Maize has been grown on the Orbost flats for at least 70 years. When early settlers began to arrive on the Snowy River somewhere in the 1880s, the land was mostly swamps and heavily timbered jungle on the river frontages. The swamps were drained, bit by bit, with short handled shovels working in mud and water. The frontages were cleared by axe and shovel and fire. Several kinds of crops were experimented with such as hops, hemp and maize which grew particularly well and became the main crop of district. The problem then was to thresh and deliver the product to the market. A small single cob machine was brought here and one man turned the handle, while the boy or Mum fed the cobs singly into the machine. A good day’s work would thresh about 50 bushels or about 12 bags (4 bushels). The task then was to cart the maize to market. For a few years this was done by horses and dray carrying about 60 bushels to Mossiface, where it was loaded onto river boats to Lakes Entrance, and then by ocean boats to Melbourne. (information from NEWSLETTER OCTOBER, 2006)The growing of maize in the Orbost district contributed significantly to the economy of the township for many years, The many maize cribs once seen on the surrounding farms have now disappeared and this photograph is a pictorial record of that significance.A small sepia photograph with six men in front of a wooden barn. They are bagging maize. In the foreground are two rows of filled bags. On the right is a lifting machine to take the bags to the top storey. On the far right is a water tank on a stand"on back - "Thrashing Maize"maize-orbost agriculture-maize industry

The photograph shows a RDNS Sister driving her RDNS car along a dirt road to reach a patient to administer nursing care. It shows the typical conditions of the roads the RDNS trained nurses encountered in some districts. The photograph also depicts an Australian made Holden car of the mid 1960s Melbourne District Nursing Society, later Royal District Nursing Service (RDNS) has had various modes of transport over the last 130 years. At first their Trained nurses (Nurses) walked the streets and lane ways amid the slums of central Melbourne. As the Society expanded bicycles, public transport, District cars, the use of a Motor Auxiliary, the Trained nurses (Sisters) own cars, and even a motorcycle were used, and all these forms were intermingled until RDNS had its own fleet of vehicles. By 2009 there were 598 cars in the fleet and the Sisters travelled 9 million 200,000 kilometres – this is equivalent to 12 trips to the moon and back. The Trained nurses of the Melbourne District Nursing Society (MDNS), later known as Royal District Nursing Service (RDNS), visited patients in their home and gave best practice care in many fields of nursing, and to people of many cultures, throughout its 130 years of expansion. Initial visits not only assessed the specific nursing situation but the situation as a whole. Their patients ranged in age from babes, children, adults to the elderly and referrals were taken from Hospitals, General Practitioners and allied Health facilities. Some of the care the Sisters provided is as follows: – Post-Natal care given to mother and babe, Wound Care following various types of surgery, accidents, burns, cancer, leg ulcers etc. Supervising and teaching Diabetic Care, including teaching and supervising people with Diabetes to administer their own Insulin, and administering Insulin to those unable to give their own injections. Administering other injections and setting up weekly medication boxes. The Sisters performed Catheterizations on adults suffering from conditions such as Quadriplegia, Paraplegia, Multiple Sclerosis (MS), Motor Neurone Disease (MND) and Guillan-Barre Syndrome, and when required at school on children for e.g. those with Spina Bifida. The Sisters visited those requiring Cystic Fibrosis support and care; those requiring Haemo-Oncology care, including visiting children at school; those requiring Home Enteral Feeding care, and those requiring IV therapy at home and home Dialysis. Palliative Care was given including pain relief with the use of syringe drivers, personal care as needed, and advice and support to both patient and family. The Sisters provided Stoma management to those needing Urostomy, Ileostomy and Colostomy care and those requiring Continence care. HIV/AIDS nursing care was provided; visits to Homeless Persons were made. Personal care was given to patients ranging in age and with varying mobility problems, such as those with MS, MND, Guillan-Barre Syndrome, Poliomyelistis, Quadriplegia, Paraplegia, Acquired Brain Injury, to those following a Cerebrovascular Accident (Stroke), those with severe Arthritis and those with a form of Dementia. When necessary the elderly were assisted with personal care and advice given on safety factors with the use of hand rails, bath or shower seats, and hand showers. Rehabilitation with an aim towards independence remained at the forefront of the Sister’s minds and when possible using aids and instruction on safe techniques enabled the person to become fully independent. All care included giving advice and support to the patient and their Carers. The Sisters liaised with the persons Doctor, Hospital and allied Health personal when necessary.In the centre of this black and white photograph is a Royal District Nursing Service, (RDNS), Sister at the wheel of her RDNS Holden car, which has a black rear Victorian number plate with 'JPH - 516' written in white letters. Through the back window you can see part of the Sister's uniform and her peaked hat worn over her short curled hair. Her left hand is on the upper part of the steering wheel. The dirt road on which she is travelling has mud and some grass tufts either side of it. On the right of the car is a hip roof brick house which has a single storey front area with attached two storey section at the rear. A short open Besser brick fence, with a white wooden gate, is seen running from the front of the property to the house, and beyond this a clothes line and shed. Beyond this, part of a tall paling fence is seen from the front of the property to the shed. The top section of the next brick house is seen beyond the fence; it has a white railed veranda along part of it and the house has a flat roof.Photographers stamp. Quote No. GE 90rdns, royal district nursing service, rdns transport, rdns patient care

Maize,has been grown on the Orbost flats for at least 70 years. When early settlers began to arrive on the Snowy River somewhere in the 1880s, the land was mostly swamps and heavily timbered jungle on the river frontages. The swamps were drained, bit by bit, by men with short handled shovels and working in mud and water. The frontages were cleared by axe and shovel and fire. Several kinds of crops were experimented with such as hops, hemp and maize, the latter grew particularly well and became the main crop of district. The problem then was to thresh and deliver the product to the market. A small single cob machine was brought here and one man turned the handle, while the boy or Mum fed the cobs singly into the machine. A good day’s work would thresh about 50 bushels or about 12 bags (4 bushels). The task then was to cart the maize to market. For a few years this was done by horses and dray carrying about 60 bushels to Mossiface, where it was loaded onto river boats to Lakes Entrance, and then by ocean boats to Melbourne. Later it was taken to Bairnsdale by foot and loaded onto the trains to Melbourne. (more information in Newsletter October 2006)The growing of maize in the Orbost district contributed significantly to the economy of the township for many years, The many maize cribs once seen on the surrounding farms have now disappeared and this photograph is a pictorial record of that significance.A black / white photograph of a man unloading maize from a horse-drawn wagon into a maize crib. Another man is standing by the horse.maize-crib-orbost agriculture maize-corn-orbost

Maize, or corn as it is called in America and New South Wales, has been grown on the Orbost flats for at least 70 years. When early settlers began to arrive on the Snowy River somewhere in the 1880s, the land was mostly swamps and heavily timbered jungle on the river frontages. The swamps were drained, bit by bit, by stout hearted men with short handled shovels and working in mud and water. The frontages were cleared by axe and shovel and fire. Several kinds of crops were experimented with such as hops, hemp and maize, the latter grew particularly well and became the main crop of district. The problem then was to thresh and deliver the product to the market. A small single cob machine was brought here and one man turned the handle, while the boy or Mum fed the cobs singly into the machine. A good day’s work would thresh about 50 bushels or about 12 bags (4 bushels). The task then was to cart the maize to market. For a few years this was done by horses and dray carrying about 60 bushels to Mossiface, where it was loaded onto river boats to Lakes Entrance, and then by ocean boats to Melbourne. ( from NEWSLETTER OCTOBER, 2006) This is a pictorial record of farming practices in Orbost in the early 20th century.A black / white photograph of a horse team hauling a wagon loaded with bags of maize.A man is sitting on the edge of the wagon.farming-orbost agriculture maize corn transport

August Meeting (Newsletter No. 241, Aug. 2018) How do you consider designing an extension to a church that was built in 1861, just where do you start, especially when it is a church of local significance and listed by Heritage Victoria? The church in question was designed by architect Nathaniel Billings, built by well-known pioneer builder George Stebbing on land donated by Henry Dendy and is St Margaret’s Church in Pitt Street, Eltham. Adjoining this church is a large mud brick hall known to many of our Society members. It was also the venue for our 50th anniversary celebration dinner on 21st November 2017. At our Society meeting at 8.00pm on Wednesday 8th August 2018 architect David Wagner from Atelier Wagner will speak about the opportunities and challenges experienced in designing and constructing a contemporary style extension to this revered historical building, valued by the local congregation. Prior to becoming involved with St Margaret’s the Atelier Wagner architectural practice has, among an extensive range of projects, renovated and extended several churches. With this project there was also the challenge of incorporating, modifying and connecting the adjacent buildings that shared an entrance foyer.0:57:51 duration Digital MP3 File 20 MB audio recording, david wagner, eltham district historical society, jacqui wagner, meeting, society meeting, st margaret's church

Collection of black & white photographs with typed captions detailing some of the destruction of buildings, shipping & equipment during & after the first attack on Darwin by the Japanese (Feb 19th 1942)..1) Bombed building. .2) Bombed building. .3) Bombed hangar. .4) Bombed store building. .5) Water tower with aircraft in background. .6) Bombed 2 storey building. .7) Sunken ship with 2 ships in background. .8) Scrapped aeroplane. .9) Small steam train..1) On back: More RAAF Drome damage. .2) On back: RAAF Drome. No opposition than couple of Wirraways & Kittyhawks. .3) On back: Hangar RAAF Drome when the Nips finished. .4) On back: First bomb on Post Office Darwin. .5) On back: Jap plane (pos zero) flying around water tower, Darwin loco before arrival of Spitfires at Darwin. .6) On back: Bob Dyers bank Darwin. .7) On back: Neptuna on side alongside wharf & 2 ships on mud at low tide Darwin Harbour. .8) On back: Scrap heap Bathelor field. .9) On back: Fly used on wharf at Darwin before Japs bombed wharf & sunk Neptuna standing there.photography-photographs, military history - war damage, passchendaele barracks trust

The tenant lived at the mercy of the resident landlord. Home was a one-roomed house, a chimney of wicker work plastered over with mud or just a hole in the roof. The walls might consist of mud too, or sods of grass. Any windows, were rarely glazed and would be open to the elements all year round. The Pig, if any, was kept in the house, the most valuable possession. Sold for cash at local market. The main items in the house were a potato pot and water bucket. As well as mother, father and children, there could well be grandparents all living in the same cramped conditions. The family would sleep on rushes or straw lain on the floor. Most tenants were tenants 'at will ', which meant they could be evicted at the 'will' of the landlord. Some had a lease for the life of the father and the eldest son, and this meant they were relatively safe from eviction as long as they could pay their rent. There was a tradition of passing on a portion of your land from father to each of the sons, who would build a small dwelling, and in turn pass a portion onto their own sons. This cycle of subdivision meant that many families were surviving on a tiny plot of land from which to derive a crop of potatoes for the year. Women worked hard in this environment, rearing children, cooking, cleaning, tending to any animals such a pigs or chicken and when needed, helping in the potato field. Life was dictated by the annual rent due to the landlord. Other typical expenses could be the Hearth Tax (actually charged by the number of fire places in a house) Turf, Hay (for any farm animals) and tithes. A tax known as the tithes were calculated at one tenth the value of everything saleable. Tithes were a bitter issue. They were for the support of the Church of Ireland, Protestant Bishops and Ministers, and a cess tax for the construction and maintenance of Protestant Church buildings. The problem being that the vast majority of those paying the Tax were Catholic and paying to support something that was contrary to their beliefs. Potatoes were the staple diet from September through to the end of Spring of the following year. But the summer months were months of hunger and hardship as they waited for the following harvest to come in Autumn. During these months people had to resort to eating anything they could find; turnips, cabbage, even wild grass, nettles, wild berries and dandelions. Those who lived close to the sea would collect seaweed and use it spread on their land as a form of manure. The dependency of so much of the population on the Potato as their sole source of food was to prove disastrous during the Famine years. [http://www.youririshroots.com/irishhistory/tenant.php, accessed 14 December 2013]A woman spins wools, while another cards fleece in preparation for spinning. I man smokes a pipe by an open fireplace, while a cow takes shelter in the cabin for warmth. ballarat irish, cabin, spinning, wool, cow

Set of 11 No. 35mm Agfa colour blue and white plastic mount slide - of the move of Ballarat trams 27, 28 and 14 from the old SEC depot onto the temporary access track to the BTPS depot on Saturday 15 July 1972 and Sunday 16 July 1972 (slides .10 and .11) .1 - John Withers and his land rover, towing No. 14 from the old depot - depot junction. .2 - No. 27 moves from Wendouree Parade onto the depot access track. .3 - ditto .4 - and onto the access track being pushed by hand. .5 - No. 28 being lifted onto the steel channels in order to slew it across Wendouree Parade .6 - being slewed across the road .7 - being readied to lift up onto the access track .8 - all three trams on the access track that evening. .9 - ditto Taken on 16 July 1972 .10 - No. 27 being winched up to the level crossing - Campbell Duncan ? on the winch. Note the mud! .11 - No. 14 being winched up the temporary access track - Rolf Jinks on the Winch. See Fares Please!, September 1972. tramways, trams, depot, btps, moving trams, wendouree parade, tram 27, tram 14, tram 28

The name 'Sea Pen', which name comes from its resemblance to bird feathers, originates from its more formal title of 'Pennatula'. There are various species, one of which (Phosphorea)is not uncommon at depths of 50 metres or more. It consists of a stalk by which the Sea Pen is probably fixed upright in the mud or sand, and of a fan like upper part. When alive it is brightly phosphorescent. The stalk is really a tube and can be inflated. The strands or polyps of the upper part of the creature are fused together in sets of a dozen or so, to form leaves up each side, somewhat like the barbs of a feather. The whole axis is supported by a firmly calcified internal stem. The preserved item in our collection has been bleached naturally in the preserving fluid over time. However the Sea Pen in this photograph is alive and displays as golden. It is positioned vertically with its stalk at the bottom and its fronds or feathers beautifully displayed along the upper part. The preserved item in our collection has been bleached naturally in the preserving fluid over time. However the Sea Pen in this photograph is alive and displays as golden. It is positioned vertically with its stalk at the bottom and its fronds or feathers beautifully displayed along the upper part.The use of such preserved specimens is widespread in teaching students of all ages, and museums of the composition of certain animals, insects, birds and sea creatures. Any information about an animal — be it photographs, blood, feathers or fur samples — is better than no information at all. But specimens are vital to ground-truth.Closed jar with an all white sea creature preserved in clear fluid. The head is uppermost, and the sea pen is positioned vertically in the jar.Golden Sea Penflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, sea pen

Madhubani art or Mithila painting was traditionally created by the women of various communities in Mithila region of the Indian subcontinent. It originated from Madhubani district of Mithila region of Bihar, and, it is popularly called Mithila painting or Madhubani art. Madhubani is also a major export centre of these paintings. This painting as a form of wall art was practiced widely throughout the region; the more recent development of painting on paper and canvas mainly originated among the villages around Madhubani, and it is these latter developments led to the name Madhubani art being used alongside the name "Mithila Painting." The painting was traditionally done on freshly plastered mud walls and floors of huts, but now they are also done on cloth, handmade paper and canvas.[3] Madhubani paintings are made from the paste of powdered rice. Madhubani painting has remained confined to a compact geographical area and the skills have been passed on through centuries, the content and the style have largely remained the same. Madhubani paintings also use two-dimensional imagery, and the colors used are derived from plants. Ochre and lampblack are also used for reddish brown and black respectively. Generally, no space is left empty; the gaps are filled by paintings of flowers, animals, birds, and even geometric designs.(wikipedia)Framed traditional Hindu story painted onto textile.madhubani, indian, krishna, radha, punjab, mehndi

This booklet tells the story of the bell from the "S. S. Santhia" and how it came to Bogong State School, Victoria. "Santhia" belonged to the British India Line. On 6th November 1943 she was in service as a troopship when she caught fire and capsized at No. 3 Garden Reach Jetty, Calcutta. Due to the additional weight of water pumped into her to extinguish the fire, "Santhia" heeled over and remained in the mud of the River Hooghly until a successful salvage was completed in January 1946. The salvage operation was carried out by Captain J. P. Williams of Melbourne and his team of Australian divers nine and a half months after the commencement of operations. "Santhia" was the sixty seventh ship salvaged by Captain Williams. "Santhia's" Bell was presented by Captain Williams to Mr G.G. Jobbins, Chairman of Commissioners for installation at Bogong State School. The ceremony of presenting the bell took place on 21st February 1947. The bell bears the following inscription:- "Presented to G.G.Jobbins, Esq., Chairman, State Electricity Commission, by Captain J.P. Williams for Bogong School, on December 6th, 1946. This bell was recovered from the wreck of the "S.S.Santhia" sunk in the Hooghly River, Calcutta, and raised by an Australian salvage party."This booklet is significant because it documents an unusual event linking Bogong State School to a World War II salvage operation.A booklet consisting of images and text which tells the story of S.S. Santhia, of her sinking while in service as a troopship, of her subsequent salvage and how her bell came to Bogong State School in Victoria's High Country. The booklet consists of 12 pages including the cover. It consists of text and images. Primarily printed in black and white, the booklet uses blue boxes to highlight text including titles and explanation of images. The cover is blue with white text and features an image of the bell of the S. S. Santhia.Inside front cover: THIS BOOKLET is presented by THE STATE ELECTRICITY COMMISSION OF VICTORIA to the children of BOGONG STATE SCHOOLbogong state school, s.s.santhia, santhia bell

Art Gallery with mural painted by Clifton Pugh (1924-1990) at his Artists' Colony, Dunmoochin, Barreenong Road, Cottles Bridge. Following military service in the second world war, Clifton Pugh studied under artist Sir William Dargie at the National Gallery School in Melbourne as well as Justus Jorgensen, founder of Montsalvat. For a while he lived on the dole but also worked packing eggs for the Belot family saving sufficient to purchase six acres (2.4 ha) of land at Barreenong Road, Cottles Bridge. He accumulated more land and persuaded several other artists and friends to buy land nearby, resulting in a property of approximately 200 acres, stablishing it as one of the first artistic communes in Australia alongside Montsalvat in Eltham. It was around 1951 that Pugh felt he had '"done moochin' around" and so the name of the property evolved. He bought timber from Alistair Knox to build his house on the crest of a hill. Inspired by local goldminer's huts, it was a one room wattle-and-daub structure with dirt floor. Over the years it expanded with thick adobe walls made from local clay, high ceilings and stone floors. All materials other than the local earth were sourced from second hand materials, most found at wreckers' yards. Artists from across the nation were drawn to Dunmoochin, with several setting up houses and shacks on the property, maintaining their independence but sharing their artistic zeal. Artists who worked or resided at Dunmoochin included Mirka Mora, John Perceval, Albert Tucker, Fred Williams, Charles Blackman, Arthur Boyd and John Olsen. In 2002, Pugh's house along with its treasure trove of art and a library of some 20,000 books was destroyed by fire. Traces of Pugh's home remain with the presence of the Victorian doorframe archway with leadlight of intricate design, procured from a demolished Melbourne mansion; and two bronze life-sized female statues created by Pugh and cast by Matcham Skipper. In place of Pugh's house rose two double-storey mud-brick artists' studios topped with corrugated iron rooves curved like the wings of a bird with accommodation for seven. The original studios, gallery and other buildings survived the fire. Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p153 It’s not surprising that artist Clifton Pugh was drawn to Cottles Bridge to establish his artists’ colony Dunmoochin. Undisturbed by the clamour of modern life at Barreenong Road, Pugh was surrounded by the Australian bush he loved, and where his ashes were later scattered. The 200 acres (81ha) of bushland, broken by glimpses of rolling hills, has more than 50 species of orchids and Pugh shared his property with native animals including kangaroos, emus, phascogales, wombats, and diverse bird life. Pugh encouraged these creatures to join him in the bush by creating, with Monash University, a holding station where the animals were raised. Dunmoochin inspired Pugh for such paintings as in a book on orchids and the Death of a Wombat series.1 But his love for the bush was accompanied by the fear that Europeans were destroying it and much of his painting illustrated this fear and his plea for its conservation.2 However it was his house rather than the surrounding bush that was to be destroyed. Tragically in 2002 Pugh’s house, with its treasure of art and library of 20,000 art books, was destroyed by fire. Traces of the beauty of Pugh’s home still remain, however, in the magnificent Victorian doorframe archway with leadlight of intricate design procured from a demolished Melbourne mansion; and two bronze life-sized female statues created by Pugh and cast by Matcham Skipper. Now in place of Pugh’s house, are two double-storey mud-brick artists’ studios topped with corrugated roofs curved like birds’ wings, with accommodation for seven. The original studios, gallery and other buildings remain.3 Pugh grew up on his parents’ hobby farm at Briar Hill and attended the Briar Hill Primary School, then Eltham High School and later Ivanhoe Grammar. At 15 he became a copy boy for the Radio Times newspaper, then worked as a junior in a drafting office. Pugh was to have three wives and two sons. After serving in World War Two in New Guinea and Japan, Pugh studied under artist Sir William Dargie, at the National Gallery School in Melbourne.4 Another of his teachers was Justus Jörgensen, founder of Montsalvat the Eltham Artists’ Colony. Pugh lived on the dole for a while and paid for his first six acres (2.4ha) at Barreenong Road by working as an egg packer for the Belot family. Pugh accumulated more land and persuaded several other artists and friends to buy land nearby, resulting in the 200 acre property. They, too, purchased their land from the Belot family by working with their chickens. Around 1951 Pugh felt he had ‘Done moochin’ around’ and so the name of his property was born. Pugh bought some used timber from architect Alistair Knox to build his house on the crest of a hill. Inspired by local goldminers’ huts it was a one-room wattle-and-daub structure with a dirt floor. It was so small that the only room he could find for his telephone was on the fork of a tree nearby.5 Over the years the mud-brick house grew to 120 squares in the style now synonymous with Eltham. It had thick adobe walls (sun-dried bricks) made from local clay, high ceilings and stone floors with the entire structure made of second-hand materials – most found at wreckers’ yards. Pugh’s first major show in Melbourne in 1957, established him as a distinctive new painter, breaking away from the European tradition ‘yet not closely allied to any particular school of Australian painting’.6 Pugh became internationally known and was awarded the Order of Australia. He won the Archibald Prize for portraiture three times, although he preferred painting the bush and native animals. In 1990 not long before he died, Pugh was named the Australian War Memorial’s official artist at the 75th anniversary of the landing at Gallipoli. Today one of Pugh’s legacies is the Dunmoochin Foundation, which gives seven individual artists or couples and environmental researchers the chance to work in beautiful and peaceful surroundings, usually for a year. By November 2007, more than 80 people had taken part, and the first disabled artist had been chosen to reside in a new studio with disabled access.1 In 1989, not long before Pugh died in 1990 of a heart attack at age 65, he established the Foundation with La Trobe University and the Victorian Conservation Trust now the Trust for Nature. Pugh’s gift to the Australian people – of around 14 hectares of bushland and buildings and about 550 art works – is run by a voluntary board of directors, headed by one of his sons, Shane Pugh. La Trobe University in Victoria stores and curates the art collection and organises its exhibition around Australia.2 The Foundation aims to protect and foster the natural environment and to provide residences, studios and community art facilities at a minimal cost for artists and environmental researchers. They reside at the non-profit organisation for a year at minimal cost. The buildings, some decorated with murals painted by Pugh and including a gallery, were constructed by Pugh, family and friends, with recycled as well as new materials and mud-bricks. The Foundation is inspired by the tradition begun by the Dunmoochin Artists’ Cooperative which formed in the late 1950s as one of the first artistic communes in Australia. Members bought the land collaboratively and built the seven dwellings so that none could overlook another. But, in the late 1960s, the land was split into private land holdings, which ended the cooperative. Dunmoochin attracted visits from the famous artists of the day including guitarists John Williams and Segovia; singer and comedian Rolf Harris; comedian Barry Humphries; and artists Charles Blackman, Arthur Boyd and Mirka Mora. A potters’ community, started by Peter and Helen Laycock with Alma Shanahan, held monthly exhibitions in the 1960s, attracting local, interstate and international visitors – with up to 500 attending at a time.3 Most artists sold their properties and moved away. But two of the original artists remained into the new millennium as did relative newcomer Heja Chong who built on Pugh’s property (now owned by the Dunmoochin Foundation). In 1984 Chong brought the 1000-year-old Japanese Bizan pottery method to Dunmoochin. She helped build (with potters from all over Australia) the distinctive Bizan-style kiln, which fires pottery from eight to 14 days in pine timber, to produce the Bizan unglazed and simple subdued style. The kiln, which is rare in Australia, is very large with adjoining interconnected ovens of different sizes, providing different temperatures and firing conditions. Frank Werther, who befriended Pugh as a fellow student at the National Gallery Art School in Melbourne, built his house off Barreenong Road in 1954. Werther is a painter of the abstract and colourist style and taught art for about 30 years. Like so many in the post-war years in Eltham Shire, as it was called then, Werther built his home in stages using mud-brick and second-hand materials. The L-shaped house is single-storey but two-storey in parts with a corrugated-iron pitched roof. The waterhole used by the Werthers for their water supply is thought to be a former goldmining shaft.4 Alma Shanahan at Barreenong Road was the first to join Pugh around 1953. They also met at the National Gallery Art School and Shanahan at first visited each weekend to work, mainly making mud-bricks. She shared Pugh’s love for the bush, but when their love affair ended, she designed and built her own house a few hundred yards (metres) away. The mud-brick and timber residence, made in stages with local materials, is rectangular, single-storey with a corrugated-iron roof. As a potter, Shanahan did not originally qualify as an official Cooperative member.This collection of almost 130 photos about places and people within the Shire of Nillumbik, an urban and rural municipality in Melbourne's north, contributes to an understanding of the history of the Shire. Published in 2008 immediately prior to the Black Saturday bushfires of February 7, 2009, it documents sites that were impacted, and in some cases destroyed by the fires. It includes photographs taken especially for the publication, creating a unique time capsule representing the Shire in the early 21st century. It remains the most recent comprehenesive publication devoted to the Shire's history connecting local residents to the past. nillumbik now and then (marshall-king) collection, art gallery, clifton pugh, dunmoochin, cottlesbridge, cottles bridge, barreenong road

Following military service in the second world war, Clifton Pugh studied under artist Sir William Dargie at the National Gallery School in Melbourne as well as Justus Jorgensen, founder of Montsalvat. For a while he lived on the dole but also worked packing eggs for the Belot family saving sufficient to purchase six acres (2.4 ha) of land at Barreenong Road, Cottles Bridge. He accumulated more land and persuaded several other artists and friends to buy land nearby, resulting in a property of approximately 200 acres, stablishing it as one of the first artistic communes in Australia alongside Montsalvat in Eltham. It was around 1951 that Pugh felt he had '"done moochin' around" and so the name of the property evolved. He bought timber from Alistair Knox to build his house on the crest of a hill. Inspired by local goldminer's huts, it was a one room wattle-and-daub structure with dirt floor. Over the years it expanded with thick adobe walls made from local clay, high ceilings and stone floors. All materials other than the local earth were sourced from second hand materials, most found at wreckers' yards. Artists from across the nation were drawn to Dunmoochin, with several setting up houses and shacks on the property, maintaining their independence but sharing their artistic zeal. Artists who worked or resided at Dunmoochin included Mirka Mora, John Perceval, Albert Tucker, Fred Williams, Charles Blackman, Arthur Boyd and John Olsen. In 2002, Pugh's house along with its treasure trove of art and a library of some 20,000 books was destroyed by fire. Traces of Pugh's home remain with the presence of the Victorian doorframe archway with leadlight of intricate design, procured from a demolished Melbourne mansion; and two bronze life-sized female statues created by Pugh and cast by Matcham Skipper. In place of Pugh's house rose two double-storey mud-brick artists' studios topped with corrugated iron rooves curved like the wings of a bird with accommodation for seven. The original studios, gallery and other buildings survived the fire. Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p155 It’s not surprising that artist Clifton Pugh was drawn to Cottles Bridge to establish his artists’ colony Dunmoochin. Undisturbed by the clamour of modern life at Barreenong Road, Pugh was surrounded by the Australian bush he loved, and where his ashes were later scattered. The 200 acres (81ha) of bushland, broken by glimpses of rolling hills, has more than 50 species of orchids and Pugh shared his property with native animals including kangaroos, emus, phascogales, wombats, and diverse bird life. Pugh encouraged these creatures to join him in the bush by creating, with Monash University, a holding station where the animals were raised. Dunmoochin inspired Pugh for such paintings as in a book on orchids and the Death of a Wombat series.1 But his love for the bush was accompanied by the fear that Europeans were destroying it and much of his painting illustrated this fear and his plea for its conservation.2 However it was his house rather than the surrounding bush that was to be destroyed. Tragically in 2002 Pugh’s house, with its treasure of art and library of 20,000 art books, was destroyed by fire. Traces of the beauty of Pugh’s home still remain, however, in the magnificent Victorian doorframe archway with leadlight of intricate design procured from a demolished Melbourne mansion; and two bronze life-sized female statues created by Pugh and cast by Matcham Skipper. Now in place of Pugh’s house, are two double-storey mud-brick artists’ studios topped with corrugated roofs curved like birds’ wings, with accommodation for seven. The original studios, gallery and other buildings remain.3 Pugh grew up on his parents’ hobby farm at Briar Hill and attended the Briar Hill Primary School, then Eltham High School and later Ivanhoe Grammar. At 15 he became a copy boy for the Radio Times newspaper, then worked as a junior in a drafting office. Pugh was to have three wives and two sons. After serving in World War Two in New Guinea and Japan, Pugh studied under artist Sir William Dargie, at the National Gallery School in Melbourne.4 Another of his teachers was Justus Jörgensen, founder of Montsalvat the Eltham Artists’ Colony. Pugh lived on the dole for a while and paid for his first six acres (2.4ha) at Barreenong Road by working as an egg packer for the Belot family. Pugh accumulated more land and persuaded several other artists and friends to buy land nearby, resulting in the 200 acre property. They, too, purchased their land from the Belot family by working with their chickens. Around 1951 Pugh felt he had ‘Done moochin’ around’ and so the name of his property was born. Pugh bought some used timber from architect Alistair Knox to build his house on the crest of a hill. Inspired by local goldminers’ huts it was a one-room wattle-and-daub structure with a dirt floor. It was so small that the only room he could find for his telephone was on the fork of a tree nearby.5 Over the years the mud-brick house grew to 120 squares in the style now synonymous with Eltham. It had thick adobe walls (sun-dried bricks) made from local clay, high ceilings and stone floors with the entire structure made of second-hand materials – most found at wreckers’ yards. Pugh’s first major show in Melbourne in 1957, established him as a distinctive new painter, breaking away from the European tradition ‘yet not closely allied to any particular school of Australian painting’.6 Pugh became internationally known and was awarded the Order of Australia. He won the Archibald Prize for portraiture three times, although he preferred painting the bush and native animals. In 1990 not long before he died, Pugh was named the Australian War Memorial’s official artist at the 75th anniversary of the landing at Gallipoli. Today one of Pugh’s legacies is the Dunmoochin Foundation, which gives seven individual artists or couples and environmental researchers the chance to work in beautiful and peaceful surroundings, usually for a year. By November 2007, more than 80 people had taken part, and the first disabled artist had been chosen to reside in a new studio with disabled access.1 In 1989, not long before Pugh died in 1990 of a heart attack at age 65, he established the Foundation with La Trobe University and the Victorian Conservation Trust now the Trust for Nature. Pugh’s gift to the Australian people – of around 14 hectares of bushland and buildings and about 550 art works – is run by a voluntary board of directors, headed by one of his sons, Shane Pugh. La Trobe University in Victoria stores and curates the art collection and organises its exhibition around Australia.2 The Foundation aims to protect and foster the natural environment and to provide residences, studios and community art facilities at a minimal cost for artists and environmental researchers. They reside at the non-profit organisation for a year at minimal cost. The buildings, some decorated with murals painted by Pugh and including a gallery, were constructed by Pugh, family and friends, with recycled as well as new materials and mud-bricks. The Foundation is inspired by the tradition begun by the Dunmoochin Artists’ Cooperative which formed in the late 1950s as one of the first artistic communes in Australia. Members bought the land collaboratively and built the seven dwellings so that none could overlook another. But, in the late 1960s, the land was split into private land holdings, which ended the cooperative. Dunmoochin attracted visits from the famous artists of the day including guitarists John Williams and Segovia; singer and comedian Rolf Harris; comedian Barry Humphries; and artists Charles Blackman, Arthur Boyd and Mirka Mora. A potters’ community, started by Peter and Helen Laycock with Alma Shanahan, held monthly exhibitions in the 1960s, attracting local, interstate and international visitors – with up to 500 attending at a time.3 Most artists sold their properties and moved away. But two of the original artists remained into the new millennium as did relative newcomer Heja Chong who built on Pugh’s property (now owned by the Dunmoochin Foundation). In 1984 Chong brought the 1000-year-old Japanese Bizan pottery method to Dunmoochin. She helped build (with potters from all over Australia) the distinctive Bizan-style kiln, which fires pottery from eight to 14 days in pine timber, to produce the Bizan unglazed and simple subdued style. The kiln, which is rare in Australia, is very large with adjoining interconnected ovens of different sizes, providing different temperatures and firing conditions. Frank Werther, who befriended Pugh as a fellow student at the National Gallery Art School in Melbourne, built his house off Barreenong Road in 1954. Werther is a painter of the abstract and colourist style and taught art for about 30 years. Like so many in the post-war years in Eltham Shire, as it was called then, Werther built his home in stages using mud-brick and second-hand materials. The L-shaped house is single-storey but two-storey in parts with a corrugated-iron pitched roof. The waterhole used by the Werthers for their water supply is thought to be a former goldmining shaft.4 Alma Shanahan at Barreenong Road was the first to join Pugh around 1953. They also met at the National Gallery Art School and Shanahan at first visited each weekend to work, mainly making mud-bricks. She shared Pugh’s love for the bush, but when their love affair ended, she designed and built her own house a few hundred yards (metres) away. The mud-brick and timber residence, made in stages with local materials, is rectangular, single-storey with a corrugated-iron roof. As a potter, Shanahan did not originally qualify as an official Cooperative member.This collection of almost 130 photos about places and people within the Shire of Nillumbik, an urban and rural municipality in Melbourne's north, contributes to an understanding of the history of the Shire. Published in 2008 immediately prior to the Black Saturday bushfires of February 7, 2009, it documents sites that were impacted, and in some cases destroyed by the fires. It includes photographs taken especially for the publication, creating a unique time capsule representing the Shire in the early 21st century. It remains the most recent comprehenesive publication devoted to the Shire's history connecting local residents to the past. nillumbik now and then (marshall-king) collection, art gallery, clifton pugh, dunmoochin, cottlesbridge, cottles bridge, barreenong road

Situated at the top of the hill in Arthur Street, the former Jelbart residence and barn were part of a major change that transformed Eltham's character in the late 1960s. Built from the mid 1940s through mid 1950s when Eltham was a rural community, the Jelbrat residence and barn are all that remain of a family property of some 250 acres (100 ha). With growing population pressures, in the late 1960s, owners Ron and Yvonne Jelbart decided to subdivide their property creating the Woodridge Estate in the early 1970s, a major factor towards the transformation of Eltham to the suburb it is today. The Jelbarts had moved to Eltham in the early 1940s when they purchased a poultry farm in New Street, now Lavendar Park Road. (The local Black Friday bushire of January 13, 1939 had started at C.A. (Clarrie) Hurst’s Eltham Poultry Farm and Hatchery in New Street.) Jelbart was primarily a businessman importing office machinery but desired farm beef and dairy cattle so the couple purchased the virgin bushland at what was then at the end of a dirt road, Arthur Street. With post war shortages of most building materials, they followed the example of the Eltham Artists' Colony (later called Montsalvat) and built thier home from mud-bricks and recyclked materials. The barn was first to be completed in 1945 which they made their home whilst building the main residence. It took eight years to complete the two buildings. Both the main residence and the barn are now separate homes, and along with the remaining property being sub-divided further in 1998 are now part of the Kinloch Gardens Estate at 93 Arthur Street. Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p139 Standing on a hilltop at Arthur Street, Eltham, the Jelbart residence and former barn were part of a major change that transformed Eltham’s character in the late 1960s. Built from the late 1940s to the mid 1950s when Eltham was a rural community, they are all that remain of what was once a family property of around 250 acres (100 ha). As population pressure increased in the late 1960s, owners Ron and Yvonne Jelbart, decided to subdivide their property. The break-up of this property into the Woodridge Estate in the early 1970s, was a major factor towards transforming Eltham into the suburb it is today.1 Although standing only a few minutes from Eltham’s busy hub and hundreds of houses in Woodridge, scarcely any urban sound disturbs the peace. Views from the two buildings are almost exclusively of trees and extend to Mt. Dandenong to the south-east, the Great Divide to the north, and Melbourne city to the south-west. The Jelbarts had lived in Eltham since the early 1940s when they bought a poultry farm in New Street, now Lavender Park Road. Although Jelbart was primarily a businessman importing office machinery, he was keen to farm dairy and beef cattle, so the couple bought rough bushland at what was then the end of Arthur Street. But a shortage of building materials following World War Two hampered their plans to build their new home, so they followed the example of the Eltham Artists’ Colony (later called Montsalvat) and used mud-bricks and recycled materials.2 With great determination the family and friends constructed their house. Massive timber frames and huge quantities of mud-bricks were made on site. The barn was built first in 1945, and two years later, while camping inside, the Jelbarts started building their house. It took eight years to construct the two buildings, even with the help of professional tradesmen. The buildings, with timber frames infilled with mud-brick and plastered, are reminiscent of the English Tudor style. The Jelbarts are of Cornish stock. Much of the timber framework came from demolished bridges or warehouses, and recycled slate was used for roofs and floors. Quality second-hand materials were readily available in the late 1940s and 1950s when there was much demolition in Melbourne and little respect for heritage. A former 19th century Toorak mansion Woorigoleen provided the magnificent stone fireplace, the timber panelling and the parquetry floor in the living room. The large stone gateposts at the entry of the property came from Melbourne University. Almost no mechanical equipment was used to build the 55 square house and the 25 square barn. Massive timber frames were erected using block and tackle pulleys and timbers were shaped, sawn and drilled by hand. Son and architect Ian, with his family, have lived in and extensively renovated both buildings since the early 1970s. Ian transformed the steep ridge of the property into a plateau, where the main house Kinloch stands, surrounded by terraces and lawns. The grounds retain many native plants, including massive yellow boxes – some nudging 80 years. Ian attached 70 metres of pergolas draped with wisteria, roses and grape vines, to three sides of the house. The beautiful garden is featured in the book Through the Rose Arbour by Rosemary Houseman. The two-storey barn – now a house – retains traces of its original use. The cow-shed with milking and feed-rooms, and the machinery-shed remain. The house, separated on the ground floor by a breeze-way, soars two storeys and includes a mezzanine. These are connected by spiral staircases, to timber-beamed and plaster-lined high-pitched ceilings. The house also descends to a wine cellar. Curiously the roof is of corrugated iron on the south and slate on the north, to save costs. Small-paned windows and three French doors open onto the front lawn, which extends to Jelbart Court.This collection of almost 130 photos about places and people within the Shire of Nillumbik, an urban and rural municipality in Melbourne's north, contributes to an understanding of the history of the Shire. Published in 2008 immediately prior to the Black Saturday bushfires of February 7, 2009, it documents sites that were impacted, and in some cases destroyed by the fires. It includes photographs taken especially for the publication, creating a unique time capsule representing the Shire in the early 21st century. It remains the most recent comprehenesive publication devoted to the Shire's history connecting local residents to the past. nillumbik now and then (marshall-king) collection, eltham, arthur street, jelbart barn, jelbart home, kinloch gardens

The lead line or hand lead is a simple navigational instrument used as a depth finder to measure the depth of water under the ship’s keel and to take samples of the sea bed. The long line may be marked at regular intervals with tags of different coloured and textured fabric, such as rope, leather and cloth. Each tag was a code to represent a certain depth. The leadsman’s eyes and hands could distinguish the depth easily as he drew in the lead line, day or night and in poor weather conditions. The lead weight could be between 7 -14 pounds (3.5 – 6.5kg) and the rope would be approximately 25 fathoms (45m). The hollowed-out end of the weight would hold a stick substance such as tallow or wax, which would pick up samples from the sea bed and indicate whether the vessel was close to shore. The leadsman would stand at the front of the vessel and cast the lead line into the sea. When it hit bottom he would note the tag marker nearest the surface of the water and call out his finding. Then he would haul it up again and examine the kind of matter that adhered to the end of the weight, whether it be sand, mud, gravel, and the colour of it. This information would be given to the ship’s helmsman or navigator and would help indicate the proximity to the land.This handheld lead is an example of early marine navigational equipment used be sailors to travel the seas. It helps to understand the history and progress made form the very basic to the sophisticated technology of today.Lead line, sounding line or depth finder. Long length of rope with heavy lead weight attached to end. Coloured fabric ties at regular intervals along rope represent different depths. Concave base of weight holds sticky substance e.g. tallow, wax, providing adhesive surface to collect samples of sea bed e.g. sand, shell, pebbles. flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, lead line, depth finder, hand lead, sounding lin, leadsmane, navigation instrument

Wycliffe translates the Bible for people around the world. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p171 The peace and beauty of Australia’s Wycliffe Centre reflects what it aims to bring to thousands of people around the world. Kangaroos calmly feed, accompanied by bird song, near the mud-brick buildings set amongst Kangaroo Ground’s rolling hills. On 11 hectares off Graham Road, the centre aims to transform people’s lives by giving groups around the world, with no written language, help with literacy and Bible translation into their own tongue. Associate Director, Harley Beck, says reading the Bible (probably history’s most influential collection of books),1 in one’s own language, provides a strong moral basis, helping people withstand exploitation and escape poverty. One of Wycliffe’s field partners, SIL (formerly Summer Institute of Linguistics) Papua New Guinea, has won two UNESCO awards, and SIL branches in many other countries have won international and national awards. The translators are modern heroes. They undertake hardships, forsaking for years, sometimes decades, a salary and the soft western lifestyle, to face loneliness and primitive conditions that most of us would not even contemplate. No staff is paid a salary. An example is the first Australian Director and former International President, David Cummings, who for 50 years has depended on donations from supporters and churches. Students of all ages at the EQUIP Training School on the site come from all walks of life. They train in linguistics and learn how to communicate in a way that is sensitive to other cultures. Spiritual resilience is encouraged, enabling people to persist until the job in the field is done, which takes on average ten to 15 years. Courses range from a few weeks to a year. The Wycliffe concept was born in the 1920s when American missionary, Cameron Townsend, found a Spanish Bible was inadequate to evangelise the Cakchiquel people of Guatemala. When a Cakchiquel man challenged: ‘If your God is so great, why doesn’t he speak my language?’ Townsend decided to translate the Bible into all languages! He founded a linguistics training school in 1934, naming it after 14th century theologian John Wycliffe, the first to translate the Bible into English.2 The first Wycliffe Bible was completed in 1951 in the Mexican San Miguel Mixtec language. In May 2007 after 30 years of work, Wycliffe Australia, with other organisations, completed the first Bible for indigenous people in the Kriol* language, for about 30,000 people in northern Australia.3 Wycliffe Australia began in 1954 in the Keswick Bookshop basement, Collins Street, Melbourne. As the organisation grew, its quarters became so cramped that Director Cummings at times interviewed potential recruits in his car! The development of the Kangaroo Ground property is a story of faith and generosity. In 1967 Cummings proposed moving to a larger property despite having no funds. Within a month Wycliffe received a $20,000 donation and a gift of land towards a national centre. An earlier owner of the Kangaroo Ground property, Mrs Elsie Graham, would have been delighted, as she had wanted her land to be used for ‘God’s service’. Mud-brick architect and Christian, Alistair Knox, offered to design the centre at no charge. Despite a drought, straw was donated to make bricks. Many volunteers helped with the building, including church youth groups who made mud-bricks.4 Volunteers planted thousands of native plants, watered by recycled water from the site’s dam. Building began in 1968 and in 1983 the South Pacific SIL School (now EQUIP Training) followed. Wycliffe, the world’s largest linguistic organisation, and other organisations, have translated the Scriptures into more than 2000 languages. But another 2000 languages still lack any portion of the Bible. However translations are now completed more quickly, because of new computer programs and as education spreads, more speakers of the local language can assist.5 Despite the growth of secularisation, Beck says support for Wycliffe Australia, which has offices in all states and the ACT, is stronger than ever. * Kriol is a Pidgin language, which has become a speech community’s prime language.This collection of almost 130 photos about places and people within the Shire of Nillumbik, an urban and rural municipality in Melbourne's north, contributes to an understanding of the history of the Shire. Published in 2008 immediately prior to the Black Saturday bushfires of February 7, 2009, it documents sites that were impacted, and in some cases destroyed by the fires. It includes photographs taken especially for the publication, creating a unique time capsule representing the Shire in the early 21st century. It remains the most recent comprehenesive publication devoted to the Shire's history connecting local residents to the past. nillumbik now and then (marshall-king) collection, graham road, kangaroo ground, wycliffe centre

Maize,has been grown on the Orbost flats for at least 70 years. When early settlers began to arrive on the Snowy River somewhere in the 1880s, the land was mostly swamps and heavily timbered jungle on the river frontages. The swamps were drained, bit by bit, by men with short handled shovels and working in mud and water. The frontages were cleared by axe and shovel and fire. Several kinds of crops were experimented with such as hops, hemp and maize, the latter grew particularly well and became the main crop of district. The problem then was to thresh and deliver the product to the market. A small single cob machine was brought here and one man turned the handle, while the boy or Mum fed the cobs singly into the machine. A good day’s work would thresh about 50 bushels or about 12 bags (4 bushels). The task then was to cart the maize to market. For a few years this was done by horses and dray carrying about 60 bushels to Mossiface, where it was loaded onto river boats to Lakes Entrance, and then by ocean boats to Melbourne. Later it was taken to Bairnsdale by foot and loaded onto the trains to Melbourne. (more information in Newsletter October 2006) This crib, measuring seven chains, sixteen feet, contained 10,000 bags of maize cobs which were grown by Linc Timmons on Peter Irvine's farm (Fairlea?) in Orbost, East Gippsland. The growing of maize in the Orbost district contributed significantly to the economy of the township for many years, The many maize cribs once seen on the surrounding farms have now disappeared and this photograph is a pictorial record of that significance.A black / white photograph of a large maize crib full of maize in a paddock. There is a large framed copy of the original.agriculture-orbost farming-maize-orbost maize-crib-orbost

William MacMahon Ball (‘Mac’ Ball) was Professor of Political Science at Melbourne University from 1949 to 1968, having lectured there since 1923. He became known as an ABC commentator on international affairs from the early 1930s to the early 1960s. Between 1940 and 1944 he was Controller of Overseas Broadcasting (which later became Radio Australia). In 1945, he was political consultant to the Australian Delegation at the conference leading to the establishment of the United Nations, and in 1946 was the British Commonwealth Representative on the Allied Council during the post-war occupation of Japan. Mac and his wife Katrine (plus daughter Jenny) came to Eltham in 1942, and in 1945 moved into an old timber cottage at the eastern end of York Street. With help from Alistair Knox, Sonia Skipper, Gordon Ford and John Harcourt, the house was totally renovated to become an early example of Eltham mud-brick. Mac died in 1986 and is buried in Eltham Cemetery with Katrine. Part of their land backing onto Bridge Street was donated to Eltham Shire Council and is now a reserve called MacMahon Ball Paddock. In Loving Memory W. MacMahon Ball A.C. 29. 8. 1901 – 26. 12. 1986 Also Katrine S. Ball 1st Nov. 1899 to 29th Oct. 1991 Loved wife of Mac. Ball Mother of Jenny Grandmother of Bronwyn, David and Michael Much belovedBorn Digitaleltham cemetery, gravestones, katrine s. ball, william mcmahon ball

A note that Legatee Frank Doolan wrote to capture an encounter with a widow. "Mrs Nora Sennett, a cousin of the late Sir Stanley Savige recently wrote to enquire of the whereabouts of the oil painting which had been presented by her late husband to Legacy on the occasion when Stan Savige had opened an exhibition of his work in the Athenaeum Gallery. Mrs Sennett was visited at her new domicile in the MECWA block of single units in Warner St Malvern, and was assured that the painting was well cared for and was hung in a prominent place in Melbourne Legacy Comradeship Corner. She is one of our senior widows now aged 87, and was one of a family of five girls, all of whom are still living and who were one of the early families of Korumburra. Mrs Sennett explained how her late husband, who served with the 39th Battalion (EGGS ARE COOKED) was with General McNicoll on the site of the painting at Passchendaele. and the General remarked that he should paint the scene some day. It certainly captures the atmosphere of devastation caused by artillery barrage, and emphasises the duck boards which were initiated by the AIF to help communication over the blasted terrain of mud, and shell holes of Flanders Fields. FJD' Was with other memorabilia that has come from Frank Doolan from both his war service and his time with Legacy. He was on the archive committee and made attempts to collate the history of Legacy. This note shows that there was a painting of Passchedale painted by Stan Savige's cousin and donated to Legacy. Plus Legatees were still visiting the widow of the painter in 1974.A note x 2 pages written by Frank Doolan about a visit to a widow.Report is handwritten. In top right corner 'Report from L/tee F. Doolan Feb 1974' is in red type.world war one, legatee

Dolomite is a mineral, calcium magnesium carbonate, with the chemical formula CaMg(CO3)2. It is a principle component of various rock types sometimes also referred to as dolomite, including dolostone, dolomitic marble and dolomitic limestone (according to the composition of each type). Dolomite rock is found in sedimentary basins throughout the world, comprising approximately 2% of the Earth's crust. It is formed when lime mud or limestone encounters groundwater containing magnesium. Dolomite can contain elements such as lead, zinc and copper. Dolomite and limestone are used in various construction, landscaping and agricultural processes. This specimen was donated to the Burke Museum in 1868 by Alfred Selwyn as part of the Geological Survey of Victoria. It was donated to the Museum in 1868. Victoria and other regions of Australia were surveyed for sites of potential mineral wealth throughout the 19th Century. The identification of sites containing valuable commodities such as gold, iron ore and gemstones in a locality had the potential to shape the development and history of communities and industries in the area. The discovery of gold in Victoria, for instance, had a significant influence on the development of the area now known as 'the goldfields', including Beechworth; the city of Melbourne and Victoria as a whole. Dolomite and limestone are mined at several locations in Victoria, including sites in the North-East of the state in Bindi and Limestone Creek. There are notable dolomite deposits in most Australian states. The dolomitised form of the mineral tends to come from older limestone deposits, formed during the palaeozoic era in marine settings, so this specimen may have come from a deposit located along a coastline in Victoria or another state. The specimen is significant as an example of surveying activity undertaken to assess and direct the development of the mineral resource industries in Victoria and Australia, as well as the movement to expand human knowledge of earth sciences such as mineralogy and geology in the nineteenth century. This specimen is part of a larger collection of geological and mineral specimens collected from around Australia (and some parts of the world) and donated to the Burke Museum between 1868-1880. A large percentage of these specimens were collected in Victoria as part of the Geological Survey of Victoria that begun in 1852 (in response to the Gold Rush) to study and map the geology of Victoria. Collecting geological specimens was an important part of mapping and understanding the scientific makeup of the earth. Many of these specimens were sent to research and collecting organisations across Australia, including the Burke Museum, to educate and encourage further study.Hand-sized piece of pale pink dolomite (calcium magnesium carbonate) with dark grey rim and hollowed centre. geological specimen, geology, geology collection, burke museum, beechworth, dolomite, mineralogy, geological survey, alfred selwyn, limestone, calcium magnesium carbonate

Near Eltham Park (now known as Eltham Lower Park), floodwaters from the Diamond Creek cut off the Main road into Eltham at Bremner’s Flats (present day Wingrove Park). In the distance, left of centre, is Mr. Montieth's Ford Wagonette stranded in the floodwater near Wingrove Cottage. “On the Lower Eltham Reserve the water was nearly five feet deep across the reserve and over a mile along the road. All the week-end shops are surrounded. For over 40 years flood waters have not reached this unprecedented level.” - Advertiser, Friday November 30, 1934, p7 "Whilst we were at the shop a "tidal" wave occured . There used to be a Mr. Monteith who ran a Model T Ford bus from the Eltham Railway Station down the main street. The bus would hold seven, six seated in the back, 3 aside a seventh standing on the step on the middle of the back hanging on to two small hand rails. The bus was caught by the flood and was abandoned not far from our shop in the paddocks towards the Higher Elementary School. It was there for days and after the flood waters receded, Mr. Monteith, after removing all the mud and debris gave the engine one turn with the handle and it started first time! So the story goes! " (Doug Orford Reminiscences, 2004) The 1934 flood of the Diamond Creek and Yarra River is the highest recorded flooding in the district and set the standard for the current planning flood plain level.Black and white photograph showing the floodwater from Diamond Creek across Main Road in 1934. Left of centre shows Mr. Montieth's Ford Wagonette in the floodwater in the distancefloods, main road, eltham south, diamond creek (creek), wingrove cottage, wingrove park, bus services, bremner's flat, eltham park, ford wagonette, mr. montieth, floodwater, reminscences

ELTHAM HERITAGE TOUR The Society excursion on 24th May 1992 was arranged by David Bick, leader of the team carrying out the Shire's heritage study. David selected a number of sites or buildings identified in the study, some of them lesser known components of the Shire's heritage. The tour commenced at the Eltham Shire Office at 10.00 am. Travel was by private car and mini-bus with stops at about twelve locations for commentary by David.It included a short walk in Hurstbridge and lunch at Kinglake. Highlights of the tour included: - 10 am Leave from Shire Offices - 3 Important Trees - A Physical Link to Eltham's First Settlers - Toorak Mansion Gates - A Surviving Farm House - An Intact Circa 1900 Main Street - First Settlers - Gold Miners, and Timber-getters - An Early Hotel - A Pioneering Homestead - Changing Eltham Shire - 20th Century - 4 pm Afternoon Tea and Finish Tour Extract from ELTHAM CULTURAL HERITAGE TOUR (Newsletter No. 85, July 1992, by Bettina Woodburn) "In some respects Eltham is a 'back-water' and it has its own distinctive flavour. On the outskirts the homes date from the 1960's, 70's and 80s with a sprinkling of 'earth homes', mud-brick or pise, rammed dirt. Crossing Main Road into Beddoe Street and Thompson Crescent a very pleasant drive past pines and old fence lines, front lawns unfenced, the occasional ·old farm building, we eventually looked down on a huge circular roof of a 1992 adobe home. Other distinctive places included the Pauline Toner Butterfly Reserve, Gordon Ford's splendid garden at Fulling in Pitt Street, cypress hedges and old houses in Bridge Street and in every direction Eltham's special feature - a totally treed horizon. We were now in the part of the Shire closest to Melbourne - Montmorency - not on the way to anywhere, with no through road going across it, developed in the 1950's and 1960's with conventional gardens, now converted to native plants. The rail looped between Greensborough and Eltham and a shopping street (Were Street) served the area, growing up the hill from the station. It was a typical outer Melbourne suburb with lawns and roses with patches of originality. The shopping precinct still has 1950 characteristics - walls which sloped back, projecting roofs, the original shop fronts are nearly all tiled below the old windows. There's an air of past times about the School, the Dairy, the Butcher's (now a milk bar) and the Castlemaine stone face of the Commonwealth Bank. The final stop for the tour was at the mud-brick Woodburn residence, adobe of 1949 with additions. After War Service, Bill Woodburn had commenced an Architecture course at Melbourne University and after second year in the Christmas vacation, with his wife, Betti, built the two bedroom house - with amazing saving of costs. In the three and a half months they made over 3000 bricks (external walls 18" x 12" x 4", internal walls 12" x 9" x 4"), sifted top soil for mortar and laid them, on concrete foundations and slab floor, made all the structural window frames, door frames and roof members to carry 'super six' asbestos sheets, laboured for the electrician and plumber, did all the glazing and, still without electricity, moved in in March 1949. Rooms have been added, at first with glass walls, later using concrete blocks, to accommodate three daughters and a son. The house not only grew from the earth, but also with the family."Record of the Society's history and activities and highlighting various aspects of the Heritage Study undertaken by David Bick used to create the future heritage overlay for the Shire of Eltham and later Nillumbik Shire.Roll of 35mm colour negative film, 4 stripsKodak Gold 100 5095shire of eltham historical society, activities, heritage tour, woodburn house

Starting in around 1850, women began wearing boots that resembled the ones already worn by men in high society. Women’s Victorian boots were slightly more feminine in nature, however, than those worn by their male counterparts. The boots first worn by women extended to the middle of the calf so that her ankle would stay properly covered underneath her many skirts. These boots often featured laces or a row of buttons to keep them secure to the foot and ankle. Although usually made from durable materials like rubber and leather, boots that were worn purely for fashion were sometimes made of more elegant materials like patent leather or dyed suede. Fashion boots from the Victorian era exude all of the opulence and decadence that are unique to that time period. Design elements like scalloped trims, intricate embroidery, and lace accents were also not uncommon when it came to elaborately designed Victorian boots. Unlike men’s boots, they also boasted a slight heel that was thinner and more feminine in design. How lavish a woman’s boots were greatly depended upon how much money her family had and her place within society. While footwear was standard during this time, shoes were still quite a luxury to the modern Victorian. Only very wealthy women owned multiple pairs of boots that featured eye-catching design elements. https://www.wardrobeshop.com/blogs/victorian-era/an-in-depth-look-at-victorian-footwear These boots appear to be of a practical nature, designed for comfort, warmth, and proof against the rain and mud, rather than high fashion.These ladies' boots are historically significant for their manufacture and use during the Victorian period.Pair of ankle length black ladies' boots with long tan coloured laces.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, boots, victorian, leather, footwear

“The Willows” home of John Butler Maling on south side of Whitehorse Road in Shepreth Street, near Banool Road. He built 2-roomed mud brick cottage in about 1861 extending it in stages into a weatherboard Victorian villa as his family grew. John Butler Maling's uncle (also John Butler Maling lived nearby at 'Ancyra' at 26 Weybridge Street). 'The Willows' was situated on a small farm of c13 acres with a creek running through it, lined with willows. The house was demolished after J B Maling's death in 1931 when the land was subdivided, some of it having been previously bought by the Education Department for the site of Chatham Primary School. J B Maling trained his six sons as builders. Charles Henry and his family are pictured in this photo. Charles Henry Maling (1875-1953) married Katherine Mitchell (1875-1958) in 1901. They lived at 9 Benson Street, Surrey Hills but came to live at 'The Willows' for 5 years prior to 1931 to care for Charles' father. Charles and Katherine are the older man and woman centre back with daughter Ellen Grace, known as Nell (1882-1960) in the front of them. Right front seated on the pillar is daughter Jane Emma (1872-1980) with her baby. Her husband Robert Wilhelm (Bob) Sutherland is the younger man at the back. The occasion is thought to be the christening of their first child. The other people are Rev O Cordell, his wife Mary and their children who are friends visiting from Africa where the donor, Rev Charles Maling, son of Charles Henry Maling was working with the Church Mission Society. A black and white photograph of a group of people standing (one lady sitting) on the front steps of a house.the willows, house names, (mr) john butler maling, whitehorse road, banool road, balwyn, surrey hills, (mr) charles henry maling, (mrs) katherine maling, (miss) nell maling, (mrs) jane sutherland, (mr) bob sutherland, (rev) o cordell, (mrs) mary cordell

A copy of an announcement issued by Lieu-General S G Savige on 8 September 1945 at the end of World War Two. It advised the troops that Japan has surrendered. It says it was his privilege to Command 2 Aust Corp during the successful operations in Bouganville. It discusses the need for patience until demobilisation. One paragraph says: "Leadership and planning, important though they be, obtain success only by the good fighting qualities of the Troops to whom a commander owes everything ; as his own reputation depends so utterly and entirely not the behaviour of his Troops. I very gratefully acknowledge your courage, devotion to duty, and the uniformly high standards you established in the performance of every task it was my duty to call upon you to perform. You fought magnificently under exceedingly difficult conditions against a skilful foe whom you defeated. You endured sufferings and hardships attributable to dense jungle, vile swamps, heat, rain and mud, without losing your cheery smiles and determination to stick it out." Donated by Legacy Widow Mrs McIntyre in May 1988. This historic document belonged to her husband and is well worn and inexpertly repaired - better examples exist in other archives, such as Adelaide and Auckland. However it is an important part of founder Stanley Savige's life story, recording his communication to the AIF on 8 September 1945 as Commander 2 Aust Corps that Japan had surrendered. He acknowledged the efforts of the troops throughout the war and praised their tenacity and bravery before confirming his intention to ensure the best possible start in civilian life upon demobilisation for them.A document that illustrates the care Savige took of his troops.1 x printed sheetMathematical jottings on the back in blue/black ink, unrelated to the document.savige, legatee, world war two

Yields information about an accident or collision between a tramcar and a truck late 1930's. Gives information about the tramcar livery, and the damage to both vehiclesSet of five Black and white photo prints from collected negative of Ballarat (SEC) No. 14 photographed in collision with a truck in Drummond St. North, at corner of Webster St. mid 1939 - see note re repair. 1365.1 - general view of collision, with truck in the foreground, with tram 14 behind. 1365.2 - side view showing side of tram and rear end of the truck. 1365.3 - view from the front, showing the truck (Reg. No. 277.745) and the front of the tram. Tram showing destination of Gardens via Drummond St. Nth. 1365.4 - General view of collision, from about 20m away, showing point of collision and how far the tram travelled prior to stopping. Large amount of earth (mud) on the road. 1365.5 - view of the front end of the tram, showing collision damage after the truck has been removed. Good detail of the lining and "Pay as you Enter" sign. Note this photo was used in the lining of No. 27. The tramcar body card shows it was repaired following an accident June 1939. (Note added 2-2-19). Copy 2 - of all above photos - large format prints (253H x 203W) - added 30/7/2007, ex Alan Bradley holding of prints, received 5/2007. See also Reg Item 3904 for a mounted set of these photographs along with that of Reg Item. 580, 1019 and 1366. .Negatives rescanned 17/5/2020 and image updated. tramways, trams, accidents, collision, damage, drummond st. nth. , tram 14

Originally built in the 1850s by Charles Souter from earth excavated from his property. It was a forerunner for a building style that was later to be synonymous with Eltham. The house is historically significant as the oldest mud brick building in the Shire of Nillumbik, as one of less than half a dozen buildings from the 1850s that survive in the Shire. It underwent several additions and alterations between c.1950s-1980s. It is also significant for its associations with Mervyn Skipper from the well-known Eltham family who was one of the founders of the artist's colony at Montsalvat. The house is architecturally significant because its north section was designed by the noted 'Eltham-style' architect, Alistair Knox, and the two long Oregon beams supporting the main floor were added by the noted 'Eltham-style' builder, Horrie Judd who built the southern room. A onetime tenant in the house, Judd built many Eltham houses and was a major builder of Montsalvat. The 1934 flood destroyed the south wall and the house remained unoccupied for some time. Sonia Skipper, one of Montsalvat’s builders who also worked for Alistair Knox oversaw rebuilding it. She employed landscape designer Gordon Ford, artist Peter Glass and Tim Burstall. The house originally had a cellar for making and storing wine, reputedly the first made in the district according to Alistair Knox in his book ‘We are what we stand on’ (p33). Water would seep into the cellar so Sonia’s father and then owner of the house, Mervyn Skipper bulldozed a channel outside to divert it. The Brocksopp family purchased the house in 1950 and added an outside door to the cellar and converted it into a gallery. Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p51This collection of almost 130 photos about places and people within the Shire of Nillumbik, an urban and rural municipality in Melbourne's north, contributes to an understanding of the history of the Shire. Published in 2008 immediately prior to the Black Saturday bushfires of February 7, 2009, it documents sites that were impacted, and in some cases destroyed by the fires. It includes photographs taken especially for the publication, creating a unique time capsule representing the Shire in the early 21st century. It remains the most recent comprehenesive publication devoted to the Shire's history connecting local residents to the past. nillumbik now and then (marshall-king) collection, eltham, falkiner street, mud brick building, mudbrick houses, souter house

Situated at the top of the hill in Arthur Street, the former Jelbart residence and barn were part of a major change that transformed Eltham's character in the late 1960s. Built from the mid 1940s through mid 1950s when Eltham was a rural community, the Jelbrat residence and barn are all that remain of a family property of some 250 acres (100 ha). With growing population pressures, in the late 1960s, owners Ron and Yvonne Jelbart decided to subdivide their property creating the Woodridge Estate in the early 1970s, a major factor towards the transformation of Eltham to the suburb it is today. The Jelbarts had moved to Eltham in the early 1940s when they purchased a poultry farm in New Street, now Lavendar Park Road. (The local Black Friday bushire of January 13, 1939 had started at C.A. (Clarrie) Hurst’s Eltham Poultry Farm and Hatchery in New Street.) Jelbart was primarily a businessman importing office machinery but desired farm beef and dairy cattle so the couple purchased the virgin bushland at what was then at the end of a dirt road, Arthur Street. With post war shortages of most building materials, they followed the example of the Eltham Artists' Colony (later called Montsalvat) and built thier home from mud-bricks and recyclked materials. The barn was first to be completed in 1945 which they made their home whilst building the main residence. It took eight years to complete the two buildings. Both the main residence and the barn are now separate homes, and along with the remaining property being sub-divided further in 1998 are now part of the Kinloch Gardens Estate at 93 Arthur Street. Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p139This collection of almost 130 photos about places and people within the Shire of Nillumbik, an urban and rural municipality in Melbourne's north, contributes to an understanding of the history of the Shire. Published in 2008 immediately prior to the Black Saturday bushfires of February 7, 2009, it documents sites that were impacted, and in some cases destroyed by the fires. It includes photographs taken especially for the publication, creating a unique time capsule representing the Shire in the early 21st century. It remains the most recent comprehenesive publication devoted to the Shire's history connecting local residents to the past. nillumbik now and then (marshall-king) collection, eltham, arthur street, jelbart barn, jelbart home, kinloch gardens

This private late-nineteenth-century four-wheeled carriage has been built to transport a family or group of passengers with a coachman in the front seat. It can be pulled by one horse, or by two horses if the T-pole is attached. The button fittings along each side of the carriage indicate that a folding roof or hood was once attached. The frame across the front of the carriagewas likely to have been a ‘dashboard’ with a leather or wood covering to prevent water, mud and other particles from splashing onto the passengers. The rear step between the two side-facing bench seats is adjustable to allow for ladies’ long skirts. These rear seats appear to be removable, in which case the carriage could be converted to a wagon to transport goods and equipment. The carriage could have been illuminated by oil or carbide lamps placed into the lamp holders on the sides. The carriage was kept under cover for many years in an open-front sandstone building that also included living quarters and an area that may have been stable. It was at ‘Murweh’ a Warrnambool property at 203 Liebig Street. The home is now Heritage and National Trust Listed and described as a ‘gentleman’s residence’. It was built by James Wotton Shevill in the 1860s. Shevill was a councillor from 1875 to 1878, serving in 1878 as Mayor of the Borough of Warrnambool. Jeremiah Wade lived at Murweh there from 1879-1880. By 1915 F.B. Whitehead and his family were living there, and by 1930 the address was used by Mr T.J. Rome and his family. Thomas James Rome was still using that address in September 1973 after his 100th birthday. It is believed that one of the property’s owners had been an Obstetrician in Warrnambool. The current owner re-told the story that children used to hide in the back section of the carriage and smoke, hidden from the sight of onlookers. He had heard the story from a previous owner.The well-appointed horse-drawn four-wheeled carriage is likely to have first belonged to a local councillor and past Mayor of the town of Warrnambool, J.W. Shervill, whose 1860s city property was the carriage location for many years. The carriage is a rare local example of a town-based lifestyle befitting a prosperous personality of the late 19th century. It adds to the story of Warrnambool's development as a town influenced by the port, wealth gained from shipping and the home place of prominent local people such as the Councillor and later Mayor. The side-facing rear seating is unusual for a passenger carriage. It has the feature of removable rear bench seats, allowing for the dual purpose of a carriage or wagon.Carriage; the Victorian-era horse-drawn four-wheeled open carriage has a coachman’s bench seat across the front and two side-facing bench seats in the rear. There are steps at the front on each side and a centre adjustable step and the back. It has a hinged shaft, two lamp holders and a separate T-pole. The bench seats have padded backrests upholstered in green leather and each has padded armrests at the ends. A rectangular metal frame, likely to have been a dashboard, is mounted across the front of the carriage. It has two inner vertical bars. The carriage's body is painted dark green with crimson highlights on some of the panelling. Decorative oval panels with hand-painted motifs are mounted along the sides. The side panels of the carriage have metal fastener buttons attached. The iron-rimmed wheels have sixteen wooden spokes and copper cuffs on the outside of the hubs, and the rear wheels are higher than the front wheels. Wooden brake blocks are mounted onto the back wheels and are active by a metal lever at the front right side of the carriage. The undercarriage is fitted with leaf springs on each side, mounted from front to back axles. Included are: (1) The separate T-pole that allows two horses to be harnessed to the carriage (2) Leather horse winkers with metal hardware and oval brass plate on the side of each winkerMotif painted on an oval panel [a musical lyre within a blue floral wreath flanked by scrolls] flagstaff hill maritime museum and village, warrnambool, great ocean road, shipwreck coast, murweh, buggy, cart, carriage, wagon, horse-drawn vehicle, victorian buggy, four-wheeled carriage, coachman’s seat, bench seat, side-facing benches, upholstered seats, victorian decals, heritage vehicle decoration, antique hand painting, hand painted decals, motifs, iron-rimmed wheels, wooden brake blocks, leaf springs, t-pole shaft, rear step, equine carriage, 19th century vehicle, victorian transport, transport, gentleman’s vehicle, james wotton shevill, councillor, mayor, jeremiah wade, f.b. whitehead, thomas james rome, warrnambool obstruction, warrnambool genealogy, warrnambool pioneers, victorian carriage, one horse carriage, two horse carriage, horse drawn carriage