| Historical notes: | Aboriginal Sydney:
When Captain Arthur Phillip and the First Fleet landed, first in Botany Bay and then in Port Jackson (Sydney Harbour), in January 1788, he was met by people who had lived on this land for many thousands of years. At least 1,500 people lived in the area between Botany Bay and Broken Bay and the intermediate coast (Attenbrow, n.d.)
There were two main languages spoken in the Sydney region - Darug and Tharawal. The Darug language had two main dialects - one spoken along the coast and the other in the hinterland (west of present-day Parramatta). Tharawal was spoken to the south of Botany Bay and as far west as the Georges River and possibly Camden (ibid, n.d.)
People belonged to small groups (territorial clans) through which they were spiritually related to specific tracts of land - these clans included the Gadigal, Wanngal, Gamaragal, Wallumedegal and Boromedegal. The suffix 'gal' denotes 'people of', thus, for example, the Gadigal were the people of Gadi (also spelled Cadigal and Cadi respectively) (ibid, n.d.).
The 'district of Gadi' was reported to have stretched from South Head west to 'the cove adjoining this settlement' (Darling Harbour) - an area that would have included Centennial, Moore and Queens Parks. Watkin Tench referred to the Gadigal as 'those who reside in the bay of Cadi'. The 'bay of Cadi' is probably Kutti, the Aboriginal place name recorded for present-day Watsons Bay, and the present name of a small beach in the bay (ibid, n.d.).
The Centennial Parklands Conservation Management Plan contains the following report that provides in depth detail of the pre-colonial history of the lands that are present day Centennial Parklands, which is where the text on this page comes from: Pre-colonial Aboriginal land and resource use in Centennial, Moore and Queens Parks - assessment of historical and archaeological evidence for Centennial Parklands Conservation Management Plan (ibid, n.d.).
Darling Point or Yarranabbee:
In 1903 Mrs Elizabeth Phillip, then aged 96, recalled that in her childhood:
'The blacks in that time were numerous, and I have often seen hundreds of them camped on what is now known as Darling Point; [they were] as kind people as ever lived. Whenever they speared fish they used to bring us some.'
Yerinibe or Yeranabe (Yeranibe Goruey), though born a Burramattagal (member of the Parramatta clan), was said to be 'King' of the Darling Point 'tribe' in the 1830-40 period. He is commemorated by Yarranabbe Road, Darling Point and Yarranabbe Park, Rushcutters Bay (Vincent Smith, 2011).
Originally known by its Aboriginal name Yarranabbee, Darling Point was called Mrs Darling's Point by Governor Ralph Darling (1825-31 Governor) in honour of his wife, Eliza. At that time the area was heavily timbered, but after New South Head Road was built in 1831 timber cutters felled most of the trees, and the land was subdivided. Most of the plots, covering 9-15 acres in this area, were taken up between 1833 and 1838. The suburb later became known as Darling Point. Several notable people bought land and built homes here, including surveyor-general Sir Thomas Mitchell's "Carthona" and one-time home "Lindesay" (Pollen, 1988, 79).
Mrs Darling's Point was named by Surveyor Larmer, who did the original survey (on 11 September 1833 nine allotments were laid out)(Crosson, 2012).
The first land grant was made in 1833 to a Thomas Holt. In 1833 'villa allotments' were advertised for sale at "Mrs Darling's Point". There were soon several cottages and villas built in the area, but from the 1840s more grandiose mansions arose as the colony's most successful businessmen bought up land on the point. ... (Daily Telegraph, 2007, 30).
Lindesay:
Lindesay was the name given to the land owned by Holt (Jervis, 1960, 37). On it is an 1834-6 house built for the then colony's Treasurer, Mr Campbell Drummond Riddell (b.1796 - a young and well-connected Scotsman) and his wife Caroline (nee Stuart Rodney, b.1814 in Ceylon, the 16 year old daughter of the Government Secretary in Colombo) on a site of c.17 (Wentworth Courier, 2014) acres of land with stables, outbuildings and garden sweeping down to the harbour (Pollen, 1988, 80). The property took two years to complete (Le Sueur, 2013).
It was designed as a villa - typically a free-standing rectangular block which presents a different, self-contained facade on each side. This was a style much favoured by professional families at the time in rural Britain but, although bearing similarities to designs in English Regency Pattern Books, the design of Lindesay is simpler, reflecting a mix of Scottish austerity with a good dose of colonial disregard for convention. This very simplicity could possibly be read as a snub to Governor Bourke, who was rapidly becoming persona non grata for Riddell and others in colonial society and whose plans for a new Government House were 'modern Gothic' and ornate, to say the least (Le Seuer, 2013). The design owed much to contemporary pattern books and was also attributed initially to James Chadley and Edward Hallen, although the work was completed under the direction of Francis Clarke (Orwell & Peter Phillips Architects, 2004, 1). It was named in honour of Colonel Patrick Lindesay (1778-1839) who was acting Governor of the colony from 22 October to 2 December 1831, between the departure of Governor Darling and the arrival of the next Governor, Sir Richard Bourke. (Pollen, 1988, 80). This Acting Governor reserved the 17 acres for Riddell in 1834 and it is believed that this favour of reserving the land led Riddell to name the house after his friend, the fellow Scot, Patrick Lindesay (Wentworth Courier, 2014).
The term 'villa' was first used in England in the 17th century, partly from the Latin and Italian 'country house, farm', perhaps derived from the stem of vicus (village). The villa was a country mansion or residence, together with a farm, farm-buildings, or other house attached, built or occupied by a person of some position and wealth. It was taken to include a country seat or estate and later a residence in the country or in the neighbourhood of a town, usually standing in its own grounds. From this is was appropriated by the middleof the 18th century to mean a residence of a superior type, in the suburbs of a town or in a residential district, such as that occupied by a person of the middle class, and also a small, better-class dwelling house, usually detached or semi-detached. The term 'villa garden' was used in the context of Hobart and Sydney residences in the 1830s, and if near the coast or harbour, the appellation 'marine villa' was often applied. Australian origins probably date from the grant conditions applied to Sydney's Woolloomooloo Hill (1827, under Governor Darling), which obligated the construction of villas fulfilling certain conditions... 'with garden like domain, and external offices for stables and domestic economy' (John Buonarotti Papworth, 1825, quoted in James Broadbent's 1997 book, 'The Australian Colonial House'). Many gardens of 19th century villas followed Gardenesque conventions, with garden ornaments often complementing the architecture of the house. The term had acquired such widespread usage by the 1850s that when Jane Loudon issued a new editiion of her husband (John Claudius Loudon)'s 'Suburban Gardener and Villa Companion' (1838) she merely entitled the revised work 'The Villa Gardener' (1850). This coincided with a growing period of suburbanisation in Australia with consequent fostering of the nursery trade... By the 1880s, descriptions of Australian villas implied sufficient room for a lawn on two or three fronts of the residence...(Aitken, 2002, 619-20).
The Riddells moved into Lindesay with their two year old son in 1836, but remained there only two years. Following their departure the property had a number of owners including Sir Thomas Mitchell who, as Surveyor-General in the 1830s, conducted three major expeditions into the interior of Australia. In 1841 he sold it to his friend Sir Charles Nicholson, an avid collector of rare books and antiquities and future Chancellor of the University of Sydney. Nicholson housed his library, thought to be one of the largest private libraries in the colony, at Lindesay, with a special room set aside for his statues. In 1849 Nicholson sold to William Bradley, a wealthy pastoralist who had married Emily Hovell, daughter of explorer William Hovell. He died at Lindesay in 1868 (Le Seuer, 2013).
Additions to the house, new and altered outbuildings and changes to the property boundaries were made by successive owners throughout the 19th century, including James Barker (1838-41); Mitchell (1841-45); Nicholson (1845-59); William Bradley (1849-68); and John Macintosh (1868-1911)(Orwell & Peter Phillips Architects, 2004, 1).
Lindesay was offered for sale in 1841. The land on its estate was subdivided into 16 blocks. Their sale marks the beginning of subdivision of the (Darling) Point into smaller blocks and the process has not been completed yet (Jervis, 1960, 37).
Sir Thomas Mitchell, Surveyor-General of NSW, bought Lindesay in 1841 (Wentworth Courier, 2014) to be in a better position to supervise the construction of his own house, Carthona, down on the Darling Point waterfront nearby (to its south)(Russell, 1980, 67). Mitchell in the 1830s had undertaken three major expeditions throughout Australia, taking his reports back to England and being knighted for his effort (Wentworth Courier, 2014). His youngest daughter Blanche was born here in 1843. He sold the house in 1843 to his friend, Dr Charles Nicholson, eminent art collector and patron of artists. (Russell, 1980, 67). Sir Thomas Mitchell in 1841 began to build Carthona near the water's edge. He wanted to escape Darlinghurst (his home here on Darlinghurst Ridge was called 'Craigend') which he now considered 'too built up'. Carthona was another Gothic revival manor, complete with castellations. The design was copied from an English pattern book (Daily Telegraph, 2007, 30).
The Hon. Sir Charles Nicholson MLC puchased Lindesay in 1845, after moving to Sydney in 1843 and being elected to the NSW Legislative Council. He would later become its Speaker. He sold Lindesay to William Bradley in 1849 (Wentworth Courier, 2014).
Sydney newspapers of the mid 1850s give reports of the social activities of the era and of the hostesses who entertained with charm and elan. One of the famous venues was the Gothic style mansion Lindesay. It was ... occupied ...later by William Bradley, a wealthy pastoralist, who reared his motherless daughters in the house (Pollen, 1988, 80).
City of Sydney councillor, Ald. John Macintosh bought the property in 1868. While he was at Lindesay, Macintosh built two other houses on Darling Point - Braeside and Cintra - for his children (ibid, 2014).
In the 1880s Lindesay belonged to Mr F.J.Jackson (Jervis, 1960, 43).
In 1911 Macintosh died at Lindesay and it was sold two years later to Alfred Wunderlich who subdivided it (ibid, 2014). After subdivision, which involved removal of its 19th century garden, the house and a small area of land around it were bought by Dr Edward Jenkins. He engaged Robertson & Marks as architects for the rebuilding of the service wing at the rear of the house and internal alterations including bathrooms and replacement of the principal stair in the main house.
The property was sold to the Pye family in 1926 (Orwell & Peter Phillips Architects, 2004, 1), the Macintoshes moving to a smaller house at 35 New South Head Road, Vaucluse. Charles and Mary Pye lived the rest of their life at Lindesay (ibid, 2014).
C1935 (pre WW2) Walter Pye built a gazebo between the (now) parterre garden and the main garden.
In 1960, Colonel Pye divided the house into 3 flats, with further subsequent internal alterations. On his death in 1963, his brother Walter D. Pye donated the house and a collection of furniture to the National Trust of Australia (NSW)(Orwell & Peter Phillips Architects, 2004,1).
In 1960 Cherry Jackaman joined (Helen, later Dame Helen) Blaxland on the Womens' Committee. This committee was established to raise funds, source furnishings and encourage membership of the Trust. Jackaman chaired it from 1964-67 and by 1968 it had raised more than $100,000, which was directed to Experiment Farm Cottage, Lindesay and the St. Matthews Anglican Church at Windsor Appeal (McGuiness, 23-24/9/11; Le Seuer, 2015, 6).
In 1961 (LeSeuer, 2015 says 1960) Helen Blaxland founded the Womens' Committee of the National Trust of Australia (NSW). Blaxland introduced the lucrative idea of 'house inspections' (Simpson, c., 2007). The first was to Rosemont, Woollahra (the home of the Committee's patron, Lady (Hannah) Lloyd Jones OBE (Parker, 2020, 5).
Blaxland (with Rachel Roxburgh) initiated the exhibition, 'No Time to Spare!', shown at the David Jones Art Gallery in 1962 and later throughout NSW Division of the Arts Council of Australia. On display were photographs by Max Dupain of early public buildings and houses. Elected to the Trust's Council in 1862, Blaxland was its vice-president (1965-71), the (NSW) State representative (1969-71) on the Australian Council of National Trusts and an honorary life member from 1967 (Simpson, C., 2007).
Guy Lovell was Honorary Architect for the National Trust, charged with restoring the Lindesay property. In 1966 the Lindesay Garden Group was established to recreate a garden setting reminiscent of early designs. Diana Pockley was appointed chair. The garden plan focussed on the harbour view. This was framed by trees and plantings tall enough to obscure adjacent buildings, and remains today, adding a wonderful dimension to the rich colour and form of the grounds - a direct link between the property today, and as it was in the days of its first occupants.
Blaxland chaired (1967-71) (Engledow, 2019 says 1964-76,as 'honorary housekeeper') the inaugural Management Committee for Lindsay, (which was) given to the Womens' Committee as their headquarters. This committee furnished the house in period style and held Trust events there, notably annual antique dealers' fairs and exhibitions of Australian decorative arts (Simpson, C., 2007). Since 1963 the house has been used as offices, for public functions and exhibitions (Orwell & Peter Phillips Architects, 2004, 1). The Womens' Committee continue to run events including an annual antiques/decorating fair and private home visits to fund raise for the maintenance of Lindesay.
In the 1960s garden designer Jocelyn Brown designed a plan for the entrance garden at Lindesay. An existing plane tree (Platanus orientalis) in the centre of the space dictated the shape of the plan. Sawn stone edging was suggested for the garden beds, in keeping with the stone of the kitchen courtyard of the house, and the drive was finished with brick gutters. This entrance, with minor changes in planting detail, has developed into an impressive shaded forecourt to the building, a leafy canopy enriched with darker greens around the periphery (Proudfoot, 1989).
To the east of the house where the grounds are walled, a formal courtyard (parterre) garden was planted, laid out to designs by Guy Lovell. This remains today (2003), a geometric arrangement of gravel paths and low box (Buxus sempervirens) hedges define flower beds planted with ivy (Hedera sp.). This parterre is enclosed with a high, clipped privet hedge (Ligustrum sp.), and presided over by "the Four Seasons", a fine set of 19th century, Italian female figure sculptures of Serena stone. The funds to enable this work were raised by the Lindesay Garden Group and Lindesay Management Committee, by women including Diana Pockley, Dame Helen Blaxland, Peggy Muntz and Rosemary Fairbairn.
In 1967 the National Trust reconstituted the Lindesay Garden Group as the National Trust Garden Committee, with Diana Pockley as chair. This Committee's work was broader, including work on replanting the grounds of Experiment Farm cottage, Parramatta, Old Government House, Parramatta and Riversdale, Goulburn.
The Womens' Committee's plan was to recreate a garden setting for the villa that was reminiscent of 19th century gardens. An English oak (Quercus robur) was planted as a symbol of 'home' for the first lady of the house, Caroline Riddell. A hoop pine (Araucaria cunninghamii) was added to acknowledge the place of native 'auricarias' in 19th century horticultural fashion, and the central lawn sweeping down to the (harbour) view was edged with other plants on the era's must-have lists. Long-time volunteer Ros Sweetapple jokes about being closely supervised in the early days, and only allowed to trim the (box) parterre with nail scissors. She also recalls visits made to Rookwood cemetery to collect cuttings of old roses to fill Lindesay's beds with authentic, 19th century plant material (Powell, 2016).
In 1989-91 the National Trust went through turbulent times. A new management committee was established for Lindesay, chaired by Aline Fenwick, OBE, which organised many fund raising events, exhibitions, open days and opportunities to hire out the property to generate income to maintain it (Simpson, C., 2003).
In 1989 Dame Helen Blaxland died and the Dame Helen Blaxland Foundation was exsablished in her memory, for the continued preservation of Lindesay, Experiment Farm Cottage and Old Government House (Simpson, C., 2007).
8/2009: The Governor Marie Bashir, Sir Nicholas Shehadie and other guests enjoyed a dinner party hosted by the Trust Board to mark Lindesay's 175th anniversary. With a Scottish theme to honour its first owner, Campbell Drummond Riddell, and many subsequent Scottish owners, guests included Mr Edward Sly, descendent of Sir Thomas Mitchell, second owner of Lindesay and generous donor of Mitchell memorabilia to the house; Mr Jim Macintosh, descendent of the family which owned Lindesay from 1870-1913 and generous donor to the house. Guests enjoyed the new garden planting and inspired garden lighting, all possible by the fundraising work of the Special Events Panel of the Womens' Committee (National Trust Magazine (NSW), Aug.-Oct.2009/Spring, 5).
National trust Magazine NSW November 2008-January 2009: $5,969 was used to assist in maintenance of the garden.
5/2013 - The NT Womens' Committee celebrated 50 years of National Trust ownership of the property. This Committee has used Lindesay extensively over the years as a base for events for (significant) fundraising for the Trust (NT News, 5/2013).
By 2014 the attempt to make a 19th century garden in the 21st century was failing and the focus on authentic plant material gave way to something more elusive. The aim was to recreate the sense of pleasure that being in the garden at Lindesay always provided: to offset the house and views without replicating a vintage plant palette. Partly this change had to do with pragmatism. Like all Trust properties, Lindesay has to sing for its supper. The weddings functions, fairs, photo and film shoots that pay its way all demand a garden that looks good every day of the year. To make it happen, the mature plantings stayed but everything else went. Private garden designer Christopher Nicholas devised a modern planting plna that has references to the past and looks good in a wedding photo. Flowers flush throughout the year, mostly in subtle blue tones, and a tapestry of silver, blue and purple foliage supplements the background greens. A team of volunteers keep it in great condition, with five-hours-a-week help from a professional, Nicholas Ball of Avant Design (Powell, 2016).
The National Trust Womens' Committee will launch its oral history collection on 20 May 2017. This extraordinary group of women have achieved much. Formed in 1961, they have raised over $20m for the National Trust of Australia (NSW) in 56 years. To record their own story the Womens' Committee initiated its oral history collection and in conjunction with 'Having a Voice', have curated a modest exhibition capturing the mood of the times (NTA, 2017).
In late 2017 the Historic Houses Association moved its administration office from the National Trust Centre on Observatory Hill to Lindesay (HHA, e-news, 1/2018).
In 2020 with generous assistance from the late Dr Flynn and volunteers directly associated with Lindesay, painting of its external walls and joinery plus necessary repairs were able to be completed for the first time in 20 years (NTA (NSW) Annual report, 2020, 6). |