Wednesday, 21 October 2026

Purification and Holiness: How Ancient Greeks, Romans and Early Christians Used Olive Oil

Olive gathering, on an Ancient Greek amphora, circa 520 BC by the Antimenes Painter, in the black figure style. 
By Tamara Lewit

Today, olive oil is often hailed as helping to protect against disease, but beliefs in its medicinal or even sacred properties date back millennia.

Olive oil was used for healing and purification and associated with important rituals from at least the second millennium BCE, in ways which still influence practices today.

A holy liquid

Mid 2nd millennium BCE texts from the capital of the Hittite empire (in what is now Turkey) describe the anointing of a newborn child and the mother to ward off the dangers of birth.

In ancient Syria the high priestess of the god Baal was initiated with an anointing of “fine oil of the temple”.

Mycenaean Bronze Age tablets from the palace of Pylos in what is now Greece record the making of special scented oil to be offered to the gods.

In the Hebrew scriptures, oil is used to to initiate priests and kings such as David and Solomon, and to sanctify ritual objects.

A preserver of health

Olive oil was used by Greeks and Romans for cleansing and healing.

Oiling while bathing was a vital part of health regimes. No visit to the baths was complete without rubbing your body with oil (in place of soap) and scraping it off with a metal tool called a strigil.

Roman author Pliny the Elder wrote:

There are two liquids that are especially agreeable to the human body: wine inside and oil outside […] but oil is an absolute necessity.

He recommended olive oil as a cure for nettle stings and a base for many medicinal herbs.

Celsus, a Greek medical writer of the second century CE Roman Empire, advised:

If an exhausted person is bordering on a fever, they should immerse themselves […] in warm water to which a little oil has been added and then gently rub the whole body […] with oil.

Another medical writer Soranus says to anoint a newborn with olive oil, as had the Hittites 1,500 years earlier.

A recent study has shown that perfumed oil was used in Greco-Roman offerings to deities, and for the ritual anointing of statues.

Olive oil and Christianity

When Christianity developed in the later Roman Empire, the Greek term Christos was used as a translation of the Hebrew word messiah, meaning “one anointed with sacred oil”. This was the origin of the words Christian and Christ.

Scented and blessed olive oil called a chrism was used for sanctification and purification.

A church council of 381 CE records that:

Those who […] are being saved from the heretics […] are first anointed with holy chrism on the forehead, eyes, nostrils, mouth and ears […] and then we baptise them.

Such perfumed olive oil was (and indeed still is) used to sanctify liturgical objects such as chalices, in rituals such as the ordination of priests, before baptism, and to anoint the sick.

A child is annointed with oil during a Catholic ceremony.
Oil is still used in religious rituals today. Photo by Matt McClain/The Washington Post via Getty Images

Churches were lit by a new type of lamp called a polycandelon, which had multiple glass bowls filled with scented olive oil, as well as lamps made in symbolic shapes such as a dove, crown or boat. These symbolised the light of God and contributed a heavenly fragrance.

The oil from saints’ tombs and sacred places was reputed to bring about healing miracles. Reliquaries containing the remains of saints had special holes for oil to be poured in and then dispensed.

This and the scented oil from lamps at martyrs’ shrines was used to anoint the sick.

A ninth century text describes how at Saint Menas’ tomb in Egypt:

a lamp before the grave […] burned day and night and was filled with fragrant oil. And when anyone took of this lamp oil […] and rubbed a sick person with it the sick person was healed.

Pilgrims who visited holy sites collected such oil in flasks, hoping to take home its healing power.

Ampulla (Flask) of Saint Menas
Pilgrims used flasks like this to carry oil from the pilgrimage site of Saint Menas. Rogers Fund, 1927/The Met

The early Church not only used olive oil, but also produced it.

Sixth century and later monastic and church archives record gifts of olive groves and enslaved workers to ecclesiastical and monastic estates.

This is confirmed by my own recent research into archaeological finds of oil production remains in episcopal complexes, annexes attached to churches, and in monasteries.

Christian symbols appear on the seals of oil transport containers from a fourth century CE shipwreck recently found off the coast of Mallorca.

Their painted inscriptions identify the contents as a special “sweet oil”, perhaps produced at monasteries in southern Spain and marketed for ritual and healing use.

Olive oil today

Ancient uses of olive oil for rituals of initiation, sanctification and healing have a modern legacy.

In 2023, oil for the coronation of Charles III was harvested from groves on the Mount of Olives, processed at local monasteries and blessed by archbishops in Jerusalem.

The anointing ritual continued a tradition derived from early medieval coronations of the first English kings, in turn modelled on that of the ancient King Solomon .

Olive oil is still used in Christian sacraments, the consecration of churches, and anointing of the sick.

Beautiful to taste, touch, see and smell, olive oil has had a special significance in human history. Its uses today have grown from the roots of a long tradition.The Conversation

Tamara Lewit, Honorary Fellow, School of Historical and Philosophical Studies, The University of Melbourne

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Tuesday, 20 October 2026

Interview: The Body as Architecture, Instinct as Art, Ten Questions with Dancer Evgeny Ganeev

In Berlin, the balletic strength of Evgeny Ganeev is evident in his expressive contemporary dance. Photograph (above) by Jay Zoo for DAM



A dancer shaped by Russian ballet, Saint Petersburg’s atmospheric beauty and Berlin’s restless creative energy, Evgeny Ganeev moves between dance, fashion and visual art with an instinctive sensibility. His sculptural physicality and fascination with the fleeting nature of performance make him an intriguing figure. Speaking with candour about the forces that have shaped his artistic life, the dancer recounts his experience with Yuima Nakazato, the creative possibilities that emerge encountering fashion and why, for now, he calls Berlin home. Interview by Jeanne-Marie Cilento. Photography by Jay Zoo 

Evgeny Ganeev had stringent Russian
ballet training from five years old. 
FROM the stony majesty and luminous light of Saint Petersburg to the roiling artistic milieu of Berlin, Evgeny Ganeev has developed an abstract dance language in which the body becomes a finely tuned instrument. 

Trained in the rigorous tradition of Russian ballet, Ganeev has carried the discipline of classical dance into a contemporary practice defined by elongated lines, sculptural movement and an unusually instinctive physicality.

"My artistic path began at the age of five, when I started dancing while also studying violin, piano, music theory, and arts and crafts," Evgeny Ganeev explains. "At the age of nine, after a three-stage selection process, I was accepted into the Vaganova Ballet Academy, where I spent the following ten years of my ballet education. It was an intensely demanding environment where my childhood ended the moment I entered it."

The dancer's evolution from classical ballet to contemporary performance found an important early expression in The Melancholy, the solo he performed at the 2018 Tallinn International Ballet Competition. Selected for the Winners’ Gala alongside established artists, the experience marked a quiet turning point: contemporary dance offered Ganeev not simply another vocabulary of movement, but a different way of existing on stage, one in which the performer could express himself directly rather than inhabit a predetermined role.

"Saint Petersburg is an architecture of atmosphere as much as of stone, I was shaped by its museums, its theatres, and its constant presence of art"

Today, his practice extends far beyond dance. Drawing and painting, photography and film, clay and craftsmanship all exist alongside the body as different forms of the same creative necessity. This openness to other disciplines has also led to collaborations at the intersection of contemporary performance and high fashion, most notably with Japanese designer Yuima Nakazato. For Nakazato’s Glacier collection, Ganeev became part of an intentionally ephemeral performance in which unique garments, movement, ink and the human body converged. The result was less a traditional fashion presentation than a fleeting encounter between sculpture, performance and couture.

There is a particular stillness beneath Ganeev’s physical intensity. His relationship with Saint Petersburg’s melancholy landscape remains an “inner weather”; his Russian training has become an integral part of him, rather than a constraint; and his interest in the fragility of existence places the living body at the centre of his artistic thinking. Even in an increasingly digital culture, he believes there are things technology cannot reproduce: the presence of a living form in space and time, and the immediacy of bodies sharing the same reality.

The dancer's work comes from
instinct, even before thought.
1. What part of dancing gives you the most happiness, and do you find your creative process comes more from the mind or from instinct?

What draws me most to dance is the moment when the body enters a state of heightened presence, where freedom and expression become indistinguishable. In those moments, space itself feels almost tangible.

My work comes mostly from instinct, from something before thought. When I work under direction, the mind becomes important first ~ understanding the intention before I can fully respond physically.

2. What are your memories of growing up in Saint Petersburg, and how did that beautiful city shape your early imagination?

Saint Petersburg is an architecture of atmosphere as much as of stone. I was shaped by its museums, its theatres, and its constant presence of art.

What remains most vivid is its grey, reflective light. There is a quiet melancholy in that landscape that many resist, but I always felt drawn to it. It continues to live within my work as a kind of inner weather.

 3. Russian ballet training is famous for its incredible, intense discipline. What did those early years of rigorous practice teach you about yourself?

Those years taught me resilience too early. In that environment, you either commit fully or you don't continue. It was difficult to separate life and training, and only later did I begin to understand what that intensity leaves behind.

Today, I return to those experiences as echoes. They continue to transform into new meanings over time.

Perhaps the most important lesson was the necessity of sustaining an inner reason to dance ~ one that survives pressure rather than being defined by it. That love remains both fragile and unyielding.

4. In 2018, you performed a solo called The Melancholy at the Tallinn International Ballet Competition. How did preparing for that performance help you grow from a student into a true artist?

At that time, I was no longer a student, yet still young and in a state of transition, shifting from classical ballet towards contemporary performance.

The Melancholy was selected for the Winners' Gala, and I found myself performing alongside established artists. That recognition gave me a quiet sense of confidence in moving forward.

What made that period particularly important was that contemporary dance opened a different way of being on stage for me. Unlike in classical ballet, where you often perform a role, I felt I could express myself more directly as an artist through movement.

The dancer's long, balletic lines are
the result of many years of training. 
5. Why did you ultimately choose dance as your life's work over other forms of art?

I do not think I ever made this one choice.

Dance remains the main focus, but other forms such as drawing and painting have been part of my practice for many years and exist as parallel extensions of the same necessity to create. I also work with photography and film, and I love clay and craftsmanship. There are things I cannot express fully through the body alone.

For now, dance leads simply because the body has its own timeline.

6. Your movement has a beautiful, long, and sculptural line. Did this grace come naturally to you, or is it something you practiced for years to perfect?

It is the result of many years of work, and it is still something that requires constant training. Some periods are more intense, others gentler, but I have been dancing since I was five years old.

7. What is it like to perform dance for a haute couture fashion show like Yuima Nakazato's Glacier collection, and how does performing for a fashion audience compare to a traditional theatre audience?

It was a truly inspiring experience.

The garments existed as unique pieces, so it was not possible to rehearse with them. The performance could only happen once, while Yuima himself worked with ink directly on fabric and skin. It was not a repeatable moment. I love this kind of impermanence.

When the audience entered, I was already in the space, in a slow unfolding on the floor. The main difference from theatre was the closeness ~ people were very near. I remember cameras immediately beginning to photograph what they saw, but I was already in a different state, simply inside the experience.

8. Which specific person or training do you feel has had the most significant impact on your career as an artist, and on you as a person?

It is not possible for me to name a single influence.

Each meaningful collaboration leaves something behind. I am increasingly drawn to encounters with artists from different backgrounds and disciplines. What matters most is the balance between remaining open and staying rooted in one's own path.

Speaking of training, Wayne McGregor's Mind and Movement programme, which I was fortunate to take part in, has indeed had a significant impact on my artistic development.

As a person, my attention is less fixed on individuals and more on art, culture, and nature.

Evgeny Ganeev believes technology
cannot replace living forms of dance.
9. How do you see the future of ballet and contemporary dance in our digital age? Do you believe the raw physicality and emotion of dance can act as a visceral anchor in an increasingly virtual world?

The body remains irreducible.

No technological extension can replace the presence of a living form in space and time. This immediacy ~ the shared reality of being ~ is something that cannot be simulated.

Technology may extend the field of performance, but it does not replace its essence.

I am not deeply driven by digital themes in my own work. I am more interested in the fragility of existence and how the body holds and translates it.

10. Why did you choose Berlin as your home, and does the everyday energy of the city inspire your studio practice today, or does it make it harder?

The decision to move to Berlin was not planned in detail; it happened quite spontaneously. It is a city with a very open and diverse artistic scene that I found attractive.

Its energy is not always easy, but it is alive, and it definitely does not affect my practice negatively. I have met wonderful artists here and built meaningful connections.

I travel a lot for work and I know I will be living somewhere else in the future. But for now, I can call Berlin my home.

See the gallery below of Evgeny Ganeev's choreography. Photographed by Jay Zoo in Berlin.




























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Monday, 19 October 2026

Eva Marie Saint: The Last Star of Hollywood’s Golden Age

Eva Marie Saint with her subtle skill as an actor and her classic blond beauty had a career of some 80 years in film, television and podcasting. Photographed (above) in circa 1960 by Getty.  


By Marcus Harmes

Eva Marie Saint was showered in awards across her long career. Her performances spanned from her first stage appearances in 1942 to her final film appearance in 2019.

But while she was the last star of Hollywood’s Golden Age, it was television’s Golden Age where she began her long career. It was television and then even newer formats like podcasting that sustained it.

Saint was celebrated as a film star, including her landmark performances for Hollywood’s best directors including Elia Kazan, Alfred Hitchcock, Otto Preminger and John Frankenheimer. And while her film acting led to awards and nominations from the BAFTAs to the Oscars, films are only one part of a diverse career that spanned her long life of 102 years.

The actor in Los Angeles on the 
evening she won an Oscar in 1955
for 'On the Waterfront'. 
She received an Oscar in 1955 for On the Waterfront and an Emmy in 1990 for the miniseries People Like Us. There was a Drama Critics Award in 1953 for The Trip to Bountiful on Broadway. In 2012, she received a Behind the Voice Actors Voice Acting Award for her voice work on the animated series The Legend of Korra (2012–14).

Her many awards, and even more nominations, reveal her astonishing capacity to reinvent herself not just in the roles she played but the media she appeared on. Saint showed rare versatility by changing image and style and medium and format across eight decades.

The golden age of television

Born in 1924, before the development of television and even the talkies, Saint made her television debut in 1947 in Charles Dickens’s A Christmas Carol.

Saint was fortunate to be in the right place at the right time for the first Golden Age of American television.

This Golden Age gave Saint and other actors not just employment but a national audience for serious drama. Commercial sponsorship also meant actors like Saint were infamously obliged to advertise products as well as act.

Saint had an ongoing role in the successful TV drama Martin Kane Private Eye (1949–54). But sponsorship from the United States Tobacco Company meant the cast had to, not too subtly, advertise pipes and cigarettes by talking about smoking in each episode!

Television kept her fully occupied until her big screen debut in 1954’s On the Waterfront.

A move to the big screen

Today, her fame rests on two entirely different films: the intense black and white drama about dockside corruption in On the Waterfront (1954), and the colour and lighthearted adventure in North by Northwest (1959).

From director Elia Kazan, On the Waterfront was Saint’s breakout film role in a heavy hitting movie about corruption among men who worked on the docks. Starring Marlon Brando as well as Saint, the film received eight Oscars, including Best Supporting Actress for Saint.

The pair embrace.
Eva Marie Saint and Marlon Brando pose for a portrait on the set of On the Waterfront. 20th Century-Fox/Getty Images

At least one person wasn’t a fan – Alfred Hitchcock wanted to use Saint in a more glamorous role and setting.

“It’s drab in that tenement house. Women go to the movies, and they’ve just left the sink at home. They don’t want to see you at the sink” Hitchcock told her.

Normally, one break out role would be enough for any actor. But Saint had two. Showing the cycles of invention and reinvention that propelled her career, Saint moved from black and white intensity to colour adventure.

The “Hitchcock Blonde” is a fixture of his films. Grace Kelly, Tippi Hedron and Kim Novak are among them, and in North by Northwest Hitchcock added Saint to their ranks.

Eva Marie Saint toasts Cary Grant in a scene from North By Northwest. Metro-Goldwyn-Mayer/Getty Images

Playing a femme fatale (or is she?) pitched against good guy Cary Grant, Saint stepped far away from the drab On the Waterfront in an adventure sweeping across the United States to the final exciting chase across Mount Rushmore.

North by Northwest remade Saint’s image as a glamourous blonde but her film career afterwards lacked consistency. Exodus (1960) was a hit; All Fall Down (1962) lost money at the box office.

Back to television – and to podcasts

Saint began on television, and it was television which sustained her career.

Saint holds her Emmy.
Saint won an Emmy in 1990 for Outstanding Supporting Actress in a Miniseries or a Special for People Like Us. Ron Galella, Ltd./Ron Galella Collection via Getty Images

After her big screen career declined in the 1970s, Saint returned to television with award-winning success. She received Emmy nominations for How the West Was Won (1976–79) and Taxi!!! (1978), and appeared on TV in works diverse as Frasier (1992–2004) and Moonlighting (1985–89).

Other changes involved a shift to the superhero film in 2006’s Superman Returns and Nickelodeon’s children’s animation in The Legend of Korra (2012–14). Finally, she was podcasting in scripted comedy The Pack Podcast, aged 98.

Other golden age legends like Olivia de Havilland lived long lives, but few remained so active across so many media as Eva Marie Saint. Fewer still showed the same ability to change in ways that found new audiences and new media over a career of 80 years.The Conversation

Marcus Harmes, Professor in Pathways Education, University of Southern Queensland

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Saturday, 17 October 2026

David Hockney’s Success is a Testament to a Britain that Supported Working Class Artists – the Same Cannot be Said Today

David Hockney working in his London studio in Powis Terrace, Notting Hill. Photograph: Bob Collins, bromide fibre print, 1972. National Portrait Gallery, London. 

By Gregory Salter 

David Hockney was perhaps the most successful and well-known British artist of his lifetime.His exhibitions, from career-spanning shows like David Hockney 25 at Fondation Louis Vuitton in Paris (2025) to his groundbreaking touring immersive exhibition David Hockney: Bigger & Closer (not smaller & further away) (2025), drew thousands of visitors.

David Hockney's 'Portrait of an Artist
(Pool with Two Figures)', 1972 that sold
for $90.3 million at auction in 2018.
His paintings broke sales records. Take his Portrait of an Artist (Pool with Two Figures), 1972, which became the most expensive painting by a living artist sold at auction after fetching US$90.3 million (£70.3 million) at Christie’s in New York in 2018.

Such success stands in stark contrast to his more humble beginnings. Born in Bradford into a working-class family in 1937, he came of age in a post-war era where access to education and to culture in Britain began to broaden. Through policies and schemes, previously unheard-of opportunities for people of his background began to open up, without which he would not have become the success he is considered today. The situation today for aspiring artists from a similar background is much starker.

A hopeful place for working-class artists

After leaving school at 16, Hockney studied at Bradford School of Art between 1953 and 1957. He had a brief gap of two years working as a hospital orderly due the national service requirement at the time and being a conscientious objector. He then took up a place at the Royal College of Art (RCA) in London. He benefited from the expansion of universities and art schools in this period, and the availability of means-tested grants for fees and living costs.

In 2026, the affordability of higher education for young people in Britain has been under the spotlight – with warning the situation will get worse, especially for working-class students. More and more students cannot afford to move away to study or take up further education opportunities, as Hockney did. Creative higher education institutions have also seen cuts to funding of around 50%, and it has been proposed that creative degrees will not be covered by the reintroduction of maintenance grants from 2028.

In the early part of his studies at the RCA, Hockney produced paintings like 1960s Going to Be a Queen for Tonight. Such paintings demonstrate the captivating, intoxicating possibilities that the RCA and London more widely offered for a young, gay, working-class artist.

Hockney’s London was accessible and cheap. He lived in a room in Earl’s Court and had about £100 a term from a scholarship. “You could do exactly what you wanted,” he recounted in an interview with the RCA about his time there. “You could even smoke. I remember having to sandpaper off the nicotine stains on my fingers before going to visit the registrar to borrow some money. They couldn’t be seen to be lending to fellows that smoked … Most of us were living on scholarships.”

The escalating cost of living means that for students today maintenance loans often fall short of actual living expenses (like rent and food). Affordability of university is an increasing concern for many and more than two-thirds of full-time students have jobs to help supplement their loans and grants.

At the RCA, Hockney was able to experiment with printmaking for the first time, as the graphics department provided materials for students for free. He quickly flourished in this medium, winning a prize of £100 for an early etching titled, Three Kings and a Queen. For a young artist with no money, this prize was significant. He was able to spend the summer of 1961 not working and afford a plane ticket to New York.

Such desire to experiment would come to define his prolific career as he relentlessly moved between mediums, exploring the possibility of expression through theatrical design, photocollage and eventually digital creation. In 2026, most art students are expected to purchase their own materials so their ability to experiment and discover can be more limited.

Hockney’s trip to New York produced his series of etchings A Rake’s Progress (1961 1963). It was inspired by a print series produced by William Hogarth, published in 1735, that depicts the rise and fall of a young man who inherits wealth then squanders it in 18th-century London.

Hockney adapted Hogarth’s narrative to his own encounter with New York, working in some biographical elements like his decision to dye his hair blonde while he was there. The series is a humorous and earnest reflection on the new possibilities and changes arising for a working-class man from the north of England.

A helping hand

Alongside free education, additional help from prizes and a cheaper cost of living, Hockney’s early career was also supported by the art dealer John Kasmin. Kasmin bought Hockney’s work while he was still at the RCA, and made Hockney part of his stable of artists at his gallery, which opened in London in 1963.

Kasmin helped Hockney sell his paintings to the right kinds of buyers, but also provided him with a steady income and opportunity for further travel to the US. It was in America that he produced the paintings of Los Angeles for which he remains best known. Here, Hockney’s celebrity and market value were managed while allowing him to work as he wished.

Painting of Hockney's parents.
My Parents. Tate., CC BY-NC-ND

Hockney’s early experiences are in contrast to the more exploitative flipping of works by young artists by buyers in recent years. There is evidence that this practice, involving buying art by young artists then quickly reselling them for a large profit, has a detrimental effect on young artists’ careers.

Later in Hockney’s career, he made a quiet nod to his working-class roots with My Parents (1977). This double portrait of his mother, posing obediently and affectionately for her son, and his father, leafing through an art book, is not only a moving depiction of family, but also a painting about social mobility.

Amid the celebrations of and tributes to Hockney from politicians and the media, we might recognise the role of class and how it shaped his art, and the structures, particularly state-supported art school education, that made success possible for someone like him.The Conversation

Gregory Salter, Associate Professor in History of Art, Head of Department, University of Birmingham

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Friday, 16 October 2026

What was the Mantua? How a 17th-century Gown Transformed Dressmaking and Ushered in Financial Freedom for Women

Diego Velázquez, Portrait of the Infanta Maria Theresa of Spain, 1653, an early version of the mantua



By Sarah Bendall

If you’ve watched many period dramas, you’ve probably seen a mantua before. Originating in France in the 1670s, this women’s garment consisted of lengths of t-shaped fabric that were pleated to create an unstiffened bodice with attached overskirts.

This gown was worn over a pair of stays (corset) and an often contrasting petticoat. The draping and folding of fabric created a front-opening gown.

What many people don’t realise, however, is how fundamentally this item of clothing altered women’s involvement in the fashion industry – and represented a ticket to financial freedom for an industry of female mantua makers.

The _Robe à la Française_ featured back pleats that draped to the floor.
The robe à la française was a mantua style that featured loose back pleats that draped to the floor. The Met/Purchase, Irene Lewisohn Bequest, 1954

What was the mantua?

After its invention in the 1670s, the new gown became immediately popular among fashionable Parisian women.

Although strict dress codes at the Versailles court of French King Louis XIV prohibited the wearing of mantuas, women at the English court helped popularise it in England.

By the 1680s, the mantua was widely worn in Western and Central Europe, as well as in European colonies around the world. It soon became the basis for all women’s gowns in the 18th century.

Popular versions of the mantua in 18th century included:

  • the loose style called a robe volante

  • the iconic robe à la française (sometimes called a sack gown) with its back pleats that draped to the floor, and

  • the tighter fitting robe à la anglaise  (also known as English or Italian gowns).

The _robe à l’anglaise_ was tighter fitting than its French counterpart.
The robe à l’anglaise had fitted back pleats and was tighter compared to its French counterpart. The Met/Purchase, Irene Lewisohn Bequest, 2018

Tailors vs mantua makers

As well as changing the look of western fashions, the mantua radically changed women’s involvement in the fashion industry.

Before the 17th century, outer garments were usually made by male tailors. Apprenticeships and membership of guilds – the organisations that controlled most craft trades – were restricted to boys and men.

Women did participate informally in these professions. They sometimes worked alongside tailor family members (and some were fined for doing so) and widows were permitted to carry on the businesses of their deceased husbands.

Women had also historically worked as seamstresses or “silkwomen” making small linen or silk goods like underwear and accessories.

A blue loose 1730s style called a _robe volante_.
This loose 1730s style was called a robe volante. The Met/Purchase, Friends of The Costume Institute Gifts, 2010

However, this began to change in the late 17th century during what came to be known as the consumer revolution – a period, beginning in the 1600s, that saw a significant jump in the consumption of luxury goods.

Significantly, in 1675, women in Paris and Rouen acquired their own, independent couturière (dressmaking) guilds and began to take over making women’s clothing from male tailors.

In London, guilds with dwindling memberships also began to permit paying female members.

Due to the considerable influence of France on western fashions, women in London began to train under French dressmakers, giving rise to what were known in English as mantua makers.

Dressmaking and financial freedom

From the 18th to 20th centuries, dressmaking and other fashion or textile-related industries were the main source of formal employment for women in Britain, Australia and the United States (alongside teaching and domestic service).

New training opportunities in dressmaking – coupled with historical peculiarities such as London’s feme sole status, which allowed married women to run businesses and have finances independent of their husbands – meant many women began to open their own businesses.

Single women often lived in houses with other mantua makers and their apprentices, working as teams. Married women usually operated in workshops in the family home alongside their husbands, many of whom worked as tailors.

By the mid-18th century, manuals instructing parents on craft apprenticeships for their children noted mantua making was a large trade

reckoned a genteel, as well as profitable Employ [for women], many of them living well and saving Money.

But several male tailoring guilds in Europe attempted to stop women working as mantua makers, claiming they were taking away their business. Additionally, many women who worked in the garment-making industries were poorly paid and often worked in cramped conditions.

Mantuas were sometimes pinned up at the back.
Mantuas were sometimes pinned up at the back like this 1690s example. The Met/Rogers Fund, 1933

Yet, many did rise above. French mantua makers were particularly popular, with women in London paying substantially more for gowns made by French women with access to the latest fashion knowledge in Paris.

Some became confidants of queens. The famous fashion merchant Marie-Jeanne “Rose” Bertin designed many of French queen Marie Antoinette’s gowns (her detractors labelled her the queen’s “minister of fashion”).

These networks gave these women access to vast amounts of clients and social capital. By the 19th century, senior dressmakers and milliners called modistes often ran their own luxury fashion houses in the West End of London.

Mantua making was also a significant business opportunity for women in Australia.

“M. Hayes”, Catherine Mellon and Martha Matthews were all “mantua makers and milliners” who advertised their services in the early years of the Sydney colony.

Legacies of mantua makers

During the early years of the 19th century, mantuas fell out of use as new styles appeared. The term “dressmaker” also came to slowly replace the term “mantua maker”.

However, the gendered segregation of labour remained. During much of the 19th and 20th centuries, men were more likely to be tailors and have their clothing made by tailors. Women were more likely to be dressmakers and have their clothing made by dressmakers. The skills and techniques of each profession remained quite different.

With the advent of modern fast fashion, the skills of both tailors and dressmakers are fast being lost, and with it the knowledge of this revolutionary trade for women.The Conversation

Sarah Bendall, Research Fellow, Gender and Women's History Research Centre, Institute for Humanities and Social Sciences, Australian Catholic University

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Thursday, 15 October 2026

TRAVEL: A River Runs Through It: Echuca Dreaming on the Mighty Murray

Alfred Maslen's paddle steamer the PS Adelaide is still plowing through the waters of the Murray River today, after more than 150 years of service on Australia's greatest waterway. Cover picture of the Port of Echuca. See historic images below
Victoria's port town of Echuca on the Murray River has a rich history with its paddle steamers and riverboat men who travelled through vast inland areas of Australia. For a century, they transported wheat and wool and brought news, groceries and cloth to the people living in distant river country. Australia's Mississippi, the mighty Murray winds its way for thousands of kilometres from the soaring Mount Kosciuszko ranges down to the South Australian coast. Writer Geoffrey Maslen recalls his childhood days riding the river with his father, a steamboat engineer on the PS Adelaide
 
Morning mist rising from the Murray River
as a paddle steamer chuffs along
IN early winter the Murray River is low. Daily the mud-banks on each side appear to move together as if trying to staunch the river’s flow. The water is still fast-moving but without the broad, graceful sweep it has in spring and summer. Its colour, too, is different – a sombre grey, unlike the cheerful brown-green of the warmer months. As the morning sun drives back the shadows of the gum trees lining the banks, a white mist hovers over the waters. Seen from the top of a clay cliff bank, the mist winds away before me, slowly melting in the faint warmth. Below, at the water’s edge, a white egret perches on one leg eyeing its image – a long, pale question mark – in the water’s sheen. A flock of sulphur-crested cockatoos screeches like winged lunatics in the trees on the opposite bank. They suddenly take to the air and in an instant are gone. The brief silence is broken when a fat yellow-belly leaps out of the water and plops loudly back beneath the swirling waters – one of the many fish species that draw thousands of fishermen each year. A carolling magpie calls melodiously and a black-winged currawong sings a reply. Life is abundant around and in the river. For the creatures that rely on it, the river is life...
  
The Murray once echoed to the shrill whistles of a hundred trading paddle steamers, puffing thousands of kilometres with passengers and cargo ~ long before railways and motor cars and aeroplanes ~ through country Victoria, New South Wales and Queensland. The men on the steamers opened up a vast area of inland Australia, feeding and clothing the people living in the river country and carrying away their produce. They were also the floating mailmen and newsboys, spreading friendly gossip and even at times the word of the Lord. The overlanders who travelled by horse and dray, the steamboat men and the pioneer settlers regarded the river in different ways: for some the water was for crops and stock; for others, it was a great transport highway. The gums they saw as fence posts, firewood, boats or railway sleepers, the cliffs as quarries.
 
The steamboat men opened up vast areas of inland Australia, bringing food and clothing to the people living in the river country and carrying away their produce
 
Built in 1866, the PS Adelaide is still plying
 the river today, carrying passengers
In my childhood, my father Alfred Maslen was the engineer on the oldest paddle steamer then left on the Murray, the PS Adelaide whose age has now passed the century and a half mark. She is a sturdy old tub, no beauty to be sure with her squat lines and snub nose. But she has a certain rakish grace, sailing the river like some outsize, mechanical duck. As with most of the riverboats, the Adelaide was built to last in 1866. She was originally fitted out to accommodate passengers on the run from Echuca to Albury but in 1873 she was refitted as logging steamer and for nearly 100 years she pulled barges of cargo – red gum logs in her later years – up and down the river to Echuca. I can see her now, chuffing her way upstream towing a string of barges behind to collect logs from the Barmah forest. The barges were outriggers with a number of logs lashed crosswise and from these the red gum logs, too heavy to float, were suspended by chains on the surface of the water, parallel to the barge.
 
 Curled up in the paddle steamer's bunk house I could look up into the sky, stars glittering like tiny crystals while meteoric sparks from the boat's belching tunnel flamed momentarily beneath them
 
A small boy with the Riverboat Captain,
 at the big wheel of his paddle steamer
On special occasions I was allowed to go too ~ a week on the high road! Bliss for a small boy was the marvel of the two great thrusting pistons, the hiss of steam, the steady, hypnotic chunka-plunk-chunk of the paddles. During the day there was ever-changing scenery ~ red gum forests, high cliffs, sand bars ~ with occasional stops at the wood piles to load up with firewood. And there was wildlife galore: ducks of every kind, huge flocks of swans, innumerable species of other birds and sometimes a long tiger snake, its head up like a periscope, swimming like mad to escape the whack of the paddles. At night the great eyes of the headlamps would sweep the bends and stare along the reaches into the weird and silent darkness of the bush. Yellow water curled at the bow and the trees grew out of the darkness, flashed greenly for a moment, then sank back into the shadow. Curled up in the bunk house with the door open I could look out and up into the infinite depths of sky, stars glittering like tiny crystals while meteoric sparks from the belching tunnel flamed momentarily beneath them. As I was lulled to sleep by the steady throb of the engine I could hear the sound of the firebox doors being clanged open, the rattle of the long poker as it was wielded to rearrange the burning logs. As a new log was thrust in, the glow from the furnace would light up the trees along the bank. Then the firebox doors would clang shut and I would hear the sound of laughter and soft talk from some of the crew keeping the captain company in the wheelhouse.

From the barge behind a song would sometimes drift across the water. One was sung to the tune of The Dying Stockman: Wrap me up in my tow-line and check-line And scuttle me deep down below, Where the cod and the snags won’t molest me, Where the Murray’s clear waters do flow... But usually it was yarns that were spun; oft-repeated tales of the great days on the river and the mighty mud pirates who sailed her. There was Captain Tommy Freeman who, as a young man was inspired by the feats of Blondin and walked across the Murray high on a tightrope stretched between trees on opposite banks. When he reached the middle of the river, the Echuca Riverine Herald reported, he lay down on his back and `kicked his legs about in the most astonishing manner’.

As I was lulled to sleep by the steady throb of the engine I could hear the sound of the firebox doors being clanged open, the rattle of the long poker as it was wielded to rearrange the burning logs
 
Paddle steamers leaving the wharves
at the Port of Echuca

Tommy was one of the best swimmers among the river men. One of his favourite pastimes was to dive in ahead of one of the paddle wheels of his steamer, let the thrashing blades pass over his head and then surface and swim to the rudder where he would climb on board again. His enemies called him `Tear-arse Tommy’ because he was always trying to get the maximum speed out of boats. Once, when sailing full-steam up the Darling, Tommy pointed to a camp high on the bank to his son Buck, who was the mate.

The camper was sitting outside his tent eating breakfast. `Watch this,” Tommy said and steered the steamer straight at the bank. At the last moment, he veered away but a great wave swept up the bank and over the unsuspecting breakfaster. The furious victim, however, was waiting at the next bend with a shotgun and peppered the wheelhouse with buck-shot. The captain and mate lay on the floor arguing about who should take the wheel while the steamer rounded the bend with no-one in command until she was out of range.

The firebox doors would clang shut and I would hear the sound of laughter and soft talk from the crew keeping the captain company in the wheelhouse

Then there was Wildman Bailey, another river captain from Echuca who acted for years as if the river was his private domain. Once, sailing in the Success with a barge called Croupier, Bailey met another steamer and was supposed to but refused to give way. The two boats steamed straight at each other and missed narrowly. Bailey managed to swing away from the other boat but a collision between it and the Croupier seemed inevitable. Bailey watched helplessly as the other steamer and his barge rushed head-on at each other. `Goodbye Croupier old girl,’ he called sadly.


The PS Adelaide docked in the rising sun at Echuca
But instead, the steamer crawled up on the Croupier on one paddle wheel, waddled the full length of her deck and then slid into the river again, leaving the barge barely damaged. On another occasion, Bailey was caught up the Darling on a falling river. Flying downstream on the last of the water, he passed a sheep station just before dawn and was hailed by an anxious squatter in his pyjamas. `Hey Bailey!’ the squatter yelled, `will you take my wool? It might be another year before the river rises again.’ Bailey leaned out of the wheelhouse and stared up at the squatter. `She’s so damn near sliding on the bottom,’ he yelled back, `that I wouldn’t even take a loaf of bread – and by hell am I hungry!’
 
Today, a dozen large and small home-built boats still chuff along the river, including the Alexander Arbuthnot ~ one of the last steamers built on the Murray River during the riverboat trade. She was constructed at Koondrook in 1923 to tow barges carrying logs from the forest to the Arbuthnot Sawmills for some years until the 1940s. Then she was sold to charcoal producers in the Barmah Forest and, during World War II, she lay idle. In 1947, however, she sank at her mooring and it was not until 1972, that the boat was raised by a group of Shepparton volunteers and was then bought by the City of Echuca in 1989 for restoration at the Port. The Alexander Arbuthnot is one of the 10 or more steamers that can still be seen on the river around Echuca.
 
Today, a dozen boats still chuff along the river, including the Alexander Arbuthnot ~ one of the last steamers built on the Murray River during the riverboat trade
 
The great sweep of the Murray River runs
through four Australian states
As it snakes its way across the countryside, the Murray drains an enormous area of land. The Murray-Darling Basin occupies more than a million square kilometres ~ about a seventh of the total area of Australia. With tributaries like the Darling, the Murrumbidgee, the Goulburn and the Campaspe, the Murray River takes in half of Victoria, three-quarters of New South Wales and part of South Australia, and an area of Queensland greater than the whole of Victoria. Maybe the Murray isn't as famous as other great rivers such as the Mississippi or the Amazon but, from its watershed in the Mount Kosciusko ranges more than 2000 metres above sea level, the Murray has wound its way for 20 million years ~ far longer than any other river on Earth ~ down to the South Australian coast 3000 kilometres away.

Humans have known and lived by the Murray for more than 40,000 years: the first people had it to themselves for almost all that time, up until 1830 when Captain Charles Sturt rowed down to its mouth: “At 3 pm, Hopkinson called out that we were approaching a junction and in less than a minute afterwards we were hurried into a broad and noble river,” was how the soldier-navigator-explorer described his discovery. “We had got on the high road and it was either to the south coast or to some important outlet but I will call it the Murray River.”

River trade endured for a century along the Murray River. By 1863, Echuca had been built to take the loads of wool, wheat and meat from the steam boats because it was the closest river port to Melbourne.

 The wharves at Echuca where wool and wheat
were unloaded for Melbourne
Some 20 years later, William Randall steamed from Mannum in South Australia nearly 1600 kilometres past Swan Hill ~ downstream from Echuca ~ in a home-made boat with a home-made steam engine whose boiler `swelled in defiance of bolts changes and wedges’, breathing, say the old-timers, like a concertina. Sturt’s `high road’ soon became a reality. River trade endured for a century and stretched across three colonies and 6000 kilometres of waterway. In 1860, 17 steam boats were trading and operating along the Murray River and by1863 the new town of Echuca had been built to take the loads of wool and wheat and meat from the steam boats because it was the closest river port to Melbourne. By then, it had a population of 300 but, in less than 10 years, there were 1,600 inhabitants and Echuca was Victoria's second largest port with 240 boats annually trading in all types of goods, particularly wool.

The PS Emmylou, one of the fine 19th Century
paddle steamers travelling the river
Just before the turn of the 20th century, however, railway lines began linking river towns with the larger cities and the steamboat era was already nearing its end. Eventually, boats were tied up all along the Murray River waiting for work that never came. Some sank or were broken up, a few ran halfway into the new century as fishing boats, logging steamers and passenger craft but they, too, eventually disappeared. But then interest spread among locals and historians and some of the old steamboats were restored and began operating trips up and down the river for tourists.

The Aborigines had looked at the river and saw fish and game; at the gums and saw canoes and shields; at the cliffs and saw caves for shelter, clay and ochre for dancing bodies. But there was a difference. To the Aboriginal tribes ~ the Baraba Baraba, Wemba Wemba, Yorta Yorta and Ngurraiilam ~ the river was sacred. It was not theirs; it did not belong to them. They belonged to it for the river was the source of their legends; for them the Murray valley had been carved out in the Dreamtime when a giant Murray cod went swimming down the piccaninny Murray, his waving tail so huge it created the great broad sweeps seen today.

To the Aboriginal tribes ~ the Baraba Baraba, Wemba Wemba, Yorta Yorta and Ngurraiilam ~ the river was sacred. It was not theirs; it did not belong to them. They belonged to it, for the Murray was the source of their legends

A white Egret on the Murray, one of the many native
Australian birds that make the river home
In their 40,000 or more years as custodians, the Aborigines left few scars around the river: sacred burial grounds, gum trees with bark cut out for canoes, smoke stains on the yellow cliffs where they camped; glittering kitchen middens of cockles and mussel shells. The marks of the European invaders, though, are more easily seen. Locks and dams have drowned the swamplands and the red gum forests, arresting the rhythm of the river which replenished the swamps and mud-flats and generated the breeding cycles for fish, and for crops and cattle, the river polluted with runoffs and drains. There are other changes: When I first learned to swim in the Murray’s warm brown water, paddle-wheelers still swished back and forth. Swimming like fish, we could easily dodge them and we chased their wash to catch the waves, bobbing like corks.

Today, though, swimming in the river is like playing hop-scotch on a busy freeway. High-powered speedboats roar down the river, trailing skiers for tails, scattering swimmers daring enough to try to compete or just to cross the river from one bank to the other. A screaming fibreglass rocket with a 60 horsepower outboard at the stern and a nut at the wheel has none of the charm, the serenity or even the style of the old river boats.

The memories flood back as I stand on the cliff looking down on the river, the white mist almost gone. Life along the river has experienced a vast change in the past 150 or more years. The indigenous people who roamed its banks for millennia have almost all disappeared. The inland sailors, too, have gone ~ Alf Maslen among them ~ and little of what they brought to the river remains. They have stepped out of the great river of history.

Geoffrey Maslen’s new books are An Uncertain Future: Australian birdlife in danger and Too late: How we lost the battle with climate change, are published by HardieGrant and available at all good bookshops.


An early picture of the Adelaide steaming up the Murray River, towing a barge carrying red-gum logs. Photograph: Courtesy of the Echuca Historical Society



In 1869, wool being unloaded at the Punt in Echuca. Photograph: Courtesy of the Echuca Historical Society.
Bullock trains in Leslie Street in Echuca, carrying the wool brought by the paddles steamers to be taken to Melbourne. Photograph: Courtesy of the Echuca Historical Society 
 
 An 1876 etching of Echuca's Main Street and the Bridge Hotel at left, both still key features of the town. Image: Courtesy of the Echuca Historical Society





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