Gas lamps worked by heating something called a 'mantle' with a gas flame. The mantle then glowed brightly, lighting up the room. Lamps had either two chains, for a ceiling-mounted lamp or a tap for a wall-mounted burner to turn off the gas. These chains or taps could also adjust the flow of the gas and hence the brightness of the mantle. Before Carl Auer von Welsbach invented the gas mantle in the 1890s, all gas lights in homes and street lights had simple gas jets that pointed upwards. In the home, these lights were covered with glass globes and had an overall ornate look making the lamp ascetically pleasing and protecting the flame from being blown out. However, this arrangement was extremely inefficient: To get as much light as possible, the gas had to be turned fully up, resulting in large sheets of flame rising towards a ceiling. Also, because the lamp had to be point upwards, the illumination was directed upwards, i.e. at the ceiling rather than where it was needed. So the usable light for a given amount of gas was minimal but the invention of the gas mantle eventually changed this. It enabled gas lights to have a small flame and to direct their light downwards. The item is significant as it is part of a very ornate gas lamp wall bracket from the late 19th to early 20th century. Its provenance is currently unknown and at this time cannot be associated with a historical event, person or place and the item is assessed as a collective asset.Gas lamp wall bracket; part of a gas lamp. A single burner fancy wall mounted bracket, brass, ornate and decorative, featuring a Lamassu - figure with the body of a lion , wings of an eagle and human head. It was recovered from the wreck of the Loch ArdNoneflagstaff hill, warrnambool, flagstaff-hill, flagstaff-hill-maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, gas lamp, brass lamp, gas burner bracket, domestic artifact, gas lighting, gas lamp bracket

Part of a matching set of W class carriages.First Class railway carriage 35 AW red with a white clerestory roof. Six compartments each with six green possibly leather studded seats with arm and head rests. The floor is carpeted and there is a white metal drinking fountain with a tap in the corridor. Each compartment also has decorative pressed metal ceiling, overhead racks and a central light fixture. There is a mens' and ladies' seating area at each end with a toilet.The carriage has the 35AW mark on the outside.

This set of 22 photographs was taken inside Army Survey Regiment’s Fortuna Villa circa 1985. The photos feature some of Fortuna Villa’s interior. Unfortunately, the magnificent array of colours and hand-painted features of Fortuna’s leadlight windows are not highlighted with light transmission, as the photographer did not take the photos in the daytime. See item 6456.30P, for photos of Fortuna Villa’s exterior and The Army Survey Regiment’s out-buildings that were taken at the same time.This set of 22 photographs was taken inside Army Survey Regiment’s Fortuna Villa circa 1985. The colour photographs were printed on photographic paper and are part of the Army Survey Regiment’s Collection. The photographs were scanned at 300 dpi. .1) & .2) - Photo, colour, c1985. Fortuna Villa – Reception/Music Room leadlight windows. .3) - Photo, colour, c1985. Fortuna Villa – Entrance foyer door and leadlight windows. .4) - Photo, colour, c1985. Fortuna Villa – Entrance foyer vaulted ceiling. .5) - Photo, colour, c1985. Fortuna Villa – Dressing Room bay leadlight windows. .6) - Photo, colour, c1985. Fortuna Villa – Dressing Room wood panel wardrobe (concealed marble bath inside). .7) - Photo, colour, c1985. Fortuna Villa – Main bathroom’s solid cedar toilet chest and water pitcher set. .8) to .14) - Photo, colour, c1985. Fortuna Villa – Drawing Room bay leadlight windows. .15) to .16) - Photo, colour, c1985. Fortuna Villa – Cupola stairway leadlight windows. .17) - Photo, colour, c1985. Fortuna Villa – Dining/ballroom doorway with velvet wallpaper. .18) - Photo, colour, c1985. Fortuna Villa – Dining/ballroom. .19) - Photo, colour, c1985. Fortuna Villa – Billiard room’s timber vaulted ceiling. .20) & .21) - Photo, colour, c1985. Fortuna Villa – Top floor nursery samples of original wallpaper. .22) - Photo, colour, c1985. Fortuna Villa – Top floor ballroom/gymnasium’s elaborate vaulted ceiling.There are brief descriptions on a note behind each photograph.royal australian survey corps, rasvy, army survey regiment, army svy regt, fortuna, asr

Frank Wright was a renown resident of Smeaton, where he was born on 2 August 1901. He lived at Laura Villa, and attended Smeaton State School. His father William was a gold miner and his mother's name was Sarah. Their family won many singing and instrumental awards. Frank was tutored by Percy Code and was awarded a gold medal for the highest marks in the ALCM examinations in the British Colonies at the age of seventeen years. He became the Australian Open Cornet Champion by the age of eighteen. A year later, Frank conducted the City of Ballarat Band, and later the Ballarat Soldiers’ Memorial Band. He formed the Frank Wright Frisco Band and Frank Wright and his Coliseum Orchestra. These bands won many South Street awards, and Frank as conductor won many awards in the Australian Band Championship contest. In 1933 Frank Wright sailed to England to conduct the famous St Hilda’s Band and was later appointed Musical Director of the London County Council, where he organized many amazing concerts in parks, in and around the London district. He was made Professor of Brass and Military Band Scoring and conducted at the Guildhall of Music and Drama. Frank was often invited to adjudicate Brass Band Championships around Europe, in Australia, including South Street and in New Zealand. The Frank Wright Medal at the Royal South Street competition is awarded to an individual recognized as making an outstanding contribution to brass music in Australia.1). Black and white photograph of a semicircular structure set amidst trees on the banks of a lake, with the reflection seen in the lake below. The structure is a concert bowl, with numerous spotlights on the ceiling lighting the stage area below. On the stage is a group of musicians playing. The place is the Concert Bowl in Kenwood, Hampstead, London. The musicians are the London Symphony Orchestra, conducted by Frank Wright. 2). Black and white newspaper clipping of the same scene with a caption. The newspaper is 'The British Bandsman'.1). Written in pencil on back - Kenwood, Hampstead, London, c1969 2). Typed caption - A Remarkable Photograph.The many thousands of visitors to Kenwood, home of outdoor Concerts in Hampstead, London, will recognise the scene of the Concert Bowl, looking over the lake. Our photograph was taken on 7 June this year and shows the London Symphony Orchestra conducted by Frank Wright. The music performed was Mr Wright's Prelidio Marziale and the occasion was the 100th performance at Kenwood.frank wright, conductor, brass bands, london symphony orchestra, kenwood hampstead, concert bowl, reflection on lake

Colour enlargement of a photograph (slide) of Southesk (formerly Ordsall) in Cotham Road, Kew (demolished 1970).The ceilings of and architraves of Ordsall were painted by artists employed by the decorating company, Cullis Hill & Co. The frescos, of which fragments survive, were some of the most important murals used as elements of interior decoration in Melbourne during the Boom Period of the 1880s. These photographs were taken immediately prior to the demolition of the house, and are the best examples of the murals.The most significant decorative aspects of Southesk (formerly ‘Ordsall’) were the murals in the front two rooms. An article in the Melbourne Argus in 1882 records that Mr Vandenbrandt and Signor Rizzi created these under the supervision of Cullis Hill. This fresco from the ceiling of the ballroom is believed to depict one of the ‘boldly drawn four great geographical divisions of the Earth’. The crowned woman, believed to represent Europe, stands aloft in a chariot drawn by cherubs holding garlands of flowers.david carnegie, john halfey, southesk - cotham road - kew (vic), ordsall - cotham road - kew (vic)

See Item 11000.189Photograph of Hanro Sample Room: Black and white photograph glued onto card. The room has tall ceilings with three banks of studio lighting and two sets of large windows at the back of the wooden entrance door. On the right wall above the racking is two lighted display cases. To the left and right of the room the Hanro items are displayed is wood style cabinetry with draws under on the left. In the foreground is part of the reception desk. Box 116Aphotograph, building, hanro, hanro.

This is a common small 'meat safe' used in most homes prior to the arrival of Refrigerators. Food, such as milk, butter, cooked meat would be stored for a short time in this safe. It would be suspended from the ceiling / roof in a cool place - Dairy - and the mesh sides allowed air circulation while providing protection from insects and vermin.A green, tin meat safe with mesh sides and a hinged door with a latch lock. early settlers, pioneers, food preservation, meat safe, kalgoolie safe, moorabbin, bentleigh, cheltenham, ormond, dairy products, diseases, vermin

Black and white photograph. One male with right hand on wheel of control valve in the compressed air pipe outlet of a two stage or compound air compressor with con rod and crank shaft to a large flywheel. Two belts to a vertical governor. Outgoing air pipe vertical to ceiling of enclosing building. Inscriptions: Nameplate or bed plate 'A Roberts and sons, Engineers, Bendigo' Lower left corner handwritten 'with A Rob. Compliments' On back - 'Compound Air Compressor'.machinery, compressors, compound air compressor, worker, male

Bendigo Advertiser "The way we were" from 1999. Residence: Letheby Road, Eaglehawk.. Built in 1905 at a cost of 850 pounds, this was the original home of Abraham Albion Steward, son of the owner of the Albion Brewery. The home has 3.7 metre ceilings, spacious rooms and a cellar below the kitchen floor. The sandstone faced building at the rear of N. 26 is not original, having been removed from n. 84 Sailors Gully Road and re-erected.newspaper, bendigo advertiser, the way we were

Colour enlargement of a photograph (slide) of Southesk (formerly Ordsall) in Cotham Road, Kew (demolished 1970).The ceilings of and architraves of Ordsall were painted by artists employed by the decorating company, Cullis Hill & Co. The frescos, of which fragments survive, were some of the most important murals used as elements of interior decoration in Melbourne during the Boom Period of the 1880s. These photographs were taken immediately prior to the demolition of the house, and are the best examples of the murals.The most significant decorative aspects of Southesk (formerly ‘Ordsall’) were the murals in the front two rooms. An article in the Melbourne Argus in 1882 records that Mr Vandenbrandt and Signor Rizzi created these under the supervision of Cullis Hill. This fresco from the ceiling of the ballroom is believed to depict two of the Seasons. Signor Rizzi was a renowned painter of flowers. He is credited with painting these parts of the murals. Examples of his floral paintings can still be seen at Villa Alba in Walmer Street.david carnegie, john halfey, southesk - cotham road - kew (vic), ordsall - cotham road - kew (vic)

This sconce - wall mounted candle holder or light fixture is simple / basic without any decoration. It was able to swivel. It may have been used on either the interior o exterior walls of buildings. The light is usually, but not always, directed upwards and outwards, rather than down. The long bracket kept the candle a safe distance from the wall and ceiling.This sconce was used by a resident of the Kiewa Valley.Shiny metal rod with candle holder at one end and a small thin rod at the other for attaching to a device on a wall. The candle holder is surrounded by a metal shallow 'cup' with 11 oval holes enabling the wax to fall to the centre where there is a hollow globe and allowing the light to shine upwards.sconce, candle holder, wall mounted candle holder

Two coloured postcards. One of displays at the Dairy Centre, Newhaven. The second of Rhylston Park homestead, Cowes and it’s display of antiques and clocks.Dairy Museum, Phillip Island Road, Newhaven. Victoria 3925. Phone (059)567583 All Hours Rhylston Park Homestead Thompson Ave Cowes 3922 Phone (059)59522856. Rhylston Park(1886) features a display of over 380 antique clocks and watches. This unique collection is enhanced by the original homestead with beautiful lead light, ornate metal ceilings and marble fireplaces.the dairy centre, newhaven, homes, postcards

Early childhood educator Sandie Mackevicius holds a small boy as he reaches overhead for some wooden rods that are suspended from the ceiling. Beside them is a large square cube with holes, that children can play in, and outside the window there is a grassed area bordered by trees. The curtains are distinctly patterned and the room stretches out behind them. This image was probably taken at RVIB School.rvib school, royal victorian institute for the blind, sandie mackevicius

The Norman Oliver collection. Norman Oliver was three times Mayor of Bendigo - 1950-51, 1964-65, 1970-71. Three typed pages titled 'Mayor Speaks: March 27 1965. Topics include : garden party at Government House, Capital Theatre concert in aid of the Masonic Hospital, visit of the Archbishop of Canterbury, painting of the Town Hall ceiling, Commonwealth Youth Sunday, importance of the Ordnance Factory to Bendigo, and the success of the Home Decorator course at the Town Hall.bendigo, council, report, norman joseph oliver , councillor norman oliver. mayor of bendigo. ordnance factory (bendigo).

'Lost Glories: a memorial to forgotten Australian buildings' was published by David Latta in 1986. It tells the story of a number of significant Australian buildings that had previously been demolished. A chapter in the book was devoted to Goathland, later known as Tara Hall. To supplement the text, he sourced photographs from a range of suppliers, chiefly the Royal Women's Hospital which had once owned Tara Hall, but had sold it in 1960. This is one of the photographs donated to KHS by the author. The Drawing Room, Tara Hall, circa 1957. A reception room in Tara Hall (previously named Byram, Goathland and Lowan). The room is presumed to be the original drawing room. In the La Trobe collection, there is a drawing by Charlie Hammond, depicting a group of painters who are gilding the elaborate stucco ceiling of this room. The drawing is dated 16 September 1889. The elaborate stucco decoration is characteristic of E. G. Kilburn’s late style. Kilburn, of Ellerker & Kilburn, designed Byram for the industrialist George Ramsden in 1888. Typed inscription on reverse: "A sitting room, one of many handsomely decorated rooms at Tara Hall.( Royal Women's Hospital, Melbourne)."byram, goathland, tara hall, lowan, studley park (kew), george ramsden, sir malcolm mceacharn, edward george kilburn (architect), studley park road (kew)

Set of two personal papers hand written on approx. A5 sheets, ,1 - "Principle Dimensions of Tram Body Work" - lists various dimension including ceiling clearance height, door sizes, step for Z class trams, 1041 and the W7. .2 - "ASEA Truck" - 8 sheets stapled in the top left hand corner, describing the various dimensions, systems, mass, braking, motor, gear boxes, wheels, suspension systems, motor alternators, trolley pole head, foot controllers and the ASEA Tramiac unit.trams, tramways, z class, new trams, w7 class, 1041, prototype tramcar, bogies, trucks, asea, brakes, tram 1, tram 1041

Pearce's Park is situated on the corner of Barkly and Gladstone Streets, Mount Pleasant (although it is sometimes described as being in Golden Point and Ballarat East). Isaiah Pearce was an owner of a goldmine and mayor. He built Clowance House in Barkly Street and chose not to build around Lake Wendouree as he thought it was snobbish. Since Pearce's death, the home has been a maternity hospital and a women’s boarding house. It includes a marble-effect entrance, fireplaces, ceilings and cornices. Photograph of Pearce's Park in Mount Pleasant.ballarat east, pearce's park, mount pleasant

This photograph records the interior of St Nicholas Seamen's Church at 139 Nicholson Street, Williamstown, Victoria, which was purchased and furnished around 1943. The furniture and furnishings are now part of the St Nicholas Seamen's Church collection. THE MISSIONS TO SEAMEN (Brief History: for more, see our Reg. No. 611, Set of Pews) The Missions to Seamen, an Anglican charity, has served the world's seafarers since 1856 in Great Britain. It symbol is a Flying Angel, inspired by a Bible verse. Today there are centres in over 200 ports worldwide where seamen of all backgrounds are offered a warm welcome and provided with a wide range of facilities. In Victoria, the orgainsation began in Williamstown in 1857. It was a Sailors’ Church, also known as ‘Bethel’ or the ‘Floating Church’. Its location was an old hulk floating in Hobson’s Bay, Port of Melbourne. It soon became part of the Missions to Seamen, Victoria. In the year 2000 the organisation, now named Mission to Seafarers, still operated locally in Melbourne, Portland, Geelong and Hastings. The Ladies’ Harbour Lights Guild was formed in 1906 to support the Missions to Seamen in Melbourne and other centres such as Williamstown. Two of the most significant ladies of the Guild were founder Ethel Augusta Godfrey and foundation member Alice Sibthorpe Tracy (who established a branch of the Guild in Warrnambool in 1920). The Guild continued its work until the 1960s. In 1943 a former Williamstown bank was purchased for the Missions to Seaman Club. The chapel was named St Nicholas’ Seamen’s Church and was supported by the Ladies’ Harbour Lights Guild, the Williamstown Lightkeepers’ Auxiliary and the League of Soldiers’ and Sailors’ Friends. It ceased operation in 1966. A Missions to Seamen Chapel and Recreation Room was a significant feature of ports during the late 1800s and into the 1900s. It seemed appropriate for Flagstaff Hill to include such a representation within the new Maritime Village, so the Melbourne Board of Management of Missions to Seamen Victoria gave its permission on 21st May 1979 for the entire furnishings of the Williamstown chapel to be transferred to Flagstaff Hill. The St Nicholas Seamen’s Church was officially opened on October 11, 1981, and closely resembles the Williamstown chapel. This item is significant through its association with the St Nicholas' Mission to Seamen Church in Williamstown, Melbourne, established in 1857.Photograph of St Nicholas Seamen's Church, Williamstown. Sepia photograph. The photograph shows the inside of the Chapel of Mission to Seamen, including organ, pews and other furniture and furnishings. There is a circular stained glass window high on the back wall depicting a sailor at the helm of a ship and a man standing behind him and pointing the way - "Christ Showing The Helmsman The Way". A Sanctuary Light is suspended from the ceiling. The Sanctuary chars are visible. This shows the St Nicholas Seamen's Church in Williamstown, the furnishings and furniture of which is now part of the St Nicholas Seamen's Church Collection’.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, st nicholas mission to seamen's church williamstown, mission to seamen williamstown, mission to seamen victoria, st nicholas mission to seamen, chapel window, christ showing the helmsman the way, stained glass window, st nicholas seamen's church, religion, religious service, sailor's rest, ladies harbour light guild

The artefact is a short cross-section of part of a functional part of a brass fitting that suspended a gas lamp, providing structural support, and internally, supplying the gas for its ignition. It combines elegant design with the elements required for safe and efficient delivery of gas. It was recovered from the LOCH ARD shipwreck site. There are similar artefacts in the Flagstaff Hill collection. The LOCH ARD left Gravesend (London) on 2 March 1878, bound for Melbourne, with a crew of 37, 17 passengers, and a diverse and valuable cargo of manufactured goods, luxury items, and refined metal. Some of the cargo was intended for Melbourne’s first International Exhibition to be held in 1880. At 3 am, 1 June 1878, the ship was wrecked against the high limestone cliffs of Mutton Bird Island on Victoria’s south west coast near Port Campbell. Only two people survived the disaster — Tom Pearce, a male crew member, and Eva Carmichael, a female passenger. The cargo proved too difficult to salvage in the vessel’s exposed condition and was largely written off. The manifest of goods in the LOCH ARD’s holds included “Fittings gas (4 cases)”. The gas lighting of streets, public buildings, and the dwellings of wealthier private citizens, was already well advanced in the cities and major towns of the Australian colonies. In 1841 Sydney was the first to be gas lit with 23 street lamps, 106 hotel lamps, and 200 private residences connected to the Darlinghurst “gasometer” by an underground network of metal pipes. “The dim days of oil and tallow are gone by!” pronounced one newspaper, flushed with civic pride. The 1850s Gold Rush promoted a similar attitude of confidence and affluence in the Colony of Victoria. In 1855 Melbourne was connected to its own system of subterranean gas pipes despite the same high rates of 25 shillings per 1000 cubic feet being charged, (reduced to 15 shillings in 1865 with cheaper sources of coal). By1858 Kyneton had its own gasworks to light the town (fuelled by eucalyptus leaves) and Geelong followed suit in 1860. Had the LOCH ARD reached its intended destination in 1878, it is probable that the 4 cases of brass gas light fittings on board would have found a ready market.The gas fitting is significant for its association with the LOCH ARD shipwreck, which is of State significance and is listed on the Victorian Heritage Register S417. The fitting is an example of a late 19th-century plumbing and light fitting.A pressed brass gas light fitting, recovered from the wreck of the LOCH ARD. The elegant and functional fitting extends from an ornate 8cm diameter ceiling flange, and comprises two short lengths of fluted column pipe with a brass joiner that are severed (cut off) at the end. Within this decorative outer layer of 3cm diameter is a full length brass tube liner, which is in turn protecting a narrow 0.75cm copper gas pipe that also runs full length. The artefact is generally unrestored with reddish/cream sandstone concretion, but is in good condition.warrnambool, shipwreck coast, flagstaff hill, shipwrecked coast, flagstaff hill maritime village, flagstaff hill maritime museum, shipwreck artefact, maritime museum, gas lamps, gas lighting, gas works, brass fittings, gas pipes, loch ard, 1878 shipwreck, victorian affluence, colonial gas lighting

Colour enlargement of a photograph (slide) of Southesk (formerly Ordsall) in Cotham Road, Kew (demolished 1970).The ceilings of and architraves of Ordsall were painted by artists employed by the decorating company, Cullis Hill & Co. The frescos, of which fragments survive, were some of the most important murals used as elements of interior decoration in Melbourne during the Boom Period of the 1880s. These photographs were taken immediately prior to the demolition of the house, and are the best examples of the murals.The most significant decorative aspects of Southesk (formerly ‘Ordsall’) were the murals in the front two rooms. An article in the Melbourne Argus in 1882 records that Mr Vandenbrandt and Signor Rizzi created these under the supervision of Cullis Hill. This fresco from the ceiling of the drawingroom was described by the reporter as ‘done in the quaint old 14th century style … The second panel represents a hawking party. The ladies hold aloft the natural perches for their falcons. The men, seated in picturesque variety of attitude, hold their cross-bows, and a boy is relieving a heron from an arrow which has pierced its bosom.’david carnegie, john halfey, southesk - cotham road - kew (vic), ordsall - cotham road - kew (vic)

Pearce's Park is at the corner of Barkly and Gladstone Streets, Mount Pleasant, a suburb of Ballarat. It has a children's playground and historical bandstand. See https://www.youtube.com/watch?v=CVN2MStaHgE Isaiah Pearce was an owner of a goldmine and mayor. He built Clowance house in Barkly Street and chose not to build around Lake Wendouree as he thought it was snobbish. Since Pearce's death, the home has been a maternity hospital and a women’s boarding house. It includes a marble-effect entrance, fireplaces, ceilings and cornices. Colour image of Pearce's Park.pearce's park, bandstands, isaiah pearce, mount pleasant

Built in 1886, this Victorian classical building was once the site of Reid's New York Bakery. The verandah was added 10 years later. The building boast a grand facade, Edwardian balcony, hand-painted ceiling and grand entrance arch. It features hand painted murals, leadlight windows, and an outstanding timber staircase. The former coffee palace is part of the temperance movement of the 19th century and was one of the last in Victoria. In 2019 the former Reid's Coffee Palace went through restoration.A colour photograph of the entrance to Reid's Guest House, at 128 Lydiard Street South, Ballarat.reid's guest house, ballarat, new york bakery, lydiard street north

Dr Carl von Brandenstein was born in 1909 in Hanover, Germany. He studied oriental languages and the history of religion at Berlin University (1928-1934) and Leipzig (1938-1939). His doctoral thesis was a dissertation on the iconography of Hittite gods. He was arrested in Persia in 1941 and sent to Australia where he was interned at Loveday Camp South Australia and in Camp 1 Tatura from January 1945 until his release in August 1946.Four artworks in a dark wood frame with terracotta coloured matte. Item 1: Hospital Waranga. Tall gum trees in foreground, blue sky . Staff standing under the veranda and a red cross vehicle parked in front. A barbed wire fence surrounds the hospital. Item 2: Inside the Library. Item 3: Camp Barracks. Four huts in a row . A tree and garden in front. Item 4: Reading Room. A table in centre of the room with a single chair. Books and stationery items on the table. A lamp hangs from the ceiling. Bookshelves along the walls and paintings on the wall. Item 2: "am letzten Tage deiner Internierung dem lieben Hans Wulff fur Errinnerung an gemeinsam gebautes" (English Translation: On the last day of your internment to dear Hans Wiulff for remembrance of what we built together. camp 1, tatura, carl von brandenstein, internment camp loveday, waranga hospital, library, hans wulff

Colour enlargement of a photograph (slide) of Southesk (formerly Ordsall) in Cotham Road, Kew (demolished 1970).The ceilings of and architraves of Ordsall were painted by artists employed by the decorating company, Cullis Hill & Co. The frescos, of which fragments survive, were some of the most important murals used as elements of interior decoration in Melbourne during the Boom Period of the 1880s. These photographs were taken immediately prior to the demolition of the house, and are the best examples of the murals.Notwithstanding its grand Italianate façade, the most important aspect of Southesk (formerly ‘Ordsall’) were the murals in the front two rooms. An article in the Melbourne Argus in 1882 records that Mr Vandenbrandt and Signor Rizzi created these under the supervision of Cullis Hill. This fresco from the ceiling of the ballroom depicts ‘Night, represented by a female figure in a diaphanous garment, skirted with flowers, wafted before the approaching dawn into space illuminated by the moonlight, and peopled by the fairies, is a striking picture. Flying with her are an attendant Cupid bearing an artificial light, and a tired little votary of Bacchus with a reversed wine-pitcher and goblet’.david carnegie, john halfey, southesk - cotham road - kew (vic), ordsall - cotham road - kew (vic)

Colour enlargement of a photograph (slide) of Southesk (formerly Ordsall) in Cotham Road, Kew (demolished 1970).The ceilings of and architraves of Ordsall were painted by artists employed by the decorating company, Cullis Hill & Co. The frescos, of which fragments survive, were some of the most important murals used as elements of interior decoration in Melbourne during the Boom Period of the 1880s. These photographs were taken immediately prior to the demolition of the house, and are the best examples of the murals.The most significant decorative aspects of Southesk (formerly ‘Ordsall’) were the murals in the front two rooms. An article in the Melbourne Argus in 1882 records that Mr Vandenbrandt and Signor Rizzi created these under the supervision of Cullis Hill. This fresco from the ceiling of the drawingroom was described by the reporter as ‘done in the quaint old 14th century style’. This section depicts ‘out-door sports. The fishing-lines of the jester and the almoner have become entangled, and a large wolf-dog seems disposed to arbitrate in the difficulty, while a party of young men and maidens are angling, feeding swans, or training hawks for a future day’s sport.’david carnegie, john halfey, southesk - cotham road - kew (vic), ordsall - cotham road - kew (vic)

The Mission and the Ladies Harbour Light Guild organised many social events for seamen especially during the Christmas period. This one is one o the many events organised at the St John's College (formerly Cumloden College between 1891-1905) on 195-201 Alma Road, St Kilda East, in what seems to be the gymnasium (as per the ring hanging from the ceiling on the right). The reverend seen at the back could be Canon John Stephen Hart, successor of Canon Reginald Stephen, who welcomed the groups at the school on this occasions.The photograph depicts a group of seamen seated at tables inside a room waiting for a dinner to be served. Only one lady dressed in white is amongst them. At the back a reverend can be seen standing.Xmas Day 1914 at St John's Collegewwi, st john's college, cumloden college, dinner, christmas, lhlg, st kilda east, alma road