Translating the gothic tradition: St Patrick\u27s Cathedral Melbourne

During the 1850s, England and France were the leading centres of debate over the Gothic Revival. As Barry Bergdoll argues, the issues that loomed large were at once architectural and political: stylistic eclecticism versus national purity, invention versus tradition, nationalism versus cosmopolitanism, as well as the challenge of new building programmes and new materials to the historicist logic of the Gothic Revival position. William Wilkinson Wardell (1823-99), the architect of St Patrick\u27s Cathedral, Melbourne, Victoria, Australia (1858-97) found himself in the midst of this debate. ln.,1858, Wardell\u27s client, James Alipius Goold, Bishop of the Catholic Diocese of Melbourne, found that local circumstances significantly influenced his aspirations for a new Catholic cathedral for Melbourne. The choices Wardell made eventually gave shape to the Gothic Revival in Australia.The New World perhaps echoing Didron, demanded of the past all it could offer the present and especially the future: a Gothic cathedral was deemed a fitting carrier of the principles, morals, beliefs and spirit of a Christian civilisation. Unlike many of his contemporaries in Britain and Europe, Wardell in Australia was to see his Gothic Cathedrals of St Patrick\u27s and St Mary\u27s substantially realised in his lifetime. This paper presents a building history of Wardell\u27s St Patrick\u27s, Melbourne, and critically examines the translations which are embedded in the design and fabric of this nineteenth-century Gothic revival cathedral