Lost in translation? William Wardell's St John's College, Sydney and Convent and School, Kew

This paper considers two Colleges designed by the nineteenth century architect William Wardell (1823-99): St John’s College, within the University of Sydney (1858-59) and Convent and School, Kew, now known as Genazzano FCJ College Kew, Melbourne (1889). The approach of significant anniversaries for each of the Colleges has been the major impetus behind the current research. Both commissions demonstrate laudable aspirations; difficulty in comprehending and realising the design; partial completions and accretions over time which testify to changes in economic fortune and taste; inappropriate additions; and decades of neglect fuelled by a general misunderstanding of the 19th century for much of the 20th century. At the beginning of the 21st century conservation management plans were commissioned independently for both projects. Using the two Colleges as case studies, this paper examines tradition and its transformation, design and its translation, heritage and its significance.

William Wardell's St John's College within the University of Sydney, 1858-59

Ursula wrote the essay for the catalogue of the Wardell Exhibition.

William Wardell's 1859 St John's College - a rare realisation of Pugin's ideal Catholic College?

William Wardell’s St John’s College, Sydney, considered the grandest and architecturally most distinguished university college in New South Wales, is an exceptional example of 19th century Gothic Revival architecture.  The information board outside the college states that St John’s is ‘a rare realisation of Pugin’s ideal Catholic College’ and further that ‘it demonstrates [Pugin]’s profound influence on the work of Wardell’. This is but a small part of the story. The commission for St John’s College was far more complex.  The correspondence between the architects, William Wardell, Edmund Blacket and others, and St John’s Council indicates that right from the beginning there was a general lack of understanding of Wardell’s original design concept for the building. This has continued to the present day, as evidenced by the information on the board outside St John’s College, in which it is incorrectly assumed that Wardell’s proposal included a quadrangle as featured in Pugin’s ‘ideal College’. This paper, based largely on primary sources, investigates such claims about St John’s, considers William Wardell and the Gothic Revival, examines St John’s College within the University of Sydney – its design and its translation and posits a few conclusions leading to new understandings.

Translating the gothic tradition: St Patrick's Cathedral Melbourne

During the 1850s, England and France were the leading centres of debate over the Gothic Revival. As Barry Bergdoll argues, the issues that loomed large were at once architectural and political: stylistic eclecticism versus national purity, invention versus tradition, nationalism versus cosmopolitanism, as well as the challenge of new building programmes and new materials to the historicist logic of the Gothic Revival position. William Wilkinson Wardell (1823-99), the architect of St Patrick's Cathedral, Melbourne, Victoria, Australia (1858-97) found himself in the midst of this debate. ln.,1858, Wardell's client, James Alipius Goold, Bishop of the Catholic Diocese of Melbourne, found that local circumstances significantly influenced his aspirations for a new Catholic cathedral for Melbourne. The choices Wardell made eventually gave shape to the Gothic Revival in Australia.The New World perhaps echoing Didron, demanded of the past all it could offer the present and especially the future: a Gothic cathedral was deemed a fitting carrier of the principles, morals, beliefs and spirit of a Christian civilisation. Unlike many of his contemporaries in Britain and Europe, Wardell in Australia was to see his Gothic Cathedrals of St Patrick's and St Mary's substantially realised in his lifetime. This paper presents a building history of Wardell's St Patrick's, Melbourne, and critically examines the translations which are embedded in the design and fabric of this nineteenth-century Gothic revival cathedral.