The story of how ‘Corroboree’ by Indigenous artist Tommy McRae came to the University of Melbourne Archives

The story of how Tommy McRae’s Corroboree came to the university is told from documentation at University of Melbourne Archives (UMA), telling one side of a complex history. UMA looks forward to meeting with McCrae’s descendants later in the year to show them more of his artwork and to learn more of the human story behind the documents.

Please note that images and names of deceased Indigenous people are contained within this article.

Corroboree, ink on paper by Tommy McRae, University of Melbourne Archives, Foord Family Collection, 1961.0008.00001 — Corroboree or William Buckley and Dancers from the Wathaurong People, (c. 1890), ink on paper by Tommy McRae, University of Melbourne Archives, Foord Family Collection, 1961.0008.00001

The scene from Corroboree or William Buckley and Dancers from the Wathaurong People, (c. 1890) by Indigenous artist Tommy McRae is pressed into the exterior of the University of Melbourne’s new Arts West building. This striking design, created in a joint venture by Architectus & ARM Architecture, transforms an archival object into a monumental work of public art and inscribes a powerful indigenous perspective on Australian history into the building’s skin.

McRae’s ink drawing is featured on the façade along with other objects from the university’s 23 cultural collections, selected specifically by the architects to capture the cultural span of the University and the history of the Arts Faculty. Who was McRae and how did the university become the custodian of his beautiful artwork?

The modest 20.5 x 25.5cm ink drawing on paper is part of the Foord Family Collection at the University of Melbourne Archives and it sits in box alongside business records and family correspondence. The inclusion of Corroboree in the Foord papers demonstrates the close personal relationships that McRae formed to maintain his independence at a time of dispossession, segregation and suffering.

Detail of 'Squatters of the Old Times', copy of ink drawing by Tommy, undated, University of Melbourne Archives, John Foord Family Collection, 1961.0008.00052 This portrait photograph was affixed to McRae's ink drawing 'Squatters of the Old Times". — Detail of ‘Squatters of the Old Times’, copy of ink drawing by Tommy, undated, University of Melbourne Archives, John Foord Family Collection, 1961.0008.00052
This portrait photograph was affixed to McRae’s ink drawing ‘Squatters of the Old Times”.

Tommy McRae

Tommy McRae, also known as Tommy Barnes and by his Aboriginal names Yackaduna or Warra-euea, was born in the 1830s in the Murray Valley area, near Corowa, most likely belonging to the Kwatkwat people. He died in 1901.

As a child, McRae lived through cataclysmic change. He witnessed confrontations between his relatives, the traditional owners of the land, and settlers. By 1845, pastoralists had occupied Kwatkwat territory and introduced large herds of livestock. Gold miners dug up land around Ovens, destroying indigenous plants.

In 1920, settler historian Arthur Andrews said that no more than 200 Aboriginal people remained in the Murray Valley. McRae became a leader of the indigenous people who remained. He stayed on his country and he watched how settlers, miners and his relatives related to each other. Then he made records of what he saw – his drawings.

As with other Aboriginal artists of the nineteenth century, McRae drew images of indigenous customs, including hunting animals, fighting, and ceremonial events like corroborees. These depictions were vital; missions such as Coranderrk prohibited indigenous people from living according to their customs and so their portrayals in artwork was a way of remembering and keeping culture alive. McRae’s images put indigenous people in the centre of the picture as the observers rather than the observed. Before he developing his artistic talents, McRae worked as a stockman for local pastoralists in the Murray Valley. One of his employers was John Foord, a prominent businessman in the
Wahgunyah region.

McRae’s Foord Family connection

Born in Brighton, England in 1819, John Foord immigrated to Australia in the 1830s. First he went to Parramatta and then in 1839 he occupied land on the Victorian side of the Murray River. In 1856 Foord set up the township of Wahgunyah; North Wahgunyah (later Corowa) across the river was established by 1861. Foord built the flower mill and the school and set up a paddle-steamer service.

Research by UMA archivists suggests that the inclusion of two ink drawings by McRae in the Foord Family Collection, Corroboree and Squatters of the Old Times, is evidence of close ties between the artist and the Foord family. In 1864 Roderick Kilborn, a Canadian post master and Justice of the Peace living in Wahgunyah married John Foord’s daughter Sarah. Tommy McRae and his second wife Lily had three children together, sharing names with Sarah and Roderick’s children, Alexander, Henry and George. The McRae family also included other children from previous marriages and they along with Tommy’s brother’s family, lived mostly at Lake Moodemere during his most productive years as an artist.

Sarah Foord, undated, University of Melbourne Archives, Foord Family Collection, 1961.0008.00048. Sarah Foord was John Foord's daughter. She married Roderick Kilborn and had 8 children. Taken the day she opened the bridge over the Murray. — Sarah Foord, undated, University of Melbourne Archives, Foord Family Collection, 1961.0008.00048.
Sarah Foord was John Foord’s daughter. She married Roderick Kilborn and had 8 children. Taken the day she
opened the bridge over the Murray.

It is unclear exactly when McRae began to develop his skills as an artist, it appears he was encouraged by Roderick Kilborn who likely witnessed McRae practicing traditional sand drawings to relate stories and history to his people. McRae and Kilborn appear to have had a close relationship. In the 1870s, Kilborn gave McRae a notebook, pen and ink. McRae filled the notebook and Kilborn was soon acting as de facto art agent, sending drawings to Lord Hopetoun, then Governor of Victoria, and other European settlers and dignitaries.

McRae’s status as an artist increased and soon he was filling notebooks for European customers. He was paid to create records of his view of colonisation and his stories of dispossession and ongoing cultural vitality. Kilborn also purchased notebooks full of McRae’s drawings. Kilborn’s grandson indicated to Muriel McGivern, author of a history of the Wahgunyah region, that Kilborn gave many of these sketches away, until only two ink drawings remained in the family.

Acquiring the Foord Family Papers
In the 1960s University Archivist Frank Strachan was interested in the Foord collection because of its expression of township, business and pastoralist endeavours as the study of business and economic history by students and researchers was the trend in the 1960s. The Foord Family collection is relatively small. It contains 8 boxes of business records from the flour mill and river boat businesses and papers relating to local agricultural associations that John Foord was involved in. It seems significant then that McRae’s ink drawings are two of the few non-business items in the collection.

New stories in the Archives

In 2016 the collection offers new directions and focus. As more material relating to indigenous heritage is identified at UMA, it’s clear that these objects are not preserved as evidence solely of the past but also as living cultural memories with value in the present. Corroboree is a record of indigenous perspectives and also of friendship that could cross the cultural divide.

The presence of McRae’s artwork on campus is a reminder that the place of Aboriginal people as valued leaders is often not told but it is a vital story that needs to be heard. Much correspondence held in UMA illustrates the culture shock of European migrants to the landscape of the new colony; however, there is little first person perspective which tells of the Indigenous experience of similar shock.

This artwork connects many lives, past and present and by tracing objects through provenance new perspectives can be found and complex narratives reinterpreted.

Squatters of the old times, ink on paper by Tommy McRae c.1890, University of Melbourne Archives, Foord Family Collection, 1961.0008.00002 — Squatters of the old times, ink on paper by Tommy McRae, c.1890, University of Melbourne Archives, Foord Family Collection, 1961.0008.00002

Bibliography

Andrews, Arthur, ‘The first settlement of the upper Murray 1835 to 1845 with a short account of over two hundred runs, 1835 to 1880.’ Sydney, 1920

Cooper, Carol and Urry, James, “Art, Aborigines and Chinese: a nineteenth century drawing by KwatKwat artist Tommy McRae. Aboriginal History vol 5, pt 1. 1981: 84

Cox, E.H. ‘An Aboriginal artist: inherited genius at Lake Tyers’, Argus, 8 June; Camera Supplement, 4

State Library of Victoria, ‘Artist William Barak’, Ergo, accessed 4 August 2016, http://ergo.slv.vic.gov.au/explore-history/fight-rights/indigenous-rights/artist-william-barak

Sayers, Andrew, ‘McRae, Tommy (1835–1901)’, Australian Dictionary of Biography, National Centre of Biography, Australian National University, http://adb.anu.edu.au/biography/mcrae-tommy-13074/text23649, published first in hardcopy 2005, accessed online 15 August 2016.

Jane Beattie
Assistant Archivist – University of Melbourne Archives

The 1886 school operetta, “Women at work”: a new acquisition for Rare Music

Women at work, an 1886 operetta by Thomas Mee Pattison, with libretto by A.J. Foxwell, is a very rare and rather curious recent addition to the Rare Music collection. 1) It belongs to London publisher J. Curwen & Sons’ extensive series of “school operettas”, themselves evidence of the importance of vocal music in English schools at the time. The series includes short works intended for small children (Fairies of the Seasons, for example) through to extended works for senior students. Clearly one of the latter in its subject matter, Women at work is also one of the very longest, with an estimated duration of 2 ¼ hours.

Of its two creators, a little is known about T. Mee Pattison (1845–1936), who was born in Warrington, Cheshire and became an organist–choirmaster in his home town, aged 24. In the mid-1880s he moved to London where he composed and published a substantial amount of music, both sacred and secular: cantatas, operettas, anthems, and works for organ and piano. He was successful enough a composer by 1890 for extended extracts from his lecture, “How to write complete musical works” to appear in the Musical World. 2) The identity of his equally prolific and versatile librettist, A.J. Foxwell, is less clear.

It is, however, the subject matter that makes this particular operetta interesting. Women at work is set in the office of a Mrs Guardem who is about to set up an employment agency exclusively for women. Surrounded by women and girls she asks them to tell her all they know about their occupations that she may help place others.

The requirement for only a single stage set—an office with “desk, table, large registers, &c.,”—and the general absence of stage action makes Women at work more a secular cantata than an operetta. There are only a few stage directions that require on-stage movement, notably: “Ladies all surround the Man with exclamations and gestures of disapproval”. Otherwise the work is more a concert in costume, for “each performer should wear the ordinary working dress of the trade or profession she represents” (p. [iii]).

An unusual aspect of Women at work is the contrast between the light and often amusing tone of the lyrics of the twenty-three musical numbers and the relentless didacticism of much of the spoken dialogue that separates them. As an example, the humorous Trio, no. 4, “I’m a clerk”—sung by post-office employees: a clerk, a “sorter” and a “counterwoman”—is followed by a speech from each woman about prerequisites, salary and conditions: a mail sorter, for example, “must be 4ft. 10in. in height, without boots … and know especially the geography of the United Kingdom” (p. 23).

The incorporation of swathes of information may have been common in these senior school cantatas; The sons of toil, published the following year and also created by Pattison and Foxwell, was observed by the Musical World’s critic to have “long-winded” dialogue. 3) Here the reviewer evokes the spirit of “Mr Barlow”—the “instructive monomaniac” created by Charles Dickens around 1860—but goes on to concede that the cantata’s impulse to instruct may be appropriate in a school context.

The librettist had contemporaneous published sources to mine for information; a debt to Mercy Grogan’s How women may earn a living (1880; rev 1883) and the Guide to Female Employment in Government Offices (1884) are two of the sources acknowledged. There is an emphasis in Grogan and in the cantata on “suitable” employment for “genteel” women—the first group of women to sing, for example, are telegraphists (see illustration from 1870)—rather than the hardship of the factory floor. 4)

In Women at Work, the factory is not mentioned until we hear the Trio, “We are workers in a pottery” (p. 52) followed by short speeches from “Cotton-factory girl” and “Straw worker”. The cantata dates from the beginning of a period when “white collar” employment opportunities for women—clerical and retail work, for example—increased and their employment in manufacturing declined. 5) The typewriter, in use from around 1882, generated what was essentially a new occupation and it was women who took up these stenographer positions in business offices.

The single male character, “Man”, who enters in a “serio-comic style” towards the end of the work (p. 57), is used to change the focus to issues such as the effect on men’s employment prospects of women occupying traditionally male roles; and why women shouldn’t (or couldn’t) simply stay out of the workforce. All is resolved by the cantata’s end, mostly through repeated assertions of the value of hard work for all. And what of the music? Stylistically the music of Women at work often resembles that of the comic operas of his contemporary Arthur Sullivan (1842–1900), the composer from the “Gilbert and Sullivan” partnership.

Looked at in the social and music-educational context of its time, Women at work is an interesting piece and one that would reward further study. And if a willing group of musicians could be assembled, sight reading it through could be both entertaining and instructive.

Jennifer Hill, Music curator

1) Two other copies only have been traced; both in the Bodleian Library, Oxford.

2) Musical World, 18 October 1890: 829.

3) Musical World, 28 May 1887: 412.

4) Alison Kaye, The foundations of female entrepreneurship: Enterprise, home and household (New York: Routledge, 2009), p. 13–14.

5) Louise A. Tilly and Joan W. Scott, Women, work and family (New York: Routledge, 1978, rev. 1987), p. 156–57.

A gift of ten drawings by Allan Mitelman

Allan Mitelman (Polish/Australian bn. 1946) is a printmaker, draughtsman and painter who is also a major contributor to the history of abstraction in Australia. Ten works on paper by the artist have recently been gifted to the Baillieu Library Print Collection through the Cultural Gifts Program. This collection of ten drawings spans fourteen years of the artist’s career and is a window onto his life’s practice, one which has been concerned with reinventing the surface of paper.

The relationship between the artist, the paper and the layers of applied medium are vital in the production of these work of art and all of the gifted works are untitled, thereby inviting the viewer to respond to them free from constrains and conventions. Viewers may also be surprised by the small scale of these drawings which are no more than 20 centimetres in size.

Allan Mitelman, “S.T.” 1971, lithograph, image: 37.7 x 55.5cm, Baillieu Library Collection, the University of Melbourne. © Allan Mitelman

The way in which media lies on the paper is likewise key to the meaning and interpretation of the Baillieu Library Print Collection. Previously there had only been one example by Allan Mitelman in the collection: a lithograph titled “S.T.” . Therefore this gift contextualises this single abstract print and adds depth to the range of techniques in the collection. Untitled (2000), for example, incorporates a monotype print (a unique impression) the surface of which has been reworked with drawing. This is the first example of a monotype method in the collection.

Allan Mitelman, Untitled (2000), monotype and ink, sheet: 14.6 x 9.6cm, Baillieu Library Print Collection, University of Melbourne. Gift of Matisse Mitelman. Donated through the Australian Government’s Cultural Gifts Program, 2015. © Allan Mitelman

Other drawings such as Untitled (2012) combine watercolour and pencil and they are executed in such a manner that the viewer never tires of looking at them.

Allan Mitelman, Untitled , 2012, pencil and watercolour, image: 15.5 x 9.1cm, Baillieu Library Print Collection, University of Melbourne. Gift of Matisse Mitelman. Donated through the Australian Government’s Cultural Gifts Program, 2015. © Allan Mitelman

These works on paper offer wide appeal to students of subjects such as printmaking, art history, curatorship, history and education. They exemplify contemporary working practices, ensure that the collection is alive and relevant, and they carve a new path into its future growth.

Allan Mitelman, Untitled, 1990, pencil and watercolour, sheet: 16.5 x 13.7cm, Baillieu Library Print Collection, University of Melbourne. Gift of Matisse Mitelman. Donated through the Australian Government’s Cultural Gifts Program, 2015. © Allan Mitelman

Reference

Allan Mitelman: works on paper 1967-2004 by Elizabeth Cross; with a contribution by Terence Maloon, Melbourne: National Gallery of Victoria, 2004.

Shakespeare in Steel: exploring links between Edward Dowden’s ‘Shakespeare Scenes & Characters’ and the ‘Gallerie Shakespeare’ portfolio of engravings. Part III.

On the 15th July 2016, the University of Melbourne’s highly anticipated After Shakespeare exhibition was officially opened, in the Noel Shaw Gallery of the Baillieu Library. Marking the 400th anniversary of the year of the Bard’s death, the exhibition plays host to a number of artefacts and ephemera that highlight Shakespeare’s lasting legacy throughout the centuries, with particular focus on his reception in Australia.

Amongst the intriguing stories contained in the cases is a puzzling connection between an 1876 English book of Shakespearian commentaries and engravings, and a separately issued portfolio of 22 engravings with a French title. Helen Kesarios, a student volunteer in the Cultural Collections Projects Program, has been investigating possible connections between the two works, drawing on original correspondence located at the British Library.

Part I told the story of the Shakespearian scholar, Edward Dowden, and the publication of his exquisitely illustrated text, Shakespeare Scenes & Characters (London : Macmillan and Co, 1876). Part II explored the background to the German engravings which feature in Dowden’s text.

The third instalment in this three-part story continues here, investigating links with a separately issued French portfolio of the engravings…

Part III – The French portfolio of German engravings

Also in Case 6, and accompanying Dowden’s text is a selection of loose prints from Australian composer and pianist Percy Grainger’s “Gallerie Shakespeare”, a red folio of twenty-two steel engravings identical to those contained in Dowden’s text, but bearing no publisher’s imprint. It is unknown how they came to be in Grainger’s collection, but their existence therein is unsurprising, given the strong affinity Grainger had with literature from a young age, particularly Nordic literature. As John Bird notes in his biography:

‘From the time Percy was four or five years old a certain period each day was set aside for reading out loud. The writings of Hans Christian Andersen were the first pieces of literature which he thus encountered. Later came the Icelandic Sagas of Njal and ‘Grettir the Strong’ and he was determined that one day he would learn a Scandinavian language so that he could read the Sagas in their original form. From the Sagas he turned to early English history with a strong emphasis on that period when the Nordic influence was greatest due to the Viking invasions. By the age of ten he had devoured a huge array of literature which included such material as Freeman’s History of the Norman Conquest and the Anglo-Saxon Chronicles’.[i]

In correspondence with Macmillan and Co., Dowden repeatedly makes reference to a “Shakespeare-Galerie” or “Shakespeare Gallery”, which provided the prints for use in his book. As exciting as it may be to assume that Grainger’s “Gallerie Shakespeare” is one and the same, such a conclusion is found to be highly unlikely. Upon returning to the Preface, we learn that in fact, the “Shakespeare-Galerie” Dowden refers to is Friedrich Pecht’s “Shakespeare-Galerie: Charakter und Scenen aus Shakespaere’s Dramen”, a publication containing the Dowden prints with accompanying text in German by Pecht, what Dowden refers to as ‘a pleasant and cultured little causerie on each of the plays illustrated by the designers’.[ii] In selecting the text for his own book, Dowden decided ultimately that the essays by Pecht, ‘though bright and genial, seemed more suitable to the German than to the English reader, and it was thought that their place could with some advantage be supplied by a select body of extracts from the best writers, English, American, French and German, who have contributed to the criticism of Shakespeare’.[iii]

Thus, there still remains no definitive answer for how Grainger’s loose prints in the “Gallerie Shakespeare” portfolio came into being, how they fell into his hands, and their exact publication relationship with Dowden’s Shakespeare Scenes & Characters. Throughout my research, I have heard numerous theories on the matter, for example, that the prints actually belonged to Ella Grainger (Percy Grainger’s wife), as they were found in her belongings. Alternatively, it has been suggested hat they may have been a gift to Percy from his father. While we may never know for certain their origin, both they and Dowden’s Shakespeare Scenes and Characters remain two wonderful pieces of Shakespeariana that are definitely worth viewing in person.

Helen Kesarios, Research Assistant – After Shakespeare exhibition

[i] John Bird, Percy Grainger, Elek Books Ltd, London, 1976, p. 11.

[ii] Dowden, Shakespeare Scenes and Characters, p. viii.

[iii] ibid.

Mirror mirror on the wall, whose was the most influential encyclopaedia of them all: the story of Diderot’s radical Encylopédie of sciences, arts and technical crafts

The heroic task of bringing together and documenting the vast canon of human knowledge in written form, has been accomplished by a select number of individuals and publishing houses over time. One of the most extraordinary of these achievements was the publication between 1751 and 1772 of 27 large folio-sized volumes of the Encyclopédie, ou: dictionnaire raisonné des sciences, des arts et des métiers, a complete edition of which is housed in the Baillieu Library’s Rare Books Collection.[i]

Financed by subscription and issued in serial form (including 10 volumes of illustrated plates), this enormous compilation of more than 70,000 articles was at once a technical manual, a highly political and philosophical work, and an entrancing written and visual commentary on 18^th century French society. Such was its popularity and influence that by 1789, 25,000 copies were in circulation in several editions across Europe.

The Encyclopédie was edited by the philosopher and writer Denis Diderot (1713-1784) and, for the first eight years of its conception, in collaboration with the mathematician Jean d’Alembert (1717-1783). The two had been commissioned to translate the two-volume Chambers’ Cyclopaedia, or Universal Dictionary of the Arts and Sciences (1728) into French but were greatly dissatisfied with the scope of the English compendium, and urged their publishers to embark upon a much improved and comprehensive French production.[ii]

More than a mere factual encyclopaedia, the work was in itself an instrument of the Enlightenment, promoting in its text and pictures the power of reason and the individual over that of divine order and centralised control. Diderot was motivated to share human knowledge and ideas freely with an emerging reading public, as a means for inspiring technological improvements, and to promote economic and political progress.[iii]

At first the French officials tolerated the sometimes radical views espoused in the text but as new volumes were released the Encyclopédie became increasingly controversial: the publication licence was withdrawn in 1757, and the work was added to the Catholic Church’s list of banned books. During this period the editors moved production over the border to Switzerland, focusing their outward attention on the engraved plates, whilst burying the more revolutionary opinions deep in the text or by using irony as a means for masking the censor’s eye.

Mirror making

The Encyclopédie included a strong emphasis on the manual arts and technology, the processes and tools of many of which had been hitherto kept secret to protect individual cartels. One such example was the craft of mirror making, the techniques of which are illustrated in Volume 8 of the plates in a series of charmingly rendered engravings.[iv]

Mirror making has a fascinating history and in late 17^th century France mirrors had become a luxury import, with the vogue for reflecting hallways and rooms attaining craze proportions amongst the aristocracy.[v] Mirror manufacture was the sole monopoly of the Venetian state, with the exact process remaining highly classified information, the release of which was punishable by death and the imprisonment of family. By report mirror making was:

‘a law unto itself. It had its own rules and customs, and a separate language too, handed down not only from father to son but from master to apprentice…Theirs was a closed community, with every man, woman and child knowing his place within the walls’.[vi]

The French Finance Minister, Jean-Baptiste Colbert (1619-1683), introduced extensive internal reforms to promote French manufacturing in many closed industries, and lured a few renegade Venetian mirror makers to Paris to divulge their secrets. In response the Venetian authorities despatched emissaries who it is thought succeeded in poisoning some of the dissenters, though not before the French workers had obtained sufficient information to replicate the manufacturing process.

Using the newfound knowledge the French mirror making industry made further technical advances, and by the time of the publication of the Encyclopédie mirrors were ‘sparkling’ in a multiplicity of roles in fashionable society. Mirrors were embroidered into clothes, worn as jewellery, incorporated in hair accessories and makeup, decorated furniture, and were used in mantelpieces and other architectural devices to lighten rooms. The vogue for reflection demanded larger, full length mirrors, in which the viewer, dressed in the style of Madame de Pompadour (herself a subscriber to Diderot’s multi-volume work) could view her bouffant wig and dress in their entirety.

Mirrors, and their reflected realities, also appear in the world of books and literature, in the Brothers’ Grimm tale Snow White, Shakespeare’s Richard III, Tennyson’s The Lady of Shallot, and Lewis Carroll’s Through the Looking Glass, and feature in many paintings and artworks, such as the medieval The Lady & the Unicorn tapestries and Van Eyck’s the Arnofoldi Marriage[vii]. Thanks to Diderot and the contributors to the Encyclopédie we also have a wonderfully evocative insight into the mirror making mind-set and manufacture of pre-Revolutionary France.

My thanks are extended to University of Melbourne lecturer Emeritus Professor Peter McPhee and history student, April Hamill, for their inspiration for this post.

Susan Thomas, Rare Books Curator

Endnotes

[i] Diderot, Denis. (ed) Encyclopédie, ou : dictionnaire raisonné des sciences, des arts et des métiers. 3rd ed. Livourne: de l’Imprimerie des Éditeurs, 1770-1776.

[ii] Pannabecker, John. ‘Diderot, the Mechanical Arts, and the Encyclopédie: In Search of the Heritage of Technology Education’, Journal of technology education, Vol. 6, no. 1, 1994, http://scholar.lib.vt.edu/ejournals/JTE/jte-v6n1/pannabecker.jte-v6n1.html

[iii] Pannabecker, John, Ibid.

[iv] Diderot, Denis (ed). Recueil de planches, sur les sciences, les arts libéraux, et les arts méchaniques, avec leur explication… 3rd ed. Livourne: De l’imprimerie des éditeurs, 1771-1778.

[v] Prendergast, Mark. Mirror, mirror: a history of the human love affair with reflection. New York: Basic Books, c2003, pp.148-149.

[vi] Prendergast, Mark, Ibid, p. 153

[vii] Mullen. John. ‘Ten of the best mirrors in literature’, The Guardian, 30 October 2010. https://www.theguardian.com/books/2010/oct/30/john-mullan-mirrors-literature-review

Bibliography and further reading

Bates, Brian with John Cleese. The human face. London : BBC Worldwide, 2001.

Diderot, Denis and Jean d’Alembert (eds). Encyclopédie, ou : dictionnaire raisonné des sciences, des arts et des métiers. 3^rd ed. Livourne : de l’Imprimerie des Éditeurs, 1770-1776.

Diderot, Denis (ed). Recueil de planches, sur les sciences, les arts libéraux, et les arts méchaniques, avec leur explication… 3^rd ed. Livourne : De l’Imprimerie des Éditeurs, 1771-1778.

Donato, Clorinda and Robert M. Maniquis (eds). The Encyclopédie and the Age of Revolution. Boston : G.K. Hall, 1992.

‘Encyclopédie’, https://en.wikipedia.org/wiki/Encyclop%C3%A9die. Accessed 5 August 2016.

Miller, Jonathan. On reflection. London : National Gallery Publications, 1998.

Mullen. John. ‘Ten of the best mirrors in literature’, The Guardian, 30 October 2010. https://www.theguardian.com/books/2010/oct/30/john-mullan-mirrors-literature-review. Accessed 5 August 2016.

Pannabecker, John. ‘Diderot, the Mechanical Arts, and the Encyclopédie : In Search of the Heritage of Technology Education’, Journal of technology education, Vol. 6, no. 1, 1994, http://scholar.lib.vt.edu/ejournals/JTE/jte-v6n1/pannabecker.jte-v6n1.html. Accessed 5 August 2016.

Prendergast, Mark. Mirror, mirror: a history of the human love affair with reflection. New York : Basic Books, c2003.

Select essays from the Encyclopedy : being the most curious, entertaining, and instructive parts of that very extensive work, written by Mallet, Diderot, d’Alembert, and others. London : Samuel Leacroft, 1772.

Number of posts found: 413

Archives and Special Collections

The story of how ‘Corroboree’ by Indigenous artist Tommy McRae came to the University of Melbourne Archives

The 1886 school operetta, “Women at work”: a new acquisition for Rare Music

A gift of ten drawings by Allan Mitelman

Shakespeare in Steel: exploring links between Edward Dowden’s ‘Shakespeare Scenes & Characters’ and the ‘Gallerie Shakespeare’ portfolio of engravings. Part III.