An account of the anti-Vietnam demonstration held in Washington in October 1967 that is 'also about the nature of politics and power, about why the Americans should and should not be in Vietnam, it's about anxiety, middle age and marriage...about the art of writing...' it's about action, totalilarianism, voilence, fear, boredom and all the facets of contemporary American schizophrenia. 1961 - 1975 - united states, 1961 - 1975, personal narratives, american, vietnam war, 1961-1975 - demonstrations-united states

A major contribution to our understanding of how and why U.S. POWs from the Vietnam War have become crucial icons of American culture in the 1980s and 1990s....Grunner effectively diagnoses and interpreters' a national psychopathology.vietnamese conflict, 1961-1975, in mass media - united states., prisoners of war in mass media - united states.

This book on Vietnam is unique. For the first time we are given the information on how and why we fought as we did, It will undoubtedly rank as one of the very best.vietnamese conflict, 1961-1975 - united states, united states - history - 1961-1975

The Australia in History series explains why Australia went to war and the consequences of her involvements, vietnam war, 1961-1975, australia - juvenile literature

The war in Vietnam was cruel and costly in every sense, as indeed all wars are! However the nature of this was was not so markedly different from any other armed conflict in which Australian troops had been involved - certainly not to a degree that would justify the creation of a special purpose single interest museum, which is the case of the National Vietnam Veterans Museum - so why does this particular museum exist? national vietnam veterans museum, vietnam war, 1961-1975 - veterans - australia

The war in Vietnam was cruel and costly in every sense, as indeed all wars are! However the nature of this was was not so markedly different from any other armed conflict in which Australian troops had been involved - certainly not to a degree that would justify the creation of a special purpose single interest musuem, which is the case of the National Vietnam Veterans Museum - so why does this particular museum exist? national vietnam veterans museum, vietnam war, 1961-1975 - veterans - australia

Dear America is more than correspondence from homesick Gls. It is a collective letter to the nationand its governent, a plea that asks: Why did you do this to your children?vietnam war, 1961-1975 - personal narratives, american

Interpreting from the details that can be read it is believed that on 6/3/1912 Mr. M. Norton paid by cheque the sum of 5 Pounds 19 Shillings and 5 Pence, of which 5 Pounds 3 Shillings and 11 Pence was for a Summons possibly issued on 23/2/1912, while 15 Shillings and 6 Pence was the charge for the costs of the Summons. This is not a document issued by a Court of Law so use of the word 'Summons' is confusing to us at this stage. Was it just standard practice to send out a bill and call it a Summons, or was Mr. Norton late in paying and so had to pay an extra charge after being 'summoned' a second time. Could this receipt be part of a 'promissory note' exchange, payment for which had to be summoned? Another thing that can't be explained at this stage is the use of the symbol % after the amount of money written in figures, just after the Pence amount. The symbol for Pence in those days, and until decimal currency, was d as can be seen from the Duty Stamp. In 1912 and before did % also stand for Pence when the money amount was written by hand, or could it have been a shorthand way of indicating something like 'portion of amount'? This receipt is very intriguing and so we will endeavour to try to fully understand the information it contains. If any person can provide information that may assist us, then please contact the Sunshine & District Historical Society. The receipt is significant to our Society because it was issued by Sunshine Harvester / Hugh V. McKay more than 100 years ago. It also appears to contain information that at this stage is not fully understood, such as the use of the % sign, and why the word summons is used. Of further interest, but perhaps not surprising for the times, is that only Mr. is printed on the receipt. It appears that they never expected to issue these type of receipts to females.Very light tan coloured paper receipt No.1773 issued on 6/3/1912 by Sunshine Harvester / Hugh V. McKay to Mr M. Norton. The receipt has fire damage on the left side and so some details are missing. Details are hand written in ink in the spaces provided. A greenish coloured one penny (1d) Victoria Stamp Duty stamp is affixed.6 3 1912 ......ved by Cheque from Mr. M Norton ......ne the sum of Five ...... nineteen Shillings and five Pence, with ......being £5.3.11% of Enclosed Summons 23. 2.12 & 15/6 % Costs of Same.receipt no. 1773, sunshine harvester, hugh v. mckay, mr m. norton, 1912, victoria stamp duty, 1d

First season held at Athenaeum Theatre by Melbourne Theatre CompanyProgram includes an article by John Sumner about the reasons why company moved to the Melbourne Athenaeum Theatre, noting that the Athenaeum is more suited than larger theatres to the intimate playing of straight drama.Program for a play; coloured cover - green; 16 p. includes articles about the play and the authorDraft copy of the program ( as pictured) and the final program with amendments as used for the production.athenaeum theatre, program, programme, melbourne theatre company, the school for scandal, r b sheridan, the university of melbourne, ray lawler

The board records the Captains and Presidents of the Club from 1958, when the club was formally founded but prior to the establishment of the current clubhouse. PRESIDENT CAPTAIN 1958 – 74 N. Calvert 1958 – 89 J.S. Irvine 1975 – 77 M. Murnane 1990 - 96 A. N. Calvert 1978 – 87 H.W. Ryan 1997 – 99 J. E. Leishman 1988 – 89 D. Bradshaw 2000 – 01 W. Wood 1990 – 92 C. W. Whitehead 2002 – 05 D, Bradshaw 1993 – 97 M. R. Beer 2005 – 06 G. Drake 1998 – 01 M. Foley 2007 – 09 T. Smith 2002 – 03 W. Wood 2010 – 12 B. Flanders 2004 – 08 B. Hallows 2013 – 15 A. Haberfield 2009 – 16 J. Leishman 2016 – 20 D. Bradshaw 2017 - D. Hills 2021 - J. Watene Significant because it records the names of Club Presidents and Captains over the years. K W Creighton was an associate of golf club member Percy Stafford. It is unclear why Mr Creighton felt compelled to donate the honour board.2 ft x 3 ft timber honour board with carved columns at each side and arch at the top.Inscribed in gold "Presented by Mr & Mrs K W Creightonpeterborough golf club, sporting honour boards, k creighton

Original A4 letterhead paper with signature.non-fictionA letter by Val Pyers of the Melbourne Chorale to Malcolm Fitzmaurice, whose Scottish Dancers took part in the concert, 'Scotland the Brave', 1985. Also includes a separate page on "Why do people become teachers?" written by Malcolm Fitzmaurice.fitzmaurice malcolm, scottish dancing, melbourne chorale

The Boroondara General Cemetery is registerd by Heritage VictoriaFrom Heritage Victoria Statement of Significance Last updated on - December 15, 2005 What is significant? Boroondara Cemetery, established in 1858, is within an unusual triangular reserve bounded by High Street, Park Hill Road and Victoria Park, Kew. The caretaker's lodge and administrative office (1860 designed by Charles Vickers, additions, 1866-1899 by Albert Purchas) form a picturesque two-storey brick structure with a slate roof and clock tower. A rotunda or shelter (1890, Albert Purchas) is located in the centre of the cemetery: this has an octagonal hipped roof with fish scale slates and a decorative brick base with a tessellated floor and timber seating. The cemetery is surrounded by a 2.7 metre high ornamental red brick wall (1895-96, Albert Purchas) with some sections of vertical iron palisades between brick pillars. Albert Purchas was a prominent Melbourne architect who was the Secretary of the Melbourne General Cemetery from 1852 to 1907 and Chairman of the Boroondara Cemetery Board of Trustees from 1867 to 1909. He made a significant contribution to the design of the Boroondara Cemetery Boroondara Cemetery is an outstanding example of the Victorian Garden Cemetery movement in Victoria, retaining key elements of the style, despite overdevelopment which has obscured some of the paths and driveways. Elements of the style represented at Boroondara include an ornamental boundary fence, a system of curving paths which are kerbed and follow the site's natural contours, defined views, recreational facilities such as the rotunda, a landscaped park like setting, sectarian divisions for burials, impressive monuments, wrought and cast iron grave surrounds and exotic symbolic plantings. In the 1850s cemeteries were located on the periphery of populated areas because of concerns about diseases like cholera. They were designed to be attractive places for mourners and visitors to walk and contemplate. Typically cemeteries were arranged to keep religions separated and this tended to maintain links to places of origin, reflecting a migrant society. Other developments included cast iron entrance gates, built in 1889 to a design by Albert Purchas; a cemetery shelter or rotunda, built in 1890, which is a replica of one constructed in the Melbourne General Cemetery in the same year; an ornamental brick fence erected in 1896-99(?); the construction and operation of a terminus for a horse tram at the cemetery gates during 1887-1915; and the Springthorpe Memorial built between 1897 and 1907. A brick cremation wall and a memorial rose garden were constructed near the entrance in the mid- twentieth century(c.1955-57) and a mausoleum completed in 2001.The maintenance shed/depot close to High Street was constructed in 1987. The original entrance was altered in 2000 and the original cast iron gates moved to the eastern entrance of the Mausoleum. The Springthorpe Memorial (VHR 522) set at the entrance to the burial ground commemorates Annie Springthorpe, and was erected between 1897 and 1907 by her husband Dr John Springthorpe. It was the work of the sculptor Bertram Mackennal, architect Harold Desbrowe Annear, landscape designer and Director of the Melbourne Bortanic Gardens, W.R. Guilfoyle, with considerable input from Dr Springthorpe The memorial is in the form of a small temple in a primitive Doric style. It was designed by Harold Desbrowe Annear and includes Bertram Mackennal sculptures in Carrara marble. Twelve columns of deep green granite from Scotland support a Harcourt granite superstructure. The roof by Brooks Robinson is a coloured glass dome, which sits within the rectangular form and behind the pediments. The sculptural group raised on a dais, consists of the deceased woman lying on a sarcophagus with an attending angel and mourner. The figure of Grief crouches at the foot of the bier and an angel places a wreath over Annie's head, symbolising the triumph of immortal life over death. The body of the deceased was placed in a vault below. The bronze work is by Marriots of Melbourne. Professor Tucker of the University of Melbourne composed appropriate inscriptions in English and archaic Greek lettering.. The floor is a geometric mosaic and the glass dome roof is of Tiffany style lead lighting in hues of reds and pinks in a radiating pattern. The memorial originally stood in a landscape triangular garden of about one acre near the entrance to the cemetery. However, after Dr Springthorpe's death in 1933 it was found that transactions for the land had not been fully completed so most of it was regained by the cemetery. A sundial and seat remain. The building is almost completely intact. The only alteration has been the removal of a glass canopy over the statuary and missing chains between posts. The Argus (26 March 1933) considered the memorial to be the most beautiful work of its kind in Australia. No comparable buildings are known. The Syme Memorial (1908) is a memorial to David Syme, political economist and publisher of the Melbourne Age newspaper. The Egyptian memorial designed by architect Arthur Peck is one of the most finely designed and executed pieces of monumental design in Melbourne. It has a temple like form with each column having a different capital detail. These support a cornice that curves both inwards and outwards. The tomb also has balustradings set between granite piers which create porch spaces leading to the entrance ways. Two variegated Port Jackson Figs are planted at either end. The Cussen Memorial (VHR 2036) was constructed in 1912-13 by Sir Leo Cussen in memory of his young son Hubert. Sir Leo Finn Bernard Cussen (1859-1933), judge and member of the Victorian Supreme Court in 1906. was buried here. The family memorial is one of the larger and more impressive memorials in the cemetery and is an interesting example of the 1930s Gothic Revival style architecture. It takes the form of a small chapel with carvings, diamond shaped roof tiles and decorated ridge embellishing the exterior. By the 1890s, the Boroondara Cemetery was a popular destination for visitors and locals admiring the beauty of the grounds and the splendid monuments. The edge of suburban settlement had reached the cemetery in the previous decade. Its Victorian garden design with sweeping curved drives, hill top views and high maintenance made it attractive. In its Victorian Garden Cemetery design, Boroondara was following an international trend. The picturesque Romanticism of the Pere la Chaise garden cemetery established in Paris in 1804 provided a prototype for great metropolitan cemeteries such as Kensal Green (1883) and Highgate (1839) in London and the Glasgow Necropolis (1831). Boroondara Cemetery was important in establishing this trend in Australia. The cemetery's beauty peaked with the progressive completion of the spectacular Springthorpe Memorial between 1899 and 1907. From about the turn of the century, the trustees encroached on the original design, having repeatedly failed in attempts to gain more land. The wide plantations around road boundaries, grassy verges around clusters of graves in each denomination, and most of the landscaped surround to the Springthorpe memorial are now gone. Some of the original road and path space were resumed for burial purposes. The post war period saw an increased use of the Cemetery by newer migrant groups. The mid- to late- twentieth century monuments were often placed on the grassed edges of the various sections and encroached on the roadways as the cemetery had reached the potential foreseen by its design. These were well tended in comparison with Victorian monuments which have generally been left to fall into a state of neglect. The Boroondara Cemetery features many plants, mostly conifers and shrubs of funerary symbolism, which line the boundaries, road and pathways, and frame the cemetery monuments or are planted on graves. The major plantings include an impressive row of Bhutan Cypress (Cupressus torulosa), interplanted with Sweet Pittosporum (Pittosporum undulatum), and a few Pittosporum crassifolium, along the High Street and Parkhill Street, where the planting is dominated by Sweet Pittosporum. Planting within the cemetery includes rows and specimen trees of Bhutan Cypress and Italian Cypress (Cupressus sempervirens), including a row with alternate plantings of both species. The planting includes an unusual "squat" form of an Italian Cypress. More of these trees probably lined the cemetery roads and paths. Also dominating the cemetery landscape near the Rotunda is a stand of 3 Canary Island Pines (Pinus canariensis), a Bunya Bunya Pine (Araucaria bidwillii) and a Weeping Elm (Ulmus glabra 'Camperdownii') Amongst the planting are the following notable conifers: a towering Bunya Bunya Pine (Araucaria bidwillii), a Coast Redwood (Sequoia sempervirens), a rare Golden Funeral Cypress (Chamaecyparis funebris 'Aurea'), two large Funeral Cypress (Chamaecyparis funebris), and the only known Queensland Kauri (Agathis robusta) in a cemetery in Victoria. The Cemetery records, including historical plans of the cemetery from 1859, are held by the administration and their retention enhances the historical significance of the Cemetery. How is it significant? Boroondara Cemetery is of aesthetic, architectural, scientific (botanical) and historical significance to the State of Victoria. Why is it significant? The Boroondara Cemetery is of historical and aesthetic significance as an outstanding example of a Victorian garden cemetery. The Boroondara Cemetery is of historical significance as a record of Victorian life from the 1850s, and the early settlement of Kew. It is also significant for its ability to demonstrate, through the design and location of the cemetery, attitudes towards burial, health concerns and the importance placed on religion, at the time of its establishment. The Boroondara Cemetery is of architectural significance for the design of the gatehouse or sexton's lodge and cemetery office (built in stages from 1860 to 1899), the ornamental brick perimeter fence and elegant cemetery shelter to the design of prominent Melbourne architects, Charles Vickers (for the original 1860 cottage) and Albert Purchas, cemetery architect and secretary from 1864 to his death in 1907. The Boroondara Cemetery has considerable aesthetic significance which is principally derived from its tranquil, picturesque setting; its impressive memorials and monuments; its landmark features such as the prominent clocktower of the sexton's lodge and office, the mature exotic plantings, the decorative brick fence and the entrance gates; its defined views; and its curving paths. The Springthorpe Memorial (VHR 522), the Syme Memorial and the Cussen Memorial (VHR 2036), all contained within the Boroondara Cemetery, are of aesthetic and architectural significance for their creative and artistic achievement. The Boroondara Cemetery is of scientific (botanical) significance for its collection of rare mature exotic plantings. The Golden Funeral Cypress, (Chamaecyparis funebris 'Aurea') is the only known example in Victoria. The Boroondara Cemetery is of historical significance for the graves, monuments and epitaphs of a number of individuals whose activities have played a major part in Australia's history. They include the Henty family, artists Louis Buvelot and Charles Nuttall, businessmen John Halfey and publisher David Syme, artist and diarist Georgiana McCrae, actress Nellie Stewart and architect and designer of the Boroondara and Melbourne General Cemeteries, Albert Purchas.Digital image of the Springthorpe Memorial in the Boroondara General Cemeterycemetery, boroondara, kew, gatehouse, clock, tower, clocktower, heritage, memorial, springthorpe memorial

The Boroondara General Cemetery is registerd by Heritage VictoriaFrom Heritage Victoria Statement of Significance Last updated on - December 15, 2005 What is significant? Boroondara Cemetery, established in 1858, is within an unusual triangular reserve bounded by High Street, Park Hill Road and Victoria Park, Kew. The caretaker's lodge and administrative office (1860 designed by Charles Vickers, additions, 1866-1899 by Albert Purchas) form a picturesque two-storey brick structure with a slate roof and clock tower. A rotunda or shelter (1890, Albert Purchas) is located in the centre of the cemetery: this has an octagonal hipped roof with fish scale slates and a decorative brick base with a tessellated floor and timber seating. The cemetery is surrounded by a 2.7 metre high ornamental red brick wall (1895-96, Albert Purchas) with some sections of vertical iron palisades between brick pillars. Albert Purchas was a prominent Melbourne architect who was the Secretary of the Melbourne General Cemetery from 1852 to 1907 and Chairman of the Boroondara Cemetery Board of Trustees from 1867 to 1909. He made a significant contribution to the design of the Boroondara Cemetery Boroondara Cemetery is an outstanding example of the Victorian Garden Cemetery movement in Victoria, retaining key elements of the style, despite overdevelopment which has obscured some of the paths and driveways. Elements of the style represented at Boroondara include an ornamental boundary fence, a system of curving paths which are kerbed and follow the site's natural contours, defined views, recreational facilities such as the rotunda, a landscaped park like setting, sectarian divisions for burials, impressive monuments, wrought and cast iron grave surrounds and exotic symbolic plantings. In the 1850s cemeteries were located on the periphery of populated areas because of concerns about diseases like cholera. They were designed to be attractive places for mourners and visitors to walk and contemplate. Typically cemeteries were arranged to keep religions separated and this tended to maintain links to places of origin, reflecting a migrant society. Other developments included cast iron entrance gates, built in 1889 to a design by Albert Purchas; a cemetery shelter or rotunda, built in 1890, which is a replica of one constructed in the Melbourne General Cemetery in the same year; an ornamental brick fence erected in 1896-99(?); the construction and operation of a terminus for a horse tram at the cemetery gates during 1887-1915; and the Springthorpe Memorial built between 1897 and 1907. A brick cremation wall and a memorial rose garden were constructed near the entrance in the mid- twentieth century(c.1955-57) and a mausoleum completed in 2001.The maintenance shed/depot close to High Street was constructed in 1987. The original entrance was altered in 2000 and the original cast iron gates moved to the eastern entrance of the Mausoleum. The Springthorpe Memorial (VHR 522) set at the entrance to the burial ground commemorates Annie Springthorpe, and was erected between 1897 and 1907 by her husband Dr John Springthorpe. It was the work of the sculptor Bertram Mackennal, architect Harold Desbrowe Annear, landscape designer and Director of the Melbourne Bortanic Gardens, W.R. Guilfoyle, with considerable input from Dr Springthorpe The memorial is in the form of a small temple in a primitive Doric style. It was designed by Harold Desbrowe Annear and includes Bertram Mackennal sculptures in Carrara marble. Twelve columns of deep green granite from Scotland support a Harcourt granite superstructure. The roof by Brooks Robinson is a coloured glass dome, which sits within the rectangular form and behind the pediments. The sculptural group raised on a dais, consists of the deceased woman lying on a sarcophagus with an attending angel and mourner. The figure of Grief crouches at the foot of the bier and an angel places a wreath over Annie's head, symbolising the triumph of immortal life over death. The body of the deceased was placed in a vault below. The bronze work is by Marriots of Melbourne. Professor Tucker of the University of Melbourne composed appropriate inscriptions in English and archaic Greek lettering.. The floor is a geometric mosaic and the glass dome roof is of Tiffany style lead lighting in hues of reds and pinks in a radiating pattern. The memorial originally stood in a landscape triangular garden of about one acre near the entrance to the cemetery. However, after Dr Springthorpe's death in 1933 it was found that transactions for the land had not been fully completed so most of it was regained by the cemetery. A sundial and seat remain. The building is almost completely intact. The only alteration has been the removal of a glass canopy over the statuary and missing chains between posts. The Argus (26 March 1933) considered the memorial to be the most beautiful work of its kind in Australia. No comparable buildings are known. The Syme Memorial (1908) is a memorial to David Syme, political economist and publisher of the Melbourne Age newspaper. The Egyptian memorial designed by architect Arthur Peck is one of the most finely designed and executed pieces of monumental design in Melbourne. It has a temple like form with each column having a different capital detail. These support a cornice that curves both inwards and outwards. The tomb also has balustradings set between granite piers which create porch spaces leading to the entrance ways. Two variegated Port Jackson Figs are planted at either end. The Cussen Memorial (VHR 2036) was constructed in 1912-13 by Sir Leo Cussen in memory of his young son Hubert. Sir Leo Finn Bernard Cussen (1859-1933), judge and member of the Victorian Supreme Court in 1906. was buried here. The family memorial is one of the larger and more impressive memorials in the cemetery and is an interesting example of the 1930s Gothic Revival style architecture. It takes the form of a small chapel with carvings, diamond shaped roof tiles and decorated ridge embellishing the exterior. By the 1890s, the Boroondara Cemetery was a popular destination for visitors and locals admiring the beauty of the grounds and the splendid monuments. The edge of suburban settlement had reached the cemetery in the previous decade. Its Victorian garden design with sweeping curved drives, hill top views and high maintenance made it attractive. In its Victorian Garden Cemetery design, Boroondara was following an international trend. The picturesque Romanticism of the Pere la Chaise garden cemetery established in Paris in 1804 provided a prototype for great metropolitan cemeteries such as Kensal Green (1883) and Highgate (1839) in London and the Glasgow Necropolis (1831). Boroondara Cemetery was important in establishing this trend in Australia. The cemetery's beauty peaked with the progressive completion of the spectacular Springthorpe Memorial between 1899 and 1907. From about the turn of the century, the trustees encroached on the original design, having repeatedly failed in attempts to gain more land. The wide plantations around road boundaries, grassy verges around clusters of graves in each denomination, and most of the landscaped surround to the Springthorpe memorial are now gone. Some of the original road and path space were resumed for burial purposes. The post war period saw an increased use of the Cemetery by newer migrant groups. The mid- to late- twentieth century monuments were often placed on the grassed edges of the various sections and encroached on the roadways as the cemetery had reached the potential foreseen by its design. These were well tended in comparison with Victorian monuments which have generally been left to fall into a state of neglect. The Boroondara Cemetery features many plants, mostly conifers and shrubs of funerary symbolism, which line the boundaries, road and pathways, and frame the cemetery monuments or are planted on graves. The major plantings include an impressive row of Bhutan Cypress (Cupressus torulosa), interplanted with Sweet Pittosporum (Pittosporum undulatum), and a few Pittosporum crassifolium, along the High Street and Parkhill Street, where the planting is dominated by Sweet Pittosporum. Planting within the cemetery includes rows and specimen trees of Bhutan Cypress and Italian Cypress (Cupressus sempervirens), including a row with alternate plantings of both species. The planting includes an unusual "squat" form of an Italian Cypress. More of these trees probably lined the cemetery roads and paths. Also dominating the cemetery landscape near the Rotunda is a stand of 3 Canary Island Pines (Pinus canariensis), a Bunya Bunya Pine (Araucaria bidwillii) and a Weeping Elm (Ulmus glabra 'Camperdownii') Amongst the planting are the following notable conifers: a towering Bunya Bunya Pine (Araucaria bidwillii), a Coast Redwood (Sequoia sempervirens), a rare Golden Funeral Cypress (Chamaecyparis funebris 'Aurea'), two large Funeral Cypress (Chamaecyparis funebris), and the only known Queensland Kauri (Agathis robusta) in a cemetery in Victoria. The Cemetery records, including historical plans of the cemetery from 1859, are held by the administration and their retention enhances the historical significance of the Cemetery. How is it significant? Boroondara Cemetery is of aesthetic, architectural, scientific (botanical) and historical significance to the State of Victoria. Why is it significant? The Boroondara Cemetery is of historical and aesthetic significance as an outstanding example of a Victorian garden cemetery. The Boroondara Cemetery is of historical significance as a record of Victorian life from the 1850s, and the early settlement of Kew. It is also significant for its ability to demonstrate, through the design and location of the cemetery, attitudes towards burial, health concerns and the importance placed on religion, at the time of its establishment. The Boroondara Cemetery is of architectural significance for the design of the gatehouse or sexton's lodge and cemetery office (built in stages from 1860 to 1899), the ornamental brick perimeter fence and elegant cemetery shelter to the design of prominent Melbourne architects, Charles Vickers (for the original 1860 cottage) and Albert Purchas, cemetery architect and secretary from 1864 to his death in 1907. The Boroondara Cemetery has considerable aesthetic significance which is principally derived from its tranquil, picturesque setting; its impressive memorials and monuments; its landmark features such as the prominent clocktower of the sexton's lodge and office, the mature exotic plantings, the decorative brick fence and the entrance gates; its defined views; and its curving paths. The Springthorpe Memorial (VHR 522), the Syme Memorial and the Cussen Memorial (VHR 2036), all contained within the Boroondara Cemetery, are of aesthetic and architectural significance for their creative and artistic achievement. The Boroondara Cemetery is of scientific (botanical) significance for its collection of rare mature exotic plantings. The Golden Funeral Cypress, (Chamaecyparis funebris 'Aurea') is the only known example in Victoria. The Boroondara Cemetery is of historical significance for the graves, monuments and epitaphs of a number of individuals whose activities have played a major part in Australia's history. They include the Henty family, artists Louis Buvelot and Charles Nuttall, businessmen John Halfey and publisher David Syme, artist and diarist Georgiana McCrae, actress Nellie Stewart and architect and designer of the Boroondara and Melbourne General Cemeteries, Albert Purchas.Digital imagescemetery, boroondara, kew, gatehouse, clock, tower, clocktower, heritage, memorial, cussen

Booklet published for Melbourne Legacy to assist Legatees launch the new Endowment Scheme Campaign Oct 25,1962. A new campaign by Melbourne Legacy to assist Legatees with facts and talking points to aid Legatees when making contact with prospective donors. Sections of the booklet include: Our aim in education; Health is watched; Physical and cultural; Career guidance; Legacy Residences; Holidays and camps; Legal assistance, and Free Firewood. The Health section mentions: "a permanent dental clinic at Legacy House". The Education section mentions: "promising children are helped and encourages to carry their education right through University". The Career section says: "No Legacy child is sent into a dead-end job". The Residences section says: "Three homes - homes in the real sense of the word - are maintained by Legacy in Kew for Legacy children. They are Blamey House, Harelands and Stanhope, the first two owned by Legacy and the last leased free from the Red Cross, in return for its maintenance and upkeep."The booklet gives Legatees the facts and reasons why a potential donor should donate to Legacy. A good snapshot of Legacy's work in the 1960s.Black and white printed, 8 page booklet.Handshake on the front cover. Legacy badge top RH corner.fundraising, legacy promotion

Yields information through a photograph of a former Ballarat tram (No. 43) who was returned to Geelong and displayed at Queens Park as Geelong 40. Shows the location the tram was stored in and why it deteriorated by the mid 1980's.Set of four colour photographs of Geelong No. 40, Ballarat No. 43, Queens Park Geelong. .1 - shows tram in the enclosure. .2 - close up of one end - showing its Geelong number. .3 - the other end - showing its Ballarat number. .4 - Side view with white combi van in the distance - Dave O'Neil's? Taken late 1980's?geelong, queens park, newtown, tram 40

Yields information from a students eyes about the history of the tram depot and how the associated environment changed and why. Has a strong association with the student.Poster prepared for a school assignment, titled "Changing Environments - Ballarat Tram Depot", features 6 photographs of the tram depot, maps, story boards pasted together onto a large sheet of heavy paper with Velcro mounts on the rear. Looks at the purpose, the location, the site characteristics, what changed, history, cause of change and likelihood of future change. Prepared by Georgia Foley Year 11C - school unknownTop right hand corner has the student's name in ink and on the rear a bibliography advising of Richard Gilbert's assistance.trams, tramways, depot, posters

an historical look at military intelligence mishapsIn this controversial, eye-opening book, a long-serving professional military intelligence officer examines and analyzes the mistakes in military judgment that have resulted in some of the major catastrophes in the air, at sea, and on the battlefield since the crushing defeat of Napoleon at Waterloo in 1815. Colonel John Hughes-Wilson not only explores how events have conspired to cause disasters in modern military history but also demonstrates why -- and the reason more often than not lies in the failure of politicians and seasoned generals alike to understand and appreciate fully the value of crucial intelligence information. Hughes-Wilson shows how, for one instance, American bureaucratic bungling and inter-service rivalries collaborated with the Japanese in their devastating attack on Pearl Harbor -- despite the fact that the US was monitoring Japan's top-secret radio traffic -- and he reveals why, for another, the Viet Cong's Tet Offensive of 1968 took the world's most technologically advanced army completely by surprise. In Hitler's Berlin as in Saddam Hussein's Baghdad, this book discloses the lapses, errors, miscalculations, and under-estimations of military intelligence that have shaped our wars and defined our timessoft cover non fiction book

xxi, 283 p. : ill., facsims., map, ports. ; 23 cm. Includes index and bibliographical references: p. 264-273.non-fiction'I'm your half-brother and I'm here to stay. This is my home.' With these words Wilmot Abraham sought refuge with his white relations. 'Did you ever read your history?': Mrs. Mary Clarke remembers p. 1 'An old hand': Jim Cain p. 12 'I'm your half-brother, and I'm here to stay': Wilmot Abraham p. 36 The Three Pompeys The Written Record p. 48 Banjo Clarke's Stories p. 62 'Why did they take them away?': Lizzie and Henry McCrae p. 74 In Defence of Framlingham: Collin Hood p. 79 Double Dispossession: King David p. 107 James Dawson's Informants p. 137 'Why are we kept prisoners here?': Ernest and Maggie Mobourne p. 148 'The old ones, they wouldn't tell us nothing': Mrs. Connie Hart's memories p. 181 'Breaking the cycle is the hard thing to do': Geoff Rose, a stolen child p. 200 Epilogue: James Dawson, Camperdown George and the Obelisk p. 220 The Hood Family p. 238 The Mobourne Letters p. 241 Abbreviations p. 252 Notes p. 252 Bibliography p. 264 Index p. 274 western district (vic.) -- colonization., aboriginal australians -- victoria -- western district -- history., aboriginal australians -- victoria -- western district -- interviews, race relations - racial discrimination., child welfare - child / parent separation - stolen generations., history - biographies - indigenous., book

p.145.non-fictionWhy did the Suez War ever come to pass? Why did Eden, against public opinion and without sufficient military capability, decide to invade Egypt? When Gamal Abdel Nasser decided to nationalize the Suez Canal, Britain and France reacted dramatically, beginning a chain of events that ultimately led to war. But why did Nasser nationalize the canal in the first place? And what part did the United States of America play in sparking the conflict that resulted in war? Paul Johnson skillfully and clearly explains the roots of the war, the many different political factors involved, the resultant invasion and its repercussions. First published in 1957, The Suez War walks us through a conflict that many historians feel should never have taken place, and one that Johnson argues has exposed i(t)he real weakness of Britain i never again can we play our unique and honourable role as keeper of the worlds conscience.suez crisis - 1956, united kingdom - foreign relations - egypt