FOOTNOTES
[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.