Hand tinted photo: photo of house in rural setting with autumn toned trees. Photo appears to have been taken at Daylesford or Hepburn Springs. House is small cottage, set in front of pine forest rising on hill to rear. Large eucalypts on right with road just evident on extreme right of photo.F. T. Kennedyplace, building, rural cottage

Faded and slightly discoloured sepia toned photograph of a garden? Setting, with lots of tree ferns in evidence. Wes Harry has written on the back, possibly Fortuna gardens 1880's or the Fernery in Rosalind Park.place, public gardens, fernery, rosalind park, fortuna garden, fernery in rosalind park

Robert Harper & Co had an industrial complex on Beach Rd from Sandridge lagoon to Post Office Place. A wide variety of goods were produced including rice, starch, spices, cocoa, flour, spices, oatmeal, jelly crystals. Most of the complex was demolished around 1980 but some buildings have been transofmed into apartment blocks.Digital copy of Black and White photo mounted on card with the words "Harpers Picnic 1908" written below. The group of twenty two (22) includes two young children and the whole group are dressed in their finery and one man in the centre appears to be playing the piano accordion. The location of the bushland setting is unknown.social activities, industry - food, industry - manufacturing, robert harper & co ltd

Bib, ill, maps, p.248.non-fictionA significant World War Two mutiny took place on the night of 8 May 1942 in a lonely atoll in the Indian Ocean in a setting of intrigue, rebellion and the blood and tears of war. Japanese naval forces were at the peak of their southward thrust." "While the battle of the Coral Sea raged, gunners of the Ceylon Garrison Artillery on the Cocos (Keeling) Islands off Australia's north-west coast attempted to arrest their British commanding officer and compel him to surrender to the Japanese. One soldier was killed and another wounded, but the mutiny failed and seven men were condemned to death. Ultimately three soldiers were hung, becoming the only Commonwealth troops to be executed for mutiny in World War Twomutiny, world war 1939-1945 - sri lanka

Photograph of the Chapel ? At the White Hills Cemetery, it is in a single storied brick structure in a bush land setting. There is a noticeboard on the left of the photo and a post and wire fence along the front of the building . One person is standing in the doorway and two adults and a small child to the left. There are three more adults on the extreme left hand side , near the entrance to the cemetery.Batchelderplace, cemetery, white hills cemetery, white hills cemetery, batchelder

Kamilaroi artist Reko Rennie’s vision is an inclusive environment where people can sit and peacefully reflect on, mourn and acknowledge the deep trauma of the past, as well as connect with the ongoing strength and resilience of the Aboriginal community and support the process of healing. 'Remember Me' symbolises community resilience, identity and family. Positioned in a ceremonial ring, the seating and spears create a circle of gathering and remembrance within the park. In a contemporary and historical sense, the spear is an emblematic statement about struggle and adversity, and it is also an expression of identity and connection to land and culture.The 'Stolen Generations Marker, Remember Me', reflects the community’s wish to create a permanent tribute to the Stolen Generations and their families; a place of reflection and respectful commemoration. Integral to this is the surrounding garden with plants local to the area that have been re-introduced into the setting. Sited at the historically important Meeting Place in the heart of Aboriginal Fitzroy, the artwork honours not only the story of this place, but of all Aboriginal people who were taken away. This project was guided by the Stolen Generations Marker Steering Group and realised by Yarra City Council in partnership with the Victorian Government. Most importantly, it has received widespread grassroots community support. It was officially launched on the 20th anniversary of National Sorry Day (26 May 2018), which acknowledges the impact of the policies spanning more than 150 years of forcible removal of Aboriginal and Torres Strait Islander children from their families. On 26 May 1997 the landmark 'Bringing Them Home' report was tabled in Federal Parliament. The report was the result of a national inquiry that investigated the forced removal of Indigenous children from their families. This was a pivotal moment for many Stolen Generations. It was the first time the stories of forced removal were formally acknowledged by the Government and a recognition that these actions were inhumane. The impacts have been lifelong and intergenerational. A collection of bronze spears and a coolamon with accompanying seating, lighting and landscaping positioned in a ceremonial ring.stolen generations, fitzroy

One of the struggles between East and West is taking place in South Vietnam, an area whose culture has been virtually unknown to scholars. The author has used the small village of Khanh Hau, in the Mekong River delta southwest of Saigon, as a microcosm for the study of the rural physical setting, the beliefs and customs of the several religions that exist here side by side, the kinship and family pattern, the crops and agricultural methods, the economic, administrative, the legal systems, and the socioeconomic structure and mobility.ethnology -- vietnam, anthropology, cultural, mekong river, khanh hau

Photograph depicting the official Unveiling of Soldiers Memorial at Wangaratta on 25th of April, 1923.From the History of Wangaratta RSL.. In 1918 there were two aims a) to organise a club for returned men and b) erect an outstanding war memorial in a beautiful garden setting. It took many years before the erection and unveiling of this memorial which took place on Anzac Day 25th April, 1923.Black and white photograph of large number of people sitting and standing around monument.Unveiling Soldiers Memorial Wangaratta 25.4.23soldier's memorial wangaratta, unveiling 1923

Social Engineering and Indigenous Settlement: Policy and demography in remote Australia John Taylor In recent years neo-liberals have argued that government support for remote Aboriginal communities contributes to social pathology and that unhindered market engagement involving labour mobility provides the only solution. This has raised questions about the viability of remote Aboriginal settlements. While the extreme view is to withdraw services altogether, at the very least selective migration should be encouraged. Since the analytical tools are available, one test of the integrity of such ideas is to consider their likely demographic consequences. Accordingly, this paper provides empirically based speculation about the possible implications for Aboriginal population distribution and demographic composition in remote areas had the advice of neo-liberal commentators and initial labour market reforms of the Northern Territory Emergency Response been fully implemented. The scenarios presented are heuristic only but they reveal a potential for substantial demographic and social upheaval. Aspects of the semantics of intellectual subjectivity in Dalabon (south-western Arnhem Land) Ma�a Ponsonnet This paper explores the semantics of subjectivity (views, intentions, the self as a social construct etc.) in Dalabon, a severely endangered language of northern Australia, and in Kriol, the local creole. Considering the status of Dalabon and the importance of Kriol in the region, Dalabon cannot be observed in its original context, as the traditional methods of linguistic anthropology tend to recommend. This paper seeks to rely on this very parameter, reclaiming linguistic work and research as a legitimate conversational context. Analyses are thus based on metalinguistic statements - among which are translations in Kriol. Far from seeking to separate Dalabon from Kriol, I use interactions between them as an analytical tool. The paper concentrates on three Dalabon words: men-no (intentions, views, thoughts), kodj-no (head) and kodj-kulu-no (brain). None of these words strictly matches the concept expressed by the English word mind. On the one hand, men-no is akin to consciousness but is not treated as a container nor as a processor; on the other, kodj-no and kodj-kulu-no are treated respectively as container and processor, but they are clearly physical body parts, while what English speakers usually call the mind is essentially distinct from the body. Interestingly, the body part kodj-no (head) also represents the individual as a social construct - while the Western self does not match physical attributes. Besides, men-no can also translate as idea, but it can never be abstracted from subjectivity - while in English, potential objectivity is a crucial feature of ideas. Hence the semantics of subjectivity in Dalabon does not reproduce classic Western conceptual articulations. I show that these specificities persist in the local creole. Health, death and Indigenous Australians in the coronial system Belinda Carpenter and Gordon Tait This paper details research conducted in Queensland during the first year of operation of the new Coroners Act 2003. Information was gathered from all completed investigations between December 2003 and December 2004 across five categories of death: accidental, suicide, natural, medical and homicide. It was found that 25 percent of the total number of Indigenous deaths recorded in 2004 were reported to, and investigated by, the Coroner, in comparison to 9.4 percent of non-Indigenous deaths. Moreover, Indigenous people were found to be over-represented in each category of death, except in death in a medical setting, where they were absent. This paper discusses these findings in detail, following the insights gained from the work of Tatz (1999, 2001, 2005) and Morrissey (2003). It also discusses a further outcome of this situation - the over-representation of Indigenous people in figures for full internal autopsy. Finding your voice: Placing and sourcing an Aboriginal health organisation?s published and grey literature Clive Rosewarne It is widely recognised that Aboriginal perspectives need to be represented in historical narratives. Sourcing this material may be difficult if Aboriginal people and their organisations do not publish in formats that are widely distributed and readily accessible to library collections and research studies. Based on a search for material about a 30-year-old Aboriginal health organisation, this paper aims to (1) identify factors that influenced the distribution of written material authored by the organisation; (2) consider the implications for Aboriginal people who wish to have their viewpoints widely available to researchers; and (3) assess the implications for research practice. As part of researching an organisational history for the Central Australian Aboriginal Congress, seven national and regional collections were searched for Congress?s published and unpublished written material. It was found that, in common with other Aboriginal organisations, most written material was produced as grey literature. The study indicates that for Aboriginal people and their organisations? voices to be heard, and their views to be accessible in library collections, they need to have an active program to distribute their written material. It also highlights the need for researchers to be exhaustive in their searches, and to be aware of the limitations within collections when sourcing Aboriginal perspectives. Radiocarbon dates from the Top End: A cultural chronology for the Northern Territory coastal plains Sally Brockwell , Patrick Faulkner, Patricia Bourke, Anne Clarke, Christine Crassweller, Daryl Guse, Betty Meehan, and Robin Sim The coastal plains of northern Australia are relatively recent formations that have undergone dynamic evolution through the mid to late Holocene. The development and use of these landscapes across the Northern Territory have been widely investigated by both archaeologists and geomorphologists. Over the past 15 years, a number of research and consultancy projects have focused on the archaeology of these coastal plains, from the Reynolds River in the west to the southern coast of the Gulf of Carpentaria in the east. More than 300 radiocarbon dates are now available and these have enabled us to provide a more detailed interpretation of the pattern of human settlement. In addition to this growing body of evidence, new palaeoclimatic data that is relevant to these northern Australian contexts is becoming available. This paper provides a synthesis of the archaeological evidence, integrates it within the available palaeo-environmental frameworks and characterises the cultural chronology of human settlement of the Northern Territory coastal plains over the past 10 000 years. Ladjiladji language area: A reconstruction Ian Clark and Edward Ryan In this reconsideration of the Ladjiladji language area in northwest Victoria, we contend that while Tindale?s classical reconstruction of this language identified a fundamental error in Smyth?s earlier cartographic representation, he incorrectly corrected that error. We review what is known about Ladjiladji and through a careful analysis demonstrate not only the errors in both Smyth and Tindale but also proffer a fundamental reconstruction grounded in the primary sources.ladjiladji, social engineering, dalabon, indigenous health, coronial system, radiocarbon dating

The site specific sculpture is located at the entry to the office of Nillumbik Shire Council. It was commissioned in 1994 by the Shire of Diamond Valley for their 20 year celebration. Baines was chosen from a short list of three artists. He is an internationally renowned artist, particularly in the field of gold and silver smithing. 'Transaction' takes on the visual and aesthetic vocabulary of its surroundings. It is a statement of the geometry and idiosyncrasy of its immediate site. The series of arcs are reinterpreted into longitudinal curves in the sculpture. It is a transaction between the place and the anticipated entry to the building. The title also suggests the flow of civil and administrative procedures that take place daily within the Shire's offices. A large cascading form in stainless steel. Multiple rows of concave dishes set on long steel stems, which progressively increase in size as they rise in height. The work plays elaborately with perspective, and its repeated shapes are arranged in a orderly mathematical series. It faces a wheelchair ramp lined with polished steel rails, and is integrated with the architectural features of its forecourt setting, for which it was designed. The piece is sited in a small garden area and can be viewed from within the building's foyer. In bright sunlight, its dish-shapes cast elliptical shadows across walkways and lawns. N/Apublic art, transaction, ekphrasis2017, stainless steel, disks, poles, council

Till collectionTHE TILL COLLECTION SIGNIFICANCE STATEMENT|The significance of the Alwyn Till Collection is that Alwyn was born in Mitcham in 1921. He attended Mitcham Primary School and Box Hill Boys High School. He served his Community mainly through his activities within the Christ Church Anglican Church Mitcham. He joined the Royal Australian Airforce in World War II in September 1939. He trained as a Pilot in Australia and Canada, was posted to England and saw action in Europe. He was shot down over France and rescued by and then joined the French Resistance and while fighting with them was fatally shot. A Baron fighting with him wrote to his mother to inform her of his death.|Alwyn's parents were Evaleen Victoria Till (nee Maggs) and Sydney Norman Till who first lived in Creek Road Mitcham, before moving to 573 Whitehorse Road Mitcham. His father served in World War I where his eyesight was damaged and he was taught by the then Blind Institute in suitcase making of which we have two examples in this collection. He died in 1931. Alwyn took over responsibility for his mother and sister Alison. We can understand how devastated his mother and sister would have been at the news of Alwyn's feeling that he must serve his country in World War 11.|His letters home were so precious to them that they carefully kept all his correspondence, notices of death and condolences from friends. After Alison's death in 2007 her relation Joan Walker transcribed each of Alwyn's letters home into two bound volumes. The executors, Joan Walker and Anne Drew deposited the original letters with the Whitehorse Historical Society. Due to their significance as historical documents of one serviceman's complete correspondence with his family the Whitehorse Historical Society Committee after consultation with the donors deposited the original letters with the State Library of Victoria. The Whitehorse Historical Society retains the copies.|Alison and her mother kept many family memorabilia and personal items which make up this significant collection as they show how people lived, worked and served in the local community and municipality.|This collection represents the love and devotion of the women to their families during the course of two world wars. The father was disabled as a result of World War 1 and died an early death and a son who thereafter took on the responsibility as head of the family at an early age. This young handsome charismatic son served his community in peace time and gave his life in World War 11. This mother and sister were devoted to his memory.Cream woven place mat with fringing.domestic items, table setting, handcrafts, weaving

Till collectionTHE TILL COLLECTION SIGNIFICANCE STATEMENT|The significance of the Alwyn Till Collection is that Alwyn was born in Mitcham in 1921. He attended Mitcham Primary School and Box Hill Boys High School. He served his Community mainly through his activities within the Christ Church Anglican Church Mitcham. He joined the Royal Australian Airforce in World War II in September 1939. He trained as a Pilot in Australia and Canada, was posted to England and saw action in Europe. He was shot down over France and rescued by and then joined the French Resistance and while fighting with them was fatally shot. A Baron fighting with him wrote to his mother to inform her of his death.|Alwyn's parents were Evaleen Victoria Till (nee Maggs) and Sydney Norman Till who first lived in Creek Road Mitcham, before moving to 573 Whitehorse Road Mitcham. His father served in World War I where his eyesight was damaged and he was taught by the then Blind Institute in suitcase making of which we have two examples in this collection. He died in 1931. Alwyn took over responsibility for his mother and sister Alison. We can understand how devastated his mother and sister would have been at the news of Alwyn's feeling that he must serve his country in World War 11.|His letters home were so precious to them that they carefully kept all his correspondence, notices of death and condolences from friends. After Alison's death in 2007 her relation Joan Walker transcribed each of Alwyn's letters home into two bound volumes. The executors, Joan Walker and Anne Drew deposited the original letters with the Whitehorse Historical Society. Due to their significance as historical documents of one serviceman's complete correspondence with his family the Whitehorse Historical Society Committee after consultation with the donors deposited the original letters with the State Library of Victoria. The Whitehorse Historical Society retains the copies.|Alison and her mother kept many family memorabilia and personal items which make up this significant collection as they show how people lived, worked and served in the local community and municipality.|This collection represents the love and devotion of the women to their families during the course of two world wars. The father was disabled as a result of World War 1 and died an early death and a son who thereafter took on the responsibility as head of the family at an early age. This young handsome charismatic son served his community in peace time and gave his life in World War 11. This mother and sister were devoted to his memory.Cream woven place mat with small pattern around edges.domestic items, table setting, handcrafts, weaving

Till collectionTHE TILL COLLECTION SIGNIFICANCE STATEMENT|The significance of the Alwyn Till Collection is that Alwyn was born in Mitcham in 1921. He attended Mitcham Primary School and Box Hill Boys High School. He served his Community mainly through his activities within the Christ Church Anglican Church Mitcham. He joined the Royal Australian Airforce in World War II in September 1939. He trained as a Pilot in Australia and Canada, was posted to England and saw action in Europe. He was shot down over France and rescued by and then joined the French Resistance and while fighting with them was fatally shot. A Baron fighting with him wrote to his mother to inform her of his death.|Alwyn's parents were Evaleen Victoria Till (nee Maggs) and Sydney Norman Till who first lived in Creek Road Mitcham, before moving to 573 Whitehorse Road Mitcham. His father served in World War I where his eyesight was damaged and he was taught by the then Blind Institute in suitcase making of which we have two examples in this collection. He died in 1931. Alwyn took over responsibility for his mother and sister Alison. We can understand how devastated his mother and sister would have been at the news of Alwyn's feeling that he must serve his country in World War 11.|His letters home were so precious to them that they carefully kept all his correspondence, notices of death and condolences from friends. After Alison's death in 2007 her relation Joan Walker transcribed each of Alwyn's letters home into two bound volumes. The executors, Joan Walker and Anne Drew deposited the original letters with the Whitehorse Historical Society. Due to their significance as historical documents of one serviceman's complete correspondence with his family the Whitehorse Historical Society Committee after consultation with the donors deposited the original letters with the State Library of Victoria. The Whitehorse Historical Society retains the copies.|Alison and her mother kept many family memorabilia and personal items which make up this significant collection as they show how people lived, worked and served in the local community and municipality.|This collection represents the love and devotion of the women to their families during the course of two world wars. The father was disabled as a result of World War 1 and died an early death and a son who thereafter took on the responsibility as head of the family at an early age. This young handsome charismatic son served his community in peace time and gave his life in World War 11. This mother and sister were devoted to his memory.Yellow cotton handwoven place mat with fringing on two ends.domestic items, table setting, handcrafts, weaving

Till collectionTHE TILL COLLECTION SIGNIFICANCE STATEMENT|The significance of the Alwyn Till Collection is that Alwyn was born in Mitcham in 1921. He attended Mitcham Primary School and Box Hill Boys High School. He served his Community mainly through his activities within the Christ Church Anglican Church Mitcham. He joined the Royal Australian Airforce in World War II in September 1939. He trained as a Pilot in Australia and Canada, was posted to England and saw action in Europe. He was shot down over France and rescued by and then joined the French Resistance and while fighting with them was fatally shot. A Baron fighting with him wrote to his mother to inform her of his death.|Alwyn's parents were Evaleen Victoria Till (nee Maggs) and Sydney Norman Till who first lived in Creek Road Mitcham, before moving to 573 Whitehorse Road Mitcham. His father served in World War I where his eyesight was damaged and he was taught by the then Blind Institute in suitcase making of which we have two examples in this collection. He died in 1931. Alwyn took over responsibility for his mother and sister Alison. We can understand how devastated his mother and sister would have been at the news of Alwyn's feeling that he must serve his country in World War 11.|His letters home were so precious to them that they carefully kept all his correspondence, notices of death and condolences from friends. After Alison's death in 2007 her relation Joan Walker transcribed each of Alwyn's letters home into two bound volumes. The executors, Joan Walker and Anne Drew deposited the original letters with the Whitehorse Historical Society. Due to their significance as historical documents of one serviceman's complete correspondence with his family the Whitehorse Historical Society Committee after consultation with the donors deposited the original letters with the State Library of Victoria. The Whitehorse Historical Society retains the copies.|Alison and her mother kept many family memorabilia and personal items which make up this significant collection as they show how people lived, worked and served in the local community and municipality.|This collection represents the love and devotion of the women to their families during the course of two world wars. The father was disabled as a result of World War 1 and died an early death and a son who thereafter took on the responsibility as head of the family at an early age. This young handsome charismatic son served his community in peace time and gave his life in World War 11. This mother and sister were devoted to his memory.Cream cotton hand woven place mat with shades of orange patterns fringing on long sides.domestic items, table setting, handcrafts, weaving

The Boroondara General Cemetery is registerd by Heritage VictoriaBoroondara Cemetery in kew was established in 1858. It has an unusual triangular reserve bounded by High Street, Park Hill Road and Victoria Park, Kew. The caretaker's lodge and administrative office (1860 designed by Charles Vickers, additions, 1866-1899 by Albert Purchas) form a picturesque two-storey brick structure with a slate roof and clock tower. A rotunda or shelter (1890, Albert Purchas) is located in the centre of the cemetery: this has an octagonal hipped roof with fish scale slates and a decorative brick base with a tessellated floor and timber seating. The cemetery is surrounded by a 2.7 metre high ornamental red brick wall (1895-96, Albert Purchas) with some sections of vertical iron palisades between brick pillars. Albert Purchas was a prominent Melbourne architect who was the Secretary of the Melbourne General Cemetery from 1852 to 1907 and Chairman of the Boroondara Cemetery Board of Trustees from 1867 to 1909. He made a significant contribution to the design of the Boroondara Cemetery Boroondara Cemetery is an outstanding example of the Victorian Garden Cemetery movement in Victoria, retaining key elements of the style, despite overdevelopment which has obscured some of the paths and driveways. Elements of the style represented at Boroondara include an ornamental boundary fence, a system of curving paths which are kerbed and follow the site's natural contours, defined views, recreational facilities such as the rotunda, a landscaped park like setting, sectarian divisions for burials, impressive monuments, wrought and cast iron grave surrounds and exotic symbolic plantings. In the 1850s cemeteries were located on the periphery of populated areas because of concerns about diseases like cholera. They were designed to be attractive places for mourners and visitors to walk and contemplate. Typically cemeteries were arranged to keep religions separated and this tended to maintain links to places of origin, reflecting a migrant society. Other developments included cast iron entrance gates, built in 1889 to a design by Albert Purchas; a cemetery shelter or rotunda, built in 1890, which is a replica of one constructed in the Melbourne General Cemetery in the same year; an ornamental brick fence erected in 1896-99(?); the construction and operation of a terminus for a horse tram at the cemetery gates during 1887-1915; and the Springthorpe Memorial built between 1897 and 1907. A brick cremation wall and a memorial rose garden were constructed near the entrance in the mid- twentieth century(c.1955-57) and a mausoleum completed in 2001.The maintenance shed/depot close to High Street was constructed in 1987. The original entrance was altered in 2000 and the original cast iron gates moved to the eastern entrance of the Mausoleum. Some notable memorials include The Springthorpe Memorial (VHR 522), The Syme Memorial (1908), The Cussen Memorial (VHR 2036). Burials within the cemetery include the Henty family, artists Louis Buvelot and Charles Nuttall, businessmen John Halfey and publisher David Syme, artist and diarist Georgiana McCrae, actress Nellie Stewart and architect and designer of the Boroondara and Melbourne General Cemeteries, Albert Purchas. The Boroondara Cemetery features many plants, mostly conifers and shrubs of funerary symbolism, which line the boundaries, road and pathways, and frame the cemetery monuments or are planted on graves. The major plantings include an impressive row of Bhutan Cypress (Cupressus torulosa), interplanted with Sweet Pittosporum (Pittosporum undulatum), and a few Pittosporum crassifolium, along the High Street and Parkhill Street, where the planting is dominated by Sweet Pittosporum. Planting within the cemetery includes rows and specimen trees of Bhutan Cypress and Italian Cypress (Cupressus sempervirens), including a row with alternate plantings of both species. The planting includes an unusual "squat" form of an Italian Cypress. More of these trees probably lined the cemetery roads and paths. Also dominating the cemetery landscape near the Rotunda is a stand of 3 Canary Island Pines (Pinus canariensis), a Bunya Bunya Pine (Araucaria bidwillii) and a Weeping Elm (Ulmus glabra 'Camperdownii'). Amongst the planting are the following notable conifers: a towering Bunya Bunya Pine (Araucaria bidwillii), a Coast Redwood (Sequoia sempervirens), a rare Golden Funeral Cypress (Chamaecyparis funebris 'Aurea'), two large Funeral Cypress (Chamaecyparis funebris), and the only known Queensland Kauri (Agathis robusta) in a cemetery in Victoria. The Cemetery records, including historical plans of the cemetery from 1859, are held by the administration and their retention enhances the historical significance of the Cemetery. Digital images of a red brick gatehouse at Boroondara General Cemetery in Kew.cemetery, boroondara, kew, gatehouse, clock, tower, clocktower, heritage, memorial

The Boroondara General Cemetery is registerd by Heritage VictoriaFrom Heritage Victoria Statement of Significance Last updated on - December 15, 2005 What is significant? Boroondara Cemetery, established in 1858, is within an unusual triangular reserve bounded by High Street, Park Hill Road and Victoria Park, Kew. The caretaker's lodge and administrative office (1860 designed by Charles Vickers, additions, 1866-1899 by Albert Purchas) form a picturesque two-storey brick structure with a slate roof and clock tower. A rotunda or shelter (1890, Albert Purchas) is located in the centre of the cemetery: this has an octagonal hipped roof with fish scale slates and a decorative brick base with a tessellated floor and timber seating. The cemetery is surrounded by a 2.7 metre high ornamental red brick wall (1895-96, Albert Purchas) with some sections of vertical iron palisades between brick pillars. Albert Purchas was a prominent Melbourne architect who was the Secretary of the Melbourne General Cemetery from 1852 to 1907 and Chairman of the Boroondara Cemetery Board of Trustees from 1867 to 1909. He made a significant contribution to the design of the Boroondara Cemetery Boroondara Cemetery is an outstanding example of the Victorian Garden Cemetery movement in Victoria, retaining key elements of the style, despite overdevelopment which has obscured some of the paths and driveways. Elements of the style represented at Boroondara include an ornamental boundary fence, a system of curving paths which are kerbed and follow the site's natural contours, defined views, recreational facilities such as the rotunda, a landscaped park like setting, sectarian divisions for burials, impressive monuments, wrought and cast iron grave surrounds and exotic symbolic plantings. In the 1850s cemeteries were located on the periphery of populated areas because of concerns about diseases like cholera. They were designed to be attractive places for mourners and visitors to walk and contemplate. Typically cemeteries were arranged to keep religions separated and this tended to maintain links to places of origin, reflecting a migrant society. Other developments included cast iron entrance gates, built in 1889 to a design by Albert Purchas; a cemetery shelter or rotunda, built in 1890, which is a replica of one constructed in the Melbourne General Cemetery in the same year; an ornamental brick fence erected in 1896-99(?); the construction and operation of a terminus for a horse tram at the cemetery gates during 1887-1915; and the Springthorpe Memorial built between 1897 and 1907. A brick cremation wall and a memorial rose garden were constructed near the entrance in the mid- twentieth century(c.1955-57) and a mausoleum completed in 2001.The maintenance shed/depot close to High Street was constructed in 1987. The original entrance was altered in 2000 and the original cast iron gates moved to the eastern entrance of the Mausoleum. The Springthorpe Memorial (VHR 522) set at the entrance to the burial ground commemorates Annie Springthorpe, and was erected between 1897 and 1907 by her husband Dr John Springthorpe. It was the work of the sculptor Bertram Mackennal, architect Harold Desbrowe Annear, landscape designer and Director of the Melbourne Bortanic Gardens, W.R. Guilfoyle, with considerable input from Dr Springthorpe The memorial is in the form of a small temple in a primitive Doric style. It was designed by Harold Desbrowe Annear and includes Bertram Mackennal sculptures in Carrara marble. Twelve columns of deep green granite from Scotland support a Harcourt granite superstructure. The roof by Brooks Robinson is a coloured glass dome, which sits within the rectangular form and behind the pediments. The sculptural group raised on a dais, consists of the deceased woman lying on a sarcophagus with an attending angel and mourner. The figure of Grief crouches at the foot of the bier and an angel places a wreath over Annie's head, symbolising the triumph of immortal life over death. The body of the deceased was placed in a vault below. The bronze work is by Marriots of Melbourne. Professor Tucker of the University of Melbourne composed appropriate inscriptions in English and archaic Greek lettering.. The floor is a geometric mosaic and the glass dome roof is of Tiffany style lead lighting in hues of reds and pinks in a radiating pattern. The memorial originally stood in a landscape triangular garden of about one acre near the entrance to the cemetery. However, after Dr Springthorpe's death in 1933 it was found that transactions for the land had not been fully completed so most of it was regained by the cemetery. A sundial and seat remain. The building is almost completely intact. The only alteration has been the removal of a glass canopy over the statuary and missing chains between posts. The Argus (26 March 1933) considered the memorial to be the most beautiful work of its kind in Australia. No comparable buildings are known. The Syme Memorial (1908) is a memorial to David Syme, political economist and publisher of the Melbourne Age newspaper. The Egyptian memorial designed by architect Arthur Peck is one of the most finely designed and executed pieces of monumental design in Melbourne. It has a temple like form with each column having a different capital detail. These support a cornice that curves both inwards and outwards. The tomb also has balustradings set between granite piers which create porch spaces leading to the entrance ways. Two variegated Port Jackson Figs are planted at either end. The Cussen Memorial (VHR 2036) was constructed in 1912-13 by Sir Leo Cussen in memory of his young son Hubert. Sir Leo Finn Bernard Cussen (1859-1933), judge and member of the Victorian Supreme Court in 1906. was buried here. The family memorial is one of the larger and more impressive memorials in the cemetery and is an interesting example of the 1930s Gothic Revival style architecture. It takes the form of a small chapel with carvings, diamond shaped roof tiles and decorated ridge embellishing the exterior. By the 1890s, the Boroondara Cemetery was a popular destination for visitors and locals admiring the beauty of the grounds and the splendid monuments. The edge of suburban settlement had reached the cemetery in the previous decade. Its Victorian garden design with sweeping curved drives, hill top views and high maintenance made it attractive. In its Victorian Garden Cemetery design, Boroondara was following an international trend. The picturesque Romanticism of the Pere la Chaise garden cemetery established in Paris in 1804 provided a prototype for great metropolitan cemeteries such as Kensal Green (1883) and Highgate (1839) in London and the Glasgow Necropolis (1831). Boroondara Cemetery was important in establishing this trend in Australia. The cemetery's beauty peaked with the progressive completion of the spectacular Springthorpe Memorial between 1899 and 1907. From about the turn of the century, the trustees encroached on the original design, having repeatedly failed in attempts to gain more land. The wide plantations around road boundaries, grassy verges around clusters of graves in each denomination, and most of the landscaped surround to the Springthorpe memorial are now gone. Some of the original road and path space were resumed for burial purposes. The post war period saw an increased use of the Cemetery by newer migrant groups. The mid- to late- twentieth century monuments were often placed on the grassed edges of the various sections and encroached on the roadways as the cemetery had reached the potential foreseen by its design. These were well tended in comparison with Victorian monuments which have generally been left to fall into a state of neglect. The Boroondara Cemetery features many plants, mostly conifers and shrubs of funerary symbolism, which line the boundaries, road and pathways, and frame the cemetery monuments or are planted on graves. The major plantings include an impressive row of Bhutan Cypress (Cupressus torulosa), interplanted with Sweet Pittosporum (Pittosporum undulatum), and a few Pittosporum crassifolium, along the High Street and Parkhill Street, where the planting is dominated by Sweet Pittosporum. Planting within the cemetery includes rows and specimen trees of Bhutan Cypress and Italian Cypress (Cupressus sempervirens), including a row with alternate plantings of both species. The planting includes an unusual "squat" form of an Italian Cypress. More of these trees probably lined the cemetery roads and paths. Also dominating the cemetery landscape near the Rotunda is a stand of 3 Canary Island Pines (Pinus canariensis), a Bunya Bunya Pine (Araucaria bidwillii) and a Weeping Elm (Ulmus glabra 'Camperdownii') Amongst the planting are the following notable conifers: a towering Bunya Bunya Pine (Araucaria bidwillii), a Coast Redwood (Sequoia sempervirens), a rare Golden Funeral Cypress (Chamaecyparis funebris 'Aurea'), two large Funeral Cypress (Chamaecyparis funebris), and the only known Queensland Kauri (Agathis robusta) in a cemetery in Victoria. The Cemetery records, including historical plans of the cemetery from 1859, are held by the administration and their retention enhances the historical significance of the Cemetery. How is it significant? Boroondara Cemetery is of aesthetic, architectural, scientific (botanical) and historical significance to the State of Victoria. Why is it significant? The Boroondara Cemetery is of historical and aesthetic significance as an outstanding example of a Victorian garden cemetery. The Boroondara Cemetery is of historical significance as a record of Victorian life from the 1850s, and the early settlement of Kew. It is also significant for its ability to demonstrate, through the design and location of the cemetery, attitudes towards burial, health concerns and the importance placed on religion, at the time of its establishment. The Boroondara Cemetery is of architectural significance for the design of the gatehouse or sexton's lodge and cemetery office (built in stages from 1860 to 1899), the ornamental brick perimeter fence and elegant cemetery shelter to the design of prominent Melbourne architects, Charles Vickers (for the original 1860 cottage) and Albert Purchas, cemetery architect and secretary from 1864 to his death in 1907. The Boroondara Cemetery has considerable aesthetic significance which is principally derived from its tranquil, picturesque setting; its impressive memorials and monuments; its landmark features such as the prominent clocktower of the sexton's lodge and office, the mature exotic plantings, the decorative brick fence and the entrance gates; its defined views; and its curving paths. The Springthorpe Memorial (VHR 522), the Syme Memorial and the Cussen Memorial (VHR 2036), all contained within the Boroondara Cemetery, are of aesthetic and architectural significance for their creative and artistic achievement. The Boroondara Cemetery is of scientific (botanical) significance for its collection of rare mature exotic plantings. The Golden Funeral Cypress, (Chamaecyparis funebris 'Aurea') is the only known example in Victoria. The Boroondara Cemetery is of historical significance for the graves, monuments and epitaphs of a number of individuals whose activities have played a major part in Australia's history. They include the Henty family, artists Louis Buvelot and Charles Nuttall, businessmen John Halfey and publisher David Syme, artist and diarist Georgiana McCrae, actress Nellie Stewart and architect and designer of the Boroondara and Melbourne General Cemeteries, Albert Purchas.Digital image of the Springthorpe Memorial in the Boroondara General Cemeterycemetery, boroondara, kew, gatehouse, clock, tower, clocktower, heritage, memorial, springthorpe memorial

The Boroondara General Cemetery is registered by Heritage VictoriaFrom Heritage Victoria Statement of Significance Last updated on - December 15, 2005 (undated change to citation made since 2005) What is significant? Boroondara Cemetery, established in 1858, is within an unusual triangular reserve bounded by High Street, Park Hill Road and Victoria Park, Kew. The caretaker's lodge and administrative office (1860 designed by Charles Vickers, additions, 1866-1899 by Albert Purchas) form a picturesque two-storey brick structure with a slate roof and clock tower. A rotunda or shelter (1890, Albert Purchas) is located in the centre of the cemetery: this has an octagonal hipped roof with fish scale slates and a decorative brick base with a tessellated floor and timber seating. The cemetery is surrounded by a 2.7 metre high ornamental red brick wall (1895-96, Albert Purchas) with some sections of vertical iron palisades between brick pillars. Albert Purchas was a prominent Melbourne architect who was the Secretary of the Melbourne General Cemetery from 1852 to 1907 and Chairman of the Boroondara Cemetery Board of Trustees from 1867 to 1909. He made a significant contribution to the design of the Boroondara Cemetery. Boroondara Cemetery is an outstanding example of the Victorian Garden Cemetery movement in Victoria, retaining key elements of the style, despite overdevelopment which has obscured some of the paths and driveways. Elements of the style represented at Boroondara include an ornamental boundary fence, a system of curving paths which are kerbed and follow the site's natural contours, defined views, recreational facilities such as the rotunda, a landscaped park like setting, sectarian divisions for burials, impressive monuments, wrought and cast iron grave surrounds and exotic symbolic plantings. In the 1850s cemeteries were located on the periphery of populated areas because of concerns about diseases like cholera. They were designed to be attractive places for mourners and visitors to walk and contemplate. Typically cemeteries were arranged to keep religions separated and this tended to maintain links to places of origin, reflecting a migrant society. Other developments included cast iron entrance gates, built in 1889 to a design by Albert Purchas; a cemetery shelter or rotunda, built in 1890, which is a replica of one constructed in the Melbourne General Cemetery in the same year; an ornamental brick fence erected in 1896-99(?); the construction and operation of a terminus for a horse tram at the cemetery gates during 1887-1915; and the Springthorpe Memorial built between 1897 and 1907. ... ... The Syme Memorial (1908) is a memorial to David Syme, political economist and publisher of the Melbourne Age newspaper. The Egyptian memorial designed by architect Walter Richmond Butler is one of the most finely designed and executed pieces of monumental design in Melbourne. It has a temple like form with each column having a different capital detail. These support a cornice that curves both inwards and outwards. The tomb also has balustradings set between granite piers which create porch spaces leading to the entrance ways. Two variegated Port Jackson Figs are planted at either end. ... How is it significant? Boroondara Cemetery is of aesthetic, architectural, scientific (botanical) and historical significance to the State of Victoria. ... ...Digital image of the Syme memorial in Boroondara Cemetery, Kew. cemetery, boroondara, kew, gatehouse, clock, tower, clocktower, heritage, memorial

The Boroondara General Cemetery is registerd by Heritage VictoriaFrom Heritage Victoria Statement of Significance Last updated on - December 15, 2005 What is significant? Boroondara Cemetery, established in 1858, is within an unusual triangular reserve bounded by High Street, Park Hill Road and Victoria Park, Kew. The caretaker's lodge and administrative office (1860 designed by Charles Vickers, additions, 1866-1899 by Albert Purchas) form a picturesque two-storey brick structure with a slate roof and clock tower. A rotunda or shelter (1890, Albert Purchas) is located in the centre of the cemetery: this has an octagonal hipped roof with fish scale slates and a decorative brick base with a tessellated floor and timber seating. The cemetery is surrounded by a 2.7 metre high ornamental red brick wall (1895-96, Albert Purchas) with some sections of vertical iron palisades between brick pillars. Albert Purchas was a prominent Melbourne architect who was the Secretary of the Melbourne General Cemetery from 1852 to 1907 and Chairman of the Boroondara Cemetery Board of Trustees from 1867 to 1909. He made a significant contribution to the design of the Boroondara Cemetery Boroondara Cemetery is an outstanding example of the Victorian Garden Cemetery movement in Victoria, retaining key elements of the style, despite overdevelopment which has obscured some of the paths and driveways. Elements of the style represented at Boroondara include an ornamental boundary fence, a system of curving paths which are kerbed and follow the site's natural contours, defined views, recreational facilities such as the rotunda, a landscaped park like setting, sectarian divisions for burials, impressive monuments, wrought and cast iron grave surrounds and exotic symbolic plantings. In the 1850s cemeteries were located on the periphery of populated areas because of concerns about diseases like cholera. They were designed to be attractive places for mourners and visitors to walk and contemplate. Typically cemeteries were arranged to keep religions separated and this tended to maintain links to places of origin, reflecting a migrant society. Other developments included cast iron entrance gates, built in 1889 to a design by Albert Purchas; a cemetery shelter or rotunda, built in 1890, which is a replica of one constructed in the Melbourne General Cemetery in the same year; an ornamental brick fence erected in 1896-99(?); the construction and operation of a terminus for a horse tram at the cemetery gates during 1887-1915; and the Springthorpe Memorial built between 1897 and 1907. A brick cremation wall and a memorial rose garden were constructed near the entrance in the mid- twentieth century(c.1955-57) and a mausoleum completed in 2001.The maintenance shed/depot close to High Street was constructed in 1987. The original entrance was altered in 2000 and the original cast iron gates moved to the eastern entrance of the Mausoleum. The Springthorpe Memorial (VHR 522) set at the entrance to the burial ground commemorates Annie Springthorpe, and was erected between 1897 and 1907 by her husband Dr John Springthorpe. It was the work of the sculptor Bertram Mackennal, architect Harold Desbrowe Annear, landscape designer and Director of the Melbourne Bortanic Gardens, W.R. Guilfoyle, with considerable input from Dr Springthorpe The memorial is in the form of a small temple in a primitive Doric style. It was designed by Harold Desbrowe Annear and includes Bertram Mackennal sculptures in Carrara marble. Twelve columns of deep green granite from Scotland support a Harcourt granite superstructure. The roof by Brooks Robinson is a coloured glass dome, which sits within the rectangular form and behind the pediments. The sculptural group raised on a dais, consists of the deceased woman lying on a sarcophagus with an attending angel and mourner. The figure of Grief crouches at the foot of the bier and an angel places a wreath over Annie's head, symbolising the triumph of immortal life over death. The body of the deceased was placed in a vault below. The bronze work is by Marriots of Melbourne. Professor Tucker of the University of Melbourne composed appropriate inscriptions in English and archaic Greek lettering.. The floor is a geometric mosaic and the glass dome roof is of Tiffany style lead lighting in hues of reds and pinks in a radiating pattern. The memorial originally stood in a landscape triangular garden of about one acre near the entrance to the cemetery. However, after Dr Springthorpe's death in 1933 it was found that transactions for the land had not been fully completed so most of it was regained by the cemetery. A sundial and seat remain. The building is almost completely intact. The only alteration has been the removal of a glass canopy over the statuary and missing chains between posts. The Argus (26 March 1933) considered the memorial to be the most beautiful work of its kind in Australia. No comparable buildings are known. The Syme Memorial (1908) is a memorial to David Syme, political economist and publisher of the Melbourne Age newspaper. The Egyptian memorial designed by architect Arthur Peck is one of the most finely designed and executed pieces of monumental design in Melbourne. It has a temple like form with each column having a different capital detail. These support a cornice that curves both inwards and outwards. The tomb also has balustradings set between granite piers which create porch spaces leading to the entrance ways. Two variegated Port Jackson Figs are planted at either end. The Cussen Memorial (VHR 2036) was constructed in 1912-13 by Sir Leo Cussen in memory of his young son Hubert. Sir Leo Finn Bernard Cussen (1859-1933), judge and member of the Victorian Supreme Court in 1906. was buried here. The family memorial is one of the larger and more impressive memorials in the cemetery and is an interesting example of the 1930s Gothic Revival style architecture. It takes the form of a small chapel with carvings, diamond shaped roof tiles and decorated ridge embellishing the exterior. By the 1890s, the Boroondara Cemetery was a popular destination for visitors and locals admiring the beauty of the grounds and the splendid monuments. The edge of suburban settlement had reached the cemetery in the previous decade. Its Victorian garden design with sweeping curved drives, hill top views and high maintenance made it attractive. In its Victorian Garden Cemetery design, Boroondara was following an international trend. The picturesque Romanticism of the Pere la Chaise garden cemetery established in Paris in 1804 provided a prototype for great metropolitan cemeteries such as Kensal Green (1883) and Highgate (1839) in London and the Glasgow Necropolis (1831). Boroondara Cemetery was important in establishing this trend in Australia. The cemetery's beauty peaked with the progressive completion of the spectacular Springthorpe Memorial between 1899 and 1907. From about the turn of the century, the trustees encroached on the original design, having repeatedly failed in attempts to gain more land. The wide plantations around road boundaries, grassy verges around clusters of graves in each denomination, and most of the landscaped surround to the Springthorpe memorial are now gone. Some of the original road and path space were resumed for burial purposes. The post war period saw an increased use of the Cemetery by newer migrant groups. The mid- to late- twentieth century monuments were often placed on the grassed edges of the various sections and encroached on the roadways as the cemetery had reached the potential foreseen by its design. These were well tended in comparison with Victorian monuments which have generally been left to fall into a state of neglect. The Boroondara Cemetery features many plants, mostly conifers and shrubs of funerary symbolism, which line the boundaries, road and pathways, and frame the cemetery monuments or are planted on graves. The major plantings include an impressive row of Bhutan Cypress (Cupressus torulosa), interplanted with Sweet Pittosporum (Pittosporum undulatum), and a few Pittosporum crassifolium, along the High Street and Parkhill Street, where the planting is dominated by Sweet Pittosporum. Planting within the cemetery includes rows and specimen trees of Bhutan Cypress and Italian Cypress (Cupressus sempervirens), including a row with alternate plantings of both species. The planting includes an unusual "squat" form of an Italian Cypress. More of these trees probably lined the cemetery roads and paths. Also dominating the cemetery landscape near the Rotunda is a stand of 3 Canary Island Pines (Pinus canariensis), a Bunya Bunya Pine (Araucaria bidwillii) and a Weeping Elm (Ulmus glabra 'Camperdownii') Amongst the planting are the following notable conifers: a towering Bunya Bunya Pine (Araucaria bidwillii), a Coast Redwood (Sequoia sempervirens), a rare Golden Funeral Cypress (Chamaecyparis funebris 'Aurea'), two large Funeral Cypress (Chamaecyparis funebris), and the only known Queensland Kauri (Agathis robusta) in a cemetery in Victoria. The Cemetery records, including historical plans of the cemetery from 1859, are held by the administration and their retention enhances the historical significance of the Cemetery. How is it significant? Boroondara Cemetery is of aesthetic, architectural, scientific (botanical) and historical significance to the State of Victoria. Why is it significant? The Boroondara Cemetery is of historical and aesthetic significance as an outstanding example of a Victorian garden cemetery. The Boroondara Cemetery is of historical significance as a record of Victorian life from the 1850s, and the early settlement of Kew. It is also significant for its ability to demonstrate, through the design and location of the cemetery, attitudes towards burial, health concerns and the importance placed on religion, at the time of its establishment. The Boroondara Cemetery is of architectural significance for the design of the gatehouse or sexton's lodge and cemetery office (built in stages from 1860 to 1899), the ornamental brick perimeter fence and elegant cemetery shelter to the design of prominent Melbourne architects, Charles Vickers (for the original 1860 cottage) and Albert Purchas, cemetery architect and secretary from 1864 to his death in 1907. The Boroondara Cemetery has considerable aesthetic significance which is principally derived from its tranquil, picturesque setting; its impressive memorials and monuments; its landmark features such as the prominent clocktower of the sexton's lodge and office, the mature exotic plantings, the decorative brick fence and the entrance gates; its defined views; and its curving paths. The Springthorpe Memorial (VHR 522), the Syme Memorial and the Cussen Memorial (VHR 2036), all contained within the Boroondara Cemetery, are of aesthetic and architectural significance for their creative and artistic achievement. The Boroondara Cemetery is of scientific (botanical) significance for its collection of rare mature exotic plantings. The Golden Funeral Cypress, (Chamaecyparis funebris 'Aurea') is the only known example in Victoria. The Boroondara Cemetery is of historical significance for the graves, monuments and epitaphs of a number of individuals whose activities have played a major part in Australia's history. They include the Henty family, artists Louis Buvelot and Charles Nuttall, businessmen John Halfey and publisher David Syme, artist and diarist Georgiana McCrae, actress Nellie Stewart and architect and designer of the Boroondara and Melbourne General Cemeteries, Albert Purchas.Digital imagescemetery, boroondara, kew, gatehouse, clock, tower, clocktower, heritage, memorial, cussen

The Boroondara General Cemetery is registered by Heritage VictoriaFrom Heritage Victoria Statement of Significance Last updated on - December 15, 2005 What is significant? Boroondara Cemetery, established in 1858, is within an unusual triangular reserve bounded by High Street, Park Hill Road and Victoria Park, Kew. The caretaker's lodge and administrative office (1860 designed by Charles Vickers, additions, 1866-1899 by Albert Purchas) form a picturesque two-storey brick structure with a slate roof and clock tower. A rotunda or shelter (1890, Albert Purchas) is located in the centre of the cemetery: this has an octagonal hipped roof with fish scale slates and a decorative brick base with a tessellated floor and timber seating. The cemetery is surrounded by a 2.7 metre high ornamental red brick wall (1895-96, Albert Purchas) with some sections of vertical iron palisades between brick pillars. Albert Purchas was a prominent Melbourne architect who was the Secretary of the Melbourne General Cemetery from 1852 to 1907 and Chairman of the Boroondara Cemetery Board of Trustees from 1867 to 1909. He made a significant contribution to the design of the Boroondara Cemetery Boroondara Cemetery is an outstanding example of the Victorian Garden Cemetery movement in Victoria, retaining key elements of the style, despite overdevelopment which has obscured some of the paths and driveways. Elements of the style represented at Boroondara include an ornamental boundary fence, a system of curving paths which are kerbed and follow the site's natural contours, defined views, recreational facilities such as the rotunda, a landscaped park like setting, sectarian divisions for burials, impressive monuments, wrought and cast iron grave surrounds and exotic symbolic plantings. In the 1850s cemeteries were located on the periphery of populated areas because of concerns about diseases like cholera. They were designed to be attractive places for mourners and visitors to walk and contemplate. Typically cemeteries were arranged to keep religions separated and this tended to maintain links to places of origin, reflecting a migrant society. Other developments included cast iron entrance gates, built in 1889 to a design by Albert Purchas; a cemetery shelter or rotunda, built in 1890, which is a replica of one constructed in the Melbourne General Cemetery in the same year; an ornamental brick fence erected in 1896-99(?); the construction and operation of a terminus for a horse tram at the cemetery gates during 1887-1915; and the Springthorpe Memorial built between 1897 and 1907. A brick cremation wall and a memorial rose garden were constructed near the entrance in the mid- twentieth century(c.1955-57) and a mausoleum completed in 2001.The maintenance shed/depot close to High Street was constructed in 1987. The original entrance was altered in 2000 and the original cast iron gates moved to the eastern entrance of the Mausoleum. The Springthorpe Memorial (VHR 522) set at the entrance to the burial ground commemorates Annie Springthorpe, and was erected between 1897 and 1907 by her husband Dr John Springthorpe. It was the work of the sculptor Bertram Mackennal, architect Harold Desbrowe Annear, landscape designer and Director of the Melbourne Bortanic Gardens, W.R. Guilfoyle, with considerable input from Dr Springthorpe The memorial is in the form of a small temple in a primitive Doric style. It was designed by Harold Desbrowe Annear and includes Bertram Mackennal sculptures in Carrara marble. Twelve columns of deep green granite from Scotland support a Harcourt granite superstructure. The roof by Brooks Robinson is a coloured glass dome, which sits within the rectangular form and behind the pediments. The sculptural group raised on a dais, consists of the deceased woman lying on a sarcophagus with an attending angel and mourner. The figure of Grief crouches at the foot of the bier and an angel places a wreath over Annie's head, symbolising the triumph of immortal life over death. The body of the deceased was placed in a vault below. The bronze work is by Marriots of Melbourne. Professor Tucker of the University of Melbourne composed appropriate inscriptions in English and archaic Greek lettering.. The floor is a geometric mosaic and the glass dome roof is of Tiffany style lead lighting in hues of reds and pinks in a radiating pattern. The memorial originally stood in a landscape triangular garden of about one acre near the entrance to the cemetery. However, after Dr Springthorpe's death in 1933 it was found that transactions for the land had not been fully completed so most of it was regained by the cemetery. A sundial and seat remain. The building is almost completely intact. The only alteration has been the removal of a glass canopy over the statuary and missing chains between posts. The Argus (26 March 1933) considered the memorial to be the most beautiful work of its kind in Australia. No comparable buildings are known. The Syme Memorial (1908) is a memorial to David Syme, political economist and publisher of the Melbourne Age newspaper. The Egyptian memorial designed by architect Arthur Peck is one of the most finely designed and executed pieces of monumental design in Melbourne. It has a temple like form with each column having a different capital detail. These support a cornice that curves both inwards and outwards. The tomb also has balustradings set between granite piers which create porch spaces leading to the entrance ways. Two variegated Port Jackson Figs are planted at either end. The Cussen Memorial (VHR 2036) was constructed in 1912-13 by Sir Leo Cussen in memory of his young son Hubert. Sir Leo Finn Bernard Cussen (1859-1933), judge and member of the Victorian Supreme Court in 1906. was buried here. The family memorial is one of the larger and more impressive memorials in the cemetery and is an interesting example of the 1930s Gothic Revival style architecture. It takes the form of a small chapel with carvings, diamond shaped roof tiles and decorated ridge embellishing the exterior. By the 1890s, the Boroondara Cemetery was a popular destination for visitors and locals admiring the beauty of the grounds and the splendid monuments. The edge of suburban settlement had reached the cemetery in the previous decade. Its Victorian garden design with sweeping curved drives, hill top views and high maintenance made it attractive. In its Victorian Garden Cemetery design, Boroondara was following an international trend. The picturesque Romanticism of the Pere la Chaise garden cemetery established in Paris in 1804 provided a prototype for great metropolitan cemeteries such as Kensal Green (1883) and Highgate (1839) in London and the Glasgow Necropolis (1831). Boroondara Cemetery was important in establishing this trend in Australia. The cemetery's beauty peaked with the progressive completion of the spectacular Springthorpe Memorial between 1899 and 1907. From about the turn of the century, the trustees encroached on the original design, having repeatedly failed in attempts to gain more land. The wide plantations around road boundaries, grassy verges around clusters of graves in each denomination, and most of the landscaped surround to the Springthorpe memorial are now gone. Some of the original road and path space were resumed for burial purposes. The post war period saw an increased use of the Cemetery by newer migrant groups. The mid- to late- twentieth century monuments were often placed on the grassed edges of the various sections and encroached on the roadways as the cemetery had reached the potential foreseen by its design. These were well tended in comparison with Victorian monuments which have generally been left to fall into a state of neglect. The Boroondara Cemetery features many plants, mostly conifers and shrubs of funerary symbolism, which line the boundaries, road and pathways, and frame the cemetery monuments or are planted on graves. The major plantings include an impressive row of Bhutan Cypress (Cupressus torulosa), interplanted with Sweet Pittosporum (Pittosporum undulatum), and a few Pittosporum crassifolium, along the High Street and Parkhill Street, where the planting is dominated by Sweet Pittosporum. Planting within the cemetery includes rows and specimen trees of Bhutan Cypress and Italian Cypress (Cupressus sempervirens), including a row with alternate plantings of both species. The planting includes an unusual "squat" form of an Italian Cypress. More of these trees probably lined the cemetery roads and paths. Also dominating the cemetery landscape near the Rotunda is a stand of 3 Canary Island Pines (Pinus canariensis), a Bunya Bunya Pine (Araucaria bidwillii) and a Weeping Elm (Ulmus glabra 'Camperdownii') Amongst the planting are the following notable conifers: a towering Bunya Bunya Pine (Araucaria bidwillii), a Coast Redwood (Sequoia sempervirens), a rare Golden Funeral Cypress (Chamaecyparis funebris 'Aurea'), two large Funeral Cypress (Chamaecyparis funebris), and the only known Queensland Kauri (Agathis robusta) in a cemetery in Victoria. The Cemetery records, including historical plans of the cemetery from 1859, are held by the administration and their retention enhances the historical significance of the Cemetery. How is it significant? Boroondara Cemetery is of aesthetic, architectural, scientific (botanical) and historical significance to the State of Victoria. Why is it significant? The Boroondara Cemetery is of historical and aesthetic significance as an outstanding example of a Victorian garden cemetery. The Boroondara Cemetery is of historical significance as a record of Victorian life from the 1850s, and the early settlement of Kew. It is also significant for its ability to demonstrate, through the design and location of the cemetery, attitudes towards burial, health concerns and the importance placed on religion, at the time of its establishment. The Boroondara Cemetery is of architectural significance for the design of the gatehouse or sexton's lodge and cemetery office (built in stages from 1860 to 1899), the ornamental brick perimeter fence and elegant cemetery shelter to the design of prominent Melbourne architects, Charles Vickers (for the original 1860 cottage) and Albert Purchas, cemetery architect and secretary from 1864 to his death in 1907. The Boroondara Cemetery has considerable aesthetic significance which is principally derived from its tranquil, picturesque setting; its impressive memorials and monuments; its landmark features such as the prominent clocktower of the sexton's lodge and office, the mature exotic plantings, the decorative brick fence and the entrance gates; its defined views; and its curving paths. The Springthorpe Memorial (VHR 522), the Syme Memorial and the Cussen Memorial (VHR 2036), all contained within the Boroondara Cemetery, are of aesthetic and architectural significance for their creative and artistic achievement. The Boroondara Cemetery is of scientific (botanical) significance for its collection of rare mature exotic plantings. The Golden Funeral Cypress, (Chamaecyparis funebris 'Aurea') is the only known example in Victoria. The Boroondara Cemetery is of historical significance for the graves, monuments and epitaphs of a number of individuals whose activities have played a major part in Australia's history. They include the Henty family, artists Louis Buvelot and Charles Nuttall, businessmen John Halfey and publisher David Syme, artist and diarist Georgiana McCrae, actress Nellie Stewart and architect and designer of the Boroondara and Melbourne General Cemeteries, Albert Purchas.Digital imagescemetery, boroondara, kew, gatehouse, clock, tower, clocktower, heritage, memorial, henty

William the Conqueror inherited Old Sarum from the last Saxon king of England. It was an ideal site for a royal castle. It was here in 1070 that William paid off his army after a long and bitter campaign in northern England. It was here in 1086 that he called together all the major landholders in England so they could swear allegiance to him. It was a crucial moment. The Domesday Book was being written, a threatened Viking invasion had only just been averted and William's eldest son was in armed rebellion. Old Sarum was an important place where this Norman king of England held power. In 1794 the Ordnance Survey set out to check the accuracy of the first mapping of Southern England, which had begun ten years earlier. From a point just below Old Sarum Lieutenant William Mudge laid out a base-line 36,574 feet (11,253 metres) long. From each end of the line the positions of distant places were plotted using a huge theodolite made in 1791 by Jesse Ramsden. The accuracy of the process, which was repeated all over England, depended on Jesse Ramsden's craftsmanship and on William Mudge's surveying skill in setting out this first base-line from Old Sarum. The nearer end of Mudge's line is marked by an inscribed stone beside the modern A345 at Old Sarum. ordnance survey, william mudge, jesse ramsden, william the conqueror, old sarum, saxon, 1086, england

William the Conqueror inherited Old Sarum from the last Saxon king of England. It was an ideal site for a royal castle. It was here in 1070 that William paid off his army after a long and bitter campaign in northern England. It was here in 1086 that he called together all the major landholders in England so they could swear allegiance to him. It was a crucial moment. The Domesday Book was being written, a threatened Viking invasion had only just been averted and William's eldest son was in armed rebellion. Old Sarum was an important place where this Norman king of England held power. In 1794 the Ordnance Survey set out to check the accuracy of the first mapping of Southern England, which had begun ten years earlier. From a point just below Old Sarum Lieutenant William Mudge laid out a base-line 36,574 feet (11,253 metres) long. From each end of the line the positions of distant places were plotted using a huge theodolite made in 1791 by Jesse Ramsden. The accuracy of the process, which was repeated all over England, depended on Jesse Ramsden's craftsmanship and on William Mudge's surveying skill in setting out this first base-line from Old Sarum. The nearer end of Mudge's line is marked by an inscribed stone beside the modern A345 at Old Sarum. ordnance survey, william mudge, jesse ramsden, william the conqueror, old sarum, saxon, 1086, england

William the Conqueror inherited Old Sarum from the last Saxon king of England. It was an ideal site for a royal castle. It was here in 1070 that William paid off his army after a long and bitter campaign in northern England. It was here in 1086 that he called together all the major landholders in England so they could swear allegiance to him. It was a crucial moment. The Domesday Book was being written, a threatened Viking invasion had only just been averted and William's eldest son was in armed rebellion. Old Sarum was an important place where this Norman king of England held power. In 1794 the Ordnance Survey set out to check the accuracy of the first mapping of Southern England, which had begun ten years earlier. From a point just below Old Sarum Lieutenant William Mudge laid out a base-line 36,574 feet (11,253 metres) long. From each end of the line the positions of distant places were plotted using a huge theodolite made in 1791 by Jesse Ramsden. The accuracy of the process, which was repeated all over England, depended on Jesse Ramsden's craftsmanship and on William Mudge's surveying skill in setting out this first base-line from Old Sarum. The nearer end of Mudge's line is marked by an inscribed stone beside the modern A345 at Old Sarum. ordnance survey, william mudge, jesse ramsden, william the conqueror, old sarum, saxon, 1086, england

William the Conqueror inherited Old Sarum from the last Saxon king of England. It was an ideal site for a royal castle. It was here in 1070 that William paid off his army after a long and bitter campaign in northern England. It was here in 1086 that he called together all the major landholders in England so they could swear allegiance to him. It was a crucial moment. The Domesday Book was being written, a threatened Viking invasion had only just been averted and William's eldest son was in armed rebellion. Old Sarum was an important place where this Norman king of England held power. In 1794 the Ordnance Survey set out to check the accuracy of the first mapping of Southern England, which had begun ten years earlier. From a point just below Old Sarum Lieutenant William Mudge laid out a base-line 36,574 feet (11,253 metres) long. From each end of the line the positions of distant places were plotted using a huge theodolite made in 1791 by Jesse Ramsden. The accuracy of the process, which was repeated all over England, depended on Jesse Ramsden's craftsmanship and on William Mudge's surveying skill in setting out this first base-line from Old Sarum. The nearer end of Mudge's line is marked by an inscribed stone beside the modern A345 at Old Sarum. ordnance survey, william mudge, jesse ramsden, william the conqueror, old sarum, saxon, 1086, england

William the Conqueror inherited Old Sarum from the last Saxon king of England. It was an ideal site for a royal castle. It was here in 1070 that William paid off his army after a long and bitter campaign in northern England. It was here in 1086 that he called together all the major landholders in England so they could swear allegiance to him. It was a crucial moment. The Domesday Book was being written, a threatened Viking invasion had only just been averted and William's eldest son was in armed rebellion. Old Sarum was an important place where this Norman king of England held power. In 1794 the Ordnance Survey set out to check the accuracy of the first mapping of Southern England, which had begun ten years earlier. From a point just below Old Sarum Lieutenant William Mudge laid out a base-line 36,574 feet (11,253 metres) long. From each end of the line the positions of distant places were plotted using a huge theodolite made in 1791 by Jesse Ramsden. The accuracy of the process, which was repeated all over England, depended on Jesse Ramsden's craftsmanship and on William Mudge's surveying skill in setting out this first base-line from Old Sarum. The nearer end of Mudge's line is marked by an inscribed stone beside the modern A345 at Old Sarum. ordnance survey, william mudge, jesse ramsden, william the conqueror, old sarum, saxon, 1086, england

William the Conqueror inherited Old Sarum from the last Saxon king of England. It was an ideal site for a royal castle. It was here in 1070 that William paid off his army after a long and bitter campaign in northern England. It was here in 1086 that he called together all the major landholders in England so they could swear allegiance to him. It was a crucial moment. The Domesday Book was being written, a threatened Viking invasion had only just been averted and William's eldest son was in armed rebellion. Old Sarum was an important place where this Norman king of England held power. In 1794 the Ordnance Survey set out to check the accuracy of the first mapping of Southern England, which had begun ten years earlier. From a point just below Old Sarum Lieutenant William Mudge laid out a base-line 36,574 feet (11,253 metres) long. From each end of the line the positions of distant places were plotted using a huge theodolite made in 1791 by Jesse Ramsden. The accuracy of the process, which was repeated all over England, depended on Jesse Ramsden's craftsmanship and on William Mudge's surveying skill in setting out this first base-line from Old Sarum. The nearer end of Mudge's line is marked by an inscribed stone beside the modern A345 at Old Sarum. ordnance survey, william mudge, jesse ramsden, william the conqueror, old sarum, saxon, 1086, england

William the Conqueror inherited Old Sarum from the last Saxon king of England. It was an ideal site for a royal castle. It was here in 1070 that William paid off his army after a long and bitter campaign in northern England. It was here in 1086 that he called together all the major landholders in England so they could swear allegiance to him. It was a crucial moment. The Domesday Book was being written, a threatened Viking invasion had only just been averted and William's eldest son was in armed rebellion. Old Sarum was an important place where this Norman king of England held power. In 1794 the Ordnance Survey set out to check the accuracy of the first mapping of Southern England, which had begun ten years earlier. From a point just below Old Sarum Lieutenant William Mudge laid out a base-line 36,574 feet (11,253 metres) long. From each end of the line the positions of distant places were plotted using a huge theodolite made in 1791 by Jesse Ramsden. The accuracy of the process, which was repeated all over England, depended on Jesse Ramsden's craftsmanship and on William Mudge's surveying skill in setting out this first base-line from Old Sarum. The nearer end of Mudge's line is marked by an inscribed stone beside the modern A345 at Old Sarum. ordnance survey, william mudge, jesse ramsden, william the conqueror, old sarum, saxon, 1086, england

William the Conqueror inherited Old Sarum from the last Saxon king of England. It was an ideal site for a royal castle. It was here in 1070 that William paid off his army after a long and bitter campaign in northern England. It was here in 1086 that he called together all the major landholders in England so they could swear allegiance to him. It was a crucial moment. The Domesday Book was being written, a threatened Viking invasion had only just been averted and William's eldest son was in armed rebellion. Old Sarum was an important place where this Norman king of England held power. In 1794 the Ordnance Survey set out to check the accuracy of the first mapping of Southern England, which had begun ten years earlier. From a point just below Old Sarum Lieutenant William Mudge laid out a base-line 36,574 feet (11,253 metres) long. From each end of the line the positions of distant places were plotted using a huge theodolite made in 1791 by Jesse Ramsden. The accuracy of the process, which was repeated all over England, depended on Jesse Ramsden's craftsmanship and on William Mudge's surveying skill in setting out this first base-line from Old Sarum. The nearer end of Mudge's line is marked by an inscribed stone beside the modern A345 at Old Sarum. ordnance survey, william mudge, jesse ramsden, william the conqueror, old sarum, saxon, 1086, england

William the Conqueror inherited Old Sarum from the last Saxon king of England. It was an ideal site for a royal castle. It was here in 1070 that William paid off his army after a long and bitter campaign in northern England. It was here in 1086 that he called together all the major landholders in England so they could swear allegiance to him. It was a crucial moment. The Domesday Book was being written, a threatened Viking invasion had only just been averted and William's eldest son was in armed rebellion. Old Sarum was an important place where this Norman king of England held power. In 1794 the Ordnance Survey set out to check the accuracy of the first mapping of Southern England, which had begun ten years earlier. From a point just below Old Sarum Lieutenant William Mudge laid out a base-line 36,574 feet (11,253 metres) long. From each end of the line the positions of distant places were plotted using a huge theodolite made in 1791 by Jesse Ramsden. The accuracy of the process, which was repeated all over England, depended on Jesse Ramsden's craftsmanship and on William Mudge's surveying skill in setting out this first base-line from Old Sarum. The nearer end of Mudge's line is marked by an inscribed stone beside the modern A345 at Old Sarum. ordnance survey, william mudge, jesse ramsden, william the conqueror, old sarum, saxon, 1086, england

William the Conqueror inherited Old Sarum from the last Saxon king of England. It was an ideal site for a royal castle. It was here in 1070 that William paid off his army after a long and bitter campaign in northern England. It was here in 1086 that he called together all the major landholders in England so they could swear allegiance to him. It was a crucial moment. The Domesday Book was being written, a threatened Viking invasion had only just been averted and William's eldest son was in armed rebellion. Old Sarum was an important place where this Norman king of England held power. In 1794 the Ordnance Survey set out to check the accuracy of the first mapping of Southern England, which had begun ten years earlier. From a point just below Old Sarum Lieutenant William Mudge laid out a base-line 36,574 feet (11,253 metres) long. From each end of the line the positions of distant places were plotted using a huge theodolite made in 1791 by Jesse Ramsden. The accuracy of the process, which was repeated all over England, depended on Jesse Ramsden's craftsmanship and on William Mudge's surveying skill in setting out this first base-line from Old Sarum. The nearer end of Mudge's line is marked by an inscribed stone beside the modern A345 at Old Sarum. ordnance survey, william mudge, jesse ramsden, william the conqueror, old sarum, saxon, 1086, england

William the Conqueror inherited Old Sarum from the last Saxon king of England. It was an ideal site for a royal castle. It was here in 1070 that William paid off his army after a long and bitter campaign in northern England. It was here in 1086 that he called together all the major landholders in England so they could swear allegiance to him. It was a crucial moment. The Domesday Book was being written, a threatened Viking invasion had only just been averted and William's eldest son was in armed rebellion. Old Sarum was an important place where this Norman king of England held power. In 1794 the Ordnance Survey set out to check the accuracy of the first mapping of Southern England, which had begun ten years earlier. From a point just below Old Sarum Lieutenant William Mudge laid out a base-line 36,574 feet (11,253 metres) long. From each end of the line the positions of distant places were plotted using a huge theodolite made in 1791 by Jesse Ramsden. The accuracy of the process, which was repeated all over England, depended on Jesse Ramsden's craftsmanship and on William Mudge's surveying skill in setting out this first base-line from Old Sarum. The nearer end of Mudge's line is marked by an inscribed stone beside the modern A345 at Old Sarum. ordnance survey, william mudge, jesse ramsden, william the conqueror, old sarum, saxon, 1086, england