I have been looking at all the ornamentation on Victorian buildings. The keystones with heads, the corbels scroll brackets, the flower shaped patraes and the plethora of other embellishments, like over decorated wedding cakes, on nineteenth century buildings. Now in the twenty-first century they are in varying states of repair, some crumbling away.
I am amazed that I haven’t heard about some concrete pineapple or other orb becoming dislodged and crashing onto a roof. Do have a metal armature supporting them? There is so much about these ornaments that I don’t know.
Given that I see these ornaments every day I am struggling to even to learn the vocabulary to describe them. They are so alien after the modernist world. Where John Ruskin might have endorsed ornamentation, the architect Alfred Loos declared decoration a crime.
Who made these things?
Some of these architectural ornaments were made by Colin Young Wardrop, who also taught modelling and woodcarving at Geelong College, and William C. Scurry. Both men were on the council of the Yarra Sculptors’ Society.
Ken Scarlett’s Australian Sculptors has details on William C. Scurry.
“Messrs Wardrop and Scurry, Sculptors, Modellers, and Fibrous Plaster Manufacturers, 48 and 69 Arden Street, North Melbourne. This business was established in 1892, and since that date has made rapid strides in advancement. Messrs. Wardrop and Scurry have been large contractors for the principal decorative work in the city and suburbs, the principal buildings entrusted to their care being the Princess Theatre, the Theatre Royal, Opera House, Federal Coffee Palace, the Queen’s Walk, and numerous other places of interest in Melbourne.”
“The firm also executed the group of Justice and the other ornament for the Bendigo Law Courts, also the group of figures for the Bendigo Art Gallery. They were the first to introduce fibrous plaster for decorative purposes in Victoria, and in this class of work they certainly excel, as may be seen from the interior decoration of the Princess Theatre and Opera House” (p. 585)
It is uncertain when William Scurry’s father arrived in Melbourne but what is know is that in 1856 Scurry’s uncle, James Scurry was working with Charles Summers and John Simpson MacKennal. James Scurry was producing decorations for the interior of Parliament House on Spring Street including the two figures, Mercy and Justice, on the north side of the Legislative Council Chamber. Charles Summers went to create the Burke and Will Monument. John Simpson MacKennal was the father of Sir Bertram Mackennal, who became Australia’s first international superstar artist.
What are your thoughts?