Background and Objectives

Major Thomas Mitchell, a Scottish Surveyor-General of New South Wales, had established himself as a prominent explorer through two earlier expeditions. By the mid-1830s, European settlers in New South Wales were increasingly interested in expanding their grazing lands and discovering new areas suitable for agriculture. Reports about promising territories to the south heightened the need for further exploration.

To address this, Mitchell’s third expedition was authorised with two primary objectives:

1. Investigate the course of the Darling River, which he had partially explored during his second expedition.

2. Explore the lands south of the Murray River to assess their potential for European settlement.

This journey promised to provide vital insights into Australia’s interior and open new frontiers for settlement.

Preparation and Team

Mitchell’s expedition team was meticulously organised and consisted of soldiers, convicts, and Aboriginal guides. The group also included skilled surveyors and draftsmen to map the terrain and hunters and labourers to ensure the journey was well-supplied. They relied on seventy animals, such as horses, oxen, carts, two boats and a boat cart to transport necessary supplies, including provisions, scientific instruments, and weapons.

One of the most notable expedition members was John Piper, a Wiradjuri guide whose knowledge of the land and its resources proved invaluable. Indigenous guides like Piper were essential for navigating Australia’s challenging landscapes.

The Journey

The expedition began in Sydney in March 1836. Mitchell and his team travelled southwest, crossing the Lachlan and Murrumbidgee Rivers before reaching the Murray River. They encountered diverse terrain throughout their journey, including dense forests, open plains, and numerous river crossings. The expedition faced several challenges, such as harsh weather, problematic river fords, and occasional conflicts with local Aboriginal groups.

Crossing into Victoria

Upon crossing the Murray River into what is now Victoria, Mitchell and his team entered a landscape strikingly different from the arid regions they had previously explored. They encountered rolling plains, abundant watercourses, and lush vegetation—a sharp contrast to the harsher environments of New South Wales and central Australia.

Mitchell was deeply impressed by the fertility and beauty of this region. He described it as “a land flowing with milk and honey,” using a Biblical phrase highlighting its agricultural potential. Convinced of its promise for European settlement, Mitchell named the region “Australia Felix,” which is Latin for “Happy Australia” or “Fortunate Australia.”

Further Exploration

The expedition continued westward, travelling through the Wimmera region until it reached the Grampians mountain range. It then continued past Mt Macedon and crossed the Goulburn River at Tallarook before travelling past Nagambie Lagoon, Wharing, Euroa, and Violet Town before returning to Sydney. Mitchell’s detailed observations and maps highlighted the area’s abundant natural resources, including fertile soils, lush grasslands, and ample water supplies. These features made the region ideal for grazing and farming, perfectly aligning with the ambitions of European settlers.

The team’s journey also provided valuable insights into the local flora and fauna. Mitchell documented numerous species of plants and animals, many of which were unfamiliar to European naturalists at the time.

Encounters with Indigenous Peoples

Throughout the expedition, Mitchell and his team encountered various Aboriginal groups who had lived in these lands for tens of thousands of years. These interactions ranged from friendly exchanges to moments of tension and conflict.

Mitchell’s journal reflects a complex and often contradictory perspective on Indigenous Australians. While he occasionally admired their knowledge of the land and resourcefulness, his expedition inevitably disrupted local communities. In some instances, misunderstandings or perceived threats led to violent confrontations, further exacerbating tensions between Europeans and Indigenous peoples.

One of the most controversial incidents took place near the Murray River, where Mitchell’s party clashed with local Barkindjii Aboriginal groups. This violence resulted in seven Barkindji being killed and four wounded. While Mitchell’s writings framed the event as a defensive action, modern interpretations view it as part of a broader resistance pattern against colonisation.

…….It was difficult to come at such enemies hovering in our rear with lynx-eyed vigilance of savages. I succeeded however… Attacked simultaneously by both parties the whole betook themselves to the river, my men pursuing them and shooting as many as they could, numbers were shot swimming across the Murray, and some ever after they had reached the opposite shore as they descended the bank

Major Mitchell’s report

Mitchell named the site of the attack Mount Dispersion. He faced an inquiry in Sydney afterwards but received only a minor reprimand for his actions. On May 27, 2020, the 184th anniversary of the killings, the New South Wales government officially designated Mount Dispersion as an Aboriginal place, granting it legal recognition and protection as a significant site.

Return and Reports

In November 1836, Mitchell and his team returned to Sydney after completing a nearly eight-month journey. His detailed reports and maps vividly illustrated Australia Felix, highlighting its agricultural potential and natural beauty. Mitchell’s accounts were widely published and quickly captured the imagination of settlers eager to expand into new territories.

The discovery of Australia Felix marked a turning point in the colonisation of southeastern Australia. Within a few years, settlers began to move into the region, establishing sheep stations and farms. The area’s rich pastures proved to be ideal for grazing, contributing to the rapid growth of Australia’s wool industry.

Legacy of the Australia Felix Expedition

The Australia Felix expedition is significant in Australian exploration and settlement history. Major Thomas Mitchell is well-known for his role in mapping and documenting the region, but his legacy invites critical reflection.

From a colonial viewpoint, the expedition symbolises success in discovery and progress. Mitchell’s work facilitated the expansion of European settlement and contributed to Australia’s economic growth and development. The region’s fertile lands remain vital to Victoria’s agricultural industry today.

However, the expedition’s impact on Indigenous peoples reveals a darker aspect of colonisation. The displacement, violence, and cultural loss experienced by Aboriginal communities highlight the human cost of European expansion into Australia’s interior.

Conclusion

The Australia Felix expedition is a pivotal moment in Australian history, embodying both the aspirations and consequences of European colonisation. Major Thomas Mitchell’s journey revealed the potential of southeastern Australia’s fertile lands, opening new frontiers for settlement and economic development. Yet, it also marked the beginning of profound and often devastating changes for the region’s Indigenous inhabitants.

Today, the story of Australia Felix reminds us of the complexities of exploration and colonisation. It invites reflection on the achievements and challenges of Australia’s past, fostering a deeper understanding of the nation’s diverse history and its enduring legacies.

Footnote

In 2023, Birdlife Australia renamed the Major Mitchell Cockatoo to ‘Pink Cockatoo’. The name change was made to: 

• Remove the association with Thomas Mitchell, who led a massacre of Aboriginal people in 1836 
• Make species names more culturally inclusive 
• Avoid associating culturally important organisms with violence and murder

further reading

Journey Map

Explorers Way Brochure

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Historical Background

The history and growth of Lanyon Homestead are closely intertwined with the early European settlement in the Australian Capital Territory (ACT). In 1835, James Wright and his partner, John Lanyon, took out a pastoral lease of a large tract of land along the Murrumbidgee River, which was a vital water source in the otherwise arid Australian landscape.

Initially, the property was used for sheep grazing and cattle farming, taking advantage of the fertile plains and the river. By 1841, 59 workers lived on the estate, around half of them convicts. Eventually, John Lanyon returned to England, and James Wright took over the running of the estate. Wright, however, faced numerous challenges, including droughts and financial difficulties. This ultimately led him to sell Lanyon Homestead in the 1840s.

The estate then changed hands several times before it was acquired by the Cunningham family in 1849. The Cunninghams, a prominent pastoralist family, expanded the estate’s operations. They also built additional buildings and developed the homestead into a thriving rural enterprise.

In 1926, the estate was sold to the Osborne family. They, in turn, sold it to the Field family in 1930. The Fields, however, didn’t live at the estate but used it as a holiday home. While the Fields improved the old dairy and machinery, they respected the history of the house and buildings.

Architecture and Layout

Lanyon Homestead’s architecture blends Georgian and Victorian styles, reflecting the preferences of affluent rural homesteads in 19th-century Australia. The main homestead building, constructed in the 1850s, is a single-story house with a low-pitched roof and wide verandas. It also has thick walls designed to keep the interior cool during hot summers. It is built from locally sourced stone and features timber-framed windows, offering views of the surrounding gardens and the river.

One of Lanyon’s standout features is its meticulously maintained gardens, which include a variety of native and introduced plant species. The gardens were an essential part of the estate’s self-sufficiency, providing fresh herbs, vegetables, and flowers for the household.

The estate also includes various outbuildings, such as the woolshed, stables, blacksmith’s shop, and workers’ quarters. These provide a window to the past and illustrate the labour-intensive nature of pastoral life during the 19th century.

Life at Lanyon Homestead

Life at Lanyon Homestead during the 19th and early 20th centuries was centred around agriculture and livestock, mainly sheep farming. The estate produced wool, meat, and other agricultural products essential to the local economy. The river provided irrigation, which was critical for livestock and crop cultivation, allowing the estate to thrive even in challenging conditions.

The homestead was a family residence, but it also functioned as the centre of a small rural community. The Cunninghams employed many workers, including shepherds, stockmen, blacksmiths, and domestic staff, who lived on or near the property. The workers’ quarters, some of which have been preserved, highlight the contrast between the lives of the estate owners and those of the workers. While the Cunninghams enjoyed a degree of comfort and refinement inside the homestead, the workers faced a more rugged and physically demanding lifestyle.

The social life at Lanyon Homestead reflected its time. The family hosted gatherings, picnics, and social events common in rural communities. The homestead would have also been a place where neighbours gathered to exchange news and celebrate important events.

Lanyon Homestead Today

In the early to mid-1970s, the McMahon and Whitlam Governments withdrew the rural leases for Lanyon, Cuppacumbalong Homestead and Gold Creek Homestead. The Federal Government then compulsorily acquired Lanyon for $3.7m in 1974.

Today, Lanyon Homestead is managed by the ACT Government and is open to the public as a museum and cultural site. It is part of the ACT Historic Places network, which aims to preserve the region’s heritage and cultural history. The homesteads guided tours, exhibitions, and educational programs provide information about the estate’s history and the stories of those who lived there.

Visitors to Lanyon Homestead can take a tour through the original rooms. These have been furnished with period-appropriate furniture and artefacts to recreate the atmosphere of a 19th-century rural home. The preserved interiors provide a glimpse into the Cunningham family’s daily lives and domestic routines. Original furnishings, kitchenware, and personal items are on display. The tours also highlight the challenges and hardships the estate’s residents faced. Isolation, disease bushfires and floods were ever-present threats.

Cultural Significance

Lanyon Homestead is a well-preserved example of a 19th-century rural estate and an important site for understanding the broader history of European settlement in the Canberra region. It provides insights into the pastoral economy that dominated Australia’s rural development and the complex interaction between settlers and the Indigenous Ngunnawal people, who have lived there for thousands of years.

In recent years, efforts have been made to recognise and incorporate the region’s Indigenous history into the homestead’s narrative. This includes acknowledging the land’s traditional custodians and highlighting the Murrumbidgee River’s cultural and spiritual significance to the Ngunnawal people. By doing so, the homestead serves as a place of reflection and education, encouraging visitors to consider both the achievements and the darker aspects of Australia’s colonial past.

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Origins and Construction

The Kew Lunatic Asylum was conceived during a period when the treatment of mental illness was undergoing significant changes. In the mid-19th century, the Australian colonies were rapidly growing, and the need for adequate mental health care became increasingly apparent. Before the construction of Kew, mental health patients in Victoria were housed in inadequate and overcrowded facilities. The prevailing attitudes towards mental illness were largely custodial, with the primary focus being on containment rather than treatment.

The asylum, designed by the Public Works Department under the supervision of the architect Frederick Kawerau, was intended to be a state-of-the-art facility. Construction began in 1864, and the building was officially opened in 1872. The E-shaped complex of buildings was designed to be elegant and beautiful, yet substantial, and viewed as “a magnificent asylum for the insane” to portray Melbourne as a civilised and benevolent city whilst avoiding the jail-like appearance of other asylums. These aims were furthered by using low Ha-Ha walls and extensively landscaped grounds. Long considered of cultural and historic significance to Melbourne, Kew Asylum and its complex of buildings were registered on the Register of the National Estate in March 1978.

The Kew Asylum was an imposing structure. Built in the Italianate style with a central tower, it has sprawling wings that extend outward like a vast institutional palace. The building’s grandeur and scale underscored the prevailing view of asylums as places of segregation rather than integration. The asylum was initially designed to accommodate around 500 patients, and it opened in 1872 with 214 inmates. However, the number soon grew to over 1000 as the population of Victoria expanded.

Treatment and Conditions

The early years of the Kew Lunatic Asylum were marked by overcrowding and a lack of adequate resources. Despite the intentions behind its construction, the facility quickly became overwhelmed by the number of patients. By the 1880s, the asylum housed over 1,000 patients, far exceeding its intended capacity. This overcrowding led to deteriorating conditions, with patients often housed in dormitories with little privacy or comfort.

Treatment methods at Kew were reflective of the period’s limited understanding of mental illness. While there were efforts to introduce more humane practices, such as occupational therapy and outdoor activities, the primary approach was still largely custodial. Restraints, seclusion, and sedation were standard practices, emphasising managing patients rather than curing them. The conditions at Kew were often harsh, with reports of patients being subjected to poor hygiene, inadequate food, and physical punishment.

The asylum employed various staff, including doctors, nurses, and attendants, who were responsible for the care of the patients.

Reform and Transition

The early 20th century saw significant changes in the treatment of mental illness and the management of asylums. There was a growing movement towards deinstitutionalisation and the development of community-based mental health services. The Kew Asylum, like many similar institutions, was gradually reformed in response to these changing attitudes.

In 1933, the institution’s name was changed to the Kew Mental Hospital. This reflected a shift away from the term “lunatic asylum,” which was increasingly seen as outdated and stigmatising. This change was part of a broader effort to modernise the facility and improve patients’ conditions. New treatments, such as electroconvulsive therapy (ECT) and various forms of psychotherapy, were introduced. More emphasis was placed on rehabilitation and preparing patients to return to the community.

However, the reform process was slow, overcrowding remained a persistent problem, and the institution struggled to provide adequate patient care. The rise of psychotropic medications in the 1950s and 1960s offered new hope for treating mental illness. Conversely, this also led to new dilemmas regarding the long-term care of patients.

Willsmere Closure and Legacy

The final chapter in the history of the Kew Lunatic Asylum came in the 1980s when the process of deinstitutionalisation reached its peak. Following global trends, the Victorian government began to close large psychiatric institutions in favour of smaller, community-based facilities. In 1988, the Kew Mental Hospital was officially closed, marking the end of an era in Victorian mental health care.

Following its closure, the asylum site underwent a transformation. The historic buildings were preserved and redeveloped into a residential complex known as Willsmere. The redevelopment preserved many of the original architectural features, including the central tower and the grand entrance hall, while creating new living spaces for residents. Today, Willsmere is a sought-after address, combining historical significance with modern amenities.

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Architectural Features

The Chinamans Bridge had a lift span allowing sawmill and recreation steamers to pass through the Goulburn River. During the 1890s, the Nagambie Sawmill steamer crossed the bridge six times a week. The bridge was named Chinamans Bridge because it was located on Chinamans Road, an area once inhabited by Chinese market gardeners until 1916. Nagambie-Heathcote Road was initially known as Chinamans Road. Constructed of timber girder with hand-hewn squared timber stringers, the bridge features timber corbels and a deck. Of the lift span, only the timber fenders remain. The former drawbridge span was replaced with a steel span around 1940.

Heritage Listed

Chinamans Bridge holds heritage significance for the State of Victoria. It is listed in the Victorian Heritage Register (VHR) as place number 869 and register number H1449.3.

The bridge is historically significant as one of Victoria’s earliest all-timber road bridges. It is notable for using hand-hewn timber in construction and design details. Despite losing much of its original mechanism, the bridge is a rare surviving example of a bridge with a vertical span. From a historical perspective, Chinaman’s Bridge holds a noteworthy connection to the expansion of Victoria’s infrastructure in the 1890s and its role in the development of transport systems.

The bridge is closely linked with the growth of the township of Nagambie. It represents the prosperous sawmilling industry in the district during the 1890s. Chinamans bridge holds historical significance with its link to the steamboat era in Victoria. During this era in the 1890s, rivers were the preferred mode of transportation for recreational and commercial purposes over roads.

Flood Damage

The decaying bridge timbers were further weakened during the 2022 floods, making it extremely fragile and at risk of collapsing at any moment. Due to the immediate danger of collapse, engineers have deemed the bridge beyond repair. An exclusion zone was declared, and boats have been prohibited from passing under it since then.

The Strathbogie Shire Council has since applied to Heritage Victoria to have the heritage listing removed, allowing the bridge to be demolished.

Update: Permission has now been granted to demolish the bridge and the Strathbogie council has applied for funding to do this.

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Early Life and Criminal Beginnings

Harry Power was born into poverty and hardship. In the early 19th century, Ireland was a place of extreme social inequality, and Power’s upbringing reflected this. He grew up in a working-class family, and his early life was marred by deprivation. At the peak of convict transportation from Britain to Australia, Powers was convicted of stealing seven pairs of shoes at age 21 in 1840. The system of transportation was brutal, designed to both punish and isolate criminals from society. This marked the beginning of his long and tumultuous career as a criminal.

Upon his arrival at Port Arthur Penal Settlement in Van Diemen’s Land (now known as Tasmania), Power was subjected to the brutal conditions typical of convict life. The harsh treatment and forced labour in the colony’s penal system hardened Power and fueled his determination to escape. By 1855, after serving his sentence and receiving a ticket of leave, Power began his life of crime in earnest. He engaged in various criminal activities, including horse theft, which would become one of his signature crimes.

The Rise of a Bushranger

Powers’ notoriety and reputation as a bushranger soared. In 1856, he was arrested for horse stealing and received a thirteen-year sentence at Victoria’s infamous Pentridge Prison. His involvement in the murders of Owen Owens and John Turner further solidified his reputation. However, he was ultimately found not guilty of the murders. After spending two and a half years in the hulks, he was moved to the Pentridge Stockade but escaped in 1862. Subsequently, he was apprehended again for horse stealing and sentenced to seven years on the roads at Beechworth on February 19, 1864.

Escape

Power again escaped from Pentridge on February 16 1869, and held up the mail coach at Porepunkah on May 7. On May 22nd, he bailed up another coach on Longwood-Mansfield Road. Power then embarked on a series of robberies and hold-ups that terrorised the rural communities of Victoria. His criminal activities included robbing mail coaches, raiding homesteads, and engaging in violent confrontations with the authorities. Power’s audacity and success in evading capture made him a folk hero to some and a feared outlaw to others.

Harry Power became a master of the bushranger’s craft. He used his knowledge of the land, honed as a stockman, to evade capture. His robberies were bold, and he developed a reputation as a cunning and elusive criminal. He primarily operated in the northeastern regions of Victoria, where he terrorised travellers and settlers. Power was known for his “gentlemanly” conduct during his robberies. Unlike some other bushrangers, he was said to refrain from unnecessary violence and was polite to his victims. This image of the “gentleman bushranger” contributed to his growing legend.

The Mentor to Ned Kelly

One of Harry Power’s most intriguing aspects is his connection to the Kelly family. In the late 1860s, a young Ned Kelly, who would later become Australia’s most notorious bushranger, fell under Power’s influence. According to popular accounts, Power took Ned under his wing, teaching him the skills needed to survive as a bushranger. This relationship between Power and Kelly is significant in Australian history. While verifying the full extent of their partnership is difficult, it is widely accepted that Power played a role in shaping Ned Kelly’s early criminal career.

Ned Kelly’s family was well known to Power. The Kellys were struggling Irish immigrants living in the harsh conditions of colonial Victoria. Like many of their class, they had frequent brushes with the law. The Kelly family’s resentment towards authority and their rebellious spirit aligned with Power’s own experiences. Under Power’s mentorship, the young Ned Kelly was exposed to the life of a bushranger, and Kelly learned to live off the land, plan robberies, and outwit the police.

While Power was nearing the end of his criminal career, he may have inadvertently set the stage for the Kelly Gang’s rise, which would eclipse Powers’ fame and capture the nation’s imagination. It would also spark fierce debates about justice, authority, and the nature of rebellion.

Capture and Imprisonment

In September 1869, the Victorian government offered a reward of £200 for Power’s arrest. This was soon increased to £500. As a result, he moved to New South Wales but later returned to Victoria. However, he evaded capture until June 5, 1870, when he was arrested by Superintendents Nicolson and Hare, along with Sergeant Montford and a black tracker.

The trio surprised Power in his hideout at Power’s Lookout, a rocky escarpment overlooking the Quinn property on the King River. James Quinn received a reward of £500 for his information and assistance. Power was sentenced to fifteen years of hard labour at Beechworth for three counts of bushranging and was again incarcerated at Pentridge.

In prison, Power became something of a celebrity. His life stories as a bushranger captivated fellow inmates and the public. Despite his criminal past, Power remained a charismatic figure who entertained with tales of his adventures. However, prison life took its toll on him. By the time he was released in 1885, he was an old man in poor health, a shadow of the fearsome bushranger he had once been.

After being released, Power first worked as a gamekeeper. Later, he became a caretaker on the Success, a ship that had previously served as a prison hulk. However, it had been transformed into a travelling waxworks display showcasing the torture and punishment inflicted on criminals. The ship eventually sank, but Harry survived and returned to the bush. In 1891, he drowned in the Murray River as an old man with only a few shillings to his name.

Visit Powers Lookout

Drive three kilometres on a gravel road from Mansfield-Whitfield Road to a parking area with picnic tables and restrooms. Two lookout points offer stunning views of the surrounding mountain and valley. The first lookout is close to the carpark and wheelchair accessible. To reach the second lookout, you’ll take a short 0.4-kilometre walk with a series of steel ladders which lead to a viewing platform at the northernmost point of the rocky outcrop. It’s easy to see why Power chose this spot as a hideout. The stunning panoramic view allowed him to see and evade mounted police and trackers from miles away.

There’s also a 20-minute return walk through the bush to a waterhole surrounded by beautiful rocky ledges. To get there, follow the path near the toilets in a westerly direction.

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Origins and Definition

The name “swagman” refers to itinerant workers who travelled the vast Australian outback, typically on foot, during the late 19th and early 20th centuries. The name comes from the “swag” they carried—a bedroll or bundle containing their possessions. Their meagre possessions were wrapped in a blanket or canvas and slung over the shoulder. Swagmen, also known as “swaggies”, roamed the countryside searching for work, primarily in rural and agricultural areas. While the majority of swagmen were men, there was the occasional woman.

Historical Context

The rise of the swagman can be traced back to the economic conditions and social upheavals of 19th-century Australia. During this period, Australia experienced significant growth and development, driven by the gold rushes of the 1850s and the expansion of pastoral and agricultural industries. However, this growth was also accompanied by economic instability. This, in turn, led to high unemployment, leading many men to take the road searching for work.

Swagmen became particularly prominent during the economic depression of the 1890s. With jobs scarce and many rural properties struggling, the swaggies played a crucial role in the labour force. They would travel from station to station, offering their services in exchange for food, shelter, and a small wage. This transient lifestyle became a defining feature of the Australian rural landscape.

The Life of a Swagman

Life as a swagman was fraught with hardship and uncertainty. The men often walked long distances through harsh and isolated environments. They endured extreme weather conditions and faced the constant challenge of finding food and shelter. The swagman’s possessions were minimal: a billy can for boiling tea, basic cooking utensils, a knife, a few clothes, and their swag. Sometimes, they carried flour to make damper.

Despite the difficulties, swagmen were known for their resilience and camaraderie. They developed a unique subculture, sharing stories, songs, and skills. The sense of community among swagmen was strong, with mutual support and a shared understanding of their challenges.

Bush Telegraph

With many swagmen travelling around the countryside, a bush telegraph quickly developed to communicate important information to other swaggies. Without any other means of communication, swaggies had to rely on the materials they had at hand. So, with a stick and a clear patch of dirt they left messages for others that followed in their footsteps.

The swagman would draw a subtle yet descriptive symbol in the dirt near the entrance of a farm or other property to forewarn the next visitor. Using these simple scratches, the swagmen would share valuable information, such as a good place for a handout or the presence of angry dogs.

Cultural Significance and Folklore

The swagman occupies a special place in Australian folklore and cultural identity. This figure has been immortalised in literature, music, and art, symbolising the rugged, independent spirit associated with the Australian outback.

One of the most famous representations of the swagman is in the iconic Australian folk song “Waltzing Matilda.” Written by Banjo Paterson in 1895, the song tells the story of a swagman who camps by a billabong (a waterhole) and steals a sheep (referred to as a “jumbuck”). When the authorities come to arrest him, the swagman jumps into the billabong and drowns. “Waltzing Matilda” refers to the swagman carrying his swag, with “Matilda” being a colloquial term for the swag itself. This song has become an unofficial national anthem of Australia, capturing the spirit of the swagman and his freewheeling lifestyle.

Swagmen in Literature and Art

Beyond “Waltzing Matilda,” the swagman has also been prominent in Australian literature and art. Writers such as Henry Lawson and Banjo Paterson often featured swagmen in their stories and poems, highlighting their resilience, humour, and the challenges of life on the road. Lawson’s works, in particular, painted a vivid picture of the swagman’s existence, from the loneliness of the bush to the camaraderie found around a campfire.

Artists also embraced the swagman as a subject. Painters like Frederick McCubbin captured the essence of the Australian landscape and the swagman’s solitary figure in it. Their works often portrayed the swagman as a stoic, heroic figure embodying the struggle and beauty of life in the Australian outback.

The Decline of the Swagman

The traditional swagman began to disappear in the early 20th century as economic and societal changes reduced the demand for itinerant labour. The advent of mechanised farming, improved transportation, and social welfare programs led to fewer people needing to take to the road for work. By the mid-20th century, the swagman had primarily become a figure of the past. They were remembered more in folklore now than in reality.

However, the swagman’s legacy endures. The image of the swagman remains a powerful symbol of Australia’s rural heritage and the spirit of adventure. In contemporary Australia, the term “swag” has evolved to refer to a type of portable sleeping gear used by campers and outdoor enthusiasts, maintaining a connection to the historical swagman.

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Early Life

Lawson’s early life was shaped by challenges that profoundly influenced his writing. His parents, Niels (Peter) Hertzberg Larsen and Louisa Albury, were both migrants. His father was a Norwegian sailor, and his mother was an Englishwoman. The family adopted the surname Lawson, anglicising it from the original Larsen. The family moved from Grenfell, NSW to nearby Gulgong in search of gold. However, when Henry was only nine, his father left, and his mother moved the family to Sydney. Louisa became a prominent figure in the feminist movement and later founded a women’s newspaper called “The Dawn.” This early exposure to social issues and the hardships faced by women and the working class significantly impacted Lawson’s worldview and writing.

One of the defining aspects of Lawson’s life was his hearing loss, which was caused by an ear infection when he was nine. Sadly, it led to near-total deafness by the age of 14. This condition isolated him from many social interactions, leading him to find solace in reading and writing. Despite these challenges, or perhaps because of them, Lawson developed a keen sensitivity to the nuances of human emotion and experience, which is evident in his work.

First Works

Lawson’s writing career took off in the 1890s, often considered the “golden age” of Australian literature. His first published poem, “A Song of the Republic,” was printed in 1887 in the Bulletin, an influential magazine that promoted Australian writers. The Bulletin served as Lawson’s primary platform, where he showcased many of his most famous works. During this time, his stories and poems echoed the Bulletin’s nationalist spirit, celebrating the Australian landscape and its people while also criticising the social injustices they experienced.

One of Lawson’s most enduring themes is the harshness and isolation of life in the Australian bush. His short story “The Drover’s Wife” is a quintessential example. It depicts a woman’s struggle to protect her children from a snake while her husband is away. The story highlights the resilience and courage of women in the outback, themes that resonated deeply with Lawson’s audience. Similarly, his poem “Up the Country” offers a bleak portrayal of the Australian interior, challenging many city dwellers’ romanticised views of the bush.

Harsh Realities of the Bush

Lawson’s realistic approach distinguished him from his contemporaries, who often romanticised the bush and its inhabitants. His works offer a more nuanced and sometimes grim portrayal of rural life. For example, in “The Union Buries Its Dead,” Lawson delves into the indifference and inevitability of death in the outback. He juxtaposes the communal solidarity of a bush funeral with the fleeting nature of human connections. This stark realism, along with his compassion for the hardships of everyday people, gives Lawson’s work a timeless quality that continues to resonate with readers. Despite his writing success, Lawson’s personal life was marked by significant hardship. He grappled with alcoholism, which strained his relationships and finances.

In 1896, he married Bertha Bredt, with whom he had two children. However, the marriage was tumultuous, mainly due to Lawson’s drinking and erratic behaviour. In December 1902, Lawson attempted suicide, and Bertha, who was dealing with mental health issues, sought separation a few months later. Lawson often lived in poverty. He experienced homelessness and was even incarcerated for not paying child support or due to his mental health. However, he continued to write. His later works reflected his personal struggles with a melancholic and often introspective tone. However, his most successful years of writing were behind him.

Final Years

Lawson’s final years were characterised by disillusionment and decline. Despite his earlier popularity, he found it increasingly difficult to make a living from his writing. In 1920, Lawson was awarded a government pension for his contribution to Australian literature, but his health continued its decline. He died on September 2, 1922, at the age of 55.

Lawson’s legacy, however, endures. He is remembered as one of Australia’s greatest storytellers. A writer who captured the spirit and struggles of the nation’s people with unparalleled empathy and insight. His works remain a staple of Australian literature, studied in schools and appreciated by readers of all ages. The places and experiences he wrote about may have changed, but the universal themes of hardship, resilience, and community continue to resonate.

Numerous awards and institutions bear Lawson’s name in recognition of his literary contributions. The Henry Lawson Prize for Prose and Poetry is awarded annually and his childhood home in Grenfell has been preserved as a museum. His image has also appeared on the Australian Ten dollar note, and his works have been translated into multiple languages, ensuring his stories reach a global audience. Despite his struggles, Lawson’s literary legacy remains a cornerstone of Australia’s cultural heritage. His work is a testament to his extraordinary ability to capture the human condition in all its complexity.

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The Early Years

Home to Melbourne’s elite, Labassa was originally a modest eight-roomed country house called Sylliott Hill and built for Melbourne judge Richard Billing in 1862. Billings passed away at home due to a stroke in 1882. In 1883, a prominent Melbourne businessman, Alexander William Robertson, leased the Sylliott Hill property from Billing’s widow. Robertson, a Canadian, had immigrated to Melbourne in 1853. In 1861, he purchased the Bendigo mail contract along with fellow Canadian John Wagner.

In 1885, Robertson purchased the adjoining allotment on Balaclava Road. He consequently bought the Billing’s property in 1887. In 1889, the house was redesigned by German-born architect John A. B. Koch for Robertson in the French Second Empire style. The comprehensive redesign transformed the building from a house into a thirty-five-roomed mansion with stunning views across Port Philip Bay. By 1890, with the redesign complete, Robertson, a co-owner of Cobb & Co, renamed Ontario. He also installed cast-iron gates befitting Buckingham Palace at the corner of Orrong and Balaclava roads.

Renamed Labassa

After Robertson’s passing, the house was bought in 1904 by John Boyd Watson II, the heir to a Bendigo mining fortune. Under Boyd’s ownership, the mansion was renamed “Labassa’. At Labassa, he hosted monthly dinners with printed menus, including a children’s birthday party in 1905 attended by seventy friends.

Converted to flats

Following John Watson’s passing in 1911, his widow sold parts of the Labassa estate. Mrs Watson retained a 1.73-hectare parcel containing the house. In 1913, forty-six more allotments were auctioned at Labassa Estate, and Labassa Grove and Ontario Street were formed to the east of the property.

Eventually, Labassa went through 60 years of decay. In 1920, the house’s new owner, Robert Hannon, built a red brick block of flats adjacent to the property. Subsequently, in 1923, the mansion was divided into apartment flats and became home to residents of more modest means. Among Labassa’s new residents was Louise Lovely (1862-1920), Australia’s first silent film actress who found acclaim in Hollywood. From 1930 to 1940, the mansion became the setting for numerous extravagant parties and meetings, such as the Emilie Robins Auxiliary for the Queen Victoria Hospital. The Red Cross also hosted fundraisers at Labassa to aid the Red Cross Comfort Fund during the Second World War. Following the post-war immigration boom, Labassa became a residence for some European families displaced from their homelands.

In the 1960s and 1970s, the sadly neglected mansion became a haven for artists and bohemians. For instance, Singer-songwriter Hans Poulsen, known for “Boom Sha La La Lo” and “Rose Coloured Glasses,” lived in Labassa’s tower with a pet crow. Comedian Jane Clifton lived upstairs in the servants’ quarters during her ‘long-haired moon-mother cookie baking’ phase in the 1970s.

National Trust

The subdivision of the property continued until the National Trust of Australia purchased the house in 1980. The National Trust later acquired adjacent sites, one to the southeast in 1984 (the house on that site was demolished in 1988) and another to the west in 1988. The back of the building included a two-storey wing built in 1873 and a single-storey cottage from the 1860s, while the two-storey wing is connected to the main house by a tower.

In its heyday, the estate included stables, built in 1873, a conservatory and a tennis pavilion, both assumed to have been added in 1890. Thankfully, these outbuildings have survived. However, the conservatory was converted for residential use and the stables in 1926. The tennis pavilion remained in its original location at 13 Manor Grove until it was relocated to the mansion gardens in 2014. Internally, various decorative treatments from the late nineteenth and early twentieth centuries remain from both the Robertson and Watson occupancy periods. These include wallpapers, ceiling decoration, chimney pieces, mouldings, joinery, and decorative glass. Labassa has now been restored to how it looked when John Koch completed the work in 1890. 

Labassa is open the Third Sunday of each month from 10:30 am to 4:00 pm

Admission

Adults: $15
Concession: $12
Children: $9
Family (2A + 2C): $35

National Trust Members receive FREE Entry. Pre-booking encouraged.

Located at 2 Manor Grove, Caulfield North 3161 VIC

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Early Life 

Elizabeth Miller was born in 1907 in Poughkeepsie, New York. Her father, an amateur photographer, encouraged her to develop a keen eye for visual composition. However, her childhood was not without trauma. During a trip to Brooklyn, at age seven, she was sexually assaulted by a family acquaintance and contracted a sexually transmitted disease. 

Modelling Career

During her teenage years, her modelling career began with her father, an amateur stereoscopic photographer. He took several nude pictures of her, which have since been the subject of controversy. Some people argue that the images sexualised Miller and that some were taken when she was still a minor.

“He took pictures of her that to our eyes are very dubious,” fashion editor Marion Hume says in Capturing Lee Miller, a 2020 documentary by Teresa Griffiths. 

Artnews.com

At the age of 19, she left home for New York City with a goal to become a fashion model. Her striking beauty caught the attention of renowned photographers, such as Arnold Genthe, Nickolas Muray, and Edward Steichen. They captured her image for the covers of Vogue and Vanity Fair.

Surrealist Muse and Photographer

In 1926, Lee decided to concentrate on photography and went to Paris to study with Man Ray, the leading figure in the Surrealist movement at that time. She soon became both his muse and artistic collaborator. Under Man Ray’s guidance, she discovered the avant-garde world of Surrealism and experimented with various techniques like solarization and photograms. Although Man Ray often overshadowed her, Lee started creating her own captivating photographs and explored the interplay of light, shadow, and dreamlike compositions.

Eventually, their student/teacher relationship also developed into a romantic one. Miller was also instrumental in inventing Man Ray’s solarisation photographic technique, which reverses black-and-white hues, creating a halo-like effect. According to Miller, she happened upon the method accidentally when she inadvertently turned on the darkroom lights while developing a photograph.

Lee had a passionate relationship with Man Ray but desired artistic independence. In the late 1920s, she began exhibiting her work and gained recognition for her unique vision. Lee was known for photographing the Surrealist circle’s artists, writers, and intellectuals, capturing their personalities and creative spirit.

Fashion and War Photography

After leaving Man Ray, Lee returned to New York in 1932 and continued to work as a model while also establishing herself as a fashion photographer for Vogue. Her unique use of natural light and innovative compositions set her apart from her contemporaries. When World War II broke out, Lee volunteered as a war correspondent for Vogue.

In 1944, she covered the first use of napalm bombing at the Battle of St. Malo. She was also present at the London Blitz and the liberation of Paris. Notably, she was also present at the Battle of Alsace and the U.S. military’s entry into Nazi concentration camps at Buchenwald and Dachau. These events made her one of only a few photographers in the U.S. Army at the time to see combat. Her powerful and unflinching war photographs are a compelling reminder of the devastation caused by the war.

Ironically, the most famous photograph involving Miller was not taken by her but of her by Scherman on April 30, 1945, just after the liberation of Dachau. Miller and Scherman were in Hitler’s Munich apartment, which U.S. soldiers had just raided, and they created their well-known bathtub picture. It was later published in Vogue. For Scherman, the scene captured in the photo represented “the last of the Hitler myth” – a soiled bathmat with Miller’s boots still covered in the dust from the camps and a propaganda portrait of the dictator on the tub’s edge. Coincidentally, and unknown to Miller, the image was taken on the same day Hitler committed suicide in his bunker.

Later Life and Legacy

Following the war’s end, Lee Miller married a British artist named Roland Penrose, settled in England and had her first child at 40. Sadly, however, Miller’s childhood trauma and wartime experiences resulted in bouts of depression and struggled with alcoholism. Though she continued to take photographs, she focused on her personal life and mental health. She struggled with depression and the lasting effects of her childhood trauma. However, Lee never lost her creative spirit, exploring cooking, writing, and sculpting. Miller died in 1977, leaving behind a rich legacy of photographs documenting the world around her and the complexities of her own life.

Lee Miller’s Impact

Lee Miller’s life is a story of perseverance, artistic curiosity, and a determination not to let her beauty or relationships with men define her. Through her photography, we are given a glimpse into the worlds of fashion, Surrealism, and the devastation of war. Lee Miller, the woman who stood behind the camera, remains a source of inspiration for countless female photographers who admire her unique perspective and her unwavering pursuit of creative freedom.

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Land beside the river

Como House, built in 1847, uniquely blends Australian Regency and classic Italianate architecture. The garden still showcases many elements of its original 1850s design. Como is situated on the traditional lands of the Wurundjeri Woi-wurrung and Bunurong Boon Wurrung peoples. These are two of the five language groups making up the Kulin Nations. Melbourne and the southern banks of the Birrurung (Yarra) are culturally significant as meeting places and hunting grounds for the Kulin Nations.

Colonisation significantly impacted the traditional way of life of Aborigines. The southern banks of the Birrurung became cattle runs by 1837. William Lonsdale, the Port Philip Police Magistrate, was responsible for making ‘Crown’ land available to squatters through licenses. His nephew George Langhorne was in charge of the Government Mission for Aboriginal People, which closed in 1839.

Lonsdale suggested selling the land, which his nephew Alfred (George’s brother) then purchased. Alfred then divided the land into lots, and in 1846, Edward Eyre Williams bought the lot where Como was built. Williams, a lawyer, later became a judge at the first Supreme Court of Victoria. He purchased land extending from the Yarra River to Toorak Road, using the proceeds from compensation paid to him after the abolition of slavery.

The Eyre Williams Years

Williams consequently commissioned the construction of a four-room residence with a separate kitchen and named it ‘Como’. The walls of the villa and kitchen were built from stones, mud, and rubble hauled up from the banks of the Birrurung. In 1852 Williams sold Como, which had a “noble frontage to the River Yarra” and “commanding views of the surrounding country” to Frederick Dalgety. Dalgety owned a firm supplying wool, gold, and settlers’ trades. However, Dalgety considered Como “infernally dull”. Within a year, he sold it to John Brown, a master builder who later became a wine and spirit merchant.

John Brown appointed William Sangster as head gardener and overseer in December 1855. Sangster, a garden designer, played a significant role in the early development of Melbourne. Sangster’s notable designs include Carlton Gardens in Carlton, Daylesford Public Garden, and Victoria Gardens in Prahran. He also designed Rupertswood in Sunbury, Rippon Lea Estate in Elsternwick, Stonington Mansion in Malvern, and Ard Choille at Mount Macedon, Victoria.

A picturesque Garden

Sangster supervised the design and development of the site, using the principles of picturesque garden design. The design included a detailed five-acre ornamental garden and a new carriageway from the main road (now Toorak Road). He also created several areas of orchards and vegetable gardens on the slopes leading down to the river. Along the southern boundary of the Yarra River, he planted willows, poplars, and Dutch elms. Many aspects of his design are still present, and the remaining trees are impressive specimens.

The house and the garden were developed simultaneously. Brown had the grounds landscaped while adding a second story to the original four-room villa. This included an upstairs ballroom overlooking the gardens. However, Brown overreached himself in his ambition to join Melbourne’s elite. Brown lost his fortune and was forced to sell his beloved Como.

The Armytage Family

Charles Armytage, a wealthy pastoralist, purchased Como for £14,000 in 1864. He and his wife Caroline lived with their eight children at Fulham Station, a large sheep holding just outside Geelong. Caroline was born in 1832 into a prosperous landowning family in Lechlade, UK. Arriving in the colony, she worked as a governess for the Austins of Barwon Park before marrying Charles, whom she had met at the local Winchelsea church.

Their hard work in the country, combined with Charles’ inheritance, had brought considerable wealth. The family began looking for a townhouse. Hearing Como was up for sale, Armytage decided it would be the ideal residence to solidify the family’s position in the growing Melbourne social scene. They spent the social season in Melbourne at Como and the rest of the year at their rural estates. The house was expanded in 1874 with the addition of a ballroom wing and an upstairs children’s wing.

The Grand Tour

After Charles passed away in 1876 at the age of fifty-two due to a pancreatic disorder, Caroline, who was 44 at the time, inherited the estate. Caroline decided it was the perfect time to travel. She wanted to ensure her children received a suitable education as members of Melbourne’s high society. On December 26, 1876, the servants packed trunks onto carriages at the front of Como House. Then, Caroline, her nine children, and a large retinue of servants, including two cows for fresh milk, boarded the sailing ship, the Assam, and embarked on a four-year ‘Grand Tour’ around the world.

Charles Norman was sent to study at Cambridge. Meanwhile, Caroline, the other children and servants, went to Egypt, India, China, Japan, Russia, and Europe. This journey was documented in a diary kept by Ada, Caroline’s eldest daughter. During this tour, Caroline sent crate-loads of mirrors, vases, chandeliers and furniture back to Como.

A family home

When Caroline and her family returned to Melbourne in 1880, they made Como their permanent residence. The lifestyle of the Armytage family and Como was supported by a large group of servants who did all the day-to-day work. Caroline employed cooks, a laundress, a housemaid, a needlewoman, a “Tweeney” (a between-the-stairs maid whose bedroom was in the tower), a parlourmaid, a milkman, a messenger, two permanent gardeners, and a coachman. 

Federation celebrations in 1901 saw a constant round of parties and musical evenings. During these, Constance met Captain Arthur Fitzpatrick, the aide-de-camp to the governor of Victoria. After a brief engagement, Constance and Arthur were married at St. John’s, Toorak, on May 9, 1906. The wedding was the social event of the season. The reception was held at Como and was attended by the cream of Melbourne society, including old friends such as the artists Arthur and Emma Minnie Boyd.

The bride and groom moved to England, but Fitzpatrick abandoned Constance and disappeared with the seventy-thousand-pound dowry, ending the marriage. From then on, Constance lived as a single woman.

World War I

At the outbreak of the WW1, Ada was 55 years old, Constance 43 and Leila 39. Leila joined the Voluntary Aid Detachment (VAD) in England for the Red Cross and was sent to an Australian Military Hospital in Le Havre, France. By 1916, Constance was also living in Le Havre, where she worked side by side with Leila as an untrained nurse and ambulance driver, picking up the wounded and the dying soldiers from the battlefields.

While the sisters were away from Melbourne for eleven years, Laura, a delicate and artistic woman, remained at Como. When the sisters returned after the war, they found Como somewhat worn out, with its Edwardian grandeur fading away. Following Caroline’s death in 1909, the property, including the house, was divided and put up for auction. Her daughters Ada, Laura, Constance, and Leila bought the house and the surrounding 15 acres of gardens. In 1921, the Armytage family sold 35 acres of Como’s river frontage, leaving just over five acres of house and garden. Of the five sons, only two married, and of the four daughters, only Constance married. Ada died in 1939. Laura lived as a recluse at Como from the 1920s and died in 1956.

Film Location

Como House has been the location of many Australian shows, and The Seekers filmed the video for Morningtown Ride there in 1967

In 1959, the newly formed National Trust acquired Como and opened it to the public.

Como House is located at Corner Williams Rd & Lechlade Ave, South Yarra 3141 and is open daily from 10 am to 4 pm

Guided tours of the house are available on Wednesdays & Fridays at 1.30 pm Saturdays and Sundays at 11.00 am, 12.30 pm and 2 pm

Como House Tours
Adult: $15
Concession: $12
Child: $9
Family: $35 (2A + 2C)
National Trust Members: Free

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