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Gardens: a special place

The many faceted aspects of gardens

Gardens are practical, places of beauty, peaceful, have a pleasing aesthetic and are popular with people. Gardens across the Macarthur region certainly fulfil these elements.

Author Robert Harrison maintains that

The gardens that have graced this mortal Eden of ours are the best evidence of humanity’s reason for being on Earth. History without gardens would be a wasteland.

Humans have long turned to gardens—both real and imaginary—for sanctuary from the frenzy and tumult that surrounds them.

Harrison maintains that people wander through many types of gardens:

Real, mythical, historical, literary.

Camden Park House 2018 Flynns LForbes
The display of spring wisteria in the gardens at Camden Park House. The gardens are open in spring every year and are a magnificent display of vibrant colours. The gardens are part of the September Open Weekend at the property which provides one of the important intact colonial Victorian gardens in Australia. This image was taken by Lyn Forbes on the 2018 Open Weekend. (L Forbes, 2018)

 

Many say that gardens and connectedness to nature contribute to wellness

 

Wellness and wellbeing

Wellness is an area of growing public interest and is one the most popular sections of bookshops. A simple Google search of wellness reveals over 700 million search results.

The Wellness Institute says that wellness is:

a conscious, self-directed and evolving process of achieving full potential.

Why is wellness important?

The University of California Davis Student Health and Counselling Services states that wellness is important because:

it is important for everyone to achieve optimal wellness in order to subdue stress, reduce the risk of illness and ensure positive interactions.

The UCD states that there are eight areas to wellness: emotional; environmental; financial; intellectual; occupational; physical; social; spiritual.

Gardening and horticultural therapy or ecotherapy contributes to wellness through physical, psychological and social wellbeing.

 

Studies have shown that being connected to nature is linked to well-being. Gardening is a connection with nature. Some see it as a form of biophilia.

Biophilia

The hypothesis of biophilia says that people are connected to nature. The degree that nature is part of a person’s identity is ‘nature connectedness’.

The term biophilia was introduced by Edward O Wilson in his 1984 book Biophilia where he defined it as ‘”the urge to affiliate with other forms of life”.[3]

These ideas are not new and in ancient Greek mythology Gaia is the ancestral mother of all life and the personification of the Earth: the primal Mother Earth goddess.

In 1979 James Lovelock, in Gaia: A New Look at Life on Earth; his Gaia hypothesis which sees the Earth as a self-supporting organism.

Gardening has many of these elements and a direct connection to the earth.

 

A selection of gardens in the Macarthur region

Camden community garden

One active gardener maintains that this garden provides

therapy time, social interaction with other like-minded people and the satisfaction of growing your own produce. It is very peaceful down there and there is something about digging in the earth. It is fulfilling and a sense of joy seeing something grow from seed. There’s nothing like being able to pick and eat your own produce. The wide variety of colours of the flowers and vegetables in the garden builds mindfulness.

Camden Community Gardens[1]

 

Macarthur Park and garden

TripAdvisor

This is a park with varied places to wander through and enjoy, roses in abundance, opportunities for parties, weddings or friends, and 2 palm trees at one of the gates planted by Elizabeth Macarthur to add to the history!! Very pleasurable. (Val S, Camden)

 

A two minute stroll from the gorgeous township of Camden and you’ll find this little hidden gem. Beautifully maintained gardens in a tranquil setting make this spot just perfect for a short retreat from the rest of the world. no bustle, no shops no noise (except the occasional church bells), just peace and tranquility. (PThommo101, Camden)

 

I just loved the park with its wonderful rose garden and beautiful arbor. I was there to do a photo shoot and this park never fails to impress with its beautiful shadows and views (CamdenNSW)

Camden Mac Park
Camden’s Macarthur Park endowed to the residents of Camden by Sibella Macarthur Onslow in the early 20th century (I Willis, 2016)

 

The Australian Botanic Garden, Mount Annan

The Australian Plant Bank

TripAdvisor

A beautiful, restful place to take a Sunday stroll. Any time of the year there is always something on offer, but spring time is especially lovely. (Sue H, Sydney) 

It was wonderful to spend time here at the beginning of spring, (Matt H, Penang, Malaysia)

What a beautiful place for a picnic….the grounds are extensive and have an impressive display of Australian native plants….wattles, grevillea ,bottlebrush and eucalypts, to name but a few. (Lynpatch29, Sydney)

 I was very impressed it is beautiful (Camden NSW)

A tranquil space for a walk among native plants.  Your head is back in a good space. (Susie994, Canberra)

mt_annan_botanic_garden2
The Australian Botanic Gardens at Mount Annan showing a bed of paper daisies 2016 (ABG)

 

Sculpture Garden Western Sydney University Campbelltown

Maybe it is the walking around the picturesque landscape provided by the WSU grounds staff and gardeners. Maybe it is the landscape gardening and native vegetation set off by the water features. Maybe it is the quiet and solitude in the middle of a busy Campbelltown.

Whatever it is in the sculpture garden, whether provided by the permanent WSU sculpture collection or the exhibition works, the site has a positive serenity that is hard to escape. It certainly attracts the staff and students.

The exhibition makes up part of the programme linked to the WSU Art Collection.  Take yourself on a virtual tour of the WSU Art Collection.

Campbelltown WSU Sculptures 2018
The sculpture garden in the grounds of Western Sydney University Campbelltown are one of the best kept secrets of the Macarthur region. It is great to see the display of public art and there a host of display pieces to hold the interest of any art nerd. (IWillis)

 

Camden Park House & Garden

Camden Park Open Day 2018[3] IWillis
Gardens at Camden Park House which are one of Australia’s most important intact colonial Victorian gardens. This images shows a bed of clivias which provide a magnificent display in spring. The gardens are open for public inspection each year in September. (I Willis, 2018)

Japanese Garden at Campbelltown Arts Centre

The Japanese Gardens are a special gift from Koshigaya, Campbelltown’s Sister City in Japan, and are located in the grounds of the Campbelltown Arts Centre.

The Campbelltown Japanese Gardens celebrate the sister city relationship between Campbelltown and Koshigaya. The gardens were presented to Campbelltown by the citizens of Koshigaya on 10 April, 1988.

The Gardens symbolise the beliefs and religion of both Shinto, the indigenous religion of Japan, and Zen Buddhism.

The Campbelltown Japanese Gardens feature a traditional waterfall, koi pond, timber bridge, stonework pathways, lush plantings and a 16th Century designed teahouse, hand crafted by Japanese craftsmen.

The aim of the garden is to obtain quiet solitude. The design represents elegant simplicity, lending itself to contemplation and heightened awareness. (Campbelltown Arts Centre)

Campbelltown Arts Centre Japanese Garden3 2018 CAC
The Japanese Garden at the Campbelltown Arts Centre. The garden illustrates the ‘peaceful surrounds and tranquility of the traditional Japanese plants, designs and craftsmanship’. (CAC)

 

Picton Botanical Gardens

Picton Botanic Garden 2017 Pinterest
The Picton Botanical Gardens 2017.  The gardens were established in 1986 and covers 4.1 ha and has 90% native Australian plantings. (Pinterest)

Tripadvisor

The gardens are beautiful. (TamJel, North Sydney)

Well presented, peaceful park just what the doctor ordered.. (Gasmi, Sydney)

Purely by chance, I saw a signpost for the Picton Botanical Gardens. I drove down Regreme Road and discovered a beautiful, peaceful space adjacent to the oval. (Jennifer C, Belconnen, ACT)

 

Macarthur Centre for Sustainable Living

Mac Centres for Sust Living 2017 Mount Annan
The Macarthur Centre for Sustainable Living garden ‘The Centre  is a not-for-profit, community-driven organisation supported by local Macarthur Councils and the Royal Botanic Gardens & Domain Trust. MCSL is primarily an educational facility and model for sustainable technology’ (2017 MCSL)

 

Camden RSL Memorial Rose Garden

Camden RSL Memorial Rose Gdn 2017 CRSL
The Camden RSL Memorial Rose Garden is the site of the annual Anzac Day Dawn Service in Camden. It attracts thousands of people each year and is a site of memory and commemoration. The extensive rose garden has a memorial obelisk located in front of a columbarium.  (CRSL, 2017)

 

Rotary Cowpasture Reserve Garden

Camden Cowpasture Reserve Spring Flowers 2018
The Camden Rotary Cowpasture Reserve garden in spring 2018. The reserve wall was opened and dedicated on 19 February 1995 by Rear Admiral Peter Sinclair Governor NSW. The monument celebrates the Rotary Centenary and the service that Camden Rotary has provided to the community since 1947. (2018 I Willis)
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Aesthetics · Architecture · Art · Campbelltown · community identity · Cultural Heritage · Entertainment · Heritage · Landscape aesthetics · Leisure · Macarthur · Monuments · Moveable Heritage · Place making · Public art · sense of place · Tourism · Western Sydney University

Sculptures by the Lakes

The CHN blogger was out and about recently at the 8th Western Sydney University Sculpture Award and Exhibition on the Campbelltown Campus. There area 23 artworks from all over the world.

Campbelltown WSU Sculptures 2018[7]
Artist Denese Oates from Australia has created this work called Xerophyte Forest. It is a work in steel presenting the vision of the future. It illustrates peculiar plants living with very little water. This work is a ‘fantastical interpretation of plant form expressed in corten steel, used for its richly rusted colour which links it to the landscape’. Denese studied at the Alexander Mackie CAE. (I Willis, 2018)

The exhibition is in a wonderful setting placed around the lakes at the front of the Campbelltown WSU campus. The aesthetics of the sculpture landscape provided by the exhibition is simply stunning.

The exhibition literature states:

The exhibition showcases major works by significant Australian and international artists who have created sculptures especially for the site.

Looking at the sculpture garden created by the exhibition from the main roadway provides a pleasant enough vista. Once out of your car and on your feet walking the ground the vistas are marvellous.

The layout placement of the sculpture exhibition has been done with a creative flair that creates a landscape of the imagination. Simply it all works.

Campbelltown WSU Sculptures 2018[4]
This work is called Environment IV and was created by artist Marcus Tatton. The wrok is ‘a space for reflection and play’. Marcus is described as a ‘public space sculptor who draws comment from where he lives’ in Tasmania. Tatton explores that interplay between the natural and man-made environments. This work represents ‘the tendrils’ of ‘our journey through time’ or how man has manipulated the earth. (I Willis, 2018)

The site suits the exhibition. Its expansive space giving the sculptors the opportunity to create an aesthetic that sets off their work.

Tour and walk guide Monica outlined the trials and tribulations of getting heavy equipment onto the site to set up the artworks was a feat in itself. To the viewers in our party they were certainly impressed by it all.

Tour guide Monica said that the staff and students have started using the grounds around the lakes since the exhibition and sculpture park were created.

 

Well being and public art

Public art has a positive effect on the community and people’s self-esteem, self-confidence and well being. An article in The Guardian examined the well-being effect of public art on communities and stated:

Alex Coulter, director of the arts advocacy organisation Arts & Health South West believes that: “Particularly when you look at smaller communities or communities within larger cities, [public art] can have a very powerful impact on people’s sense of identity and locality. 

Apparently it is the participatory side of getting community involvement that brings out the positive effects on people.

Campbelltown WSU Sculptures 2018[3]
This is a 2012 work by sculptor Neil Laredo called Fence. The materials are old railway sleepers used to create an impressive work. This is part of the permanent collection of the Western Sydney University Campbelltown Campus. The work was donated to the WSU Art Collection via the Cultural Gift Program in 2012. (I Willis, 2018)

Maybe it is the walking around the picturesque landscape provided by the WSU grounds staff and gardeners. Maybe it is the landscape gardening and native vegetation set off by the water features. Maybe it is the quiet and solitude in the middle of a busy Campbelltown.

Whatever it is in the sculpture garden, whether provided by the permanent WSU sculpture collection or the exhibition works, the site has a positive serenity that is hard to escape. It certainly attracts the staff and students.

The exhibition makes up part of the programme linked to the WSU Art Collection.  Take yourself on a virtual tour of the WSU Art Collection.

Whatever it is, the WSU Sculpture Exhibition is well-worth a visit.

Campbelltown WSU Sculptures 2018[2]
This is a piece by artist Michael Purdy called Gimme Shelter. The work uses radiata pine, wire, sandstone and found objects. This is a powerful work set by its location isolated at the edge of the lake. The sculpture ‘explores the individual’s loss of identity once they become part of the “refugee problem”. Purdy is a landscape architect who uses Sydney sandstone in his work around the city. (I Willis, 2018)

The Eighth Western Sydney University Sculpture Award and Exhibition runs between 4 May to 3 June 2018 at the Campbelltown Campus.

Campbelltown WSU Sculptures & Grounds 2018[2]
The landscape of lakes at the Campbelltown campus of the Western Sydney University is an inspiring setting for this learned institution.. This is the setting for the annual sculpture exhibition that is mounted by the university and the three prizes awarded each year. The campus provides a picturesque setting for the sculpture park located in and around the lakes. (I Willis, 2018)
Aesthetics · Architecture · Attachment to place · camden council · community identity · Cultural Heritage · Cultural icon · Edwardian · Fashion · Heritage · Historical consciousness · Historical thinking · history · Local History · Narellan · Place making · sense of place · Sydney's rural-urban fringe · Town planning · Uncategorized · Urban growth · Urban Planning · Urbanism

The lost world of Carinya

A 2010 meeting of Camden Council on Sydney’s southern outskirts voted five to four to demolish a simple 1890 Federation farm cottage known as Carinya at Harrington Park. The owner, Nepean Pastoral Company, wants to develop a 97-residential lot subdivision on the farm site.

Carinya Cottage
Carinya Cottage c.1890 is a simple Edwardian brick farm cottage at Harrington Park demolished in 2010 (Camden Historical Society)

 

The decision illustrates a wider malaise that has enveloped heritage in this state — a worrying trend that is seeing our past disappear.

Demolition of Carinya

Camden Council’s decision to approve Carinya’s demolition was based on reports written by heritage consultants, Urbis. Urbis stated that, while the cottage was intact and in reasonable condition, it was not of local significance. In their view Federation cottages, while rare in the Narellan area, are not rare in the Camden local government area (LGA). Secondly, Carinya has little associative value with the Cross and Paxton families who lived there.

Many people do agree with these conclusions. In the past Carinya has been overlooked in heritage surveys of the Camden LGA and had not been included on any local lists of historic houses. While not a reason for demolition, it is a contributing factor.

Jonathon Chancellor noted recently in a story on the fight to save the Tilba residence in Burwood Heights that many councils had “neglectful heritage lists” and included Camden.

Even more damming, ”heritage listing at the local level does not provide much protection at all”, wrote Graeme Aplin, from Macquarie University, in Australian Quarterly (May-June 2009).

”What we have witnessed over the last five years is the systematic dismantling of heritage protection,” stated Sylvia Hale, Greens spokeswoman on planning (”Heritage at risk”, National Trust Magazine, February-April 2010).

More than this the imminent loss of Carinya reflects wider problems in heritage affairs across New South Wales. There is a blatant disregard of the importance of simple cottages of historic value especially at a local level. They represent the lives of ordinary folk. Simple salt of the earth people who struggled to make a living from the soil.

The story of Carinya fits within the Australian Historic Themes identified by the Australian Government (Australian Heritage Commission 2001). These are common national standards for idenfication and conservation of heritage places. Yet this does not qualify Carinya for recognition of local significance.

Even examples of Australia’s important early colonial houses on Sydney’s urban fringe, which are of national significance, such as like Oran Park House and Maryland suffer from indecision and dithering by the authorities.

Conflict of interest in heritage

There is a real, or at least a perceived, conflict of interest for some by heritage consultants in the assessment process. Consultants are a gun for hire. There needs to be a separation of roles in the assessment process of historic houses. The judgment concerning the assessment of significance should be conducted by an independent third party. Heritage consultants should not be judge, jury and hangman. There is a need for due diligence.

The assessment process needs the expertise of professional historians to examine the appropriate historical evidence. There were no historians engaged in the assessment process of Carinya. Urbis has largely relied on a cursory examination of documents at the local library and museum.

Carinya Cottage B&W
Carinya Cottage c.1890 is a simple Edwardian brick farm cottage at Harrington Park demolished in 2010 (Camden Historical Society)

 

Council planning and development officers are under incredible pressure to meet timely decisions for development applications. This particularly applies in the Camden LGA, which is a designated growth area for Sydney.

Council officers and their elected councilors rely on reports written by heritage consultants. Officers and councilors may have had little or no specific training assessing heritage significance, local or otherwise. They are not experts in history and heritage.

One of the casualties in the assessment process is the thorough and considered assessment of historic houses.

Loss of interest in heritage

The current political climate in NSW is not conducive to the protection of historic houses. Heritage is not a high priority. Crowded Sydney and a shortfall in housing stock are political priorities. For this read new estates on the urban fringe, like the approved Carinya farm subdivision.

The developers of Carinya farm housing estate are selling a dream that is just that, a dream. The new estates create a bland homogenised suburban streetscape with little charm or character.

The Carinya farm sub-division is part of Sydney’s urbanisation. An octopus that devours all in its path — including ethical standards, community identity, sense of place and apparently local heritage and history.

The destruction of simple charming 19th century cottages is unnecessary. There is a demand from house buyers who want to live in historic cottages. These buyers restore the cottages to their former glory.

What have we come to in the new century? We have certainly not come to appreciate our past, our inheritance.

Learn more

Heritage and urban planning

Originally published in the Sydney Morning Herald online as Heritage: a dismal state of affairs 16 April 2010

Aesthetics · Architecture · Attachment to place · Camden · community identity · Cultural Heritage · Cultural icon · Elderslie · Heritage · Historical consciousness · history · Landscape aesthetics · Local History · Modernism · Place making · sense of place · Urban growth · urban sprawl · Urbanism

Mid-20th Century Modernism in Elderslie

Modernism was a transnational force that embraced the Camden community.

The lands releases in the Camden suburb of Elderslie in 1960s have produced a number of houses that have expressed mid-20th century modernism. The house designs were taken from the book of project homes of the day and were quite progressive.

Elderslie 64 Macarthur Road 2010 IWillis
The Hennings house built at the beginning of the 1960s by a local businesman at 64 Macarthur Road. It occupied a prominent position and was influenced by the American West Coast Ranch style of housing. The house was demolished in 2011. (I Willis, 2010)

 

Australian architects including Robin Boyd were expressing Australian modernism. These architects were commissioned by housing developers like Lend Lease to design their housing estates.  One such development was the Lend Lease Appletree Estate at Glen Waverley in Melbourne. Another Lend Lease land release and group of show homes were at their 1962 Kingsdene Estate in Carlingford,

The Elderslie homes were built by the miners who worked in the Burragorang Valley and they wanted new modern houses. They generated the wealth that funded the urban growth of the  Camden suburbs of Elderslie and South Camden.

Elderslie was one of the original land grants to John Oxley in 1816. The area has been dominated by farming, particularly orchards and vineyards.

Elderslie examples of 1960s modernism include houses in Luker Street characterised by low-pitched rooves, open planned but restrained design, with lots of natural light streaming in full length glass panels adjacent to natural timbers and stone. There are also ranch style houses in River Road with open planning and wide frontages to the street, some architect designed.

Wrought iron work, Elderslie NSW 1960s (I Willis)
House in Macarthur Road Elderslie showing wrought iron work popular in the 1960s. A number of houses were built in this style based on the mining boom from the Burragorang Valley coal mines. (I Willis, 2010)

 

These houses are all located in and amongst Federations style farming houses of the Edwardian period. The Federation style houses were on large blocks of land that were sub-divided during the 1960s.

The now demolished Henning’s house in Macarthur Road (image) is an example of open planned ranch style. Other modernist designs are the blocks of flats in Purcell Street, with use of decorative wrought iron railings.

Sunset Avenue in Elderslie was a new land release with a mix of 1960s modern low-pitched roof open planned houses interspersed with New South Wales Housing Commission fibro construction homes.

Other land releases of the 1960s were the New South Wales Housing Commission 1960s fibro houses some of which are located in Burrawong Road and Somerset Street.

Elderslie Fibro Cottages
Modern fibro cottages in Burrawong Crescent Elderslie built around the 1960s. (I Willis, 2005)
Aesthetics · Attachment to place · Camden · Camden Museum · Colonial Camden · Colonialism · Cowpastures · Entertainment · Heritage · Historical consciousness · Historical Research · history · Leisure · Local History · Macarthur · Place making · sense of place · Settler colonialism · Tourism · Trust

GLAM, trusted sources and the local museum

In these days of fake news and social media hype people have lost trust in many public institutions. Social media is king and the prominence of news can be driven by clicks and algorithms.

 

Trust is difficult concept to define and measure. It is a fragile belief that people and institutions can be relied upon to be ethical and responsible. Trust is critical in the effective functioning of a democracy.

 

It is more important than ever that there are sources that are trustworthy and produce credible evidence-based information, particularly around scientific and cultural issues.

 

Dr. David J. Skorton is the 13th Secretary of the Smithsonian Institute in Washington DC states in reference to recent controversies:

More and more, the trustworthiness of information is based on the perceived trustworthiness of the source. Libraries and museums are considered honest purveyors of information and places for conversation on issues of local and national significance. Today’s museums are dynamic learning hubs, using the power of art and artifacts to engage, teach and inspire. Museums touch lives and transform the way people see the world and each other.

One group of trusted institutions are museums, galleries and libraries, and within these are local community and folk museums, pioneer villages and house museums. They are genuinely authentic.

camden-library museum
Camden Library Museum in John Street Camden. The Camden Museum is a volunteer-run local social history museum that tells the story of the Cowpastures and Camden Districts. It has a significant collection of local artefacts and objects, archives and image collection. (I Willis, 2016)

 

 The landscape of local museums is one of the characteristics of rural and regional Australia. These local museums are managed and conducted by a host of local community organisations.  According to the National Museum of Australia there are over 1,000 local and provincial museums across Australia.

 

Local museums tell local truths and are trusted sources of local stories and histories.  Local museums are stores of memory that are built on nostalgia and contribute to well-being of the community. They are sites of volunteerism and strengthening of community. They promote local tourism, local employment, skill enhancement and training opportunities for local people.

Aust Day 2018 Museum Open Frances&Harry
Two local sages on Australia Day 2018 at the Camden Museum. Frances and Harry are two larger than life local characters who are well known local identities. They have spent their life devoted to their community. They have a vast trove of local stories and knowledge that they willing share with others. (I Willis)

 

Centred on local history local museums are not fake. They are are honest and straightforward. What you see is what you get.

 

 The local museum tells local stories about local identities and local events, and are driven by local patriotism, parochialism and localism. They celebrate local traditions, myths and commemorations.

 

The local museum can vary from world class to cringingly kitsch, from antiquarian and to professional.  Individuals create them from ‘mad ambition’ and shear enthusiasm.

 

For all their foibles they can build trust within a community. The local museum can help to build resilience through strengthening community identity and a sense of place. Local museums are a trusted local institutions, contribute to a dynamic democracy and active citizenship.

 

This post was originally published on the ISAA blog.

Aesthetics · Art · Campbelltown Art Centre · community identity · festivals · Historical consciousness · Historical thinking · Leisure · Local History · Macarthur · Modernism · Place making · sense of place · Sydney · Tourism

Sheer Fantasy Experience

Campbelltown Arts Centre continues its growing reputation for innovative, exciting and challenging art.

Campbelltown Art Centre Launch SheerFantasy 2018Apr Door&Curtain
Sheer Fantasy Experience is an innovating and challenging art exhibition at the Campbelltown Arts Centre 2018 (I Willis)

 

The Campbelltown Arts Centre hosted the opening of a whimsical exhibition curated by artist David Capra in April 2018.

Campbelltown Art Centre Launch SheerFantasy 2018Apr Curator
Curator David Capra at the launch of his exhibition Sheer Fantasy at the Campbelltown Arts Centre April 2018 (I Willis)

 

Within the exhibition fantasies abound in a world of the imagination where the world is re-interpreted by indulgence.

Campbelltown Art Centre Launch SheerFantasy 2018Apr Wall
Launch of the Sheer Fantasy Exhibition at the Campbelltown Arts Centre April 2018 (I Willis)

 

The exhibition notes state there are:

A number of newly commissioned works in which artists have contemplated private and internal landscapes that have long influenced their practices…bold architectural additions… provide an immersive experience of constructed escapisms that are stongly familiar…

Campbelltown Art Centre Launch SheerFantasy 2018Apr Truck
Launch of the Sheer Fantasy Exhibition at the Campbelltown Arts Centre April 2018 (I Willis)

 

Influences include Hollywood Westerns movie sets and the Golden Age of Cinema. Combined with performance art by Renny Kodgers in a truck where there are ‘slow conversations’.

Campbelltown Art Centre Launch SheerFantasy 2018Apr Crowd
The crowd at the launch of Sheer Fantasy Exhibition at the Campbelltown Arts Centre April 2018 (I Willis)

 

An interesting and challenging display.

Campbelltown Art Centre Launch SheerFantasy 2018Apr UFO
Launch of the Sheer Fantasy Exhibition at the Campbelltown Arts Centre April 2018 (I Willis)

 

The Sheer Fantasy Exhibition runs from 14 April to 3 June at the Campbelltown Arts Centre.

Aesthetics · Architecture · Attachment to place · British colonialism · Cobbitty · Colonialism · community identity · Cowpastures · Cultural Heritage · Cultural icon · Denbigh · Fashion · Heritage · Historical consciousness · Historical thinking · history · Landscape aesthetics · Living History · Local History · Macarthur · Memorials · Memory · Monuments · Moveable Heritage · myths · Place making · Ruralism · sense of place · St Paul's Church Cobbitty · Victorian

A little bit of England celebrates 190 years at Cobbitty

The Anglican Church at Cobbitty recently held an open day for the community to  celebrate 190 years of the Anglican community in the village.  Those who attended could listen to local experts give talks on the history of the Anglican church in Cobbitty, the stain glass windows in St Pauls, and its fixtures, furnishings and artefacts.

Cobbitty Ch 190 Anniv 2017

 

The Anglican Church has been the heart and soul of the village since the Hassall’s established themselves in the Cowpastures district in the early days of the colony of New South Wales. The church has taken a central part in place making and the development of community identity in the village.

Cobbitty Ch 190 Anniv Activites 2017

 

The presence of the church is the reason the village exists and is closely reminiscent of a pre-industrial English style rural village. The village even had its own blacksmith, who was an essential traditional trade in all rural villages. Working over their hearth with hammer and anvil making and crafting the tools of the farmers to making decorative work for the church graveyard.

The Hassall’s were the de-facto lords of the manor. The development of the village was their fiefdom. Long term local identity and font of knowledge of all things Cobbitty John Burge recalled in his talk on the ‘History of the Cobbitty Anglican Church’ that the Hassall family owned pretty much all of the farms up and down the Nepean River in the vicinity of Cobbitty.

The Reverend Thomas Hassall, the son of missionaries Rowland and Elizabeth Hassall who arrived in New South Wales in 1798, was appointed the minister of the Cowpastures district in 1827.

The Heber Chapel

The first chapel was built in the area by Thomas Hassall, called Heber Chapel and opened in 1827, with Thomas as rector. It was named after the Bishop Heber of the Calcutta Diocese, in which Cobbitty was located at the time.

Cobbitty Heber Chapel J Kooyman 1997 CIPP
This image is of Thomas Hassall’s 1827 Heber Chapel Cobbitty taken by John Kooyman in 1997 who was commissioned by Camden Library to document important heritage sites across the Camden District (CIPP)

 

Heber Chapel became the centre of  village life as its first school and church. The chapel was used as a school building during the week and religious purposes on the weekend. Schooling at the chapel continued until 1920.

The Heber Chapel was constructed of hand-made bricks with a shingle roof. It is a simple design perhaps reflected the rustic frontier nature of Cobbitty of the 1820s when Pomari Grove, the site of the church and chapel, was owned by Thomas Hassall.

Recent renovations and restoration was carried out in 1993.

St Paul’s Anglican Church

There was the  opening of St Paul’s Church in 1840, with consecration by Bishop William Broughton. The community supported the construction of a Rectory in 1870 and a church hall in 1886.

Cobbitty St Pauls 1890s CKerry 'EnglishChurch' PHM
This Charles Kerry image of St Paul’s Anglican Church at Cobbitty is labelled ‘English Church Cobbitty’. The image is likely to be around the 1890s and re-enforces the notion of Cobbitty as an English-style pre-industriral village in the Cowpastures (PHM)

 

St Paul’s Anglican Church was consecrated in 1842, designed by Sydney architect John Bibb in a neo-Gothic style with simple lancet shaped windows, typical of the design. These windows originally had plain glass and over the decades were changed for stained-glass

The church was built with plain glass windows. Stained glass became popular again in the mid-19th century as part of the Gothic-revival movement in England and New South Wales. Stained glass was originally installed in medieval churches and cathedrals, and then fell out of popularity. (Dictionary of Sydney)

There are 10 memorial windows in St Pauls with the oldest dated to 1857 and made by English glass artist William Warrington. It was donated by the Perry family in memory of their daughter Carolyn.  There is one original window dating from 1842 with small panes of glass, in the style of the period.

Well-to-do members of the church community preferred to donate a window as a memorial rather than a wall plaque or other church object to commemorate their loved ones.

Cobbitty St Pauls Window 2011 JLumas
This image of one of the memorial stained glass windows in St Paul’s Anglican Church Cobbitty taken by J Lummis of Cobbitty and donated to the Dictionary of Sydney in 2011 (DoS)

 

The current presentation of the church is different from the 1840 St Pauls. Today’s church represents the many changes that have occurred over the years.  The changes in the building reflect changes in style, technology, tastes and support  as well as periods of neglect.

A presentation by John Burge on ‘The History of the Cobbitty Anglican Church’ illustrated the many lives of the church from periods of strong support by the local community to relative neglect. During the 1980s the graveyard became overgrown and graves hidden under bushes.  John’s images showed numbers of past symbolic trees, mainly cypress, that were planted grew into large trees. Sometimes these were planted  too close to the church building  endangered its safety and stability.  They were removed.

When you look at the church you see a slate roof and automatically assume that this was original. It  is not. The slate roof is a recent addition in 2014 and installed as part of the church restoration when work was done to roof trusses, barge boards, and guttering. The church originally had a shingle roof with a plastered interior vaulted ceiling. Now it has a slate roof with a maple timber lined interior ceiling. The walls are quarried sandstone from Denbigh.

Electricity was installed in 1938, after originally being lit by candles then kerosene lamps.

The pews and pulpit are unchanged and are Australian red cedar timber work.

Music is provided by an 1876 Davidson organ from Sydney, after music was originally provided by  violin then harmonium.

The Anglican story of Cobbitty continues to evolve around the Heber Chapel, St Pauls, the Rectory and church hall. The village continues to grow as does the life of the church community with a host of activities under the current church leadership.