Photo: Note on back of photo states Öutside the Magazine '- coloured photo of three men standing in front of corrugated iron shed. Description attached reads' all the explosives for the mines in this area were stored here. A formed track runs to the door with earthworks all around to guard against blast. A trolley ran from each building on a wooden track. Wheels were copper. Two buildings formed the magazine, one in front of the other. This was to store caps and other explosives. Inside the magazine are numerous racks. Externally buildings were provided with copper lighting arrestors, later removed by vandals. Still to be seen are tracks in asphalt where woollen ( wooden ? ) rails ran. A good metal road ran right to magazine ( gravel) In front of the magazine building is botanical gardens area ( between it and Simpsons Road ). A cricket pitch also in the area more to the rear of Fitzpatrick's Hotel. Eaglehawk's first golf course is said to be in this area. Magazine keepers house still stands next to McLelland ( water bailiff )eaglehawk, powder magazine, eaglehawk, powder magazine, magazine, simpsons road, botanical gardens.

black and white photograph of the Great Extended Hustlers Quartz Mining claim. Photograph shows five weatherboard clad buildings with corrugated iron roofing. Poppet legs and cable support trestles. Bush logs in foregound at right. Office at left, battery house centre background. Main shaft right. Copy of original photo. On face of photo in indian ink: area of 24 acres, has 6 shafts, equals 4000 feet of sinking. No less than 13 levels and 16 x cuts making a total of 12000 feet. Amount spent in labour 228,000 ( pounds stg. ) Quartz raised 144,5000 tons and yields to date 188,000 ozs of gold. Dividends 585,000 ( pounts st.) nearly 20/-/ a share. Employment to nearly 200 men. It is stated this rich mine changed hands the early days for only 30/-/-. On back in black ink ' Gr. Extended Hustlers. Bottom right corner : A. Richardson/29 Harrison Street/Bendigo.N.J. Caireorganization, business, great extended hustlers mine

From the Victorian Heritage Register statement of significance H0791 The Marmalake/Murtoa Grain Store, originally the No.1 Murtoa Shed, is located within the Murtoa Grain Terminal, adjacent to the grain elevator tower and railway line. The shed is 280m long, 60m wide and 19m high at the ridge with a capacity of 3.4 million bushels. The hipped corrugated iron roof of the shed is supported on approximately 600 unmilled hardwood poles set in a concrete slab floor and braced with iron tie rods. These poles are the reason for use of the term "stick shed". With its vast gabled interior and the long rows of poles the space has been likened to the nave of a cathedral. An elevator at one end took wheat from railway trucks to ridge level where it was distributed by conveyor along the length of the shed, creating a huge single mound of grain. Braced internal timber bulkheads on either side took the lateral thrust of the wheat, and conveyors at ground level outside the bulkheads took wheat back to the elevator for transport elsewhere. Wheat had been handled in jute bags from the start of the Victorian wheat industry in the mid nineteenth century. Bulk storage had been developed in North America from the early 1900s. NSW began building substantial concrete silos from 1920-21. In Western Australia, farmers' co-operatives, who had to supply their own bulk storage from 1934-5, pioneered the use of low-cost horizontal sheds of timber and corrugated iron for bulk storage. Following its establishment in 1935 the Victorian Grain Elevators Board (GEB) planned a network of 160 concrete silos in country locations, connected by rail to the shipping terminal at Geelong. By the outbreak of the Second World War there was a worldwide glut of wheat, and Australia soon had a massive surplus which it was unable to export. Only 48 silos had been established under the Victorian Silo Scheme so far, and wartime material and labour restrictions prevented progress with this scheme. The storage deficit had become an emergency by 1941 as Britain obtained its imports from North America, rather than over the lengthy and difficult shipping route from Australia. In 1941 the GEB, under chairman and general manager Harold Glowrey, proposed large temporary versions of the horizontal bulk storage sheds already in use in Western Australia. The proposal was approved by the Victorian Wheat and Woolgrowers Association, who considered the use of shed storages as a longer term proposition. After initial resistance from the Australian Wheat Board, some of whose members represented wheat bagging interests, the Commonwealth and Victorian governments agreed to split the costs, and Murtoa was chosen as a suitable site for the first emergency storage. The main contractor, Green Bros, commenced work on the No.1 Murtoa Shed in September 1941, deliveries of bulk wheat began in January 1942, and the store was full by June of the same year. In the following years the Council for Scientific and Industrial Research (later CSIRO) conducted valuable research and experiment on the impacts and control of insect pests at the Murtoa No.1 shed. With these discoveries, and the development of more effective pesticides, use of the No.1 shed and the larger No.2 shed, erected in 1942/43, continued for many years. The No.2 shed was demolished in 1975. By the 1990s, pest resistance to pesticides and requirements for both pest free and insecticide free grain rendered open storage of this type unviable. The No. 1 store was also becoming increasingly expensive to maintain, and its use was phased out from 1989.Image of the Marmalake/Murtoa Grain Store which is of historical, architectural, scientific (technical) and social significance to the State of VictoriaDigital colour image of the interior of the Marmaduke . Murtoa grain storage facility better known as the Stick Shed. The shed was constructed in World War Two to store grain. The supporting columns are trees.marmalake, murtoa grain store, wheat store, stick shed, murtoa

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) "At the crossroads stands Allwood House with its well laid out garden. The original owners, the Hurst family, ran a nursery; the aligned palms, the cactus clumps, the introduced trees and shrubs show the plants then in fashion. On the other corners stand an old corrugated iron garage; a restaurant, designed and built 1980, but by using old materials it tries to retain the rustic character of its surroundings; and open space where a two storied Wineshop/Saloon once stood. The old Bank, now in the grounds of Allwood House has been moved a few doors down the street."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, hurstbridge, allwood house

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) "At the crossroads stands Allwood House with its well laid out garden. The original owners, the Hurst family, ran a nursery; the aligned palms, the cactus clumps, the introduced trees and shrubs show the plants then in fashion. On the other corners stand an old corrugated iron garage; a restaurant, designed and built 1980, but by using old materials it tries to retain the rustic character of its surroundings; and open space where a two storied Wineshop/Saloon once stood. The old Bank, now in the grounds of Allwood House has been moved a few doors down the street."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, hurstbridge, allwood house

This photograph is part of the Caulfield Historical Album 1972. This album was created in approximately 1972 as part of a project by the Caulfield Historical Society to assist in identifying buildings worthy of preservation. The album is related to a Survey the Caulfield Historical Society developed in collaboration with the National Trust of Australia (Victoria) and Caulfield City Council to identify historic buildings within the City of Caulfield that warranted the protection of a National Trust Classification. Principal photographer thought to be Trevor Hart, member of Caulfield Historical Society. Most photographs were taken between 1966-1972 with a small number of photographs being older and from unknown sources. All photographs are black and white except where stated, with 386 photographs over 198 pages. From Victorian Heritage Database citation H0174 TRAM VERANDAH SHELTER CORNER BALACLAVA AND ORRONG ROADS CAULFIELD NORTH - Vic Heritage Register https://vhd.heritagecouncil.vic.gov.au/places/2721 (as at 28/10/2020) The waiting shelter at the corner of Balaclava Road and Orrong Road, Caulfield was constructed in 1916/17 for the Prahran and Malvern Tramways Trust and is one of only three remaining tram shelters in Melbourne designed in the form of a verandah. The shelter has a corrugated iron roof fixed to an angle iron roof frame. The roof, which extends in the form of a skillion over the pavement, is supported on three squared, chamfered timber posts at the rear and three cast iron reeded columns with round bases and Corinthian capitals at the front. (The columns are hollow and function as downpipes, with rainwater discharging from the verandah roof, through the columns and under the ground). The shelter has a rinceau pattern frieze along the road frontage with centrally placed shield motif (which does not contain a coat of arms). The side and rear panels are lined with ripple iron and the upper panel at the rear is lattice work. The shelter has two timber slatted bench seats.From Victorian Heritage Database citation for H0174 TRAM VERANDAH SHELTER CORNER BALACLAVA AND ORRONG ROADS CAULFIELD NORTH - Vic Heritage Register https://vhd.heritagecouncil.vic.gov.au/places/2721 (as at 28/10/2020) How is it significant? The waiting shelter at the corner of Balaclava Road and Orrong Road, Caulfield is of historical and architectural significance to the State of Victoria. Why is it significant? The waiting shelter is of historical significance for its association with the development of the suburban (electric) tram network which assisted the expansion of Melbourne as a suburban metropolis. It is also of historical significance for its connection with the Prahran & Malvern Tramways Trust. The Prahran & Malvern Tramways Trust (1907-1920) was the first municipal electric tramway in Melbourne, becoming the largest and most successful of all the municipal tramway trusts. Its services played a key role in facilitating suburban expansion and the development of the southern and eastern suburbs. The growth of tramways was one of the greatest municipal developments in Victoria during the first decade of the twentieth century. The waiting shelter is an important remnant of this period of Melbourne's transport history and a tangible reminder of the Prahran & Malvern Tramways Trust. The shelter indicates the extent of the Prahran & Malvern tram network. The waiting shelter at corner of Balaclava Road and Orrong Road, Caulfield is one of only three remaining tram shelters in Melbourne designed in the form of a verandah. The waiting shelter is of architectural significance for the distinctive design and construction which is unique to the Prahran & Malvern Tramway Trust tram network. The shelter was designed by notable Melbourne architect Leonard J. Flannagan (1864-1946). Flannagan was responsible for a number of buildings for the Prahran and Malvern Tramways Trust including the early waiting shelter at the junction of Dandenong Road and Hawthorn Road, Caulfield, and sections of the tram depot at Malvern, and also designed a depot for the Hawthorn Tramways Trust. The waiting shelter, a conservative design influenced by Victorian architecture, is based on the Melbourne City Council late 19th century standard cast iron verandah. It is of significance as an intact example of the cast iron type shelter and for its detail, including Corinthian columns and a 'rinceau' pattern cast-iron frieze. The shelter is largely in keeping with the original design and retains its integrity. The cast iron waiting shelter is also of significance as an unusual example of early twentieth century street architecture. Page 155 of Photograph Album with one landscape photograph of a tram shelter on Balaclava Road.Handwritten: BALACLAVA ROAD TRAM SHELTER [top] / 155 [bottom left]trevor hart, verandah, garden, grimwade house, grimwade, orrong road, balaclava road, melbourne grammar, melbourne grammar junior school, mgs, m.g.s, school, tram shelter, waiting shelter, prahran & malvern tramway trust, leonard j. flannagan, cast iron verandah, cast iron type shelter, corinthian columns, 'rinceau' pattern cast-iron frieze, rinceau, cast iron frieze, victorian style, caulfield north, leonard flanagan, cast iron work, prahran and malvern tramways trust, trams

Stonleigh is one of Wodonga’s earliest buildings and stands on land granted to Daniel Rhodes in 1854, in one of the first land sales conducted in Wodonga. The building commenced soon after with the stone walls being 18 inches (46cm) thick. It was a four-room granite rubble stone building with central door and a window on either side, with a separate kitchen, as was typical of the worker's cottage of the day. The original roof would have been shingles but it was replaced with corrugated iron. It passed through several owners including Paul Huon in 1858. Peter Tenner, a farmer and vigneron took over in 1866 when it was described as “built of stone and having a cellar and a detached kitchen plus outside toilet, and a shed or two.” In the late 1880’s it was owned by William Smith who had come to Wodonga as a missionary for the Presbyterian Church and who, together with John Whan, storekeeper, was instrumental in building the Presbyterian Church nearby. Between 1890 and 1910 further buildings were added, consisting of double brick walls, two bedrooms, kitchen, laundry with brick and copper, bathroom and side verandah. William Smith established Wodonga Cordage Works in the Stonleigh buildings. The front room of the house was the display room for the business which manufactured and sold fishing lines, various types of cordage and water bags, the latter being of hand-sewn canvas. After 1954 Stonleigh became a bottle depot and bottle museum under ownership of Ramon Porta. At one stage he had over 50,000 bottles on display. In 1991 it was purchased by Mark Fraser, a cabinet maker, who made extensive renovations at the rear of the premises and internally, but left the façade untouched. Over recent times, Stonleigh was the home of several business including a florist, a patchwork maker and a café. Stonleigh was sold in 2021 and is now a private residence.These images capture one of Wodonga's oldest buildings.A series of photos, both colour and black and white, showing the building "Stonleigh' at different periodsstonleigh wodonga, old buildings wodonga, wodonga businesses, wodonga pioneers

Information display card regarding the 'Big' Deborah Gold Mine, located near the junction of Abel and Adam Street, Golden Square. Earliest work recorded 1860. Shaft 2076 feet. Operations suspended in 1952. Gold yield 51,935 ounces. Battery shed still on site containing a 5 head stamper which was originally a 20 head stamper. The battery was manufactured by Horwood's Foundry, Bendigo. Photos of mine site taken in 2012: a.Engine room concrete footings, iron work visible. Pepper corn trees in background. Pampas grass in foreground. Steel mesh fence on RH side, enclosing the poppet head site. b. Concrete footings, peppercorn tree in background. c. Corrugated iron shed constructed over the stampers. Steel mesh front. d. Steel poppet head, no winding wheel at top. Pampas grass in foreground. e.. Stamper shed and steel poppet legs in background enclosing dilapidated wooden poppet head legs. f. Close up image of weights in stamper room g.Winding wheel on stampers h.Looking upwards to top of stampersbendigo, mining, deborah gold mine

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) "Leaving the cars at Hurstbridge we walked the main street of the old village settlement, now a suburb. Near the station was a fine Edwardian house complete with palm and pines. Opposite was the Police Station, 1930-60 with a portable lock-up behind and the residence beside it. No. 794 was the Post Off1ce 3099 the-original shop-front window now has mail-boxes below. Close to the Railway entrance the butcher's shop remains unchanged, but across the road the linear shopping centre tries to keep the character of the olden times. The Fire Bell once hung on a tall gum outside No. 832. Palms in front gardens indicate the age of some of the homes, about 70 years. A corrugated iron shed still stands on the front fence line next to No. 840. Adding to the streetscape is an example of the standard timber early 20th century four veranda post suburban villa."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, hurstbridge, shops

This Flying Angel lamp bracket was recovered from the wreck site of the steam sailing ship, "Loch Ard", which sank near Port Campbell, Victoria in 1878. It formed part of the ship's cargo. The 'flying angel' lamp was, for a time, displayed in the St Nicholas Seamen's Church at Flagstaff Hill. The design was very appropriate to the Missions to Seamen, being associated with the emblem of the 'flying angel' on the Missions' to Seamen's flag. Brief history of the Loch Ard: The vessel Loch Ard was constructed on the Clyde River in Scotland in 1873 for the prestigious Loch Line of colonial clipper ships, designed for the Australian run. She sailed from England on 1 March 1878 carrying 37 crew, 17 passengers and a diverse general cargo ranging from luxury items to bulk railway iron. On 1 June 1878, emerging from fog and hearing too late the sound of breakers against the tall limestone cliffs, the vessel struck the southern foot of Mutton Bird Island and sank in 23 metres of water. Of the fifty-four people on board only two survived, one young male crewman, Tom Pearce, and one young female passenger, Eva Carmichael. A century later, despite the pounding seas and the efforts of looters, the wreck site continued to provide ample evidence of the extraordinary range of goods being imported into the Colony of Victoria in the post-Gold Rush era. Flagstaff Hill divers in the 1970s reported finds of “Bottles of champagne, window panes, rolls of zinc, barrels of cement, iron rails, clocks, lead shot, corrugated iron, lead, marble, salad oil bottles, ink bottles, copper wire, gin bottles, rolls of carpet, floor tiles, copper rivets, gas light fittings, pocket knives, toys, crystal chandeliers, beer mugs, cutlery, candles sticks, wick scissors, cow bells, and sauce bottles.” The lamp bracket is significant for its connection with the wreck of the sailing ship, Loch Ard, in 1878. Flagstaff Hill’s collection of artefacts from LOCH ARD is significant for being one of the largest collections of artefacts from this shipwreck in Victoria. It is significant for its association with the shipwreck, which is on the Victorian Heritage Register (VHR S417). The collection is significant because of the relationship between the objects, as together they have a high potential to interpret the story of the LOCH ARD. The LOCH ARD collection is archaeologically significant as the remains of a large international passenger and cargo ship. The LOCH ARD collection is historically significant for representing aspects of Victoria’s shipping history and its potential to interpret sub-theme 1.5 of Victoria’s Framework of Historical Themes (living with natural processes). The collection is also historically significant for its association with the LOCH ARD, which was one of the worst and best known shipwrecks in Victoria’s history. Gas lamp, brass, single burner, wall-mounting bracket, delicately crafted. Ornate decoration features bust of an angel with up-swept wings, or 'flying angel'. Recovered from the wreck of the Loch Ard.Noneflagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, loch line, loch ard, captain gibbs, eva carmichael, tom pearce, glenample station, mutton bird island, loch ard gorge, lamp fitting, shipwreck artifact, 1878, shipwreck cargo, household effects, 19th century lighting, angel lamp, loch ard lamp, angelic lamp, lighting at sea, marine technology, ship's lighting, flying angel, gas lamp, maritime archaeology, port campbell

This set of glossy black and white photographs is a set of images of Glenample Homestead circa late 1960s to early 1970s. They were taken by John Chance and are part of the John Chance Collection. The Colonial Georgian style Glenample Homestead was built from 1866 to 1869 from locally quarried sandstone. In is built on the top of a hill amongst trees. There are paddocks below and around the building. The building is basically a rectangular shape with a recessed room on the right side of the front. The pitched roof is covered in corrugated iron. The veranda, added in 1886, also has a corrugated iron room and is supported by square posts with decorative tops. It shelters three sides of the building. The edge of the veranda is decorated with scalloped shapes along the front and left side of the building. On the right is a brick wall incorporating a chimney. Another chimney on the left is contained within the building. The four-panelled outside doors are visible in some of the photos, as are the 12-paned glass windows, which are framed in contrasting stone. The veranda is trimmed with scalloped metal work on two sides and had some enclosed corners. There appears to be a cubical water tank on the roof line. Out-buildings include a toilet built against the house's brick wall. Another building appears to have two rooms with outside doors, perhaps for workers. There is the remains of a two-wheeled cart under a shelter. GLENAMPLE & the LOCH ARD Glenample Homestead became famous after the disastrous wreck of the sailing ship Loch Ard on June 1, 1878. The owners, Hugh Hamilton Gibson and Peter McArthur, were involved in the rescue and recovery of the only two survivors, as well as overseeing the salvage of items from the shipwreck and the burial of those who lost their lives. Glenample Homestead is on the Great Ocean Road at Princetown. Originally the land was part of Kennan’s Station lease, one of the district’s early settlements, circa 1847. James Murray bought Kerman’s land in 1856-57, combined it with nearby land, and named it Glenample Homestead. The ruins of huts Murray built on the property were still there until recently. Glenample was sold in 1866 to the partnership of Gibson and McArthur, who built a Georgian style house there using local sandstone, completing it by 1869. On 1st June 1878 the Loch Ard was wrecked at what is now called Loch Ard Gorge. Apprentice crewman Tom Pearce and eighteen year old passenger Eva Carmichael were the only survivors. Pearce had brought Eva ashore and sheltered her in a cave, reviving her with whiskey found amongst items washed up from the wreck. He climbed the cliffs and came across two riders from Glenample. No other survivors were found and sadly, Eva’s family members were amongst those who drowned. Hugh and Lavinia Gibson cared for Pearce and Eva at Glenample and extended their hospitality to Eva, who stayed on for about six weeks as she recovered from the ordeal physically and emotionally. Mrs Gibson introduced Eva to Jane Shields and the young ladies became lifelong friends. Years after Eva had returned to England, Jane’s daughter visited her. Eva handed her a blue china tea set to pass onto her mother as a gift. A descendant of Jane’s donated part of the tea set to Flagstaff Hill Maritime Village while another descendant donated her inherited share of the tea set to the Warrnambool and District Historical Society. In 1886 Glenample Homestead was updated to include a veranda on three sides. In 1887 Gibson sold his share to partner Peter McArthur. McArthur’s son Ernest inherited the property in 1897. Ernest established the Glenample Cheese Factory in around 1911. It was closed due to the World War and reopened in 1929 by McArthur’s sons, Robert and Colin, when they took control. In 1945 they sold Glenample and several owners followed but it was left unoccupied and became dilapidated. It was during this time that John Chance visited the property and photographed the buildings. In the 1980s the National Parks Service acquired the Glenample Homestead and began a restoration program. Work began in 1989 by Cathedral Stone, which was established in 1989 by James Charlwood, a specialist stonemason and son of maritime author Don Charlwood. This set of photographs are significant as a record of Glenample Homestead as it was from around the late 1860s to the late 1960s. The photographs are also significant as they were taken by John Chance, a diver from the wreck of the Loch Ard in the 1960s-70s. Items that come from several wrecks along Victoria's coast have since been donated to the Flagstaff Hill Maritime Village’s museum collection by his family, illustrating this item’s level of historical value. The photographs are significant as a link between Glenample, the vessel Loch Ard, and the only survivors of the Loch Ard. Glenample Homestead is of historical, social and architectural significance to the State of Victoria and is listed on the Victorian Heritage Register (VHR H0392). It is a historical example of early settlement and development of a run in the coastal land of South West Victoria, and it is constructed from locally quarried sandstone but doesn’t take away from its Georgian design. Glenample Homestead is of State significance through its unique connection with the wreck of the ship Loch Ard and the connection to its owners, Hugh and Lavinia Gibson and Peter McArthur, played a historically and socially significant role in the rescue and care of the survivors, the salvage of goods and the burial of those who lost their lives. The shipwreck of the Loch Ard itself is of significance for Victoria and is registered on the Victorian Heritage Register (S417). The set of ten rectangular black and white photographs of the Glenample Homestead, taken in the late 1960s or early 1970s, give san overview of the Glenample property. The views include the front, back and one side of the building, three outbuildings, and the situation of the homestead on the property. The details on the photographs show the materials used and the Colonial Georgian style. The photographs are also a record of the deterioration of the property over the years it was unoccupied.flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, kennans station, glenample homestead, georgian homestead, loch ard, princetown, victoria, james murray, hugh hamilton gibson, lavinia gibson, jane shields, eva carmichael, tom pearce, blue china tea set, peter mcarthur, ernest mcarthur, robert mcarthur, colin mcarthur, glenample cheese factory, cathedral stone, don charlwood, james charlwood, antique door key, glenample photographs, john chance, victorian heritage database 392

This image is one of several family group portraits taken by Stevenson and McNicoll on rural properties. This property has been identified as that of John Tilley at Parwan’s Creek. The people depicted are presumably members of the Tilley family. The dwelling has since been demolished. Tilleys Road in Maddingley is probably named for this family farm.Small sepia unframed photograph on card with gold border framing photograph. Housed in the Jeremeas Family Album which contains photographs of Bacchus Marsh and District in 1883 by Stevenson and McNicoll. The property has been identified as that of John Tilley at Parwan’s Creek. This property has since been demolished. Presumably, the photo is of members of the Tilley family. The image shows a family group of four women and one young child. It is unclear if the child is a boy or a girl, due to the custom of clothing young male children in dresses. The women are sitting or standing in two groups. To the right stands an older woman in a starched white apron, perhaps indicating that she is the housekeeper. The group on the left is of one woman standing and two women seated, one reading a newspaper or magazine. The young child reaches out one arm to her, perhaps for reassurance. The dwelling consists of two structures, one single storeyed cottage, which is perhaps the older part, and an adjoining weatherboard house with a steeply pitched roof and a prominent chimney at the front. The cottage has a shingled verandah partially covered by corrugated iron, which also covers the roof. Trees, a climbing vine and shrubs form a rather unkempt garden. On the hill rising behind the farmhouse there can be seen animals, possibly sheep, grazing.On the front: Stevenson & McNicoll. Photo. 108 Elizabeth St. Melbourne. COPIES CAN BE OBTAINED AT ANY TIME. On the back: LIGHT & TRUTH inscribed on a banner surmounted by a representation of the rising sun. Copies of this Portrait can be had at any time by sending the Name and Post Office Money Order or Stamps for the amount of order to STEVENSON & McNICOLL LATE BENSON & STEVENSON, Photographers. 108 Elizabeth Street, MELBOURNE. stevenson and mcnicoll 1883 photographs of bacchus marsh and district, farmhouses, families, women bacchus marsh

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.fay bridge collection, 2016-05-14, art gallery, barreenong road, clifton pugh, cottles bridge, dunmoochin, maurice hurry

St Laurence O'Toole church and cemetery is located in a rural setting at 801/821 Creswick-Newstead Rd, Sandon. Originally a small wooden school (22’x14’) was erected in Sandon by Father Patrick Smyth (who was involved in the Eureka Stockade movement) in 1859. It was also used for Mass and became known as a chapel. In June 1882 tenders were called for the construction of a brick Church by the Castlemaine architect, T.F. Kibble, and it was built at a cost of 1000 pounds. The church was blessed by Archbishop Goold on 06 May 1883 and dedicated to St Laurence O'Toole. The brick building demonstrates original design qualities of a Victorian Rudimentary Gothic style, including the steeply pitched, parapet gable roof form, together with a central steeply pitched, gabled porch that projects slightly from the main gable end. Other intact qualities include the exposed brick wall construction, lapped galvanised corrugated iron roof cladding, minor gabled porch at the rear, small ventilation dormers nearby the roof ridgeline, series of stone steps that lead to the central porch with its double pointed door opening and vertical boarded doors, simple rose window in the main gable end, pointed windows, brick buttresses with double lower copings, and the light masonry detailing (the banding marking the floor level within, buttress copings, window and door surrounds and quoins, and the drip moulds).(Shire of Mount Alexander: Heritage Study of the former Shire of Newstead, 2000) The visually connected cemetery demonstrates important visual qualities formed by the regular rows of graves and cemetery architecture, and the grassed and treed rural landscape. It is a rare and substantially intact example of a Victorian Catholic Church with a cemetery in its churchyard. Many headstones and cemetery architecture, date from the 19th century and represent some fine examples of masonry craftsmanship. Some refurbisments occurred during the 1940s and in 2002 a major restoration project was undertaken from roof to footings, by a dedicated band of volunteers and trades people. Work was completed mid 2003 and in November 2003 St Laurence’s was re-dedicated with the celebration of Mass and a picnic tea. Colour photograph of a long drop toliet at the Catholic Church, Sandon, Victoria.sandon, sandon cemetery, st laurence o'toole catholic church, sandon

St Laurence O'Toole church and cemetery is located in a rural setting at 801/821 Creswick-Newstead Rd, Sandon. Originally a small wooden school (22’x14’) was erected in Sandon by Father Patrick Smyth (who was involved in the Eureka Stockade movement) in 1859. It was also used for Mass and became known as a chapel. In June 1882 tenders were called for the construction of a brick Church by the Castlemaine architect, T.F. Kibble, and it was built at a cost of 1000 pounds. The church was blessed by Archbishop Goold on 06 May 1883 and dedicated to St Laurence O'Toole. The brick building demonstrates original design qualities of a Victorian Rudimentary Gothic style, including the steeply pitched, parapet gable roof form, together with a central steeply pitched, gabled porch that projects slightly from the main gable end. Other intact qualities include the exposed brick wall construction, lapped galvanised corrugated iron roof cladding, minor gabled porch at the rear, small ventilation dormers nearby the roof ridgeline, series of stone steps that lead to the central porch with its double pointed door opening and vertical boarded doors, simple rose window in the main gable end, pointed windows, brick buttresses with double lower copings, and the light masonry detailing (the banding marking the floor level within, buttress copings, window and door surrounds and quoins, and the drip moulds).(Shire of Mount Alexander: Heritage Study of the former Shire of Newstead, 2000) The visually connected cemetery demonstrates important visual qualities formed by the regular rows of graves and cemetery architecture, and the grassed and treed rural landscape. It is a rare and substantially intact example of a Victorian Catholic Church with a cemetery in its churchyard. Many headstones and cemetery architecture, date from the 19th century and represent some fine examples of masonry craftsmanship. Some refurbisments occurred during the 1940s and in 2002 a major restoration project was undertaken from roof to footings, by a dedicated band of volunteers and trades people. Work was completed mid 2003 and in November 2003 St Laurence’s was re-dedicated with the celebration of Mass and a picnic tea. Colour photograph of a brick church at Sandon, Victoria.sandon, sandon cemetery, st laurence o'toole catholic church, sandon

St Laurence O'Toole church and cemetery is located in a rural setting at 801/821 Creswick-Newstead Rd, Sandon. Originally a small wooden school (22’x14’) was erected in Sandon by Father Patrick Smyth (who was involved in the Eureka Stockade movement) in 1859. It was also used for Mass and became known as a chapel. In June 1882 tenders were called for the construction of a brick Church by the Castlemaine architect, T.F. Kibble, and it was built at a cost of 1000 pounds. The church was blessed by Archbishop Goold on 06 May 1883 and dedicated to St Laurence O'Toole. The brick building demonstrates original design qualities of a Victorian Rudimentary Gothic style, including the steeply pitched, parapet gable roof form, together with a central steeply pitched, gabled porch that projects slightly from the main gable end. Other intact qualities include the exposed brick wall construction, lapped galvanised corrugated iron roof cladding, minor gabled porch at the rear, small ventilation dormers nearby the roof ridgeline, series of stone steps that lead to the central porch with its double pointed door opening and vertical boarded doors, simple rose window in the main gable end, pointed windows, brick buttresses with double lower copings, and the light masonry detailing (the banding marking the floor level within, buttress copings, window and door surrounds and quoins, and the drip moulds).(Shire of Mount Alexander: Heritage Study of the former Shire of Newstead, 2000) The visually connected cemetery demonstrates important visual qualities formed by the regular rows of graves and cemetery architecture, and the grassed and treed rural landscape. It is a rare and substantially intact example of a Victorian Catholic Church with a cemetery in its churchyard. Many headstones and cemetery architecture, date from the 19th century and represent some fine examples of masonry craftsmanship. Some refurbisments occurred during the 1940s and in 2002 a major restoration project was undertaken from roof to footings, by a dedicated band of volunteers and trades people. Work was completed mid 2003 and in November 2003 St Laurence’s was re-dedicated with the celebration of Mass and a picnic tea. Details of the exterior of St Laurence O'Toole Catholic Church, Sandon in Central Victoria.sandon, sandon cemetery, st laurence o'toole catholic church, sandon, sandstone, foundations

St Laurence O'Toole church and cemetery is located in a rural setting at 801/821 Creswick-Newstead Rd, Sandon. Originally a small wooden school (22’x14’) was erected in Sandon by Father Patrick Smyth (who was involved in the Eureka Stockade movement) in 1859. It was also used for Mass and became known as a chapel. In June 1882 tenders were called for the construction of a brick Church by the Castlemaine architect, T.F. Kibble, and it was built at a cost of 1000 pounds. The church was blessed by Archbishop Goold on 06 May 1883 and dedicated to St Laurence O'Toole. The brick building demonstrates original design qualities of a Victorian Rudimentary Gothic style, including the steeply pitched, parapet gable roof form, together with a central steeply pitched, gabled porch that projects slightly from the main gable end. Other intact qualities include the exposed brick wall construction, lapped galvanised corrugated iron roof cladding, minor gabled porch at the rear, small ventilation dormers nearby the roof ridgeline, series of stone steps that lead to the central porch with its double pointed door opening and vertical boarded doors, simple rose window in the main gable end, pointed windows, brick buttresses with double lower copings, and the light masonry detailing (the banding marking the floor level within, buttress copings, window and door surrounds and quoins, and the drip moulds).(Shire of Mount Alexander: Heritage Study of the former Shire of Newstead, 2000) The visually connected cemetery demonstrates important visual qualities formed by the regular rows of graves and cemetery architecture, and the grassed and treed rural landscape. It is a rare and substantially intact example of a Victorian Catholic Church with a cemetery in its churchyard. Many headstones and cemetery architecture, date from the 19th century and represent some fine examples of masonry craftsmanship. Some refurbisments occurred during the 1940s and in 2002 a major restoration project was undertaken from roof to footings, by a dedicated band of volunteers and trades people. Work was completed mid 2003 and in November 2003 St Laurence’s was re-dedicated with the celebration of Mass and a picnic tea. Brick church at Sandon, Victoriasandon, sandon cemetery, st laurence o'toole catholic church, sandon

St Laurence O'Toole church and cemetery is located in a rural setting at 801/821 Creswick-Newstead Rd, Sandon. Originally a small wooden school (22’x14’) was erected in Sandon by Father Patrick Smyth (who was involved in the Eureka Stockade movement) in 1859. It was also used for Mass and became known as a chapel. In June 1882 tenders were called for the construction of a brick Church by the Castlemaine architect, T.F. Kibble, and it was built at a cost of 1000 pounds. The church was blessed by Archbishop Goold on 06 May 1883 and dedicated to St Laurence O'Toole. The brick building demonstrates original design qualities of a Victorian Rudimentary Gothic style, including the steeply pitched, parapet gable roof form, together with a central steeply pitched, gabled porch that projects slightly from the main gable end. Other intact qualities include the exposed brick wall construction, lapped galvanised corrugated iron roof cladding, minor gabled porch at the rear, small ventilation dormers nearby the roof ridgeline, series of stone steps that lead to the central porch with its double pointed door opening and vertical boarded doors, simple rose window in the main gable end, pointed windows, brick buttresses with double lower copings, and the light masonry detailing (the banding marking the floor level within, buttress copings, window and door surrounds and quoins, and the drip moulds).(Shire of Mount Alexander: Heritage Study of the former Shire of Newstead, 2000) The visually connected cemetery demonstrates important visual qualities formed by the regular rows of graves and cemetery architecture, and the grassed and treed rural landscape. It is a rare and substantially intact example of a Victorian Catholic Church with a cemetery in its churchyard. Many headstones and cemetery architecture, date from the 19th century and represent some fine examples of masonry craftsmanship. Some refurbisments occurred during the 1940s and in 2002 a major restoration project was undertaken from roof to footings, by a dedicated band of volunteers and trades people. Work was completed mid 2003 and in November 2003 St Laurence’s was re-dedicated with the celebration of Mass and a picnic tea. Colour photograph of a red brick church in Sandon. sandon, sandon cemetery, st laurence o'toole catholic church, sandon

St Laurence O'Toole church and cemetery is located in a rural setting at 801/821 Creswick-Newstead Rd, Sandon. Originally a small wooden school (22’x14’) was erected in Sandon by Father Patrick Smyth (who was involved in the Eureka Stockade movement) in 1859. It was also used for Mass and became known as a chapel. In June 1882 tenders were called for the construction of a brick Church by the Castlemaine architect, T.F. Kibble, and it was built at a cost of 1000 pounds. The church was blessed by Archbishop Goold on 06 May 1883 and dedicated to St Laurence O'Toole. The brick building demonstrates original design qualities of a Victorian Rudimentary Gothic style, including the steeply pitched, parapet gable roof form, together with a central steeply pitched, gabled porch that projects slightly from the main gable end. Other intact qualities include the exposed brick wall construction, lapped galvanised corrugated iron roof cladding, minor gabled porch at the rear, small ventilation dormers nearby the roof ridgeline, series of stone steps that lead to the central porch with its double pointed door opening and vertical boarded doors, simple rose window in the main gable end, pointed windows, brick buttresses with double lower copings, and the light masonry detailing (the banding marking the floor level within, buttress copings, window and door surrounds and quoins, and the drip moulds).(Shire of Mount Alexander: Heritage Study of the former Shire of Newstead, 2000) The visually connected cemetery demonstrates important visual qualities formed by the regular rows of graves and cemetery architecture, and the grassed and treed rural landscape. It is a rare and substantially intact example of a Victorian Catholic Church with a cemetery in its churchyard. Many headstones and cemetery architecture, date from the 19th century and represent some fine examples of masonry craftsmanship. Some refurbisments occurred during the 1940s and in 2002 a major restoration project was undertaken from roof to footings, by a dedicated band of volunteers and trades people. Work was completed mid 2003 and in November 2003 St Laurence’s was re-dedicated with the celebration of Mass and a picnic tea. Colour photograph of bushland behind a church at Sandon, Victoria.sandon, sandon cemetery, st laurence o'toole catholic church, sandon, landscape, road

Considered in terms of both loss of property and loss of life, the Black Friday bushfires on 13 January 1939 were one of the worst disasters to have occurred in Australia and certainly the worst bushfire up to that time. The fires burnt 2 million hectares, 69 sawmills were destroyed, 71 people died, and several towns and sawmills were entirely obliterated. Among those killed were four men from the Commission The subsequent Royal Commission conducted by Judge Leonard Stretton has been described as one of the most significant inquiries in the history of Victorian public administration. Its recommendations led to sweeping changes. In addition to building dams and water points, the Stretton Royal Commission recommended expanding and controlling the use of bushfire dugouts at forest sawmills. Well-constructed dugouts had saved the lives of many sawmill workers and their families during the 1939 bushfires. But in some locations, they had proved fatal. Dugouts became mandatory for those few sawmills that remained in the forest after the 1939 fires. Many remote logging coupes and FCV roading camps also had dugouts. The local District Forester was required to make annual pre-season inspections of all dugouts on State forests and those within the Fire Protected Area (FPA). Some were built privately on private land. Most were primitive construction with a log or corrugated iron roof covered with earth. A hessian bag often hung at the entrance to keep the heat and smoke out. But they were dark and damp with snakes and other creepy crawlies often lurking inside. By 1940-41 there were 19 new dugouts constructed by the Commission and a further 128 by forest licensees. Ten years later there were 8 new Commission dugouts and 21 new ones built by other interests. By 1960-61 the rate of new builds was declining but the Commission still managed 103 dugouts while 127 were looked after by others. However, as the forest road network improved and gave all-weather access to modern two-wheel-drive vehicles the reliance on dugouts receded.Large metal sign that was positioned near forest dugoutsbushfire, forest signs, forests commission victoria (fcv)

Graham Masters is a potter based at Sweenies Creek, just outside Bendigo, Victoria who specialises in a patented technique of low relief stoneware depicting Australian animals and landscapes. He obtained a Diploma of Art and Design in Ceramics from the Bendigo Institute of Technology in 1973, then operated a pottery for a year in Bendigo, before becoming an employee, then a partner at Maldon Pottery, Victoria with Neville Wilson and Thomas Metcalf. He left Maldon to set up his own pottery at Sweenies Creek in 1984. (1.) (Judith Pearce). Built in 1869, the (former) Strathfieldsaye Shire Hall is one of The City of Bendigo's earliest surviving public buildings. Designed by George Steane and built by George Pallett in 1869 the Strathfieldsaye Shire Hall has aesthetic significance as a purpose built Shire Hall designed in the Free Classical manner. It is also of importance as an early example of the novel system of cavity wall construction. The building is largely intact and unaltered. Other important elements include the arched portico of the main entrance with brick arched features on either side; the brick quoining and dressings to the round arch windows; the three gabled roof; and the matching chimneys that reinforce the symmetrical design. The Hall has social significance as a temporary schooling facility in the 1870s and as a flood refuge in 1889. The Strathfieldsaye Shire Hall is a brick building designed in the Free Classical manner. This style was favoured by the Public Works Department for a number of public buildings including Shire Halls and courthouses. The form includes a central taller volume flanked by matching smaller gables. In the case of the Shire Hall these would be occupied by the Shire Secretary and Shire Engineer whilst the larger volume was the council chamber. The portico at the front is designed with a flat arch in the centre and matching smaller arches each side. The face red brick is unadorned apart from a plain string course at the roof springing point, brick quoining and dressings to the round arch windows. There are matching chimneys that are located to reinforce the symmetrical design and the original roof is believed to have been slate but is now corrugated iron. Large wheel thrown ceramic platter with a shallow well, broad flaring ledge and raised on a high foot rim. Rim decorated with slab rolled gum trees protruding on centre left and right sides of plater. which reflect the low relief image of trees and the Strathfieldsaye Shire Hall on the surface of the plate. Glazed with golden brown and cream. Front centre top; 'Shire of Strathfieldsaye'. Front lower centre '1866 - 1991 - 125 Years'. Signed 'G Master / 1991' on rim centre right. Reverse; signed 'G Master' / 1991. Bendigo Pottery stamp.shire of strathfieldsaye, bendigo pottery

Newspaper feature from Bendigo Advertiser Tues January 12 2016 and image of Specimen Cottage before restoration in 1970s It was built by stonemason James Brierley for his family Is now the front of house and display centre for The Bendigo Historical Society and is arguably the oldest building in the city with 1856 shown above the front door Near the corner of Hargreaves and Mundy St The building has two parts The 1856 section is single storey with front façade of locally sourced sandstone rubble with dressed quoins and dressings to openings, side walls are of rubble the rear and interior walls are of red brick a central front door a window on either side The roof which was probably hipped, was later joined to the next wall of the 1861 section and is partly covered with Morewood and Rogers metal tiles with partly corrugated iron The 1861 section was built to match the earlier one Across the first floor of the 1861 section is an elegantly detailed cantilevered timber balcony with a hived concave roof and two French windows opening onto it Bendigo Historical Society members Barbara Poustie and Carol Holsworth have led tours of the cottage as part of the 'Summer in the parks' program A plaque on the corner of Hargreaves and Mundy indicates that there once stood the Royal Princess Hotel, also built by Brierley, Bendigo Historical Society members have continued research on the Brierley familyhistory, australian, bendigo, architecture, specimen cottage royal princess hotel built by james brierly in 1856 barbara proustie carol holsworth

Royal District Nursing Service (RDNS) Sisters worked from this, their rented Collingwood Centre at 98 Charles Street, Collingwood, which opened in 1977. The Sisters left each morning taking any sterilized equipment needed with them to carry out their nursing visits in a specific area (district), They returned at the end of the day to write up their patients nursing histories, clean and reset any equipment used ready for re-sterilization, and contact other medical and community personal as necessary. From its inception as Melbourne District Nursing Society (MDNS), in 1885, their Trained nurses (Nurses) worked in specific areas, 'districts'. The first Nurse worked east and west, between Victoria Parade and Flinders Street and, north and south, between Spencer Street and Spring Street. When a second Nurse was employed they divided this area at Elizabeth Street so each Nurse could attend to patients in the same area giving continuity of care. Gradually over the years, Melbourne District Nursing Service (MDNS), later known as Royal District Nursing Service (RDNS) from 1966 when they received Royal patronage, opened Centres throughout the Melbourne Metropolitan area and outer suburbs with Heidelberg Centre opening in 1971. Their Trained nurses (Sisters) left from these Centres each morning to carry out their nursing visits in a specific area (district), taking any sterilized equipment needed with them. They returned at the end of the day to write up their patients nursing histories, clean and reset any equipment used ready for sterilization, and contact other medical and community personal as necessary. Through its expansion quality of care was not lost, the RDNS nursing staff gave best practice care in many fields of nursing and to people of many cultures with their patients ranging in age from babes, children, adults to the elderly. Some of the care provided was – Post-Natal care, Diabetic Care, Wound Care, Giving of injections and medications, Catheterizations on children and adults, Stoma care, Dementia care, Palliative Care, General care, Rehabilitation, Spinal care, Cystic Fibrosis care, Haemo-Oncology care, Home Enteral Feeding care, and IV therapy at home. Assisting with rehabilitation with an aim towards independence remained at the forefront of the Sister’s minds. All care included giving advice and support to the patient and their Carers. Black and white photograph showing the front facade of the Royal District Nursing Service (RDNS), Collingwood Centre. It is a Victorian style, single story, light coloured painted concrete faced building built around the 1870s. To its left is the front wooden door with a small central glass section in the upper center, and a wire door in front of this. To its right is an Electricity Department meter attached to the wall, and under this a large "98" and to its right, and a little lower is an attached rectangular white sign, with black capital letters, saying "Royal District Nursing Service" and below this in smaller letters "Collingwood". To the right sits a long sash window with dark frame. At either end of the building white concrete face extensions, with embellishments, support a corrugated iron straight veranda roof, with wrought iron embellishment attached to its outer edge. This sits above the window and door and runs along the building protecting the small porch. Above this, along the building, is deep decoration, including a row of concrete balusters and above and central is a concave shell shaped structure. A short dark metal spiked fence runs along the edge of the narrow garden bed. In the foreground the footpath and part of a road can be seen. A small bare tree can be seen on the left hand side of the building and a small bush on the right hand side.Photographer stamp. Quote No. DO 66royal district nursing service, rdns, rdns centre

Visit to Dunmoochin prior to Clifton Pugh's home being destroyed by fire in 2002. 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.fay bridge collection, 1995, barreenong road, cottles bridge, dunmoochin

Series of Black and White Photos Post War Life for Hill Family & Friends. Total 8 Photos. Kath 'The Ranche' Eppalock September 1919. Kath dressed in 20's ? Dark dress, fur stole around neck, cloche hat, corrugated iron fence with wooden rail on top, garden setting. Arch, wearing white shirt waistcoat and dark trousers, gable roofed house in background, brick chimney left, tree at corner of house roof, Monte Video Queensland July 1924. Four ladies all wearing dark skirts and white blouses, all wearing broad rimmed hats, windmill tank on stand in background, tall post and wire netting, structure to the right, Kilmore October 1919. A Swan on the reservoir unknown place January 1920. lady wearing dark skirt and white blouse and hat, holding ball in left hand, right hand maybe swinging a tennis racquet ( not visible), post and rail fence in the far background. Lady sitting on stool wearing a dark skirt and white blouse, high post and wire netting fence, dark coloured horse to left, post and rail fence far right background, holding a camera bag and camera on stool beside her. Flirt the Dog, standing in doorway, door is broken and leaning to the right, shed has wide timber planks for cladding, 'The Ranche' Eppalock November 1919. Helen Mount Buffalo Tobogganing, wearing dark skirt, jacket with striped sleeves, and hat, August 1924.Hilda Hill Personal Collectionaustralia, history, post war life

The Davey Paxman Experimental Steam Engine was purchased as the result of a bequest from Thomas Bath. The 'substantial sum' was used to build an Engineering Laboratory. The Ballarat School of Mines Council minutes of 08 November 1901 record: - Plans for [the] proposed building were submitted ... and ... it was resolved that a temporary building for an Engineering Laboratory be put up.' This laboratory, as an existing building, is first mentioned in the Ballarat School of Mines President's Annual Report of 1901, presented on 28 February 1902, reporting 'the erection of a building 67ft long by 33 ft wide' This report also lists all the equipment that would be accommodated in the Engineering Laboratory, including the experimental steam engine and boiler. The experimental Davey-Paxman steam engine arrived in Ballarat towards the end of 1902. The Engineering Laboratory was opened on 14 August 1903 by His Excellency Sir Sydenham Clarke. This engineering laboratory remained in use till about 1945. By 1944 preparations were under way at the Ballarat School of Mines to expand existing facilities, to be ready for the influx of returned soldiers. A new Heat Engines laboratory was built, this time of brick construction, replacing the previous corrugated-iron shed. In the early stages the steam engine was used to drive an overhead transmission shaft for machinery in the adjacent workshop. Later the steam engine was moved to a space that became the Heat Thermodynamics Laboratory. At the end of 1969 the engine was relocated to the Thermodynamics Laboratory at the then Ballarat Institute of Advanced Education (BIAE) Mt Helen Campus. It was donated to Sovereign Hill in 2006. According to the research of Rohan Lamb in 2001 around five experimental steam engines were made by Davey Paxman, and three of these had similar configuration to the Ballarat School of Mines Steam Engine, however, each of these was also unique with different valve arrangements. The list, which was on a scrap of paper in a folio held in the Essex Archives, confirmed that one was sent to India. The Ballarat steam engine can be dated to late 1901 to early 1902. Zig Plavina was responsible for moving the steam engine to Mount Helen, and worked on it as a technician for many years. He observed the following: * The condenser is driven by the low pressure engine. * The following arrangements are possible: i) the high pressure engine alone, exhausting to atmosphere. Condenser not used, crankshaft flanges not coupled. ii) crankshafts coupled, mains pressure (120 psi) steam supplied to high pressure engine, partially expanded steam delivered to low pressure engine (Tandem operation). Choice available re exhaust steam: either to the condenser or to atmosphere. iii) crankshafts not coupled, reduced pressure steam supplied to low pressure engine. Exhaust steam - either to the condenser or to atmosphere. * Valve arrangement - a choice of Pickering cut-off or throttle governor. On low pressure engine - throttle governor only.Black and white photograph of the Davey Paxman Experimental Steam Engine. On the brake is returned serviceman Norman WIlliam Ludbrook (Diploma Electrical Engineering, 1952). Far right is Roy E. Mawby (Diploma Electrical Engineering, 1950)steam engine, model steam engine, davey paxman, electrical engineering, laboratory, scientific instrument, norman ludbrook, norman william ludbrook, roay mawby, roy e. mawby

The artefact is a damaged brass cow bell recovered from the 1878 shipwreck of the LOCH ARD near Port Campbell. It was raised by Flagstaff Hill divers in 1973 and is in storage at the Maritime Village. The LOCH ARD was constructed on the Clyde in 1873 for the prestigious Loch Line of colonial clipper ships, designed for the Australian run. She sailed from England on 1 March 1878 carrying 37 crew, 17 passengers and a diverse general cargo ranging from luxury items to bulk railway iron. On 1 June 1878, emerging from fog and hearing too late the sound of breakers against the tall limestone cliffs, the vessel struck the southern foot of Mutton Bird Island and sank in 23 metres of water. Of the fifty-four people on board only two survived, one young male crewman and one young female passenger. A century later, despite the pounding seas and the efforts of looters, the wreck site continued to provide ample evidence of the extraordinary range of goods being imported into the Colony of Victoria in the post-Gold Rush era. Flagstaff Hill divers in the 1970s reported finds of “Bottles of champagne, window panes, rolls of zinc, barrels of cement, iron rails, clocks, lead shot, corrugated iron, lead, marble, salad oil bottles, ink bottles, copper wire, gin bottles, rolls of carpet, floor tiles, copper rivets, gas light fittings, pocket knives, toys, crystal chandeliers, beer mugs, cutlery, candles sticks, wick scissors, cow bells, and sauce bottles.” From this array of objects on the ocean floor emerged the humble brass cow bell. Cow bells were common to colonial agriculture and transport, used wherever animals were turned out to graze overnight and had to be rounded up again next morning. Bells were fastened around the necks of household milking cows, domestic goats, bullock teams, horse teams, and camel teams, to help find them in the pre-dawn light. Station shepherds and cattle drovers also used them to warn of any disturbances to their flocks and herds overnight. The bells were a necessary item in a largely unfenced continent. So important, that Anthony Mongon began making his pot-bells at Yackandandah from 1861, August Menneke produced the “Wagga Pot” from 1867, and Samuel Jones started manufacturing his distinctively shaped “Condamine Bell” in 1868. However, these deeply resonant Australian bells were made from iron — Mongon and Jones were blacksmiths who simply beat old pitsaw blades into shape. Few genuinely brass cow bells were made here, the vast majority being imported from Britain where the industry of brass founding was already well established. (Some bells were also imported from the United States, but these too were nearly all of iron).This bell is historically significant as typical of a cow bell used by farmers and herdsmen in Colonial Victoria. It was included in the cargo of the Loch Ard. Its significance is increased by being one of a collection of artefacts recovered by the Flagstaff Hill Divers from the wreck of the Loch Ard in the early 1970s. Items that come from several wrecks along Victoria's coast have also been recovered for Flagstaff Hill Maritime Village’s museum collection under a Government permit, illustrating this item’s level of historical value. The cow bell is also significant for being part of Flagstaff Hill’s collection of artefacts from LOCH ARD, which is significant for being one of the largest collections of artefacts from this shipwreck in Victoria. It is significant for its association with the shipwreck, which is on the Victorian Heritage Register (VHR S417). The collection is significant because of the relationship between the objects, as together they have a high potential to interpret the story of the LOCH ARD. The LOCH ARD collection is archaeologically significant as the remains of a large international passenger and cargo ship. The LOCH ARD collection is historically significant for representing aspects of Victoria’s shipping history and its potential to interpret sub-theme 1.5 of Victoria’s Framework of Historical Themes (living with natural processes). The collection is also historically significant for its association with the LOCH ARD, which was one of the worst and best-known shipwrecks in Victoria’s history.Cow bell; a small brass bell, blunt-wedge shaped. The sides expand outwards from the smaller rectangular roof of the bell to a larger open rectangle or bell mouth. The handle, now missing, was fixed in two places at the top. A neat half-circle piece has been cut from the base on a long edge. Recovered from the wreck of the Loch Ard.flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, loch line, loch ard, eva carmichael, mutton bird island, loch ard gorge, brass cow bell, colonial cow bells, 1878 shipwreck, shipwreck artefact, flagstaff hill divers, cow bell

The Davey Paxman Experimental Steam Engine was purchased as the result of a bequest from Thomas Bath. The 'substantial sum' was used to build an Engineering Laboratory. The Ballarat School of Mines Council minutes of 08 November 1901 record: - Plans for [the] proposed building were submitted ... and ... it was resolved that a temporary building for an Engineering Laboratory be put up.' This laboratory, as an existing building, is first mentioned in the Ballarat School of Mines President's Annual Report of 1901, presented on 28 February 1902, reporting 'the erection of a building 67ft long by 33 ft wide' This report also lists all the equipment that would be accommodated in the Engineering Laboratory, including the experimental steam engine and boiler. The experimental Davey-Paxman steam engine arrived in Ballarat towards the end of 1902. The Engineering Laboratory was opened on 14 August 1903 by His Excellency Sir Sydenham Clarke. This engineering laboratory remained in use till about 1945. By 1944 preparations were under way at the Ballarat School of Mines to expand existing facilities, to be ready for the influx of returned soldiers. A new Heat Engines laboratory was built, this time of brick construction, replacing the previous corrugated-iron shed. In the early stages the steam engine was used to drive an overhead transmission shaft for machinery in the adjacent workshop. Later the steam engine was moved to a space that became the Heat Thermodynamics Laboratory. At the end of 1969 the engine was relocated to the Thermodynamics Laboratory at the then Ballarat Institute of Advanced Education (BIAE) Mt Helen Campus. It was donated to Sovereign Hill in 2006. According to the research of Rohan Lamb in 2001 around five experimental steam engines were made by Davey Paxman, and three of these had similar configuration to the Ballarat School of Mines Steam Engine, however, each of these was also unique with different valve arrangements. The list, which was on a scrap of paper in a folio held in the Essex Archives, confirmed that one was sent to India. The Ballarat steam engine can be dated to late 1901 to early 1902. Zig Plavina was responsible for moving the steam engine to Mount Helen, and worked on it as a technician for many years. He observed the following: * The condenser is driven by the low pressure engine. * The following arrangements are possible: i) the high pressure engine alone, exhausting to atmosphere. Condenser not used, crankshaft flanges not coupled. ii) crankshafts coupled, mains pressure (120 psi) steam supplied to high pressure engine, partially expanded steam delivered to low pressure engine (Tandem operation). Choice available re exhaust steam: either to the condenser or to atmosphere. iii) crankshafts not coupled, reduced pressure steam supplied to low pressure engine. Exhaust steam - either to the condenser or to atmosphere. * Valve arrangement - a choice of Pickering cut-off or throttle governor. On low pressure engine - throttle governor only.Black and white photograph of the Davey Paxman Experimental Steam Engine installed at the Ballarat School of MInes. steam engine, model steam engine, davey paxman, thomas bath, experimental steam engine

The Davey Paxman Experimental Steam Engine was purchased as the result of a bequest from Thomas Bath. The 'substantial sum' was used to build an Engineering Laboratory. The Ballarat School of Mines Council minutes of 08 November 1901 record: - Plans for [the] proposed building were submitted ... and ... it was resolved that a temporary building for an Engineering Laboratory be put up.' This laboratory, as an existing building, is first mentioned in the Ballarat School of Mines President's Annual Report of 1901, presented on 28 February 1902, reporting 'the erection of a building 67ft long by 33 ft wide' This report also lists all the equipment that would be accommodated in the Engineering Laboratory, including the experimental steam engine and boiler. The experimental Davey-Paxman steam engine arrived in Ballarat towards the end of 1902. The Engineering Laboratory was opened on 14 August 1903 by His Excellency Sir Sydenham Clarke. This engineering laboratory remained in use till about 1945. By 1944 preparations were under way at the Ballarat School of Mines to expand existing facilities, to be ready for the influx of returned soldiers. A new Heat Engines laboratory was built, this time of brick construction, replacing the previous corrugated-iron shed. In the early stages the steam engine was used to drive an overhead transmission shaft for machinery in the adjacent workshop. Later the steam engine was moved to a space that became the Heat Thermodynamics Laboratory. At the end of 1969 the engine was relocated to the Thermodynamics Laboratory at the then Ballarat Institute of Advanced Education (BIAE) Mt Helen Campus. It was donated to Sovereign Hill in 2006. According to the research of Rohan Lamb in 2001 around five experimental steam engines were made by Davey Paxman, and three of these had similar configuration to the Ballarat School of Mines Steam Engine, however, each of these was also unique with different valve arrangements. The list, which was on a scrap of paper in a folio held in the Essex Archives, confirmed that one was sent to India. The Ballarat steam engine can be dated to late 1901 to early 1902. Zig Plavina was responsible for moving the steam engine to Mount Helen, and worked on it as a technician for many years. He observed the following: * The condenser is driven by the low pressure engine. * The following arrangements are possible: i) the high pressure engine alone, exhausting to atmosphere. Condenser not used, crankshaft flanges not coupled. ii) crankshafts coupled, mains pressure (120 psi) steam supplied to high pressure engine, partially expanded steam delivered to low pressure engine (Tandem operation). Choice available re exhaust steam: either to the condenser or to atmosphere. iii) crankshafts not coupled, reduced pressure steam supplied to low pressure engine. Exhaust steam - either to the condenser or to atmosphere. * Valve arrangement - a choice of Pickering cut-off or throttle governor. On low pressure engine - throttle governor only. Black and white photograph of an experimental steam engine which was produced for the Ballarat School of Mines. It was designed for experimental purposes, such as testing of efficiency, etc. The laboratory which housed the steam engine was lit with gas lighting. davey paxman experimental steam engine, model steam engine, davey paxman, steam, thomas bath, thermodynamics

The artefact is a damaged brass cow bell recovered from the 1878 shipwreck of the LOCH ARD near Port Campbell. It was raised by Flagstaff Hill divers in 1973 and is in storage at the Maritime Village. The LOCH ARD was constructed on the Clyde in 1873 for the prestigious Loch Line of colonial clipper ships, designed for the Australian run. She sailed from England on 1 March 1878 carrying 37 crew, 17 passengers and a diverse general cargo ranging from luxury items to bulk railway iron. On 1 June 1878, emerging from fog and hearing too late the sound of breakers against the tall limestone cliffs, the vessel struck the southern foot of Mutton Bird Island and sank in 23 metres of water. Of the fifty-four people on board only two survived, one young male crewman and one young female passenger. A century later, despite the pounding seas and the efforts of looters, the wreck site continued to provide ample evidence of the extraordinary range of goods being imported into the Colony of Victoria in the post-Gold Rush era. Flagstaff Hill divers in the 1970s reported finds of “Bottles of champagne, window panes, rolls of zinc, barrels of cement, iron rails, clocks, lead shot, corrugated iron, lead, marble, salad oil bottles, ink bottles, copper wire, gin bottles, rolls of carpet, floor tiles, copper rivets, gas light fittings, pocket knives, toys, crystal chandeliers, beer mugs, cutlery, candles sticks, wick scissors, cow bells, and sauce bottles.” From this array of objects on the ocean floor emerged the humble brass cow bell. Cow bells were common to colonial agriculture and transport, used wherever animals were turned out to graze overnight and had to be rounded up again next morning. Bells were fastened around the necks of household milking cows, domestic goats, bullock teams, horse teams, and camel teams, to help find them in the pre-dawn light. Station shepherds and cattle drovers also used them to warn of any disturbances to their flocks and herds overnight. The bells were a necessary item in a largely unfenced continent. So important, that Anthony Mongon began making his pot-bells at Yackandandah from 1861, August Menneke produced the “Wagga Pot” from 1867, and Samuel Jones started manufacturing his distinctively shaped “Condamine Bell” in 1868. However, these deeply resonant Australian bells were made from iron — Mongon and Jones were blacksmiths who simply beat old pitsaw blades into shape. Few genuinely brass cow bells were made here, the vast majority being imported from Britain where the industry of brass founding was already well established. (Some bells were also imported from the United States, but these too were nearly all of iron).This bell is historically significant as typical of a cow bell used by farmers and herdsmen in Colonial Victoria. Its significance is increased by being one of a collection of artefact recovered by the Flagstaff Hill Divers from the wreck of the Loch Ard in the early 1970s. Items that come from several wrecks along Victoria's coast have also been recovered for Flagstaff Hill Maritime Village’s museum collection under Government permit, illustrating this item’s level of historical value. The cow bell is also significant for being part of Flagstaff Hill’s collection of artefacts from LOCH ARD, which is significant for being one of the largest collections of artefacts from this shipwreck in Victoria. It is significant for its association with the shipwreck, which is on the Victorian Heritage Register (VHR S417). The collection is significant because of the relationship between the objects, as together they have a high potential to interpret the story of the LOCH ARD. The LOCH ARD collection is archaeologically significant as the remains of a large international passenger and cargo ship. The LOCH ARD collection is historically significant for representing aspects of Victoria’s shipping history and its potential to interpret sub-theme 1.5 of Victoria’s Framework of Historical Themes (living with natural processes). The collection is also historically significant for its association with the LOCH ARD, which was one of the worst and best known shipwrecks in Victoria’s history.A small brass cow bell, in poor condition. It is blunt-wedge shaped. The sides expand outwards from the smaller rectangular roof of the bell to a larger open rectangle or bell mouth. A handwritten label is attached to the bel. Recovered from the wreck of the Loch Ard.Label text "["10/6/73, Brass Cow Bell, LOCH ARD, Found in the sandy hole in the centre of the wreck site. Cow bells were part of the cargo" - "10/6/73, LOCH ARD, small brass cow bell salvaged by FHMV divers"]. "LOCH ARD / PETER RONALD"flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, loch line, loch ard, eva carmichael, mutton bird island, loch ard gorge, brass cow bell, colonial cow bells, 1878 shipwreck, shipwreck artefact, flagstaff hill divers