[1] The remark is, of course, general. Most of Victoria, as we all know,
is unfortunately definitely sold.
[2] _Melbourne Review_, October, 1883. (No. 32.)
[3] _Victorian Review_, May, 1884. (No. 55).
[4] _Melbourne Review_, April, 1884. (No. 34).
[5] I may parenthetically remark that the idea that Gordon is buried
in St. Kilda Cemetery is incorrect, as my doing so may perhaps save
others from the trouble of a fruitless pilgrimage there, not to say an
examination of all the Cemetery books. He is buried in Brighton Cemetery.
The tombstone is a block of blue-stone, topped with a shattered column
crowned with a laurel-wreath. The four sides of the block have marble
tablets let into them, on which are severally written: “The Poet Gordon.
Died June 24, 1870, aged 37 years;” “Sea-Spray and Smoke-Drift;” “Bush
Ballads and Galloping Rhymes;” “Ashtaroth.” The Cemetery is wooded
and wild, the vegetation, including the grave-flowers, stragglingly
luxuriant. Not altogether an unfitting “sleeping place” for him.
[6] His little article on it in the _Contemporary Review_ is a mere
circular.
[7] _Victorian Review_, February, 1885, in a series of articles on
contemporary English poets.
[8] It is gratifying to notice at the Technological Museum, where one
would least expect it, the number of sunday visitors more than halves
that of all the other days put together.
[9] A volume of his, in which is included his “Miscellaneous Poems” and
“Convict Once,” has lately appeared—at last another book, out of so much
of this hopelessly worthless colonial literature, which counts!
[10] Three of Miss Ironsides’ pictures were, when I was in Sydney, housed
in a sort of shed behind the temporary Picture Gallery. On one side of
it the windows were open to the dust and rain! One of the pictures, the
“Ars Longa, Vita Brevis,” was much spoiled; another, the “Adoration of
the Magi,” a little. I did what I could to alter this state of affairs,
but I could do nothing. The Trustees do not know to whom the pictures
belong, and there is not room enough in the Gallery, as it is, for even
the purchased pictures. Perhaps when these three pictures are permanently
spoiled, something will be done. For me, I must confine myself to
pointing out the wonderful depth of quiet feeling which is the chief
characteristic of the work of this remarkable girl. This is to be noticed
most in the “Marriage” picture and the “Ars Longa.” At the same time
there is something of passionate—of passion suppressed, but none the less
existent and strong, which adds a peculiar flavour and attraction to her
work. The mother’s face in the “Adoration” and the girl playing on the
harp in the “Marriage” are really beautiful in thought and execution.
For pure execution, however, I would direct attention to the drapery of
the angel in the former picture, or, in a particular shape, the thorns
in the “Ars Longa.” I suppose that there is such a plethora of work like
this of Miss Ironsides’ in both Sydney and Melbourne that only one or two
mentally impoverished people like myself can be expected to trouble about
it, and it is in the hope of attracting the attention of one or two such
that I write this. There are, however, three pictures by Mr. Folingsby in
the Melbourne Gallery which would, I am sure, look quite nice in one of
our new æsthetically furnished hotels, Mr. Hosie’s (say) or the Grand,
and then perhaps someone might put Miss Ironsides’ in their places. This
would be a gain for both the Hotels and the Gallery.
[11] Crescat et proficiat tam singulorum quam omnium, tam unius hominis
quam totius Ecclesiæ, Intelligentia Scientia Sapientia.
[12] “In Memoriam,” cxiv.
[13] In the Land Act that came into force in March, 1885.
MELBOURNE:
WILLIAM INGLIS AND CO., PRINTERS,
FLINDERS STREET EAST.