Conflicting historical theories, as to whether Logan was assassinated by Aborigines or by escaped convicts, led me to explore my own theory.
I am indebted to Lauren McCunnie for giving me a private viewing of the only known portrait of Logan. This fine work in oils was purchased by the Mitchell Library in 1934 from Logan’s granddaughter Miss L.M. Logan – both of whom deserve our gratitude for ensuring this irreplaceable piece of Australian history is available to future generations.
Face to face with Logan’s portrait – a handsome young officer in scarlet uniform – I looked into his eyes and gave an involuntary shiver of fear. The unknown artist had captured a chilling facet in the man that was to materialise years later at Moreton Bay. I kept a copy of this portrait on my desk while writing The Lace Balcony, reminded of the injustice suffered by his impoverished widow, Letitia Anne, who for seventeen years failed in her petitions to be granted a pension in compensation for Logan’s murder.
I am grateful to Katy Roberts of the State Library of Queensland, who established through Irish records that Logan’s widow returned to Ireland with her two children, Robert Abraham (who later had a distinguished military career) and daughter Letitia Bingham, who at age 40 pre-deceased her mother. And for research help from Dr. Kay Cohen, Honorary Historian of the Royal Historical Society Queensland.
Logan’s final resting place remains a mystery. His funeral and burial in the Devonshire Street Cemetery in 1830 were recorded in detail, but what happened to his lead coffin after the cemetery’s land was resumed in 1901 to build Sydney’s Central Railway? Hundreds of graves were moved at government expense to Bunnerong/Botany cemetery, but not Logan’s grave. At date of publication, his final resting place remains a mystery. I am grateful for the archival research undertaken by Graham Boyd, CEO, Eastern Suburbs Memorial Park, Martin Forester-Reid at Waverley Cemetery and Hazel Brombey, V.P. Cape Banks Family History Society. I would be very pleased to hear from anyone who can provide this final piece in the Logan saga.
Medicine, health, surgery: Medical practice in the 1830s and the specific experiences of my central characters play important roles in The Lace Balcony. Surgeons in this era ranged from drunken practitioners with minimal medical training, little better than charlatans, to fine physicians trained in London and Edinburgh – as were the fictional Dr Sandy Gordon and Dr Adam Golding.
I would not have been able to research and write this book without sympathetic guidance from leading medical authorities. Their help was unstinting. Any errors of interpretation are mine.
PROFESSOR WILLIAM LEDGER, a senior fertility specialist and gynaecologist with IVF Australia, Head and Professor of Obstetrics and Gynaecology at The Royal Hospital for Women and Head of Discipline of Obstetrics and Gynaecology at University of NSW; School of Women’s and Children’s Health, University of New South Wales:
My profound thanks to Professor Ledger for making time in his inordinately demanding life to read drafts of key chapters at two stages of development, for his insight into Vianna’s character and for throwing light on how then unnamed medical conditions would have been recognised and treated by well-trained doctors in 1830s Sydney. Without his generous input I would not have been able to write this difficult section. All thanks are due to him, any errors of judgement are mine.
Dr JANE NOVOTNY, MBBS, BSc (Med) (Hons).:
I want to record my deep respect and gratitude to Dr Jane Novotny, my extraordinary general practitioner for many years. I am indebted to her for her unfailing support and interest during the research of Ironbark and Ghost Gum Valley, and particularly her advice and involvement in the unusual medical condition in The Lace Balcony and for recommending me to Professor Ledger and Dr Terri Foran.
Dr TERRI FORAN, Sexual Health Physician, lecturer at University of New South Wales in School of Women’s and Children’s Health; Medical Officer, Research Unit at The Royal Hospital for Women; President of the NSW Sexual Health Society:
My warmest thanks to Dr Foran for outlining likely medical conditions, physical characteristics and psychological insights into women in the era suffering medical conditions known for centuries but only medically defined in recent years.
To DAVID RUSSELL, Librarian of the Royal Australasian College of Physicians, my gratitude in making available medical books about the history of contraception and diseases for the historical background to this work.
Locations: The story’s pivotal world of Rockingham Hall, Severin House, Major Dalby’s property and rural boarding school Goulouga (an Aboriginal word for child), are drawn from imagination but I was also inspired by historical sites in Sydney, Moreton Bay, Parramatta, the Illawarra, Western Australia ’s then Swan River Colony, and Will Eden’s accurate prediction of ‘Marvelous Melbourne’.
I placed the L’Estrange estate in a fictional area adjacent to the Surry Hills, where the historical Cleveland House is being lovingly restored.
The dramatic relationship between Rockingham Hall’s twin mansions and two servant cottages was inspired by an existing property. I lived briefly in a loft-house linked by a walkway to ‘Jane Quayle’s’ whitewashed cottage where I romanticised about the lives of the first owners of the twin mansions at the far end of the garden. The idea of two rival brothers, Mungo and Felix, grew from the ‘bricks of reality,’ and when writing the book I mentally ‘haunted’ all four buildings.
A personal joy for me is to stand in historic locations. Thanks to the foresight of those who fought and continue to fight to preserve our history (including the Historic Houses Trust of NSW), I visited many places that became part of the book’s fabric – Moreton Bay, Parramatta’s Old Government House, William Charles Wentworth’s Vaucluse House, Alexander McLeay’s Elizabeth Bay House, Sydney’s original Supreme Court and Hyde Park Barracks. During a tour of Macquarie Lighthouse at South Head I was not only overcome by its beauty – but by an acute attack of the vertigo I share with Mungo Quayle.
My sincere thanks to the Archivist of St James’s Church, who gave me a personal tour and fascinating insight into the original structure as it was in 1830 at the time of Logan’s funeral. It then had an upstairs gallery where convicts of all religions were chained to attend compulsory services, after being marched across the square under armed guard from Hyde Park Barracks.
Wonderful previous journeys to the Isle of Man (originally the Isle of Mann, named for the Celtic sea god Mannanin) and Germany, inspired the native lands of fictional Manx convict Jane Quayle and Prussian aristocrat Albruna L’Estrange.
I drew on the proverbs and legends of both lands – thanks to stories told by my grandmother, Rosie Parsons, about our German Müller and Jung ancestors. My sincere thanks to Sue Nicol, Library & Archive Services, Manx National Heritage, and Pat Nicholson, Secretary, Isle of Man History Society, for their research help – and to the Manx people for their celebrated hospitality and the legends of their magical island.
The Isle of Man’s alternative spelling of ‘Isle of Mann’ (which remains in informal use) was decided on the basis of the book’s time frame and to align with original Australian place names in use in that era.
The sentence of transportation for smuggling is based on historical records. Like the fictional Jane, Manx transportees built respected new lives in the Colony.
Historical court cases: I have changed the names in the Annie Cole case, but both the trial and verdict are closely based on one of the cases of the era involving the rape of children. A man was legally entitled to have intercourse with a girl of eleven or twelve – thus many rapists claimed their victims had consensual sex and walked free from court. The age of consent remained unchanged until 1883 when a law was narrowly passed to raise the age to fourteen. Decades later it was raised Australia-wide to the present age of sixteen (eighteen under certain conditions).
Annie’s trial is based on a case published in the Sydney Monitor and Sydney Gazette in which a fourteen-year-old girl was unable to give evidence against the adult male charged with her rape, due to t
he reliance of British law on a religious oath to ensure that the truth was told in court. A child who had received no religious instruction was deemed unfit to distinguish between truth and a lie. This condition applied to Aborigines who were generally prevented from giving evidence in court.
The story of James Pearson is true. He was listed in the 1828 Census as an English settler and chief organist of St James’s Church. In Illawarra and South Coast Aborigines 1770-1850, published by the Aboriginal Education Unit, University of Wollongong, an account reproduced from The Sydney Gazette, states that Pearson was walking near the old Race-ground (now Hyde Park) when he encountered seven or eight men involved in the rape of an Aboriginal girl. He brought two constables to the scene where two remaining men, James Wright and James Hunter, were caught in the act of rape and arrested. Wright escaped. Hunter was brought before the Police, depositions were given by Pearson and the constables and the case remanded ‘in order to take the opinion of the Acting Attorney General as to the mode of procedure.’ No apparent further action was taken.
Belated justice cannot be done by this Aboriginal girl whose name is not recorded, but I promised myself I would tell her story. I only wish I could name and shame all eight cowardly rapists who evaded the law.
During the research of The Lace Balcony I received valuable help from many librarians and archivists whose knowledge and love of Australian history is a human resource that must never be overshadowed by the current vogue for digitalisation.
I want to register my deep appreciation for the research contributions by the librarians of the Special Editions of the Mitchell Library, including JULIE SWEETEN, who traced Mrs Elizabeth Shaw’s letters from the Swan River Colony.
MATTHEW STEPHENS, research Librarian and JENNIE RAYNER, Library Technician of Sydney’s remarkable Caroline Simpson Library and Research Collection, again provided invaluable expertise and enthusiasm on countless aspects of design, fashion, furniture, almanacs, maps etc of the period.
Like the remarkable DAVID SCOTT MITCHELL who bequeathed his lifetime’s collection of Australiana and founded the Mitchell Library, CAROLINE SIMPSON, nee FAIRFAX, endowed her private collection as a gift to the nation. Future generations are indebted to these inordinately generous Australian benefactors.
FRANCES PRENTICE, Library Manager for 25 years at the wonderful Australian National Maritime Museum at Darling Harbour, gave me wonderful insight into the shipping history of Port Jackson.
To the librarians of Balmain and Leichhardt Library and the archivists of the State Records Office of N.S.W. I give my sincere thanks for their help in my research for my three historical novels.
Finally I must thank my late (but intensely punctual) father, Fred Parsons, for the title of The Lace Balcony, which lay dormant at the back of my mind until I discovered it fitted this book like a lace glove. Growing up in Sydney and Melbourne I was deeply attracted to the ‘iron lace’ of colonial buildings, ranging from upper-class mansions to the balconies of working-class cottages – the distinctive quality that gives Australian architecture its charming colonial roots.
I had long harboured the popular myth that this wrought and cast iron arrived as ballast on sailing ships. In fact much was transported from England (Bath and Bristol) and France, carefully wrapped in packing cases. The Colony soon manufactured its own from European designs, and later incorporated Australian images of kookaburras, waratahs, koalas and emus.
It is said ‘all things come to he who waits.’ I now live in a convict-built cottage in Sydney, and am currently restoring an iron lace Juliet balcony I salvaged from a wrecking yard.
Meanwhile The Lace Balcony is in your hands.
Acknowledgements
I am most fortunate to have my third novel The Lace Balcony in the hands of Simon and Schuster’s exceptionally gifted Australian publishers, Managing Director Lou Johnson, Head of Publishing Larissa Edwards and their highly creative team. It has been a real pleasure working for the first time with Managing Editor, Roberta Ivers, who has been an encouraging, guiding light throughout the editing process. I was also delighted to have as my copy editor author Belinda Castles. Both have a deep understanding and love of Australian history and their insight, suggestions and guidance enhanced The Lace Balcony.
Selwa Anthony, my agent and friend since the development of my first saga, Ironbark, can always be relied upon for straight-talking and empathy in equal measure. Selwa deserves my warmest praise for all she has done for me. I greatly appreciate the help given me by Selwa’s husband, Brian Dennis, and their daughter Linda Anthony. My agent in Germany, Bastian Schlück, deserves my sincere thanks for his role in the German publication of all three of my novels.
From my father, comedy scriptwriter Fred Parsons, I inherited an extraordinary legacy – the support of a band of friends who Dad greatly admired for their total professionalism, integrity and loyalty – the incomparable radio host Philip Brady, comedy writer and author Mike McColl Jones, Ned Kelly historian and author Ian Jones, and comedienne Denise Drysdale.
As always my family is my strength. Author and former television producer Brian Nicholls has been invaluable at all stages of the manuscript. The actors in my family, my son Nicholas Cassim and his partner Niki Owen, along with my grandchildren, Eadie Cassim, seven, and Gus Cassim, four, keep my sense of humour buoyant and my energy recharged.
I am indebted to readers of early drafts of The Lace Balcony: Anne Robinson, Western Australian teacher, whose insightful notes and memory for Australian memorabilia drew my attention to the delightful letter written by Mrs Elizabeth Shaw at the Swan River Colony; and to Wendy Smith, an equine consultant and book-lover whose horse-sense was invaluable.
Under pressure of deadlines I experienced moments of serendipity. Pamela Clark (Food and Editorial Director The Australian Women’s Weekly Cookbooks), sent me one of her famous fruit cakes that for weeks sustained body and soul as I struggled to meet a deadline.
Barbara Radzevicus presented me with a work of art, a hand-made patchwork quilt she designed with images of books and called ‘Johanna’s Dreaming.’
Special thanks are due to very special people. Dr Stephen Shumach’s long support; wise counsel from Judy and John Barry in Switzerland; the members of ISAA (Independent Scholars Association of Australia); Richard McCabe for his knowledge of snakes and native flora; Liam Kinney of the Australian Youth Orchestra for his advice on music; Marilyn and Warwick Harvey’s knowledge of herbal medicine.
My thanks to Philip Bray who gave me confidence and wise publishing advice before the acceptance of my first novel Ironbark – and who continues to support Australian authors.
Extended family and friends gave me unstinting support: Bill and Penny Owen, of ‘Wydidya’, North Star, NSW; Toni Donald, Michael Cassim, Catherine Taylor; Joan and Colin Nicholls, Joy and Les Scruse; David and Chele Muldoon; Donna, ‘my sister the scientist’; my ‘Intrepid Sister’ Janette Boot; Jan and Craig Collie; Enid Morrison; Chloe Rowse, Jeff and Lyn Malley, Eddie Mazur-Malley; Batsheva Abrahams and ‘Umbilical Brother’ David Collins; Rhonda Nadas; Ron and Noelle Way at Kyogle; in rural Victoria, Keira and Graham Lochyer at Hepburn Springs, Lionel and Delys Dunk at Forge Creek and the people of Blackwood; Yetta Einfeld, Rosalind Brennan, Rev. David and Stephanie Hilton, Dr Ron and Dr Susi Freeman; and TV presenter and friend Jan Wood.
Not least my thanks to Mariella Nucifora who was instrumental in my discovery of the loft-house that inspired The Lace Balcony’s Rockingham Hall – whose fictional family I named in tribute to my never-forgotten friend in England, Mrs Pat L’Estrange.
About the author
Johanna Nicholls comes from a theatrical family. She was a journalist and magazine feature writer in Sydney, Melbourne and London. In television she worked as a researcher/writer and Head Script Editor of TV Drama at the Australian Broadcasting Corporation.
Johanna has lived in England, Italy and Greece. Her home is an 1830s convict-built sandstone cottage in Birchgrove, Sydney where she is current
ly writing her fourth Australian historical novel and researching her fifth. Her first saga, Ironbark, was published by Simon and Schuster in Australia and New Zealand in 2009 and 2010. Ghost Gum Valley was published in 2012 and 2013. The Lace Balcony is her third novel to have been translated into German and published in Germany, Austria and Switzerland.
Also by Johanna Nicholls
Ghost Gum Valley
Ironbark
THE LACE BALCONY
First published in Australia in 2014 by
Simon & Schuster (Australia) Pty Limited
Suite 19A, Level 1, 450 Miller Street, Cammeray, NSW 2062
www.SimonandSchuster.com
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Visit our website at www.simonandschuster.com.au
© Johanna Nicholls 2014
All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior permission of the publisher.
The right of Johanna Nicholls to be identified as the author of this work has been asserted by her under the Copyright Amendment (Moral Rights) Act 2000.
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