- Smith, B., European Vision and the South Pacific, Second Edition, Yale U. P. and Harper & Row Sydney, 1984. pp. 234–235.
- This essay is a reworking of part of my M. A. thesis, ‘Taking Place: early colonial topographical landscape views of Sydney 1788-cl820.’ submitted to the Department of Fine Arts, The University of Sydney in 1989. 1 would like to acknowledge the substantial input of my supervisors Joan Kerr and, especially for the material discussed here, Terry Smith. I would also like to thank Michael Rosenthal for his encouragement and many valuable suggestions on a recent version of this text. My account has also benefited from the input of the many students and several colleagues that I have inflicted it upon over the past seven years.
- Many early views of Sydney are widely reproduced. The fullest single source is Tim McCormick (ed) First Views of Australia 1788–1825, David Ell Press and Longueville Publications, Sydney, 1987.
- I mean a population that inhabits the landscape, seting aside ethnographic studies and portraiture.
- Altick, R. D. The Shows of London, Harvard U.P., 1978. p. 129.
- The most detailed antiquarian account of the panorama is in Hyde, R., Panoramania!: the art and entertainment of the ‘all-embracing’ view, Trefoil Publications in association with Barbican Art Gallery, London, 1988.
- Altick p. 137.
- Altick p. 137.
- R. B. Beckett (ed) John Constable's Correspondence, Ipswich, 1962–68. vol. II, p. 34. Cited in Altick, p. 137.
- Wilcox, S. B, ‘Unlimiting the Bounds of Painting’, in Hyde, R., Panoramania!: the art and entertainment of the ‘all-embracing’ view, Trefoil Publications in association with Barbican Art Gallery, London, 1988. pp.13–43. esp pp. 21–32.
- Altick reports that the word was coined in 1791 by one of Barker's friends, as a derivation from the Greek to mean ‘all embracing view’, and it rapidly became popular in a variety of contexts. The Shorter Oxford English Dictionary records its first usage at 1796 for Barker's sense of a cylindrical landscape, and as early as 1801 to indicate any comprehensive survey of a subject, visual or otherwise.
- Barrell, J., ‘The Public Prospect and the Private View: The Politics of Taste in Eighteenth Century Britain’, in J. C. Eade (ed) Projecting the Landscape, H.R.C, Australian National University, Canberra, 1987. pp. 15–35.
- Barrell, p.15. Barrell also writes on the characteristics of the gentleman observer in his English Literature in History 1730–1780. an equal, wide survey., St. Martin's Press, New York, 1984.
- As Barrell points out he uses ‘the word panoramic… simply as a shorthand for the kind of extensive prospect we find typically in a landscape by Claude.’ Barrell, p. 18.
- Barrell, p.29.
- Barrell p.18.
- Lindsay, J., Turner, his life and work: a critical biography, London, 1966. p63. Lindsay lists other devices such as de Loutherbourg's Eidophusikon, Gainsborough's transparencies, the renewed popularity of the camera obscura and anamorphoses, the invention of the camera lucida, and Zograscopes.
- Crary, J., Techniques of the Observer: on vision and modernity in the nineteenth century, October Books, MIT Press, Cambridge, Mass./London, 1991.
- Crary pp. 112–113.
- Crary p. 6.
- Altick p.132.
- An aquatint published in Robert Mitchell's Plans and Views in Perspective of Buildings Erected in England and Scotland, London,1801. Reproduced in Altick, plate 30 p. 133. By measuring the diameter of both rooms represented in the aquatint, and knowing the diameter of the larger to be 90ft, I calculate the diameter of the smaller to have been 53.2 ft. However, some caution should be exercised with the use of this figure.
- C.R. Leslie in a letter to his brother in 1812, cited in Wilcox, p. 28.
- Bentham Works, (Bowring ed) London 1843. Vol. IV, pp. 37–172.
- L. J. Hume ‘Bentham's Panopticon: an administrative history—I.’ Historical Studies, October 1973. p. 706.
- Evans, R. The Fabrication of Virtue: English prison architecture, 1750–1840. Cambridge University Press, 1982. p. 227.
- Foucault's reading appears principally in Discipline and Punish: the Birth of the Prison, Vintage Books, Random House, New York 1979 (trans. Alan Sheridan, 1977) and is also the focus of ‘The Eye of Power’ in Power/Knowledge: selected interviews and other writings 1972–1977 by Michel Foucault, Colin Gordon (ed), The Harvester Press, Brighton 1980.
- Bennett, T., ‘The Exhibitionary Complex’, New Formations 4, 1989. pp 73–102. de Cauter, L., ‘The Panoramic Ecstasy: On World Exhibitions and the Disintegration of Experience’, Theory, Culture & Society, V 10, 1993. pp.1–23.
- Bennett, pp.73–74.
- Bennett, p.76.
- Foucault, ‘The Eye of Power’, Colin Gordon (ed) Michel Foucault Power/Knowledge: select ed interviews and other writings 1972–1977 by Michel Foucault, Harvester Press, Brighton, 1980, p. 152.
- Harrison, R., Bentham, Routledge & Kegan Paul, London, 1983. p. 131.1 am indebted to Fay Brauer for bringing this point to my attention.
- Foucault, Discipline and Punish p. 200.
- Bentham, J., Works Bowring (ed) London 1843. vol IV, pp. 173–248. Hume reports that the pamphlet was first published as Letters to Lord Pelham, but Bentham had originally planned to call it Panopticon versus New South Wales,… and that title was used when it was published in his Works. L. J. Hume ‘Bentham's Panopticon: An Administrative History—II.’ Historical Studies April 1974, p.40. Bentham's views are discussed in the context of colonial Australia by J. B. Hirst, Convict Society and its Enemies: A History of Early New South Wales, Allen and Unwin, Sydney 1983. Chapter 1. and by Joan Kerr, ‘Introduction’ in James Semple Kerr, Out of Sight, Out of Mind: Australia's places of confinement, 1788–1988. S. H. Irvin Gallery, National Trust of Australia, Sydney 1988.
- Joan Kerr, ‘Introduction’ in James Semple Kerr, Out of Sight, Out of Mind: Australia's places of confinement, 1788–1988. S. H. Irvin Gallery, National Trust of Australia, Sydney 1988. p. 2.
- This is the standard view, see for example C. M. H. Clark A History of Australia I: from the earliest times to the age of Macquarie, Melbourne U. P., 1962. pp 263–380.
- Ritchie, J., (ed) The Evidence to the Bigge Reports, Heinemann, Melbourne, 1971. vol. 1. p.227.
- W. C. Wentworth was perhaps the most prominent. his A Statistical, Historical and Political description of the Colony of New South Wales, London 1820. and Australasia: a Poem written for the Chancellor's Medal at the Cambridge Commencement, July, 1823. London, 1823. were both pro-Macquarie.
- For example T. G. Parsons ‘Does the Bigge Report follow from the evidence?’, Historical Studies v. 15 pp. 268–275.1 am indebted to this article for the line of argument which follow in this paragraph.
- This is the central thesis of Ritchie, J. Punishment and Profit: The Reports of Commissioner fohn Bigge on the Colonies of New South Wales and Van Diemen's Land, 1822–1823; their origins, nature and significance. Melbourne, Heinemann, 1970.
- Edwards, N. ‘The Genesis of the Sydney Central Business District 1788–1856’, Nineteenth-Century Sydney: Essays in Urban History, Kelly, M. (ed), Sydney University Press, 1978. p43.
- Transportation was ceased to the Eastern mainland in 1840 and to Van Diemen's Land in 1852; although in Western Australia it began in 1850 and continued until 1868. Inglis, K. S. The Australian Colonists: An exploration of social history 1788–1870. Melbourne University Press, 1974. pp. 11–12.
- Davidson, A., The Invisible State: The Formation of the Australian State 1788–1901, Cambridge U.P., 1991. p. 40 et passim.
- For a detailed, concise account of Taylor's career and work see Imashev, Elizabeth ‘Taylor, James in Joan Kerr, (ed) The Dictionary of Australian Artists: painters, sketchers, photographers and engravers to 1870. Oxford University Press, Melbourne, 1992. pp. 779–780.
- The work can be efficiently dated with reference to architectural details: St James’ Church, one of Macquarie's major buildings designed by the convict architect Francis Greenway, is present in the central panel of the aquatint triptych, with its tower but without its spire, but it is absent from the corresponding watercolour. This indicates that the watercolours depict the state of building in the town around 1819 when the construction of the church was begun, while the aquatints show the state of the town at cl821, a little before the church was completed. St James’ foundation stone was laid Oct 1819, church erecting Feb 1820, hopes to have it roofed & nearly completed in 8 months time Historical Records of Australia vol. X, p. 283; nearly completed, list of public buildings to Nov 30 1821 Historical Records of Australia vol. X, p. 687; not yet completed Sydney Gazette 29 Dec 1821; first service Sydney Gazette Jan 11 1822; nearing completion Sydney Gazette Oct 30 1823; opened and consecrated Sydney Gazette 11 Feb 1824.
- Sydney Gazette, June 3 1824.
- Reproduced in McCormick (ed), at p. 202, p. 204, and pl68.
- This is suggested in the caption to the plate in McCormick (ed) p208 and by Robert Dixon in ‘Colonial Newsreel’ Creating Australia, International Cultural Corporation of Australia and the Art Gallery Board of South Australia, 1988. p66–67
- Dixon ‘Colonial Newsreel’ p. 66.
- These are Arbuthnot's Range from the West, drawn by Major Taylor from a sketch by Mr Evans (I Clark sc.), and views of Bathurst'sFalls and Liverpool Plains with identical accreditation; in Oxley, J. Journal of Two Expeditions to the Interior of New South Wales…1817-1818. London, 1820.
- Another panorama of Sydney was exhibited at Leicester Square in 1829, painted by Robert Burford from drawings made in Sydney by Augustus Earle in 1827. Nothing on the scale of Taylor's triptych was produced, but this work is known from a line engraving with letterpress published to accompany that exhibition, Description/ of/ a view of/ the/ Town of Sydney,/ New South Wales;/ the / Harbour of Port Jackson,/ and Surrounding Country;/now exhibiting in the/ Panorama, Leicester—Square. London; Printed by J. and C. Adlard, Bartholemew Close, 1829. A facsimile reprint of this document was published by the Library of Australian History, Sydney, 1978. Ten years after Taylor's triptych, a full 360 degree panorama was engraved by Robert Havell after Robert Dale in 1834: Panoramic View of King George's Sound, part of the colony of Swan River. This site is now known as Albany in Western Australia.
- Kerr, J. and Falkus, H. From Sydney Cove to Duntroon. pp.42–43. The sketchbook is held in the National Library of Australia.
- Kerr, J. ‘Mary Morton Allport and the status of the Colonial Lady Painter.’ Eldershaw Memorial Lecture, 1983.
- Altick, p137.
- It is for these formal reasons that I think it most likely the triptych was produced from drawings made in the panorama itself.
- Smith, T. ‘Convicts and Capital: Absences in the Imagery of Early Settlement’, Capital Essays: Selected Papers from the General Studies Conference on Australian Capital History Drew Cottle (ed), General Studies Department, University of New South Wales, 1984. pp. 63–76.
- Smith, T. ‘Convicts and Capital’, p. 64.
- Dixon ‘Colonial Newsreel’, p. 66.
- Dixon, ‘Colonial Newsreel’ p. 67.
- Smith, B., Australian Painting 1788–1990: with three aditional chapters on Australina painting since 1970 by Terry Smith, Third Edition, Oxford U. P., Melbourne, 1991. P 16. Smith adds a footnote defining ‘the Government stroke’ as ‘a lazy method of working’.
Australian Journal of Art
Volume 12, 1994 - Issue 1: In Memoriam: Ian Burn