Chapter 17. MORTIMER LEWIS

Early Australian Architectural History

MORTIMER WILLIAM LEWIS became Colonial Architect in January 1835, in succession to the unfortunate Ambrose Hallen who had been so skilfully eased out of the position. Lewis was to be Colonial Architect for fourteen years, the longest period that the office had been held by any one man up to that time. He had been a surveyor for twenty years, so, like Sir Christopher Wren, he came to architecture late in life. As early as 1815, in England, he received a commission signed by the Earl of Mulgrave appointing him Military Surveyor and Draughtsman. On 30th March 1830 he arrived in Sydney on the DtrivegoCi nstlc, having been appointed on 11th September 1829 Assistant Surveyor to the Government and, therefore, to Ambrose Hallen, whom he was to supplant. Sir Thomas Mitchell, as Director of Works, got to know of him and, presumably because they were both surveyors and more certainly because Lewis had energy and ability, grew to like him also. Mitchell, indefatigable himself, admired and patronized men of similar grain, and his respect for Lewis's abilities is a matter of record. The new Colonial Architect came to his office at a time when the Colony was expanding and opulent, with rich and numerous opportunities for men of intelligence and diligence. In January 1835 Governor Bourke hinted in his report that at last he had a competent man in place of Hallen for the public buildings. It was in this dispatch that the need for a lunatic asylum adequate to cater for the rum-induced needs of the Colony was stressed, and the intention of building one declared. This, then, was in all probability Lewis's first job. The design he produced was in the simple tradition of the rectangular facade with the small break forward in the centre, surmounted by the pedimented roof. Although we have seen this type of design many times before, Lewis added considerable sophistication to the rather naive earlier work. He made the facade in the proportion of three squares, and included a string course to give subtlety to the vertical divisions (104). The portico was remarkable in that it was designed with Ionic columns, and since the building was well on towards completion in 1837 this must have been one of the first examples in Australia of the use of these more ornate forms. Previously all the Colonial columns had been very correct, or very free, versions of the Doric order. The capitals of the columns of that order, being circular, could be turned on a simple spindle, an operation within the scope of even semi- skilled men. The Ionic capitals had to be carved by hand, which required a high order of craftsmanship. Fortunately, the number of highly skilled craftsmen was now increasing as immigration brought more tradesmen to New South Wales. During the actual building operations at Gladesville, Lewis altered the proportions of his original design, making them wider and more squat, and replaced the pediment with a simple gable end, so that the resulting building was more like Bloodsworth's earlier design than ever. A wider door with a square head was more satisfactory than the intended narrow semicircular-headed one. The plan of the asylum as Lewis originally designed it showed a more complex arrangement of rooms than we saw in earlier buildings. The first floor was laid out in very much the same way as the lower floor, its internal walls being carried on the ground-floor walls in all cases. The building was of stone with slate roofs. From 1835 to 1837 this was the only public building of importance that was in any way advanced. The Colonial Office in London had asked that, public works throughout New South Wales be reduced, only to be met with the Governor's objection that a large number of buildings had been required for many years and that any building activity "may thus be regarded in the light of bringing up arrears, and the outlay upon them from the accumulated Revenues more as a past, then a current Expenditure". Lewis was extremely busy on his plans, and compiled a folder which he entitled "Public Buildings erected in New South Wales 1837". For the first time we see his important works-the courthouses at Darlinghurst, Hartley, Parramatta, and Berrima, and the police office at Sydney-all represented, as well as minor buildings. Lewis's architecture represented the most notable development of the Greek Revival that was to be seen in Australia. The spread of the Revival perhaps became greater after 1840 than before, but it was unquestionably Lewis's work which influenced its course. This Greek Revival was a curious development in English architecture that had but little to do with normal evolution. At the beginning of the nineteenth century English architects studying on the Continent "discovered" Greece and its antique architecture. One of them, Charles Cockerell, measured many of the great Greek buildings and later published books of drawings, giving his studies to the world. From these, and other similar, scholarly folios the Greek Revival in architecture was to come, ably cherished by such men as Sir John Soane, designer of the Bank of England; Sir Robert Smirke, whose design of the British Museum cost £ 1,000,000 and William Wilkins- all of whom were at various times to occupy the Chair of Architecture at the Royal Academy, so that their influence was very great. It is nevertheless clear from these facts that the Greek Revival was a bookish architecture, a dilettante movement that lacked the fire of a living evolutionary thought. It was useful, however, to an energetic man like Lewis, whose voracious mind could find all it needed to feed upon in the published tomes of the Greek Revivalists. So much was he under this influence that his method of drawing, amply illustrated in the books of plans which he has left, followed exactly the technique of his intellectual guides whose "draughtsmanship showed a high standard of competency.  Generally a fine ink line was adopted, with a free use of delicate colours." This completely describes Lewis's method of drawing. His lines are so delicate that if they were any thinner they could truly be said not to exist at all. His representation was realistic and a big advance on the rather crude diagrams of his predecessors. He also favoured scales of 8 or 16 feet to an inch for his drawings in place of the earlier, more awkward, scales of 10 or 15 feet to an inch. The Darlinghurst courthouse (105) is one of his most important works, and is by far the best example of his erudite Greek Classicism. His other essay in pure Greek was the first Parramatta courthouse, long since demolished. The front of this was architecturally correct, but the rest of the building suffered from crudities of massing and mishandling of detail.' At Darlinghurst his touch was sure, and his treatment of detail was firm. It will be noticed that the facade of the building as Lewis built it, and as is shown in the accompanying drawing, consisted of a heavy pedimented porch in direct imitation of a Greek temple, placed on a rectangular elevation go feet long. He later designed wings at each end, but he did not build them. The splendid wings which now flank and advance in front of the line of his work are much later additions done exactly in the spirit of the original. The scroll work in the pediment and the skylight were probably added at the same time, because when Lewis completed his part of the work only the carved coat of arms appeared in the gable. The proportion of the front is somewhat marred by the treatment of the columns. The practice of stopping the flutes some 6 feet from the bottoms of the columns so as to form a dado is sound but the result is unsightly. The columns are built of sandstone, and it is true that if the flutes had continued to the ground they would have been chipped and damaged by passing traffic, but the effect produced is awkward. The porch, which does not project far enough, has a meanness about it which does not do justice to the semicircular apse which contains the entrance doors. The main doors are some 12 feet high, and the columns 23 feet. Other details are equally large, which gives the design a most imposing scale. The craftsmanship throughout is superb and gives great strength and refinement to the elements of the facade. The courthouse is simple and direct in its planning, and, except for the lack of cross-ventilation in the court, would have been satisfactory for its purpose. It will be realized that the original plan laid down by Lewis had to be altered and modified when the building was enlarged by the addition of the wings. The Darlinghurst courthouse would have been under Lewis's personal care, and execution of all details is scrupulously correct. In the inland towns of Hartley and Berrima the work was in the hands of subordinates who were almost completely ignorant of the refinements of architectural detailing, and this had some rather queer results at times. At Berrima, Rattenbury-the Clerk of Works- did the best he could, but, being a long way from Lewis's office in Sydney, he had no one to tell him that a Classical column has a shape that is controlled by rigid rules.* The humorous shape of the Berrima columns comes from his attempts to make sense of entasis, the name given to the subtle moulding of the shaft of a column, which gives it a pleasing curve to delight the eye. The setting out of the entasis is a somewhat complicated operation which would seem to have been beyond the good Rattenbury. Otherwise he did pretty well, and his work does justice to the pure simplicity of Lewis's design for this building. In regard to Berrima jad, which is usually attributed to Lewis, it is useful to point out that a contract was let for this building before he became Colonial Architect, and, hence, the design is not likely to be his. Hume had apparently prepared a design for the courthouse, together with an estimate of £1000. The lowest tender, in 1834, was £2568. Governor Bourke laid a foundation stone in March 1835, but tenders were again called in 1836, this time, we may safely assume, for carrying out Lewis's design. The main fabric was completed by 1838, but the fitting out dragged on until 1841." Hartley, which has another Lewis courthouse, is in the Vale of Clywdd on the western slopes of the Blue Mountains, and was one of the first settlements along the Western Road to Bathurst. A farmer, John Grant, built Moyne Farm there in 1819, and Wallerawang House was built in 1822. The lovely valley soon came under cultivation, and, because of its position along the main road of the Colony, it received a great deal of attention from bushrangers. A police force was established and soon afterwards a courthouse and jail were projected, and so Lewis had another job. As his original drawing shows a design correct in its Greek details, we may assume that the supervisor on the site had difficulty in reading drawings. Lewis, ifhe had been present during building at Hartley, would never have permitted the entablature to be set flush with the walls so that the pilasters at the ends ofthe front became free-standing piers. The supervisor clearly mistook the soffit line of the entablature for an ordinary joint in the masonry and built accordingly (107). Neglect of these pedantic details would not have worried Rattenbury, nor does it worry the normal viewer today, but it would have been very offensive to the idiosyncrasy of their designer. Architects and authors are like that. The beam over the porch entrance gave trouble too, for it had to be 14 feet long. The only stone of this size that could be found had inherent defects, for it later broke and a wooden beam was substituted to support all the stonework above. This wooden beam was treated to look like stone, a trick which has succeeded in deceiving many people. The plan of this courthouse is direct and is sufficient for the simple needs of today. The two cells in the main building were, however, insufficient in the past to hold all the guests, and a separate cell block was built near by, but this has now been demolished. While awaiting the arrival of the court many a bushranger languished here from time to time, including, by tradition, some of the notorious ones. The courtroom itself is a very satisfactory hall, well lit by the end windows and by small elliptical windows high up in the side walls. From the front the courthouse is a good, if small, example of the truly Classic design of the period, but it is unfortunate that the front is only a false screen across what are virtually three separate buildings, as can be seen from the rear and sides (106). The high front w d pretends that the building is one large mass, conceived in simplicity and truth; the remainder of the building shows the hollowness of this pretence. It is such false treatments as this that make dishonest architecture, and Lewis, alas, was often guilty of such things. For the sake of his beloved Greek Revival he would try to cast his nineteenth-century buildings, with their totally different requirements, in antique Greek moulds, often with unfortunate results. The various details of columns and pilasters are in accordance with the accepted formulae of the style, and the entrance door with its sloping architraves and key pattern at the head is a direct imitation of the door of a Greek temple. From a note on the original drawing it appears that this building was duplicated at Yass. Lewis added a screen of buildings across the front of the old police office in Sydney which Greenway had started but which others had finished, their work including the ugly dome. In front of the building stood, in 1828, "three several stocks of unequal height, and instead of being grown over or about with grass and brambles as we have seen in England, they are in daily occupation". The tenants mainly were drunkards who could not afford the 5s ransom the law extorted. An eye-witness has described the pelting of the worried people with rotten eggs and vegetables, so everything was conducted according to the best tradition in such matters. Lewis's work comprised the building of a few offices, with a columned porch in between, none of it very exciting (108). The windows showed his favourite subdivision into five panes in the vertical dimension, which gave sashes of unequal height. He had used this at Darlinghurst and he was to use it a great deal more in his designs. The scope of his work was astonishing. In 1838 Governor Gipps reported to Lord Glenelg that: There are at present in progress in the Colony in the Department of the Colonial Architect: I Government House, 11 Churches, 4 Gaols, I Lunatic Asylum, I Watchhouse, 3 Courthouses, I National School, I Signal House, I Police Office, and numerous places of separate confinement; also in a few weeks there will be another Gaol, 3 or 4 more Courthouses, 2 Watchhouses, a Police Station, and another Church commenced, independent of the Custom House, Police Office, and other buildings at Port Phillip, and they are all under the superintendence of one Architect, Mr Lewis, of whose talents and assiduity I cannot speak too highly. As if he had not been busy enough around Sydney and in the country towns, Lewis was now designing for Melbourne as well! He had only one draughtsman, a clerk, and one clerk of works to help him in these extraordinary labours. The Governor certainly did not lack a reason for commending the assiduity of the architect. It is not now possible to trace all the buildings in this list, the churches in particular being something of a puzzle. An additional complication is that many of Lewis's designs remained as projects only and were not built. Of those buildings that he did bring into being, a great number have since disappeared. In 1836, with Captain George Burney, the Chief Engineer of the Colony, he designed the semicircular quay which was to change for ever the name of the south shore of Sydney Cove. This design replaced Hallen's incompetent one. The quay was begun in 1839 and took eight years to build, under the superintendence of Robert Paten. At the end of 1837 Sir Richard Bourke was replaced as Governor by Sir George Gipps, a man noted for his fearless efficiency. Lewis prepared another presentation set of plans entitled "Gaols, Courthouses, and Police Offices". This manuscript is endorsed "Willm. MacPherson, Clerk of Council", and most of the drawings are on tracing paper, marked "copy", and signed personally by Lewis. Contained is at least one example of every type of building needed for the enforcement of law and the punishment of offenders. There are watch-houses, police stations, courthouses, log jails, lock-ups, and-typical of the era-treadmills. He prepared the design of a grand and elaborate courthouse for the newly formed town of Raymond Terrace, but this proved too ambitious, and a much humbler court, possibly by Lewis, was built in that beautiful village. The form of the building on the western and northern walls leads us to believe that it was just the right-hand wing of an intended larger building. The Raymond Terrace courthouse is still in active use, but, it is almost unnecessary to add, is in a mutilated condition. Fortunately the interior of the little courtroom escaped the vandal and its plain walls and simple cedar panelling show us an untouched Colonial interior. Fourteen miles away, at Newcastle, on the site of what is now the General Post Office, Lewis built a large police station. Later this design was amended by converting the centre of the building into a large, high hall to serve as a courtroom. This building showed Lewis in his more pompous mood. The general lines of the Newcastle courthouse were but little different from those of his design for the national school, but the latter, being less pretentious in architectural treatment, would have been more pleasing; even here, however, he could not refrain from his meddlesome detailing of simple wall surfaces. The two gabled wings at the ends of the building had meaningless pilasters at the comers, and even more meaningless shallow sunk panels above the windows. Perhaps he cannot be blamed too much for his virtuosity, for he was fond of stucco and he was only using various elements of the Regency style in the manner accepted in his day. Lewis's work also reflected the confused merging of the various architectural conceptions. The national schools were a mixture of Georgian and Regency; the Newcastle courthouse was a curious hybrid Greco-Roman concoction, and later we shall see Lewis essay the Gothic. He was producing all his designs in the Colonial Architect's Office, which was a long, narrow budding attached to the east wall of Greenway's barracks in Hyde Park, Sydney. That he lived on the premises in 1844 we know, because he stated so when he gave evidence that men used to climb the barracks wall and get over his house by climbing along the valley of the "double roof"- apparently a most popular, if unofficial, method of leaving the barracks.' Lewis bought a most delightful estate overlooking Bronte Bay near Sydney, and commenced building a house. Before this was finished he sold the whole to Robert Lowe, a member of the first Legislative Council, and later Viscount Sherbrooke, who used the half-erected walls in a new design. Lewis lived in various parts of the town and suburbs, once at Adelaide Place, on Darling Point, in a housc which has since been demolished. He had three sons, Mortimer, Thomas and Oswald. Mortimer became Government Architect in the Hunter River district, Thomas was a surveyor, and Oswald a private architect. Thomas was the T. H. Lewis who painted the crude but fascinating picture, popularly known as "The Cricket Match", which has been published. His view of Hyde Park, Sydney, in thc forties of last century shows no less than five Greenway buildings. In 1843 Lewis designed the north wing of the Legislative Council Chambers in Macquarie Street, Sydney, after part of the Rum Hospital had been converted for use by the councillors; the whole of Lewis's work here has, however, since been vastly altered. He represented the Government in 1844 when he visited Maitland to witness the laying of the foundation stone of Maitland jail, usually attributed to him (110). The day of the ceremony was wild, wet, and windy, and only a handful of people braved the inclemency of the weather and climbed up the hill from Maitland town to the jail site; in any case, the opening of a jail would cause joy in but few bosoms. The entrance to Maitland jail is both unusual and architecturally interesting. The houses of the governor of the jail and of the lieutenant-governor project forwards from the jail wall to form a court, with the main entrance at the far end. The heavily rusticated stones to the windows, the projecting stairs, and the general strength of the design give a composition unique in Australian Colonial work. The architecture is in the happy state of being unmutilated, and it is only to be regretted that the buildings are so hemmed in that it is difficult to obtain an adequate view of them. The date 1844 was carved over the customs house which was built on the partially finished semicircular quay (III).' This was a curious building that was out of scale. We saw, in an early chapter, how George Cookney designed the La Perouse monument as a large building, although it was small. Here Lewis designed the Customs House as though it were a small building, but it was really quite large. It was over 100 feet long, and its two floors together were over 30 feet high. The windows were very big in proportion, being nearly 10 feet high and 5 feet wide. As a result of these large dimensions the window-panes were nearly 2 feet long and represented what must have been one of the earliest uses in Australia of plate glass in ordinary windows. The doors were 8 feet high and so more accurately adapted to human size, but, because everything else in the elevation was so big, they looked too small. Nevertheless, the richly carved coat of arms above the door was perhaps the best part of the whole design. The broken line of the parapet was certainly a poor effort at decoration. This breaking up of the top of a building into a multiplicity of nonsensical steps was to become habitual in badly designed Australian buildings and was to persist for more than a hundred years, to the great detriment of architecture; in this sense the old Customs House was to mark the beginning of decadence. It was built on the site of the present one, and was removed almost completely when the new work was commenced. (However, quite a large part of the Lewis facade still remains and appears as the back wall of the present veranda facing Circular Quay. Other parts of the earlier building reveal themselves after diligent search as being inside the present building.) In the meantime Semicircular Quay had become known by the shortened name, Circular Quay. Lewis supervised the erection of the new Government House at Sydney. As early as 1825 Lord Bathurst had told Governor Darling that he could have a new one. The history of the project then became somewhat involved.26 A proposal to build a new house at Darlinghurst was shelved and the present site was then chosen. An architectural competition was held in 1827, but nothing came of it, even though the Governor's wife entered and won the third premium. Greenway's hopes must have stirred into life when it was rumoured that he was to supervise the erection. He even had interviews with Mrs Darling about the design, and the first stones for it were cut in the quarry, but finally the whole project faded away. In 1833 James Chadley presented his scheme?' and other abortive projects were introduced at intervals until about 1835, when E. Blore, architect, of London, a notable Goth, was, at last, commissioned to design the new building. As he was working in the "romantic" age of architecture he exerted himself to produce a superlatively castellated, crenellated, turretted and bedecked vice-regal residence. That he succeeded in this object is beyond doubt. In 1837 the building was commenced from Blore's plans, and the work on the site was put under Lewis's care, so that he was no more than superintendent on this job. He may have lost prestige at the time through taking a subordinate position in the work on a building that was the talk of the town. Today, the design of Government House, Sydney, attracts attention more for its interest than its excellence. A truly fine piece of Gothic design was heralded by the Australian newspaper on 3rd June 1841: "The Camden Church will be a very elegant and tasteful building, and does credit not only to its munificent founders, the Messrs Macarthur, but to the Architect and Surveyor employed, Mr Lewis." The foundation had been laid in November 1840, but the work dragged on very slowly and the building was not consecrated by Bishop Broughton unul7th June 1849. It has always been known as St John the Evangelist, Camden (112). The stone came from a quarry at Denbigh, about four miles from the site of the church, and the bricks were burnt locally. Because of some quality in Camden clay, burning of bricks made from it produces a multiplicity of lovely colours that make a brick wall a delight. Even modem methods of machine pressing and mechanized kiln burning cannot altogether suppress the exuberance of the colours. In the modem "face" brick, which is treated by a special process, the colours can be reduced to almost dull uniformity, but in the "common' bricks, which are subject to burning only, they defy the colour-blind makers. At the church the colours are pink, russet, red and orange, and, since the bricks are set with a wide white or pale yellow lime-mortar joint, the result is more like velvet than masonry. Drawings or photographs will not reveal such things; one must see architecture in situ to appreciate them. But, on viewing these lovely old wall, at Camden, it is wise not to be too much carried away by admiration for Lewis's genius in the handling of natural textures and materials. The Sydney Guardian gave him away: "It [the church] consists of a nave, chancel, and western tower and spire, all, including the spire being built of brick, and at some future time to be covered with plaster. The spire is already stuccoed. Lewis, we know, was a plaster and stucco addict, but for some reason his intention of doing the wrong thing to St John's was fortunately thwarted and the walls remain in all their unintended glory. It is to be noticed that much of the beauty of the brickwork comes from the fact that the bricks are roughly laid ready for plaster. It is this air of casualness which gives texture and feeling to a wall-qualities which are completely foreign to the ideas of a modem bricklayer mechanically laying machine-made bricks. The spire, being also of brickwork, needed plastering to protect the many cut bricks which would result from the forming of the sloping sides and the angles, and this was done. But in this case the old weathered grey of the spire blends well with the natural colour of the walls. The original wood shingles, silver-grey in colour, blended much better than the red clay tiles now covering the roofs. The siting of St John's is superb, for it is so placed on a low hill just east of the town that the tower and spire dominate the landscape for many miles round. The long nave, short high chancel, and tall tower all seem admirably suited to the location. The interior of the church is serene, with a stone-flagged floor, white walls, open-beamed roof, and cedar furniture. The organ-that instrument so di&cult to place in many churches-is here placed at the west end of the nave and is carried on a gallery over the entrance door from the tower. Mostly by the intention of the designer, and by accident, St John's Church, Camden, is perhaps the finest single example of the early Gothic Revival architecture in Australia. If other, and later, buildings had maintained this standard, much of the vituperation that has been heaped on Australian Gothic architecture would have been unjustified. Towards the end of the 1840s there was a multiplying of signs that all was not well with the Colonial Architect. In the Press were alarming statements such as: "Let it not be understood that we charge the present Colonial Architect with incompetence, but we must say, that he has given but few proofs of a thorough knowledge of his high profesion." As Lewis had literally covered the landscape with dozens of buildings, many of them very fine, one wonders what further "proofs" of his technical skill the Press required. The reason for his loss of face was to be sought elsewhere. He designed the Sydney Museum, which formerly stood on, or near, thc site of the present museum. His design was not inspired, and the building with its two storied recessed porch and queer dome was dull, but his main mistake was in the estimate. Originally £ 3000 had been allowed for the building, and a furthcr £150 was granted in 1848. In 1849, when yet another grant was sought, it became public that all was not well with the accounts. A committee of inquiry found that there was £ 300 outstanding to the builder, over and above the £ 4500 granted, and the building was not yet roofed in. The iron was truly in the fire, and the "pro- fessed economists" stormed into righteousness in the Legislative Council, demanding the abandonment of the whole project. However, enough money was granted to roof in the building, and later it was slowly brought into a state fit for use. A further inquiry fixed the blame on Lewis, and he resigned the post of Colonial Architect after having held it for fourteen years without any complaint having previously been recorded against him. In that year of 1849 he bought three lots of ground behind Macquarie Street, facing Richmond Terrace and the Domain, alongside the Legislative Chambers. He built himself a house, which he called Richmond Villa, and which exists in excellent condition today as part of Parliament House installations. Here Lewis showed his Gothic mood, and was by no means in his best form. The building has the asymmetrical l a nof the so-called "romantic" style. The formal Georgian balance in plan and elevation was disappearing as designers began to appreciate the main difference between Classic architecture and Gothic was in the presence or absence of formal arrangement of the parts of a building. Nevertheless, Richmond Villa still shows hereditary association with the Australian Georgian houses of twenty and thirty years before its time. The Gothic detailing of the woodwork is cumbersome and crude, but since it has been renewed several times in the past hundred years perhaps Lewis was not altogether to blame. Before 1850 the records were thick with the name Mortimer William Lewis, but after that date such entries become thin and sparse. In any case, anything he then did would not come within the early Colonial period with which we are dealing. In 1865 he signed a petition to the Legislative Assembly, so he was still active in affairs at that time. His is an important place in the development of Australian architecture, not only because of his official position, or of the large number of buildings he designed, but more certainly because he incorporated in his work all the nuances that were at work upon contemporary designers. His early work was better than that which he did afterwards, but generalization is difficult, because St John's, Camden, is an exception to the rule. But, unquestionably, Darlinghurst courthouse is infinitely superior to the Customs House, and the police office at Sydney and the national school had a directness, a truth, that was almost entirely absent from the museum or Richmond Villa. Towards the end of his public career Lewis began to show that his first conviction of the rightness of purity in design was giving way before the confusion of the age where eclecticism and virtuosity were not only guiding principles but the very aim and ends of architecture. This is not really surprising, because his work came at the end not only of the early phase of Colonial development, but of a world era. Almost simultaneously with the slackening of the ebb of the last direct influences of the great age of the Renaissance, there was beginning to be felt, quite uncomprehendingly, the first pull of the currents of those rip tides that were to change the face of the world. Lewis was to be followed by architects who favoured architecture other than Georgian. He was the last of the early governmental Colonial Architects of Australia.

This section is based on the excellent book Early Australian Architects and Their Work (Angus & Robertson, Syd, 1954); Herman, Morton, (1901-1983). Illustrated and Decorated by the Author.

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