A typical late example of Christian doctrine on the subject is the Reverend Erskine Neale's The Riches that Bring No Sorrow (1852), a moralising work based on a succession of biographies contrasting philanthropists and misers.

Apart from an increase in the size of some of the basement windows (which in this context means ground level, as the first floor is a piano nobile) the facade is unchanged today.

Categories: Australian artist, Australian photography, black and white photography, colour photography, digital photography, exhibition, existence, gallery website, intimacy, landscape, light, Melbourne, memory, photographic series, photography, portrait, psychological, reality, sculpture, space, time and works on paper Tags: 21st-century photography, After seeing every episode twice, Australian art, Australian photographer, Australian photographers, Australian photography, candour and intimacy between lovers, Colourful mountain disruption, cutting, Cutting edge, Cutting edge: 21st-century photography, cutting photographic prints, Danica Chappell, Danica Chappell Light shadow, David Rosetzky, David Rosetzky Aaron I, David Rosetzky Hamish, David Rosetzky Pieces #1, David Rosetzky Pieces #2, Derek Kreckler, Derek Kreckler Holey 1, Eliza Hutchison, Emidio Puglielli, Emidio Puglielli Colourful mountain disruption, film noir, folding, folding photographic prints, folds of the print, geographic rupture, Holey 1, image and text, instamatic moment, James Tylor, Jo Scicluna, Jo Scicluna When our horizons meet, Jo Scicluna Where I have always been an island #4, Jo Scicluna Where we begin (sunless), Joshua Yeldham, Joshua Yeldham Owl of tranquillity, Joshua Yeldham Resonance, Justine Khamara, Justine Khamara Looping #3, Justine Khamara Orbital spin trick #2, Light shadow, Light shadow (5 days 5 hrs in 8 parts test strips), Luke Parker, Luke Parker Screen memory, Martin Smith, Martin Smith After seeing every episode twice, Martin Smith pleasure / storage, Megan Jenkinson, Megan Jenkinson meniscus, Megan Jenkinson Transfigurations, Melbourne, meniscus, migration and geographic rupture, Monash Gallery of Art, Orbital spin trick #2, Owl of tranquillity, Paul Knight, Paul Knight Untitled (PK_10_02), Peta Clancy, phenomenology of a gallery space, photography and text, photography as sculpture, pinning, pinning photographic prints, pleasure / storage, puncturing photographic prints, Screen memory, Sculptural photography, sculpture and photography, smart phone photographs, storytelling, tattooing photographs, Timeless, Transfigurations, Vivian Cooper Smith, Vivian Cooper Smith Timeless, When our horizons meet, Where I have always been an island #4, Where we begin (sunless) Artists: Danica Chappell, Peta Clancy, Eliza Hutchison, Megan Jenkinson, Justine Khamara, Paul Knight, Derek Kreckler, Luke Parker, Emidio Puglielli, David Rosetzky, Jo Scicluna, Martin Smith, Vivian Cooper Smith, James Tylor and Joshua Yeldham.

This is a solid if slightly dour exhibition at the Monash Gallery of Art which examines the phenomena of the deconstruction of the physicality of the photograph.

The parkland surrounding the gardens is open 365 days a year.

National Trust members have free access to the gardens but there is a charge for all visitors to the house which goes towards the costs of restoring the building.