MERLE HALL COLLECTION: ROSALIND PARK CREATIVE VILLAGE BENDIGO NEWSPAPER ARTICLES 3858.9a Young boy holding a board of mosaic tiles probably at a workshop. Article begins: A unique mosaic pavement is to become part of the tapestry of the restored Rosalind Park. Students from three of Bendigo's central primary schools are taking part in the project. Photo Caption reads ART at work: preparing to create the unique mosaic pavement in Bendigo's Rosaling Park is eight year old St Killians Primary School student, David Nicholds. 3858.9b A newspaper coloured photo from the poppet head of two young people standing on and looking down on the mosaic at the lookout. Caption reads: Passing students take a keen interest in the new-look base of the Rosaling Park poppet head. The mosaic was created through an Art Bendigo project. LEAP workers helped install the five sections using stone tiles made by local primary school students. Depicting the saddle reef formations in the area the work has been designed and created by Bendigo artise Maery Hall. Picture: Peter Hyett. 3858.9c A photo from the poppet head lookout looking down at a worker with a broom, sweeping the mosaic. 3858.9d Two women crouching on the ground viewing the work done on the mosaic. One woman holds books and papers; in the far background over the car-park is the Sacred Heart Cathedral, the Bendigo Art Gallery and the Capital Theatre. 3858.9e Newspaper article along with coloured photo of the poppet head lookout in Bendigo's Rosalind Park. In the foreground are two young people arranging the mosaics. The article begins: Mosaic pavements began taking shape at the base of the Rosaling Park poppet head lookout yesterday. The pavement will cover about 130 square metres, in five sections, and have been designed as a memorial to Bendigo's mining history and traditions. 3858.9f Newspaper article July 29, 1997 entitled 'Bendigo Paving the Way' - photo of artist Maery Gabriel at the official opening of the heritage mosaic. Pictures: Tania Bond. Photo of Maery taken from the poppet head looking down on the mosaic. Als a smaller photo with details of the mosaic design. Opening paragraphs of the artical: Arts Bendigo and the City of Greater Bendigo are paving the way to an improved Rosalind Park with the official opening of the 'Bendigo Heritage Mosaic'. The mosaic is more than 100 square metres of decorated pavement sections surrounding the poppet head lookout at the park. The paving was designed by mosaic artist Mary Gabriel and depicts Bendigo's mining history and colour throughout.

The Excelsior IV Log is a nautical instrument for measuring a vessel’s speed and distance travelled. When navigating a ship it is essential to be able to estimate the boat’s speed and distance travelled to determine its position at sea. In times past the only way to measure a ship’s speed was to throw a wood log into the water and observe how fast it moved away from the ship. In the 16th century, the log was fastened to a rope knotted at set intervals. The log was thrown over the stern (back) of the vessel and a crew member counted the number of knots that were paid out in a set time. From this, they could estimate the speed of the vessel through the water. This was known as streaming the log and is also the derivation of the knot as a measurement of nautical speed. The Walker’s Excelsior Mark IV instrument was designed for smaller vessels, such as yachts, launches and fishing vessels. Historical: Thomas Walker & Son was internationally renowned in the manufacturing of ships logs, founding father , Thomas Walker (1805–1871), an engineer in Birmingham, patented a mechanical log in 1878 which was a recording instrument that attached to a rail at the stern of a vessel connected by a long cord with a rotor which was towed behind the ship. The instrument dial recorded the distance travelled. Thomas Walker first went into business to manufacture stoves at 58 Oxford Street Birmingham. Walker’s self-feeding stove was widely lauded at the Paris Exhibition of 1855, winning a prize medal and kick starting the first of many notable innovations for the Walker family's manufacturing business. However, it wasn’t until working on an earlier ship’s log model invented by his Uncle that Thomas Walker became interested in the further development of this device, used to ascertain a ship’s speed. Walker continued to improve on the common log for the company of Massey & Sons and these improvements were deemed revolutionary. This log became a firm favourite of the West India Association (British-based organisation promoting ties and trade with the British Caribbean), being the most common log in use for two generations. It took until 1861 for Thomas Walker and his son, Thomas Ferdinand Walker (1831-1921) to patent the first Walker log of many. Together, with the introduction of the A1 Harpoon Log two years later, they established the Walker Log Business as a force to be reckoned with. By the time of his passing in 1871, Thomas Walker Snr had not only founded a family business with considerable staying power but also instilled a tradition of public service. Having sat as a representative on the Birmingham Town Council for 15 years and played an active role in public works, he was soon given the nickname of ‘Blue Brick Walker’. Much like his father, Thomas Ferdinand Walker changed the face of the maritime industry. His patent of 1897, the ‘Cherub’ log, was a notable departure from the past providing a far more accurate reading and replacing the majority of logs of the age. They were the first to produce an electric log and the Walker factory was one of the first to introduce the 48 hour work week for employees. The ship log was invented and made by a significant marine instrument maker and innovator of machinery. It demonstrates the huge leap taken to improve navigational accuracy at sea with an instrument that was in use for decades.Ship's Taff Rail Log, rope attached. Walker's Excelsior IV Log model. Nautical miles dials: units and 10's. "Walker's Excelsior IV Log", "Made in England by Thomas Walker, Birmingham"flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, log register, taff rail log, taffrail log, marine navigation, a1 harpoon log, cherub’ log, walker’s excelsior mark iv log, ship’s log instrument, mechanical ship’s log, measure ship’s speed, nautical instrument, navigation instrument, massey & sons, thomas walker, blue brick walker, thomas walker & son, thomas ferdinand walker, 48 hour work week

In times past the only way to measure a ship’s speed was to throw a wood log into the water and observe how fast it moved away from the ship. In the 16th century, the log was fastened to a rope knotted at set intervals. The log was thrown over the stern (back) of the vessel and a crew member counted the number of knots that were paid out in a set time. From this, they could estimate the vessel's speed through the water. This was known as streaming the log and is also the derivation of the knot as a measurement of nautical speed. Various manufacturers of nautical equipment had sought over the years to perfect the operation of determining a ship's speed and it wasn't until Thomas Walker and his son Ferdinand developed a mechanical system that eventually made this task became easy for marine navigators. Thomas Walker & Son were internationally renowned in the manufacturing of ship logs the founding father, Thomas Walker (1805–1871), an engineer in Birmingham, patented his mechanical log in 1878 which was a recording instrument that attached to a rail at the stern of a vessel connected by a long cord with a rotor which was towed behind the ship. The instrument dial then recorded the distance travelled. Thomas Walker first went into business to manufacture stoves at 58 Oxford Street Birmingham. Walker’s self-feeding stove was widely lauded at the Paris Exhibition of 1855, winning a prize medal and kickstarting the first of many notable innovations for the Walker family's manufacturing business. However, it wasn’t until working on an earlier ship’s log model invented by his Uncle that Thomas Walker became interested in the further development of this device, used to ascertain a ship’s speed. Walker continued to improve on the common log for the company of Massey & Sons and these improvements were deemed revolutionary. This log became a firm favourite of the West India Association (a British-based organisation promoting ties and trade with the British Caribbean), being the most common log in use for two generations. It took until 1861 for Thomas Walker and his son, Thomas Ferdinand Walker (1831-1921) to patent the first Walker log of many. Together, with the introduction of the A1 Harpoon Log two years later, they established the Walker Log Business as a force to be reckoned with. By his passing in 1871, Thomas Walker Snr had not only founded a family business with considerable staying power but also instilled a tradition of public service. Having sat as a representative on the Birmingham Town Council for 15 years and played an active role in public works, he was soon given the nickname of ‘Blue Brick Walker’. Much like his father, Thomas Ferdinand Walker changed the face of the maritime industry. His patent of 1897, the ‘Cherub’ log, was a notable departure from the past providing a far more accurate reading and replacing the majority of logs of the age. They were the first to produce an electric log (Trident) and the Walker factory was one of the first to introduce the 48-hour work week for employees.The ship log was invented and made by a significant marine instrument maker and innovator of machinery. It demonstrates the huge leap taken to improve navigational accuracy at sea with an instrument that was in use for decades.Ships Log, Walker Trident electric motor, in wooden box with instructions inside box. The motor dial with electric cord is still inside box.Inscription "Admiralty patent number 3332" and "Walker Trident Electric Ship Log (Mark III), 15-25 volt". On top of lid, hand written, is "G TAYLOR"flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, ships log, thomas walker & son, electric ships log, marine navigation, thomas ferdinand walker, ship log

This former King's Colour was originally authorised by King George V in 1919 in recognition of services of 28th Battalion (AIF) during the Great War. Presented by HE the Governor General Sir Ronald Munro-Ferguson, PC, CGMG at a parade in King's Park on 2 October 1920 and handed over to 2nd Battalion, 28th Infantry Regiment of the Citizen Forces. This colour was passed on to 28th Battalion, which was created, from other units in 1921. The colour was subsequently consecrated by the Chaplain General, Archbishop COL Riley, OBE, VD,DD at a parade on the Esplanade, Perth, 15 November 1924. At the time of presentation this colour was a plain union flag with no central devices or other distinctions included on it. Following Military Board approval given in 1925 the centre circle and Crown were later added, in accordance with the approved design for a King's Colour. With the re-activation of the Citizen Military Forces (CMF) following the Second World War, the 16th/28th Infantry Battalion (The Cameron Highlanders of Western Australia) was raised as a linked battalion in 1948 to carry on the identity and traditions of the pre-war 16th and 28th Battalions respectively. The King's and Regimental Colours formerly held by these two battalions were passed on to the new battalion who paraded them in rotation on ceremonial occasions. The above battalion became unlinked in March 1952 and 28th Infantry Battalion (The Swan Regiment) became an independent battalion within its own right. The former colours of 28th Battalion were handed back at a parade at Northam Camp on 24 August 1952. With the accession of HM Queen Elizabeth II to the throne in 1953, all Colours that had originally been presented as King's Colours, and were still carried by units on the current Order of Battle, were automatically deemed to be Queen's Colours. Under major reorganisation of the CMF in 1960, all individual infantry battalions that existed at the time within each State were amalgamated to form State regiments, taking effect from 1 July 1960. Thus from that date the 11/44th, 16th and 28th Infantry Battalions were amalgamated to form The Royal Western Australia Regiment. In September 1960, at a ceremonial parade held at Northam Camp, the Colours carried by all former battalions were handed over for safe keeping by the new regiment. Battle Honours for the Second World War were promulgated under Australian Army Order 135/1961 and the 10 selected honours approved for emblazoning on the Queen's Colour were subsequently added in 1962 These former colours were subsequently laid up in the undercroft at the State War Memorial, King's Park on 29 November 1964. These were transferred to the Army Museum of WA in 1988 as part of the Bicentenary Colours Project. Union flag with gold fringes. In the centre the Arabic numeral "28" on a red background within a circle inscribed "TWENTY EIGHTH INFANTRY ", surmounted by the Crown. Emblazoned on the colour are the following Second World War Battle Honours:- DEFENCE OF TOBRUK, DEFENCE OF ALAMEIN LINE, QATTARA TRACK, EL ALAMEIN, LAE-NADZAB, BUSU RIVER, FINSCHHAFEN, SIKI COVE, BORNEO, LABUAN

Czech Philharmonic Orchestra, Melbourne Town Hall. Australian Tour 1959. The first overseas symphony orchestra to visit this country. The Czech Philharmonic is one of the world's leading orchestras. It has s 60-year-old history which is backed by the rich musical traditions of its country. The Australian Broadcasting Commission in conjunction with the Musica Viva Society of Australia proudly presents the Czech Philharmonic Orchestra. Conductor: Ladislav Slovak Concertmaster: Bretislav Ludvik. Saturday, October 3, Monday, October 5. Czech Philharmonic Orchestra, article giving history of Orchestra from 1896 in Prague, photo of orchestra included. Ladislav Slovak, small article describing his work history, includes photograph. Programme. Analytical Notes. Musica Viva Society of Australia. Registered Office: 26 Paling's Building, Ash St., Sydney. President: Hon. Mr. Justice B P Macfarlan, Hon. Secretary: C J Berg, Hon. Treasurer: J B Elder, Manager: Regina Ridge. Victoria Branch: Registered Office: 5th Floor, 300 Lt. Collins St., Melbourne, C.1. President: F G Nicholls, Hon. Secretary: I G Spira, Hon. Treasurer: A Teague. Australian Broadcasting Commission. Chairman: Sir Richard Boyer, K.B.E., M.A. Vice-Chairman: E R Dawes, ESQ., C.M.G. Sir John Medley, KT., D.C.L., M.A. The Hon. Dame Enid Lyons, G.B.E. Mrs. G L Byth, O.B.E., B.A. A G Lowndes, M.Sc. H B Halvorsen, F.C.A., F.C.I.S. General Manager: Charles Moses, C.B.E. Manager for Victoria: Ewart Chapple. Concert Manager for Victoria: Ray Humphrey. Advertisements: AWA - Amalgamated Wireless (Australasia) Limited. Stereophonic Radiolagram. Philips Electrical Industries Pty Ltd. Fontana - Karel Ancerl recordings. The Ace of Clubs, 12'' LP Beethoven etc. Alfred Nott Pty. Ltd. H S Harvey, E Goetz, Opticians. Georges, shoes. Ernest Hiller, tailored suits. Philips Magnalux Television. TAA the nation's jet line. Cyclax, make-up and beauty preparations. Grutzner & Cartly Pty. Ltd. Furs. BNS Nylon - British Nylon Spinners (Australia) Pty. Ltd. Carinia Records - Czech Philharmonic Orchestra with World Famous Soloists now for the first time in Australia on High Fidelity Recordings. Suttons Pty. Ltd. 'The House of Music', you are cordially invited to inspect the fine Petrof pianos. RCA Records - recordings of Jan Peerce. Scala Record Import Co. Czech recordings. Boosey & Hawks (Australia) Pty. Ltd., Music and Books on Music. GMH - General Motors - Holden's Limited. Country Club Tailored by Buckwalter - Quiet Tone Sports Shirts. Allan's, Fine Pianos.entertainment, music, classical

A honing steel, sometimes referred to as a sharpening steel, whet steel, sharpening stick, sharpening rod, butcher's steel, and chef's steel, is a rod of steel, ceramic or diamond-coated steel used to restore keenness to dulled blade edges. They are flat, oval, or round in cross-section and up to 30 centimetres (1 ft) long. The steel and ceramic honing steels may have longitudinal ridges, whereas the diamond-coated steels are smooth but embedded with abrasive diamond particles. Non-abrasive honing rods such as smooth ceramic or ribbed steel are able to remove small amounts of metal via adhesive wear. In normal use, the rod is applied to the blade at a slightly higher angle than that of the bevel, resulting in the formation of a micro-bevel. The term "hone" is associated with light maintenance performed on a blade without the effort and precision normally associated with sharpening, so the name "hone" was borrowed. In the 1980s, ceramic abrasives became increasingly popular and proved an equal, if not superior, method for accomplishing the same daily maintenance tasks; manufacturers replaced steels with ceramic (and later, manufactured diamond abrasive) sharpening "steels" that were actually hones. Use Honing steels are used by lightly placing the near edge of the blade against the base of the steel, then sliding the blade away from yourself along the steel while moving it down – the blade moves diagonally, while the steel remains stationary. This should be done with the blade held at an angle to the steel, usually about 20°, and repeating on the opposite side at the same angle. This is repeated five to ten times per side. Steeling It is often recommended that steeling be performed immediately before or after using a knife and can be done daily. By contrast, knives are generally sharpened much less frequently. A traditional smooth honing steel is of no use if the edge is blunt, because it removes no material; instead it fixes deformations along the edge of a sharp blade, technically known as burnishing. There has long been speculation about the efficacy of steeling (re-aligning the edge) vs honing (removing minor deformation with abrasives); studies tend to favour abrasives for daily maintenance, especially in high-carbide-volume "stainless" steels (such as the popular CPM S30V steel, which tends to "tear out" when steeled rather than re-forming an edge.) Small honing steel for outdoor activities Usage trends Steels have traditionally been used in the West, especially in heavy-use scenarios (e.g. butchering, where the edge deforms due to forceful contact with bone). These scenarios also lead Western trends toward blades tempered to a lower level of hardness (and thus lower brittleness). In East Asia, notably Japan, harder knives are preferred, so there is little need for steeling intra-day, as the edge does not deform as much. Instead, the blade is honed as needed on a waterstone. While tradition has kept the practice of steeling alive in Western kitchens, the majority of honing steels sold are abrasive rather than smooth, and knives are harder and more frequently made of stainless steel, which does not respond to traditional steeling techniques as well as high-carbon/low alloy tool steels.The sharpening steel is essential to maintain the sharpness of carving and other knives.Steel knife sharpener with bone handle. Part of a carving set.None.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, sharpening steel, carving set, kitchen equipment

Born 1823 West Indies, commenced ministry 1847, died 1890 in Rookwood, NSW. Joseph Horner Fletcher (1823-1890), Wesleyan minister, was born at St Vincent, Windward Islands, the eldest son of Rev. Joseph Fletcher, Wesleyan missionary, and his wife Mary, née Horner. In 1830-37 he attended a Methodist school in Kingswood, England, and then his uncle's school in Bath. He entered business but in July 1842 became a local preacher. He was accepted for the Wesleyan ministry in 1845 and after training at Richmond College, Surrey, he married Kate Green in December 1848. He was sent to Auckland, New Zealand, where he became the founding principal of Wesley College. In 1856 poor health obliged him to take up circuit work in Auckland and New Plymouth, where he witnessed the Maori war. He moved to Queensland and in 1861-64 was on circuit in Brisbane. In 1863 he became the first chairman of the Queensland Wesleyan District. In 1865 Fletcher was serving at Ipswich when invited to succeed Rev. John Manton as president of Newington College, Sydney. He acknowledged that the main business of the school was secular education in a Christian atmosphere and believed that education could help to overcome sectarianism. He invited distinguished academics to examine Newington students and strongly supported (Sir) Henry Parkes's education policies. He opposed the formation of a Methodist university college until a strong secondary school was established. He believed that boys should be taught to appreciate orderly conduct rather than to fear punishment and that corporal punishment was degrading and to be used only in extreme circumstances. Under Fletcher Newington developed a high moral tone and a tradition of order and respect. After he retired in 1887 the old boys gave him an address of appreciation and a portrait in oils to be hung in the hall. In addition to his normal duties from 1883 he had taught resident theological students. From 1887 he was an effective and progressive full-time theological tutor. As a preacher Fletcher had exceptional power: he expressed his thoughts in a fresh way with sparkling illustrations and characteristic humour. He combined humility with great spiritual power, prophetic vision and administrative ability. He encouraged the development of institutional church work which grew into the Central Methodist Mission in Sydney. Fletcher was elected as the first president of the New South Wales and Queensland Wesleyan Methodist Conference in 1874 and again in 1884, when he was also president of the General Conference of the Australasian Wesleyan Methodist Church. As conference editor in 1868, 1871 and 1873, Fletcher contributed more than fifty articles, numerous essays and reviews of books to the Weekly Advocate. He read widely, deeply and with discrimination. Never robust in health, he suffered months of illness before he died aged 66 at Stanmore, Sydney, on 30 June 1890. He was survived by three sons and two daughters, and buried in the Wesleyan section of Rookwood cemetery. In 1892 his eldest son, Joseph, edited a memorial edition of his Sermons, Addresses & Essays. Information from Australian Dictionary of Biography, Vol. 4, 1972. Sepia toned carte de visite. Seated studio portrait of the Rev. Joseph Fletcher.Rev Joseph Fletcherrev. joseph fletcher, joseph horner, wesleyan minister, newington college sydney, new zealand, queensland, president general conference, wesleyan methodist church, central methodist mission

Easter in Bendigo, Official Program1983. Premier Town Victoria 1982-85. Easter In Bendigo '83 Welcome to the 1983 Easter Fair. This is a special time for Bendigo. . . The Fair has a long history bating back to 1871. . . Bendigo Base Hospital, Home and Hospital for the Aged or Benevolent Asylum. . . Back in the 1800s. Gone are the days of the ladies' Fancy Bazaar, Fat Baby Contest, Greasy Pig Chase. . . Many old traditions remain. . . Bendigo's links with the Chinese community go back to the dates when the first settlers arrived seeking gold. The Chinese took a very active part in the fist Fair. . . Monday Procession has always been the most famous as many old photographs show. Some of these photos date back before the turn of the century. In those days many people made the journey to Bendigo by train from Melbourne or by horse and buggy from outlying districts.. . ''Sun Loong'', or ''New Dragon''. . . Horse and Harness Parade a great success each tear attracted an immense variety of horses and horse drawn vehicles. . . Torchlight Procession on Sunday Sports Carnival Fireworks. . . Easter Monday requires precise planning and discipline if it is to run smoothly. A volunteer committee meets through the year to see that this happens. The Popular Girl Contest was introduced in 1930, the four main Streets of Bendigo, Pall Mall, Mitchell Street, Hargreaves Street and Williamson Street (formerly View Street), sponsored a popular girl by means of fund raising events. Winner was announced from the Shamrock Hotel balcony Easter Saturday night by the Mayor of Bendigo. The contest is still being held. . . The Shamrock Hotel now fully restored and reopened. . . Sunday night special ceremony, in time for the winning Popular Girl to take pride of place in the Procession. . . The accent is on the cycling. The Easter sports Carnival dates back to the beginning of the Fair in 1871, seven years before the start of the famous Stawell Gift. Sid. Paterson, Hubert Opperman. . . Golden Mile Wheelrace, the final on Monday night. AFT Amateur Madison, woodchopping, boomerang throwing and gala fireworks Sunday and Monday. This year for the first time the Golden Mile goes Pro/Am, an Open event for the first time. This could see the first clash between Danny Clark and Kenrick Tucker. Hopefully Michael Grenda, Tony Hughes, Michael Turtur will also be starters against leading professionals, Terry Hammond, Murray Hall and Ross Forster. The Golden Mile has been conducted every year since 1956 when it was won by John McDonough. Ron Grenda (Tas) won in 1959, Barry Waddell was the first scratchman to win in 1962 and Frank McCaig (Bendigo) has won the event three times in 1963/5/7. The event carries total prize money of $3000 making it (with Wangaratta Wheelrace) the richest Wheelrace in Provincial Victoria. . . Newly completed Hargreaves Mall being a focus for all this activity. . . Rotary Art Show and Easter Fair Society amalgamated their art shows resulting in a combined exhibition of outstanding quality, since then the Rotary Club has added the Antique Fair. The Handcraft Bazaars, a more sophisticated version of the bazaars of old, offers. . . The Bathtub Derby at Lake Weeroona, Music Festival at Queen Elizabeth Oval. . . Easter Fair of 1871 was almost washed out. . . Necessary top abandon the ''Golden Mile'' Wheelrace on two occasions 1960 & 1979. . . 1983 Official Programme, Good Friday April 1, Saturday April 2, Sunday April 3, Monday April 4, Tuesday April 5. . . Holy Week Ecumenical Services: . . The Chinese And The Bendigo Easter Fair, 3 pages on the history of the chinese involvment in the Bendigo Easter Fair. . . A Little Of Dragons: brief history on chinese and dragons. Sun Loong, Yar Loong. The Birth Of A Dragon: In China a story of the birth of a Dragon. . . Such Trial was set a group of Bendigo Businessmen led by Mr A Guy and comprising MR C Michelsen, Mr L Chon, Mr J Granter, Mr J Henderson, Mr B Andres. In 1969 they formed the ''Loong 100 Committee''. The purpose of the committee was to purchase a dragon to replace the ageing Loong, from donations raised. But who could build a worthy successor to the Great Loong? In Hong Kong a 47 year old dragon builder whose traditions and craft came from the famous dragon building city of Fat Shan on the Pearl River, near Canton where Loong was born. Mr Law On created the famous Sun Loong in his tiny 4x4 metre workshop in Hong Kong. . . 1970 Sun Loong was blessed and brought to life by 101 year old Mr James Lew, dotting his eyes with chicken blood. . . To Awaken A Dragon Dragons tend to sleep a lot and are quiet deaf. . . The Dragon is blessed and fed with pomolo leaves then the process of wakening begins with drums. . . 5000 crackers. The Easter Monday Chinese Procession have a long and varied history in China. The Bendigo Procession is no exception to this. In recent years much research has gone into . . The Procession may be divided into six sections. . . Dragon built in 1969 First Displayed in 1970, length-300ft plus, Extra 100ft added in 1980, number carrying: Head 1 plus 5 releifs, Neck 3, Body 52 plus 52 reliefs, head weight 63 lbs. tail weight 36 lbs.. Scales 4,500 approx. Mirrors 90,000 fins 50, beads 30,000 approx. . . Conclusion. . . Advertisements: Bendigo Pottery, Square Deal Cars, Bob Bell of Borough Bricklaying Pty Ltd, Pinups Wine Bar, Cumberland Hotel, Manchester Arms Hotel, British & American Hotel, Langley Hall BYO Restaurant, White Horse Hotel, Ascot Lodge Caravan Park, The Lemonade Factory, The Pepper Pot, M & M J Meade Mobil, Lakeview Motor Inn Restaurant, Truffles Restaurant, Marong Hotel, 4 Penny Dark BYO Restaurant, Chaplin's Coffee Shoppe, Copper Pot Restaurant, Skins of Australia, Central Deborah Gold Mine, Chris Wall Auto Sales, Brian Boru Hotel, The Green Carnation, Sandhurst Town, Dragon Court BYO Chinese Restaurant, Australian Fixed Trust Investors Services Ltd., The Mohair Farm, Bendigo Model Railroaders, Mexican Kitchen Restaurant, BP Super Shops, Coke, Southern Cross TV8.event, easter fair, bendigo easter fair society, easter in bendigo, official program1983. premier town victoria 1982-85. easter bendigo '83 welcome to the 1983 easter fair. this is a special time for bendigo. . . the fair has a long history bating back to 1871. . . bendigo base hospital, home and hospital for the aged or benevolent asylum. . . back in the 1800s ladies' fancy bazaar, fat baby contest, greasy pig chase. . . many old traditions. . . bendigo's links with chinese the first settlers arrived seeking gold. the chinese took a very active part in the fist fair. . . monday procession the most famous as many photographs show, the turn of the century. many people journey to bendigo from melbourne & from outlying districts.. . ''sun loong'', or ''new dragon''. . . horse and harness parade an immense variety of horses, horse drawn vehicles. . . torchlight procession on sunday sports carnival fireworks. . . easter monday precise planning and discipline to run smoothly. a volunteer committee meets through the year. the popular girl contest introduced in 1930, sponsored a popular girl by means of fund raising events. winner announced from shamrock hotel balcony easter saturday night by the mayor. . . the shamrock hotel now reopened. . . sunday night special ceremony, in time for the winning popular girl to take pride in the procession. . . accent is on the cycling. the easter sports carnival dates back to fair in 1871, seven years before stawell gift. sid. paterson, hubert opperman. . . golden mile wheelrace, final on monday night. aft amateur madison, woodchopping, boomerang throwing, gala fireworks sunday& monday. for the first time golden mile goes pro/am. danny clark and kenrick tucker. michael grenda, tony hughes, michael turtur will also be starters against leading professionals, terry hammond, murray hall and ross forster. the golden mile has been conducted every year since 1956, won john mcdonough. ron grenda (tas) won 1959, barry waddell the first scratchman to win 1962, frank mccaig (bendigo) has won 1963/5/7. prize money of $3000 making it (with wangaratta wheelrace) the richest wheelrace in provincial victoria. . . newly completed hargreaves mall. . . rotary art show and easter fair society amalgamated art shows, antique fair. handcraft bazaars, . . the bathtub derby lake weeroona, music festival queen elizabeth oval. . . easter fair of 1871 was almost washed out. . . necessary top abandon the ''golden mile'' wheelrace on two occasions 1960 & 1979. . . 1983 official programme, good friday april 1, saturday april 2, sunday april 3, monday april 4, tuesday april 5. . . holy week ecumenical services: . . chinese and the bendigo easter fair, . dragons: brief history. sun loong, yar loong. in china a story of the birth of a dragon. . . bendigo businessmen mr a guy, mr c michelsen, mr l chon, mr j granter, mr j henderson, mr b andres. 1969 formed ''loong 100 committee'' purchase a dragon to replace ageing loong, donations raised. build successor great loong? hong kong dragon builder traditions craft came from dragon building city fat shan on the pearl river, canton where loong was born. mr law on created the famous sun loong in his tiny 4x4 metre workshop in hong kong. . . 1970 sun loong was blessed and brought to life by 101 year old mr james lew, dotting his eyes with chicken blood. . . to awaken a dragon dragons tend to sleep a lot and are quiet deaf. . .dragon is blessed fed with pomolo leaves wakening begins with drums. . . 5000 crackers. the easter monday chinese procession have a long and varied history in china. the bendigo procession is no exception to this. in recent years much research has gone into… procession may be divided into six sections. dragon 1969 first displayed in 1970, length-300ft plus, extra 100ft added in 1980, number carrying: head 1 plus 5 releifs, neck 3, body 52 plus 52 reliefs, head weight 63 lbs. tail 36 lbs.. scales 4, 500 approx. mirrors 90, 000 fins 50, beads 30, 000 approx. advertisements: bendigo pottery, square deal cars, bob bell of borough bricklaying pty ltd, pinups wine bar, cumberland hotel, manchester arms hotel, british & american hotel, langley hall byo restaurant, white horse hotel, ascot lodge caravan park, the lemonade factory, the pepper pot, m & m j meade mobil, lakeview motor inn restaurant, truffles restaurant, marong hotel, 4 penny dark byo restaurant, chaplin's coffee shoppe, copper pot restaurant, skins of australia, central deborah gold mine, chris wall auto sales, brian boru hotel, the green carnation, sandhurst town, dragon court byo chinese restaurant, australian fixed trust investors services ltd., mohair farm, bendigo model railroaders, mexican kitchen restaurant, bp super shops, coke, southern cross tv8.

The Douay (Douai) Rheims Bible is an English translation of the Latin Vulgate Bible (which had been the Latin Bible used by the Catholic Church since the 4th century). It was produced by Roman Catholic scholars in exile from Elizabethan Protestant England at the English College of Douai (then in the Spanish Netherlands but later part of France). The New Testament translation was published in 1582 at Rheims where the English College had temporarily located in 1578. The Old Testament was translated shortly afterwards but was not published until 1609-1610 in Douay (which makes it older than the King James version). The completed work was the only authorized Bible in English for Roman Catholics until the 20th Century. Its purpose was to uphold the Catholic tradition in the face of the Protestant Reformation and was produced as an alternative to the several Protestant translations then in existence. Prior to it being published, the Roman Catholic practice had restricted personal use of the Bible, in the Latin Vulgate, to the clergy. Bishop Richard Challoner issued a series of revisions (1749 - 1772) intended to make the translation more easily understandable and subsequent editions (including this one) were based upon this revision. In 1871, an edition of the Douay - Rheims Bible was published by Thomas Kelly & Sons of Philadelphia (and later, New York). Thomas Kelly described himself as a "Publisher, Printer, Binder, Lithographer and Steel Plate Engraver". In 1876, Thomas Kelly won an award (a Diploma of Honor and a Medal of Merit) for "the Best Catholic Bibles and Prayer Books" at the International Centennial Exhibition held in Philadelphia and his firm continued to print editions of the Bible throughout the 1870's but little is known of him after 1880 when this edition was published. This Bible has been in the Kermond family from 1888 until 1984 when Laurence Kermond (its last owner) died. The Kermonds were an old Warrnambool family with ties to the district going back to the mid 1840's. Joseph Kermond's mother, Catherine (1818 - 1895) and her husband John Kermond,, an ex-convict (1809 - 1877), had moved from Tasmania around 1843 and were living in the Warrnambool area in 1844 where their eldest son was born. They had six more children born at Port Fairy (or Belfast as it was then called). Catherine is buried at the Tower Hill cemetery. The last owner of the Bible was Laurence Kermond (1918 - 1984). He was the great grandson of John and Catherine Kermond and was a well known painter who lived in the Merimbula and Paynesville areas of N.S. W. and Victoria during the 1970's and early 1980's. The story of Joseph Kermond finding the Bible on a beach on the Shipwreck Coast near Peterborough on the southern coast of Victoria, Australia is plausible as it was not uncommon for items from shipwrecks to be washed ashore. However this Bible would not have come from the wreck of the Loch Ard as the dates don't align. The Loch Ard was wrecked in 1878 and this Bible was printed in 1880. It appears to have been printed for the Australian market as there is a page (with an engraved portrait) dedicated to the "Most Rev. Roger Bede Vaughan, O. S. B. Archbishop of Sydney, N. S. W.". It may also have been aimed at the Irish immigrants as the four "Family Register" pages are decorated with borders of shamrocks. The donor found the Bible in a box of secondhand books on a market stall in Gippsland and recognised its links to the Shipwreck Coast through the name of previous owners (a well-known Warrnambool name) and the story of it being found on a beach near Peterborough. This Bible is a rare example of Douay and Reims Catholic Bible of the late 19th century that was once a treasured item belonging to the Kermond family - one of Warrnambool's early settlers. It also has a most unusual story attached to it - being found (and rescued) washed up on a local beach and almost one hundred years later, being rescued again from a secondhand book stall.This Catholic Bible is an 1880 edition of a "Douay Bible and Rheims Testament", printed and published by Thomas Kelly of New York. Its full title is "The Holy Bible translated from the Latin Vulgate Diligently Compared with The Hebrew, Greek and Other Editions in Various Languages". It is revised with annotations by the Right Rev. R. Challoner D.D. The Bible has brown leather embossed front and back covers decorated with identical ornate gilt patterns and a central picture of a cross. It has two coloured illustrations and numerous black and white lithographs and engravings including portraits of past popes, events and places from Bible stories and decorative borders. The Bible includes the Old and New Testaments, approbations from Pope Pius the Sixth and Archbishops of the United States and other countries (including Archbishop Vaughan of Sydney), a Family Register with handwritten notes on births, deaths and marriages from the Kermond family (as well as a description of how they obtained the bible), a Catholic dictionary of the Bible, a history of the Holy Scriptures, a chronological list of heretics (Theological history) and a description of the "Centennial Award - Diploma of Honor and medal of Merit" won by Thomas Kelly (for the "Best Catholic Bible") at the Centennial Exhibition at Philadelphia in 1876. The Records section has a note on the Memoranda page written by William John Kennard in 1920.Spine: HOLY BIBLE Title Page: THE/ HOLY BIBLE /TRANSLATED FROM/ THE LATIN VULGATE/ DILIGENTLY COMPARED WITH/THE HEBREW, GREEK AND OTHER EDITIONS/ IN VARIOUS LANGUAGES/ THE OLD TESTAMENT WAS FIRST PUBLISHED BY THE ENGLISH COLLEGE AT DOUAY, A.D. 1600 / AND THE NEW TESTAMENT, BY THE ENGLISH COLLEGE AT RHEIMS, A.D. 1582./ REVISED WITH ANNOTATIONS/ BY THE RIGHT REV. R. CHALLONER D.D./ TOGETHER WITH REFERENCES, AND AN HISTORICAL AND CHRONOLOGICAL INDEX./ NOW CAREFULLY CORRECTED ACCORDING TO THE CLEMENTINE EDITION OF THE SCRIPTURES/ NEW YORK / THOMAS KELLY, PUBLISHER/ 17 BARCLAY STREET. / 1880 Dedication Page: DEDICATION OF THE ORIGINAL EDITION/ TO/ THAT LOYAL, RELIGIOUS AND ENLIGHTENED BODY OF MEN / THE/ CATHOLICS OF THE UNITED STATES OF AMERICA/ IN ADMIRATION OF THE STEADY ZEAL WITH WHICH THEY HAVE KEPTTHE/DEPOSIT OF FAITH/ BEQUEATHED THEM BY THEIR FOREFATHERS/ AND HANDED DOWN, WITHOUT INTERRUPTION OT ADULTERATION, TO THEIR GRATEFUL POSTERITY/ THIS EDITION/ OF THE/DOUAY BIBLE AND RHEIMS TESTAMENT/ IS / WITH GRATITUDE FOR PAST FAVORS AND HOPES OF FUTURE ENCOURAGEMENT/ MOST RESPECTFULLY ENSCRIBED. Handwritten note: ""This Holy Book was found . on the beach . near Peterborough Vic. having been washed ashore . from the wreck of the Loch Ard, (sailing ship) in the year 1888 . By .Joseph . Kermond; and presented to . his mother . Catherine Kermond , who in turn passed it - on . to her youngest . son ; one Jacob Kermond. He in turn presented . it to his son . William John Kermond , (the writer), 23/3/20)" [Original punctuation]flagstaff hill maritime museum and village, warrnambool, shipwreck coast, peterborough, kermond, kermond family, loch ard, bible, douay and rheims bible, catholic bible, thomas kelly and sons publiisher, douai, rheims, holy bible, religious bible, catherine kermond, john kermond, william john kermond'

This flag was used by Rosbercon Girls Grammar School, which operated in Brighton from 1906 until 1941. The school was established in 1906 by the Tisdall family. The Tisdalls were a family of educators: Irish-born Henry Thomas Normanton Tisdall and his wife Lucy taught for many years at the Walhalla State School in Gippsland, along with Lucy's sisters Alice and Clara Weekes. Three of the Tisdall daughters, Ethel, Constance and Theodosia (Theo) followed their mother and aunts into the teaching profession. Constance in particular considered education her true calling and harboured a dream of one day being principal of her own school. After Henry's death in 1905, faced with financial uncertainty and several unmarried daughters to support, Lucy Tisdall decided to take a risk. She sold the family's Toorak home and, together with her sister Alice, leased 'Ashburnham', a large Victorian villa at 106 North Road, Brighton. The plan was to open a private school, with Ethel and Constance as co-principals and Lucy, Alice and Theo teaching and managing the household affairs. This came as a "joyful surprise" to Constance, who was only informed of the plan after it had been finalised. The school was named Rosbercon after Henry's home village in County Wexford, Ireland. The crest, designed by son Bert Tisdall around 1910, featured a crowned letter 'A' above the motto "amor vincit omnia" ("love conquers all"), both inspired by a verse in Geoffrey Chaucer's "The Prioress's Tale": "about her arm she bore/A paire of bedes gauded all in grene,/And theron heng a broche of gold full shene,/On which there was first writ a crowned 'A',/And after, Amor Vincit Omnia." It was a motto Constance held close to her heart, embodying her values as a teacher. Reflecting in 1961, she wrote, "In a school without punishments, a school with love and understanding between teacher and pupil - with a love of teaching on one side, and a desire to learn on the other, love would indeed conquer all." The school's opening day in 1906 proved less than auspicious, with no pupils arriving at all. The women persisted and by the end of the first week, five students had been enrolled. From here, the school grew steadily in size. A new schoolroom designed by architect Harold Desbrowe-Annear was built in the house's orchard to accommodate the increasing numbers, but by 1911 the Tisdalls began looking for larger premises. They leased the nearby property 'Hazeldean' at 124 North Road and, during the 1912 school holidays, the Desbrowe-Annear schoolroom was raised onto a lorry drawn by sixteen horses and moved down the road to what would become Rosbercon's new home. In 1923, Constance instituted a modified version of the Dalton Plan, an education model based on individualised learning. Girls in senior years were encouraged to work more independently, making regular use of the reference library and working to a monthly assignment schedule. The school performed well academically and in competitive sport, but over time was eclipsed by the nearby Firbank Church of England Girls' Grammar School (established 1909), whose institutional backing provided it with access to wider resources and facilities than those of the small family-run Rosbercon. At the end of 1933, Ethel and Theo retired and Constance became principal of St Anne's Church of England Girls' Grammar School (now Gippsland Grammar) in Sale. Rosbercon was sold to Miss Iris Hay, who served as principal from 1934 until the school's closure in 1941. Following her own retirement in 1947, Constance Tisdall settled in Erica Avenue, East Malvern, in a house named 'Rosbercon' after her former school. She continued teaching English literature, mostly to migrants, and enjoyed regular visits from former students. Well into the late 1960s, old Rosbercon girls continued a tradition of coming together for an annual reunion on the first Saturday in November, on which day Constance would fly the school flag at her home.Large navy blue flag with horizontal maroon stripe at top and bottom, and school crest in centre. Stylised maroon "A" topped with yellow crown. Yellow scroll below with motto in navy blue letters: "AMOR.VINCIT.OMNIA".flag, school flag, rosbercon girls grammar school

With the re-activation of the Citizen Military Forces (CMF) following the Second World War, the 16th/28th Infantry Battalion (The Cameron Highlanders of Western Australia) was raised in 1948 to carry on the identity and traditions of the pre-war 16th and 28th Battalions respectively. The King's and Regimental Colours formerly held by these two battalions were passed on to the new battalion who paraded them in rotation on ceremonial occasions It was decided in 1950 that a new set of Colours would be presented to 16th Battalion. For reasons that still remain unclear, these were manufactured under local arrangement by "cannibalising" the original 1933 set of colours and transferring the devices and battle honours (in the case of the Regimental Colour) to the new Colours. (Reported by Western Command to the Adjutant General -reference file A 107/1/11 dated 30 April 1952). These new colours were presented by Major-General JS Whitelaw, CB, CBE at a parade of the 16th/28th Infantry Battalion held on the Esplanade, Perth, 26 August 1951. (For details of Colours previously presented to 16th Battalion see separate section below). 16th/28th Infantry Battalion became unlinked in March 1952 with both 16th and 28th becoming independent battalions within their own right. With the accession of HM Queen Elizabeth II to the throne in 1953, all Colours that had originally been presented as King's Colours, and were still carried by units on the current Order of Battle, were automatically deemed to be Queen's Colours. Under major reorganisation of the CMF in 1960, all individual infantry battalions that existed at the time within each State were amalgamated to form State regiments, taking effect from 1 July 1960. Thus from that date the 11/44th, 16th and 28th Infantry Battalions were amalgamated to form The Royal Western Australia Regiment. In September 1960, at a ceremonial parade held at Northam Camp, the Colours carried by all former battalions were handed over for safe keeping by the new regiment. Battle Honours for the Second World War were promulgated under Australian Army Order 135/1961 and the 10 selected honours approved for emblazoning on the Queen's Colour were subsequently added in 1962 These former colours were subsequently laid up in the undercroft at the State War Memorial, King's Park on 29 November 1964. These were transferred to the Army Museum of WA in 1988 as part of the Bicentenary Colours Project Previous Colours presented to 16th Battalion The designation "16th" was allocated to several different infantry battalions that had been raised at different stages during changes to organisational structure of the Citizen Forces during the 1920's and 1930's. The original King's Colour awarded for service of 16th Battalion (AIF) and received in 1920 by the Citizen Force unit 2nd Battalion, 16th Infantry Regiment was later passed on to 16th Battalion (The Goldfields Regiment) which had been raised in the Kalgoorlie area in 1921. This unit became inactive and this Colour was later laid up in the Kalgoorlie Council Chambers. In order to maintain the identity of 16th Battalion as a Citizen Force unit, in 1930 11th Battalion (The Perth Regiment) was reformed as a linked battalion under the designation 11th/16th Battalion. As the 11th Battalion had already received its set of colours in the 1920's, it was decided that a set of King's and Regimental Colours be presented for 16th Battalion. These were presented by HE the Lieutenant-Governor Sir James Mitchell, KCMG at a parade of 11th/16th Battalion held at Perth Oval on 15 October 1933. The colours were consecrated by the Chaplain General, Archbishop COL Riley, OBE, VD, DD. In 1936 16th Battalion was re-established as a separate battalion within its own right, being formed as 16th Battalion (The Cameron Highlanders of Western Australia). The colours presented in 1933 were passed on to this new battalion and were also initially carried by the post-World War Two unit 16th/28th Infantry Battalion (The Cameron Highlanders of Western Australia) as already mentioned. Union flag with gold fringe. In the centre the Arabic numeral "16" on a red background within a circle inscribed "SIXTEENTH BATTALION", surmounted by the Crown. Emblazoned on the colour are the following Second World War Battle Honours:- NORTH AFICA 1941, SYRIAN FRONTIER, THE LITANI, SIDON, WADI ZEINI, DAMOUR, KOKODA TRAIL, BUNA-GONA, LIBERATION OF AUSTRALIAN NEW GUINEA, BORNEO

1. Rock-art of the Western Desert and Pilbara: Pigment dates provide new perspectives on the role of art in the Australian arid zone Jo McDonald (Australian National University) and Peter Veth (Australian National University) Systematic analysis of engraved and painted art from the Western Desert and Pilbara has allowed us to develop a spatial model for discernable style provinces. Clear chains of stylistic connection can be demonstrated from the Pilbara coast to the desert interior with distinct and stylistically unique rock-art bodies. Graphic systems appear to link people over short, as well as vast, distances, and some of these style networks appear to have operated for very long periods of time. What are the social dynamics that could produce unique style provinces, as well as shared graphic vocabularies, over 1000 kilometres? Here we consider language boundaries within and between style provinces, and report on the first dates for pigment rock-art from the Australian arid zone and reflect on how these dates from the recent past help address questions of stylistic variability through space and time. 2. Painting and repainting in the west Kimberley Sue O?Connor, Anthony Barham (Australian National University) and Donny Woolagoodja (Mowanjum Community, Derby) We take a fresh look at the practice of repainting, or retouching, rockart, with particular reference to the Kimberley region of Western Australia. We discuss the practice of repainting in the context of the debate arising from the 1987 Ngarinyin Cultural Continuity Project, which involved the repainting of rock-shelters in the Gibb River region of the western Kimberley. The ?repainting debate? is reviewed here in the context of contemporary art production in west Kimberley Indigenous communities, such as Mowanjum. At Mowanjum the past two decades have witnessed an artistic explosion in the form of paintings on canvas and board that incorporate Wandjina and other images inspired by those traditionally depicted on panels in rock-shelters. Wandjina also represents the key motif around which community desires to return to Country are articulated, around which Country is curated and maintained, and through which the younger generations now engage with their traditional lands and reach out to wider international communities. We suggest that painting in the new media represents a continuation or transference of traditional practice. Stories about the travels, battles and engagements of Wandjina and other Dreaming events are now retold and experienced in the communities with reference to the paintings, an activity that is central to maintaining and reinvigorating connection between identity and place. The transposition of painting activity from sites within Country to the new ?out-of-Country? settlements represents a social counterbalance to the social dislocation that arose from separation from traditional places and forced geographic moves out-of-Country to government and mission settlements in the twentieth century. 3. Port Keats painting: Revolution and continuity Graeme K Ward (AIATSIS) and Mark Crocombe (Thamarrurr Regional Council) The role of the poet and collector of ?mythologies?, Roland Robinson, in prompting the production of commercial bark-painting at Port Keats (Wadeye), appears to have been accepted uncritically - though not usually acknowledged - by collectors and curators. Here we attempt to trace the history of painting in the Daly?Fitzmaurice region to contextualise Robinson?s contribution, and to evaluate it from both the perspective of available literature and of accounts of contemporary painters and Traditional Owners in the Port Keats area. It is possible that the intervention that Robinson might have considered revolutionary was more likely a continuation of previously well established cultural practice, the commercial development of which was both an Indigenous ?adjustment? to changing socio-cultural circumstances, and a quiet statement of maintenance of identity by strong individuals adapting and attempting to continue their cultural traditions. 4. Negotiating form in Kuninjku bark-paintings Luke Taylor (AIATSIS) Here I examine social processes involved in the manipulation of painted forms of bark-paintings among Kuninjku artists living near Maningrida in Arnhem Land. Young artists are taught to paint through apprenticeships that involve exchange of skills in producing form within extended family groups. Through apprenticeship processes we can also see how personal innovations are shared among family and become more regionally located. Lately there have been moves by senior artists to establish separate out-stations and to train their wives and daughters to paint. At a stylistic level the art now creates a greater sense of family autonomy and yet the subjects link the artists back in to much broader social networks. 5. Making art and making culture in far western New South Wales Lorraine Gibson This contribution is based on my ethnographic fieldwork. It concerns the intertwining aspects of the two concepts of art and culture and shows how Aboriginal people in Wilcannia in far western New South Wales draw on these concepts to assert and create a distinctive cultural identity for themselves. Focusing largely on the work of one particular artist, I demonstrate the ways in which culture (as this is considered) is affectively experienced and articulated as something that one ?comes into contact with? through the practice of art-making. I discuss the social and cultural role that art-making, and art talk play in considering, mediating and resolving issues to do with cultural subjectivity, authority and identity. I propose that in thinking about the content of the art and in making the art, past and present matters of interest, of difficulty and of pleasure are remembered, considered, resolved and mediated. Culture (as this is considered by Wilcannia Aboriginal people) is also made anew; it comes about through the practice of artmaking and in displaying and talking about the art work. Culture as an objectified, tangible entity is moreover writ large and made visible through art in ways that are valued by artists and other community members. The intersections between Aboriginal peoples, anthropologists, museum collections and published literature, and the network of relations between, are also shown to have interesting synergies that play themselves out in the production of art and culture. 6. Black on White: Or varying shades of grey? Indigenous Australian photo-media artists and the ?making of? Aboriginality Marianne Riphagen (Radboud University, The Netherlands) In 2005 the Centre for Contemporary Photography in Melbourne presented the Indigenous photo-media exhibition Black on White. Promising to explore Indigenous perspectives on non-Aboriginality, its catalogue set forth two questions: how do Aboriginal artists see the people and culture that surrounds them? Do they see non-Aboriginal Australians as other? However, art works produced for this exhibition rejected curatorial constructions of Black and White, instead presenting viewers with more complex and ambivalent notions of Aboriginality and non-Aboriginality. This paper revisits the Black on White exhibition as an intercultural event and argues that Indigenous art practitioners, because of their participation in a process to signify what it means to be Aboriginal, have developed new forms of Aboriginality. 7. Culture production Rembarrnga way: Innovation and tradition in Lena Yarinkura?s and Bob Burruwal?s metal sculptures Christiane Keller (University of Westerna Australia) Contemporary Indigenous artists are challenged to produce art for sale and at the same time to protect their cultural heritage. Here I investigate how Rembarrnga sculptors extend already established sculptural practices and the role innovation plays within these developments, and I analyse how Rembarrnga artists imprint their cultural and social values on sculptures made in an essentially Western medium, that of metal-casting. The metal sculptures made by Lena Yarinkura and her husband Bob Burruwal, two prolific Rembarrnga artists from north-central Arnhem Land, can be seen as an extension of their earlier sculptural work. In the development of metal sculptures, the artists shifted their artistic practice in two ways: they transformed sculptural forms from an earlier ceremonial context and from earlier functional fibre objects. Using Fred Myers?s concept of culture production, I investigate Rembarrnga ways of culture-making. 8. 'How did we do anything without it?': Indigenous art and craft micro-enterprise use and perception of new media technology.maps, colour photographs, b&w photographswest kimberley, rock art, kuninjku, photo media, lena yarinkura, bob burruwal, new media technology

60lbs rail that was used throughout the Victorian rail network. In 1887 Gibbs, Bright and Co. had a contract with Victorian Railways for railway and canal construction and supply of Krupp Rails. Gibbs, Bright and Co were merchant bankers and shipping agents and merchants who where also Directors of the GWR ( Great Western Railway ) and the Ship The "Great Britain" in England Gibbs, Bright and Company had principally been involved in shipping and trading, mainly in the West Indies, but following the discovery of gold in Victoria they established an office in Melbourne and soon became one of the leading shipping agents and merchants in the Colony. They expanded into passenger shipping and soon established offices in Brisbane, Sydney, Newcastle, Adelaide and Perth as well as launching passenger services between England, Mauritius and New Zealand. Gibbs, Bright also held a number of financial agencies from British mortgage, finance and investment companies as well as representing several British insurance companies in Australia. In addition they conducted a growing import business as well as an export business that included livestock, dairy produce, wool and flour. Also the company played a substantial part in the development of Australia's mineral resources, starting with lead in 1895, and later venturing into tin, gold, copper, cement and super phosphates. In Australia, after WWI, many of the larger companies were managing their own import and export so Gibbs, Bright and Company tended to focus its Agency business on smaller companies while expanding their interest into other markets such as timber, wire netting, zinc, stevedoring, road transport, marine salvage, gold mining as well as mechanical, structural, electrical and marine engineering. The Company's shipping interests continued to grow as well and still formed a major part of its business. In 1948 the parent company in England took the major step from tradition when they changed the business from a partnership into a private limited company. The name was the same, Antony Gibbs and Sons Limited, and in practice the effect of the change was very little. Some of the firm's branches and departments had already become limited companies and the formation of a parent company simplified the structure. The Australian operation was in time changed to Gibbs Bright & Co Pty Ltd in 1963. In 1848 Alfred Krupp becomes the sole proprietor of the company which from 1850 experiences its first major growth surge. In 1849 his equally talented brother Hermann (1814 - 1879) takes over the hardware factory Metallwarenfabrik in Berndorf near Vienna, which Krupp had established together with Alexander Schöller six years earlier. The factory manufactures cutlery in a rolling process developed by the brothers. Krupp's main products are machinery and machine components made of high-quality cast steel, especially equipment for the railroads, most notably the seamless wheel tire, and from 1859 to an increased extent artillery. To secure raw materials and feedstock for his production, Krupp acquires ore deposits, coal mines and iron works. On Alfred Krupp's death in 1887 the company employs 20,200 people. His great business success is based on the quality of the products, systematic measures to secure sales, the use of new cost-effective steel-making techniques, good organization within the company, and the cultivation of a loyal and highly qualified workforce among other things through an extensive company welfare system. From 1878 August Thyssen starts to get involved in processing the products manufactured by Thyssen & Co., including the fabrication of pipes for gas lines. In 1882 he starts rolling sheet at Styrum, for which two years later he sets up a galvanizing shop. The foundation stone for Maschinenfabrik Thyssen & Co. is laid in 1883 with the purchase of a neighboring mechanical engineering company. In 1891 August Thyssen takes the first step toward creating a vertical company at the Gewerkschaft Deutscher Kaiser coal mine in [Duisburg-]Hamborn, which he expands to an integrated iron and steelmaking plant on the River Rhine. Just before the First World War he starts to expand his group internationally (Netherlands, UK, France, Russia, Mediterranean region, Argentina). info from The company thyssenkrupp - History https://www.thyssenkrupp.com/en/company/history/the-founding-families/alfred-krupp.htmlHistoric - Victorian Railways - Track Rail - made by Krupp in 1888Section of VR Krupp 1888 Rail mounted on a piece of varnished wood. Rail made of ironpuffing billy, krupp, rail, victorian railways

Newspaper article: A sustainable award, Diamond Valley Leader, 1 November2006, Architect and building Llewellyn Pritchard won resource Efficiency Housing Award, finalist in HIA Greensmart Building of the Year Award. House – Environmental Leader (Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p186) In 2006 environmental awareness was mushrooming in the community, which is reflected in the award-winning house at Main Road near Wattletree Road, Eltham. At first sight, the building appears a mix of a classic Eltham mud-brick house and an avant-garde building style. The crown of solar panels stretching along the width of the curved roof, indicates that this is no ordinary house. In fact it signals a new building trend of minimal impact on the environment. Yet it utilises the environment with high technical expertise to achieve comfort and cut running and maintenance costs. In recognition of this, its designer/builder, Conscious Homes, won the 2006 National HIA Greensmart Resource Efficiency Award. For Conscious Homes director, Llewellyn Pritchard, this house reflects a philosophy, strengthened by his connection with Aboriginal culture, through his foster siblings. Pritchard believes the sustainable way indigenous Australians lived and their spiritual connection with land, demonstrates how humanity is part of the ecology. His interest in environmental design stemmed from growing up in bushy Eltham Shire, with its mud-brick tradition. This was followed by studying Architecture at RMIT in the early 1980s, and learning about passive solar design. Pritchard says this house demonstrates that environmental sustainability is not about sacrifice, but about exceptional levels of occupant comfort, savings in running costs and modern fittings and appliances.1 The solar panels on the north roofs are intentionally obvious to make a statement about what the building is doing. But inside the systems are hidden and interactive with conventional services, such as the underground water tank. The house is water and energy self-sufficient and at 12 squares is much smaller than conventional houses, to minimise resources. Yet it accommodates his family of four with three bedrooms, a living/dining and kitchen area and a bathroom/laundry. Importantly the building is designed to last hundreds of years, by being able to be modified as the need arises, such as for commercial use. In this way the structure minimises its environmental impact. The solid double mud-brick walls (which are insulated) include steel beams and supporting frame, allowing the future removal or alteration of any section. The materials are local, recycled and of low toxicity where possible.2 Inside and out, the mud-brick is rendered and sealed with a combination of cement and sand and a mud-based coating in a soft golden hue increases its life. Inside, the golden-brown timber is plantation Mountain Ash and the concrete floors throughout – of local stone aggregate with a clear seal – have a natural looking random stone appearance. The house sustains a stable temperature of around 20 degrees, assisted by the concrete slab floor. The many large double-glazed windows and highlights (windows set high on walls) provide cross-flow ventilation. The north-facing living area maximises heating from the lower winter sun and is cooler in summer, because the sun is higher. Heating comes from a solar hydronic slab system. All appliances and fittings are high efficiency energy or water rated. Appliances in the timber kitchen include a gas stove and a dishwasher, using the building’s own power and water. French doors open from the living area to a deck, concealing the treatment system for all waste water. This is pumped through sub-soil drippers to the indigenous garden beds and no-dig vegetable patch. Below the carport is the 80,000-litre rainwater tank and at the back, the boiler room houses the solar boiler, water tank access, domestic water supply pump, filter gear and hydronic slab heating controls. The solar system is backed up with gas, which is needed to heat water only in winter. Gas used is less than one quarter of that for an average home with ducted heating. Excess power is fed back to the grid and the building uses about one quarter of the mains electricity of an average home. Other local builders have followed Pritchard’s lead in resource efficiency for minimal environmental impact.main road, eltham, businesses, llewellyn pritchard, hia greensmart building of the year award., efficiency housing award, conscious homes australia pty ltd

A copy of an Anzac Day Address at the Anzac Commemoration Ceremony for Students, the year is unknown but it is presumably the address given by the President of Legacy. It seems to be one of the earlier ceremonies. It was stored with documents about the building of the Shrine and another speech from the 1939 service. The presenter had probably served in World War 1 so was very close to the events he was talking about. The ceremony provides a valuable opportunity for students to gain an appreciation of the Anzac spirit, the significance of the Shrine and the meaning of Anzac Day. The ceremony is usually attended by representatives from schools throughout the state and the Governor of Victoria. The text says: 'We have gathered here too commemorate the historic landing on the Gallipoli Peninsula of the Australian and New Zealand troops on the 25th of April 1915 - the day that has come to be universally known as Anzac Day. . . I expect most of you know how the word 'Anzac' came into being. How General Birdwood and his officers took the first letters of the words Australian and New Zealand Army Corps and formed them into the code word "Anzac". They did not expect it would become the famous name by which the men fighting under them would become known. But it did, and Anzac Day has become Australia's greatest national day because on that day Australia's manhood was put to its first great test. You see up to that that time, the world knew very little about us. We had not, thank God, ever had to fight for the existence of our Nationhood and everything we hold most dear. Everyone wondered how our men would compare with the men of other nations when a real crises arose. . . . You have been told there thrilling story of Anzac Day. Of the landing at dawn on that terrible coast: the hand to hand fighting that went on continuously all that day and through the days and nights that followed. How the Anzacs - outnumbered, exhausted and tortured by thirst held on, and how during the terrible nine months that ensued all the efforts of a brave enemy to dislodge them failed. Such was their gallantry that a British Officer described the Australian soldier as "The bravest thing God ever made". What a wonderful tribute that was; and how proud we should be of the men who earned it. . . . These men carried on all the traditions of the Anzacs and made a wonderful name for Australia and New Zealand in France, in Belgium, in Egypt and Palestine and in all the theatres of war in which they served. And this great Shrine was build by the people of Victoria, not in any boastful sense of Victory, not in any attempt to glorify war - which is a horrible, dreadful thing, but in memory of those thousands of Victorian sailors and soldiers who so loved their country that they laid down their lives in her service. . . All of them were brave, but do not think that a soldier who is brave need alway be a great warrior. I hope when you have passed through the Shrine you will go and see a little bronze statue near the road yonder. A statue of a man leading a donkey which carries a wounded comrade. You will see the soldier leading the donkey carries no weapons. Yet he was a hero indeed, for he saved the lives of scores of his comrades at Anzac by carrying wounded from the battle to safety and the hospital. And in the end he too gave his life for his friends. . . Let us all try to help each other in peace as they did in war. Instead of divisions, let us have unity. If we think of no one but ourselves we shall not achieve anything nor shall we deserve to. Let those of you who are strong help those who are not so strong - all through life - like John Simpson, the man with the donkey did. Be proud of your country and do nothing to dishonour it. If you get an order from one in authority, obey it, even if you do not understand it.A good solider always obeys his orders. If he did not, he may bring disaster and cause harm to his fellow soldiers. Remember that those thousands of men died so that we could still live here in freedom. A country is judged by its citizens. Let us be worthy of those great citizens who have left us the legacy of their fame and devotion to duty. And when you file through the Shrine and look down on the Rock of Remembrance, read the inscription on it, "Greater Love Hath No Man", remember those wonderful words written in the greatest book in the world nearly two thousand years ago, "Greater love hath no man than this, that a man lay down his life for his friend."A record of a ceremony at the Shrine for school students. The text of the speech is significant in that it was written by a man who had served in World War 1 and knew first hand what it meant to be part of the first Anzacs. White quarto paper x 4 pages with black type of a speech at one of the Annual Anzac Commemoration Service for Students.Handwritten in blue pen 'Shrine, Children's Service'anzac commemoration for students, wreath laying ceremony, speech

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

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

Norval Guest-House Aginda and Wettenhall The original Norval The story of Norval begins in 1917 when it was built as a private residence for Mr and Mrs William Thompson. Mrs Thompson was a pioneer of the tourist business, having come from Ballarat to Hall's Gap in 1909 to manage Bellfield Guest-house According to Ida Stanton, in her history of Hall's Gap entitled "Bridging the Gap", Mr Thompson and his wife acquired the six roomed shearers quarters at "Hankelow", on land leased by the Wettenhall family, on the south side of Bellfield. Mr Thompson, she says, completely dismantled the quarters, carefully marking each board, then hired George McKeon to cart the material up to where the original Norval house stood. With great care, the rooms were rebuilt into a home for William and his wife Mathilda. Catherine Good, the daughter of Viola (nee Wettenhall) and niece of Dr Roland, in here "Recollections" entitled "Look to the Mountains - Viola's View 1887-1979", mentions Hankelow. Speaking of her days at Glen Holford, the Wettenhall home at Pomonal, Viola says "Verona and Francie Dennis, my cousins, and I went for one very exciting trip. Father (i.e Dr Roland's father) had bought 300 acres in the Gap to take sheep from Carr's Plains in time of drought, and had a little cottage there with one of the Glen Holford men and his wife in charge. It was called Hankelow. So we three set off over the Range from Glen Holford on foot and leading a pack horse with our night attire and no doubt sponge bags. "We stayed the night at Hankelow with Jim and Minnie. Minnie had been a housemaid at Glen Holford. I was very fond of her. It makes one laugh to think of the excitement of "roughing it"! Minnie gave us a lovely dinner with meringues, and cream, I remember, then early morning tea. After breakfast we were driven in the buggy to the foot of the Goat Rock (since renamed Mt Rosea) and off we went - walking in our long skirts and ankle boots. There was no track of any kind, nor blazed trail - we just made for the top. It was rather frightening at times because we couldn't see where the top was an it always seemed to get further and further away. The last mile was so terribly steep, with a lot of lose shale where you went up twelve inches and slipped back six. Now you motor to about a couple of miles from the top and then have a graded path. Anyway, we got there and back safely and were rewarded with a magnificent view" By a strange coincidence, Hankelow, the source of Norval Guest-house in times past (if the name can be applied to the property as a whole, which seems likely) is in fact also the source of our Wettenhall Campsite! Hankelow was named after a property owned by the Wettenhall family in England. In 1917 William and Mathilda retired to their newly built home (Norval) "to escape from the tourist business" However, so many people made requests to stay with them that they found it necessary to add several more rooms and sleepouts to their home. In this way, early in 1921, the guest-house began to take shape. Mr Thompson, a former librarian of the Mechanics Institute in Ballarat, named the house "Norval". The name "Norval" comes from a quotation from the play 'Douglas" by John Home. Written in the mid-16th century the play is set in the Grampian Mountains of Scotland. The story is of a boy who was parted from this mother during his early childhood, and was given to a shepherd who raised him. Some eighteen years later the mother by chance happens to meet here son, and not knowing his true identity, asks his name. He answers, "My name is Norval; and in the Grampian hills my father feeds his flocks." Perhaps it was simply because "Norval" was associated with the "Grampians" that it was chosen by Mr Thompson. He may also have been conscious of feeding "flocks" of tourists in his expanding, guest-house. Norval Guest-house prospered. It was known for its fine cooking and friendly atmosphere - a tradition which has carried through to the modern Norval! It closed between 1940 and 1949 because of the second world war. In 1949 it was decided to almost completely rebuild the house. Most of the old building (Hankelow plus) was demolished and rebuilt to a much larger and more modern plan. And then, on May 1, 1965, it was purchased by the Committee of Management of the Methodist and Presbyterian Conference Centres. At this time the guest-house was owned and operated by Marjorie and Lachland McLennan, Mrs McLennan being the daughter of William and Mathilda Thompson, the pioneers of the establishment. The McLennans had operated the Guest-house since about 1930.Photocopy 2 pages of article from book titled 'In the Making' title of article Norval guest House the original Norvalaccommodation, guesthouses, norval

The present store was built circa 1900 to replace another which had been destroyed by fire in 1898, which had replaced a predecessor on the opposite side of the road in 1865. The store was also used as a post office until early 2000s. The general store is historically significant because it has a long association with Kangaroo Ground and has been an important centre of community life for more than 120 years - Council meetings used to be conducted in the front room of the store at a time when Kangaroo Ground rivalled Eltham as the major centre of the Shire. The general store is historically and aesthetically significant as one of a group of three well preserved public buildings in the Kangaroo Ground hamlet and as a major heritage component of Kangaroo Ground which was one of the earliest settled areas of the Shire and which has the character of an English village rather than an Australian settlement. Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p77 Today the general store is an uncommon form of trade but the one at Kangaroo Ground continues a long tradition of friendliness and service. For more than 100 years it has been a centre of community life. In the settlement’s early days a previous general store, on the same site, was the meeting place for the Eltham District Road Board, precursor to the Eltham Shire Council. For years Kangaroo Ground rivalled Eltham as the shire’s major centre. It developed very differently from the rest of the shire as its rich soil attracted prosperous Presbyterian Scots who had large agricultural properties.1 The present store was built to replace another one, which had burnt down in 1898, after replacing a predecessor on the other side of the road in 1865. The store retains its outward character and its cellar, although inside it has changed considerably. It now includes a café and offers local produce, milk bar products, grocery items, gas and other fuel. Until early this century the store was also used as a post office. Kangaroo Ground’s first postmaster was Andrew Ross, who first operated from the school opposite, then from his hotel next to the present tennis court site. The first postmaster at this store was Edward Weller, followed in 1868 by James Anderson. At that time a mail coach ran three times a week between Eltham and Woods Point through Kangaroo Ground, Yarra Flats, Healesville, Fernshaw, Marysville and Matlock. Some early postmasters were Rodger, McLaughlin, Greenway and Burns.2 Burns was the only postmaster operating from the store. The others operated from Andrew Ross’s hotel. The mail service improved in 1892 when coaches ran from Melbourne to Queenstown (now known as St Andrews) and changed horses at Kangaroo Ground twice daily. The only telegraph office in the district at that time was at the Kangaroo Ground Post Office. Telegrams to outlying areas such as Queenstown and Kinglake had to be sent by hand. A local resident in the early 1900s often rode his pony to deliver telegrams and was paid one shilling a mile porterage. The store has also contributed to the lighter side of Kangaroo Ground life. During the years that Con Wraight owned the store, between 1906 and 1946, a new piano was needed for the Kangaroo Ground Hall, so monthly dances were held to raise money. When the piano was bought, a grand ball was held in the Kangaroo Ground Hall to celebrate the occasion and supper followed at Mr Wraight’s barn, cleaned especially for the occasion. Every New Year’s Eve, a Scottish piper would set off from between the store and the schoolhouse, playing his pipes, and march to Cameron’s Pigeon Bank homestead on the Kangaroo Ground-Warrandyte Road. Between 1914 and 1922, the store was a station for the Kangaroo Ground Bush Fire Brigade’s tanker. It consisted of a wooden barrel on a cart, fitted with a hand-pump, and stood on the side of the road outside the store. Joy Ness, who belonged to an early Kangaroo Ground family, moved here in 1940 and recalled her impressions of the store at that time: ‘It was a very dark shop stained in a dark colour and on the walls just below the ceiling hung hurricane lamps, ropes, kitchen utensils and other goods for sale. ‘Goods were weighed on a brass scale with weights, on which mothers also weighed their babies, because the nearest Infant Welfare Centre was at Greensborough. The bacon was cut with a hand slicer and later a pot-bellied stove warmed the store. Farmers and other locals used to gossip around it as they collected their daily mail. In those days the butter and cheese were kept in the cellar as no ice was delivered for cooling.’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-yarra glen road, kangaroo ground general store

S.S, No 4688, Francis Street, Heathmont, 3135 History Two A4 pages of notes on the beginnings of the Heathmont S.S The text is:- STATE SCHOOL No 4698 Frances Street Heathmont, 3135 HISTORY School classes at Heathmont commenced in the original Methodist Church building in Canterbury Road in 1952 with Mr A.J. McKinlay as Head Teacher in charge of a school of 80 pupils. Shortly afterwards both a Parents and Citizens Association and the first School Committee were formed. Mr J.B. Harper was appointed as president of the Association and Mr H. Walker was elected as chairmen of the Committee, while Mr T. Jago acted as secretary to both bodies. Later in that same year the district Inspector, Mr H. Fleigner since retired and still a Heathmont resident, woe instrumental in obtaining a site for the establishment of the present Heathmont School at the corner of Frances Street and Balfour Avenue. The land was purchased from Mr. Handasyde, an orchardist of Wantirna South. In March 1963 a Bristol prefabricated aluminium building comprising four classrooms and an office was occupied. On April 21st, 1953 the school was opened officially by the Minister for Education, the Hon. A.E. Shepherd MLA. By December of that year the attendance had increased to 191 pupils, Mr N. Gillham was Head Teacher at the time. In February 1955 Mr. K. Gerraty succeeded Mr Gillham and by 1957 attendance had risen to 326 pupils necessitating the provision of additional light timber construction classrooms. Meanwhile the subdivision of large areas of local orchard land into housing estates with its resulting rapidly increasing population presented a persistent school accommodation problem that was met temporarily by the hiring of district church halls to accommodate a steadily rising attendance. Fortunately the tradition of voluntarily contributing to school funds and voluntarily providing labour initiated by the original parent bodies in 1952 was maintained. Then Mr V. Milligan commenced as Head Teacher in 1959, much of the steeply contoured playground area had been terraced, a football oval formed and the basketball court and assembly areas were sealed. These improvements were finally completed largely due to the enthusiasm, vigor and work effected by the School Committee under the chairmanship of Ringwood Councillor Mr JM McRae, as is borne out by the following report by Mr R.J. Chapman, District Inspector in 1961. "The local support by parents given to the Head Teacher and his staff is exceptional and I express my appreciation of their outstanding service." Mr Milligan's contribution to progress, however, lay equally in the internal educational development, particularly with regard to the teaching of reading. A course in the mechanics of speed reading, involving the use of the tachistoscope reading rate controllers and programmed comprehension sets was introduced and a start was made in the building up of a library of literature and reference books. As a result the Education Department appointed a Teacher-librarian to ensure continuity and further progress with this Reading scheme. A feature of Heathmont School is the splendid modern Art/Craft room opened while Mr L. Sebire was head teacher in 1966. This building and courtyard, linked to the original building by a covered way was designed by Mr Salvatore who acted as honorary architect, and was completed by Mr John F. Swan at a cost of �10,000 of which 52% was provided by a School Committee Co-operative loan and 42% by Departmental special grant. Materials used were white sandstone brick and oregon pine. The building bears the name of Councillor J.M. McRae Art Centre as a tribute to the man who did so much to enable its construction. An Art/Craft specialist teacher is provided by the Education Department. As attendance continued to increase to 520 children in 1969, additional accommodation became an urgent necessity. Following negotiations conducted by Mr A. Lethbridge School Committee President, Mr JJ Egan, former Principal and the present Principal, Mr A.S. Don the Education Department Assisted by a second Committee Co-operative loan, purchased the adjacent Baptist Church property thus providing much needed extra accommodation and playground area The newly acquired building is at present in use as two temporary classrooms, but will subsequent be used as a utility rope. A smaller room has been converted to a canteen operated daily by the Parents and Citizens Association, thus providing both a service to the pupils and a source of income. +Additional Keywords: McKinlay, Mr.A G Harper, Mr J.B Walker,Mr.H Fleigner, Mr.H Handasyde, Mr. G Shepherd, Hon. A.E. MLA Gillham, Mr.K Garraty, Mr.K Milligan, Mr.V McRae, Mr. J.M. Chapman,Mr.R.J. Sebire,Mr.L Salvatore,Mr. Swann,Mr.John F. Lethbridge, mr.A Egan,Mr.J.J. Don,Mr.A.S.

This coloured photograph of the ketch Reginald M was taken when she was docked at Port Adelaide. The side of the vessel shows the letters "REGINALD M / H.M.C. No. 2 Pt ADEL" - (abbreviation H.M.C. meaning His/Her Majesty's Customs. HISTORY The Reginald M, a two-masted coastal ketch, was owned and built by Mr. Jack (John) Murch of Birkenhead, Port of Adelaide, South Australia to serve the coastal ports of South Australia. Its construction took approximately 6 months and it was launched at Largs Bay in 1922. Its purpose was to carry cargo cheaply and efficiently, and tradition has it that the keel was in fact hewn from two telegraph poles! Its builder frequented all the salvage yards for materials and fittings. The Reginald M had a very shallow draft and a flat bottom that enabled it to sit high and dry at low tide. The flat bottom was also to make the ship able to skim over reefs. Wagons were able to load and unload direct from her side. Her cargo included Guano, Barley, Wool, Horses, Cattle, Timber, Explosives, Potatoes, Shell Grit and Gypsum. In 1931 she weathered a large storm in St Vincents Gulf, SA. Her crew at the time were Owner Mr John H Murch, Wells St, Largs Bay, Skipper, John’s brother Mr R Murch, Murray, son of Mr R Murch and Seaman John Smith Reg Webb purchased Carribie Station, at Marion in the Warooka District, south of Adelaide, in 1921. He cleared the land and farmed sheep and grain. In 1923 he shipped his own wool and grain from Marion Bay, having first carted 300 bags of the barley grain, 12 bags at a time, along the unmade track to the jetty. A photograph dating about 1929 -1942 shows 2 men on the Reginald M, having just landed their fishing catch of a hammer shark. The photograph is stamped “GRENFELL STUDIO PORT LINCLON PRINT” and titled “hammer shark caught on Reginall Emm”. Reg Webb knew the Murch Brothers from Port Adelaide. The brothers had been using their ketch REGINALD M to ship Guano from the Islands, led by Captain Richard Murch. Reg approached them in 1934 about shipping grain from Marion Bay. The brothers visited the bay and thought it was an ideal place. They showed Reg where to stack his grain and they measured up the cliffs. When Reg was ready, they brought down and installed a ninety foot wooden chute. The bags of grain were then individually sent down the chute, landing in a waiting small boat then rowed to REGINALD M, 14 bags at a time. After 10 hours REGINALD M would be fully loaded with 1300 bags of grain and shipped to waiting ports. At one time a wild storm destroyed the chute but it was rebuilt and strengthened. REGINALD M was involved in shipping the grain from there until 1938. In 1940 Able Seaman Allan H Lucas served on Reginald M between September and December, being engaged and discharged from Port of Adelaide. His Certificate of Discharge was signed by ship’s Master W S Murch. It seems that at some stage Reginald M was used as a Customs vessel because a photograph in Flagstaff Hill’s collection shows the text “H.M.C. No. 3, Pt Adelaide” on the bow, the abbreviations standing for “His/Her Majesty’s Customs”. In 1969 the last freight left Marion Bay on the ketch REGINALD M carrying grain, wool and explosives. In late 1970 she was sold to the Mt. Lyell Copper Company, based in Queenstown, Tasmania, to carry explosives. In 1972 the Navy League of Strahan, Tasmania, purchased her for use by the Strahan Sea Cadet Unit and renamed her T.S. Macquarie. In 1974 Mr. Andrew Rennie, of East Brighton, Melbourne, bought her, paying $5,000 and donating a ‘Cadet of the Year” trophy to the Sea Cadets. He sailed her from Strahan to Melbourne, planning to use her for pleasure sailing. In 1975 Reginald M was sold to Melbourne Ferry Company at auction. In 1975 the Reginald M was bought by Flagstaff Maritime Museum for $20,000. She has been restored and is now one of the exhibits, tied up at the dock. Flagstaff Hill Maritime Village’s Collection holds several other artefacts associated with Reginald M. They include - Photographs of the Reginald M, including one photograph of her in Outer Harbour, S.A. dated 1947, with Skipper- R.F. Dale and Owner- John Murch. Another shows her docked at Port Adelaide, with the lettering H.M.C. No. 3 Pt ADEL (standing for His/Her Majesty’s Customs). There is a black and white photo of her at a wharf and another showing a person on board. - a lifebuoy, with Pt Adelaide on it. - a bullet found in pieces of timber when Reginald M was restored in 1979 (References: Flagstaff Hill Fact Sheet “Reginald M”, the book “The Reg Webb Story” compiled by the Warooka & District Museum. Reg Webb’s daughter Lily Ramsay (nee Webb) and her husband Howard, Lizzie Rennie (daughter of owner Andrew Rennie), brochure “Discover the Yorke Peninsula South Australia”, Ketch in Peril; Adelaide Chronicle 9 April 1931, K Gordon & Mary Filmer of Warooka; South Australian Maritime Museum) Thiis photograph is significant because of its connection to the history of the vessel REGINALD M is a coastal trading ketch from South Australia built in 1922. It is one of very few sailing coastal trading vessels still extant, and its flat bottom, single chine shape illustrates a very simple but robust method of construction, compared to other round bilged examples of trading vessels. She is now listed on the Australian Register of Historic Vessels (ARHV Number: HV000562.)Photograph of Reginald M at Port Adelaide. The side of the vessel shows the letters "REGINALD M / H.M.C. No. 2 Pt ADEL" - (abbreviation H.M.C. meaning His/Her Majesty's Customs. Painted on the side of the vessel "REGINALD M / H.M.C. No. 2 Pt ADEL" - flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, reginald m, coastal trading ketch, trading vessel, john murch ship builder, port adelaide vessel reginald m, andrew rennie, macquarie training vessel, mt lyell copper company, queenstown navy league, ch murch, reg webb, carribie station, melbourne ferry company, grenfell studio port lincoln, vessel reginald m

In 1857, tanner John Pearson purchased three and a half acres of land in Little Eltham, at the western end of Pitt Street, with a 70-foot frontage to Maria Street (Main Road) and stretching down to the Diamond Creek for £100. He contracted Benjamin Oliver Wallis to build house for him. Wallis, a mason by trade who originated from the Cornish village of Newlyn, migrated to Melbourne in 1853 and was shortly engaged by Richard Warren to build the Eltham Hotel, which opened in 1854. When Warren fell into financial difficulty in 1858, Wallis purchased the hotel. That same year, Pearson constructed a tannery below the house with access to the water in the Diamond Creek. When Pearson became bankrupt in 1867, Wallis similarly acquired the house from Pearson’s creditors in 1868 and lived there until his death in 1896. For some of this time the house was in the name of Wallis’s son Richard but following his death in 1888, ownership reverted to his father. It was purchased by retired teacher Richard Gilsenen in 1899. Gilsenen was made acting head teacher at the Eltham State School in 1906 following the sudden death of head teacher John Brown. In the 1950s the house was bought by retired engineer Dr Alfred Fitzpatrick and his wife Claire who made various modifications to house goats and poultry as well as structural modifications to the house. In the early 1970s, Eltham Shire Councillors Frank Maas and Don Maling proposed an extended communities’ activities program be set up and the Commonwealth Grants Commission was approached for financial assistance. In 1974 a $50,000 Commonwealth Grant was received by the Shire Council to acquire the Fitzpatrick property as part of the planning to establish an extended communities’ activities program. The Fitzpatricks moved next door and Claire taught at the new Living and Learning Centre, which began in 1975, one of the first community education centres in Victoria. Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p59 It’s a centre for sharing knowledge and friendship and it stands on the former hub of Eltham’s original township near Pitt Street. The Eltham Living and Learning Centre, with around 2000 participants a year, began in 1975 as one of the first Community Education Centres in Victoria. Classes ranging from macramé to wine making to environmental living have enriched the lives of thousands of people through the generosity of tutors sharing their skills free of charge. The centre’s heart is the brick cottage, built in 1858 by tanner John Pearson. He bought the three and a half acre (1.4ha) allotment fronting Maria Street (now Main Road) and stretching down to the Diamond Creek. The allotment formed part of a 316 acre (127.8ha) subdivision, owned by Josiah Holloway, called Little Eltham, north of the original Eltham Reserve.1 The allotment then passed through the hands of several speculators before it was sold to Pearson for £100 in 1857. Mr Pearson’s children attended the Eltham Primary School from 1864 to 1867. But creditors took possession of the property when his tannery folded in 1867. It was then sold to publican Benjamin Wallis, who owned the Eltham Hotel at the corner of Pitt Street and Main Road. In 1899 the property was bought by Richard Gilsenan, who became acting head teacher of the Eltham Primary State School in 1906. In the 1950s, retired engineer Dr Alfred Fitzpatrick and his wife Claire bought the property, and made structural changes. Claire, a journalist and community campaigner, modified and built pens for goats and poultry, a stable, a garage and planted fruit trees and a vegetable garden. In the early 1970s a young woman called Carina Hack approached Gwen Wesson at the Diamond Valley Learning Centre (Victoria’s first Community Education Centre) about starting a community centre. Following Wesson’s suggestion, Hack spoke to Shire President Alistair Knox ‘one bleak rainy afternoon, sipping hot drinks and discussing life’.2 Eltham Shire Councillors Frank Maas and Don Maling proposed a community activities program and the council received a $50,000 Commonwealth Government Grant for this venture.3 The Fitzpatricks sold their property to the council and moved next door and Claire taught at the new centre, which Hack named. Eltham obviously wanted such a centre as Hack recalls. ‘During the next two months we had about 50 volunteers working day, night and weekends, scrubbing down, plastering and painting walls, replacing floors, repairing fences, recycling furniture, sewing curtains and cushions, donating furniture, toys, equipment, clean-ing and gardening…’4 The first enrolment day saw a queue stretching up the driveway nearly to the gate and the first sessions attracted 270 people a week. Soon the outbuildings were converted into pottery studios and a large workshop. From 1979 the Eltham Art and Craft Market was held in the centre’s grounds and the Friends of the Centre ran it from 1980. A former program coordinator, Margaret Johnson, remembers enrolment day in the late 1970s and 1980s, when hundreds of people would queue – and some even camped overnight! Overnighters were greeted in the morning with fresh tea and toast. Another tradition was The Enrolment Day Cake with Recipe, given to volunteers. ‘One happy Enrolment Day fell on February 14 and let’s just say that St Valentine found some willing participants, paying $2 for a kiss.’5 Meanwhile the participants’ children could play at the Council Eltham Lower Park house in Hohnes Road, later in Susan Street. But the centre has had difficulties too. In 1990 a fire destroyed the stable and the police suspected arson. However the pavilion was built in its place.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, benjamin oliver wallis, claire fitzpatrick, don maling, dr alfred fitzpatrick, eltham living and learning centre, frank maas, john pearson, richard gilsenen, tannery

St Margaret’s Church of England was officially opened on December 12, 1861. It is the oldest intact church building in Eltham. At the time it was known as Christ Church until its consecration in 1871, when it was completely free of debt (£1,700 for the church and parsonage) despite the district’s poverty. This was largely due to the free labour and materials, including locally made bricks donated by local artisans and others. The church is historically significant because it is the oldest church in the former Shire of Eltham and has associations with the philanthropist and founder of Brighton, Henry Dendy (who donated the land on which the church is built), the architect Nathaniel Billing and the prominent local builder, George Stebbing. The church is architecturally and aesthetically significant because it is constructed in the Gothic Revival style with several stained-glass windows of various dates and is also a very early use of polychromatic brickwork in Victoria. Billing was one of the first Melbourne architects to employ polychromatic brickwork and an important early architect. The rear wall was intended to be temporary. A major feature of the design is the large buttresses with long, steeply graded upper faces. The overall design is well proportioned with the surface brick patterns relieving an otherwise austere design. The church is spiritually and socially significant because it has been an important place of worship for the people of Eltham for almost 150 years. The land on which the buildings stand was donated by Henry Dendy. Dendy arrived in Melbourne in 1841 after purchasing in England eight square miles at Brighton under the system of "special surveys". After this land passed out of his hands, Dendy moved about Victoria, visited England, then returned to settle in Eltham where he purchased a flour mill. Dendy chaired the meeting held in 1860 “for the purpose of devising such means as may be expedient for the establishment of a Church of England in the township of Eltham”. He became chairman and treasurer of the church committee. Unlike the establishment of many early churches in Victoria where a vicar was appointed to a parish and later a permanent church was constructed, the population at Eltham initiated action to build a church. The nearest church at that time was at Heidelberg and the Eltham settlement was part of the parish of St Johns Heidelberg. Isolation and the tedious, time consuming journey between Heidelberg and Eltham resulted in the Eltham community taking its own action. The original vicarage (Dendy House) at the rear of the church is also an important part of the cultural significance of this place because it is connected to the church and the development of the Eltham area. Together, the church and the vicarage are aesthetically significant because they form a significant streetscape feature. The mud-brick community hall designed by Robert Marshall was added in 1978. In 2014 the original temporary rear wall was removed as part of a modern extension designed by Architects Atelier Wagner and constructed by Conrad Construction and Management. Covered under Heritage Overlay, Nillumbik Planning Scheme. National Trust of Australia (Victoria) State significance Victorian Heritage Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p67 St Margaret’s Anglican Church in Pitt Street, Eltham, which officially opened on December 12, 1861, is the oldest intact church building in Eltham.1 With the nearby courthouse and police station, it was one of the first permanent community buildings in the district. The church and vicarage are on the Register of the Heritage Council of Victoria and the National Trust of Australia – Victoria. The church is important as an early example of polychrome brickwork by the notable architect Nathaniel Billings. It is also notable for its historic associations with the early settlement of the Shire of Eltham and its connection with Henry Dendy, Brighton’s founder.2 Henry Dendy, who lived in Eltham much longer than at Brighton, chaired the original meeting which planned the church, and he donated the half-acre (0.2ha) site. Dendy had arrived in Melbourne in 1841 after buying eight square miles (20.7sq km) at Brighton while in England. After this land passed out of his hands, he eventually settled in Eltham where he bought a flour mill, west from the corner of Main Road and Pitt Street (then called Brewery Lane). The vicarage was named Dendy House after him. The Eltham settlers were unusual in initiating the establishment of a church. Usually in Victoria a vicar was appointed to a parish and then a permanent church was constructed. But then, the nearest church was at Heidelberg, which was a tedious and time-consuming journey. St Margaret’s builder was a local, George Stebbing, who also constructed the former Methodist, later Uniting, Church at John Street and the Shillinglaw Cottage near Eltham’s Central Park. It is believed the first Anglican Bishop of Melbourne, Bishop Perry, dedicated the church. After the ceremony he joined in the festivities at the nearby pub and a bill was sent to the parish for teas taken there by the bishop with other participants. The first vicar was the Reverend Robert Mackie from 1864 to1866. St Margaret’s Church was originally called Christ Church until its consecration in 1871, when it was completely free of debt (£1700 pounds for the church and parsonage) despite the district’s poverty. This was largely due to the free labour and materials, including local bricks, donated by local artisans and others. St Margaret’s Church is in the Gothic Revival tradition with a buttressed nave, paired lancet windows, porch and bell-cote. It was the first polychromatic brick church in Australia, using softly contrasting coloured brickwork.3 Billing was one of the first architects to introduce polychrome brickwork into Melbourne. His original drawings for St Margaret’s survive in a folio of his architectural work. However the church’s brickwork is more subdued than in his drawings. About half the windows – those in clear glass with gold borders – are original. The stained glass windows were made much later, but the one behind the altar is thought to be the oldest in the Diamond Valley. It was to be temporary until the congregation could afford to extend the church. In the early 1960s the original cedar pews were replaced by blonde timber pews and the originals were sold to restaurants and to private individuals. Eminent local sculptor Matcham Skipper created a crucifix for the church. A major addition was made in 1978, when the weatherboard hall was replaced by a mud-brick hall. Made of local material, it was designed by local architect and a former shire president Robert Marshall. The mud-brick hall reflects the style of building in Eltham of the late 1970s and for which Eltham is well-known. Perhaps because its earthy tones blend with the surrounding environment, the hall sits well with the church building. St Margaret’s membership has included economist and ABC chairman, Richard Downing; political commentator, diplomat and academic, William Macmahon Ball; Eltham civic leader, Charles Wingrove; artist, Peter Glass; and Eltham’s first postmaster, Frederick Falkiner.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, st margaret's anglican church, st margaret's church, st margarets church hall, christ church

A4 sheet white printer paper with 8 newspaper clippings glued on. Handwritten note reads: Death notices for Peter Ellis - Bendigo Advertiser Wed 20th - Saturday 23rd May 2015. Death Notices. Ellis - Peter OAM. Our college community pays tribute to Peter, a highly respected former staff member and ex-student. He was a highly valued and supportive colleague, mentor and friend. Peter will be remembered for his wealth of scientific knowledge, his love of the natural environment and his contribution to the local and state Lab Technicians Associations. - Principal, staff and Students of Bendigo Senior Secondary College. City of Greater Bendigo. Ellis- Peter. A gentle man with a wonderful passion for Greater Bendigo's natural, built and musical heritage, Peter will be greatly missed by the Greater Bendigo Heritage Advisory Committee. He willingly shared his love and knowledge of the rich and unique heritage around us. Ellis - Peter Nicolaus OAM. You went so quickly. I will miss our trips to Festivals doing crosswords on the way. My sympathy to both families and Brian a great mate to the last. A void impossible to fill. - Mary Smith. Ellis- Peter OAM. A tribute to our intrepid band leader of 34 years who took us on an unforgettable musical journey of preserving and teaching the traditions of dance and music to old and young throughout Australia. You are irreplaceable ' Dirty Pierre' - Past and present members of the celebrated Emu Creek Bush Band. Ellis - Peter OAM. Founder and leader of Emu Creek Bush Band. Australia's largest collector of dancing history. A great friend taken far too young. Au revoir 'Dirty Pierre' - John and Sue Williams. Ellis - Peter OAM. Thanks Pete, you introduced me to a life of extraordinary experiences, amazing friendships, dance and music. We did have some fun. - Marg Hogan. Ellis - Peter. We are so saddened by your passing. Your music and great sense of humour will remain with us. - Wedderburn Old Timers Band. Ellis - Peter. A friend of many years. We will remember your warmth, humour and tireless pursuit to preserve the Natural Environment of Bendigo. Your love and knowledge of the Bendigo Flora was inspirational. - Mary and Patrick Ward. Ellis- Peter. A music and dance man with a warm appreciation and encouragement of diverse talent. - Winzar boys. Death Notices. Ellis - Peter. Greatly respected and loved by his many friends in the traditional music and dance movement across Australia. His achievements were many and he will be missed. - The Traditional Social Dance Association of Victoria. Ellis - Peter. The Bendigo Historical Society is saddened at the passing of fine musician and friend Peter Ellis. - Committee and members, Bendigo Historical Society. Ellis- Peter. A talented musician and long time friend who was always willing to help us. - Members of Euro fest Choir and Inc. Ellis - Peter. Friend and neighbour, nature's gentleman at rest. Sincere sympathy to Robyn, Rick, Ryan and Doug. - Judy Monti. Ellis- Peter OAM Fond memories of 28 years with the band. Sadly Missed. - Stan and Heather Symes. Death Notices. Ellis - Peter OAM Pete, a much loved friend of many years. We fondly remember your knowledge, humour and those great times together, especially in the bush. Deeply missed. - Rob and Glen Moors. Death Notices. Ellis- Peter. Fond memories, so sadly missed. Keep playing your music Peter. Loved cousin Cheryl and families. Ellis -Peter. Loved cousin of Sandra and Phil Jubber and families. Deeply Missed. Ellis - Peter. A long term member of the Bendigo Field Naturalist Club. Deepest sympathy to his friends, he will be sadly missed by all. Ellis - Peter. Leader of the 'Celebrated Emu Creek Bush Band' Memories of lots of great times playing and travelling all over. We learned so much about dancing and music and it just won't be the same. - Don and Julie. Ellis - Peter. Much loved friend, dancer and band leader. - Dianne and Doug Pearse. Death Notices. Ellis - Peter. Peter, you gave so much laughter and happiness to many, many people through your lovely nature and your brilliant music to listen to and dance to. You have left a legacy of music, books and dance as well as unforgettable memories. Rest in peace. - Diana Austin. Death Notices Ellis Peter 27/3/1946 - 18/5/2015 Formerly of Emu Creek Bush Band and the Wedderburn Old Timers). Passed away suddenly at Bendigo Hospice. Loved son of Joan and Allan Nielsen (both Dec). Loving brother of Robyn and Doug. Brother-in-law of Rick and Uncle of Ryan and the extended family. Let the music play on… For Funeral arrangements see later edition. Death Notices. Ellis - Peter Nicolaus O.A.M. Suddenly. An inaugural member of the Bush Dance and Music Club and the Emu Creek Bush Band. A much loved friend, dance instructor and musician. Very generous with his time and knowledge. Passionate collector of dance music and old time dances. Will be sadly missed by all who knew him. - Devastated dance members. Ellis- Peter. OAM 27/3/46 - 18/5/15 Passed away peacefully after a brief illness. Much loved and irreplaceable brother, cousin and uncle to the Lilford, Datson, Burns, Shaw and Kitch families. You enriched our lives. No words can express how much we will miss you. Ellis Pierre (Peter) You were as much a father to me as an uncle. I never told you that or how much I looked up to you. You will be sadly missed - Boswald ( Ryan). Ellis - Peter. We are going to miss our Monday night dinners before rehearsal. A lover of fine wine, good food and great music. Pierre, our Maestro and fearless band leader, we will miss the sound of your squeeze box and your passion for the music. - Paul and Alida Robinson, Emu Creek Bush Band. Ellis - Peter. A close friend colleague, musician, authority on native plants and colonial music researcher. An enormous influence in preserving early Australian dance and dance music. We will all miss you Pete. - Jill and Graeme Balaam. Funeral Notices Ellis. A service of thanksgiving for the life of the late Mr Peter Nicolaus Ellis will be held at the Mulqueen Family Chapel, 15-25 Bridge street, Bendigo on MONDAY (May 25) at 11.00am. A private cremation will follow. Tributes can be left at www.heavenaddress.com Mulqueen Family 15-25 Bridge street, Bendigo Est. 1853 5443 4455.person, individual, peter ellis oam

Mawul Rom Project: Openness, obligation and reconciliation Morgan Brigg (Universtiy of Queensland) and Anke Tonnaer (University of Aarhus, Denmark) Aboriginal Australian initiatives to restore balanced relationships with White Australians have recently become part of reconciliation efforts. This paper provides a contextualised report on one such initiative, the Mawul Rom crosscultural mediation project. Viewing Mawul Rom as a diplomatic venture in the lineage of adjustment and earlier Rom rituals raises questions about receptiveness, individual responsibility and the role of Indigenous ceremony in reconciliation efforts. Yolngu ceremonial leaders successfully draw participants into relationship and personally commit them to the tasks of cross-cultural advocacy and reconciliation. But Mawul Rom must also negotiate a paradox because emphasis on the cultural difference of ceremony risks increasing the very social distance that the ritual attempts to confront. Managing this tension will be a key challenge if Mawul Rom is to become an effective diplomatic mechanism for cross-cultural conflict resolution and reconciliation. Living in two camps: the strategies Goldfields Aboriginal people use to manage in the customary economy and the mainstream economy at the same time Howard Sercombe (Strathclyde University, Glasgow) The economic sustainability of Aboriginal households has been a matter of public concern across a range of contexts. This research, conducted in the Eastern Goldfields of Western Australia, shows how economically successful Aboriginal persons manage ?dual economic engagement?, or involvement in the customary economy and the mainstream economy at the same time. The two economies sometimes reinforce each other but are more often in conflict, and management of conflicting obligations requires high degrees of skill and innovation. As well as creating financially sustainable households, the participants contributed significantly to the health of their extended families and communities. The research also shows that many Aboriginal people, no matter what their material and personal resources, are conscious of how fragile and unpredictable their economic lives can be, and that involvement in the customary economy is a kind of mutual insurance to guarantee survival if times get tough. Indigenous population data for evaluation and performance measurement: A cautionary note Gaminiratne Wijesekere (Dept. of Families, Housing, Community Services and Indigenous Affairs, Canberra) I outline the status of population census counts for Indigenous peoples, identifying information on Indigenous births and deaths, and internal migration estimates. I comment on the ?experimental? Indigenous population projections and question the rationale for having two sets of projections. Program managers and evaluators need to be mindful of limitations of the data when using these projections for monitoring, evaluating and measuring Indigenous programs. Reaching out to a younger generation using a 3D computer game for storytelling: Vincent Serico?s legacy Theodor G Wyeld (Flinders University, Adeliade) and Brett Leavy (CyberDreaming Australia) Sadly, Vincent Serico (1949?2008), artist, activist and humanist, recently passed away. Born in southern Queensland in Wakka Wakka/Kabi Kabi Country (Carnarvon Gorge region) in 1949, Vincent was a member of the Stolen Generations. He was separated from his family by White administration at four years of age. He grew up on the Cherbourg Aboriginal Reserve in the 1950s, when the policies of segregation and assimilation were at their peak. Only returning to his Country in his early forties, Vincent started painting his stories and the stories that had been passed on to him about the region. These paintings manifest Vincent?s sanctity for tradition, storytelling, language, spirit and beliefs. A team of researchers was honoured and fortunate to have worked closely with Vincent to develop a 3D simulation of his Country using a 3D computer game toolkit. Embedded in this simulation of his Country, in the locations that their stories speak to, are some of Vincent?s important contemporary art works. They are accompanied by a narration of Vincent?s oral history about the places, people and events depicted. Vincent was deeply concerned about members of the younger generation around him ?losing their way? in modern times. In a similar vein, Brett Leavy (Kooma) sees the 3D game engine as an opportunity to engage the younger generation in its own cultural heritage in an activity that capitalises on a common pastime. Vincent was an enthusiastic advocate of this approach. Working in consultation with Vincent and the research team, CyberDreaming developed a simulation of Vincent?s Country for young Aboriginal and non-Aboriginal persons from the Carnarvon Gorge region to explore Vincent?s life stories of the region. The use of Vincent?s contemporary paintings as storyboards provides a traditional medium for the local people to interactively re-engage with traditional values. Called Serico?s World, it represents a legacy to his life?s works, joys and regrets. Here we discuss the background to this project and Vincent?s contribution. A singular beeswax representation of Namarrkon, the Lightning Man, from western Arnhem Land RG Gunn (La Trobe University) and RL Whear (Jawoyn Association) Samples from a beeswax representation of Namarrkon, the Lightning Man, from western Arnhem Land were analysed for radiocarbon and dated to be about 150 years old. An underlying beeswax figure was found to be approximately 1100 years old. The Dreaming Being Namarrkon is well known throughout Arnhem Land, although his sphere of activity is concentrated around the northern half of the Arnhem Land plateau. Namarrkon is well represented in rock-paintings in this area and continues to be well represented in contemporary canvas-paintings by artists from the broader plateau region. We conclude that representations of Namarrkon in both painted and beeswax forms appear to be parallel manifestations of the late Holocene regionalisation of Arnhem Land. ?Missing the point? or ?what to believe ? the theory or the data?: Rationales for the production of Kimberley points Kim Akerman (Moonah) In a recent article, Rodney Harrison presented an interesting view on the role glass Kimberley points played in the lives of the Aborigines who made and used them. Harrison employed ethnographic and historical data to argue that glass Kimberley points were not part of the normal suite of post-contact artefacts used primarily for hunting and fighting or Indigenous exchange purposes, but primarily were created to service a non-Indigenous market for aesthetically pleasing artefacts. Harrison asserted that this market determined the form that these points took. A critical analysis of the data does not substantiate either of these claims. Here I do not deal with Harrison?s theoretical material or arguments; I focus on the ethnographic and historical material that he has either omitted or failed to appreciate in developing his thesis and which, in turn, renders it invalid. The intensity of raw material utilisation as an indication of occupational history in surface stone artefact assemblages from the Strathbogie Ranges, central Victoria Justin Ian Shiner (La Trobe University, Bundoora) Stone artefact assemblages are a major source of information on past human?landscape relationships throughout much of Australia. These relationships are not well understood in the Strathbogie Ranges of central Victoria, where few detailed analyses of stone artefact assemblages have been undertaken. The purpose of this paper is to redress this situation through the analysis of two surface stone artefact assemblages recorded in early 2000 during a wider investigation of the region?s potential for postgraduate archaeological fieldwork. Analysis of raw material utilisation is used to assess the characteristics of the occupational histories of two locations with similar landscape settings. The analysis indicates variability in the intensity of raw material use between the assemblages, which suggests subtle differences in the occupational history of each location. The results of this work provide a direction for future stone artefact studies within this poorly understood region.document reproductions, maps, b&w photographs, colour photographskimberley, mawul rom project, 3d computer game, storytelling, vincent serico, beeswax, namarrkon, artefact assemblages, strathbogie ranges, groote eylandt, budd billy ii

Merle Hall Collection: Rosalind Park Creative Village Bendigo Project Letters 31 March 1994 To: Victorian Arts Council Members From Grant Finck Project Coordinator Content: Introduces himself as the coordinator for 12 months; to members looking for expression of interest, includes Information Sheet 1994 on what the Creative Village is. 27 October 1995 To: Mrs. Mearle Hall From: City of Greater Bendigo, Bernard Smith (Director Environmental Services) Content: Granting access to the Victoria Hill site for small quantities of geological material. 10 January 1996 To: Mrs. Mearle Hall From: City of Greater Bendigo, Bernard Smith (Director Environmental Services) Content: Endorsement of the project by the Council and confirmation that the Council will provide preliminary site work to allow the project to be enabled. Also advised the Arts Bendigo Mosaic Project makes contact with the Salvation Army (New Work Opportunity Project) 27 February 1996 To: Mrs. Mearle Hall From: Ken Beasley Manager Project Development The Smith Read Training Group. Content: LEAP Project Proposal - Mining Heritage Mosaic outlining the benefits of using LEAP Trainees to undertake the project. Proposed Scope of work outlining responsibilities of each participant. Bendigo Mining NL Environmental Trust Fund (Perseverance Exploration and Department of Energy and Minerals Victoria representatives) 27 June 1996 To: Mrs. Mearle Hall From: City of Greater Bendigo, Bernard Smith (Director Environmental Services) Content: Advising that the Council will match dollar for dollar funding for the engagement of an artist to supervise the construction of the Mosaic in Upper Rosalind Park up to $3,500. 22 July 1996 To: Anne Buzza From Geof Brown Camp Hill Primary School Content: Thanks for using and managing the school students to help create tiles. 9 October 1996 To: Mrs. Mearle Hall From: City of Greater Bendigo, Bernard Smith (Director Environmental Services) Content: Enclosed cheque for matching grant of $3500 15 October 1996 To: Mrs. Mearle Hall From: City of Greater Bendigo, Bernard Smith (Director Environmental Services) Content: Agreement to relocate the project facilities to the car park and to maintain a close liaison between the Council and Arts Bendigo. 13 November 1996 To: Mrs. Mearle Hall From: The Sidney Myer Fund Helen Morris Research Officer Content: Remittance advice for $1000 22 April 1997 To: Mrs. Mearle Hall From: John Little Administrator Victorian Arts Council Content: Remittance advice for $500 towards the project and enclosing 12 VAC Annual reports. 20 October 1998 To: Mrs. Mearle Hall From: City of Greater Bendigo, Andrew Hall (Director Community Development) Content: Advising that the Council will make a grant of $1090 for the purpose of printing of Brochures for Bendigo Heritage Mosaic. A service agreement to be signed before the issue of the grant, 21 March 2001 To: Mrs. Mearle Hall From: City of Greater Bendigo, Justin Hanney (Director Community Services) Content: A reference from Council supporting the project application to Vic Health for the development of a series of small mosaic pieces along the linear pathway asjacent to the Bendigo Creek. 12 November 1996 To: Mrs. Mearle Hall From: Arts Bendigo Inc. Content: Cheque for $2000 being first payment as under contract two for mosaic project. 4 December 1996 To: Mrs. Mearle Hall From: Arts Bendigo Inc. Content: Cheque for $2000 being second payment as under contract two for mosaic project. 27 July 1997 To: Maery Gabriel Mosaic Artist From: Arts Bendigo Inc. Content: Cheque for $2000 being final payment as under contract two for mosaic project. 12 June 1997 - Two copies To: Maery Gabriel Mosaic Artist From: Arts Bendigo Inc. Content: Agreement between Maery Gabriel (The artist) and Arts Bendigo Inc. to complete the final two sections of the Bendigo Heritage Mosaic at the base of the Rosalin Park Poppet Head, Bendigo with a design of approximately two square meters within each section. The work to be completed by the endo of July 1997, unless severe weather conditions make the laying impossible. Agreement for two lots of $2000. 14 June 1996 From: Maery Gabriel Mosaic Artist To: Arts Bendigo Inc. Content: receipt for 50% payment for two weeks and $60 Travelling expenses. 21 May 1996 Agreement between Arts Bendigo of P.O Box 563, Bendigo in the State of Victoria (hereinafter referred to as the ‘AB’ of the first part AND Meary Hall of Morningswood, Petersons Road, Ellinbank, 3821 in the State of Victoria (hereinafter referred to as ‘the artist’) of the second part. ENGAGEMENT: (a) AB engages the Artist to provide her services as Mosaic Artist for the design and creation of a Mosaic pavement surround to the poppet head lookout in Rosalind Park, Bendigo and matters incidental thereto at such schools, halls and any other places as required from time to time by AB and the Artist accepts the engagement upon the term and conditions hereinafter appearing. (b) Services to be provided by the artist include community consultation and design work in association with AB Co-Ordinator and Arts Bendigo, a minimum of six weeks of the artist’s time within the six months of the project. Completion of section one of the whole design with further work on the other sections to depend on available funding. The agreed fee was $5400 and $60 per visit to Bendigo with living away to be provided by Arts Bendigo 1 November 1996 Agreement between Arts Bendigo of P.O Box 563, Bendigo in the State of Victoria (hereinafter referred to as the ‘AB’ of the first part AND Meary Hall of Morningswood, Petersons Road, Ellinbank, 3821 in the State of Victoria (hereinafter referred to as ‘the artist’) of the second part. ENGAGEMENT: (a) AB engages the Artist to provide her services as Mosaic Artist for the design and creation of a Mosaic pavement surround to the poppet head lookout in Rosalind Park, Bendigo and matters incidental thereto at such schools, halls and any other places as required from time to time by AB and the Artist accepts the engagement upon the term and conditions hereinafter appearing. (b) Services to be provided by the artist include community consultation and design work in association with AB Co-Ordinator and Arts Bendigo, a minimum of six weeks of the artist’s time within the six months of the project. Completion of section one of the whole design with further work on the other sections to depend on available funding. The agreed fee was $5000 and $60 per visit to Bendigo with living away to be provided by Arts Bendigo, plus transfer of the diamond saw purchased by AB 28 August 1996 Memorial to Bendigo’s Mining Heritage and Traditions financial and other support as at August 128th Arts Bendigo Financial contribution: $7000 Local Busine Sponsors: $2800 City of Greater Bendigo Matching Above: $2800 City of Greater Bendigo Site works: Equiv, $12000 Local Businesses and institutions supplying goods and services to total value of: Equiv: $7600 Expenditure: Purchase of equipment, including diamond saw: $2000 Purchase of materials: $800 Artists design fees: $3000 Artists on site work, travel and accommodation: $12000 insurance, administration etc.: $700 31 May 1996 List of possible donors' checklist Undated Budget Sheet 21 September 1995 From: The Victorian Arts Council To: City of Greater Bendigo Content: Invoice for $5000 10 December 1995 From: Maery Gabriel artist To: Arts Bendigo Content: Invoice $1575 for design of Rosalind Park Lookout. 45 hours @ $35/hour 1 October 1996 Historic mining Mosaic Pavement, Rosalind Park Poppet Head Financial Statement as a October 1st, 1996 28 October 1996 From: Maery Gabriel To: Ann Buzza (representing Arts Bendigo) Report on project of Rosalind Park Mosaic as at October 1996. The report lists the difficulties faced with the weather, unsuitable facilities on site and problems with the LEAP team labour.victorian arts council, city of greater bendigo

These images capture for all time Light Horsemen travelling through Geelong on their way to camp at Torquay for the last Group meeting in Australia . information following - details obtained from .........https://torquayhistory.com/light-horse-brigade/ On Australia Day, 1997, Sir John Young unveiled this plaque on Point Danger, Torquay. Torquay history, Light Horse Training Camp, WW2 Plaque at Pt. Danger Note----- (See images to view plaque) The plaque identifies a significant event in Torquay’s history and the sentiments of ‘change’ for the Light Horse Brigade – from horses to machines. In 1940 the four Light Horse Regiments (4th, 8th, 13th and 20th), some 5000 Light Horse and 2000 horses camped and trained at Torquay. Three other regiments, formerly mounted on horses, were also at Torquay ‘mounted’ on privately owned trucks and cars. Division troops included Artillery, Engineers, Signals, Field Ambulance and other branches of the Army necessary to enable a Division to function. It wasn’t just the sheer numbers of men coming to this little town that made the event significant, it was also the fact that the men of the Light Horse were dramatic, almost glamorous figures and it is easy to see their exploits as some splendid adventure. Horses have played a special role in the story of Australia. They were the only means of transport across this huge country, so it was necessary for everyone to have the ability to ride a horse. When war broke out in 1899 between Britain and the Boers of South Africa (“Boer” was Dutch for “farmer”) Australia sent troops to fight. At first Britain was wary of using untried, unprofessional colonial cavalrymen but soon saw that the slouch-hatted Australian “bushmen” were a match for the fast-moving and unconventional mounted commandos of the Boers. The Australians proved themselves to be expert rough-riding horsemen and good shots. Bush life had hardened them to go for long periods with little food and water. They also showed remarkable ability to find their way in a strange country and use its features for cover, in both attack and defence. By 1914, when Australia joined the war against Germany, there were 23 Light Horse regiments of militia volunteers. Many men from these units joined the Light Horse regiments of the Australian Imperial Force (AIF). Men were given remounts (if not using their own horses) – army horses bought by Commonwealth purchasing officers from graziers and breeders. These were called “walers” because they were a New South Wales stockhorse type – strong, great-hearted animals with the strains of the thoroughbred and semi-draught to give them speed, strength and stamina. On 1st November, 1914, Australia’s First Infantry Division and the first four Light Horse regiments sailed for England in a fleet of transport ships. The first of the Light Horse arrived at Gallipoli in May without their horses. Back with their horses after Gallipoli, they were formidable combatants across the Sinai and Palestine. Some British commanders observed that the light horseman moved with a “lazy, slouching gait, like that of a sleepy tiger” but described how the promise of battle “changes that careless gait, into a live athletic swing that takes him over the ground much quicker than other troops”. They had Light Horse, Torquay, training campdeveloped a reputation as formidable infantrymen. The Turks called them “the White Ghurkas” – a reference to their deadly skill with the bayonet. The Arabs called them “The Kings of the Feathers”. The plume had originally been a battle honour of the Queensland Mounted Infantry for their work in the shearer’s strike of 1891. During WW1 it was adopted by almost all the Light Horse Regiments. It was the proud badge of the light horseman. The most famous of their battles was the attack on Beersheba- the charge of the 4th Light Horse Brigade. Mounted infantrymen and their superb walers had carried out one of the most successful cavalry charges in history – against what seemed impossible odds. They surprised the Turks by charging cavalry-style, when they would normally have ridden close to an objective then dismounted to fight. The fall of Beersheba swung the battle tide against the Turks in Palestine; and changed the history of the Middle East. While 19 men from the Surf Coast Shire served with the 4th Light Horse over the course of WW1, only four were involved in the charge of Beersheba- John GAYLARD, Philip QUINN.(Winchelsea); Wallace FINDLAY (Anglesea); Harry TRIGG (Bambra). After the war, Light Horse units played a key role in the Australian Government’s compulsory military training programme. The Citizen Military Forces (C.M.F.) thrived on the glamour of the wartime Light Horse tradition, ignoring the possibility that motor vehicles would soon replace the horses. When training was no longer compulsory, the C.M.F. regiments declined and horses became more of a luxury during the 1930s depression years of poverty and unemployment. Some regiments were motorised. Then, in 1939, Australia joined Britain in another world war. Training was increased for the militia at both home bases and regional training camps. The camp at Torquay in 1940, commanded by Major General Rankin, was at Divisional strength. By the end of the camp some felt that the Division was ready for active service. Gradually, over the next four years, the Australian Light Horse units were mounted on wheels and tracks and the horses were retired. Six men enlisted at the Torquay camp and another 57 men and women enlisted at Torquay for service in WW2. Those who served in the Militia provided valuable Officers and NCOs and men for the armed services during the war. Each infantry division of the 2nd AIF had a Light Horse regiment attached to it. But the day of the Australian mounted soldier hadn’t quite passed. During World War II, Australia’s 6th Cavalry Regiment formed a mounted unit they called “The Kelly Gang” which did valuable scouting work. In New Guinea, a mounted Light Horse Troop did patrol duty and helped carry supplies. Some fully equipped walers were flown into Borneo for reconnaissance in rugged mountain country. But by the end of the war, in 1945, the horse had disappeared from the Australian Army. References: Australian Light Horse Association www.lighthorse.org.au National Australia Archives Australian War Memorial Surf Coast Shire WW1 memorials www.togethertheyserved.com The Light horse- a Cavalry under Canvas Light Horse, Training Camp, Torquay, WW2 Late in 1939 it was decided to set up a Lighthorse training camp in Torquay to train both men and horses for the battles of the Second World War. Horses, men and equipment came on special trains from all over Victoria and NSW, and as you would expect horseman came from areas such as Omeo and Sale, the Wimmera and the Western District. They arrived at the Geelong racecourse for watering in the Barwon River and then were ridden across the ford at the breakwater and began their 11 mile trek to Torquay. Light Horse, Training Camp, Torquay, WW2 Tent city By the end of January 1940 the camp at Torquay accommodated some 5000 men and 2500 horses of the Second Cavalry Division. The rows of horses, tents and huts near Blackgate Road were quite a sight. While the cavalrymen engaged in exercises on the land and on the beaches, many of the troops took over the Torquay School for special training of men and officers. Mr Bob Pettit local farmer and Councillor for the Barrabool Shire, wrote about the Light horse in the Surf Coast Community News in 1985 saying “They used to travel about the district riding four abreast in one long convoy. To my annoyance they went through my property and shut all the gates behind them. I had certain gates open to let stock in to the water holes and it would take me three -quarters of an hour to follow the horsemen up and put all the gates right again” he continued “the men from the Light Horse were here when the fire went through in March 1940. He recalled an incident when early one morning, as some one blew the bugle, a soldier putting a white sheet on the line frightened the horses. They panicked and ran off in all directions. Six went over the cliff near Bird Rock, five were never found, and the rest were gathered up after nearly a fortnight in the bush around Addiscott and Anglesea" Light Horse, Training Camp, Torquay, WW2, Geelong Parade Geelong parade The training camp culminated in a parade through the streets of Geelong on March 12th 1940. The salute was given at the Town Hall and the troops continued on a route to the You Yang’s for a training exercise. Note-----(see media section for photograph) The Camp was abandoned in mid 1940 as it was deemed unsuitable for training during winter and the cost of a permanent camp could not be justified if it could not be used all year. Historic.......Rare,,,Interpretive.Sepia photographs.set of four ....post card size ....Horses &LighthorsemenNo 1, Lighthorsemen Regiment Geelong 1940......No 2 Light Horse at Breakwater Geelong 1938 to 1940....No 3 Light Horse at Breakwater Geelong 1938 to 1940.....No 4 Light Horse crossing Breakwater camped at Geelong Showgrounds. These markings are on reverse of photographs.light horsemengeelong 1940., world war 2

Blotting paper is made from different materials of varying thickness, softness, etc. depending on the application. It is often made of cotton and manufactured on special paper machines. Blotting paper is reputed to be first referred to in the English language in the 15th century but there is a tradition in Norfolk, England that it was invented by accident at Lyng Mill on the River Wensum. It is reported that a Berkshire (England) paper mill worker in East Hagbourne failed to add sizing to a batch of paper that was being produced. The batch was discarded. Subsequently, someone tried to write on a piece of this discarded "scrap" paper and found that it rapidly absorbed any ink applied, making it unusable for writing. Its marked absorbency having been noted, however, led to its subsequently being produced and used as blotting paper, replacing sand, which was the material that had been used for absorbing superficial wet ink. In a time when most paper was produced from "rags", red/pink rags, from which it was difficult to remove all colour and had generally been discarded, were now directed to the production of blotters, hence the historically characteristic pink colour of blotters. https://en.wikipedia.org/wiki/Blotting_paper This blotting paper holder and blotting sheets were donated to Flagstaff Hill Maritime Village by the family of Doctor William Roy Angus, Surgeon and Oculist. It is part of the “W.R. Angus Collection” that includes historical medical equipment, surgical instruments and material once belonging to Dr Edward Ryan and Dr Thomas Francis Ryan, (both of Nhill, Victoria) as well as Dr Angus’ own belongings. The Collection’s history spans the medical practices of the two Doctors Ryan, from 1885-1926 plus that of Dr Angus, up until 1969. ABOUT THE “W.R.ANGUS COLLECTION” Doctor William Roy Angus M.B., B.S., Adel., 1923, F.R.C.S. Edin.,1928 (also known as Dr Roy Angus) was born in Murrumbeena, Victoria in 1901 and lived until 1970. He qualified as a doctor in 1923 at University of Adelaide, was Resident Medical Officer at the Royal Adelaide Hospital in 1924 and for a period was house surgeon to Sir (then Mr.) Henry Simpson Newland. Dr Angus was briefly an Assistant to Dr Riddell of Kapunda, then commenced private practice at Curramulka, Yorke Peninsula, SA, where he was physician, surgeon and chemist. In 1926, he was appointed as new Medical Assistant to Dr Thomas Francis Ryan (T.F. Ryan, or Tom), in Nhill, Victoria, where his experiences included radiology and pharmacy. In 1927 he was Acting House Surgeon in Dr Tom Ryan’s absence. Dr Angus had become engaged to Gladys Forsyth and they decided he further his studies overseas in the UK in 1927. He studied at London University College Hospital and at Edinburgh Royal Infirmary and in 1928, was awarded FRCS (Fellow from the Royal College of Surgeons), Edinburgh. He worked his passage back to Australia as a Ship’s Surgeon on the on the Australian Commonwealth Line’s T.S.S. Largs Bay. Dr Angus married Gladys in 1929, in Ballarat. (They went on to have one son (Graham 1932, born in SA) and two daughters (Helen (died 12/07/1996) and Berenice (Berry), both born at Mira, Nhill ) According to Berry, her mother Gladys made a lot of their clothes. She was very talented and did some lovely embroidery including lingerie for her trousseau and beautifully handmade baby clothes. Dr Angus was a ‘flying doctor’ for the A.I.M. (Australian Inland Ministry) Aerial Medical Service in 1928 . Its first station was in the remote town of Oodnadatta, where Dr Angus was stationed. He was locum tenens there on North-South Railway at 21 Mile Camp. He took up this ‘flying doctor’ position in response to a call from Dr John Flynn; the organisation was later known as the Flying Doctor Service, then the Royal Flying Doctor Service. A lot of his work during this time involved dental surgery also. Between 1928-1932 he was surgeon at the Curramulka Hospital, Yorke Peninsula, South Australia. In 1933 Dr Angus returned to Nhill and purchased a share of the Nelson Street practice and Mira hospital (a 2 bed ward at the Nelson Street Practice) from Dr Les Middleton one of the Middleton Brothers, the current owners of what previously once Dr Tom Ryan’s practice. Dr Tom and his brother had worked as surgeons included eye surgery. Dr Tom Ryan performed many of his operations in the Mira private hospital on his premises. He had been House Surgeon at the Nhill Hospital 1902-1926. Dr Tom Ryan had one of the only two pieces of radiology equipment in Victoria during his practicing years – The Royal Melbourne Hospital had the other one. Over the years Dr Tom Ryan had gradually set up what was effectively a training school for country general-practitioner-surgeons. Each patient was carefully examined, including using the X-ray machine, and any surgery was discussed and planned with Dr Ryan’s assistants several days in advance. Dr Angus gained experience in using the X-ray machine there during his time as assistant to Dr Ryan. When Dr Angus bought into the Nelson Street premises in Nhill he was also appointed as the Nhill Hospital’s Honorary House Surgeon 1933-1938. His practitioner’s plate from his Nhill surgery is now mounted on the doorway to the Port Medical Office at Flagstaff Hill Maritime Village, Warrnambool. When Dr Angus took up practice in the Dr Edward and Dr Tom Ryan’s old premises he obtained their extensive collection of historical medical equipment and materials spanning 1884-1926. A large part of this collection is now on display at the Port Medical Office at Flagstaff Hill Maritime Village in Warrnambool. In 1939 Dr Angus and his family moved to Warrnambool where he purchased “Birchwood,” the 1852 home and medical practice of Dr John Hunter Henderson, at 214 Koroit Street. (This property was sold in1965 to the State Government and is now the site of the Warrnambool Police Station. and an ALDI sore is on the land that was once their tennis court). The Angus family was able to afford gardeners, cooks and maids; their home was a popular place for visiting dignitaries to stay whilst visiting Warrnambool. Dr Angus had his own silk worm farm at home in a Mulberry tree. His young daughter used his centrifuge for spinning the silk. Dr Angus was appointed on a part-time basis as Port Medical Officer (Health Officer) in Warrnambool and held this position until the 1940’s when the government no longer required the service of a Port Medical Officer in Warrnambool; he was thus Warrnambool’s last serving Port Medical Officer. (Masters of immigrant ships arriving in port reported incidents of diseases, illness and death and the Port Medical Officer made a decision on whether the ship required Quarantine and for how long, in this way preventing contagious illness from spreading from new immigrants to the residents already in the colony.) Dr Angus was a member of the Australian Medical Association, for 35 years and surgeon at the Warrnambool Base Hospital 1939-1942, He served as a Surgeon Captain during WWII 1942-45, in Ballarat, Victoria, and in Bonegilla, N.S.W., completing his service just before the end of the war due to suffering from a heart attack. During his convalescence he carved an intricate and ‘most artistic’ chess set from the material that dentures were made from. He then studied ophthalmology at the Royal Melbourne Eye and Ear Hospital and created cosmetically superior artificial eyes by pioneering using the intrascleral cartilage. Angus received accolades from the Ophthalmological Society of Australasia for this work. He returned to Warrnambool to commence practice as an ophthalmologist, pioneering in artificial eye improvements. He was Honorary Consultant Ophthalmologist to Warrnambool Base Hospital for 31 years. He made monthly visits to Portland as a visiting surgeon, to perform eye surgery. He represented the Victorian South-West subdivision of the Australian Medical Association as its secretary between 1949 and 1956 and as chairman from 1956 to 1958. In 1968 Dr Angus was elected member of Spain’s Barraquer Institute of Barcelona after his research work in Intrasclearal cartilage grafting, becoming one of the few Australian ophthalmologists to receive this honour, and in the following year presented his final paper on Living Intrasclearal Cartilage Implants at the Inaugural Meeting of the Australian College of Ophthalmologists in Melbourne In his personal life Dr Angus was a Presbyterian and treated Sunday as a Sabbath, a day of rest. He would visit 3 or 4 country patients on a Sunday, taking his children along ‘for the ride’ and to visit with him. Sunday evenings he would play the pianola and sing Scottish songs to his family. One of Dr Angus’ patients was Margaret MacKenzie, author of a book on local shipwrecks that she’d seen as an eye witness from the late 1880’s in Peterborough, Victoria. In the early 1950’s Dr Angus, painted a picture of a shipwreck for the cover jacket of Margaret’s book, Shipwrecks and More Shipwrecks. She was blind in later life and her daughter wrote the actual book for her. Dr Angus and his wife Gladys were very involved in Warrnambool’s society with a strong interest in civic affairs. He had an interest in people and the community They were both involved in the creation of Flagstaff Hill, including the layout of the gardens. After his death (28th March 1970) his family requested his practitioner’s plate, medical instruments and some personal belongings be displayed in the Port Medical Office surgery at Flagstaff Hill Maritime Village, and be called the “W. R. Angus Collection”. The W.R. Angus Collection is significant for still being located at the site it is connected with, Doctor Angus being the last Port Medical Officer in Warrnambool. The collection of medical instruments and other equipment is culturally significant, being an historical example of medicine and administration from late 19th to mid-20th century. Dr Angus assisted Dr Tom Ryan, a pioneer in the use of X-rays and in ocular surgery. Blotting paper holder, part of the W.R. Angus Collection. Wooden rocking blotting paper holder, arc-shaped with handle and blotting paper inserted in slots (paper is used). Two books of blotting paper sheets, (1) advertising printed on cover. “ACIBAN ANTACID”, “G.P. PTY LTD / Sydney Australia” (2) Folder of blotting paper, with advertising “AMPHOTABS” and “WYETH”“ACIBAN ANTACID”, “G.P. PTY LTD / Sydney Australia” “AMPHOTABS” and “WYETH” flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, dr w r angus, dr ryan, surgical instrument, t.s.s. largs bay, warrnambool base hospital, nhill base hospital, mira hospital, flying doctor, blotting paper holder, office stationery circa 1910, rocking blotting paper holder

Bendigo Easter Fair 1985, April 5-8. Programme Booklet. Friday: Sun Loon Display, Easter Bowling Carnival, Rotary Easter Art Show, Book Bazaar, Model Railroaders Exhibition, Dudley House, Exhibition of Dolls, Embroiderers Guild, Art Gallery. Saturday: Mardi-Gras Street Carnival, Busking, Outdoor Theatre, Arts & Music, Bendigo Theatre Company, Cynthia Holland & Bendigo Talent Club Sun Loong Display, Rotary Art Show, Handcraft Bazaar, Motorcycle Show-Sandhurst Historic Vehicle Club Trams, Central Deborah, Dudley House, Exhibition Dolls, Antique Fair, Model Railroaders, Fire Brigades' Carnival for Children, Horse & Harness Parade, Book Bazaar, Bowling Carnival, Football, Photographic Exhibition, Family Activities, Cinema 180, Exhibition of Paintings silver furniture & porcelain, Embroiders Guild. Sunday: Horse Spectacular, Model Railroaders, Rotary Art Show, Handcraft Bazaar, Antique & Historical Display of Arms Weapons & Military, Antique Fair, Torchlight Procession, Awakening of Dragon, Exhibition of Dolls, Dudley House, Trams, Central Deborah, Book Bazaar, Mardi-Gras Street Carnival, Hargreaves Mall, Motorcycle Show, Photographic Exhibition, Family Activities, Cinema 180, Art Gallery, Embroiderers Guild. Monday: Philatelic Society Exhibition, Rotary Art Show, Handcraft Bazaar, Antique Fair, Model Railroaders, Bendigo District Bowling Assn. Easter Bowling Carnival, Exhibition of Dolls, Dudley House Bendigo Branch Royal Historical Society, Trams, Central Deborah, Motorcycle Show, Antique and Historical Display of Arms Weapons & Militaria, Mardi-Gras Street Carnival, Hargreaves Mall, Gala Street Procession, Carnival For Children, Sun Loong on Display, Photographic Exhibition, Fusion, Cinema 180, Art Gallery, Embroiders Guild. Church Services in Bendigo City Area During Easter (listings for Thursday, Good Friday, Eater Saturday, Easter Day). The Bendigo & District Tourism Association Welcomes you to Victoria's Premier Town. Listing of events over Easter with map to guide all around. Bendigo Easter Fair Incorporated Phone: (054) 43 9191Bendigo Easter Fair Inc. would like to thank the Ministry for the Arts for its continued assistance over the past 11 years. 3 1/2 pages of information on the Bendigo Easter Fair and its rich history dating back to 1871. The first Fair was held to aid 2 charities: Bendigo Base Hospital and the Home and Hospital for the Aged (Benevolent Asylum). Gone are the days of the Fancy Bazaar, Fat Baby Contest and the greasy Pig Chase, many tradition remain the same. Links to the Chinese community date back to when the first settlers arrived seeking gold. This gives the Fair its unique quality and Brings visitors in their thousands each Easter. The Monday Procession has always been the most famous as many old photographs show. Some photos taken before the turn of the century. Many made the journey to Bendigo from Melbourne and outlying districts. Visitors line the route to see floats, bands, and the once a year appearance of the Chinese Dragon, ''Sun Loong'' or ''New Dragon''. The longest Imperial Dragon in the World; 300ft plus in length. His predecessor, ''Long'', is acclaimed as the worlds oldest Imperial Dragon. Easter Saturday Procession has taken form of a Horse and Harness Parade, attracting and immense variety of entrants. The torchlight Procession on Sunday evening includes fireworks, Fire Brigades, Fire Trucks, firemen, marching girls and illuminated floats. The Army has helped with the procession since around the time of Federation. 15th Transport Squadron (15 Tpt. Sqdn.), processions are assembled & dispatched with Army efficiency. Marshalling the Monday Procession this year will be done by the Army as well as our own Easter Fair marshalls with a new communications system.1930 the Popular Girl contest was introduced. The four main streets of Bendigo, Pall Mall, Mitchell Street, Hargreaves Street and Williamson Street (formerly View Street), sponsored their particular girl by means of raffles, street stalls and a variety of fund raising. The winner was the one that raised the most money, and was announced from the balcony of the Shamrock Hotel, by the Mayor of Bendigo on Easter Saturday Night. The Popular girl contest is still held with a lot of the fund raising now done by service clubs and voluntary organizations. 1984 fund raising efforts, in excess of $50,000 was distributed to charities in our area. The combined Bendigo Brigades' record support for the Easter Fair goes back of many years in a variety of ways. Bendigo people are known for their love of sport and the choice in the city is very wide. There will be no Easter Sports Carnival this year but Easter Fair will still be holding functions at the Bendigo Sports Centre in Park Road. Bendigo city centre will be alive with stalls, raffles and rides of every description over the three days of sports, Sat-Sun. Hargreaves Mall will be the focus of relaxation, buskers, community theatre, arts with craft activity & musical entertainment. The Rotary Club of Bendigo and the Easter Fair Society had had independent Arts Shows but in 1981amalgamate their shows. 1981 Rotary Club of Bendigo added the Antique Fair to the Easter Program, held in the RSL Memorial Hall, Pall Mall. Last year some event were cancelled, but last year's Fair was quite a success. With many outdoor activities, the weather plays a vital role. It has been necessary to alter some venues in the past years, with Easter being a week early in April this year we are looking forward to fine conditions. The Chinese and Bendigo Easter Fair, The First Chinese arrived on the goldfields in mid 1850's in teams or groups to work the rich alluvial gold fields of Dai Gum San (Big Gold Mountain). Most were of poorer class from the district of See Yup, an area of four villages near the provincial capital Canton (Kwangchow). By far the largest group came from the village of Toi Shan. The alluvial gold quickly petered out so by the time of the first Bendigo Easter Fair in 1871 most Chinese had either left for richer fields or turned to other pursuits such as stores, market gardens, laundries, herbalists etc.. Many of course had died on the fields from the rigors of mining of diseases not encountered in their homeland. The Benevolent Asylum (Home & Hospital for the age) and Bendigo Base Hospital had become places of rest, help and haven for old, sick and lonely Chinese. SO when the idea was mooted to hold a charity fair to raise money for these worthy establishments, the Chinese were only too happy to join with the Easter Fair Society in this charitable work. It has for over 113 years. Chinese showed their costumes, scenery, and weapons of warfare, but it was not until 1892, that the first of the 5 loongs (dragons) appeared.. . The pageant was marshalled by Mr T Chapman and headed by Mr Moody, attired in habiliments of a most gorgeous character on a gaily caparisoned horse, and his get up as a Chinese grandee was perfect. . . Tom toms , bagpipes. . Wind instrument resembling a clarinet. . Bagpipes,.. The Weekly Advertiser, Friday, April 22,1892. . . Today the Chinese Association, made up of descendants and families of the early Chinese and associate members, carries on the charitable works of their predecessors. A Little Of Dragons, We have all heard of St. George Bendigo dragons (loongs) have none of these characteristics, in fact they have only brought good to Bendigo. There are 3 chief species of Chinese Dragons of which ''The Lung'' (Loong) is the most powerful. It is also the spiritual dragon which produces wind and rain. It has 9 resemblances, the head of a camel, horns of a deer, eyes of a rabbit ears of a cow, neck of a snake, belly of a frog, scales of a carp, claws of a hawk and palm of a tiger. Loong is a vegetarian, favourite food pomelo (ooluk), the father of our modern grapefruit. The abode, according to legend is the sky or water. He is also deaf, thus requiring loud noises to awaken him and to keep him awake. . . Number of claws they have represent rank. Dragons have 2, 3, 4 or 5 claws, the latter being reserved for the Emperor. Loong and Sun Loong have both five claw dragons. Bendigo has had 5 or 6 dragons, the number being confused by the fact each dragon was called 'Loong'. Today Three dragons remain in Bendigo, Loong, Sun Loong, and Yar Loong. Loong is the oldest Imperial Dragon in the world. He continued his walk through the streets of Bendigo til his retirement in 1970. He was created in Fat Shan in the Peoples Republic of China. Built of. . . Sun Loong replaced Loong after the 2 dragon procession of 1970. Created by Mr Law On, . . Yar Loong is a night dragon, came in 1930's. . . Long history of dragons. . The Birth Of A Dragon. . . To awaken A Dragon. . . The Easter Monday Chinese Procession. . . Procession divided into 6 sections,.. The Easter Monday Procession comprises,… over 350 people. Conclusion It is hoped that in the near future a museum can be built to house the priceless regalia gathered together over the last century and a half by the Bendigo Chinese Association. Advertisements; Historic Bendigo Pottery, Mim's Restaurant, Antique Fair (Rotary), The Copper Pot, Sandhurst Town (Develop Victoria Council Tourism Award 1983-1985), Bendigo Motor Co. (Mazda), Diggers, Chaplin's, Bendigo's Dunny Diner, Arakoon, Quin's Bluebird, Allara Motor Lodge, Lakeview Motor Inn, The Armoured Car Company, Gillies, Mardi Gras Street Carnival, Handcraft Bazaar, Art Show (Rotary) Bendigo Model Railroaders (Easter Exhibition), Bendigo Easter Fair Highland Games brought to you by TV8 and Coca-Cola Bottlers. Design and Finished Art By Graphics Group, Bendigo.Graphics Group Bendigoevent, easter fair, bendigo easter fair incorporated, bendigo easter fair 1985, april 5-8. programme. friday: sun loon display, easter bowling carnival, rotary easter art show, book bazaar, model railroaders exhibition, dudley house, exhibition of dolls, embroiderers guild, art gallery. saturday: mardi-gras street carnival, busking, outdoor theatre, arts & music, bendigo theatre company, cynthia holland & bendigo talent club sun loong display, rotary art show, handcraft bazaar, motorcycle show-sandhurst historic vehicle club trams, central deborah, dudley house, exhibition dolls, antique fair, model railroaders, fire brigades' carnival for children, horse & harness parade, book bazaar, bowling carnival, football, photographic exhibition, family activities, cinema 180, exhibition of paintings silver furniture & porcelain, embroiders guild. sunday: horse spectacular, model railroaders, rotary art show, handcraft bazaar, antique & historical display of arms weapons & military, antique fair, torchlight procession, awakening of dragon, exhibition of dolls, dudley house, trams, central deborah, book bazaar, mardi-gras street carnival, hargreaves mall, motorcycle show, photographic exhibition, family activities, cinema 180, art gallery, embroiderers guild. monday: philatelic society exhibition, rotary art show, handcraft bazaar, antique fair, model railroaders, bendigo district bowling assn. easter bowling carnival, exhibition of dolls, dudley house bendigo branch royal historical society, trams, central deborah, motorcycle show, antique and historical display of arms weapons & militaria, mardi-gras street carnival, hargreaves mall, gala street procession, carnival for children, sun loong on display, photographic exhibition, fusion, cinema 180, art gallery, embroiders guild. church services bendigo city easter , eater saturday bendigo & district tourism association victoria's premier town. bendigo easter fair incorporated bendigo easter fair rich history 1871. base hospital and the home and hospital for the aged (benevolent asylum). fancy bazaar, fat baby contest greasy pig chase, many old photographs floats, bands, chinese dragon, ''sun loong'' or ''new dragon''. the longest imperial dragon in the world; 300ft plus in length easter saturday procession horse harness parade. torchlight procession on sunday evening includes fireworks, fire brigades, fire trucks, firemen, marching girls and illuminated floats. army helped federation. 15th transport squadron (15 tpt. sqdn). monday procession by the army 1930 popular girl contest introduced. four main streets, pall mall, mitchell street, hargreaves street williamson street. winner announced shamrock hotel, easter saturday night. popular girl contest fund raising service clubs voluntary organizations. 1984 fund raising efforts, in excess $50, 000 distributed to charities. combined bendigo brigades'. no easter sports carnival holding functions bendigo sports centre in park road. stalls, raffles three days sports, sat-sun. relaxation, buskers, community theatre, arts with craft activity & musical rotary club of bendigo easter fair society independent arts shows in 1981amalgamate antique fair, held last year some event cancelled. with many outdoor activities, weather plays vital role. alter some venues in the past, easter being a week early first chinese arrived goldfields in mid 1850's dai gum san (big gold mountain). see yup, canton (kwangchow). toi shan. first easter fair in 1871 for richer fields other pursuits stores, market gardens, laundries, herbalists etc. benevolent asylum (home & hospital for the age) bendigo base hospital had become places of rest, help and haven for old, chinese. charity fair to raise money, chinese join easter fair society in this charitable work. costumes, scenery, weapons of warfare, 1892, the first of the 5 loongs. marshalled by mr t chapman by mr moody, caparisoned horse, chinese grandee. tom toms, wind instrument. bagpipes, advertiser, april 22, 1892. chinese association, descendants chinese and associate charitable works. st. george ''the lung'' most powerful. spiritual dragon wind rain. 9 resemblances, camel, deer, rabbit cow, snake, frog, carp, hawk tiger. a vegetarian, pomelo (ooluk), the abode, legend is the sky or water. deaf loud noises to keep him awake. claws represent rank. 2, 3, 4 or 5 claws, reserved for emperor. had 5 or 6 dragons called 'loong'. three dragons loong, sun loong, yar loong. loong oldest imperial dragon in the world. retirement 1970. created in fat shan peoples republic of china. built of. sun loong, loong 2 dragon procession 1970. created mr law on, yar loong a night dragon1930's.history dragons. birth of a dragon. awaken a dragon. easter monday chinese procession divided 6 sections 350 people. priceless regalia last century bendigo chinese association. advertisements; historic bendigo pottery, mim's restaurant, antique fair (rotary), the copper pot, sandhurst town (develop victoria council tourism award 1983-1985), bendigo motor co. (mazda), diggers, chaplin's, bendigo's dunny diner, arakoon, quin's bluebird, allara motor lodge, lakeview motor inn, armoured car company, gillies, mardi gras street carnival, handcraft bazaar, art show model railroaders highland games tv8 coca-cola. art by graphics group