinson Dental Museum 70.5 x 122.4 cm. Presented by Sir William Dixson, holds instruments of similar age and appearance. 1938. Reproduced courtesy Dixson Galleries, Pierre Fauchard, The surgeon-dentist; or, treatise on State Library of New South Wales. the teeth, in which is seen the means used to keep them clean and healthy, of beautifying them, of repairing their loss and remedies for their diseases and those of the gums …, translated from the 2nd edition (1746) by Lillian Lindsay, London: Butterworth and Co., 1946, plate 18.

writers and artists at the time of their first visits to Australia. From this information it is evident that the local procedures mirrored in some detail operations which had been practised in the northern hemisphere for centuries. David Collins gave an account of an initiation ceremony in which the removal of an upper front tooth played an essential part.1 The dental component commenced with the subject seated on the shoulders of a selected member of the group who was kneeling on the ground, then a sharpened bone was used to lance the gum over the selected tooth. The pointed end of a stick, often selected with due ceremony from a special tree, was placed in the incision and held firmly. The operator, with a heavy stone in his other hand, then made up to three feints at the stick and with a final blow knocked out or rows of standing men face each other; a pointed stick placed above a tooth loosened the tooth sufficiently so that in one row each member is holding in and in the other hand a large stone; it could be removed easily with the one hand a short stick that appears to what follows in the description is as fingers. be in the mouth of the initiate and in outlined above.3 It is also recorded Some few years later George the other hand a stout cudgel or club that girls in some groups underwent Barrington in 1802 described a poised, it would seem, to dislodge a an initiation ceremony with a similar similar ceremony, concluding that the front tooth (illustrated). dental component, but theirs was tooth comes out ‘generally as perfect Baldwin Spencer and F.J. Gillen entirely separate from that of the as if drawn by a dentist’.2 described a similar ceremony. Their young men.4 Around 1818 the convict artist accompanying photograph shows a Until the early 1700s the dental Joseph Lycett painted Corroboree at young man lying flat on the ground literature is sparse on details of Newcastle which includes a group with arms extended. Another man, methods for the removal of teeth, initiation ceremony in which two kneeling at his side, holds in one hand because the art and science of

22 University of Melbourne Collections, Issue 2, July 2008 Coxeter, London, Lancet with curved triangular Lead hand weight, c.1990, cast lead, 6.0 x 2.0 cm Goat’s foot type stump elevator, c.1800, ebony and blade, c.1890, polished steel and xylonite. diameter. Reg. no.2125, Henry Forman Atkinson steel, 14.5 x 2.5 cm diameter. Reg. no. 1119, Reg. no. 437, part of a set comprising Dental Museum, University of Melbourne. probably from the original reg. nos. 433 to 442, Made by Professor H.F. Atkinson and weighing Odontological Society of Victoria Museum, 1884, Henry Forman Atkinson Dental Museum, approximately 300g, the weight could be used Henry Forman Atkinson Dental Museum, University of Melbourne. Pierre Fauchard advised either with an all-steel punch to strike the head University of Melbourne. Punch elevator similar that the instrument must be kept very sharp as a directly, or with a wooden handled instrument to f.2 in plate 18 of Fauchard (see page 21). dull blade caused unnecessary pain for the patient. held tightly in the closed fist and the head struck The end was sharpened and bifurcated so that the with the side of the hand. instrument could be used on either the bone above the tooth or on the tooth directly.

From a consideration of the above a fundamental question arises: did the method of tooth removal using a punch and heavy object develop independently but in parallel in both the southern and northern hemispheres? If so, then the Aboriginal people of Australia had accumulated a great deal of dental knowledge which in 1788, in relation to tooth removal with a punch elevator, was comparable to that of a surgeon of the First Fleet. dentistry were, although advancing Notes rapidly, still in their infancy. The Acknowledgments: I express my appreciation to 1 David Collins, An account of the English colony classical account of the status of Ms Louise Murray for editorial assistance, Dr in New South Wales: With remarks on the dentistry at that time is given by Neville Regan for his advice on the selection of dispositions, customs, manners, &c. of the native references and Mr Chris Owen and Mr Michael inhabitants of that country. ... London: Printed Pierre Fauchard (1678–1764), the Crooks for photography. for T. Cadell Jun. and W. Davies, 1798, leading French dental surgeon of his pp. 579–580. day, who is often referred to as ‘the 2 George Barrington, The history of New South Professor Henry F. Atkinson MBE was appointed Wales, including Botany Bay, Port Jackson, father of modern dentistry’. He to the Chair of Dental Prosthetics, University of Parramatta, Sydney, and all its dependancies, described, amongst many other Melbourne, in 1953 and on retiring in 1978 was from the original discovery of the island: With the procedures, the removal of a tooth made Professor Emeritus. Professor Atkinson has customs and manners of the natives ..., London: worked on the dental collection for over 50 years Printed for M. Jones by W. Flint Printer, 1802, using the gum lancet, the punch and was made Honorary Curator in the early pp. 12–15. elevator and a lump of lead to hold in 1990s. In 2006 the museum was named the Henry 3 Baldwin Spencer and F.J. Gillen, The northern the hand for striking the instrument.5 Forman Atkinson Dental Museum in appreciation tribes of Central Australia, London: Macmillan of his many years of work. and Co., 1904, p. 591. All the actions described by Fauchaud 4 Spencer and Gillen, The northern tribes, p. 590. are similar to those of the Aboriginal 5 Pierre Fauchard, The surgeon-dentist; or, treatise ceremonies. His instrument had a on the teeth, in which is seen the means used to keep them clean and healthy, of beautifying them, narrow steel blade (fitted into a of repairing their loss and remedies for their wooden handle), the end of which diseases and those of the gums ..., translated from was sharpened and, in some the 2nd edition (1746) by Lillian Lindsay, specimens illustrated, divided into London: Butterworth and Co., 1946. two; it was listed in later makers’ catalogues as a ‘goat’s foot or punch elevator’.

University of Melbourne Collections, Issue 2, July 2008 23 The AXA Collection: Discovering the social value of business records Christine Kousidis and Helen McLaughlin

Many business archives come to be the move to UMA. The records 1890. These mergers came about transferred to a permanent repository themselves date back to the origins of through fluctuations within such as the University of Melbourne the National Mutual Life Assurance Australia’s economy and the effects of Archives (UMA) due to heightened Company in 1869, and taper off in the economic depression of the late awareness of their endangered status, the late 1990s, shortly before AXA 19th century.3 Despite this, the an impending move from premises Asia Pacific Holdings took control of expansion of the National Mutual long inhabited, or when an National Mutual and its holdings. Life Association of Australasia approaching anniversary or milestone The archive itself is important; it reflected the continuing growth of life awakens the desire to endorse an documents almost a century and a insurance in Australia. Between 1878 official history or celebration. The half of business activity in Melbourne and 1886 branches were set up in relocation of the archive of AXA and beyond, and fills an important South Australia, New South Wales, National Mutual to UMA came gap in UMA’s holdings, which until Queensland, Western Australia and about largely because of the former. It now did not extend its substantial Tasmania as well as New Zealand.4 had been housed for many years in business collections into the insurance National Mutual merged with many the basement of the AXA building at arena. different companies throughout this 447 Collins Street, languishing three In a business sense, the records time but its amalgamation with the floors below the concourse level, reflect the remarkable success within Mutual Assurance Society of Victoria infrequently visited, and largely Australia and internationally of AXA in 1896 was of the most benefit, as it forgotten by the parent company. In Asia Pacific since it was first allowed for the establishment of mid-2007 UMA staff were alerted to established over 100 years ago. The international branches. Branches were its existence. AXA was planning on company first began in Melbourne in created in South Africa as well as the consolidating its office 1869, founded by actuary John United Kingdom within two years of accommodation—an enormous Montgomery Templeton.1 During the merger.5 By the turn of the project entailing the relocation from that time it was known as the century National Mutual had a strong three CBD buildings around National Mutual Life Association of establishment across Australia and Melbourne into a single Docklands Australasia.2 The establishment of overseas. building. mutual societies was becoming more T & G had also established a With this imperative, and a fast frequent throughout this period in strong Australia-wide presence by the approaching deadline to be out of the Australia. early 1900s. The company had set up building by the end of November, a The Australasian Temperance and branches in each state by 1905, and in team of us went into the basement General Mutual Life Assurance New Zealand in 1903.6 The company and set about loading the records Society Limited (known as T & G) continued to grow throughout this (documenting almost 140 years of began in Victoria in 1876. This period with the help of James Tuson insurance history in Melbourne and society would later expand through its Thompson. Thompson played a Australia) physically into boxes and amalgamation with other smaller significant role in the company’s intellectually into spreadsheets, for insurance societies from 1889 to success, starting out as an agent in

24 University of Melbourne Collections, Issue 2, June 2008 Left: Illuminated address presented to James Tuson Thompson on the occasion of his promotion to the role of General Manager and Secretary of the Australasian Temperance and General Mutual Life Assurance Society Ltd in November 1917, 49.0 x 36.0 cm. AXA Collection, University of Melbourne Archives.

Below: Female employees at the National Mutual Life Association, possibly at Melbourne Branch, December 1940; top row, first from right stands Jean Hunt (later Mrs R.L. Bienvenu), gelatin silver print, 14.5 x 20.0 cm. AXA Collection, University of Melbourne Archives.

1899 and advancing to chairman and policy registers, board minutes, records of the time, which give us managing director by 1922. company newsletters, details of insight into the common employment Thompson maintained T & G’s focus mergers, photographs, artefacts and tasks considered acceptable for on industrial insurance and was also framed items—are important for the women to undertake, and those influential in the style of the historian to understand the workings acceptable for men. T & G buildings that were erected of a large and influential insurance Fascinating too are the personal throughout the 1920s. Their business and its importance in the lives reflected within the professional. distinctive neo-Renaissance 19th and 20th centuries, the stories R.L. Bienvenu is present in the men’s architecture was part of Thompson’s within the records are also fascinating, staff photo for December 1940. Many publicity strategy for the company. and largely forgotten. These records years later there are repeated images Between 1917 and 1949, T & G tell us not just about the inner of Bienvenu, as he rises through the funds grew from £2.5 million to workings of the business, but are also ranks of the company to become a £63 million.7 In 1974 the company a mirror of society. Staff photographs senior executive in Western Australia changed its name to T & G Mutual from the 1940s, for example, in 1954, moving to the senior Life Society.8 document the gendered structure of executive team in Victoria in 1958, National Mutual diversified the Melbourne workforce, with one branch manager in 1959 and throughout the 20th century. In 1957 picture taken of the men, and another managing director in 1982.11 More the company opened a fire subsidiary of the women. Such segregation is intriguing is the glimpse the records known as the National Mutual Fire also reflected in the superannuation afford into Bienvenu’s marriage. In Insurance Co., while in 1961 the National Mutual Casualty Insurances Ltd was formed, providing accident and health insurance. As a result of its success National Mutual needed to accommodate a growing staff, so new office buildings were set up throughout the mid-1960s across Australia and internationally.9 Head office in Melbourne was relocated to 447 Collins Street, to a building completed in 1964 and inaugurated by the then Prime Minister Sir Robert Menzies.10 While the ins and outs of the pure business collection—ledgers, letter books, personnel cards, minute books,

University of Melbourne Collections, Issue 2, July 2008 25 H.L. Orry & Co., National Mutual boardroom, Sydney Branch office, corner of Pitt Street and Bond Street, Sydney, c.1910, gelatin silver print, 30.0 x 38.0 cm. AXA Collection, University of Melbourne Archives.

in Melbourne in 1881 was a significant step towards establishing the company in its own premises. The design competition for the new building, a common practice at the time,12 stipulated a Gothic design. From the 43 entries received, seven finalists were selected. The Adelaide firm of Wrighton, Reed and Beaver was the winning entrant, and the construction tender was awarded to Robert Gamlin, a Melbourne-based builder. Works commenced in 1893 at the 395 Collins Street address. The importance of the occasion was marked by the commissioning of a silver trowel, and a time capsule placed under the ordinal stone contained coins and newspapers of the December 1940 women’s more than business and personal the day, company prospectuses and photograph, Jean Hunt is present. In histories. The way in which National reports, copies of Banking and subsequent records she has become Mutual and T & G influenced the Insurance Record and drawings of the Mrs Bienvenu. The National Mutual architectural landscape in most of building design. records are therefore not only Australia’s capital cities has been The merger between National important for their documentation of mentioned already, and is also evident Mutual and T & G took place in a business history, but will also be a in the records. The buildings which 1983.13 This significant step for both treasure-trove for genealogists in housed the daily endeavours of businesses helped to influence the enabling them to piece together the hundreds of employees were future success of the company, stories of their ancestors, particularly meticulously planned and suitably resulting in further expansion of as many staff began their working documented. They were a symbol of National Mutual throughout the Asia lives with the company, and often pride and contributed enormously to Pacific region. In 1995 the company finished those working lives with the the cityscape of the growing demutualised and AXA SA gained same employer, an alien concept for metropolis in the 19th century, and 51 per cent interest in the company. those entering the workforce in the on into the 20th century. National Further regional acquisitions included 21st century. Mutual’s purchase of a site on the companies in Singapore, Thailand The collection also documents corner of Collins and Queen Streets and the Philippines. National Mutual

26 University of Melbourne Collections, Issue 2, July 2008 W.M. Drummond & Co. (Melbourne), ceremonial spade. AXA Collection, University of Melbourne Archives. This spade was presented by the architects Wright, Reed & Beaver and the contractor Robert Gamlin to the Hon. Edward Langton, to commemorate his laying of the foundation stone for the new premises of the National Mutual Building on 28 July 1891.

changed its name to AXA Asia Pacific Holdings in 1999. The multiple businesses that were operating collectively with National Mutual at the time also altered their names to incorporate the AXA brand. By 2006 AXA Asia Pacific had established partnerships with companies in Malaysia, India, Indonesia and China.14 Today AXA’s services include financial advice, funds management, superannuation, life insurance and income protection.15 Thanks to the move to new premises in Docklands, and AXA’s recognition that the company history ought to be preserved, University of She has a Bachelor of Arts degree in history and years of the National Mutual Life, Melbourne: Melbourne Archives staff are now anthropology and a Graduate Diploma in The Association, 1969, pp. 138–139. processing the collection to enable Information Management (Archives and Records), 5Gray, Life insurance in Australia, pp. 107–108. and has studied policy, leadership, management 6Gray, Life insurance in Australia, p. 54. access for researchers. and change at masters level. 7 Geoff Browne, ‘Thompson, James Tuson (1879–1954)’, Australian dictionary of Christine Kousidis is the Project Archivist Notes biography, vol. 16, Melbourne: Melbourne undertaking the arrangement and description of University Press, 2002, pp. 381–382, online at the 26-metre AXA National Mutual Collection at 1 AXA Asia Pacific Holdings: History, http://www.adb.online.anu.edu.au/biogs/ UMA. She has previous experience with UMA http://www.axa-asiapacific.com.au/ A160463b.htm?hilite=T%3B%26%3BG%3B working on the personal papers of Sir David Orme axaaph/axaaph.nsf/Content/Company_ Society, accessed 30 January 2008. Masson, and was a serials cataloguer at the State History, accessed 30 January 2008. 8Gray, Life insurance in Australia, p. 39. Library of Victoria. She holds a Bachelor of Arts 2 Ann-Mari Jordens, ‘Templeton, John 9 Robison, ‘Wider horizons’, pp. 102–103. degree in history and English from La Trobe Montgomery (1840–1908)’, Australian 10 AXA Asia Pacific Holdings: History. University and has recently completed post- dictionary of biography, vol. 6, Melbourne: 11 Robison, ‘Wider horizons’. graduate studies in information management at Melbourne University Press, 1976, pp. 252– 12 Susan Reidy, ‘Prince’s Bridge and John Monash University. 253, online at http://www.adb.online.anu. Grainger’, in Brian Allison (ed.), John Harry edu.au/biogs/A060269b.htm, accessed Grainger: Architect and civil engineer, Parkville: Helen McLaughlin has been the Principal 30 January 2008. University of Melbourne, 2007, p. 21. Archivist at UMA since 2006, and before this she 3 A.C. Gray, Life insurance in Australia: An 13 Browne, ‘Thompson, James Tuson’. was Manager, Business Records at Victoria Police. historical and descriptive account, Melbourne: 14 AXA Asia Pacific Holdings: History. She has worked as archivist or records manager at McCarron Bird, 1977, pp. 39, 101, 106–107. 15 AXA Asia Pacific Holdings: Vision and Records Services at the University of Melbourne, 4 L.L. Robison, ‘Wider horizons’, in National strategy, http://www.axa-asiapacific.com.au/ the Victorian WorkCover Authority and the Mutual Life Association of Australasia, A axaaph/axaaph.nsf/Content/Company_ Aeronautical and Maritime Research Laboratory. century of life: The story of the first one hundred Vision, accessed 30 January 2008.

University of Melbourne Collections, Issue 2, July 2008 27 Acquisitions Eragny Press books Jacinta Fleming

The University of Melbourne’s to the village in Normandy where his acquisition in 2007 of the complete family lived, Eragny-sur-Epte, to publications of the Eragny Press make lithographs and sell illustrations (1894–1914) has major significance to art and literary journals which were to the Baillieu Library’s Special then popular in France. During this Collections. It is the only complete time he also discovered the art of holding of this press in the southern Kate Greenaway and Walter Crane hemisphere, as with the University’s and designed and illustrated children’s Kelmscott Press holdings. There are books for his younger siblings. This only three other complete Eragny period was intrinsic to the later collections in the world, two in the development of Eragny Press, and United States and one in the British Lucien was able to discover his own Library.1 The collection will also style and expertise. Frustrated with substantially increase the depth and the cost of production and the breadth of the University’s research influence of publishers he set out to holdings on the Arts and Crafts learn the art of wood engraving, movement in England in the late which became his preferred medium. 19th and early 20th centuries. The In 1890 his father sent him back to series of 32 books includes the very combine English Arts and Crafts England to gain entry into the rare Whym Chow, the last book design with a French Impressionist decorative arts movement so the printed, of which only 27 copies were interest in colour, light and sensations family could bring these ideas back to produced. Also included are two after nature.3 France. Lucien felt that England, separate editions of Areopagitica by generally considered more receptive John Milton. The first edition is one History than France to decorative and graphic of just 40 to have survived a fire at the Eragny Press was a joint venture art, would appreciate his wood bookbinders (initially all were between Lucien Pissarro and his wife engravings. He became involved in thought to have been destroyed). Esther. Lucien (1863–1944), a shy, the world of English book Eragny Press is considered one of quiet and gentle man, was the son of illustration, typography and binding. the ‘big six amongst modern Presses’,2 the French Impressionist painter Lucien was strongly influenced by which greatly influenced book design Camille Pissarro. He learnt to draw the Arts and Crafts movement, in and typography in Europe and the and paint from his father, frequently particular William Morris at United States. Eragny books do not going on painting trips together to Kelmscott Press (established 1891). resemble the books produced by other paint from nature—a practice they Morris in turn looked to Gothic private presses of the period. continued all their lives.4 Lucien design for his inspiration, using Elements that set them apart include spent some time in England when he special papers designed to emulate their beautiful flowered covers which was 20 years of age, returning home early 15th century Bolognese papers

28 University of Melbourne Collections, Issue 2, July 2008 Opposite: Margaret Rust, The queen of the fishes: An adaptation in English of a fairy tale of Valois … with illustrations designed on the wood, cut and printed by Lucien Pissarro, Chelsea, London: Charles Ricketts, 1894. Special Collections, Baillieu Library, University of Melbourne. Frontispiece.

Left: Lucien and Esther Pissarro, trademark of the Eragny Press.

with specially hammered gold leaf woodblock initials, and the In choosing his titles, Lucien and vellum for covers. Lucien was ornaments. Lucien was experimenting appealed to a range of interests, and also influenced by the work of with three-, four- and five-colour the books produced during the Vale Charles Ricketts who founded the wood engravings in a book world association were printed in French to Vale Press and became his closest moulded by the tradition of English attract continental collectors, with friend, mentor and publisher. Ricketts black and white illustration.8 Each their aesthetic being Pre-Raphaelite. looked towards earlier Renaissance book had a varied print run of The second half of the Eragny output books which were simpler in design. between 150 and 230 copies. was printed in English, but was As a result his designs were less dense French in character.9 than those of Morris.5 The Eragny Press collection Lucien met and married Esther The collection now in the Baillieu The books Bensusan in 1892 in spite of both Library was owned by Enid and There were two phases of the Eragny families’ objections, and stayed in Ernest Verity, who were personal Press. The first 16 books used England, as Esther refused to live in friends and business colleagues of the Ricketts’ Vale type. The second type France. The daughter of a well-to-do Pissarros. Ernest was a surveyor and was named The Brook, after the Jewish family, Esther was an worked on the Pissarros’ house ‘The Pissarros’ house in Chiswick. The independent and headstrong Brook’ in Chiswick for many years. types created by these private presses character. She showed an early The first book, The queen of the fishes, helped create a distinctive personality interest in art and could draw with numbered 142 (1894), is inscribed ‘To not possible with commercial types. skill and ease.6 Husband and wife Mr. and Mrs Verity / In remembrance When Vale Press closed down for believed in the ethos of the Arts and of Nov. the 21st 1894 / from instance, the type itself was melted Crafts movement where the artist was [monogram of Lucien Pissarro]’. The down, as Ricketts could not bear the united with the craftsman. This other 17 inscribed books date from thought of its being used in books revolution in the industrial arts 1901 to 1906. It appears that the over which he had no control.10 Colin considered ‘everyday objects in terms friendship cooled, as the inscriptions Franklin, in his Private presses, argues of satisfying design and careful stop abruptly, and the collection may that the Brook type, on the white craftsmanship’.7 Lucien was the have been put together by a paper of the small pages of the designer and principal wood engraver, combination of the Veritys and the Eragny Press books, was the most while Esther became the technical next owner of the books. beautiful font invented in this whole skill behind the press. They did The books are in their original period.11 Esther, three years after everything themselves, from making bindings and are generally in Lucien’s death, in 1947 threw the up the bindings, setting the layout remarkably good condition. Enclosed punches and matrices of the Brook and design to printing the text, wood in Of gardens by Francis Bacon (1902) type into the English Channel. The engravings and decorated papers for is a personal ‘with best wishes’ card type itself survives at Cambridge the bindings. Esther usually engraved from Orovida Pissarro, the Pissarros’ University Press. the simpler one-colour blocks, the daughter born in 1893. The Eragny Press was the only

University of Melbourne Collections, Issue 2, July 2008 29 Gérard de Nerval, Histoire de la reine du matin & de Soliman prince des génies, Hammersmith: Eragny Press, 1909. Special Collections, Baillieu Library, University of Melbourne. Frontispiece.

private press of this period to use increased cost of production, with music type. Based on 16th century Lucien sometimes miscalculating models, it was used in Some old French production time and expenses. An and English ballads edited by Robert example is Gérard de Nerval’s Histoire Steele (1905) and in Songs by Ben de la reine du matin & de Soliman Jonson (1906). A Greek type was used prince des génies, commissioned in in John Milton’s Areopagitica (1903). 1909 by the Société des Cent The books became widely loved in Bibliophiles. Printed in gold leaf and England and France, two being colours, finely detailed, it took 20 commissioned by French book clubs. months to produce. The final The books were printed in colour, composition includes more than 15 printed with gold leaf and gold illustrations, seven border designs, powder, printed on vellum and with and 11 historiated capitals. The printed music. The influence of leather-bound cover was decorated William Morris is evident in the with gold stamped flowers (see back cover designs and the use of borders. cover). Colour wood engravings are a Although Lucien used hallmark, and are used mainly as the photography to transfer his images to frontispiece in each book. the woodblock, his engravings The first book produced by the continued to develop as they were Eragny Press was The queen of the green ink. The spine is blocked in being carved. Lucien wrote: fishes (1894), an old Valois fairytale, gold.13 with rich illustrations, photo- The next 15 books following The we knew nothing about the art of engraved calligraphy for the text, and queen of the fishes contain little colour, printing and had to learn it as we a joining of letterforms and consisting of complex frontispieces, a went along … Queen of the fishes decoration. As Urbanelli points out, it border and decorative capitals. An was printed two pages at a time; was experimental, yet well received.12 example is the beautiful frontispiece the gold used in the book was real The majority of books were issued of Pierre de Ronsard’s Choix de sonnets gold powder … after many sheets with patterned paper covers, usually (1902), which depicts a girl picking of paper had been spoilt, the botanical in nature, designed by flowers. It was not until 1903, after edition was achieved.14 Pissarro. Emile Verhaeren’s Les petits the death of Camille Pissarro, the vieux (1901) is typical in style. It is closure of Vale Press, and the During the ensuing years Lucien and bound in quarter grey paper with establishment of his own Brook Esther overcame many difficulties, Michallet blue paper boards showing typeface, that colour returned to continually making improvements to a repeat pattern of ‘Winter aconite’ Eragny Press publications. An their press to create perfect register. (ranunculus) printed in two shades of unfortunate downside was the What made Eragny Press

30 University of Melbourne Collections, Issue 2, July 2008 Pierre de Ronsard, Choix de sonnets de P. de Ronsard, London: Eragny Press, 1902. Special Collections, Baillieu Library, University of Melbourne. Frontispiece.

Jacinta Fleming is Head of Library at Maffra Secondary College, where she teaches art, studio arts, visual communication and design and multimedia. She is also undertaking a Master of Education degree (Teacher-Librarianship) via distance education from Charles Sturt University. She wrote this article during her professional placement which she undertook with Baillieu Library Special Collections through the Cultural Collections Student Projects Program.

Notes

1 Marcella D. Genz, A history of the Eragny Press 1894–1914, New Castle, Del.: Oak Knoll Press, 2004, p. 146. 2 Geoffrey S. Tomkinson, A select bibliography of the principal modern presses public and private in Great Britain and Ireland, London: First extraordinary—artistic integrity and Lucien had gone back to painting full Edition Club, 1928. 3 Lora Urbanelli, The wood engravings of Lucien complex production methods— time and World War 1 prevented the Pissarro and a bibliographical list of Eragny unfortunately also resulted in small import of handmade paper from books, Cambridge: Silent Books; Oxford: output and little to no financial France. The Pissarros also lost touch Ashmolean Museum, 1994, p. 45. 4 Urbanelli, The wood engravings, pp. 9–12. profit. Artistic autonomy was placed with their collectors on the continent 5 Urbanelli, The wood engravings, pp. 19–20. above all else. and worldwide. 6 Genz, A history of the Eragny Press, p. 35. The Press’s last book, Whym The Pissarros helped shape, and 7 Urbanelli, The wood engravings, p. 13. 8 Ruth Lightbourne, ‘Vale and Eragny Presses’, Chow, flame of love, was totally made a unique contribution to, the Off the Record: Magazine of the Friends of the undertaken by Esther in 1914. private press revival in England. They Turnbull Library, no. 13, 2006, p. 7. Whym was the chow dog belonging are considered artist-printers.15 9 Urbanelli, The wood engravings, p. 45. 10 Lightbourne, ‘Vale and Eragny Presses’, p. 7. to Katherine Bradley and Edith Lucien was able to bring together the 11 Colin Franklin, The private presses, 2nd edition, Cooper, who commissioned a avant-garde ideas of the Parisian neo- Aldershot: Gower Publishing Co.; Brookfield: remembrance card for their beloved Impressionists with those of the Scolar Press, 1991, p. 98. 12 Urbanelli, The wood engravings, p. 26. Whym when he died. The Pissarros English Arts and Crafts movement. 13 Lightbourne, ‘Vale and Eragny Presses’, p. 7. were subsequently commissioned to Lucien regarded his marriage to 14 Lucien Pissarro, edited with a supplement by print a book of poems devoted to Esther as the ideal union. The Eragny Alan Fern, Notes on the Eragny Press: And a letter to J.B. Manson, Cambridge: privately Whym Chow. Press became an expression of their printed (University Press), 1957, pp. 4–5. Eragny Press closed in 1914. mutual love. 15 Genz, A history of the Eragny Press, p. 62.

University of Melbourne Collections, Issue 2, July 2008 31 Conservation The Laby X-ray spectrograph Dianne Whittle

The Laby X-ray spectrograph was in X-ray beam would be directed at an manufacture by 1930 by Adam Hilger oscillating crystal, which diffracted Ltd of London to the design of the beam at various angles depending Professor Thomas Howell Laby. The on the elements present. The reflected instrument used the principle of beam was then selectively passed single crystal Bragg X-ray diffraction through an aperture in a synchronised to record wavelengths for spectrum oscillating lead screen, and onto a analysis. An example is on permanent curved photographic plate. The display in the University of wavelengths of unknown lines on the Melbourne’s Physics Museum.1 In spectra image produced were then 2007 the conservation treatment of determined by interpolation from the instrument was undertaken as known standard lines.5 part of the University’s Cultural More than 60 years later, and after Collections Renewal Project, which many years of static display in the was funded by the Miegunyah Trust. Physics Museum display cases, the Thomas Howell Laby (1880– veteran instrument was showing signs 1946) was appointed Professor of holds a prototype of the spectrograph of deterioration including corrosion, Natural Philosophy, as Physics was (reg. no. 275), constructed in the surface coating abrasion and loss, then called, at the University of Natural Philosophy workshop at the contamination of lubricated surfaces, Melbourne in 1915, and held this University and now displayed and otherwise the general rigours of position until his retirement in 1944. alongside the final version. It has dust, oxidation and handling over From 1926 to 1929 he was also Dean recently undergone conservation time. of the Faculty of Science.2 At the cleaning . The challenge in developing the University, he placed great The finished instrument now conservation treatment was to importance on research, exploring displayed in the Physics Museum improve the appearance of the object, areas such as precision physics, radio (reg. no. 274) is a complex assembly as well as ensuring its long-term physics, X-rays, and atomic and of brass, lead, aluminium, and iron- stability, without losing evidence of nuclear physics.3 In the process he based components, with a rock salt or use, provenance or historical record. was involved in the design of a calcite crystal held in position by wax, Conservation ethics ideally require number of instruments including a and a range of surface coatings minimal intervention, the string electrometer and this X-ray including enamel paint and shellac. preservation of original material and spectrograph. One version of the The oscillating components were the use of reversible treatments. In spectrograph was exhibited by Adam driven by a clockwork mechanism application however, there often Hilger Ltd at the 1928 Exhibition of mounted under the base plate below needs to be a compromise between the Physical and Optical Societies in the collimator. the expectations of the owners or London.4 The Physics Museum also When in use during the 1930s, an managers of a collection, technical

32 University of Melbourne Collections, Issue 2, July 2008 Opposite: Professor Laby optical munitions 1943, Below: X-ray spectrograph, designed by photographic print, 25.0 x 19.5 cm. Reg. no. 72, Thomas Howell Laby, Melbourne, manufactured Physics Museum, University of Melbourne. by Adam Hilger Ltd, London, c.1928–1930, various materials including brass, lead, aluminium, iron, enamel paint and shellac, height: 43.0 cm. Reg. no. 274, Physics Museum, University of Melbourne.

Elements of the spectrograph before treatment: front and rear of crystal holder, and partially disassembled crystal mount slide adjustment and turntable, showing corrosion, dirt and other damage.

and resource limitations, and ethical which indicated that the clockwork corrosion was treated locally with considerations. For the collection mechanism at some point in the tannic acid. The exposed lead surfaces managers, it was important that the instrument’s use had possibly been of the crystal mount were sealed after instrument’s appearance reflect its replaced by a motor driven belt/pulley cleaning with a coating of Paraloid significance as the ‘best preserved system, and that the rotating lead slit B72 resin to slow future corrosion. instrument surviving from Professor described in the manufacturer’s Corrosion pitting of the graduated Laby’s research’,6 and that its function reference literature was no longer brass scales associated with the crystal and use should be readable. In attached to the instrument. table required the removal of the particular, it was felt that the severely During treatment, the surface original—presumably shellac— corroded graduated scales associated coatings were found to vary widely in coating, which had discoloured with with the crystal table oscillation solubility and integrity, and care was age, and mechanical removal of the should be legible. taken to use different cleaning corrosion beneath it using abrasives. With the assistance of the Physics regimens for each surface. All painted Prior to re-assembly, the original Museum technical staff, the surfaces were cleaned and sealed with coloration of these components was instrument was partially disassembled a microcrystalline wax. Corrosion matched by applying a tinted acrylic to enable access to the individual products on the brass, lead and iron- spray coating over a reversible, components. An interesting based components were reduced or conservation-safe Incralac barrier consequence of this disassembly removed manually using a fine scalpel layer. On the one levelling foot where process was the identification of under low power magnification. Deep a similar coating had major areas of several non-original components, pitting associated with the iron-based loss, transparent pigments in solvent

University of Melbourne Collections, Issue 2, July 2008 33 The spectrograph after treatment.

discoloured adhesive tape, untouched, Notes apart from a dry surface clean. 1 The display area of the Physics Museum is In summary, the instrument has located on level 2 of the School of Physics been cleaned of surface grime and the theatres building. It is open from 9.00 a.m. to 5.00 p.m., Monday to Friday. For further majority of disfiguring corrosion information on the Museum see products, and stabilised as much as http://www.ph.unimelb.edu.au/museum. possible for future long-term storage 2 For a biographical outline see ‘Laby, Thomas Howell (1880–1946)’, Bright Sparcs, The and display. The treatment has University of Melbourne eScholarship improved the overall visual aesthetic, Research Centre, 1994–2007, without significantly compromising http://www.asap.unimelb.edu.au/bsparcs/ biogs/P000553b.htm. the historical context or losing 3 Jacqueline Eager, ‘Photograph, Optical evidence of use. As a result, this Munitions & Prof. Laby’, website of the important instrument, which tells us University of Melbourne Physics Museum, http://www.ph.unimelb.edu.au/museum/index. much about early physics research and php?state=browse&search=search&start_entry development at the University of =0&num_results=25&search_field=Brief+descr Melbourne, can be returned to display iption&equals_or_contains=Contains&search_ string=laby, accessed 8 January 2008. for many decades to come. 4 A.F.C. Pollard, ‘Notes upon the mechanical design of some instruments shown at the Exhibition of the Physical and Optical Acknowledgements: I would like to acknowledge Societies, 1928’, Journal of Scientific the assistance of Nick Nicola and Phil Lyons from Instruments, vol. 5, no. 3, March 1928, the Physics Department in the disassembly of the pp. 88–92. spectrograph prior to treatment, and Holly Jones- 5 ‘New instruments: Professor Laby’s X-ray Amin and Kate Shepherdson from the Centre for spectrograph’, Journal of Scientific Instruments, Cultural Materials Conservation for their feedback vol. 7, no. 9, September 1930, pp. 296–297. were applied over a barrier layer, to and consultation during the conservation process. 6 Online catalogue of the collection of the simulate the original coloration. Both University of Melbourne Physics Museum, entry for ‘X-ray spectrograph, Laby/Hilger’, of these coatings can be easily Dianne Whittle was the objects conservation http://www.ph.unimelb.edu.au/museum/index. removed and replaced in the future if intern at the Centre for Cultural Materials php?state=item_view&pm_item=274, accessed required. Conservation at the University of Melbourne in 8 January 2008. 2007 and 2008. She holds a Bachelor of Applied Degraded and contaminated Science (Metallurgy) and a Master of Arts in lubricants on the base of the turntable Cultural Materials Conservation (Objects component, and within the clockwork Specialisation), as well as qualifications in Arts, IT and quality management. During the internship mechanism, were removed with she also treated a number of other objects from the solvents and replaced by a light Physics Museum and researched and treated machine oil. A decision was made to gelatine-based botanical teaching models from the University of Melbourne Herbarium. She is leave the tube of the collimator, which currently employed with Artlab Australia as a large appeared to be wrapped in objects and technology projects conservator.

34 University of Melbourne Collections, Issue 2, July 2008 Review Symposium on the care and conservation of Middle-Eastern manuscripts Claire Patullo

From 26 to 28 November 2007 the sources for their studies. Ms Pryde book of kings, a monumental epic University’s Centre for Cultural described the collection and discussed renowned for its length, script, Materials Conservation hosted a its past and present management illustrations, adornments and layout. symposium on the care and including cataloguing and Dr Mandana Barkeshli, Founder- conservation of Middle-Eastern conservation. Director of Art and Identity, Kuala manuscripts. The main themes Professor Dr Amir H. Zekrgoo, Lumpur, and Head of the covered were the materials and Professor of Islamic and Oriental Conservation Subcommittee of the techniques of production, history and Arts at the International Institute of Islamic Manuscript Association, also traditions, and cultural issues related Islamic Thought and Civilization, presented three papers. The first to holding and caring for this type of International Islamic University of focussed on the preservation and material. Australian and international Malaysia, in Kuala Lumpur, presented management of Islamic heritage. She experts presented a series of lectures three papers on cultural context. The described how the Islamic Arts over the three days. Day one provided first introduced the different concepts Museum of Malaysia has developed a general overview of the symposium’s of ‘religious’, ‘sacred’, and ‘non- guidelines based on Shari’ah (Islamic three themes, while days two and religious’ in Islamic arts, which any law) to manage its collection. The three covered the themes of cultural person handling Islamic art should Museum achieved this by context and materials and techniques understand in order to ‘know the understanding the difference between in more detail. The symposium nature of the work he deals with’. ‘religious’, ‘sacred’ and ‘other’ Islamic opened with a welcome by the People also need to respect the artifacts, and also by respecting the Wurundjeri Elder, Mrs Joy Wandin religious restrictions on handling dictates of ‘ritual pollution’ and ‘ritual Murphy. sacred Islamic art, in particular the purification’. For example during Dr Adrian Gully, Senior Lecturer issues of religious ‘pollution and conservation or cleaning ‘unclean in Arabic and Islamic Studies at the purification’. Professor Zekrgoo’s substances’ such as brush bristles and Asia Institute, University of second paper elaborated on the sacred glue made with pork products should Melbourne, discussed the historic role art of Islam, of which the Koranic art not be used. She discussed the need of manuscripts as written records in of calligraphy is the most sacred form. for institutions managing Islamic pre-modern Islamic society and the He showed examples of Persian collections to communicate with each development from oral traditions to marriage contracts, explaining their other and to establish collection oral/writing traditions. artistic, symbolic, legal and sacred management guidelines. Dr Barkeshli Pam Pryde, Curator of Special significance. He emphasised their then discussed the materials and Collections, University of Melbourne, ornamental and poetic text, from techniques used by the masters of spoke about the University’s own which he recited a beautiful passage. Persian manuscripts and miniature collection of Middle-Eastern The professor’s final paper elaborated paintings from the 13th to the 19th manuscripts, initiated by Professor on a non-religious example of Islamic centuries in order to prevent chemical John Bowman in the 1950s to provide art, a renowned 10th century and biological damage to their art. his students with original primary manuscript titled Shahnamah, or The She focussed on two dyes: henna,

University of Melbourne Collections, Issue 2, July 2008 35 Professor Dr Amir H. Zekrgoo, International Institute of Islamic Thought and Civilization, International Islamic University of Malaysia.

whose anti-microbial property resists British Library, including pigment a common fungus that attacks paper, consolidation and paper repairs, and and saffron, which buffers against the the dilemma of whether or not to destructive effects on paper of green totally rebind a book so that it can be verdigris pigment. Dr Barkeshli’s final used as a research object, in contrast paper described her study of the to a museum exhibition object. materials of Iranian illuminated Mike Wheeler, Senior Paper manuscripts and miniature paintings. Conservator at the Victoria and To support her findings she referred Albert Museum, focussed on a to historical documents such as comprehensive research project now traditional recipes for pigments, as in its tenth year, which explores the well as to current scientific analytical analysis, conservation and display of methods. Mughal and Islamic manuscripts. A David Jacobs, Senior highlight was his discussion of the Conservation Officer in the British infamous pigment Indian yellow, Library, presented his first paper on originally produced from the urine of the structure, materials and cows fed exclusively on mango leaves. decoration of Islamic bookmaking. This diet led to a painful death for He discussed the origins and the cows and the pigment was in the 16th and 17th centuries. Her development of Islamic bookbinding eventually banned. research methodology included the both geographically and Shingo Ishikawa, paper study of contemporary journals, chronologically. He described the conservator, described the conserv- treatises on painting materials and craftsmanship of the leather bindings ation of a masterpiece produced by studio practice, bequests of the and embossed designs, using Mishkin Qalam, a renowned 19th descendants of court painters, oral examples he had made himself due to century Persian calligrapher. Past histories, and analysing pigments, the very small number of historical reframing had caused some skinning tools and techniques. She also examples that have survived (removal) of the surface, but during described the hierarchy of labour unaltered. He also described colours the conservation treatment the lost within the studio. and embellishments such as filigree, pieces were fortunately found and re- Cheryl Porter, Director of the gold paint, and painted lacquer. In his attached. Montefiascone Project, London, and second paper Jacobs described the Anita Chowdry, a British painter Senior Conservator and Coordinator characteristically light or and illustrator who incorporates of Preservation/Conservation with impermanent structure of Middle- traditional techniques and materials the Ghesaurus Islamicus Foundation, Eastern bindings, and the signs and in her work, presented a paper on the discussed pigments and organic problems of deterioration. He studio practices of artists and colours used in 14th to 17th century discussed conservation practices at the craftsmen in the royal ateliers of India Armenian and Egyptian manuscripts.

36 University of Melbourne Collections, Issue 2, July 2008 Symposium participants inspecting the University of Melbourne’s collection of Middle-Eastern manuscripts in the Rare Book Room, Special Collections, Baillieu Library. © Penelope Davis 2007.

The highlight of her paper was condition of items in the University’s and practical work of academics, learning of her quest to collect the Arabic manuscript collection. conservators, craftspeople and cochineal insect by hand from the Associate Professor Robyn collection managers. The event also fields of the Ararat valley in eastern Sloggett, Director of the Centre for created an opportunity for future Turkey, and her subsequent attempts Cultural Materials Conservation, communication and exchange of to reproduce the traditional red spoke about the University of information and ideas. The University pigment. Melbourne’s Middle-Eastern of Melbourne had a special interest in Caroline Checkley-Scott, Senior manuscript collection. Although organising the symposium due to its Conservator with the Wellcome Professor Bowman initiated the holding of a significant collection, Trust, London, discussed her 15-year collection to provide material for the which attendees had the opportunity study of the history and conservation study of language and texts, the to view closely in a special viewing of early Christian manuscripts and collection today is also valued for session hosted by the University books, particularly Syrian texts. She providing ‘a wealth of information Library. described traditional bookbinding about the production of such One outcome of the symposium techniques, structural weaknesses and manuscripts’. She discussed the is some discussion of employing a problems of deterioration, and conservation assessment of the conservation binder to work on the advised on conservation measures. collection, and the use of RAMAN University’s collection in the future. Sophie Lewincamp, Paper spectroscopy to analyse pigments The Centre for Cultural Materials Conservator at the Australian War in situ. Conservation also plans to create a Memorial, presented a paper co- Two workshops were also offered. website for the symposium, enhanced authored with Yasmeen Khan, Senior A two-day master class for by images of items from the Book Conservator at the Library of conservators and bookbinders, led by University’s collection. This will Congress, on an extensive study and David Jacobs, covered the traditional provide international experts access analysis of fragments from early methods, techniques and materials for to the collection and also the Korans at the Library of Congress. preventive conservation of Islamic opportunity to add information The study involved identifying manuscripts, while Anita Chowdry online. scripts, analysing materials, led a workshop on Indo-Persian techniques and equipment such as painting. pens and inks, embellishments, The symposium, which was pigments, and parchments, and also sponsored by Archival Survival, was the use of SEM-EDX sampling. well attended and included delegates Claire Patullo is currently undertaking a Master Karin Scheper, Book Conservator from the United Kingdom, USA and of Arts (Cultural Materials Conservation) degree at the University Library in Leiden, India. It created an environment for at the Centre for Cultural Materials Conservation. described a conservation assessment increasing knowledge and She also holds a Bachelor of Arts Degree Conversion (Graphic Design) and works as a project which involved setting up a understanding of Middle-Eastern Project Officer Australiana (Preservation) in the database to record and monitor the manuscripts, by exposing the research Special Collections of the Baillieu Library.

University of Melbourne Collections, Issue 2, July 2008 37 Cultural Treasures Days Thursday 18 – Sunday 21 September 2008

People familiar with the University’s Friday, Saturday and Sunday, with Sellars Art Prize, exploring sport and collections generally are keenly expert curators and researchers in sporting culture. The curator of the interested in one, maybe two specific attendance to answer visitor queries. Golden Cockerel Press exhibition at collecting areas. If the 19th century Numerous collection specialists have the Baillieu Library will discuss the Savory and Moore Pharmacy in the prepared displays and exhibitions display, followed by a behind-the- Medical History Museum sparks your particularly for this event. The scenes visit. But these are just a taste. interest, then you probably have Baillieu Library for instance will be There are many tours scheduled over investigated the Henry Forman overflowing with displays from many the three days so that visitors can join Atkinson Dental Museum. parts of its vast holdings, including in a number of them during their Conversely, if it is the experimental works from the Louise Hanson-Dyer visit. works on paper by Ludwig Hirschfeld Music Library, the Print Collection University House will participate Mack at the Ian Potter Museum of and Rare Books. The Baillieu will also in Cultural Treasures Days, providing Art that inspire, then you are also host an exhibition of Herbarium a terrific opportunity for those who likely to have explored the Print specimens next to artworks that they are not members of the University’s Collection at the Baillieu Library. have inspired. In the McCoy staff club to see the notable Ernst The Cultural Treasures Days Building, visitors will see minerals, Matthaei Memorial Collection of event will encourage those with mining objects, rare books and maps Early Glass. An unusual and particular interests to explore others from the F.A. Singleton Museum of impressive space rarely seen by the among the 33 cultural collections of Earth Sciences, the Earth Sciences public—the Karagheusian Room— the University of Melbourne. From Library and the Maps Collection. will also be open. It contains the Thursday 18 September to Sunday Special events and activities are elaborate Renaissance Revival 21 September many of these will be also on offer for the three days. Many furnishings from the Paris residence opened to the whole University of the curators will present guided of the Karagheusian family, enriched community and the general public. tours of the displays. Curators by a c.1610 painting of a merry Some, such as the Tiegs Zoology instrumental in forming these peasant wedding by the Flemish artist Museum and the Herbarium, are collections will be available, including Pieter Brueghel III. One of the long- rarely seen by anyone other than Professor Henry Atkinson speaking serving Matthaei committee students and specialist researchers. on the newly refurbished Dental members, Professor Peter Attiwill, Cultural Treasures Days will enable Museum and Professor David Young will be in attendance, and perhaps others to explore, for example, the on the Zoology Museum. he can clarify if indeed the glass working set of all types of animals Temporary exhibitions will be collection and the painting’s theme and some of the 80,000 dried plant brought to life by expert speakers might be cheeky references to the specimens. such as Dr Heather Jackson’s activities undertaken in the House. Many of the museums and exploration of the ancient Greek vases The key event on Friday collections on campus will be open at the Ian Potter Museum of Art. afternoon will be a talk by Mr Ahmed during nominated times on the Also at the Potter will be the Basil Fahour, Executive Director and CEO

38 University of Melbourne Collections, Issue 2, July 2008 Join Professor Reynard Eastley (PhD, Stories and Adventures) in his search for the mysterious secret of Melbourne University.

Australia of the National Australia whose life’s work is the exploration of treasures from the Grainger Museum. Bank. NAB is commemorating its the University, digging up its secrets, This collection will truly come to life 150th anniversary this year and his understanding its stories, and through both performance and presentation is inspired by the long- investigating its mysteries. These commentary. standing relationship between the tours, principally for children aged Cultural Treasures Days has been University and the Bank. This is five to 12 and their families and made possible by the Miegunyah highlighted by the University’s first carers, are for small groups, so please Trust, established through the legacy bankbooks retained in the collection book to join the team. of Sir Russell and Lady (Mab) of the University of Melbourne Readers are especially invited to Grimwade. The Trust has long Archives, dating from the time of the join us in the launch of the Cultural provided substantial financial support University’s establishment in 1853. Treasures Days where Associate for the University’s collections, and These and other papers documenting Professor Robyn Sloggett will talk through this event the results of the two institutions’ shared history about conserving and caring for the Miegunyah’s generosity will be will be on display, including some University’s cultural treasures. As available to the whole community. evocative and important letters Director of the Centre for Cultural Sir Russell was also a keen collector, relating to the Kelly Gang, including Materials Conservation she has a and selections from the many works its robbery of the National Bank’s unique understanding of their that he bequeathed to the University Euroa branch, which are rarely preciousness and significance. The will be on display at the Ian Potter available for public viewing. Bookings presentation will be in the Elisabeth Museum of Art. are required for this event. Murdoch Theatre on the evening of These are just highlights of the Sunday’s activities will focus on Thursday 18 September, followed by program, with many more things to families, and the Physics Museum refreshments where guests will meet do and see. Please join us at the will take the lead with tours, students who have researched objects Cultural Treasures Days with your interactive displays and demon- from the collections. Their friends and family to enjoy the unique strations, plus giveaways for visitors to presentations highlight the cultural collections at the University take home, where the experimentation continuing use of the collections in of Melbourne. Further details are can continue. Our distinguished the University’s teaching, some of available at http://www.unimelb.edu. Sunday guest will be Professor whose graduates will join Australia’s au/culturalcollections/treasuresdays. Reynard Eastley (PhD, Stories and next generation of curators, scholars To receive a program in the mail, Adventures) a.k.a. actor and educator and collection managers. email [email protected] Bernard Caleo, on one of his special As befitting such a grand few or call (03) 8344 0269. Some activities tours in search of the Secret of days, there will be a splendid closing are for smaller groups, so please check Melbourne University! Professor event, presented by the Grainger those which require a booking. All Eastley is a 19th century style Museum. Renowned Australian the activities will be free. It’s time to adventurer (or perhaps a missing musician Richard Divall will present discover new cultural collections at master from the Harry Potter stories) an exciting program of musical the University of Melbourne.

University of Melbourne Collections, Issue 2, July 2008 39 The provenance of a historic Koran Artefact as participant in the events of the Indian Mutiny of 1857 Daria Fedewytsch-Dickson

Provenance is one of the experiential his participation in the suppression of differences of encounter between a the Indian Mutiny. physical object and its photographic The uprising known as the Indian or digital image. Both provide content Mutiny was frightening, bloody and but physical objects do more. They cruel, with massacres perpetrated by also provide context. A physical object both sides.2 It replaced the rule of has shared in events that took place both the British East India Company around it and its owner. It is a and the Mughal Empire in India with witness. direct rule by the British government Sometimes this witness is also a (British Raj) for the next 90 years, veteran. Such is the case of an 18th until independence in 1947. century leather-bound vellum Koran Many underlying causes festered recently catalogued for the Baillieu towards rebellion: political, economic, Library’s Special Collections by the military, religious and social. The old Arabic language and manuscripts aristocracy resented its power being cataloguer, Mahboubeh Kamalpour. eroded under British control. Some This is a single volume parchment Indians perceived British policies and Koran, 29.0 cm in height, with a practices as westernisation without handsome leather cover. The regard for Indian tradition or manuscript is very clear and the culture—such as the outlawing of sati writing beautifully executed. The first (widow burning) and child two pages are in colourful frames of Rau Sahib and Feroze Shah marriage—and the ban on some blue, red and yellow. The script part is surprised by Colonel Holmes’ column religious practices also suggested a framed in blue and red and consists of on the 21st Jan 1859 5 a.m. drive towards an imposed 11 lines per page. The Koran bears Christianisation. The justice system the bookplate of the George [signed] George G. Beazley Lt. was considered to be unfair to McArthur Bequest of 1903, and the HM 83rd Rgt. Indians. Land reorganisation and signature of Leigh Scott, the trade policies were skewed in favour University Librarian, dated 4 October Tatya Tope1 was one of the rebel of the economy of the British, not 1948. leaders of the Indian Mutiny who that of India and the Indians. An inscription on the front cover held out until 1859. January 21, 1859 The immediate trigger however verso reads: was the day of a surprise British for the uprising in 1857 was the attack on his camp (when this Koran controversy over the new Pattern Kuran picked up in the rebel camp was seized at 5.00 a.m.). Lieutenant 1853 Enfield rifle. To load the new at Seekur [i.e., Sikar] Shikawathee George Gant Beazley who wrote the rifle, the soldiers (sepoys) had to bite country camp under Tantiu Tope, inscription later received a medal for the cartridge open. A rumour gained

40 University of Melbourne Collections, Issue 2, July 2008 Koran, 18th century, one volume, manuscript on parchment with leather cover, 29.0 cm. George McArthur Bequest, 1903, MUL 170 KORA, Baillieu Library Special Collections, University of Melbourne.

currency: that the cartridges issued with the rifle were greased with lard (pork fat) which was regarded as unclean by Muslims, or tallow (beef fat) from cows, regarded as sacred to Hindus. In the minds of these soldiers, many of whom were high caste Hindus and sons of wealthy Muslims, this was an outrage; Hindus would lose caste by such contamination while Muslims would have transgressed a Koranic proscription. British military authorities became concerned about the rumour and ordered that cartridges issued from depots were to be free from grease and that soldiers could grease them themselves using whatever mixture they preferred (beeswax or vegetable oil for example). This edict however merely confirmed the Soon the rebellion spread beyond areas of India and was by and large soldiers’ suspicions that the rumours the armed forces. However, it did not confined to the Bengal army.3 had been true and their fears justified. become India-wide. On the Indian At first, the Indians made Several months of increasing side there were many diverging and headway against the shocked and tension and inflammatory incidents conflicting interests among those who undermanned British. But as the preceded the actual rebellion. Barrack aspired to reclaim dynastic rule or British received reinforcements and buildings (especially those occupied grasp new opportunities. Hindus, counter-attacked it became clear that by soldiers who had used the Enfield Muslims and Sikhs were not only not the Indian side suffered from a lack of cartridges) and European officers’ united in a common cause but also effective central command. bungalows were set on fire; at various had various separate agendas, some of Leadership fractured among the rajas, military cantonments soldiers refused which involved payback for prior princes and nobles. Whoever could to obey their British officers. Not conflicts or perceived collaboration seize the leadership initiative and long after, in April, actual rebellion with British authorities in past muster some troops around himself broke out and British soldiers and disputes. Conflict was centered became a contender for power in the civilians were attacked. mainly on the northern and central struggle. One such was Tatya Tope.

University of Melbourne Collections, Issue 2, July 2008 41 Bookplate and inscription in the Koran.

Tope was the only son of was routed at Betwa (where he 1858 the British had regained their Pandurang Rao Tope, a noble at the managed to field almost 20,000 men), hold and Tope was more of a fugitive court of the Peshwa Baji Rao II. After and at Koonch and Kalpi, but than a seriously threatening foe. Baji Rao was exiled to Bithoor, managed to reach Gwalior. There he Nothing came of stirring up Pandurang Rao and his family also proclaimed Nana Sahib as Peshwa. Nagpur into rebellion, so Tope moved shifted there. Tatya Tope became the However, before he could consolidate on. So did more British forces sent to most intimate friend of the Peshwa’s his gain, Sir Hugh Henry Rose trap him. At Indragarh in Rajputana adopted son, Nana Dhondu Pant defeated him in a battle which saw in January 1859, Tope linked up with (known as Nana Sahib). Tope turned the end of the Rani of Jhansi. She was Prince Firoz Shah (also mentioned in totally against the British when Nana killed leading her forces against the our inscription, nephew of the King Sahib was deprived of his father’s British assault, on 17 June 1858. of Delhi and leader of an earlier pension by Lord Dalhousie in 1851. Saul David notes that rebellion at Mandesar where the As the rebellion grew, in May 1857 contemporary British sources concur green flag of Muslim revolt was Tope won over the Indian troops of that Rani’s death ‘caused the greatest raised).5 But the British were more the East India Company at Kanpur consternation among the rebel successful this time. (Cawnpore), established Nana Sahib’s troops’.4 Tatya Tope and Rao Sahib It was the fateful day—21 January authority and became the commander (also mentioned in our inscription, 1859—the date of our inscription. of his forces. nephew of Nana Sahib) fled into Colonel Holmes’ column, comprising Tope became feared and hated by Rajputana with just over 5,000 troops Her Majesty’s 83rd and 12th Native the British after the massacre of and ten guns. Tope nevertheless Infantry and four guns, marched 54 boatloads of British refugees (mostly continued his guerrilla warfare against miles through sandy desert in just women and children) at the the British for several months. Several over 24 hours and succeeded in Satichaura Ghat on the Ganges, in British columns were sent in pursuit surrounding Tope’s force near Sikar, spite of having been promised safe and marched over thousands of miles defeating it in a surprise attack at passage to Allahabad by Nana Sahib. in stifling heat to catch him. Tope and dawn.6 Our Koran was seized—at The exact order of events and who his army stood and fought the British 5.00 a.m. according to Lieutenant first fired on whom has become at Rajgarh in September 1858. Tope Beazley—during this very attack! historically controversial, but Tope’s lost the battle and all his guns but he Was it seized from a saddle bag? persona became firmly associated still managed to escape. With a hard From the hands of a terrified, fleeing with this event. core of supporters including Rao Muslim supporter of Firoz Shah? Or, Tope eventually moved his Sahib, Tope headed south to Nagpur, even more tantalisingly, was it a headquarters from around Kanpur to hoping to incite an uprising there. In personal copy owned by the prince Kalpi and joined with the famous the opinion of some, a successful himself? To whomever it belonged female rebellion leader Rani Lakshmi uprising here in the earlier period of (Tope and Sahib were Hindus so it Bai (also known as the Rani of Jhansi) the mutiny would have been very could not have belonged to them), and continued to lead the revolt. He dangerous to British rule, but by late this Koran witnessed historic events

42 University of Melbourne Collections, Issue 2, July 2008 and would have travelled the same Tatya Tope was finally captured in the assistance and information in preparing this article. thousands of miles that its owner did jungles of Narwar through betrayal by while taking part in attempts at his friend Man Singh, one of the Daria Fedewytsch-Dickson holds a Bachelor of insurrection and then escaping from Gwalior rebels who was lured into Arts (Honours) from the University of Melbourne and a Master of Arts (Librarianship) from British pursuers. this act by a British promise of Monash University. She is an original cataloguer Several British contemporaries amnesty. Tope was charged with specialising in pre-1800 imprints and has worked were impressed by the sheer amount rebellion, tried by a military court and and catalogued in several early and rare imprint collections including Monash University Library of territory the guerrilla leader hanged on 18 April 1859. At his trial, and the Sugden Collection, Queens College covered in his fight with and then Tope apparently stated that he ‘had Library, as well as the University of Melbourne. flight from them. Colonel Malleson nothing to do with the murder of any notes that during a nine month European men, women or children’ Notes period after Tope’s defeat at Jaura (presumably referring to the 1 The spelling of the Indian names varies from Alipur until his capture, ‘Tantia Tope Satichaura Ghat massacre).9 His lack source to source. I have followed the spelling used in Saul David, The Indian Mutiny, had baffled all the attempts of the of ultimate success notwithstanding, London: Penguin Books, 2003. British. During that period he had Tope is commemorated by a statue at 2 The rebellion is known by a number of more than once or twice made the the site of his execution in the town different names including the First War of Indian Independence, Indian Mutiny, Sepoy tour of Rajputana and Malwa, two of Shivpuri in Madhya Pradesh. Nor Mutiny and Sepoy Rebellion. countries possessing jointly an area of was this the end of his memory. In 3 The East India Company had divided its a hundred and sixty-one thousand 2007, when India celebrated the Indian areas into three ‘presidencies’ (Bengal, 7 Bombay and Madras), each of which had its seven hundred square miles.’ 150th anniversary of the Indian own army. The army of Bengal was the largest. Blackwood’s Edinburgh Magazine Mutiny, the government announced 4 David, The Indian Mutiny, p. 368, quoting Sir reported: ‘The whole distance for that it would provide 1 lakh rupees of Robert Hamilton (Sir Hugh Rose’s political advisor). which they were pursued, between the financial aid, as well as assistance in 5 David, The Indian Mutiny, p. 369. Firuz Shah, 20th January 1858 and 1st March securing jobs and education, to Tope’s also Feroz Shah, Feroz Saha and other 1859 [when Tope was finally descendants, who live in Kanpur.10 variants. 6 Blackwood’s Edinburgh Magazine, vol. 88, no. captured] was more than 3,000 miles. Rao Sahib was not caught until 538, August 1860, p. 191; Colonel Malleson General Michel marched 1,700, Parke 1862 but then he too was snared by (ed.), Kaye’s and Malleson’s history of the Indian 2,000 miles. Captain Clowe’s troop, betrayal, tried, and hanged on 20 Mutiny of 1857–9, new edition, London: Longmans, Green & Co., 1897, vol. 5, p. 256. 8th Hussars, was with Parke all the August 1862. Firoz Shah managed to 7 Malleson (ed.), Kaye’s and Malleson’s history, time and had marched 400 miles escape the British. He left India p. 266. under General Roberts before joining disguised as a pilgrim and died in 8 Blackwood’s Edinburgh Magazine, p. 193. 8 11 9 David, The Indian Mutiny, p. 369. him.’ poverty in Mecca in 1877. 10 ‘Centre to help Tantya Tope’s heirs’, Rediff So what became of the three men India Abroad, 19 June 2007, in our inscription? All three managed Acknowledgement: I thank Mahboubeh http://ia.rediff.com/news/2007/jun/19tope. Kamalpour, Arabic language and manuscripts htm, accessed 29 January 2008. to escape the ambush of 21 January cataloguer in the University of Melbourne Library, 11 Malleson (ed.), Kaye’s and Malleson’s history, but they were finished as guerillas. who catalogued this Koran in 2007 and provided p. 258.

University of Melbourne Collections, Issue 2, July 2008 43 Mr de B*** and his airs of mystery Richard Excell

On Wednesday 2 August 2006 the the British Library Integrated but attractively engraved volume Music Library at the University of Catalogue, CPM, BUC, RISM arrived in Melbourne the mystery Melbourne was renamed the Louise or the Bibliothèque Nationale only deepened. While the vast corpus Hanson-Dyer Music Library, in Catalogue. of ‘Airs sérieux’ (literally ‘Serious honour of the patron and publisher songs’, though they are often not at whose bequest of her own Alfred Cortot’s copy with his all serious in tone) and ‘Airs à boire’ outstanding private collection had book plate on front end-paper (Drinking songs) contains many finally arrived at the University a few and with his autograph modest trifles, the contents of this months earlier.1 Since the arrival of annotations identifying the book were clearly the work of a the Hanson-Dyer Collection, several composer as René Drouard de sophisticated composer, and the new acquisitions for the Rare Bousset (1703–1760). Cortot’s presence of an air celebrating the Collections of that library have been identification is questionable: birth of the Dauphin even hinted at a specifically chosen to complement its Bousset did compose two books connection with the royal court at strengths, such as music theory2 and of Airs serieux et à boire and both Versailles. especially 18th century French were published in Paris 1731 by The remaining hope of music.3 the author (one location only identifying ‘Mr. de B***’ rested with A recent catalogue from Lisa Cox cited by RISM) but the titles tracing some of the 12 individual Music, an English dealer in rare and differ considerably from ours.4 songs. This, however, is not a simple antiquarian music, listed an item matter. which was clearly of interest to us, It was easy to share the dealer’s Even when we restrict ourselves both because the Hanson-Dyer scepticism about Cortot’s to just those airs which appeared in Collection contains several identification—the great pianist made collections published in Paris, we find comparable 18th century anthologies worse errors of judgement than this— that over 10,000 from the first half of French songs, and because it had and the volume does indeed appear to of the 18th century still survive. an element of mystery: be unrecorded elsewhere.5 After Worse still, many of these appeared extensive searching through the anonymously or in incomplete forms, 1. ANON relevant musical dictionaries and bio- and where composers are given, we Nouveau Recueil d’Airs Serieux bibliographies, however, it was also can never be sure that the airs are not et a Boire Composés Par Mr De easy to see why Cortot had suggested parodies, plagiarisms or extracts from B…. Livre Premiere. Paris, Le Sr. Bousset: there is simply no other now lost operas.6 Boivin; Le Sr. Le Clair, 1731. French composer of the time with a As it turned out, the key was to be First edition. 1f., 19pp., engraved name beginning with ‘B’ who fits the found in one of the many further oblong 4to. Later boards, bill any better. collections not published in Paris stamped in gilt. A very nice copy. We decided to buy this intriguing or even France. The most nearly item, using funds from the Library contemporaneous collection to hand Unrecorded: not in WorldCat, Endowment Fund. When the slender was no. 166 of the Hanson-Dyer

44 University of Melbourne Collections, Issue 2, July 2008 [François Colin de Blamont], Novueau recueil d’airs serieux et a boire composés par Mr. de B*** livre premier, Paris: Boivin; Le Clair, 1731. Louise Hanson-Dyer Music Library Rare Collections, acquired October 2007. Left: title page; right: p. 13.

Collection, a set of seven volumes of a Nouveau recueil de chansons choisies (New collection of selected songs) published by J. Neaulme in The Hague from 1731 to 1736. Each volume contains about 100 songs, preceded by indices according to genre and, mercifully, a ‘Table Alphabetique’. After a couple of false trails (songs with similar texts but unrelated music), the seventh volume yielded up a perfect concordance for the music of ‘Etre a table, Prés d’un objet aimable’ (To be at the table, near the object of one’s affections) under the very useful rubric: ‘Les plaisirs Blamont’s musical ability impressed you sing) and the Vaudeville: ‘La triste de la vie. Duo de Mr. de Blamont’ Michel-Richard de Lalande, whose philosophie’ (Sad philosophy), had (The pleasures of life. Duo by Mr de pupil he became. In 1719 he attained previously appeared under his name Blamont).7 the post of Surintendant de la musique in the journal Mercure de France in Not only was the composer’s de la chambre and other court 1728.12 In addition ‘Etre a table’ also identity finally revealed, it also positions followed, with duties and appears anonymously in several became apparent why it had been so rights which he defended fiercely.10 manuscript collections now in the elusive. ‘Mr de Blamont’ does indeed His greatest success, the ballet- United States and Sweden.13 One of appear in music dictionaries, but héroïque: Les fêtes grecques et romaines these Swedish manuscripts has under ‘C’ rather than ‘B’. His father of 1723,11 is also represented in versions of three more of the simpler was Nicolas Colin, ordinaire de la Neaulme’s Nouveau recueil, in the songs from the Novueau recueil, but musique du roi (the title for a regular form of a ‘Parodie, tirée des Fêtes for voice alone without the member of the royal music Grecques & Romaines. De Mr. de accompanying figured bass part.14 establishment), but with a strong Blamont’ on page 39 and another The very inconsistent nomenclature interest also in painting. Our similar ‘parody’ (i.e. new words to an for sub-genres of the French air is composer (born 22 November 1690, existing tune) on page 41. also in evidence: ‘Air tendre’ for ‘Air died 14 February 1760) was known as Once the composer had been léger’ and ‘Brunette’ for ‘Vaudeville’. François Colin [or Collin] de identified it became clear that two These traits are all consistent with a Blamont,8 while his younger brother, more songs from our Novueau recueil wide but haphazard circulation of the a painter, was Hyacinthe Colin de of 1731, the Air tendre: ‘Heureux less challenging varieties of air among Vermont. 9 The young Colin de oyseaux, vous chantez’ (Happy birds, enthusiastic amateurs.

University of Melbourne Collections, Issue 2, July 2008 45 [Colin de Blamont], Novueau recueil, p. 7.

There are other songs in the Novueau recueil, however, which are far more vocally demanding, and were probably performed initially at court or at the Concert Français15 by leading French singers of the day, perhaps the sopranos Mesdemoiselles Antier, Le Maure and Pélissier, and the bass Thévenard. The unaccompanied bass Air à boire: ‘Les beaux jours de Printemps’ (Drinking song: The fine days of Spring), for example, seems perfectly fitted to Thévenard’s ‘sonorous, supple and wide-ranging’ voice.16 Identifying the composer also has a bearing on the performance of these songs. Like most French Baroque music, the songs of the Novueau recueil are liberally supplied with indications of cadential trills, but here there are three distinct symbols. Two celebration. Many theatrical, literary Maria Leszczynska´ in 1725, and the of them, a wavy line and a cross, were and musical works were created,19 and Idylle: Les présents des dieux (Idyll: widely (if not consistently) used, but Colin de Blamont was heavily The gifts of the gods) created in 1727 the third, a cross with two additional involved from the start. Within a to celebrate the birth of the couple’s oblique strokes, is quite unusual. It month he and one of his librettists, twin daughters. The anniversary does appear, however, in the last of the Abbé Pellegrin, had compiled a celebrations of September 1730 saw Colin de Blamont’s volumes of grand ballet, Le Parnasse, from various a new divertissement by Colin, French cantatas,17 along with a works by Lully, Campra, Destouches, Le Caprice d’Erato, ou Les caractères prefatory note by the composer Mouret and Colin himself. His own de la musique. explaining the distinct meanings of contributions to that compilation The music of Les présents des dieux all three symbols: ‘feinte’, ‘jettée’ and included excerpts from Les fêtes has not survived, but it appears that ‘appuyée’ respectively.18 grecques et romaines, the divertissement: the ‘Air sur la Naissance de Mgr. Le The birth of an heir in the direct Le retour des dieux sur la terre (The Dauphin’ in our Novueau recueil royal line on 4 September 1729 return of the gods to earth) written preserves one of the numbers recycled occasioned great rejoicing and public for the wedding of Louis XV and by Colin in Le Parnasse. The flowery

46 University of Melbourne Collections, Issue 2, July 2008 Nouveau recueil de chansons choisies, tome septieme, The Hague: J. Neaulme, 1736. Louise Hanson-Dyer Music Library, Hanson-Dyer Collection no. 166, vol. 7. Left: title page; right: p. 53.

happiness which is promised us. Sing, upon this budding foliage, the honour and the glory of the Lily [i.e. the royal Fleur-de- Lys].)

Why this one song should have been published separately two years later remains a puzzle, however. In this matter the Dictionnaire des théatres de Paris by the theatre-loving Parfaict brothers provides some suggestive information. Its account of Le Parnasse20 reveals that in the relevant section, ‘La Muse Pastorale, III. Entrée’, the singers were:

Un Berger (a shepherd) Le Sieur Dangerville.

Deux Bergéres (two shepherdesses) text certainly celebrates a royal birth, Apprenez aux Echos de ces riants Mlles Antier & Le Maure. but it is not specific about number or boccages, gender, and could serve equally well Le bonheur qui nous est promis, Une autre Bergére for the twin girls and for the long- Chantez sous ces naissants (another shepherdess) awaited male heir: feuillages, Mlle Pélissier. L’honneur et la gloire des Lys. Enfin le doux Printemps reparroit a Since our ‘Air sur la Naissance’ is for a nos yeux, (At last sweet Spring reappears single soprano, it is only the ‘other Bientôt nous allons voir enrichir la before our eyes; soon we are shepherdess’, Mlle Pélissier (who nature going to see nature enriched with appears in just this scene), who could De fruits de fleurs et de verdure, fruits, flowers and greenery. Flora have been the singer. But at the end Flore et Zephyr reviennent en ces and Zephyr return to these lands. of its article on ‘Le Parnasse’, Parfaict’s lieux, Sing, little birds, redouble your Dictionnaire tells us that due to Chantez petits oiseaux, redoublés flourishes, hearken to the echoes ‘indisposition’ Mlle Pélissier was vos ramages, from these cheerful woods, the unable to take her role in the first

University of Melbourne Collections, Issue 2, July 2008 47 [Colin de Blamont], Novueau recueil, inside front cover with Alfred Cortot’s bookplate and his pencilled classification and shelfmark above (‘MVP’ = ‘Musique vocale profane’; cf. Albi Rosenthal, ‘Alfred Cortot as collector of music’ in Oliver Neighbour (ed.), Music and bibliography: Essays in honour of Alec Hyatt King, London: Bingley, 1980, pp. 206–214) and his erroneous attribution below.

performance before the king in the Richard Excell is a musicologist and librarian 8 James R. Anthony, ‘Collin [Colin] de Blamont, who currently holds the position of Rare Music François’ in Grove music online, accessed Cour de Marbre at Versailles, playing it Cataloguer at the University of Melbourne. He 5 February 2008. only later in Paris at the Théatre de has a Bachelor of Arts (Honours) degree in music 9 His godfather was the leading portrait painter l’Academie Royale de Musique.21 Finally and a Master of Arts (Librarianship) from at the court of Louis XIV, Hyacinthe Rigaud. Monash University, and is a member of the 10 John E. Morby, ‘The great chapel-chamber there is a reason for the orphan-like medieval music ensemble Acord. controversy’, Musical Quarterly, vol. 58, no. 3, position of this particular song: even a July 1972, pp. 383–397. piece of music suffered a loss of status 11 Revived many times, the last as late as 1770. 12 Répertoire international des sources musicales if it had not been formally presented [hereafter RISM], Kassel: Bärenreiter, 1971–, to royalty. Paradoxically, it may owe A/I: C 3333 (as ‘Heureux oiseau, vous chantés’) its tenuous survival in the Novueau and CC 3333a (as a ‘Duo’) respectively. Notes 13 RISM A/II: 101.712 [transposed for 2 basses]; recueil to the fact that it was not heard 117.185; 190.001.508 and 190.013.777. at Versailles on 5 October 1729. 1 Denis Herlin, Catalogue de la Collection 14 RISM A/II: 190.014.570; 190.014.619 and In other publications François musicale Hanson-Dyer, Université de Melbourne, 190.014.751. Parkville: University of Melbourne, 2006; 15 David Tunley, ‘Philidor’s Concerts Français’, Colin de Blamont proudly parades his Richard Excell and Jennifer Hill, Bowerbird Music and Letters, vol. 47, no. 2, April 1966, pp. royal patronage, his full name and his to lyrebird: The Louise Hanson-Dyer Music 130–134. place in the musical hierarchy. But Collection. A Baillieu Library exhibition, 16 Evrard Titon du Tillet, Le Parnasse françois, 3 August to 24 September 2006, Parkville: Paris: Coignard fils, 1732; suppl. 1743, p. 797 when in this slim volume he did flirt University of Melbourne, 2006. (‘sa voix étoit sonore, moileuse & étendue’). with obscurity as ‘Mr. de B***’ he was 2 Including works by Giovenale Sacchi and 17 François Colin de Blamont, Cantates françoises almost too self-effacing. Pietro Pontio. … Livre troisième, Paris: Boivin; Le Clair, 3 Including printed and manuscript material by 1729. Marin Marais, François André Danican 18 A brief trill at the beginning of the note, a Philidor and Jean Claude Trial, Jean-Benjamin sustained trill for the full note, and a trill de Laborde, François Francoeur and François which dwells on the initial upper note. Rebel, Christoph Willibald von Gluck, Pierre- 19 An account and anthology was published in Alexandre de Monsigny and André Ernest 1731: Histoire de l’auguste naissance de Modeste Grétry. Monseigneur le Dauphin, divisée en trois parties 4 Lisa Cox Music: Catalogue 56, Exeter: Lisa Cox, ... par le chevalier Daudet, Paris: Le Mercier fils, 2007. 1731. 5 Whether one spells the first word ‘Nouveau’ or, 20 François Parfaict and Claude Parfaict, [POSTSCRIPT: Since this article was written as it is printed on the original, ‘Novueau’. The Dictionnaire des théatres de Paris, Paris: Rozet, there have been new developments with regard to latter spelling is used in this article as it avoids 1767, tome iv, pp. 76–78 (online at http:// this volume. The Centre de Musique Baroque de ambiguity. The non-standard spellings used cesar.org.uk/cesar2/books/parfaict_1767, Versailles has recently published an online elsewhere in the publications under discussion accessed 22 January 2008). catalogue of the works of Colin de Blamont, have been transcribed unaltered. 21 Whether Pélissier’s indisposition was related 22 prepared by Benoît Dratwicki. A lost ‘Recueil 6 Tony Eastwood, ‘The French air in the to her rivalry with Le Maure is unclear. Their d’airs, I’ is noted, with what information eighteenth century: A neglected area’, Studies respective merits were championed by Dr Dratwicki had been able to deduce about it in Music (W.A.), no. 18, 1984, p. 85. partisans known as mauriens and pélissiens. from other sources. He was naturally very pleased 7 Nouveau recueil de chansons choisies, Tome Titon du Tillet, Parnasse, quotes a line by to learn that this volume is not lost after all— septieme, The Hague: J. Neaulme, 1736, pp. Voltaire: ‘Pélissier par son art, le Maure par sa calling it ‘excellent news’ and a ‘great 53–59. At the end of this song: ‘Les Paroles sont voix.’ discovery’—and a digital copy has been ordered de Mr. Tanevot.’ (The words are by Mr 22 http://philidor.cmbv.fr/catalogue/ and prepared for the CMBV.] Tanevot). intro-blamont, accessed 7 May 2008.

48 University of Melbourne Collections, Issue 2, July 2008 Collections news from across the University

Diary 2009 between content, typography and 19 March to 29 June 2008. Last year the University’s Marketing illustration. The exhibition is a chance A selection of photographs— and Communications Division to discover how this private press including early family photographs produced a beautiful 2008 from its inception was a flight of and photographs relating to the royal appointment diary featuring images fancy, and how through its words and visit of 1981 and the Commonwealth from the University’s cultural images it became a ‘write of fancy’. Heads of Government Meeting of the collections. The diary was a great Ground floor, Baillieu Library, same year—is now available on success and a 2009 diary is in 17 August to 26 September 2008 UMAIC, the University of preparation. It will be available later (check http://www.unimelb.edu.au/ Melbourne Archives Image in the year from the Melbourne culturalcollections/exhibitions for Catalogue, http://buffy.lib.unimelb. University Bookshop on the ground updates). edu.au/cgi-bin/mua-search floor of the Baillieu Library building, the Union Shop in the Student Union Building and Readings Malcolm Fraser Collection Modern times bookshop in Lygon Street. Recent additions to the Malcolm Three of the University’s collections Fraser Collection include the papers are lending items to the exhibition of Mr Fraser’s mother, Una Fraser Modern times: The untold story of Write of fancy: The Golden (née Woolf). These include works by modernism in Australia, being Cockerel Press photographers Ruth Hollick and organised by the Powerhouse The exhibition Write of fancy will Bernice Agar; newspaper cuttings Museum in Sydney. The Grainger explore the hearts and minds of the relating to Malcolm Fraser’s early Museum has contributed ten items inventors, writers and artists of this political career; and correspondence including a selection of Grainger’s British press which operated between between Una Fraser and figures from towelling clothes, some of his Free 1920 and 1960. It will showcase the Australian art world such as Music machine watercolour designs examples from the Baillieu Library’s Professor Sir Joseph Burke and Sir and pieces from the Ludwig exceptional collection of Golden Daryl Lindsay. Hirschfeld Mack collection of Cockerel books, comprising the gifts Material relating to Mr Fraser’s instruments. The Ian Potter Museum of various individual donors and the activities with the Commonwealth of Art is lending some artworks and Friends of the Baillieu Library. Group of Eminent Persons in South the University of Melbourne Archives Examples include Eric Gill and Africa is on display at the Australian is lending an exhibition poster Robert Gibbings’ collaboration on Prime Ministers Centre in Old designed by Hirschfeld Mack in The four Gospels (1931), John Parliament House, Canberra. 1962. Such loan requests demonstrate Buckland Wright’s illustration of Photographs of Tamie Fraser were the national significance of the Endymion (1947), and maritime included in the exhibition Mrs Prime University’s cultural assets. history books. Golden Cockerel Minister: Public image, private lives, Modern Times national tour dates books achieved a visual harmony held at Old Parliament House from are: Powerhouse Museum, Sydney:

University of Melbourne Collections, Issue 2, July 2008 49 8 August 2008 to 15 February 2009; furniture; and 78rpm records. specialised subject but the new Heide Museum of Modern Art, In this, the 100th year of the interpretation makes the collection Melbourne: 23 February to 12 July University’s music library, it is timely easily understood by all visitors. 2009; State Library of Queensland, that the cultural riches here will be Brisbane: 31 July to 25 October 2009. made available to researchers, students and anyone with music- Rare French volumes related interests. acquired by Baillieu Library Rare music to be catalogued An extremely rare French two- The Louise Hanson-Dyer Music volume work was purchased by the Library, located in the Baillieu Physics display upgrade Baillieu Library in March, with funds Library building, has received a The appearance of the Physics from the Pitt Bequest. The substantial grant from the Louise Museum has changed greatly over the Ordonnances consulaires pour les echelles B.M. Hanson-Dyer & J.B. Hanson past year or so. Thanks to a 2007 du Levant et de Barbarie, couvrant la Bequest. The $138,000 provided will cultural collections grant funded from période 1681–1854 includes otherwise fund cataloguing of the music library’s the University Annual Appeal and the inaccessible material on the French rare collections, to be completed over Cultural and Community Relations Revolution’s impact upon the Muslim the next two years. These collections Advisory Group, new, high-quality world, showing how revolutionary are rich in material associated with museum-standard display cases have policy was translated outside Europe the development of western art music been purchased. These show off the to the communities of Istanbul, in Victoria. Rare recordings remarkable artefacts to their best Smyrna, Aleppo and elsewhere. In of Aboriginal music, manuscripts of advantage, as well as protecting them addition, it contains a great deal of 19th-century operas performed in from dust and damage. Interpretation important material on trade and Melbourne and patriotic sheet music of the collection has been expanded military matters, which can help to are a few of the kinds of material that thanks to graphic design work funded illuminate the transformation of will be more accessible to by an earlier grant in 2006, world trade at the end of the 18th researchers as a result of this generous undertaken by Elaine Hogarty of century and the move toward support. Collections to be catalogued Origin Design, followed more European military hegemony during include the historical orchestral recently by the work of RMIT this period. collection; Australian sheet music; Bachelor of Mechanical Engineering newspaper clippings 1895–1945; student, Thomas Ryan. Thomas’ Stockigt clarinet music collection; project, part of the University of Cambridge collected: The White clarinet music collection; Melbourne Cultural Collections Pierre Gorman story organ music; Michael Tippett archive; Student Projects Program, involved The collection of books and prints at Australian Music Examinations researching, writing and producing the University of Melbourne relating Board (AMEB) archive; musical new labels and explanatory texts for to the town and the university of instruments, photographs and the objects on display. Physics is a Cambridge comprises nearly 3,000

50 University of Melbourne Collections, Issue 2, July 2008 The new display in the foyer of the Royal Dental Hospital of Melbourne.

items, dating from 1658 to the an integrated archival management New display area for the present day. The core of the collection and access system, and converting the Henry Forman Atkinson was donated by Dr Pierre Gorman current cataloguing accession-based Dental Museum (1924–2006), a University of system to the Series System. Melbourne alumnus who For more news on the University The Henry Forman Atkinson Dental subsequently became the first deaf of Melbourne Archives, check the Museum has a new, additional display person to take out a PhD from UMA Bulletin, published twice yearly area on the ground floor of the Royal Cambridge University. Gorman had and available online at http://www.lib. Dental Hospital of Melbourne. The a long and distinguished career in unimelb.edu.au/collections/archives/ installation takes advantage of England and Australia as an educator publications/bulletin previously unused space in the ground of the deaf and was a tireless advocate floor stairwell of 720 Swanston against discrimination towards people Street. The display has been funded with disabilities. For his services to W.J. Howship project by the School of Dental Science with the University of Melbourne he was nominated for award additional generous support from the awarded an LLD honoris causa in This collaboration between the Royal Dental Hospital of Melbourne 2000. This exhibition, held in the University of Melbourne Archives Auxiliary. The cooperation of the Baillieu Library from 20 March to 30 (UMA) and the Benalla and District Royal Dental Hospital of Melbourne, May 2008, was a fitting tribute to this Family History Group (B&DFHG) the owner of the building, was vital in remarkable man, and also launched an has been nominated for the 2008 developing the project. The space will updated printed catalogue of the Victorian Museums Awards. The be used for short-term exhibitions collection. project made the collection of 1,250 which engage hospital visitors in an historic dry plate negatives, created by area of dental history. Benalla photographer William Archives review Howship between 1904 and 1931, Throughout 2008 the University of accessible to the wider community. Books of royal provenance Melbourne Archives is undertaking a The images include views of Benalla Cataloguing of rare books has major review of its holdings. This has and surrounding districts, local events brought to light some intriguing required a temporary reduction in such as floods, concerts and military volumes, including books with British reference service hours and freeze on ceremonies, and portraits. The royal connections. accessioning, in order to achieve a B&DFHG raised funds for collection A book once belonging to His comprehensive reappraisal of re-housing, listing and digitisation Royal Highness, Prince William collections, possible de-accessioning, and to run a community-based Henry, Duke of Clarence (later King and the disposition of University project to help identify many of the William IV of Great Britain and records which were accepted prior to images. UMA brought its professional Ireland and of Hanover 1830–1837), sentencing regimes. At the same time, expertise to manage these fragile was recently catalogued in the UMA is designing and implementing items and provide online access. Medical Rare Books Collection

University of Melbourne Collections, Issue 2, July 2008 51 Jacobus Peeters, Constantinopelen, Antwerp: I. Peeters ex op. De Scon. Mert. Ant., 1685. The Ronald and Pamela Walker Collection of Maps of Asia Minor, University of Melbourne, donated under the Commonwealth Government Cultural Gifts Program, 2008.

(currently being relocated to Special volume to the University as part of his completed are: better housing for the Collections in the Baillieu Library): very substantial gift of rare books and A.G.M. Michell Engineering Robert Robertson, An essay on fevers, prints. Collection, Morgan Children’s Book (London: Printed for the author, and Collection, Baillieu Library Print sold by G.G.J. and J. Robinson, Gift of maps of Constantinople Collection and East Asian rare 1790). The book, bound in gilt-ruled The Rare and Historic Maps materials; preservation of early red morocco leather with elaborately collection has benefitted from a manuscripts, early concert programs tooled spine and gilt edges, bears a second gift under the Cultural Gifts and orchestral scores in the Louise royal armorial bookplate with the Program from Ronald and Pamela Hanson-Dyer Music Library; initials ‘WH’ and motto ‘Honi soit qui Walker of Canberra. Earlier this year conservation of photographs, mal y pense’, and has been inscribed Mr and Mrs Walker donated more documents, booklets and makers’ ‘Most respectfully presented by the than 40 maps of Constantinople catalogues from the Henry Forman author to His Royal Highness, Prince (present day Istanbul) dating mostly Atkinson Dental Museum and William Henry, Duke of Clarence’. from the 16th to the 18th centuries, upgrade of the Museum’s database; A book recently catalogued in the created by renowned cartographers of protection and cleaning of the Faculty English Room in the Baillieu Library the day. These complement 136 maps of Music’s two Gamelan orchestras belonged to George, the Prince of in the Ronald and Pamela Walker and improved storage for historic Wales (1738–1820), who became Collection of Maps of Asia Minor, woodwind and stringed instruments; King George III in 1760. Often which were donated in 1994 and have digitisation and cold storage of referred to as ‘Mad King George’, been photographed for viewing online cellulose acetate and nitrate negatives; from 1801 his son was obliged to act at http://tinyurl.com.au/x.php?uqu digital imaging of items in the as Regent due to George’s mental Medical History Museum; and new illness. This copy of Thomas Annual appeal showcases for the Physics Museum, Comber’s Short discourses upon the The University Fund Annual Appeal mentioned earlier. Funds raised in the whole common-prayer (London: is a valuable source of support for the 2007 appeal are currently being Printed by Samuel Roycroft for cultural collections. Money allocated allocated; for further news see the Robert Clavell, 1684) bears the royal by donors to the option ‘Library and next issue of University of Melbourne armorial bookplate of ‘His Royal cultural collections’—complemented Collections. The 2008 appeal is under Highness George Prince of Wales’ in 2007 by funds from the way; if you would like to contribute and the bookplates of two other University’s Cultural and Community please visit http://www.unimelb. owners: one Katherine Edwards, Relations Advisory Group—has edu.au/alumni/giving/unifund.html dated 14 May 1700, and Dr J. Orde made possible a wide range of or contact the Advancement Office Poynton. The latter donated this projects. Among the most recently on (03) 8344 1751.

52 University of Melbourne Collections, Issue 2, July 2008