Odessa: cultural architecture protected

Venice’s Teatro San Cassiano became the world's first public opera house in 1637. Soon, in the C17th & C18th, Central European opera houses had to be financed by rulers, nobles and wealthy people who used patronage of the arts for their own grand reputation. So the Russian Opera House in Odessa must have been a wonderful sight in Russia. Officially it was said to be at the intersection of history because it’s between Tchaikovsky Lane and Langeron St, while facing Richelieu St and de Ribas St. Each personality contributed to Odessa’s development. The first opera house, which opened in 1810, burned down in 1873 and reopened in 1887, was in Vienna Baroque style, an immediate city landmark. Performances included opera, ballet and concerts.

Opera House front

Opera House, National Academic Theatre

The National Academic Opera-Ballet Theatre was built in 1884-7 by Viennese architects Ferdinand Fellner & Hermann Helmer. The grand Viennese Baroque style was the first one built in Novorossiysk Port on the Black Sea where electric lighting and central heating were used.

What famous people were associated with the Odessa’s Opera House area? Count Louis Alexandre Andrault de Langeron (1763-1831) was born into a noble Parisian family. He was one of many French émigrés in Russian service, having his first war experience in the America’s War of Independence. He then served at Caracas and Saint Domingo in 1782-3, before being promoted in the French army to Colonel of the Armagnac Regiment in 1788. Langeron joined the Russian Army besieging the Ottoman Fortress of Izmail in 1790. He was awarded a Golden Sword for Courage, and he remained in the Russ-ian service for life. 

Armand du Plessis, 5th Duke of Richelieu (1766-1822) was born in Paris, a royalist who enlisted in the Kingdom of France’s army after the start of the French Revolution (1789). de Richelieu entered the Queen Marie Antoinette's Regiment of Dragoons in the storming of the Versailles Palace (1789). He became an officer of the Russian Imperial Army, and a Duke upon the death of his father in 1791.  He had a deep knowledge of economics and diplomacy, and promoted the role of trade for the nation's wel-fare. Under his regime, the discount bank, exchange, insurance company, customs district, commercial court & quarantine facility proudly grew. [The Duc's father had been a representative of the Kingdom of Spain to the Kingdom of Naples until 1816 and then an officer in the Russian Imperial Army 1772].

This may have helped him get appointed Governor of Odessa (1803-14). In Richelieu's governorship, he received royal permission to establish locally funded educational institutions in Odessa. de Richelieu's greatest claim to fame was establishing the  Richelieu Lyceum in Odessa in 1817, located on the corner of modern Langeron and de Ribas Sts.  Richelieu was supported by the newly created Ministry of Education (1802) and the National Educational Statutes (1803). In 1804 2 educational institutions were founded as Richelieu Lyceum in 1817, was a private institution of learning where the students were drawn primarily from the aristocracy and wealthy merchant families. Richelieu Lyceum became an institution of higher education and basis for today’s Odessa National Uni. 

French was the only academic language until 1820, when Russian lecturers joined the Lyceum and taught in Russian. Duc de Richelieu was the Governor of Odessa (1803-14), dying from cholera in 1831, and buried in Odessa’s Catholic Cathedral of the Blessed Virgin. 

He returned to France as a peer in the Bourbon Restoration (1814-30). Odessa became part of Ukraine in 1920 when the Red Army integrated it into the Ukrainian SSR in the Soviet Union. And the Odessa Opera House was encircled by historically significant sites. The Auditorium was decorated in the playful late French Rococo. The ceiling, painted by Franz Leffler & restored by Mikhail Zandin after 1925 fire, was divided into 4 segments: medallions from Shakespeare's Hamlet, Midsummer Night's Dream, Winter's Tale and Twelfth Night. In the centre the large chandelier was beautiful.

The Opera House in Odessa endorsed their political, educational and cultural ambition, and social position. Walk down Richelieu St and see the gorgeous front view of The Opera House, then de Ribas St and Tchaikovsky Lane, and the façade faces Langeron St. José de Ribas was Governor of Odessa (1794-7), José de Ribas (1749-1800), Louis de Langeron (1763-1831) and Duc de Richelieu (1766-1822) were political leaders of late C18th and early C19th.

Holy Assumption Cathedral

The area surrounding the Odessa Opera and Ballet Theatre is rich in cultural institutions, protected by UNESCO. National Scientific Library (1829) in Pasteur St was the first public library in Ukraine. Its opening marked the beginning of the foundation of public libraries in all cities of Russian Empire. Today it is the leading socio-cultural centre in Ukraine and the research, methodological and coord-ination centre on library science, bibliography and document management. And see Odessa Literary Museum, Odessa Philharmonic and Musical Comedy Theatre. 

The area also features other cultural heritage sites, although some were recently attacked. Holy Assumption Cathedral in Odessa, founded in 1855 is one of the largest churches in southern Ukraine. From 1936 on it was the cathedral church of the Odessa diocese. It was consecrated by the ​​Archbishop of Kherson and Odessa. The 2-storey church was built at the expense of the merchants Jacob and Nikolai Cherepennikovs according to the project of the architect L. Otton. The height of the temple together with the bell tower is 56 m and the capacity is 5-6 thousand parishioners.

The temple consists of two sections: upper and lower, with three altars in each. The lower church was consecrated in the name of St. Nicholas, its southern chapel in the name of three Saints: St. Basil the Great, St. Gregory the Theologian and St. John Chrysostom.

Odessa National Research Library was the second public library in Russian Empire, founded in1829. Five millions books, periodicals, documents. This museum of old books is an architectural monument in its own right.

National Research Library

Medical University Library

Archaeology Museum

Stolyarsky Music Lyceum

rebuilt after WW2 bombing

Wiki

The stage door to the Opera House in Odessa is on Tchaikovsky Lane. The service entrance is at the back of the opera house. Pyotr Tchaikovsky was born into a Russian noble family (1840-93) composed first symphonic piece, an overture for Aleksandr Ostrovsky’s (1823-1886) drama, The Storm, which many critics considered to be his best symphony (1877-8) premiere of final opera Iolanthe (1892) visited and performed as conductor of his works in Odessa (1893). He died in St Petersburg.

A half of my family lived next to Odessa, but I promise I will never claim these cultural treasures for my grandchildren :)

Archibald Art winners 2026 in Shepparton

Australia’s favourite and most significant art award opened in Shepparton Art Museum for a Victorian showing of the annual Archibald Prize. Judged by the Art Gallery of New South Wales/NSW trustees, the prize is awarded to the best portrait. Since 1921, it has highlighted figures from all walks of life, from famous faces to local heroes of our times. Australia’s most significant art award is annual Archibald Prize is eagerly anticipated by artists and audiences alike. This touring exhibition is a chance for Victorians to see the 59 finalists, the exhibition's only destination outside NSW.  From 5 Sept–1 Nov 2026, open 7 days a week.

Archibald finalists in NSW Art Gallery, 2026

 
This leading Australian regional art museum is recognised for its Australian nationally significant collection of Indigenous art, its programme designed to be locally relevant while engaging with global contemporary ideas. Via exhibitions, collection & programmes, SAM’s art helps an understanding of ancient cultural Australia AND multicultural Australia.

The Museum announced that it was hosting the Archibald Prize 2026, one of the country’s most beloved annual art events, the first stop after the exhibition closed at the Art Gallery of NSW. From celebrated cultural icons and bold contemporary figures to the artists and activists who shape our national story, the Archibald Prize brings together a compelling portrait collection. They spark talk, reflect identity and invite audiences to look through the eyes of Australian artists. SAM’s commitment to presenting high class art experiences for regional audiences amplifies the cultural vibrancy and creative energy of Central Vic, delivering significant economic impact as well.

SAM Artistic Director said: “We are honoured to be the exclusive Vic host of the Archibald Prize 2026. We are celebrating the extraordinary talent showcased in this iconic exhibition and we’re thrilled to be bringing such an event on the nation’s cultural calendar to the Goulburn Valley.”

NSW’s Gall Director of Collections & Exhibitions said: The Archibald has a long, proud history of connecting audiences over Australia with the best in modern portraiture. Shep AM is an remarkable cultural partner, having hosted the famous Brett Whiteley: Inside the Studio touring exhibition in 2025. See the Archibald Prize 2026 celebrate the extraordinary diversity of artists & sitters from everywhere.”

Shepp City Council Mayor said: “This nationally recognised exhibition is one of Australia’s most prestigious art events. It is attracting visitors from across Australia, boosting local tourism and show casing everything Shepparton has to offer, from our thriving arts scene to our hospitality and culture.” The programme of public events incl artist talks, guided tours, workshops, educational and community activities.

The Museum serves as a dynamic cultural & community hub and houses one of the nation’s key collections of Australian regional holdings of South Eastern Indigenous Art. Through its programmes, events, collection and temporary exhibitions, SAM creates opportunities for creative souls to engage audiences with the stories of our country’s ancient cultures and contemporary multicultural Australia.

Celebrate the Archibald Prize 2026 at SAM with talks featuring artist Richard Lewer, six-time finalist and 2026 Archibald Prize winner, and curator Beatrice Gralton, Senior Curator of Contemporary Australian Art at NSW Art Gallery. Enjoy insight into the artistic and curatorial sides of the celebrated annual prize.

portrait of Iluwanti Ken 

198 x 198cm.

Archibald Winner Richard Lewer.  Iluwanti Ken is an elder, senior artist & traditional healer. I spent time with Iluwanti at Tjala Arts in Amata, Sth Australia. Although we have known one another for several years through shared exhibitions, being on Country together deepened my under-standing of her presence and the responsibilities she carries. Iluwanti paints with an urgency I recognise. Her work depicts the story of the eagles. Birds are in her drawings, paintings and ceramics as teachers of care, protection, provision and resilience, particularly for women and children. These lessons shaped how I approached this portrait. I wanted to convey her strength and attentiveness, and reflect the way she watches over others. Illuwanti is a small woman, but she carries immense, quiet authority. I painted her life‑size so her presence meets the viewer directly. The yellow ochre background holds the intensity of the heat and light we worked in. She loves bright clothing which feels inseparable from her spirit, and the traces of paint on her arm acknowledge her as a working artist.

Hamlet, Prince of Denmarke. 

oil on board, 114 x 150 cm

 Art Gallery NSW

Packing Room Prize by Sean Layh. This portrait is actor Jacob Collins. It arose after Layh saw him in the title role of the 2024 production of Shakespeare’s Hamlet in a Melbourne theatre. It was performed by candlelight in a tight physical setting and blended Hamlet’s dark brooding with the plot’s spooky supernatural undercurrent. Layh paints compositions influenced by classical literature and theatre. He asked if Collins would like to repeat the role for a portrait, depicting Hamlet’s death scene in Tragic History of Hamlet, Prince of Denmark. But they decided that the final painting, stripped of its obvious props eg poisoned chalices, captured more of the character than his final moments.

Peoples’ Choice Winner Michael Zavros said A while ago my mother thought she saw me on tv, but it was Alex Ryvchin. Then a few friends also observed that we looked alike. Following the attacks on Israel in Oct 2023, Alex was often in the media. As CEO of Exec Council of Australian Jewry, this natural leader spoke passionately about his community’s pain and the changes he feared would emerge here. When two gunmen attacked Jewish people on Bondi Beach in Dec 2025, Alex led the nation in a way our elected leaders failed to do. I found common ground with this man-father. When we met earlier this year, I knew I wanted to paint Alex in the sea, symbolising much for all Australians. His tefillin symbols are so important in contemporary culture.

Michael Zavros, Alex with his tefillin in the sea 

oil on canvas 205 x 138 cm

Art Gallery NSW

Jewish Toledo - Spain's finest & worst eras

Toledo, capital city of Old Castile, started with the Romans. Jews have lived there at least since the C6th; in 589 CE, Council of Tol­edo pro­hibited Jews from marrying Christ­ians, hold­ing public of­f­ice or own­ing Christian serv­ants. Clearly the Jews suffered greatly under Ch­rist­ian­ity, especially when the 8th Toledo Council created even worse anti­-Semitic leg­islation in 652 CE. The rift between the two commun­ities led the Jews to befriend the new conquerors in the Muslim conquest of Toledo in 715 CE.

Facade of the Synagogue and Sefardi Museum

In 1252 King Alfonso X captured Toledo and declared it Christian again, yet this time he ensured that the Jews were treated as eq­u­als. Many Jews migrated to Toledo and rose to prom­inence, in pol­it­ics and government. Alfonso even named a Jewish physician as his royal appointment.

By mid-C13th, Toledo’s Archbishop grew concerned by the fin­an­cial and political prominence of the Jewish community, so he impos­ed a tax and housing tithe on every adult Jew. This didn’t work, since by 1290 nearly half of the town’s resources was still own­ed by Jews!

The commun­ity leader was the community’s rabbi; in 1305 Tol­edo Jews chose the learned nobleman Asher Ben Jehiel Abulafia (d1328) to lead them. In 1320 Samuel Ha-Levi Abulafia was born, the Abulafias having led the Jewish comm­unity in Castile for decades. Sadly Samuel’s parents died of the plague, and as Samuel was too young to inherit their legacy, he was app­ren­t­iced to the Knight Juan Alfonso instead. Samuel rose quickly in society un­til he found vit­al positions in King Ped­ro I of Castile’s court. Samuel became town Mayor, Treasurer and fin­ally High Judge. It was as Treas­urer when he chose to build a synag­og­ue.

Toledo already had 10 synagogues, including Spain’s largest, but this one was Samuel’s own special house of worship. In 1357 the new synagogue opened, with Samuel Ab­ul­afia leading the prayers. To thank his comm­un­ity, Sam­uel also opened the synagogue as a hub for Jew­ish education. Note that in the C14th, Spain had actually decreed a ban on all new Jew­ish educat­ional institutes and synagogues. How­ev­er Sa­m­­uel’s close rel­at­ion­ship with King Pedro meant it was ok. Was it a royal apology for the persecution that Jews had faced in Toledo in the 1348 Black Death?

Samuel Abulafia ignored the regulations requiring synag­og­ues to be under-decorated and smaller than churches. The lav­ish­ly decorated rect­angular prayer hall had a 12m ceiling where Heb­rew in­sc­riptions ext­ol­led both King Pedro and Samuel Ha-Levi. Arabic inscript­ions and Psalm passages were also on the walls, next to the family coat of arms and fine windows. Over 2nd floor women's gallery,  the arches were layers of low-relief stucco tendrils, round­­­els, scallop shells, geometric interlacing & rows of blind arches.

The façade was built of brick and stone and was unad­orned, in order to draw less public attention. Only the tow­ering roof raised the whole synagogue above nearby structures.

Inside Sefardi Museum

 

This house was an active place of worship for many years, but anti-Semitism reappeared. Samuel Ha-Levi Abulafia set out to pro­tect Jewish rights and freed­oms, but as the rift between the two men grew, King Pedro no longer de­f­ended him. Samuel was arrested on corr­up­tion and tortured to death. De­s­pite grow­ing attacks on Tol­ed­o’s Jewish com­munity, his house and synagogue rem­ain­ed, presumably from self-interest; it would be converted to a church.

By 1492, the Jews were given a final ultimatum: the Catholic monar­chs of Spain, Ferdinand and Isabella, iss­ued the Alhambra Decree which gave Spanish Jews the choice to 1] con­v­ert to Catholicism, 2] leave Spain voluntarily or 3] be expelled. This Royal Decree showed their belief that the Jews’ presence was a threat to Spain’s relig­ious and cultural identity. The exp­ul­sion marked the end to centur­ies of Jew­ish pres­ence in their beloved Spain, and led to their forced mig­rat­­ion to Europe, North Africa and the Ottoman Empire.

As no Jews remained in Toledo, the synagogue was turned into a ch­urch; Ferd­inand and Isabella donated the building to the Order of Cal­atrava who made it a Benedictine priory. The name El Transito, honour­ing the Virgin Mary’s Assumption, was given to the building as a church. Ironically the name today is still Synag­ogue El Transito. Artist Juan Correa de Viv­ar paint­ed a mural of Mary’s Virgin Transit over the original Je­w­­ish wall engr­avings, but Vivar’s canvases were later moved and preserved.

El Transito remained a church until the Sp­anish War of Independence against Napoleon broke out in 1808. Despite heavy resistance, 10,000+ French troops and horses took up resid­ence in Toledo. The Spanish fought back, and the defens­ive lines of both arm­ies often fell there. The Spanish revolutionaries and fighters needed barr­acks, and the spacious Church of El Transito was perfect.

Beautiful Old Toledo and the Tagus river

Things to do in Toledo

Although other heritage sites were lost in battle, by late in the war the synagogue-church-mil­itary barracks had become a symbol of Spain’s succ­ess and indep­endence. Surprisingly (to me) their mil­itary prowess meant El Transito Church became a National Monument.

In the C19th, Spanish Jewish communities began to slowly re­build. So historians and world heritage staff explored the site, and re­cog­nis­ed how important it had once been for the Jewish comm­un­ity. First they res­tored the holy Torah Ark. 14 latt­ices required fix­ing and the Hebrew inscrip­tions had to be carefully restored, letter by letter. Then work on interior walls and the women’s gallery.

Women's gallery on the first floor

Arturo Mélida y Alinari was head architect of the project, focusing on the old roof and outside walls. Before WW1 it was gifted to the commun­ity as a Museum of Sephardi Culture & His­t­ory. A deb­ate arose over whether to also restore the church feat­ures, and eventually they decided to pay homage to the church years. Thus the choir stage and other Christian features were returned to their former glory. Lastly some new features were added to the site eg a large Jewish library and a new Centre for Hebrew Studies.

Main prayer hall in the old synagogue

facing the Holy Arc with velvet curtain and Torah scrolls

The Sefardí Museum was created in 1964, located in the key medieval Hispanic-Jewish building in Spain. Now called the Nat­ional Museum of Hispanic-Jewish Art, the museum opened to the pub­lic, the rooms occ­upying the old ar­chive of the mil­itary ord­ers. The exh­ibition dis­plays Jewish cult­ure in Spain, from before the tragic expul­sion to the development of the Sephardic communities across the world. Many thanks to Mia Amran, and to my daughters-in-law whose parents came from Sephardi Damascus and Alexandria.

Intricately patterned wooden ceiling and stucco decoration

 Location of Toledo in Spain

Credit for the images: Sinagoga El Transito

Goudstikker: stolen art returned to Holland

Jacques Goudstikker's gallery, 1927-40

Amsterdam. Wiki

Jacques Goudstikker (1897–1940) was born in Amsterdam, son of a Jewish art dealer. He studied at the Commercial School in Amsterdam, then in Leid­en and Utrecht. In 1919 he joined his fath­er's Amsterdam gallery, remodelled it as a pub­lic limited liab­ility company with himself as the director, and created an inter­nat­ional style.

He was becoming a connoisseur and scholar whose expertise was admired across Europe. Goudstikker's taste extended to the des­ign of his catalogues, minor works of art in them­selves, and close ties with art historians and col­lect­ors. His clients eg Baron Thyssen-Bornemisza shared this mix of connoisseurship and scholarship.

Post-WW1, Amsterdam was a centre of inter­nat­ional trade where top galleries flourished. In 1927 he moved to a larger gallery and presented works from the Dutch Golden Age, alongside panels by Dutch, Flemish, German and Italian artists, mixing paintings, sculptures & carpets. His Old Masters coll­ection included Lucas Cranach, Jan Steen, Adriaen van Ostade, Isaac van Ostade & landscapers Jan van Goyen and Salomon van Ruysdael. Goudstikker had fine paint­ings by Jan van der Heyden at his country home Nijen­rode Cas­tle where he ent­er­tained clients. Plus some still-lifes eg Jan van Huysum in National Gallery, and figure painters eg Ferdinand Bol and Aert de Gelder.

Some of Goudstikker’s Dutch and Flemish paintings, including 5 van Goghs, 2 van Dongens and a Mondrian, went to NY’s Anderson Gall­ery in 1923, organised by the Netherlands Chamber of Commerce. Between the wars, Goud­stikker was the ?most important Dutch dealer of Old Master paintings, even though the Depression badly affected art trade. None­theless Goud­­­stikker could still organise a Rubens ex­hib­ition in 1933. And a classy ex­hib­ition of Italian Paint­ings in Dutch Col­lect­ions at the Amsterdam Stedel­ijk Mus­eum in 1934. 

Floris van Schooten,

Still Life with Cheeses, c1620

Contemporary Jewish Museum, San Francisco

Cottages by the Can­al

by Jan van Goyen, 1630

National Museum, Gdańsk

His fine works included the Ferry Boat with Cattle on the Riv­er Vecht by Salomon van Ruysdael, Judgment of Paris by Fran­çois Boucher and Christ Car­rying the Cross by Hieronymous Bosch, now in Vienna’s Kunsthis­tor­isches Museum. Young Girl with a Flute by Vermeer was later pur­chased by Joseph Wid­ener to donate to National Gallery in Wash­ington DC. A large altar­piece, Assump­t­ion of the Virgin with Sts Michael & Benedict, is in Metrop­olitan Mus NY.

In 1937, Goudstikker married Viennese opera singer Désirée von Halban Kurz, daughter of famed Jewish soprano Selma Kurz. They had a son, and in 1939, with the imminent German occupation of Netherlands, Goudstikker applied for American visas. As the Germans advanced on Ams­terdam in May 1940, the family fled. While escap­ing via the English Channel aboard SS Bodegr­aven, Goudstikker fell into an open hatch on the deck, broke his neck and died. His widow Désirée and only child Edo both got safely to North America.

In June 1940, Goudstikker's employee Arie ten Broek became company dir­ector; then in July two of Goudstikker's employ­ees were paid to sell all the remaining works of art to Reichsmarschall  Hermann Goering. Goering took c800 of the most valuable works back to Germany where they were displayed in several residences. The art gal­l­­ery went to Goering's man German banker Alois Miedl who paid to acquire title to the J Goudstikker trade name and to Goud­stikker's real estate in Amsterdam and elsewhere.

With Goudstikker's respected trade name, Miedl made a fortune marketing art in Nazi Germany. Parts of the collection were taken over by East Prussian gov­ernor Erich Koch and one of these paint­ings, Cottages by the Can­al by Jan van Goyen, is still in the Gdańsk National Museum.

After WW2 the Allied forces recovered many treas­ures from Ger­many and gave them to the Dutch government to ret­urn­ them to their right­ful owners. The Dutch recorded 3,000+ plundered works that came back to the country post-war.

From 1946 the widow Désirée Goudstikker asked the Dutch government for the family coll­ection. In Aug 1952, after a 7-year legal battle, the widow received some works of art while the rem­aining objects, classed as Dutch National Property, were divided amongst the State museums.

In 1996-8, Dutch investigative journal­ists drew int­ernational att­ention to the post-war restit­ution of stolen art and the ignored rights of the legal owners. Eventually the issues were docum­ented in Pieter den Holl­ander’s 1998 book, The Goudstikker Case. The Goudstikker heir, his widowed daughter-in-law Marei von Saher, then sued for possession of the works. Unfortunately her claim was rejected by the State Sec­ret­ary of Education, Cult­ure and Science.

Ferdinand Bol,

Louise-Marie Gonzaga de Nevers, 1645

The Jewish Museum, Manhattan

Salomon van Ruysdael

River Landscape with Ferry, 1649
Nat Gall Art, Washington

Netherlands was long considered a leader in returning Nazi-looted art. But official in­vestigations confirmed some mis­hand­ling of postwar restit­ut­ions; as a result, the government created the Dutch Restit­utions Committee in 2002. It reviewed claims to art treas­ures in the govern­ment’s possession and to oversee efforts to ret­urn such works. In Dec 2005, the Committee DID restore 202 out of 267 paint­ings taken by Goering to the rightful heir, Marei von Saher, including Salomon van Ruysdael’s River Landscape with Ferry, once held in the collection of the Rijksmuseum.

Some pieces were not restored to von Saher in 2006 because the Dutch government no longer had them. Von Saher sued unsuccessfully in a US court for their return. None­the­less in gratitude, von Saher donated one returned painting, van der Helst’s 1645 Child on Deathbed, to the Dutch state.

NB 1,000+ works from this collection remain to be found.  

Dutch officials established a pro­cess for dealing with heirless art or work whose owner is unident­if­ied. Such piec­es would be returned to a Jewish heritage institution. And Neth­er­lands’ Minister of Education, Culture and Science said the Dutch government is also aiming to repatriate objects from its holdings that were plundered from former colonies.

Read the excellent book Reclaimed: Paintings from the Collection of Jacques Goud­stikker by Peter Sutton, 2008 

Old Parliament House Canberra & museum

Duke and Duchess of York 

opened Parliament House May 1927.    

                                   

The need for a national capital city arose when the colonies united to form the Comm­onwealth of Australia in 1901. The constitution provided that a new national capital should be built half way between Melbourne and Sydney, to avoid jealousy and conflict. The new Australian capital city of Can­berra was fixed in 1908 and the area was formally ceded to the Federal Government in 1911. However the Parliament couldn’t relocate from its interim location, Melbourne, to Can­berra until the new building was ready.

Parliament House was designed by Scottish John Smith Murdoch (1862–1945), the first Common­wealth Government archit­ect in Australia, and a team of assist­ants from the Dept of Works & Railways. The building wasn't int­ended to be permanent or elaborate; rather a provisional building to serve Parliament for 50 years max. It would be a classical building like the Parthenon, but with­out all the ornate details. And it was to look out over Lake Burley Griffin.

Murdoch’s provisional parliament building was to be modest & funct­ional. It was designed on a basic square, which provided the building with regular pro­p­or­t­ions. It was a 3 storey brick building with the principal floor on the middle level. The funct­ional aspect was reflected in all the des­ign, extending to the interior fit­t­ings & furnishings. The faç­ade originally included a grid of recessed openings and balcon­ies, with four bays having arched bronze windows and stepped parapets. The building’s front façade had strong horizontal lines, display­ing only 2 storeys, with higher massed elements behind the faç­ade, indicating the loc­ation of the debating chambers. The lower mass in the centre was where King’s Hall was. As a result, with its now enclosed verandas and colonnades, and strong horiz­ontal lines, the building was not as some people expected a proper Par­liament House to be.

Old Parliament House, front entrance

It didn't include cl­assical arch­itectural elements like columns or pedim­ents, but did have the necessary sym­metry. In the end, he had designed what is now considered a significant, nation­ally-listed heritage building with fine classical simplicity, order & proportion. And the design ex­tended from the building to include its gard­ens, dé­cor and furn­ishings.

Murdoch designed both the exterior of the building AND the int­er­iors. He had to integrate all the spaces required of a parliament including: chambers, King’s Hall, party rooms, library, offices, members’ dining rooms and kit­chens. And he designed a distinctive set of furniture that shared the architecture’s design language.

Everything was pre-planned. Old Parliament House was designed in the Strip­ped Classical Style, commonly used for most Aust­ralian government build­ings built in Can­b­erra in the 1920s-30s. It was also recognisable in Murd­och’s other Can­ber­ra buildings eg Hyatt Hotel Canberra and Hotel Kurrajong.

Parliament House and Old Parliament House are the most significant features in the area covered by the National Triangle. Other build­ings key to the design and symmetry of the Triangle are the High Court and the National Gallery near Lake Burley Griffin, and the National Libr­ary.

Note that some of the integrity of Canberran architecture came after John Murdoch persuaded archit­ect Walter Burley Griffin to come to Australia from the USA. He was very busy.

Old Parliament House was the seat of the Parliament of Australia from 1927-88. In the 63 years that the building served, there were changes in the size and nature of the Federal Parliam­ent. During those years, the House of Representatives grew from 76 to 148 members and the Senate from 36 to 76 members. In 1927, only the Speaker of the House, President of the Senate, Prime Minister, Lead­er of the Government in the Senate and ministers had their own offices. But in the next 60 years, great changes took place in Australian social and political life, and democracy matured.

In 1927 the bush landscape in Canberra stood in stark contrast to the estab­lish­ed lush gardens of Parliament House in Melbourne. So throughout the 1930s, gardens were established to the east and west of Old Parliament House, patterned rose and annuals display beds, set in lawns and trees. Located on either side of Old Parliament House today are the rebuilt House of Representatives Garden and the Senate Garden so that when Parliament moved, the old gardens could be opened to the public.

By the 1980s, the building had exceeded its capacity with 3,000 people crowded into a building intended for a few hun­dred. Members and senators had tiny, overcrowded offices. In June 1988, mem­bers sat for the last time after 61 years in the old building, as Parl­iament trans­ferred to the completed New Par­l­iament House on Capital Hill.

Senate chamber

House of Reps chamber

Was King's Hall,

now Museum of Australian Democracy

So the sig­nif­icance of Old Parliament House today lies in its hist­or­ical value. In May 2008 King’s Hall became the Mus­eum of Austral­ian Democracy. It tells the herit­age of the build­ing and the story of Australia’s democracy. During its life as a work­ing parliament, the building was the setting for many of Aus­tral­ia’s major polit­ical events. Debates that influenced the future of the nation took place here, key decisions were taken, pol­itical careers were made and ended.

The Museum of Australian Democracy displays Aust­ralia’s pol­itical heritage. Old Parl­iament House is open daily, for either a guided tour or a self-tour where we can visit nearly all areas of the Old Parliament. See, for example, Kings Hall, House of Representatives Chamber, Prime Ministers Office, Cabinet Room and Senate Chamber.

In 1998 Old Parliament House became home to The National Port­rait Gallery which holds a range of changing exhibitions. And it serves as a venue for lectures and con­certs.

Image credits: Mildenhall images of Old Parliament House

Captain Eric Ravilious, WW2 art

London-born Eric Ravilious (1903-42) spent his early years in Eastbourne E. Sussex and won a scholarship to attend the Eastbourne School of Art in 1919. Later he enrolled at Royal College of Art London where he studied under Paul Nash, a War Artist in WW1. Later Ravilious worked as a painter, book illustrator and Wedgwood pottery designer.

With war starting in 1939, he joined the Royal Observer Corps based in Castle Hedingham Essex. Ravilious was one of the first official War Artists to be appointed by War Artists Advisory Committee-WAAC in Dec 1939, and in 1940 as a Captain. Established by the Ministry of Information, WAAC was a government body commissioning artists to record WW2 events. From 1940-2, Ravilious produced dramatic water colours & drawings of ships, aircraft and coastal defences, 50 of them now in the Imperial War Museums/IWM. 

A warship in dock, 1940

In Feb 1940, Ravilious was posted to Chatham Dockyard Kent to document the naval barracks’ factories & buildings. In A Warship in Dock 1940, Ravilious showed the bow of a destroyer in a flooded dry dock, tied down with many ropes. A man on deck holds one of the ropes while three other men board the ship via a gang-way on the port side. Shown from ground level, the warship looks menacing with angular marine camouflage and intimidating colossal scale. In the background there were many structures eg a ship crane and a factory with a smoking chimney. Despite the scene’s calming water in the flooded dock and vivid blue of the sky overhead, they were preparing for a country at war.

After Germany invaded Norway in Ap 1940, seizing Oslo and the main ports, the Allied forces tried to counter-attack on land but were under-equipped and out-numbered. In May troop evacuation from the Narvik port, Operation Alphabet, was authorised. Aircraft carriers HMS Glorious and HMS Ark Royal left Scapa Flow in Scotland in late May to assist with the withdrawal, escorted by 5 destroyers.

Ravilious was aboard HMS Highlander where the carrier’s dazzling camouflage was mimicked in the sea under the Arctic light. RAF Hurricanes from 2 squadrons flew around, riskily preparing to land on the deck of HMS Glorious, evacuated from the Norwegian Air Station. Next day HMS Glorious returned to Scapa Flow but was attacked by German battleships and sunk. 1,500+ souls tragically died.

Coastal Defences, 1940

The artist travelled to E.Newhaven Sussex in late 1940, to paint coastal defences. The port was targeted in Operation Sea Lion, a planned invasion of Britain by German forces, and needed heavy fortific-ation. In this scene, he depicted the semi-circular curve of the Coastline Defences 1940 in dark greens and blues, colours repeated in the sea and sky. In contrast, the searchlight was stark white, cutting through the night sky looking for enemy aircraft. See a row of boats speeding out to sea at the centre of the scene, leaving a stream of white as they moved in the water. The constant threat to Newhaven from above and below was clear.

He showed the moment a 9.2” naval gun fired from Dover's front port, a portrayal of spectacle and awe. A group of 5 artillerymen were shown as ghost-like figures, compared to the luscious greens of the front landscape. Ravilious spent mid 1941 in Dover before moving to Dundee Scotland.

Ravilious arrived at the Royal Naval Air Station/RNAS in Dundee in autumn 1941 and was quickly interested in the Supermarine Walrus seaplane. In this scene, 3 Walrus aircraft were floating on the river outside the station’s sick bay. The artist showed the interior which was not overly comfortable; just for convalescence. But the blue and white bedding with anchor motif conveyed a sense of homeliness in this stark environment. During his time at the RNAS, the pilots allowed Ravilious to fly in the air craft. After he successfully transferred from the Admiralty to the RAF.

De-Icing Aircraft, 1942

In March 1942 Ravilious was based at RAF Clifton airfield in York. He enjoyed flying over the city, observing York Minster from above and spotting abbeys and ruins. In De-Icing Aircraft 1942, Ravilious showed the airfield under endless snow. Men were scraping the ice layers from the wing of a de Havilland Dragon Rapide, a twin-engine biplane used for training purposes. Each engine had a fitted cover, protecting against harsh temperatures. And see another plane’s tail also covered in ice & snow, waiting to be fixed by the crew.

5 Spitfires at Sawbridgeworth, 1942.

In Mar 1942, Eric Ravilious’ wife and fellow artist Tirzah Garwood developed serious health problems, returning towards home. He went to RAF Sawbridgeworth Airfield Herts which was relatively close to their family home. Despite his terrible living conditions, Ravilious enjoyed painting everyday life on the airfield in early 1942, including aircraft in flight, never using oil paints in the war. Ravilious depicted Five Spitfires at Sawbridgeworth, 1942 at the base, but Spitfires were not at the site then.

Operation Room, 1942

Operations Room 1942 was a key war painting, acquired by IWM decades later. The watercolour depicted the interior of the airfield’s mobile operations room. It is decorated with light yellows and blue-greens, synonymous with functional WW2 buildings. Relaxing colour palettes were selected to be easy for workers inside for long periods. Large windows enabled a panoramic view of the airfield and a sector clock hung on the wall helped track air craft movements. There was no human in The Operations Room but human activity was detected; pinned notices under the clock, writing pen and ink on one table, and a blue reference folder on the other. Interestingly while at Sawbridgeworth, Ravilious wrote to his wife Tirzah in May 1942 stating “the weather gets finer all the time but I’m bored of pictures of planes on the ground and want to go flying.”

Ravilious soon flew to Reykjavik, driving to the RAF Kaldadarnes Airfield in Sept. From there he & 4 airmen flew on a rescue mission in a Lockheed Hudson and were lost off the Icelandic coast. Because his body wasn’t recovered, he had no grave; instead he was honoured at Chatham Navel Memorial Kent (above). Ravilious was one of three War Artists who died when his plane crashed, at 39. 

Thank you to the Imperial War Museum for the artworks and to the BBC for history.

Guernsey is fun but have you visited?

Examine the legacy of the islands’ knitting industry. Started in the 1500s, the knitting industry first produced garments for commercial sale incl stockings & undergarment Guernsey frocks. Using a soft worsted wool, they supplied warmth. Their stockings were popular, worn by Queen Elizabeth I & Mary Queen of Scots!

The industry was so large in the 1680s that 6,000 of the 14,000 population were employed as knitters! This resulted in lacking food production workers; rumour had it that men were banned from knitting in daylight hours, to encourage them to work on land & sea. In Sark and perhaps Guernsey too. By mid-1700s the industrial revolution started, and hand-knitted items couldn’t financially compete with factory-made items. Fewer knitters were needed, so focus turned to providing warm garments for sea workers.

 Guernsey's fishermen wearing their jumper

The guernsey jumper was first noted in the 1800s, made with 100% worsted wool, a strong yarn with long fibres, moisture-proof. When knitted at a tight gauge, the fabric became almost windproof, to keep the wearer dry & warm. Note the original diamond shape in underarms for easy movement. The popularity spread, becoming the best garment for coastal workers across Britain. In 1804 the jumper was recommended by Adm Nelson for naval troops saying the jacket was the best and most valuable seaman's clothes ever introduced. As the jumper spread in UK and beyond, it became almost the classic fisherman’s item.

Guernsey, closer to France than to the UK

With modern alternatives available, the hand-made guernsey slowly vanished in early 1900s. Only when war broke out in 1939, was the group Guernsey for Seamen started by local ladies. They knitted guernseys for local Navy sailors; from Dec 1939 to June 1940’s Occupation, 102 guernseys were gratefully accepted at sea. 

After being handmade for years, local companies began commercial production of beloved guernsey in C20th. Incorporating traditional techniques, they brought jumpers to a new audience. Across the islands, the 3 producers of guernsey jumpers: Le Tricoteur, Guernsey Woollens and Channel Jumpers. Le Tricoteur were producing in 1964, after the founder’s product was admired on an American trip. In late 70s, peak production time, c400 hand knitters & 100,000 garments a year! Channel Jumpers opened in 1976, to revive the traditional sweater unproduced since WWI. During royal visits, they gifted guernseys to the Royals!  Join heritage spinners on the Courtyard at the Folk and Costume Museum for a hands on demonstration, to see the island’s great textile heritage.

Join a local guide on a spooktacular evening walking tour. Hear real-life stories of hauntings, the infamous witch trials and Guernsey's most gruesome tales of punishment, torture & horror. Or go on a Seaweed Foraging Tour which teaches seaweed’s uses in farming, cosmetics, cooking & fashions.

Guernsey dairy cows

Trio Bohémo (Jan Vojtek piano, Matouš Pěruška violin and Kristina Vocetková cello) plays at leading international venues and at major festivals eg Prague Spring. See the Trio at St James Concert Hall, playing Smetana, Schoenfield and Dvořák. Symphonic Winds present a programme of things French, also at St James. Guernsey has a historic link to its Normandy neighbours. Or experience French Connection for a month at the Big Eat Food Festival which showcases with special events and festival menus. At The Great Outdoors events & Meet the Locals, discover hidden flavours and wild ingredients with Foraging and Fine Dining.

Built in 1796 to serve as the Lieutenant Governor's residence, this historic Old Government House Hotel has perfect sea views sitting on the hill in central St Peter Port, close to the quay side. Rich friends of ours loved the special food, traditional hospitality and beautifully designed rooms.

    

Old Government House Hotel 

museums and gardens of Castle Cornet

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Castle Cornet has 4 historic gardens. Governor's Garden was planted in a formal C18th style, was designed to resemble a tapestry. The plants on display were chosen specifically for their ability to be clipped into a desired shape. Sutler's Garden was planted in 2 parts: a C16th herb and vegetable garden, and adjacent pleasure gardens. Lambert's Garden was named for castle prisoner Gen Sir John Lambert, the garden being where he cultivated medicinal and cooking herbs. The Master Gunner's Garden is displayed in a C19th domestic pattern, used for growing vegetables, fruits & herbs, with a closed area for small livestock

 

The Guernsey Literary Festival, now one of the biggest annual arts events in the Channel Islands, features 50+ events, including a full education and community programme. With the National Year of Reading, the 2026 Festival brings together a varied programme.

Spring comes 4 weeks earlier in Guernsey than the mainland, so beautiful island flora flourish in the La Seigneurie Estate gardens. Woodland walks go past the Monk's Well, duck pond and across the bridge to St Magloire's island placed by military engineer Seigneur. & an Amphitheatre.

Recommended by the Royal Horticultural Society, these gardens provide interest all year. Guernsey's mild climate allows plants that would typically need protection to grow to thrive in the outdoors at Sausmarez Manor. Wandering on the winding paths and jungle-like glades, discover many plants inc Giant Geraniums, Palm trees, Bamboos, Banana trees, Tree Ferns and Camellias. Saumarez Park was once part of the family's private estate, acquired following the death of 4th Lord de Saumarez in 1937. The award-winning Victorian walled garden eventually fell into a ruined state so since 2006, the garden has been tended in a community-based project, preserving the Victorian heritage.

St Peter Port

The Telegraph

Offering views over St Peter Port harbour and across to Herm, Sark, Candie Garden is a late C19th public flower garden with global plants. Home to Britain’s late C18th heated glasshouses, the gardens have a museum, art gallery and cafe. Tour St Peter Port's Seafront Sunday where a busy market fills with local arts and crafts, produce, drinks & food in summer. Stroll the seafront and see a Victor Hugo statue, gifted from the French government with thanks.

Candie Gardens in St Peter Paul

Expedia

Guernsey has a land surface area of 63 km2 and supports c60,000 people. The traditional industries of fishing and agriculture used to contribute much to the island’s economy. Now the importance of agriculture is mainly associated with the preservation of the island’s own Guernsey dairy cow. Clearly my Guernsey history focused on knitteds, agriculture and gardens. Thanks to the History of the Guernsey.

                                            

recent art thefts: Italian Villa Masterpieces

The theft discussed here was the latest in a series of robberies targeting major European museums, soon after a series of other high-profile heists. “Poppy Flowers” by Vincent van Gogh, stolen from Cairo's Khalil Museum in 2010, was never found. Neither was “Soldier on Horseback” by Anthony van Dyck, stolen from University of Oxford in 2020. The shameless day-light robbery of precious jewels from the Louvre in Paris in Oct 2025 was worth $102 mill. The Louvre had been the latest to be subject to a heist. The thieves in this robbery forced their way through the main Museum door, grabbing the art from the French Room on the building's first floor. The criminals escaped by climbing over a fence, according to public broadcaster TGR, which first reported the theft. They believed a structured and organised gang was responsible for the theft.

The Villa of Masterpieces is home to the Magnani-Rocca Foundation, one of the most important art institutions in Europe and one of the most active museums for its cultural programmes. The villa was surrounded by the Romantic Park, a large English garden displaying exotic plants, monumental trees and magnificent peacocks.

Magnani-Rocca Foundation near Parma, Nth Italy

Artnet News

The Foundation was created in 1977 by art historian Luigi Magnani (1906–1984) whose special collection featured works by Gentile da Fabriano, Monet, Renoir, Goya, Titian, Dürer, De Chirico, Rubens, Van Dyck, Filippo Lippi, Carpaccio, Burri, De Pisis, Tiepolo, Canova, Cézanne and a large collection of Giorgio Morandi. And sculptures by Canova & Bartolini. The star painting, The Family of the Infant Don Luis by Goya was the emblem of this very fine collection.

Inside the villa, the old placement of furnishings was kept to maintain a lived-in home feel. Visitors can admire precious Empire-style furniture and objects, classy charm coming from its neo-classical and Empire-style furnishings by Jacob. Impressive also was Thomire’s large malachite cup, a gift from Tsar Alexander I to Napoleon. The restoration & transformation of the villa into a museum used most advanced standards set by the Italian Cultural Heritage & Landscape Code. This was to ensure the preservation of works and to suit hosting high-quality visiting exhibitions.

4 masked men entered Magnani Rocca Foundation Villa, near Parma in N. Italy, and made off with artworks in Mar 2026. They stole Renoir, Cézanne and Matisse paintings:

1.Fish by Pierre-Auguste Renoir, 1913
2.Still Life with Cherries by Paul Cézanne, c1886 and
3.Odalisque on the Terrace by Henri Matisse, 1885

Fish, by Pierre-Auguste Renoir

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Odalisque on the terrace, by Henri Matisse

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Still Life With Cherries, by Paul Cezanne

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The theft took place within 3 minutes at night worth c£7.8m. The thieves forced open the entrance door to get into a room on the first floor before escaping across the museum gardens. The criminal operation seemed well organised,  entering the villa at the night, and disguised themselves even more by wearing hoods and masks. Media reports noted the gang quickly carried out the operation because they were interrupted by the museum's alarm system. They had apparently planned to steal more than just 3 works but had not been able to go any further due to the surveillance system (both in the museum and in the neighbouring facilities) and the rapid intervention of police and security officers.  So they had grabbed the 3 paintings, forced open the door and ran across the lawn.

Villa of Masterpieces, Van Dyck Room. 

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Villa of Masterpieces, Goya Room

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What will happen to Renoir, Cézanne and Matisse? I hope they will be found because The Carabinieri Cultural Heritage Protection Unit, a famous elite squad specialising in art theft, is actively inspecting. As is the Cultural Heritage Protection Unit of Bologna. So it may depend on whether the thieves sold the paintings onto Italian auction houses, smuggled them to the USA, burned the works so searchers would find only embers, or left the paintings in their wills to their grandchildren. 

Italian news agency ANSA posted pictures of the stolen works on line, to alert anyone who might see the stolen art, so perhaps the auction houses will be cautious. Despite being investigated by Italy’s Carabinieri and the Cultural Heritage Protection Unit of Bologna, nothing has been found yet. If I, Helen, was stealing a painting for my home (i.e not to sell), I would not have taken Matisse’s. Rather, I'd have preferred a Van Dyck. Enjoy finestresullarte and BBC.