Located on the corner of Main Road and John Street, the church first served the community as the Eltham Wesleyan Church since 1881. It became the Eltham Methodist Church in 1902, the year it united with the Primitive Methodists. Eltham Wesleyans first worshipped together in the home of William and Mary Crozier, on 24 acres bounded by Mount Pleasant Road and Pitt Street. From there they moved to a slab and bark hut in 1855 (this later served as the first school run by David Clark prior to the building of a new school in Dalton Street) and the members then built a chapel in 1858 on Lot 20, Henry Street (later to become the Rechabite Hall and Eltham Public Hall). The present church on John Street was designed by architects Crouch and Wilson in the Early English Gothic style with biochrome brick window frames, buttress heads and pinnacle. Church member George Stebbing built the church, the foundations were constructed with stone from the walls of the first Eltham State Primary School (No. 209) building which collapsed in 1874 and were purchased by Robert David Taylor. Stebbing was also responsible for building St Margaret’s Church and Shillinglaw Cottage. The Roll of Honour, which presently hangs in the church hall (which also doubles as the Opportunity Shop) lists 27 members of the congregation who served in the First World War, 11 of whom never returned. The red-brick Church Hall was opened in 1931 and in 1971 further additions linked the hall and church, including a foyer, vestry, meeting room and toilets reflecting the Eltham style of that time with its simplicity, extensive clear glass, reused baked clay-bricks from the 1881 church, heavy ceiling beams and compressed straw ceiling. On June 26, 1977, the church became part of the new Uniting Church in Australia consisting of the former Methodist and Congregational and most of the Presbyterian Churches. Following of declining numbers of worshippers, the church merged with the Montmorency Uniting Church on June 23, 1996. In 2023 the Uniting church approved a plan to renovate the church. It is understood that the historic church and the hall will be retained, and the building added in 1971 is to be demolished, to make way for a new purpose-built Opportunity shop. The proposed areas to be demolished include the current foyer, toilets, crèche, etc, including the area between the hall and the former RSL. Works are expected to commence mid to late July 2023. The Society was invited by a church member to take photographs of these areas to document them prior to demolition works commencing. Ref: “Nillumbik Now and Then” by Marguerite Marshall (2008)jim connor collection, 2023-07-10, eltham-montmorency uniting church, john street, methodist church, opportunity shop, uniting church, uniting church hall

Bishops Palace was built in 1877 as the home for the first Catholic Bishop of Ballarat. Designed by Melbourne architect, Joseph Reed, of Reed and Barnes, it was built by George Broom at a cost of £6,000. Reed and Barnes also designed Melbourne’s State Library, Ripponlea Estate and the Melbourne Royal Exhibition Building. The original heritage-listed gold lead stencilled paintwork that can be seen in the front entry and on the staircase walls at Bishops Palace was replicated in the Royal Exhibition Building. The original property was 140 squares set on 11 acres of gardens and took up an entire block of Sturt Street. This was on scale with the importance of Ballarat as a gold-mining centre at the time. Bishop's Palace is of architectural, aesthetic and historical significance to the State of Victoria. The two-storey bluestone mansion is an impressive example of 19th-century Gothic architecture with an unusual design. It retains many of its original features, including lead stencilled paintwork, cornices, ceiling roses, fixtures and fittings. Since sold by the Catholic Church the Bishops Palace has undergone a number of transformations in its lifetime, from the home of the first Bishop to a private residence, and today, as a luxurious accommodation, wedding and events venue. The grounds were subdivided over the years, and the property is now surrounded by four of the original 11 acres of gardens. It opened its doors to the public in 2019.Colour image of the bluestone Bishop's Palace, and it's cast iron lace.architecture, garden, bishop's palace, cast iron lace, cast iron, catholic church

One of a series of videos "Stories from the Nillumbik Shire with Geoff Paine" A brief overview of the Skipper Cottage or Whitecloud and the Bootmakers cottage (mid 1850s) with Sue Thomas, partner of Adam Skipper who have lived there for about 40 years. Includes a view inside the Bootmaker's cottage. Discusses the flood plain and how the house was moved to its present site on high ground due to flooding. The high ground came about due to dumping of rubble from the quarry where the school car park is which was used to source stone to build the schoolhouse across the road. It was moved on horse and wagon approximately 200 metres. The cottage was previously a Cobb and Co stopping station for mail. When Montsalvat was being built in the 1940s, Lena Skipper who was originally from Sydney invested her money into buying Whitecloud rather than putting money into Montsalvat like many others. Upon her death, Matcham Skipper inherited the house. Seaweed was used as insulation in the ceiling and after Matcham owned it a spark from the fireplace set the seaweed on fire and gutted the front of the house which is now all one big room. Also illustrates some of the changes to the house over the years and its construction. The Elm forest has grown naturally from suckers spread from one tree.MP4 Digital file 00:05:50; 674MBvideo recording, bootmakers cottage, lena skipper, lena thomas, matcham skipper, school residence, skipper house, whitecloud cottage

Plum Cottage is covered by Heritage Overelay HO256 in the Nillumbuk Planning Scheme This two-lot land holding was created as a subdivision and sold to Charles Stuart McNeil by May 1955. Sometime in the period 1955-1960, the builder-designer, John Harcourt had created a pise house on the site, straddling the two subdivision lots. The designer, John M. Harcourt was a pioneer builder in pise-de-terre and mudbrick in the Eltham Shire, Eltham being synonymous with alternative lifestyles and building practises until the onset of suburbia in the late 20th and early 21st centuries. This hipped-roof house is set high above Main Road on a V-shape plan characteristic of the Arts & Crafts style, with rammed earth or pise walls, timber joinery and a cement tiled roof. The V shape plan was used by important English and Eltham Arts & Crafts designers. The use of natural materials such as stone and timber construction is an essential part of the Arts & Crafts style and Harcourt’s work. So too is the application of the style on both the exterior and interior of the house as a holistic concept. The house adjoins the Lim Joon adobe house built and designed by Alistair Knox in the same era (HO119), thus forming a distinctive pair, both using an uncommon plan form. This house was identified in the Shire of Shire of Eltham Heritage 1992 as contributory to the Eltham Gateway Conservation Area, then proposed as an urban conservation area (now Heritage Overlay Area). Land Ownership Emily Jane Smith of 12 Woodside Street Fitzroy owned Crown Allotments 1 & 2 Sections 14, 27 by August 1918, selling to William Henry Smith of 12 Woodside Street, Nth Fitzroy May 1921. (John) James Isherwood of Main Road, Eltham owned the property by 1928 (the year of his death) with the beneficiary of his estate and next owner of this site being his widow, Minnie Maria Isherwood of Cemetery Road, Eltham. His holding in Main Road included parts of what was described in rate records as allotments1 & 2 Section E6. In the late 1930s, early 1940s her son Alfred John Isherwood was also rated for the land around this site, with the rated nett annual value varying between £2 and £5. Alfred Isherwood also lived at Main Road, Eltham with his wife Ellen: her early death at the age of 24 was reported in the Argus of 1923. Part of the Isherwood land was divided off and sold to Charles Stuart McNeil by May1955. Sometime in the period 1955-1960, the builder-designer, John Harcourt had created a pise house on the site, straddling the two subdivision lots. The house is visible on an aerial photograph from 1960s. Reputedly the house was called Plum Cottage and erected for Harcourt’s mother-in-law. A garage was added in 1959. Charles McNeil died in1971 aged 87: he was the son of Don McNeil and Margaret Arkell. Available rate records from the construction era start in the of the 1970s (1972-3) and list Mr H.C. & M/S A.V. Charity at 616 Main Road Eltham of this property with a nett annual value of $740. More recent valuer's data describes the property as lots 1 & 2 LP25668, located in the Central Riding of Eltham Shire, owned by Ann Valerie Charity and later, in 1990, by the Chincarini family. Building Description This hipped roof 11 .5 square house is set high above Main Road on a characteristic-shape plan and has rammed earth or pise walls, timber joinery and a cement tiled roof. The V-shape plan was used by Important designers such as C.F.A. Voysey (UK) who interpreted medieval domestic architecture as part of the Arts & Crafts style of the late 19th and early 20th centuries. The pise walls are covered with a textured render while the cement roofing tiles are also seen in the Harcourt Hill examples. Reputedly the ceiling joists are of a deep section and span long lengths with no need for hanging beams in the roof space. The ceilings are low and panelled in main rooms with apparently Caneite soft board infill panels between the exposed ceiling beams. These are painted white but may have been stained at one time. The focus of the house is the large living area with its vast random stone fireplace. Significance Plum Cottage is significant to the locality of Eltham because: Historically: • Plum Cottage is closely associated with the important historical theme of earth construction evident in Eltham and elsewhere in the Shire since theear1y Arts & Crafts inspired creations at Penleigh Boyd's The Robins (1912, HO101) and those at Montsalvat (1934-, HO82) but more prominent from the Second War period when earth building in Eltham was promoted in national periodicals as an alternative building method that avoided the building materials shortages of that era; • The choice of the earth building technique also expresses the theme of refuge or alternative living, synonymous with Eltham in the early to mid 20th century; • as a good example of domestic architecture from John Harcourt who was the first major post Second War figure in an important phase of Eltham’s earth building development, using his characteristic Old English or Arts& Crafts style that relies in this case on the pise wall construction, pitched roof forms, exposed ceiling joists, half timbering, random stonework, and panelled internal wall finishes. Architecturally: • Plum Cottage's pise wall construction is uncommon among the early earth-walled structures in the Shire, that are mainly of adobe or mud brick, and as a building material is uncommon among the Shire’s suburban dwellings generally which are clad typically with either fired clay bricks or timber boarding. Aesthetically: • Plum Cottage is a good and well preserved example of a modern Old English or Arts & Crafts style earth-walled building in the Shire • For the proximity of the significant Lim Joon adobe house designed by Alistair Knox adjoining to the north, providing a distinctive earth wall house pair, with uncommon plan forms. Reference Heritage Assessment of Plum Cottage, 616 Main Road, Eltham; Graeme Butler & Associates 2010main road, eltham, property, houses, (john) james isherwood, alfred john isherwood, ann valerie charity, arts and crafts style, charles stuart mcneil, chincarini family, eltham gateway zone, emily jane smith, h.c. charity, heritage assessment, john harcourt, john m. harcourt, lim joon house, main road eltham, minnie maria isherwood, pise construction, plum cottage

The Restoration of The Bendigo Gasworks Boiler House Complex, A Community Jobs Project March 2002 - June 2002. Final Report. Researched, compiled and written by: Fiona Gust and Simone (Mona) Krause. Front cover is purple, back cover is black and some inside pages are red or yellow. Topics in the book are: History of the Gasworks, How a Gasworks Works, Heritage Requirements, The CJP Crew, Crew Profiles, Initial Condition of the Boiler House Complex, O, H & S, Work Begins - Asbestos Removal, Clean-up, Iron Removal and Glazing. Artifact Cataloguing, where artifacts and where they were found were cataloged. On Going Discoveries. Exhauster ad Tank Room Ceilings, Pipes, Oil Spray Tower, Skillion over the Amenities Block, Posts, Beams along the Exhauster Room Wall-NE side, Beams on the SW side of the gable .. The join between the skillion and gable roof, Donuts on the Exhauster Room Wall - NE side, Trusses, Gutters and down pipes, Paint and Whitewash, Brickwork, Iron Fittings, Internal Fixtures, Generator Room/Compressor Room, Floors and Conclusion. The Captains Last Words by Peter Roberts. Acknowledgements. The coloured pages in the back are Edition One - 19.4.2002, Edition Two and Edition 3 of Combustible News which gives a progressive account of the work.buildings, gas company, the bendigo gasworks, the restoration of the bendigo gasworks boiler house complex, fiona gust, simone (mona) krause, city of melbourne gas and coke company, the bendigo mercury, the gas and fuel corporation, central deborah, community jobs project, peter roberts, chrysalis constructions, cvgt industrial training center, rod mclaughlin, allan fox, david gilroy, glen slater, aaron ott, ron whitford, daniel keogh, paul atkins, nick pearson, leigh williams, des leahy, anthony jennings, heritage victoria, the bendigo shire, central deborah, david bennear, david wright, deborah simm, community jobs unit, james thompson, mac booth, mine, tramways, discovery centre, mandy cooper, delwyn douglass, cindy tassie, helen yorston, brenda stanley, greg o'connell, kym smith, darren hutchesson, julie cain, john bullen, joe slaviero, mario joh;ns, norm harris, paul green, len cutting, jim morrissy, melissa tuddenham, fiona beckwith, leo trainor, gary anquetil, helen lynch, abbotts supply, action auction, garry floyd, bendigo trailers and hardware - matt, ron & jack, brennans - butch & robbie, bunnings - evan, brett crapper, hip pocket, jason kiel, country victorian scaffolding, paint right bendigo, alan gladman, deborah simms, graeme jennings, hugh ward, leigh williams, paul eccles, peter sporn, barb & mal krause, peter & shirley turner, bendigo copy centre

This is the home of Ernest Augustus Young (1891-1985) and Ruby Nichell Whitby (1892-1984) and their son Ernest Lance Young. Lance was born 24 March 1915 in Surrey Hills; after he married Beryl Mair. Electoral roll for 1937 gives the house name as 'Whitby Lodge'. Ernest and Ruby also had twins Clive and James who died in infancy. Buried at Box Hill Cemetery - M-*-0867 (family plot) This is part of a large collection relating to the Mair, Deakin and Young families. REF: Memoir of Laurie Newton (nee Young) - Her grandfather bought the land and had the house built. She remembers it as having pressed ceilings in some rooms and ornate fireplaces and tiles and leadlight windows in some rooms and doors with leadlight panels. Her grandfather was a keen gardener with an ornamental front garden and many vegetables and fruit trees in the back yard. Her grandfather sold the adjoining block (No 3 York Street), which had been used for growing flowers and vegetables, to John and Edna Jean. Reid. She also remembered that he extended the house and divided it into 2 flats, renting out the northern side for 20 years. Sold by Jellis Craig on 24 December 2010 - With formal living, dining, 3 bedrooms, 2 bathrooms, garage/ample OSP. Land: 18.2m x 40.8m (60' x 134') approx. Large 2 storey house replaced the house.Colour photo of the street view of 5 York Street, Mont Albert. The house is Edwardian in style, constructed from weatherboard painted white with a red corrugated iron roof with simple finials. There is a small veranda with simple fretwork, lead-light feature windows to one, possibly two front rooms, one of which has a bay window. There is a garage set back at the side of the house with a concrete driveway on the south side of the house towards Mont Albert Road. The fence is low and constructed from roughly faced stone. The garden contains mature shrubs.In blue biro on rear: "1985 / POP'S" ; "5 YORK ST / E.A. YOUNG". Red photographic processing stamp "PROCESSED BY / KODAK / MAY 85M"ernest augustus young, ruby nichell whitby, ruby nichell young, ernest lance young, box hill cemetery, whitby lodge, house names, mont albert

This is the home of Ernest Augustus Young (1891-1985) and Ruby Nichell Whitby (1892-1984) and their son Ernest Lance Young. Lance was born 24 March 1915 in Surrey Hills; after he married Beryl Mair. Electoral roll for 1937 gives the house name as 'Whitby Lodge'. Ernest and Ruby also had twins Clive and James who died in infancy. Buried at Box Hill Cemetery - M-*-0867 (family plot) This is part of a large collection relating to the Mair, Deakin and Young families. REF: Memoir of Laurie Newton (nee Young) - Her grandfather bought the land and had the house built. She remembers it as having pressed ceilings in some rooms and ornate fireplaces and tiles and leadlight windows in some rooms and doors with leadlight panels. Her grandfather was a keen gardener with an ornamental front garden and many vegetables and fruit trees in the back yard. Her grandfather sold the adjoining block (No 3 York Street), which had been used for growing flowers and vegetables, to John and Edna Jean. Reid. She also remembered that he extended the house and divided it into 2 flats, renting out the northern side for 20 years. Sold by Jellis Craig on 24 December 2010 - With formal living, dining, 3 bedrooms, 2 bathrooms, garage/ample OSP. Land: 18.2m x 40.8m (60' x 134') approx. Large 2 storey house replaced the house. Adjacent house (No 7 York Street) has been renovated. Colour photo of a rear view of 5 York Street, Mont Albert. Only part of the house can be seen but part of the roof of the house next door and brick and stucco chimneys can be seen. There is a greenhouse between these 2 properties.Red photographic processing stamp "PROCESSED BY / KODAK / MAY 85M"ernest augustus young, ruby nichell whitby, ruby nichell young, ernest lance young, box hill cemetery, whitby lodge, house names, mont albert

This was reproduced from a copy of the 1926 flyer relating to the Annual Speech Night. See vertical file re Mont Albert Primary / Mont Albert Central School. It was reproduced with the consent of the school archives in the early 1980's by Kenneth Tudor Hall. Mont Albert Primary was built in 1917 and was designated as a Central School in 1918 when Forms 1 & @ were added. It remained as such until the 1964 when the secondary years formed the basis of a new high school, known as the Box Hill North High School, (later changed to Koonung Secondary College). The original building was constructed of solid red brick and consisted of seven rooms. In May 1924 a further four rooms, also in red brick, were added. The school opened with an initial enrolment of 147 students in Prep to Grade 6. A further 72 children were admitted during the year, making a total enrolment in the first year of 219. The land facing Kenmare Street was purchased in 1919, adding another 2 acres to the 5.5 acres which the school occupied in 1917. The first Principal was Charles Hyland, who was assisted by three teachers. The first official meeting of the School Council in May 1917 reveals that the building was in some senses a shell, requiring additional input from parents. Mention is made of the need for asphalting of playing areas, providing a letter box and electric lights for the lobby, double room, office and sewing room. Mont Albert was the first School in Victoria to have the interior purely constructed of Victoria hardwood, from floor to ceiling. An Honour Board was erected in 1919. mont albert central school, mont albert primary school, mont albert, schools

Wodonga Shire was created in 1876 when the colonial government agreed to ratepayers' petitions to have their part of the local government district severed from the Yackandandah Shire to form a new municipality. After meeting for 14 years in rented remises, in the Prince of Wales Hall, Wodonga Council built its first Shire Hall on the corner of High and Elgin Streets in 1890. The date on the façade of the building, 1876, represents the date of the formation of the Shire. In 1957 the second Shire Office was built in Woodland Grove by A.B. and M. A. Chick. These offices were considered more than adequate for future needs. The façade featured floor to ceiling windows and several different meeting rooms in addition to the council chamber, which featured an impressive “horse shoe” table. It also included a kitchen equipped with modern fittings and a President’s room. In the late 1960s the area between Hovell and Havelock Streets as far as Jack Hore Place was zoned for civic purposes. In 1969 plans for a civic centre providing a library, theatre and senior citizens’ rooms. It was opened on 22 April 1971. In 1973, the Council engaged Bruce Marshall to design new offices beside the Civic Centre. Jennings Industries were contracted to complete the offices. The Governor, Sir Henry Winneke, laid the foundation stone of the new offices on 10 March 1976. The Civic Centre was demolished in 2011 to make may for a new $10 million community and entertainment centre which opened in August 2012.These photos are significant because they depict the different buildings which have housed the centre of local government in Wodonga since its inception as an independent shire in 1876.A series of photographs depicting the different buildings used to house the Wodonga Council and Civic buildings over time.wodonga civic buildings, wodonga council, shire of wodonga, rural city of wodonga

Bendigo's Grandest Buildings are the Public Offices (1883-7) and the Law Courts (1892-6). Like the Town Hall they were described as Italian Renaissance in Design, but have high mansard roofs which give them a distinctly French air. They are so pompously Bendigonian that they stand well with Vahland's work, but in fact they originated in the Public Works Department, the architect for both being W.G. Watson. The building containing the Public Offices and Post Office has a frontage of 155 feet to Pall Mall and 100 feet to Williamson Street, and it was designed to include the post and telegraph offices and the postmaster's quarters. Public access was from the porch facing Pall Mall, and on the first floor were the police, water supply and crown lands departments, reached by a stair from the porch on the short façade. It was the largest building of its type outside of Melbourne, and was built in the grandest fashion of ornately stuccoed brick on a foundation of Harcourt granite, faced above ground level with bluestone. The floors of the porches and landings of the main stair are of encaustic tiles, the interior woodwork is of French polished cedar, and the major public rooms have coffered and enriched ceilings and cornices, and ornamentally panelled walls divided by pilasters. The building is surmounted by a tower rising to 130 feet, containing a great clock made by Thomas Gaunt of Melbourne, the chimes played on five bells weighing a total of three tons.bendigo, buildings, state offices

The large plaster Illisos depicted in the back of this image is still held by Federation University Australia. The Ballarat Technical Art School (No. 10) was part of the Ballarat School of Mines and was established in 1907. After conducting classes in various locations around Ballarat a custom built art school was erected on the site of the former Ballarat Circuit Court House, previously used as the initial building of the Ballarat School of Mines. Examples of drawings undertaken by students, as well as some plaster castes are held in the University of Ballarat Historical Collection. The Ballarat Technical art School is the oldest continuous Tertiary Art School in Australia. Sir Alexander Peacock opened the new Ballarat Technical Art School building in July 1915. It cost 10,000 pounds and was constructed by the Public Works Department from plans drawn by the then Art School Principal, Herbert H. Smith. The building contractors were Messrs Gower and Eddards. According to the SMB Annual Report of 1914 'the internal upholstering and fittings have all been carried out in Australian timbers, with Queensland maple largely used throughout.' The building could be described as federation-art deco in style. It features sandstone insertion with sandstone string coursing. The base of the building is rusticated sandstone. The building is functional in design with large metal windows in the south wall to ensure good light into the studios. The northern wall has standard double hung windows. The interior of the building features a carved wooden staircase and cast iron ceiling vents. The rear drawing studios could be made into one large studio by opening panelled timber doors. This opening features classical plaster pilasters with a pediment above. (http://guerin.ballarat.edu.au/curator/buildings/technical_art_school.shtml) Black and white mounted photograph showing eleven students of the Ballarat School of Mines Technical Art School drawing from plaster models of human bodies in various poses and of various scales. The students are in a room of the Ballarat Technical Art School which was custom built for teaching art. The image was reproduced in the 1920 Ballarat School of Mines Students' Magazine. drawing, ballarat school of mines, ballarat technical art school, art studio, plaster caste, gribble building, illisos, hercules, drawing from the antique, visual arts

Kurting. Mechanics' Hall OFFICIAL OPENING. SUCCESSFUL FUNCTION. Favored by beautiful weather, the official opening ot the new Mechanics' Hall erected at Kurting proved an entire success. There was a large attendance ol local and district residents, and a sports meeting held during the afternoon in aid of Red Cross funds resulted in a substantial amount being netted. The hall, which stands on ground generously donated by Mr J. Hogan, between the school and the creek, is a substantialyvconcrete building of pleasing design, and was erected at a cost of about £330 by Mr J. H. Secombe, who also materially assisted the committee in the matter of finance. It is 48ft. long by 24ft. wide, with 12ft, walls, and should prove equal to the needs of the district for many years to come. It is well ventilated, and has large windows, these opening outwards on hinges. Doors at each side, and the back, as well as in front, give free means of access, while a fireplace in the back allows of provision being made for supper arrangements, water being laid on from a tank. Provi sion has been made for the partitioning off ot portion of the hall at any time this may be considered desirable. To provide a stage eight tables of a uniform size have been constructed to fit across the width of the hall. By these it will be possible, when euchre parties are being held, to use the full length of the hall. ... (Inglewod Advertiser, 19 July 1918) and also to convert tiie "stage" into card tables. The committee still has work ahead in the provision of a ceiling for the building and seating accomodation, but there is no doubt that the public support accorded them will be sufficient to enable these matters to be dealt with in the near future. A fine floor has been put down.Photographs of the former Kurting Hall, Victoria.kurting, kurting hall, john hogan, kurting mechanics' institute

This is the home of Ernest Augustus Young (1891-1985) and Ruby Nichell Whitby (1892-1984) and their son Ernest Lance Young. Lance was born 24 March 1915 in Surrey Hills; after he married Beryl Mair. Electoral roll for 1937 gives the house name as 'Whitby Lodge'. Ernest and Ruby also had twins Clive and James who died in infancy. Buried at Box Hill Cemetery - M-*-0867 (family plot) This is part of a large collection relating to the Mair, Deakin and Young families. REF: Memoir of Laurie Newton (nee Young) - Her grandfather bought the land and had the house built. She remembers it as having pressed ceilings in some rooms and ornate fireplaces and tiles and leadlight windows in some rooms and doors with leadlight panels. Her grandfather was a keen gardener with an ornamental front garden and many vegetables and fruit trees in the back yard. Her grandfather sold the adjoining block (No 3 York Street), which had been used for growing flowers and vegetables, to John and Edna Jean. Reid. She also remembered that he extended the house and divided it into 2 flats, renting out the northern side for 20 years. Sold by Jellis Craig on 24 December 2010 - With formal living, dining, 3 bedrooms, 2 bathrooms, garage/ample OSP. Land: 18.2m x 40.8m (60' x 134') approx. Large 2 storey house replaced the house. Adjacent house (No 7 York Street) has been renovated. This is part of a large collection relating to the Mair, Deakin and Young families. Colour photo of the street view of 5 York Street, Mont Albert. Taken from the verge, it is a good view of the front of the house. The house is weatherboard with a red corrugated iron roof with simple finials. It is Edwardian in style with simple chimneys in brick and stucco. There is a small veranda with simple fretwork on the southern corner of the house and a bay window to one of the front rooms. There are striped canvas blinds, which are down, on the windows of the 2 front rooms, above which are small lead light windows. The house is partly screened by a mature shrubs. The garden is set behind a fence low fence and constructed from dressed stone. In black permanent marker on rear: "5 YORK ST / NOV. 1999" ernest augustus young, ruby nichell whitby, ruby nichell young, ernest lance young, box hill cemetery, whitby lodge, house names, mont albert

This is the home of Ernest Augustus Young (1891-1985) and Ruby Nichell Whitby (1892-1984) and their son Ernest Lance Young. Lance was born 24 March 1915 in Surrey Hills; after he married Beryl Mair. Electoral roll for 1937 gives the house name as 'Whitby Lodge'. Ernest and Ruby also had twins Clive and James who died in infancy. Buried at Box Hill Cemetery - M-*-0867 (family plot) This is part of a large collection relating to the Mair, Deakin and Young families. REF: Memoir of Laurie Newton (nee Young) - Her grandfather bought the land and had the house built. She remembers it as having pressed ceilings in some rooms and ornate fireplaces and tiles and leadlight windows in some rooms and doors with leadlight panels. Her grandfather was a keen gardener with an ornamental front garden and many vegetables and fruit trees in the back yard. Her grandfather sold the adjoining block (No 3 York Street), which had been used for growing flowers and vegetables, to John and Edna Jean. Reid. She also remembered that he extended the house and divided it into 2 flats, renting out the northern side for 20 years. Sold by Jellis Craig on 24 December 2010 - With formal living, dining, 3 bedrooms, 2 bathrooms, garage/ample OSP. Land: 18.2m x 40.8m (60' x 134') approx. Large 2 storey house replaced the house. Adjacent house (No 7 York Street) has been renovated. This is part of a large collection relating to the Mair, Deakin and Young families. Colour photo of the street view of 5 York Street, Mont Albert. Taken from the rear of the house verge, it is a good view of the front of the house. The house is weatherboard with a red corrugated iron roof with simple finials. It is Edwardian in style with simple chimneys in brick and stucco. There is a small veranda with simple fretwork on the southern corner of the house and a bay window to one of the front rooms. There are striped canvas blinds, which are down, on the windows of the 2 front rooms, above which are small lead light windows. The house is partly screened by a mature shrubs. The garden is set behind a fence low fence and constructed from dressed stone. In black permanent marker on rear: "5 YORK ST / NOV. 1999" ernest augustus young, ruby nichell whitby, ruby nichell young, ernest lance young, box hill cemetery, whitby lodge, house names, mont albert

This was reproduced from a copy of the 1926 flyer relating to the Annual Speech Night. See vertical file re Mont Albert Primary / Mont Albert Central School. It was reproduced with the consent of the school archives in the early 1980's by Kenneth Tudor Hall. Mont Albert Primary was built in 1917 and was designated as a Central School in 1918 when Forms 1 & 2 were added. It remained as such until the 1964 when the secondary years formed the basis of a new high school, known as the Box Hill North High School, (later changed to Koonung Secondary College). The original building was constructed of solid red brick and consisted of seven rooms. In May 1924 a further four rooms, also in red brick, were added. The school opened with an initial enrolment of 147 students in Prep to Grade 6. A further 72 children were admitted during the year, making a total enrolment in the first year of 219. The land facing Kenmare Street was purchased in 1919, adding another 2 acres to the 5.5 acres which the school occupied in 1917. The first Principal was Charles Hyland, who was assisted by three teachers. The first official meeting of the School Council in May 1917 reveals that the building was in some senses a shell, requiring additional input from parents. Mention is made of the need for asphalting of playing areas, providing a letter box and electric lights for the lobby, double room, office and sewing room. Mont Albert was the first School in Victoria to have the interior purely constructed of Victoria hardwood, from floor to ceiling. An Honour Board was erected in 1919. mont albert central school, mont albert primary school, mont albert, schools

Beni Carr Glyn Burnett (also known as B. C. G. Burnett or Beni Burnett) was born in 1889 to missionary parents in Mongolia. When he was 15 years old he began training as an architect with a firm in Shanghai. He worked in Singapore, Japan and China before moving to Australia around 1933. In 1937 he was appointed as the Commonwealth principal architect in the Northern Territory. He went on to design a series of houses for senior public servants and military personnel which became very popular as they were specifically designed for the tropics - incorporating louvres, high ceilings and good ventilation. When Darwin was bombed in February 1942, he was evacuated to Alice Springs where he continued to work as an architect. He also became a Magistrate and Coroner in Alice Springs. In later life he was well known for sketching clientele in public bars. He died in 1955. Beni Burnett was living in Sydney in 1933 when he produced these three artworks. There were several photography firms operating in Sydney at this time who specialised in photographing ships and the shipping trade (e.g. Samuel J. Hood and William James Hall) and whose photographs were used by artists to produce ship portraits. Both of these photographers took photographs of the two ships in B. C. G. Burnett's watercolours This ship depicted by B. C. G. Burnett in his pen and wash sketch labelled "The White Ship" exactly matches a photograph pasted into his personal scrapbook which is in the "Library and Archives N. T.". The name of the ship is unknown and B. C. G. Burnett may have taken some artistic licence with the colouring as in the original photograph, the ship had a dark hull.This artwork (one of a set of three small artworks) is significant as an example of shipping (particularly the use of sailing ships) that were still being used as late as the 1930's in Australia. It is also important as its creator (B. C. G. Burnett) went on to become a well-known public figure in the Northern Territory in the late 1930's due to his innovative approach to designing homes for the tropical climate.An ink sketch of an unknown sailing ship moored to a dock. There are several small boats tied up near the sailing ship and a large steel freighter can be seen in the background. There is a faint wash of colour on parts of the sketch - the bottom of the ship, the masts and booms and the water at the end of the pier. The title (The White Ship) and the artist's name (B. C. G. Burnett) are written in ink in the top left corner. The back of the sketch is black card with faint pencil marks (overwritten in red ink) that appear to read "1842 A". A page from an album belonging to Beni Burnett displays five black and white photos including three photographs of ships. The photograph on the bottom right is an exact match for the pen and wash drawing. front - "THE WHITE SHIP / B. C. G. BURNETT" back - difficult to read "1842 A"flagstaff hill maritime museum and village, warrnambool, great ocean road, sailing ships, ships, barque, magdalene vinnen, winterhude, beni carr glyn burnett, b. c. g. burnett, beni burnett, painting, watercolour painting, sketch, ink sketch, sydney harbour, architect, darwin, burnett house, photography, samuel j. hood, william james hall

Louise Hearman used the Norla Dome and painted a mural painted which had taken her around a year to complete. The exhibition called Elephant Room was shown from June 1988. The work was vandalised in 1989 and subsequently demolished.Louise Hearman is a Melbourne born artist and Archibald Prize winner. Hearman first came to public notice in 1987/88 when she spent a year painting the mural in the Norla Dome. The premises of the Mission also served as her studio at that time.Black and white copy of a newspaper article, printed on A3 paper.It’s Louise’s masterpiece, come heaven, hell or high water Report: SARAH TURNER PICTURE: LEIGH HENNINGHAM When her Little Bourke St studio was pulled down to make way for a carpark, artist Louise Hearman, above, contacted The Seamen’s Mission in Flinders St to see whether she could use their cottage. They agree. But neither knew what it was going to lead to. When Hearman saw ‘the Elephant Room’ at the mission, a big domed room, she felt she “just had to do something with it”. She applied for and was granted a $3250 grant from the Australia Council, with which she was able to buy the necessary scaffold and paint, and then set about transforming the room. Now, a year later, her masterpiece is complete. Hearman emphasised the the mural doesn’t represent “heaven and hell”. Rather, she said, “people should make their own interpretations”. She said it was “not particularly heaven and hell, it’s not particularly anything”. And there is “no narrative” to the mural. It “just developed with the building”, out of whatever images and feeling Hearman had at the time. Sadly though, Hearman said the mural was likely to fall off the walls and domed ceiling unless the room was waterproofed - water damage is a serious problem at the mission. louise hearman, norla dome, exhibitions, 1988, elephant room, flinders street, melbourne, leigh henningham, cultural events

The former Ballarat Circuit Court Building, later the first building of the Ballarat School of Mines, was demolished to make way for a new custom built Art School building. Sir Alexander Peacock opened the Ballarat Technical Art School in July 1915. It cost 10,000 pounds and was constructed by the Public Works Department from plans drawn by the then Art School Principal, Herbert H. Smith. The building contractors were Messrs Gower and Eddards. According to the SMB Annual Report of 1914 'the internal upholstering and fittings have all been carried out in Australian timbers, with Queensland maple largely used throughout.' Before this building was constructed art and craft classes were held in various buildings around Ballarat. The building could be described as federation-art deco in style. It features sandstone insertion with sandstone string coursing. The base of the building is rusticated sandstone. The relief stone panel on the front with the words "Technical Art School" features stone pilaster brackets and corbels. In the centre front can be seen rectangular sandstone pediment with decorative stonework incorporating the date of construction. The windows in the lower floor feature five supporting keystones whereas the upper windows have sandstone lintels. The building also features decorative cast iron downpipes. The entrance on the northern side has attractive leadlight glazing in an art deco style. Above the door a miner's lamp and pick are featured in the design. The building is functional in design with large metal windows in the south wall to ensure good light into the studios. The northern wall has standard double hung windows. The interior of the building features a carved wooden staircase and cast iron ceiling vents. The rear drawing studios can be made into one large studio by opening panelled timber doors. This opening features classical plaster pilasters with a pediment above.Colour photograph of a sandstone detail on a double storey, red brick building - the Ballarat Technical Art School, a division of the Ballarat School of Minesballarat school of mines, ballarat technical art school, architecture, art, gribble building

The former Ballarat Circuit Court Building, later the first building of the Ballarat School of Mines, was demolished to make way for a new custom built Art School building. Sir Alexander Peacock opened the Ballarat Technical Art School in July 1915. It cost 10,000 pounds and was constructed by the Public Works Department from plans drawn by the then Art School Principal, Herbert H. Smith. The building contractors were Messrs Gower and Eddards. According to the SMB Annual Report of 1914 'the internal upholstering and fittings have all been carried out in Australian timbers, with Queensland maple largely used throughout.' Before this building was constructed art and craft classes were held in various buildings around Ballarat. The building could be described as federation-art deco in style. It features sandstone insertion with sandstone string coursing. The base of the building is rusticated sandstone. The relief stone panel on the front with the words "Technical Art School" features stone pilaster brackets and corbels. In the centre front can be seen rectangular sandstone pediment with decorative stonework incorporating the date of construction. The windows in the lower floor feature five supporting keystones whereas the upper windows have sandstone lintels. The building also features decorative cast iron downpipes. The entrance on the northern side has attractive leadlight glazing in an art deco style. Above the door a miner's lamp and pick are featured in the design. The building is functional in design with large metal windows in the south wall to ensure good light into the studios. The northern wall has standard double hung windows. The interior of the building features a carved wooden staircase and cast iron ceiling vents. The rear drawing studios can be made into one large studio by opening panelled timber doors. This opening features classical plaster pilasters with a pediment above.Colour photographs of a double storey, red brick building built - the Ballarat Technical Art School, a division of the Ballarat School of Minesballarat school of mines, ballarat technical art school, architecture, art, gribble building

Sir Alexander Peacock opened the Ballarat Technical Art School in July 1915. It cost 10,000 pounds and was constructed by the Public Works Department from plans drawn by the then Art School Principal, Herbert H. Smith. The building contractors were Messrs Gower and Eddards. According to the SMB Annual Report of 1914 'the internal upholstering and fittings have all been carried out in Australian timbers, with Queensland maple largely used throughout.' Before this building was constructed art and craft classes were held in various buildings around Ballarat. The building could be described as federation-art deco in style. It features sandstone insertion with sandstone string coursing. The base of the building is rusticated sandstone. The relief stone panel on the front with the words "Technical Art School" features stone pilaster brackets and corbels. In the centre front can be seen rectangular sandstone pediment with decorative stonework incorporating the date of construction. The windows in the lower floor feature five supporting keystones whereas the upper windows have sandstone lintels. The building also features decorative cast iron downpipes. The entrance on the northern side has attractive leadlight glazing in an art deco style. Above the door a miner's lamp and pick are featured in the design. The building is functional in design with large metal windows in the south wall to ensure good light into the studios. The northern wall has standard double hung windows. The interior of the building features a carved wooden staircase and cast iron ceiling vents. The rear drawing studios can be made into one large studio by opening panelled timber doors. This opening features classical plaster pilasters with a pediment above. This building is now the Gribble Building on the Federation University Australia SMB Campus.Artwork by students of the Ballarat Technical Art School from the 1934 Ballarat School of Mines Students' Magazine .1) Stairs to the Ballarat Junior Technical School from Grant Street .2) Caricatures by Nornie Gude .3) work by Colin S. Hunt .4) A girl and a rooster by Gilda Gude .5) Self Portrait .6) Main entrance to the Ballarat Technical Art School by Lorna Bailey .7) Artwork from the magazineballarat technical art school, gribble building, gribble, stained glass, white flat, hopwood, bailey, gude, ballarat junior technical school, visual arts

This light hanging mechanism could have been used for an adjustable chandelier with candle holders. It would likely be attached to the ceiling by its long stem to suspend the light fitting. A chain would have been threaded around each pulley, with one end joined to the top of the light fitting and the other end joined to a counter weight. The four counter weights would allow the light fitting to be raised or lowered to the desired height with little effort, to allow for lighting the candles or change the intensity of the light. This light fitting was once installed on the famous sailing ship, the Loch Ard, which was built in 1873 and tragically wrecked in 1878.The fitting was recovered from the wreck almost 100 years later, at the time it was discovered. LOCH ARD 1873-1878 – The Scottish-built clipper ship Loch Ard was bound for Melbourne in 1878 with 54 people on board. The mixed cargo it carried included items for the 1880 International Exhibition in Melbourne, one of which was the now famous Majorca ware Minton ‘Peacock’ statue. The Loch Ard was wrecked on June 1st when the ship crashed into Mutton Bird Island, east of Port Campbell. The only survivors were Tom Pearce, a crew member, and Eva Carmichael, a young passenger who was rescued by Pearce. The Gibsons, owners of nearby Glenample Homestead, cared for Tom, and for Eva who stayed longer before returning to Ireland. The wreck of the Loch Ard was discovered in 1967, before the introduction of the Victorian historic shipwreck legislation. In 1969 it was decided that all recovered material should be lodged with the Receiver of Wrecks. In 1980 Flagstaff Hill Maritime Museum Divers received a permit to recover artefacts from the wreck to safeguard them from looters. In 1982 the site was listed as a Historic Shipwreck, and the Maritime Archaeology Unit recovered loose artefact material. The light fitting is recognised as being historically significant as an example of lighting either as part of the ship ‘Loch Ard’ or part of the ship’s cargo, imported for use in Colonial Victoria in the 19th to early 20th century. 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. Light fitting; hanging mechanism with simple pulley wheels for pendant light. Metal pipe, closed and hooked at one end, stem has three decorative rings, and open end has a short narrower metal pipe inserted. Narrow pipe has a three tiered, scallop-edged dome attached to the end. The dome encloses remnants of broken chain length and is attached to a set of four pulley wheels arrayed in a circle with their edge sat right angles to each other. The light fitting was 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, shipwreck artefact, loch ard, victoria, eva carmichael, tom pearce, lighting, lidht fitting, pendant light, chandelier, pulley light, adjustable height light

German-born Anton Brinkkotter, a skilled metal-worker by trade, migrated to Australia in 1880. His initial job was to supervise the installation of ornamental ceilings in the Melbourne Exhibition Building. He moved to Research in about 1900, working first as a plumber and tank-maker. But he is best known for having established a poultry farm (on Main Road between Research Primary School and the Maroondah Aqueduct) in 1906, which steadily grew to become one of the largest in Victoria, supplying customers all over Australia. By 1935 it was a thriving business, with buildings housing 6,000 birds and incubators capable of hatching 8,000 eggs. He died suddenly from a heart attack in 1938 and is buried with his wife Anna in Eltham Cemetery. The business was carried on by his son Anton William Brinkkotter. When electricity came to Research in 1940, the Brinkkotter Poultry Farm was the very first customer, enabling further expansion and modernisation. Two electric incubators were installed with a capacity of 10,000 eggs each. Anton William Brinkkotter became active in public affairs, a trustee of the Eltham Public Hall in Henry Street and was an Eltham Shire Councillor between 1941 and 1961 serving three years as Shire President. The Brinkkotter house in Dudley Street was used to house the Eltham Library prior to a dedicated Library being completed with the southern wing of the Shire offices in 1971. He died in 1970 and is buried with his wife Bridgene in Eltham Cemetery, alongside his parents. In Loving Memory Of Anton William Brinkkotter Passed away 29th Sept. 1970 Aged 72 years Bridgene Josephine Brinkkotter Passed away 5th Feb. 1995 Aged 90 years R.I.P. and In Loving memory Of Anton Brinkkotter Loved husband of Anna & loving father of Anton Died 7th June 1938 aged 71 yrs. Also the above Anna Died 12th Jan. 1954 aged 80 yrs. R.I.P.Born Digitaleltham cemetery, gravestones, anna brinkkotter, anton brinkkotter, anton william brinkkotter, bridgene josephine brinkkotter

Eltham's original Wesleyan Methodist Church Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p97 The pretty Uniting Church building at the corner of John and Main Roads Eltham has served the community since 1881.1 Originally called the Eltham Wesleyan Church, the church became the Eltham Methodist Church in 1902, the year it united with the Primitive Methodists.2 As the church community developed, influencing and being influenced by the wider community, its buildings changed accordingly. Eltham Wesleyans first worshiped together in 1850 at the home of William and Mary Crozier on 24 acres (9.7ha) bounded by Mount Pleasant Road and Pitt Street. From 1855 the Wesleyans worshipped in a slab-and-bark hut; then in 1858 in a chapel on Henry Street close to Maria Street (now Main Road). Meanwhile, in 1860, the Primitive Methodists opened a brick chapel at the corner of Susan and Bridge Streets. The John Street building – in the Early English Gothic style with biochrome brick window frames, buttress heads and pinnacle – was designed by architects Crouch and Wilson. Church member George Stebbing built the church as he did Eltham’s St Margaret’s Anglican Church and Shillinglaw Cottage. The Church Honour Roll is a poignant reminder of how church members have served the wider community: 27 members enlisted and 11 died in World War One. Despite the Great Depression, 1931 was a time of expansion for the church. Its red-brick hall was opened by prominent Methodist and philanthropist F J Cato of the Moran and Cato Grocery chain. The hall enabled the church to attract people from outside through activities like its gymnasium – with 40 boys and youth participating – and the girls’ callisthenics club, which competed at the Ballarat South Street Competitions. The church also held concerts, bazaars, picnics and sports, with badminton and tennis played on the church court at 23 John Street. Two stained-glass windows commemorate tragic events. A dove representing the Holy Spirit and Comforter marked the death in 1936 of member Effie Lowerson from scarlet fever at 14 years. The other depicting the Biblical story A sower went forth to sow, commemorates Ross Gangell, who died in 1961 at 23 years of a rare blood condition. Eltham’s population expanson resulted in the growth of the church and an extension in 1971, designed by member and architect Colin Jones. The church was linked to the hall and additions included a foyer, vestry, meeting room and toilets. The design reflected the Eltham style of the time, with its simplicity, extensive clear glass, reused baked clay-bricks from the 1881 church, heavy ceiling beams and solomite (compressed straw) ceiling. On June 26, 1977 the church became part of the new Uniting Church in Australia consisting of the former Methodist and Congregational and most of the Presbyterian Churches. In 1981 membership peaked at 159 – about 20 years after most Protestant churches – and continued to reach out to the wider community.3 In 1987, 147 children attended Selihoo, the weekly after-school program organised with St Margaret’s Anglican Church. From 1993, the church with other local churches, participated in LINC (Love in the Name of Christ), helping the wider community in various ways including babysitting, transport, gardening and visiting. Despite such initiatives, church numbers declined, and on June 23, 1996, the church merged with the Montmorency Uniting Church.4 However, the church continued to proclaim its message of love in community service and strong social justice action, such as in Jubilee 2000, supporting debt relief to the world’s 45 poorest countries. Some of the many church members who have had an outstanding impact on the wider community include Philip Shillinglaw, farmer and poet, and Arthur Bird (after whom the Arthur Bird Reserve is named), a pioneer orchardist and the Sunday School Superintendent for 33 years. Others were: the Rev Dr Cliff Wright, who established the Methodist Youth Fellowship and was prominent in the World Council of Churches, the Rev Brian Howe, who became Deputy Prime Minister and Tim Marshall, awarded the Order of Australia in 2000 for his work on salinity.This collection of almost 130 photos about places and people within the Shire of Nillumbik, an urban and rural municipality in Melbourne's north, contributes to an understanding of the history of the Shire. Published in 2008 immediately prior to the Black Saturday bushfires of February 7, 2009, it documents sites that were impacted, and in some cases destroyed by the fires. It includes photographs taken especially for the publication, creating a unique time capsule representing the Shire in the early 21st century. It remains the most recent comprehenesive publication devoted to the Shire's history connecting local residents to the past. nillumbik now and then (marshall-king) collection, eltham uniting church, eltham methodist church

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

Timetable published by the Electric Supply Co of Victoria (ESCo) for Ballarat Tramways - dated 1/10/1914 to 30/4/1915. Provides times for each route, ticket prices, school tickets, fare box routes, fares, transfer tickets, and route colours both for day and night. Also has notes to passengers and places of interest for each route. Has contact phone numbers for the Company. Manager Mr Pringle. See item 9131 for a 1915 Winter timetable. Has many adverts - from the front page: A M Palmer Chemist Hodgson - optical Snows - department store Summerscales - postcards W E Thomas - Dentist L Casper - optician E Jermyn - feed merchant Standsfield & Smith - Decorators Briant's Red shop tea rooms A E White - tailor Ellingsen & Co - furniture Southern Cross Hotel H P Stevens & Co - fur coats Frank Williams - painter and decorator Longhurst's bread factory G Buchanan - metal ceilings Robert Hutchinson - electrical engineer and contractor G Ludbrook - furnishing undertaker A Cant - plumber, gasfitter and ironmonger Huddart Parker and Howard Smith coal merchants Precision Big 4 - motor cycles and bicycles H W Channing - Tram drivers' training school T H Richards - butcher C Ellis - furniture exchange Levecke's motor garage Frank Penhalluriack - electrical work Nankervis - store Taffy King Fred A Reed - tobacconist F & J W Gower - builder E E Hobson - decorator Walter Cornell - liver pills Irvines - wines G Warner - Ironmonger J A Reynolds - Wall papers W J Robson - leadlights Porter's - boots and shoes Holman & Fiscalini - stables and motor garage Butler & Co - blinds Mrs Kerby - clothing reseller Rose Cosmetic - H Binzer & Co Mrs Busfield - laundry Mrs J H Dogson - registry office for servants B G Tucker's Water Cure Electric Supply Co Rowlands drinks On the bottom of most pages - Sidar products and on the top the Coliseum Picture Palace. Demonstrates and ESCo timetable and provides information about fare systems and local businesses.Time table - booklet - 40 pages + brown light card covers centre stapled with tabbed or cut pages.tramways, ballarat, timetables, esco, advertisements, fares, tickets, fare boxes

Artist Leonard French said of this work:- "The centre panel suggests a tree of knowledge growing out of a jewelled fish (a spiritual accompaniment is intended), and from the tree birds rise, spreading out through the cloud shapes of the other panels. Hands and figures rise from the earth, reaching for the birds. The left hand panel depicts the journey of figures in a boat, the seeking after or journeying to the source of knowledge. The far right hand panel is the garden, figures in a primitive state, a sort of evolution of figures from a primitive garden (the first garden). Visualization, verbalization, music and dance are tools we have to express a concept. The analysis of an art work is a delicate and sensitive task and great harm can be done in an attempt to become verbal about a form which relies upon elements peculiar to itself for intrinsic meaning." Leonard FRENCH (OBE) (08 October 1928 - 10 January 2017) Born Brunswick, Victoria Died Heathcote, Victoria Known for his enormous dalle de verre (concrete and slab glass) ceiling in the Great Hall of the National Gallery of Victoria Leonard French produced a large body of work throughout his lifetime. French won the Sulman Prize in 1960, and the Blake Prize for Religious Art in 1963 and in 1980. He was also awarded a Harkness Fellowship in 1965. In the Queen's Birthday Honours of June 1968 he was appointed an Officer of the Order of the British Empire. In early 1959 Leonard French was commissioned by the Ballarat Teachers' College students to paint a mural. The students were responsible for the payment of the work. When unveiled artist George Bush remarked: "the 1959 students have left something not just to 'oooh' and 'ah' at, but something that is thought provoking, arresting and interesting. This work of art keeps something in reserve and draws you to search for deeper meaning behind the splendour of colour. This mural is not one which will not fade the interest of its beholders, but one which will provide intrigue for generations to come." Originally French intended the mural to be five panels, each entitled (left to right) 'the Journey', 'Man', 'The Tree', 'The Earth', 'The Garden'. The finished mural was reduced to four panels with the central tree incorporated into the panels 'Earth' and 'Man'. Ballarat Teachers' College Art lecturer Arch Cuthbertson explained that the artist:- "Aims at evoking emotional flashed, opening doors to simultaneous thinking and feeling. To accomplish this he juxtaposes the threads of conscious and unconscious images, thus effecting a tapestry that allows many points of reference to converge upon his singular images. Whether the colours offer metaphysical sensations or convey a literal meaning will depend upon the breadth and depth of the viewer's experience. Similarly with the bird - we might well ask is it a defiance of gravity, a metaphysical ascension or the elusive winged knowledge? Again the answer could well be that these three associations have a singular purpose. " This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.A four panel mural by Leonard French, commissioned and gifted by the Ballarat Teachers' College Student in 1959. Art lecturer Arch Cuthbertson was highly involved in this commission. Artist Charles Bush unveiled the mural at the Ballarat Teachers' College in Gillies Street, Ballarat. At that time he said:- "You have left behind you on object which will be full of interest to a lot of people. A work of art, so long as it is in existence, is constantly under review. Most of the good things that keep on going are usually to the uninitiated a little worrying. Many of you will be worried by this, because it does not make its message immediately clear. But come back and assess it again and again." art, leonard french, french, artwork, mural, ballarat teachers' college, class of 1959

Beni Carr Glyn Burnett (also known as B. C. G. Burnett or Beni Burnett) was born in 1889 to missionary parents in Mongolia. When he was 15 years old he began training as an architect with a firm in Shanghai. He worked in Singapore, Japan and China before moving to Australia around 1933. In 1937 he was appointed as the Commonwealth principal architect in the Northern Territory. He went on to design a series of houses for senior public servants and military personnel which became very popular as they were specifically designed for the tropics - incorporating louvres, high ceilings and good ventilation. When Darwin was bombed in February 1942, he was evacuated to Alice Springs where he continued to work as an architect. He also became a Magistrate and Coroner in Alice Springs. In later life he was well known for sketching clientele in public bars. He died in 1955. Beni Burnett was living in Sydney in 1933 when he produced these three artworks. There were several photography firms operating in Sydney at this time who specialised in photographing ships and the shipping trade (e.g. Samuel J. Hood and William James Hall) and whose photographs were used by artists to produce ship portraits. Both of these photographers took photographs of the two ships in B. C. G. Burnett's watercolours. The "Winterhude" (originally called "Mabel Rickmers) was a three masted Finnish barque built in 1898 by Rickers - Werft Bremerhaven for use on the East India rice trade and later the South American nitrate trade. After WW1 it came under French control as war compensation. It was also sold several times and at one stage was called "Selma Hemsoth" but in 1925 it was bought by Gustaf Erikson who restored the name "Winterhude" and the vessel became a regular transport in the Australian wheat trade. In 1944 it was sold to the German navy before being taken over by the British at the end of WW2. It was photographed in Sydney by William James Hall in1931 on its way to Port Lincoln, South Australia to load wheat for Europe.This painting (one of a set of three small artworks) is significant as an example of shipping (particularly the use of sailing ships) that were still being used as late as the 1930's in Australia. It is also important because its creator (B. C. G. Burnett) went on to become a well-known public figure in the Northern Territory in the late 1930's due to his innovative approach to designing homes for the tropical climate.A watercolour painting of a sailing ship called "Winterhude". It shows a 3 masted barque with a blue and red steel hull in full sail heading away from the viewer. A small figure can be seen at the wheel at the rear of the ship. The painter's name (B. C. G. Burnett) and date (1933) are written on the bottom left-hand corner of the painting. The name of the ship is written in faded pencil on the back of the painting.front - "B. C. G. BURNETT. 1933" back - in faded pencil - "the Winterhude"flagstaff hill maritime museum and village, warrnambool, great ocean road, sailing ships, ships, barque, winterhude, beni carr glyn burnett, b. c. g. burnett, beni burnett, painting, watercolour painting, sketch, ink sketch, sydney harbour, architect, darwin, burnett house, photography, samuel j. hood, william james hall, mabel rickmers

Set of 15 ink and colour pencil drawings by Norm Cross of Melbourne tramcars and one Brisbane. 1 - Y class 469 - undated - 525 x 250 with advert for Sharps Doors. Drawn using a card for Actil Sheets. 2 - T class 178 - undated - 250 x 485 - has notes on the rear about the tram. 3 - T class 179 - 5/9/1959 - 520 x 255 - has notes on the rear about the tram. 4 - W2 class 646 - undated - 265 x 630 - incomplete, has an advert for White Crow sauce. 5 - Q class 197 as an all night car - undated - 250 x 510. 6 - W2 class 455 - (East Preston Depot) - 21-1-1962 - 410 x 223 - has adverts for Stramit ceiling tiles and Foster Clarks foods. 7 - Scrubber or track cleaner No. 8 - 23-6-1959 - 405 x 220 - has a sketch of same tram on the rear showing the body strengthening. 8 - Y1 class tram, No. 613 - 5-6-1961 - 235 x 510 - has advert for VEB eggs 9 - W4 class 672 - undated - 520 x 220. 10 - Brisbane FM 543 - undated - 240 x 440 - has adverts for Brisbane Daily Telegraph, and Rothmans. Has used a 1959 calendar for the sheet. 11 - W6 986 at Preston Workshops - 26-4-1958 - with trams in the background - 635 x 255 - with an advert for 3AW 12 - W7 class tram 1020 - undated - 630 x 255 - not completed - has advertised for Driving safely, Best tyres, Hardie, and Norman Banks on 3AW. 13 - W2 268 - outline sketch only - not completed - undated - 465 x 225. 14 - Melbourne's tram of the future, as envisaged by Norm Cross - No. 1103 - PCC car - 7-1967 - 500 x 190 with notes on the tram equipment. Has adverts for Aspro and 3DB. 15 - L class 103 - undated, not completed - 505 x 205, has advert for Pimms Demonstrates Norm Cross drawings of Melbourne trams and one Brisbane tram. Norm commenced with the MMTB Preston Workshops as a apprentice fitter and turner in 1959. Ink, pencil and color pencil drawings on card.trams, tramways, norm cross, drawings, tram 469, tram 178, tram 179, tram 646, tram 197, tram 455, tram 8, tram 613, tram 672, tram 543, tram 986, tram 1020, tram 268, tram 1103, pcc class, tram 103

Built in 1878, the orange polychromatic brick structure replaced a slab building which had been used since 1951. The building has changed little with its handsome bricks buttressed on both sides, a slate roof and a Celtic cross on top of the front gable. The carved wooden pulpit and 18 pews are original. The cathedral-style ceiling is fully lined with tongue-and-groove pine boards and the floor is also pine. The walls have arched oblong leadlight windows. In 1977 the congregaton decided not to join the Uniting Church, whcih amalgamated some Presbyterian churches with all the Methodist and Congregational churches in Australia. Together with the store and school, the church is one of Kangaroo Ground's three public buildings. Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p91 The small Presbyterian church in Main Road, Kangaroo Ground, has been a spiritual centre for more than a century. Built in 1878, the orange polychromatic brick structure replaced a rude slab building, which had been used as both a church and school since 1851. Earliest settlers, who were Scottish farmers, had worshipped together since 1841 in a barn owned by farmer James Donaldson and led by a layman called Smith.1 However, from 1843, the Reverend Peter Gunn conducted church services. Prominent early church members include the Donaldson, Bell and Cameron families. In 1851, Samuel Furphy (father of author Joseph) built their first church building, a 30 feet x 18 feet (9m x 5.5m) slab structure on half an acre (0.2ha) donated by Mr Donaldson. Conditions could be very uncomfortable in extreme weather.The green slabs of timber and sapling logs, covered partly with mud, had centimetre-wide cracks, allowing rain and wind through, when not blocked out by folds of paper.2 However this did not deter the first couple marrying there in 1857: John Wilson of Nillumbik and Christina Macpherson of Christmas Hills. The Reverend Peter Gunn seldom visited so it was usually left to Andrew Ross, the settlement’s first teacher and founder of the newspaper The Evelyn Observer, to lead the divine services instead.3 In 1877 the settlers raised £355/19/- and hired architect, Charles Maplestone and builder, Mr Self, to construct today’s church building. Each family rented a pew or pews for ten shillings a half-year; they also paid quarterly subscriptions for the minister’s stipend.4 It was not until 1886 that the church celebrated its first wedding, that of John Bell (junior) from Violet Bank and Elizabeth Charlton of Cunis Nillen. The Sunday School’s first recorded meeting was also held that year. In 1892 a weatherboard vestry was built, and the following year John Bell donated a church bell, which the fire brigade used as a warning for several years. Conditions have varied greatly during the century. In 1893 the Reverend Darroch had to travel more than 2000 miles (3220km) to attend to his scattered parishioners. Then in the Depression, the minister Mr Brown, subsisted only on lodgings with no stipend. The Sunday School ceased for many years because of the small population, but reopened in 1949. The building has changed little with its handmade bricks buttressed on both long sides, a slate roof and a Celtic cross on top of the front gable. The carved wooden pulpit and 18 pews are original and in fine condition. The cathedral-style ceiling is fully lined with tongue-and-groove pine boards and the floor is also of pine. The walls have arched oblong leadlight windows. One window has stained glass commemorating Mrs Jessie Agnes Cameron and her ancestors – the pioneering Bell family. It depicts The Sower because the family comprised farmers who came to a strange land to sow the seeds of their faith as much as their crops. Thistles signify their Scottish ancestry and the pigeons are a symbol of Pigeon Bank, the Kangaroo Ground farming property where Jessie Cameron was born.5 Other historical ties are seen on two marble memorial tablets and carved wooden chairs dedicated to former members. The Church still has the original Bible with gold edged paper, presented by the women of the congregation in 1871, although it is no longer used. In 1977 the Presbyterian congregation decided not to join the Uniting Church, which amalgamated some Presbyterian churches with all the Methodist and Congregational churches in Australia. Together with the store and school, the church is one of Kangaroo Ground’s three public buildings.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, kangaroo ground presbyterian church