Brought to Light Australian Art 1850-1965

narrative sequence that frames the three most discussed, yet seemingly disparate, art-objects in Sidney House. The entrance to Sidney House was originally flanked on either side by a pair of carved stone eagles. As popular folklore would have it, during the Second World War the birds were mistaken for American eagles by US servicemen who were subsequently foiled in their attempts to souvenir the sculptures. Removed at the time of demolition to Middenbury House,23the eagles represented the family crest of Sidney Anne Finney (née Jackson), after whom the house was named. Situated beyond the entrance hall and adjacent to the stairs leading to the stained glass window was a second important art- object, a marble statue of a woman, variously described as 'The lady of the lamp' and 'Florence Nightingale'. The statue alludes metaphorically to the virtues of compassionate service (notions that were probably continued in a different form in the tiled scenes depicting medieval and Shakespearian legends).24 The third art-piece, the stained glass window, faced the entrance hall and was situated on the landing between the first and second floors. It performed the important utilitarian function of lighting the shaded side of the house. Seen first and last, the window also played a key iconographical role. It effected a form of closure between the initial statement concerning the family's Irish identity made in the entrance, the middle emphasis on worldly virtue, and the location of the family's new life and activities within an Australian context. In this regard, the central blue-coloured glass surrounded by bountiful harvest in the window was surely intended for the family crest. Historian Beverley Sherry states that: It was not until the 1870's, the decade which marked the centenary of Captain Cook's voyages, that Australian themes began to appear in domestic glass. Such themes became more popular towards 1888, the centenary of the first European settlement, and grew stronger toward Federation in 130125 It could be argued that the scenes of coursing, ploughing and duck shooting might be just as easily identified with the pastimes of the landed gentry or represent the transference of the traditions of British gentrification into an Australian context. No such reticence is apparent in contemporary discussions of the window, which continually refer to the fact that the window portrayed Australian scenes.26 Thomas Finneys public support of Federation in the late 1880s is also noteworthy in this regard.27 GRASS TREES. The scenes portrayed bear a close relationship to some of Finney's own leisure activities which, again, although closely related to British patterns, should be seen in the context of contemporary accounts. Finney was, according to one writer, '... fond of shooting, and was often to be seen after the ducks on the Enoggera swamps',28while the popular pastime of kangaroo coursing is recounted by J. B. Fewings in his Memoirs ofToowong: Gentlemen from the city and elsewhere were frequently in the habit of coursing the kangaroo with their kangaroo dogs and one marsupial at least would usually succumb to the assaults and rapacity of their pursuers though sometimes the reverse would be the fortune of war... both of whom, alas, have long since gone where coursing is unknown and the kangaroos themselves have been coursed out of existence.29 A question begs to be asked. If Finney was a supporter of Federation and his choice of scenes reflected a desire to see the world as he knew it (or wanted it to remain), why did he commission an Irish artist to produce the window? The limited availability of competent local craftsmen is one relevant factor. Prior to the late 1880s, stained glass artists were more active in Melbourne or Sydney;30master craftsmen were brought to Brisbane to do specific jobs. Imported art and effects continued to be favoured over local production and the main avenue for house decoration was through catalogues or through buyers commissioned to purchase goods from Britain and the Continent. Finney was in an ideal position to capitalise on his family and business connections with Ireland through his frequent trips abroad.31An Irish artist would have been appropriate, given the 44 BROUGHT TO LIGHT: Australian Art 1850-1965