non-fictionHow to read German Gothicgerman language, german gothic

Diggers & Mining. Gold. The Chinese soon became very unpopular with the white diggers on the goldfields. (1) Much of the hostility to them was the result of sheer prejudice directed against people who were alien in race, religion, and language; whose standard of living, by European criteria, was low; and who did not mix with other diggers, but lived - preforce - in separate camps in the diggings. Markings: 22 994.GOL. Used as a teaching aid.hanimounteducation, tertiary, goldfields

A book titled ' The Life of John Bunyan. Author of The Pilgrim's Progress.' 'Immortal dreamer and writer of the most popular book, except the Bible, in the English language. Religious teacher and sufferer for conscience sake.' Published London: Ward, Lock & Co., Salisbury Square, E.C. 177 - 192 pgs. This booklet is one of a series of 53 Ward & Lock's Penny Books for the People.' Biographical Series.' Price one penny. 'Biographical Series.' There are also advertisements of note.books, biography, john bunyan, lydia chancellor, collection, male, individual, person, writer, ward & lock's penny books for the people, biographical series, penny books, book, books, literature, english literature, advertisements, pilgrim's progress

Green cardboard dinner menu folded in half. Printed lettering in green coloured ink on front page reads, 'Dinner to Johnnie' commemorating Miss Amy Johnston and her solo flight from London to Australia., given by Messrs,CC Wakefield & Co. LTD, The De Havilland Aircraft Pty,Ltd., The Shell Coy, of Australia LTD, Wentworth Hotel, Sydney --- -- June 10th ,!930. Printed image of double wing aircraft within centre rectangle. Miss Amy Johnston scroll printed using red coloured ink in top left corner. Centre page headed Menu, is followed by various dinner course written in French language. Dancing at 9pm printed at page bottom. Countess Lamborice, Count Lamborice written in pencil top right corner. Back page captioned Autographs in red printed ink contains eighteen pencilled signatures including Howard Jolley and Violet Jolley.bendigo, history, aviation 1920s.

Diggers & Mining. The gold licence. The Government Camp. Many of the goldfields police were men of poor character, who carried out their duties with blustering arrogance, demanding the production of the licence with threatening language, and sometimes open violence; and hauling off as common criminals men who, by some mischance, did not have their licences on their persons, when, given a few minutes, they could have shown they had complied with the law. Markings: 35 994.LIF. 4. Used as a teaching aid.hanimounteducation, tertiary, goldfields

Honi soit qui mal y pense is a maxim in the Anglo-Norman language, a dialect of Old Norman French spoken by the medieval ruling class in England, meaning "shamed be whoever thinks ill of it", usually translated as "shame on anyone who thinks evil of it". Wikipedia. Dieu et mon droit, which means 'God and my right', is the motto of the monarch of the United Kingdom. It appears on a scroll beneath the shield of the version of the coat of arms of the United Kingdom. WikipediaCoffee Mug with portrait of Queen Elizabeth II in center framed in blue with Honi- Soit- Qui -Mal -Y -Pense in border and crown on top. Thistle, clover and red flower either side. Dieu - Et - Mon -Droit in garland along bottom. On Back E II R with Crown in Centre- The Coronation of Queen Elizabeth II - June 2nd 1953. Gold gilding on rim of mug Empire England 1 53 coronation queen elizabeth ii, june 2nd 1953, queen elizabeth ii

Booklet owned by Arthur Baggaley, Fruiterer, who lived at 15 Forest Street, Bendigo. His business 'C.A. Baggaley & Son' was at Covent Garden, Mitchell Street, Bendigo. Arthur was born in Bendigo in 1903 to Charles Arthur Baggaley and Ada (Mallon). He married Evelyn May Grigg. Arthur died in September, 1993.Seven page booklet. On front cover: 'Laughable Dialogues. For School and Public Entertainments, social gatherings &c, &c., free from objectionable language and incident, No. 22, Done Brown, by S. Knowles', a comic play for five males and three females. Baggaley CollectionOn left hand side of front cover 'Arthur Baggaley' in blue pen. fruiterer, confectioner, business, mitchell street, covent garden, entertainment, play script, william tell, historical play

Booklet owned by Arthur Baggaley, Fruiterer, who lived at 15 Forest Street, Bendigo. His business 'C.A. Baggaley & Son' was at Covent Garden, Mitchell Street, Bendigo. Arthur was born in Bendigo in 1903 to Charles Arthur Baggaley and Ada (Mallon). He married Evelyn May Grigg. Arthur died in September, 1993.Seven page booklet. On front cover: 'Laughable Dialogues. For School and Public Entertainments, social gatherings &c, &c., free from objectionable language and incident, No. 17, The Haunted Room, by S. Knowles'. A comic play, the script deals with the issues that emerge when an older man woos a much younger woman. A poem at the end of the script states: When Winter would with Springtime mate, 'Tis sure to breed contempt and hate, For youth and age can ne'er agree, When joined in loveless matrimony, An old man lacks e'en common sense, Who weds a maid on false pretense' and etc. Baggaley CollectionOn left hand side of front cover 'Arthur Baggaley' in blue pen. fruiterer, confectioner, business, mitchell street, covent garden, entertainment, play script, marriage, age

Booklet owned by Arthur Baggaley, Fruiterer, who lived at 15 Forest Street, Bendigo. His business 'C.A. Baggaley & Son' was at Covent Garden, Mitchell Street, Bendigo. Arthur was born in Bendigo in 1903 to Charles Arthur Baggaley and Ada (Mallon). He married Evelyn May Grigg. Arthur died in September, 1993.Seven page booklet. On front cover: 'Laughable Dialogues. For School and Public Entertainments, social gatherings &c, &c., free from objectionable language and incident, No. 36, 'Love in a Cottage, for sic males and four females' Baggaley Collectionfruiterer, confectioner, business, mitchell street, covent garden, entertainment, play script

Booklet owned by Arthur Baggaley, Fruiterer, who lived at 15 Forest Street, Bendigo. His business 'C.A. Baggaley & Son' was at Covent Garden, Mitchell Street, Bendigo. Arthur was born in Bendigo in 1903 to Charles Arthur Baggaley and Ada (Mallon). He married Evelyn May Grigg. Arthur died in September, 1993.Six page booklet, on front cover: Laughable Dialogues for School and Public Entertainments, Social Gatherings, &c, &c, (free from objectionable language and incident) by S. Knowles, No. 13 "Is Marriage a Failure?'.Baggaley CollectionOn front cover overwritten on text "A. Baggaley, Forest Street, Bendigo'.fruiterer, confectioner, business, mitchell street, covent garden, entertainment, play script, marriage

Booklet owned by Arthur Baggaley, Fruiterer, who lived at 15 Forest Street, Bendigo. His business 'C.A. Baggaley & Son' was at Covent Garden, Mitchell Street, Bendigo. Arthur was born in Bendigo in 1903 to Charles Arthur Baggaley and Ada (Mallon). He married Evelyn May Grigg. Arthur died in September, 1993.Eight page booklet, on front cover: Laughable Dialogues for School and Public Entertainments, Social Gatherings, &c, &c, (free from objectionable language and incident) by S. Knowles, No.35 , "Mr. Bompas Outwitted' a play for five males and four females. Baggaley Collectionfruiterer, confectioner, business, mitchell street, covent garden, entertainment, play script, marriage

Yhonnie SCARCE (1973- ) Born Woomera, South Australia Language group: Kokatha, Southern desert region and Nukunu, Spencer region Yhonnie Scarce works predominantly in glass. She majored in glass withing a Bachelor of Visual Arts (Honours) course at the South Australian School of Art, Adelaide, and holds a Master of Fine Arts from Monash University. One of the first contemporary Australian artists to explore the political and aesthetic power of glass, Scarce describes her work as ‘politically motivated and emotionally driven’. Scarce’s work often references the on-going effects of colonisation on Aboriginal people, In particular her research focus has explored the impact of the removal and relocation of Aboriginal people from their homelands and the forcible removal of Aboriginal children from their families. (https://thisisnofantasy.com/artist/yhonnie-scarce/, accessed 10 September 2018)Artist's Statement 'The More Bones the Better', 2016 Yhonnie Scarce was born in Woomera, SA and belongs to the Kokatha and Nukunu peoples. Scarce embraces a non traditional approach to glass blowing using glass as more than a mere material, acting as a lens and a mirror, Scarce reflects and exposes the tragedies of Australia’s colonisation. She applies the technical rigours of traditional glass blowing techniques in an innovative and unconventional manner. In particular Scarce uses glass to explore the lives and histories of Aboriginal Australians. Hand blown glass is shaped, engraved, painted and smashed to create indigenous fruits and vegetables such as bush bananas, bush plums and long yams symbolic of her peoples culture and traditions. With their elongated, torso-like shapes, they even evoke human bodies. Akin to a gatherer of bush food Scarce creates glass-gatherings of the persecuted. The repetition of brittle ambiguous bodies collected for experimentation and examination conjures the relentless impact of colonisation and the litany of abuses suffered by Aboriginal people. Within her research Scarce encountered a variety of ethnographic studies examining the use of scientific interventions amongst Indigenous cultures. These include Government sanctioned illegal drug testing of children in orphanages and other dubious medical practices amongst indigenous prison inmates. This work metaphorically looks at these situations and poses questions of what might have gone on in such a laboratory. The judge of the 2017 Guirguis New Art Prize (GNAP), Simon Maidment, Senior Curator, Contemporary Art, National Gallery of Victoria said; “The winning work by Yhonnie Scarce captures the sensitivity to materials she displays throughout her artistic practice. The blown and shattered glass elements are a delicate contrast to the shocking and little discussed histories of Aboriginal exploitation and abuse in the name of science in Australia. Engaging this topic, this work is haunting, in the same way those lived and documented experiences continue to haunt the collective unconscious of this country. Yhonnie Scarce’s work, The More Bones the Better 2016, I believe makes an important contribution to the Collection of Federation University Australia and will engage and move diverse audiences with its technical accomplishment, beauty and message. Yhonnie Scarce was born in Woomera SA and belongs to the Kokatha and Nukunu peoples. Scarce embraces a non-traditional approach to glass blowing using her medium as more than a mere material. Applying the technical rigours of traditional glass blowing in an innovative and unconventional manner, Scarce’s glass objects act as a lens and a mirror to reflect and expose the tragedies of Australia’s colonisation and, in particular, explore the lives and histories of Aboriginal Australians. Hand-blown glass is shaped, engraved, painted and smashed to represent indigenous fruits and vegetables such as bush bananas, bush plums and long yams, symbolic of Scarce’s people’s culture and traditions. While these elongated shapes on the one hand represent fruit and vegetables, gathered and grouped as in the gathering of bush food, Scarce’s torso-like bodies and forms are glass ‘gatherings’ representative of the gathering of people. Here, the many brittle bodies act as a metaphor for the collection, experimentation and examinations undertaken by government authorities on Aboriginal communities researched by Scarce. Exposing a variety of ethnographic studies, examining the use of scientific interventions on Indigenous cultures, Scarce also revealed Government sanctioned illegal drug testing of children in orphanages and other dubious medical practices undertaken on indigenous prison inmates. Scarce’s gatherings also reflect the impact of colonisation and the relentless conjuring and litany of abuses suffered by Aboriginal people. The More Bones the Better metaphorically looks at these situations and poses questions of what was undertaken and investigated in these laboratories. guirguis new art prize, yhonnie scarce, glass, aboriginal

Index, bib, notes, p.632.non-fictionOne country, two languages, and a sequence of great artists in every generation. From the Gaelic bards to the Belfast Agreement, Irish writers have drawn equally on two traditions to heal the rifts of their land." "A celebration of the enduring Irish classics, this book by one of their most eloquent and adept readers offers an unusually brilliant and accessible survey of the greatest works since 1600 in Gaelic and English. Together, they have shaped one of the world's most original literary cultures.english literature - irish authors, irish literature - history and criticism

Ill, bib, ports, p.107.non-fictionGaeilge Ghriandóite: A go Z a hAon/ Sunburnt Gaelic from A to Z, Edition One, records selected findings of four Australians about the neglected history of the Irish language and Gaelic culture in this country. Gaeilge Ghriandóite/ Sunburnt Gaelic means the Irish language as it is spoken and written in Australia, as it comes to grips with a new environment. It is written throughout in Irish and is the first, and only, such book about the topic. Readers will find that over the past two centuries there have been dramatic breaks in continuity but also common threads. Triggered by positive responses from both experts and general readers alike to talks and papers all four had given on the topic, at a meeting in August 2019 the authors decided that the time was ripe to present to the public some fruits of their collaboration. The book's 108 pages present historical and contemporary facts about Irish-language culture in Australia in short entries, arranged in alphabetical order, with over 60 illustrations. This format makes it easy to find information and suits the present stage of research and publication on the topic. Also the alphabetical listing provides a flexible format for future editions. The book includes two short overview pieces and the first detailed bibliography on the topic.australia - irish language, australia - irish culture

Index, ill, p.338.non-fictionA history of literature in the Irish language from the 5th century to the 20th century.irish literature - history and criticism, ireland - literary tradition.

Index, bib., ill, map, p.215.non-fictionThis book is about songs, stories, poems, prayers and accents - as well as events and monuments - of those whose original language was Irish. A first ever history of the Irish language and Gaelic culture in Victoria.victoria - social life and customs., irish- victoria - history.

Index, p.355.non-fictionTerence Brown traces the development of modern Ireland through a juxtaposition of key topics - nationalism, industrialisation, religion, language revival and censorship with an assessment of the major literary and artistic advances achieved during the same era.ireland - social life and customs, ireland - politics and government

Ill, maps, p.373.non-fictionEarly history of N.T. and explorations; Detailed account of intercepting Macassan proas around coast of Arnhem Land whilst author was Sub-Collector of Customs for 14 years; Names of proas and masters, Malay camps & smoke houses along coast & nearby islands; Natives employed by Malays in trepang fishing and collecting tortoiseshell, relationships between Malays and Aborigines; influences (physical & cultural); Habit of exchanging children between tribes (Roper R. & Normanton) for the purpose of learning each others language & customs; Description of native camps at Fort Dundas (1895) shelters, finding of bark water bags, types of canoes used; Platform burial at Daly R.; Sacred burial site on Maria Island; Geographical features, vegetation, climate etc., general ecology, depredations & murders by natives; Cannibalism practiced by Fitzmaurice River tribes. northern australia - description and travel, ethnography

Common wombats are short-legged, muscular, nocturnal marsupials that live in a wide variety of habitats throughout Australia. A common wombat can grow up to 1.2 metres in length and weigh up to 35 kilograms. The name “wombat” comes from the Darug language spoken by the Aboriginal Darug people, who originally inhabited the Sydney area. The wombat was first recorded in 1798 by explorer John Price on a visit to Bargo in New South Wales, however, wombats are depicted on Aboriginal rock-art that date back as far as 4,000 years ago. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum and the National Museum of Victoria, as well as individuals such amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century. This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century. Medium sized stocky wombat with a broad head and two muscular forelegs and two weaker hind legs that are met with long sharp black claws. The hair is long, thick and coarse in brown/yellow shades. The head features two small black eyes that have been made from glass, two short pointed ears and a bare nose pad. On wooden mount: BMM 5901 /taxidermy mount, taxidermy, wombat, animalia, vombatidae, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, common wombat

BHS CollectionWhite 3 ring binder contains information on Westgarthtown,Tatura german heritage trail with illustrations, photographs and maps, mostly written in German language.victoria, history, german, history-victoria-german-westgarthtown-tatura

On the crest of Stanhope Hill at Peter Street, Eltham, stands the former home of a couple, Clem and Nina Christensen who had a major influence on the literary development of post World War 2 Australia. Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p109 On the crest of Stanhope Hill at Peter Street, Eltham, stands the former home of a couple, who had a major influence on the literary development of post World War Two Australia. In 1946, Clem and Nina Christensen bought the house, which had been designed by Harold Desbrowe Annear, considered to be one of Australia’s most innovative architects in the first quarter of the 20th century.1 That year the stucco building with a metal roof, built in 1910, was extended to the north and south. The main residence was built of jarrah, with stucco walls, floors of Tasmanian hardwood and rooms panelled with Californian redwood (sequoia). The property included a cottage, former stables, a dairy and meat-house. From its beginnings the property has attracted artists and intellectuals. Official World War One artist, Will Longstaff, bought the property – then 15½ acres (6ha) around 1900. Famous for his painting The Ghosts of Menin Gate, now in the Australian War Memorial Canberra, Longstaff was the cousin of another well-known painter, Sir John Longstaff. Several leading artists visited Longstaff at Stanhope including Walter Withers of the Heidelberg School, who lived in Brougham Street, Eltham. In 1919, Theo Handfield, father of author and journalist John Handfield, bought the property from Mrs Longstaff. Then in 1924 the land was subdivided and most of the estate (80 blocks) was auctioned. The next owner was related to novelist Virginia Woolf. Bishop Reginald Stephen, Warden of Trinity College, bought the house and five acres (2 ha) in 1928. He was related to Sir Leslie Stephen, the first editor of the Dictionary of National Biography and Woolf’s father. Novelist and music critic John Harcourt, was the next tenant, while he and his wife Fay, built their mud-brick house Clay Nuneham, at the foot of Stanhope Hill. Dr Clem and Mrs Nina Christensen, lived in the house until their deaths. Clem Christensen – who died aged 91 in 2003 – was a poet, short story writer and painter. However, he is most noted for founding Australia’s foremost literary journal2 Meanjin (originally Meanjin Papers), which he described as ‘democratic left of centre’, in Brisbane in 1940. Clem brought Meanjin to Melbourne in 1945 and remained editor until 1975. Enormously influential, Meanjin spawned and encouraged many of Australia’s best literary talents and it had an international reputation. Meanjin was the first to publish such writers as Judith Wright and David Malouf and it encouraged writers like Patrick White and Peter Carey. Nina Christensen – who died aged 89 in 2001 – was founding Editor of the Melbourne Slavonic Studies Journal and pioneered the study of Russian in Australia. In 1946 she established the Department of Russian Language and Literature at The University of Melbourne, which she led until 1977. Nina’s graduates largely staffed subsequent departments, in other Australian universities.3 However Nina’s Russian heritage and Clem’s outspoken views caused problems. They were forced to defend themselves in the Petrov inspired Royal Commission on Espionage in the 1950s, but were exonerated. The Christensens attracted and hosted many distinguished Australian and foreign writers, artists and academics, including Nobel prize-winning novelist, Patrick White and the world’s then leading cellist, Mstislav Rostropovich.4 Other writers and intellectuals who visited Stanhope were: Vance Palmer, Alan Marshall, A D Hope, Xavier Herbert, Nevil Shute, Geoffrey Dutton, Martin Boyd, Judah Waten, Bruce Grant, Dorothy Hewett and Sir Herbert Read. Painters included: Danila Vassilieff, Arthur Boyd, Albert Tucker, Justus Jörgensen, Robert Hughes and Clifton Pugh. Academics included: Manning Clark, Geoffrey Blainey, W Macmahon Ball, Richard Downing, Geoffrey Serle and scientist Tim Marshall. Politicians included: Jim Cairns, Pauline Toner, Lance Barnard, Sir Paul Hasluck, Sheryl Garbutt and performance artists included: film star Olivia Newton-John, members of the Bolshoi ballet and the Russian State Ballet of Siberia.5 Nina Christensen was honoured in 2006 at the Eltham Living and Learning Centre with the building of an amphitheatre designed by V Sverdlin.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, clem christesen, eltham, nina christesen, peter street, stanhope