Sofala, New South Wales
Sofala is a village in New South Wales, Australia, 255 kilometres north-west of Sydney, within Bathurst Regional Council. It is located beside the Turon River. Sofala is just with only local traffic through the town itself. At the 2006 census, Sofala had a population of 208. Sofala came about as a direct result of the gold rush, spurred on when Edward Hargraves discovered gold at Summerhill Creek on 12 February 1851. By June of that year, thousands of people had set up mining operations in the valley, both the Royal Hotel and a general store were built in 1851 to handle the increased demand. Gold was found in the area known as Gold Point on the Turon River; when the alluvial gold ran out, mining turned to quartz reef mining. The town was a centre of opposition to the gold licensing system in New South Wales at the time. A considerable proportion of the miners were Chinese. Sofala Public School was established in 1878. There was a Catholic convent; the Convent opened in 1872 and closed in 1909, although it was a church until 1970.
The Gas Hotel was one of the first two hotels licensed, in 1851. The Royal Hotel was established in 1862. There were two other hotels in 1866, Sofala Inn and Barley Mow; the Barley Mow having a Co booking office. Now a private residence, the Post Office and telegraph office, built in 1879 operated until 1989. Attractions today include the old gaol. Small-scale gold workings are still active in the town. Sofala has been reported to be the oldest surviving gold-rush town in Australia. There are still gold prospectors who pass the time using metal detectors, gold pans, sluice boxes to recover small quantities of gold dust. Russell Drysdale's painting Sofala, a depiction of the main street of the town, won the Wynne Prize for 1947; the 1974 Peter Weir film The Cars That Ate. Village scenes in the 1994 John Duigan film Sirens were filmed in Sofala. A noted business is Finglinna Studios, which supplies stained glass to churches and other public buildings. From Bathurst, Sofala is around 50 km north along the sealed Bathurst-Ilford Road.
Sofala has a number of heritage-listed sites, including: Brucedale, 1361 Sofala Road: Grave of Windradyne 216 Main Road, west of Sofala: Bridge over Turon River at Wallaby Rocks Prospecting Authentic Gold Rush era establishmentse.g The Sofala Royal Hotel Walk along the Turon River Cycle Historical walks and tours Riverside campsites Old Gaol museum/cafe/accommodation Turon Technology Museum Tanwarra Lodge luxury accommodation Hester Maclean Hill End Ilford Capertee Bathurst Australian gold rushes Gold mining Media related to Sofala, New South Wales at Wikimedia Commons
National Gallery of Victoria
The National Gallery of Victoria, popularly known as the NGV, is an art museum in Melbourne, Australia. Founded in 1861, it is Australia's oldest and most visited art museum; the NGV houses an encyclopedic art collection across two sites: NGV International, located on St Kilda Road in the Melbourne Arts Precinct of Southbank, the Ian Potter Centre: NGV Australia, located nearby at Federation Square. The NGV International building, designed by Sir Roy Grounds, opened in 1968, was redeveloped by Mario Bellini before reopening in 2003, it is on the Victorian Heritage Register. Designed by Lab Architecture Studio, the Ian Potter Centre opened in 2002 and houses the gallery's Australian art collection. Victoria was granted separation from New South Wales in 1850, becoming effective on 1 July 1851. In the wake of the Victorian gold rush that began in August 1851, the new colony became Australia's richest, Melbourne, its capital, the largest and wealthiest city in Australia. With Melbourne's rapid growth came calls for the establishment of a public art gallery, in 1859, the Government of Victoria pledged £2000 for the acquisition of plaster casts of sculpture.
These works were displayed in the Museum of Art, opened by Governor Sir Henry Barkly in May 1861 on the lower floor of the south wing of the Public Library on Swanston Street. Further money was set aside in the early 1860s for the purchase of original paintings by British and Victorian artists; these works were first displayed in December 1864 in the newly opened Picture Gallery, which remained under the curatorial administration of the Public Library until 1882. Grand designs for a building fronting Lonsdale and Swanston streets were drawn by Nicholas Chevalier in 1860 and Frederick Grosse in 1865, featuring an enormous and elaborate library and gallery, but the visions were never realised. On 24 May 1874, the first purpose built gallery, known as the McArthur Gallery, opened in the McArthur room of the State Library, the following year, the Museum of Art was renamed the National Gallery of Victoria; the McArthur Gallery was only intended as a temporary home until the much grander vision was to be realised.
However such an edifice did not eventuate and the complex was instead developed incrementally over several decades. The National Gallery of Victoria Art School, associated with the gallery, was founded in 1867 and remained the leading centre for academic art training in Australia until about 1910; the School's graduates went on to become some of Australia's most significant artists. In 1887, the Buvelot Gallery was opened, along with the Painting School studios. In 1892, two more galleries were added: Stawell and La Trobe; the gallery's collection was built from both gifts of works of art and monetary donations. The most significant, the Felton Bequest, was established by the will of Alfred Felton and from 1904, has been used to purchase over 15,000 works of art. Since the Felton Bequest, the gallery had long held plans to build a permanent facility, however it was not until 1943 that the State Government chose a site, Wirth's Park, just south of the Yarra River. £3 million was put forward in February 1960 and Roy Grounds was announced as the architect.
In 1959, the commission to design a new gallery was awarded to the architectural firm Grounds Romberg Boyd. In 1962, Roy Grounds split from his partners Frederick Romberg and Robin Boyd, retained the commission, designed the gallery at 180 St Kilda Road; the new bluestone clad building was completed in December 1967 and Victorian premier Henry Bolte opened it on 20 August 1968. One of the features of the building is the Leonard French stained glass ceiling, one of the world's largest pieces of suspended stained glass, which casts colourful light on the floor below; the water-wall entrance is another well-known feature of the building. In 1999, redevelopment of the building was proposed, with Mario Bellini chosen as architect and an estimated project cost of $161.9 million. The proposal was to leave the original architectural fabric intact including the exterior facade and Leonard French stained glass ceiling, but to modernise the interior. During the redevelopment, many works were moved to a temporary external annex known as NGV on Russell, at the State Library with its entrance on Russell Street.
A major fundraising drive was launched on 10 October 2000 to redevelop the ageing facility and although the state government committed the majority of the funds, private donations were sought in addition to federal funding. The drive achieved its aim and secured $15 million from the Ian Potter Foundation on 11 July 2000, $3 million from Lotti Smorgon, $2 million from the Clemenger Foundation, $1 million each from James Fairfax and the Pratt Foundation. NGV on Russell closed on 30 June 2002 to make way for the staged opening of the new St Kilda Road gallery, it was opened by premier Steve Bracks on 4 December 2003. The Ian Potter Centre: NGV Australia in Federation Square was designed by Lab Architecture Studio to house the NGV's Australian art collection, it opened in 2002. As such, the NGV's collection is now housed in two separate buildings, with Grounds' building renamed NGV International; the NGV's Asian art collection began in 1862, one year after the gallery's founding, when Frederick Dalgety donated two Chinese plates.
The Asian collection has since grown to include significant works from across the continent. The NGV's Australian art collection encompasses Indigenous art and artefacts, Australian colonial art, Australian Impressionist art, 20th century and contemporary art; the 1880s saw the birth and development of
Art Gallery of New South Wales
The Art Gallery of New South Wales, located in The Domain in Sydney, New South Wales, Australia, is the most important public gallery in Sydney and one of the largest in Australia. The Gallery's first public exhibition opened in 1874. Admission is free to the general exhibition space, which displays Australian art and Asian art. A dedicated Asian Gallery was opened in 2003. On 24 April 1871, a public meeting was convened in Sydney to establish an Academy of Art'for the purpose of promoting the fine arts through lectures, art classes and regular exhibitions.' From 1872 until 1879 the Academy's main activity was the organisation of annual art exhibitions. The first exhibition of colonial art, under the auspices of the Academy, was held at the Chamber of Commerce, Sydney Exchange in 1874. In 1875 Apsley Falls by Conrad Martens, commissioned by the trustees and purchased for £50 out of the first government grant of £500, became the first work on paper by an Australian artist to be acquired by the Gallery.
The Gallery's collection was first housed at Clark's Assembly Hall in Elizabeth Street where it was open to the public on Friday and Saturday afternoons. The collection was relocated in 1879 to a wooden annexe to the Garden Palace built for the Sydney International Exhibition in the Domain and was opened as "The Art Gallery of New South Wales". In 1882, the first Director, Eliezer Montefiore and his fellow trustees opened the art gallery on Sunday afternoons from 2 pm to 5 pm. Montefiore believed:... the public should be afforded every facility to avail themselves of the educational and civilising influence engendered by an exhibition of works of art, moreover, at the public expense. The destruction of the Garden Palace by fire in 1882 placed pressure on the government to provide a permanent home for the national collection. In 1883 private architect John Horbury Hunt was engaged by the trustees to submit designs; the same year there was a change of name to "The National Art Gallery of New South Wales".
The Gallery was incorporated by The Library and Art Gallery Act 1899. In 1895, the new Colonial Architect, Walter Liberty Vernon, was given the assignment to design the new permanent gallery and two picture galleries were opened in 1897 and a further two in 1899. A watercolour gallery was added in 1901 and in 1902 the Grand Oval Lobby was completed. Over 300,000 people came to the Gallery during March and April 1906 to see Holman Hunt’s painting The Light of the World. In 1921, the inaugural Archibald Prize was awarded to W. B. McInnes for his portrait of architect Desbrowe Annear; the equestrian statues The offerings of peace and The offerings of war by Gilbert Bayes were installed in front of the main facade in 1926. James Stuart MacDonald was appointed director and secretary in 1929. In 1936 the inaugural Sulman Prize was awarded to Henry Hanke for La Gitana. John William Ashton was appointed director and secretary in 1937; the first woman to win the Archibald Prize was Nora Heysen in 1938 with her portrait Mme Elink Schuurman, the wife of the Consul General for the Netherlands.
The same year electric light was temporarily installed at the Gallery to remain open at night for the first time. In 1943 William Dobell won the Archibald Prize for Joshua Smith. Hal Missingham was appointed director and secretary in 1945. In 1958 the Art Gallery of New South Wales Act was amended and the Gallery’s name reverted to "The Art Gallery of New South Wales". In 1969 construction began on the Captain Cook wing to celebrate the bicentenary of Cook's landing in Botany Bay; the new wing opened in May 1972, following the retirement of Missingham and the appointment of Peter Phillip Laverty as director in 1971. The first of the modern blockbusters to be held at the Gallery was Modern masters: Monet to Matisse in 1975, it attracted 180,000 people over 29 days. The 1976 the Biennale of Sydney was held at the Gallery for the first time; the Sydney Opera House had been the location for the inaugural Biennale in 1973. 1977 saw an exhibition "A selection of recent archaeological finds of the People's Republic of China."
Edmund Capon was appointed director in 1978 and in 1980 The Art Gallery of New South Wales Act established the "Art Gallery of New South Wales Trust". It reduced the number of trustees to nine and stipulated that "at least two" members "shall be knowledgeable and experienced in the visual arts". With the support of Premier Neville Wran a major extension of the Gallery became a Bicennential project. Opened just in time in December 1988, the extensions doubled the floor space of the Gallery. In 1993 Kevin Connor won the inaugural Dobell Prize for Drawing for city. In 1994, the Yiribana Gallery, dedicated to Aboriginal and Torres Strait Islander art, was opened. 2000-2009In 2003 an Art After Hours program was initiated with the Gallery opening hours extended every Wednesday. The inaugural Australian Photographic Portrait Prize was won by Greg Weight; the Art Gallery Society of New South Wales celebrated its 50th anniversary in the same year and the Rudy Komon Gallery exhibition space was opened, followed by the new Asian gallery.
A 2004 exhibition of Man Ray’s work set an attendance record for photography exhibitions, with over 52,000 visitors. The same year a legal challenge was mounted against the award of the Archibald Prize to Craig Ruddy for his David Gulpilil, two worlds; the Nelson Meers Foundation Nolan Room was opened in 2004, with a display of five major Sidney Nolan paintings gifted to the Gallery by the Foundation over the past five years.myVirtualGallery was launched on the Gallery's website in 2005 and the former boardroom was reopened for display of
Sussex, from the Old English Sūþsēaxe, is a historic county in South East England corresponding in area to the ancient Kingdom of Sussex. It is bounded to the west by Hampshire, north by Surrey, northeast by Kent, south by the English Channel, divided for many purposes into the ceremonial counties of West Sussex and East Sussex. Brighton and Hove, though part of East Sussex, was made a unitary authority in 1997, as such, is administered independently of the rest of East Sussex. Brighton and Hove was granted City status in 2000; until Chichester was Sussex's only city. Sussex has three main geographic sub-regions, each oriented east to west. In the southwest is the fertile and densely populated coastal plain. North of this are the rolling chalk hills of the South Downs, beyond, the well-wooded Sussex Weald; the name derives from the Kingdom of Sussex, founded, according to legend, by Ælle of Sussex in AD 477. Around 827, it was absorbed subsequently into the kingdom of England, it was the home of some of Europe's earliest recorded hominids, whose remains have been found at Boxgrove.
It is the site of the Battle of Hastings. In 1974, the Lord-Lieutenant of Sussex was replaced with one each for East and West Sussex, which became separate ceremonial counties. Sussex continues to be recognised as cultural region, it has had a single police force since 1968 and its name is in common use in the media. In 2007, Sussex Day was created to celebrate history. Based on the traditional emblem of Sussex, a blue shield with six gold martlets, the flag of Sussex was recognised by the Flag Institute in 2011. In 2013, Secretary of State for Communities and Local Government Eric Pickles formally recognised and acknowledged the continued existence of England's 39 historic counties, including Sussex; the name "Sussex" is derived from the Middle English Suth-sæxe, in turn derived from the Old English Suth-Seaxe which means of the South Saxons. The South Saxons were a Germanic tribe that settled in the region from the North German Plain during the 5th and 6th centuries; the earliest known usage of the term South Saxons is in a royal charter of 689 which names them and their king, Noðhelm, although the term may well have been in use for some time before that.
The monastic chronicler who wrote up the entry classifying the invasion seems to have got his dates wrong. The New Latin word Suthsexia was used for Sussex by Dutch cartographer Joan Blaeu in his 1645 map. Three United States counties, a former county/land division of Western Australia, are named after Sussex; the flag of Sussex consists of six gold martlets, or heraldic swallows, on a blue background, blazoned as Azure, six martlets or. Recognised by the Flag Institute on 20 May 2011, its design is based on the heraldic shield of Sussex; the first known recording of this emblem being used to represent the county was in 1611 when cartographer John Speed deployed it to represent the Kingdom of the South Saxons. However it seems that Speed was repeating an earlier association between the emblem and the county, rather than being the inventor of the association, it is now regarded that the county emblem originated and derived from the coat of arms of the 14th-century Knight of the Shire, Sir John de Radynden.
Sussex’s six martlets are today held to symbolise the traditional six sub-divisions of the county known as rapes. Sussex by the Sea is regarded as the unofficial anthem of Sussex. Adopted by the Royal Sussex Regiment and popularised in World War I, it is sung at celebrations across the county, including those at Lewes Bonfire, at sports matches, including those of Brighton and Hove Albion Football Club and Sussex County Cricket Club; the county day, called Sussex Day, is celebrated on 16 June, the same day as the feast day of St Richard of Chichester, Sussex's patron saint, whose shrine at Chichester Cathedral was an important place of pilgrimage in the Middle Ages. Sussex's motto, We wunt be druv, is a Sussex dialect expression meaning "we will not be pushed around" and reflects the traditionally independent nature of Sussex men and women; the round-headed rampion known as the "Pride of Sussex", was adopted as Sussex's county flower in 2002. The physical geography of Sussex relies on its lying on the southern part of the Wealden anticline, the major features of which are the high lands that cross the county in a west to east direction: the Weald itself and the South Downs.
Natural England has identified the following seven national character areas in Sussex:South Coast Plain South Downs Wealden Greensand Low Weald High Weald Pevensey Levels Romney MarshesAt 280m, Blackdown is the highest point in Sussex, or county top. Ditchling Beacon is the highest point in East Sussex. At 113 kilometres long, the River Medway is the longest river flowing through Sussex; the longest river in Sussex is the River Arun, 60 kilometres long. Sussex's largest lakes are man-made reservoirs; the largest is Bewl Water on the Kent border, while the largest wholly within Sussex is Ardingly Reservoir. The coastal resorts of Sussex and neighbouring Hampshire are the sunniest places in the United Kingdom; the coast has more sunshine than the inland areas: sea breezes, blowing off the sea, tend to clear any cloud from the coast. Most of Sussex lies in Hardiness zon
Arthur Merric Bloomfield Boyd was a leading Australian painter of the late 20th century. Boyd's work ranges from impressionist renderings of Australian landscape to starkly expressionist figuration, many canvases feature both. Several famous works set Biblical stories against the Australian landscape, such as The Expulsion, now at the Art Gallery of New South Wales. Having a strong social conscience, Boyd's work deals with humanitarian issues and universal themes of love and shame. Boyd was a member of the Antipodeans, a group of Melbourne painters that included Clifton Pugh, David Boyd, John Brack, Robert Dickerson, John Perceval and Charles Blackman; the Boyd family artistic dynasty includes painters, sculptors and other arts professionals, commencing with Boyd's grandmother Emma Minnie Boyd and her husband Arthur Merric Boyd, Boyd's father Merric and mother Doris. His other sister Mary Boyd a painter, married first John Perceval, later Sidney Nolan, both artists. Boyd's wife, Yvonne Boyd is a painter.
In 1993, Arthur and Yvonne Boyd gave family properties comprising 1,100 hectares at Bundanon on the Shoalhaven River to the people of Australia. Held in trust, Boyd donated further property and the copyright to all of his work. Boyd was born at Murrumbeena, Victoria into the artistic dynasty Boyd family, the son of Doris Boyd and her husband Merric, both potters and painters. Boyd's sisters Lucy and Mary were both artists as well as both of Boyd's elder brothers. After leaving school aged 14 years, Boyd attended night classes at the National Gallery School in Melbourne where Jewish immigrant artist Yosl Bergner introduced Boyd to writers such as Dostoyevsky and Kafka and influenced his humanitarian values and social conscience. Boyd spent several years living on the Mornington Peninsula with his grandfather, the landscape painter Arthur Merric Boyd, who nurtured his talent. Early paintings were portraits and of seascapes of Port Phillip created while he was an adolescent, living in the suburbs of Melbourne.
He moved to the inner city. Reflecting this move in the late 1930s, his work moved into a distinct period of depictions of fanciful characters in urban settings. Boyd was conscripted in 1941 and served with the Cartographic Unit until 1944. Although he did not see active duty, Boyd's expressionistic wartime paintings, including images of cripples and those deemed unfit for war service, were considered painful images of the dispossessed and the outcast. Following the war, together with John Perceval founded a workshop at Murrumbeena and turned his hand to pottery, ceramic painting and sculpture. Although Boyd was a close friend of Albert Tucker, Joy Hester and Sidney Nolan, he kept an emotional distance from the modernist Heide Circle founded by art patrons John and Sunday Reed who supported Tucker and Hester amongst others. In the late 1940s and early 1950s, Boyd traveled to Victoria's Wimmera country and to Central Australia including Alice Springs and his work turned towards landscape paintings.
During this period his best-known work comes from his Love and Death of a Half-Caste Bride series of 31 paintings known as The Bride, that imagined an Aboriginal person of mixed descent as a neglected outsider. First exhibited in Melbourne in April 1958, the series met a mixed reaction, as it did that year in Adelaide and Sydney. Following the 1999 acquisition of Reflected Bride 1 by the National Gallery of Australia, the gallery's director Brian Kennedy commented in 2002: The Bride paintings are among the greatest expressions of conscience by an Australian artist. Brilliantly executed and of sustained quality, Reflected Bride 1 speaks to contemporary Australia, beseeching reconciliation, understanding and a tolerant, compassionate meeting of old and new cultures. Boyd’s paintings are not pretty and carry a pervasive magical and somewhat menacing atmosphere, it is as if the landscape are one. The bride rises from an Ophelia caught by a groom whose foot hooks a tree; the bride is staring at an absurd mask-like white bride’s head which appears to glow out of the forest.
This is a strange place of nightmarish dreams. In 1956, Boyd's ceramic sculpture'Olympic Pylon' was installed in the forecourt of the Melbourne Olympic Swimming Pool. Boyd represented Australia with Arthur Streeton at the Venice Biennale in 1958, where his Bride series was well received, he was affiliated with the Antipodeans, a group of painters founded in 1959 and supported by Australian art historian Bernard Smith, who tried to promote figurative art when abstract painting and sculpture was dominant. The group exhibited at the Whitechapel gallery in London. In 1959 Boyd and his family moved to London, where he remained until 1971. In London, he started receiving commissions for ballet and opera set designs, after taking up etching and returning to ceramic painting, in 1966 he began the Nebuchadnezzar series in response to the Vietnam War as a statement of the human condition. While in London, Boyd entered another distinct period with his works themed around the idea of metamorphosis, he produced several series of works, including a collection of fifteen biblical paintings based on the teaching of his mother, Doris.
He produced a tempera series about large areas of sky and land, called the Wimmera series. The recipient of a Creative Arts Fellowship f
Geelong Grammar School
Geelong Grammar School is an independent Anglican co-educational boarding and day school. The school's main campus is located in Corio on the northern outskirts of Geelong, Australia, overlooking Corio Bay and Limeburners Bay. Established in 1855 under the auspices of the Church of England, Geelong Grammar School has a non-selective enrolment policy and caters for 1,500 students from Pre-school to Year 12, including 800 boarders from Years 5 to 12; the school's fees are the most expensive in Australia based on a comparison of Year 12 student fees. Geelong Grammar School is a member of the Headmasters' and Headmistresses' Conference, the Junior School Heads Association of Australia, the Australian Boarding Schools' Association, the Association of Heads of Independent Schools of Australia, the Association of Independent Schools of Victoria, is a founding member of the Associated Public Schools of Victoria; the school is a member of the G20 Schools Group. The school has offered the International Baccalaureate since February 1997.
The school was founded in 1855 as a private diocesan school with the blessing of Bishop Perry by the Venerable Theodore Stretch, Archdeacon of Geelong, with an initial enrollment of fourteen boys. The school grew and in 1857 it was assigned £5,000 of a government grant for church schools by Bishop Perry, the foundation stone was laid for its own buildings and it was transformed into a public school; the school closed due to financial difficulties in 1860, only to reopen in 1863 with John Bracebridge Wilson, a master under the Revd George Vance, as head master. For many years Bracebridge Wilson ran the school at his own expense and through this time boarders came to compose the greater part of the student body. In 1875, James Lister Cuthbertson joined the staff as Classics master, he had a great influence upon the boys of the school and was much admired and loved by them in spite of his alcoholism. Upon the death of Bracebridge Wilson in 1895, Cuthbertson became acting head master until the appointment of Leonard Harford Lindon early in the next year.
Lindon ran the school for 15 years, but was never accepted by the old boys because he lacked the personal warmth with the boys, seen with Bracebridge Wilson and Cuthbertson. By the turn of the century the school was outgrowing its buildings in the centre of Geelong, so it was decided to move; the school council chose to open the head mastership to new applicants. Lindon reapplied but was rejected and the Revd Francis Ernest Brown was chosen as the new head master. In 1909, the school purchased a substantial amount of land in the rural Geelong suburb of Belmont, bounded by Thomson and Scott Streets, Roslyn Road. On 21 October 1910, chairman of the school, W. T. Manifold turned the first sod at the site of; these plans had faded by August 1911, when adjoining rural land was offered for sale as the Belmont Hill Estate. The school council judged that the adjacent suburban subdivision would work against their plans for a boarding school, not one catering for day boys; the decision was made to buy land on the opposite side of Geelong at Corio, the land at Belmont was sold for further residential subdivision.
At the end of 1913 the school left its old buildings near the centre of Geelong and opened at its expansive new site at Corio in February 1914. Brown put a greater emphasis on religion than his predecessors, the new isolated location with its own chapel was ideal for this. Upon Brown's retirement in 1929 the school council set out to find a 40-year-old married priest as the next head master, but they ended up choosing James Ralph Darling, a 30-year-old layman and bachelor; this proved to be a most successful choice and ushered in an era of creativity and massive expansion, following the purchase in 1927, of Bostock House, the Geelong Church of England Grammar Preparatory School in Newtown, Glamorgan Preparatory School in Toorak in 1928. Darling's boldest initiative was the starting of the Timbertop campus, in the foothills of the Victorian Alps near Mansfield, in 1953, he attracted many acclaimed in their fields to work as masters at the school, including the historian Manning Clark, the musician Sir William McKie, the artist Ludwig Hirschfeld Mack.
Thomas Ronald Garnett succeeded Darling in 1961. He took the school down a liberal path, most notably in early steps towards co-education, with girls from Geelong Church of England Girls' Grammar School "The Hermitage" taking certain classes at Corio by the early 1970s, but by making chapel non-compulsory. At the start of 1972, co-education was formally introduced when girls were accepted into the two senior years. Garnett was succeeded by the Hon. Charles Douglas Fisher, who continued the move towards co-education. In a staff meeting in which the votes for and against co-education were equal, he cast the deciding vote that led to the school accepting girls through all levels. In 1976, after a year of negotiations, GCEGS, GCEGGFS, "The Hermitage" and Clyde School amalgamated. Fisher died as the result of a car accident on the way to Timbertop for an end of year service in 1978. An interregnum of two years was followed by the appointment, in 1980, of John Elliot Lewis. Under the leadership of Lewis the school set about renovating the boarding and day houses to bring them up to more acceptable modern standards, there was a focus on improving academic results in addition to the rounded education offered.
In part, this was achieved through introducing timetable flexibility to allow able later-year high-school students to undertake Victorian Certificate of Educat
The Drover's Wife
The Drover's Wife is a 1945 painting by Australian artist Russell Drysdale. The painting depicts a flat, barren landscape with a woman in a plain dress in the foreground—a man, a wagon and two horses are in the background; the painting has been described as "an allegory of the white Australian people’s relationship with this ancient land." The title of the painting comes from "The Drover's Wife", an 1892 sketch story written by Henry Lawson. The painting is now part of the collection of the National Gallery of Australia in Canberra