Raphael Tuck & Sons 'Oilettte' Connoisseur postcard 2747. Tuck's Post Card. Carte Postale. Postkarte. The 'Crayon' series. Four ladies are enjoying tea in a formal room. There are pictures on the walls and a lamp and clock on a mantelpiece. On a stand or auto tray are teapots and cups and saucers. Art Publishers to the King and Queen. The post card is addressed to Miss L. Pethard, Fir St. Golden Square. The one penny (1d.) Victorian stamp dated 3/11/?.postcard, lydia chancellor collection, collection, female, entertaining, entertainment, costume, fashion, clothing, recreation, tucks post card

Photograph. Harry Biggs Collection. People walking through &andshopping in Bennetts Arcade. Commercial signs are Taubmans Paints, the best procurable, Bennetts Arcade, Stores. Along the side are words including Stationary, Fancy goods. Items are in front of the shops for purchase. A woman & 3 children are shopping. A group of adults are walking through. The roofing is clear to allow for light. The building is very ornate. There is a clock built into the wall of the Bennetts sign.place, building, commercial, harry biggs collection, bennetts arcade, taubmans paints

Slide. Bendigo Views. View of a lounge room with a light green fireplace with a gas heater in it. To the right of the fireplace is an armchair with bookshelves behind it. To the left of the fireplace is another armchair with bookshelves behind it. On top of the bookshelf is a model of the Sydney Harbour Bridge. In the corner is a doorway with another cupboard on the left. On the mantlepiece are pictures and above it is clock and a round picture on each side. Behind the clock is a patterned area. There are other objects hanging on the wall.slide, bendigo, bendigo views, bendigo views

Slide. Bendigo Views. View of a loungeroom. It has a small bookcase with photos on it and a shelf above it with a black mantle clock and a photo on it. There is more shelving with books, photos and a model of a sailing boat on it. There is a cabinet with model aeroplanes, ships and a coach in it. On the top is a larger model of an aeroplane. There are more pictures on the walls. There is a television in front of the bookcase.slide, bendigo, bendigo views, bendigo views

A fireplace with a mantle piece with a mirror on it and a number of small ornaments. The fireplace has a gas heater in it and a hearth. Above the fireplace is stonework. On the stonework is hanging a clock and a round picture on each side of it. One picture has a Dutch windmill in it and the other is a building. Next is another bookcase with various objects on it. There are two pictures and a black object on the bookcase. There is an armchair in front of each bookcase. There is a cabinet to the left of the door. Above the cabinet and the door are ornaments hanging on the wall. There is a smokers' stand near the armchair nearest the door and behind it is a stand with a cup and saucer on it.slide, bendigo, bendigo views, bendigo views

Group of people outside a brown brick building Infant welfare? with clock on the outside wall.stawell buldings

The Boroondara General Cemetery is registerd by Heritage VictoriaBoroondara Cemetery in kew was established in 1858. It has 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. Some notable memorials include The Springthorpe Memorial (VHR 522), The Syme Memorial (1908), The Cussen Memorial (VHR 2036). Burials within the cemetery 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. 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. Digital images of a red brick gatehouse at Boroondara General Cemetery in Kew.cemetery, boroondara, kew, gatehouse, clock, tower, clocktower, heritage, 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 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 registered by Heritage VictoriaFrom Heritage Victoria Statement of Significance Last updated on - December 15, 2005 (undated change to citation made since 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. ... ... 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 Walter Richmond Butler 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. ... How is it significant? Boroondara Cemetery is of aesthetic, architectural, scientific (botanical) and historical significance to the State of Victoria. ... ...Digital image of the Syme memorial in Boroondara Cemetery, Kew. cemetery, boroondara, kew, gatehouse, clock, tower, clocktower, heritage, 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

The Boroondara General Cemetery is registered 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, henty

Yields information about the depot and environs during the reconstruction of the Ballarat tramways and the vacant land to the west of the depotSet of 5 Black and white photo prints from collected negatives of the SEC Ballarat depot building, during refurbishment by the SEC during the mid 1935/1936, taken at the same time as Reg Item 1349. 1350.1 - Depot buildings from Gregory St. on the western side. Shows the whole length of the buildings. 1350.2 - Western side of depot buildings from Gregory St. end, looking towards Wendouree Parade. 1350.3 - Eastern side of depot building from Gregory St. end. 1350.4 - Western side of depot building from Wendouree Parade - shows yard on side which was to become the tennis court. 1350.5 - Office, lockers etc. buildings on east side of depot, from Wendouree Parade, Shows the 'Bundy' clock. A motor bike is parked against the wall. 2nd copy held of 1350.1, 1350.2 and 1350.3 - ex moveable display boards. Colour photocopies laminated of these photographs on display 6/2000 at 02-02-06. Copy 3 - of all above photos - large format prints (203H x 253W) - added 28/7/2007, ex Alan Bradley holding of prints, received 5/2007. See also Reg Item 3902 for a mounted set of these photographs along with that of Reg Item. 1349. High res scans of negatives changed over 13/5/2020.tramways, trams, wendouree parade, sec depot, rehabilitation, depot offices

Black and white photograph contained within Reg. Item 2488, page 55, of ESCo No. 19 or 20, summer toastrack tramcar, on the Wendouree Parade depot fan. Has a large number of people at one end of the tramcar. Depot "Bundy" clock visible in the background. Tram has a "Suttons Jazz Band" roof advertisement and an advertisement for "Rolfes" tea on the drivers dash panel. See also Reg. Item 1427 for another print. Note Item Not formally Numbered. Image btm2507i2 shows position on page relative to items 2507 to 2512. High Res Images added 15/3/2011.Handwritten in Pencil under the photograph is "This tram and its twin - 19 & 20 - was very popular on the gardens run in midsummer as many as 129 fares have been taken on its 8 seats 1906 - 1931 - held 40 seated comfortably taken in Depot yard - note Bundy time registering clock on wall of messroom - see Ballarat Electric Tram ?"tramways, trams, depot, wendouree parade, toastrack tram, suttons, esco, tram 19, tram 20

Yields information about the Bendigo tram depot office block, the scrubber tram and the way it was placed on blocks to have the truck or bogie repaired..Black and white print on heavy matt photographic paper of the Bendigo scrubber tram on blocks outside the administration section of the depot, while the truck or the wheels undergoing repairs. In the background is "Bundy" clock on the wall of the depot, and a man resting on a bicycle. 2nd copy - laser print - with date etc on rear - added 22/2/2010, copy from Ron Hann. Printed on Fujifilm, Fujicolour Crystal Archive for Frontier"On rear in pencil "Scrubber Bendigo 1963" 2nd copy has label "Reference 6/212/34" Photo by Ron Hann" and another label "Bendigo Depot 01.63"tramways, trams, bendigo, depot, scrubber tram, tram scrubber

Document on foolscap paper some notes on Dudley House Bendigo Victoria, Australia courtesy of Mr Geoffrey, C. Ingleton father was the former Town Clerk of Bendigo, appointed 1 January 1924. The layout of the building at ground floor level involved the removal of walls along the left side from the entrance creating one large room. Alterations required replacement of doors, 1920's style , with decorative glass panels and door knobs of the period. This report contains excellent descriptions of furniture installed at the house, including a grandfather clock, framed etchings, easy chairs with loose floral covers, and a number of 'occasional chairs' of Rose-wood or Cedar in Edwardian design. The furniture was purchased from Morley Johnson of Bendigo and Sydney. There were also china cabinets, a gramophone in a large upright rose-wood cabriole-shaped cabinet. The name Dudley house may have been earned by reputation, or had a connection to a former tenant - perhaps a State Official or a caretaker.bendigo, history, dudley house

Architect and surveyor, Albert Purchas, is believed to be the designer of the cast iron entrance gates (1889), the rotunda (1890) and the surrounding ornamental brick wall (1895–6), as well as various additions to the original 1860 Cottage in the period 1866–1899 including the clock tower.Colour print positive photograph of the restored rotunda, surrounded by graves in the Boroondara (Kew) Cemetery.Nil

Original black and white print positive photograph of buildings, including the clock tower, and entrance to the Boroondara General Cemetery in Kew.The photograph, by Nita Green [of Reno] is taken from High Street and shows the northwest corner of the High brick wall surrounding the complex. There is a tram shelter at left and a woman standing beside a light pole.Reverse: "Donated by Nita Green 1979 / Entrance to Boroondara Cemetery"boroondara general cemetery, cemeteries - kew (vic.), nita green

This work forms part of the collection assembled by the historian Dorothy Rogers, that was donated to the Kew Historical Society by her son John Rogers in 2015. The manuscripts, photographs, maps, and documents were sourced by her from both family and local collections or produced as references for her print publications. Many were directly used by Rogers in writing ‘Lovely Old Homes of Kew’ (1961) and 'A History of Kew' (1973), or the numerous articles on local history that she produced for suburban newspapers. Most of the photographs in the collection include detailed annotations in her hand. The Rogers Collection provides a comprehensive insight into the working habits of a historian in the 1960s and 1970s. Together it forms the largest privately-donated collection within the archives of the Kew Historical SocietyThe entrance to Kew cemetery showing the clock tower and horse trams in High Street. The horse tram was at this time the only public transport by which visitors could reach the cemetery. The photograph postdates the construction of the surrounding brick fence which was constructed in 1895-96. "Views Boroondara Cemetery. Land set aside 1859. Photo after brick wall was built."boroondara general cemetery, dorothy rogers

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. (Source: Heritage Victoria)This photograph is one of the earliest known photographs of the cemetery, showing the early plantings and fences.Later print copy of an undated original photographic positive of the entrance to the Boroondara General (Kew) Cemetery. The Cemetery had been opened in 1855. This view is from Bulleen Road (now High Street) showing a group of 12 or 13 men standing in a line outside the entrance. At this time, the clocktower and high brick fence had not been constructed, but the trees have reached a substantial heightPencil inscription on reverse - "Boroondara Cemetery Entrance 1862"boroondara general (kew) cemetery, cemeteries -- melbourne (vic.)

Leoda ATKINSON "A few years ago Leoda Atkinson had never painted but now she works around the clock to keep up with the demand for her work. Leoda, a student in Koorie Art and Design at the School of Mines and Industries, Ballarat, was separated from her family as a child and wanted to learn more about her culture. ... (The Age, September 9, 1997) This work was commissioned by the University for the Aboriginal Education Centre's wall. It was designed and painted by Leoda Atkinson, a graduate of the University of Ballarat Koorie Art and Design course. With the assistance of Tom Clark and two third year students the painting of the mural was completed in two weeks. This item is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.A brightly coloured work featuring themes of reconciliation and the University's campuses and learning. The use of the platypus reminded the artist of many different animals, represented the coming together of cultures at the University. art, artwork, leoda atkinson, aboriginal, alumni

From the home of Mr and Mrs Parker. belonged to Mr Parker senior.Ornate carved dark timber mantle pendulum clock with brass clock face surround. Has a white dial with black roman numerals and black metal hands. The Ansonia Clock Co. Manufacturers USA Trademark A is printed on the face. It has an ornate brass pendulum and the internal workings are visible. The very ornately embossed in gold decorated glass front opens. There are two spirit plumb levels inside, one is aluminium metal and is attached to the wall, the other is brass with Wm Hunt Level Co with a triangle on top stamped on it. There is a brass key No.7 with two holes on the top of the winder handle. The Ansonia Clock Co. Manufacturers USA Trademark A. printed on the dial. Wm Hunt Level Co. stamped on the level.clocks, timepieces, mantle clocks, clock components, clock keys

A small number of heavy cast iron weights and two rods remain at the Point Hicks Lightstation. These weights comprise one rod with a forked top and four circular weights attached to the bottom of the shaft. The weights and rods were part of the original clockwork mechanism that was fitted beneath the lens to keep the kerosene‐fuelled light turning. They were attached to a cable or chains and moved vertically in similar fashion to the way weights move on grandfather clocks. As the weight fell, the optic clock was driven and the lens was turned. To keep the clock turning, the weight needed to be wound back up to the top of its travel. The cables and weights in this lighthouse were visible as they moved through the length of the tower up to the lantern room. It was usual for systems to move inside a tube extending up to the top, but in this case the tower’s cast iron spiral staircase, which is supported on cantilever cast iron brackets set into the concrete wall, spiralled around the space in which they moved. Lighthouse keepers had the arduous job of having to constantly wind the clock to keep the light active, and at least two keepers needed to observe a strict roster of hours. When electric motors were invented, all of this became redundant and the motors were able to turn the optic for as long as there was power to drive them. In December 1964, the original 1890 Chance Bros kerosene‐fuelled light and clockwork mechanism were replaced by small electric motor, and the number of keepers reduced to two. The six circular weights and rods originate from the obsolete system and may have been part of a larger set. Wilsons Promontory retains seven of its original set of ten weights, all of which are detached from the tower’s weight tube. Cape Schanck has a set of fourteen weights remaining in situ as well as another four detached weights, which have inscriptions. One weight is displayed in the lantern room at Cape Otway. The image shows four of the clockwork weights attached to a rod with a forked top. They were part of the original clockwork mechanism that was fitted beneath the lens to keep the kerosene‐fuelled light turning. The Aldis lamp in its case sits on the floor next to the weights. Source: Parks Victoria.The Point Hicks weights have first level contributory significance for the insights they provide into the superseded technology and operations of a late nineteenth century lighthouse. They are well provenanced and are significant for their historic value as part of the lightstation’s Chance Brothers optical system installed in 1890. Four circular metal weights are stored on a metal rod with a forked section at the top. The weights have a cut out section which allows the weights to be removed easily.

A small number of heavy cast iron weights and two rods remain at the Point Hicks. The weights and rods were part of the original clockwork mechanism that was fitted beneath the lens to keep the kerosene-fuelled light turning. They were attached to a cable or chains and moved vertically in similar fashion to the way weights move on grandfather clocks. As the weight fell, the optic clock was driven and the lens was turned. To keep the clock turning, the weight needed to be wound back up to the top of its travel. The cables and weights in this lighthouse were visible as they moved through the length of the tower up to the lantern room. It was usual for systems to move inside a tube extending up to the top, but in this case the tower’s cast iron spiral staircase, which is supported on cantilever cast iron brackets set into the concrete wall, spiralled around the space in which they moved. Lighthouse keepers had the arduous job of having to constantly wind the clock to keep the light active, and at least two keepers needed to observe a strict roster of hours. When electric motors were invented, all of this became redundant and the motors were able to turn the optic for as long as there was power to drive them. In December 1964, the original 1890 Chance Bros kerosene-fuelled light and clockwork mechanism were replaced by small electric motor, and the number of keepers reduced to two. The six circular weights and rods originate from the obsolete system and may have been part of a larger set. Wilsons Promontory retains seven of its original set of ten weights, all of which are detached from the tower’s weight tube. Cape Schanck has a set of fourteen weights remaining in situ as well as another four detached weights, which have inscriptions . One weight is displayed in the lantern room at Cape Otway. The Point Hicks weights have first level contributory significance for the insights they provide into the superseded technology and operations of a late nineteenth century lighthouse. They are well provenanced and are significant for their historic value as part of the lightstation’s Chance Brothers optical system installed in 1890.PHLS0005.1 Round cast iron weight with flat base used for lens clock-work mechanism attached to a bent metal rod. PHLS0005.2 Removable round cast iron weight with flat base used for lens clock-work mechanism stored above the other weight.

Miss Olive Codling was a Foundation Member and a Life Member of the Wodonga Historical Society. Many of her photos are held in the Society Collection. The Wodonga Post Office was constructed on the corner of Sydney Road (High Street) and South Street in 1874. It was Wodonga’s second Post Office. The original post office opened on June 1, 1856 near Wodonga Creek. This building was originally built of red brick, although it was later painted over in white. It had an attached residence in South Street and was connected to it by a door. The residence was later demolished to move the mail boxes which had faced High Street, to South Street. The brick Telephone Exchange was constructed in 1946 behind the Post Office but separated from it. It operated as a manual exchange until the late 1960’s or early 1970’s. In 1985 a new post office was opened further south in High Street. This building, greatly renovated, is now part of the Wodonga Community College.This photo collection is significant as it documents how the businesses and buildings in Wodonga have evolved and contributed to community throughout the 20th century. A black and white image of the 2nd Wodonga Post Office. There are 6 windows across the front of the building and the name Wodonga Post Office below a round clock. To the left of the building is the royal insignia of the crown above the letters E.R. A sign for the Commonwealth Saving Bank of Australia is also attached to the wall.high st wodonga, wodonga post office, businesses wodonga

Photographs, Black and White, Group Photo of the depot, staff, crew and tramcar 32 with two horses of the Hawthorn horse tramway. In the background is the horse tram depot with a clock on the wall. There are 8 uniformed men and four men in suits either standing or seated in front of the horse tram No. 32. The tram has the route painted on the board above the windows "Burwood Rd, Power St Riversdale Rd" and "Connecting with Richmond Cable tramway" above that.In ink on the rear: Keith Kings stamp and number S-A-1139 "Melbourne MTOCo Co, Horse Tram 32, Riversdale Road, Auburn at Car Shed" and "Ex F. B. Broadbent Collection"trams, tramways, horse trams, hawthorn, auburn road, depots, group photo, tram 32

Black and white photograph of a horse tram at the Kew Cemetery terminus with a uniformed MTOC. employee, two horses and the Cemetery buildings in the background. Has Victoria Bridge & Cemetery written on the side of the tram. 2nd copy added with different crop. Photo from the Collection of the Department of Infrastructure now with the Public Records Office - image number H1. Note: this photo is now out of copyright and was not an original VR photograph, but one copied from another source and collected as their Heritage series. From an email from Rod Atkins 29/7/2019: This Stevenson six widow saloon horse tram No 46 is fairly standard. The horse cars did not have wheel skirts like the cable trams 6 and 8 window cars. Sitting at the terminus in High Street at Parkhill Road at the gates of the Boroondara General Cemetery ready for its return trip to Richmond. The tram is being run one man. Note the location of gates, pay as you enter the front step. The driver has a conductors bag around his neck and waist. No conductor present in the photo. His uniform is classic Company issue. He is wearing a Tunic and vest! And early issue cap with a white band. Date: around circa 1900 as the clock tower, brick wall and cast iron fence are all in place and the car number is faded out. I have seen a photo of a tram there with no clock tower from around the opening of the line.Has part of the Department of Infrastructure copy right stamp on rear and number in ink on rear and "1-5"trams, tramways, horse trams, kew, mto co, cemetery, uniforms

Set of three Black and white negatives of No. 7 (Water car) or flusher at Hawthorn Tram Depot. .1 - Entering the depot, passing the depot starters office - note the clock on the wall. .2 - Entering the shed, passing a W2 .3 - Inside the shed. Photo dated 19-1-1941 in the Wal Jack album along with details of the location.trams, tramways, hawthorn depot, work trams, tram 7

Set of 15 colour slides of Tramway Board and MMTB tramway shelters, by Robert Green Feb1990. 1 - Macarthur St and St Andrews Place (Tramway Board) 2 - Macarthur St and St Andrews Place (Tramway Board) 2A - Macarthur St and St Andrews Place (Tramway Board) - logon on the shelter 3 - SW Corner of St Kilda Road & High St 4 - Cnr St Kilda Road and Dorcas St 5 - Batman Ave and St Kilda Road - removed with Batman Ave closed, now at the TMSV Bylands 6 - ditto 7 - ditto - shows the Bundy clock on the office wall. 8 - Victoria and Brunswick Streets 9 - ditto 10 - Cnr St Kilda Road and Bromby St 11 - Victoria and Brunswick Streets 12 - Cnr Dandenong Road and Wattletree Road 13 - Victoria and Brunswick Streets 14 - Bourke and Spencer Streets - note the Bundy clock. Behind is the MTOCo Offices and Carlyons Hotel.Yields information about Melbourne tramway shelters.Set of 14 Kodak colour slides in plastic mounts and one unmounted phtographAll slides have their location marked on them in black ink.tramways, shelters, tramway board, mmtb, macarthur st, st kilda road, brunwick st, batman ave, victoria parade, wattletree road, bourke st

The photograph shows a cable tram set being towed out of a car depot or car house by a tractor, North Fitzroy Nicholson St depot. The grip is in the raised position, with the gripman's hands on the brake levers. The conductor is waiting to pull the pin that secures the tow bar. The tram has the destination of Spencer St. Photo late 1930s or 1940. Note the Bundy clock on the depot wall.Yields information about towing a cable tram out of a car house probably shortly before closure of the cable tram system in 1940.Black and White photograph - printed on plain paper.On the rear has the Copyright stamp of The Age and pencil number "KM-M-007", Ken Magor stamp, "tram being towed out of depot" and number 4838.cable trams, tractor, towing cable tram, car house, north fitzroy depot