THE CHAPLAINCY Although fostered by the Anglican Church since 1906, the work of the Mission to Seafarers’ is inter- denominational and is not limited by the physical space of its buildings. When the old Melbourne wharves and their moorings were still in use, chaplains would also visit ships to look after the welfare of those who could not visit the Mission. Today, the Mission’s ‘Ship Visitors’ provide a similar service. The Flinders Street central complex was purpose built to meet with seafarers’ needs: “...the first thing a sailor would see before the traps and temptations of the city would be the Institute and its comfortable rooms.” (The Argus, ND). Today, the Mission continues to offer its comfortable, safe spaces and a friendly ear to seafarers, alongside other services that extend well beyond those traditionally offered - including TV, phone cards, and access to the internet. This window, titled ‘Light of the World’, was installed in 1935 in memory of a former ‘M.V. Manunda’ captain and represents chaplaincy support to the seafaring community.Reflections of the Sea was an exhibition of 10 framed montage of photographs from the mission's archive collection showcasing 10 stained glass windows from the St Peter chapel. This exhibition curated by Georgia Melville and Catherine McLay, and funded by PROV and Creative Victoria, was displayed in the World Trade Centre Wharf Gallery in June July 2013 and toured to Queenscliff Maritime Museum. The photographs of the windows were taken by scientific photographer Justine M. Philip. his frame is showcasing the memorial window to Captain Robert Sunter and a photograph of a chaplains conférence in the 1950s.Framed and mounted on black cardboard of black and white and colour reproductions from the MTSV collection for the exhibition Reflections of the Sea with brief label signageon label: Taken in the courtyard at Flinders Street in the early 1950s, this photo shows eighteen individuals, fifteen of whom are wearing white clerical collars, illutsrating the integral relationship between the Mission to Seafarers ministry and the Anglican Churchreflections of the sea, georgia melville, exhibition, 2013, world trade centre, wtc, captain robert sunter, chaplaincy, conference, mv manunda, creative victoria, prov, mission to seafarers, stained glass windows, justine m. philip, flinders street, catherine mclay, arthouse

Images show the Mission in 2004: furniture, furnishing (carpet, lights, curtains), artworks in the chapel, courtyard, kitchen, club, Celia Little room54 photographs of various locations in the Mission in 2004: club, kitchen, Celia Little Room, courtyard, chapelcarpet, furnishing, lights, furniture

Newspaper clipping about Mary Benin working at the Williamstown Mission to Seamen in the 1960s containing two photographs.williamstown, mission to seamen, mary bennion, the missions to seamen, 1964, port kembla, warden, caretaker, 139 nelson place

A similar plaque was placed in the chapel of the former Institute to Seamen, Siddeley Street, as indicated on this one. Some money from Miss Little's estate, in England, went to the construction of the new wing of the Siddeley Street Insitute on condition it was used as a chapel until a permanent church was built. We can see the plaque on the top corner of photographs taken in the chapel at that time. Celia Little (1822-1895) was the Reverend Alfred Gurney Goldsmith's aunt. She was the sister of his mother Mary Anne Little (1820-1877) who married Malcolm Goldsmith (1818-1871). Celia didn't marry and lived with her nephew John Philip Goldsmith (1847-1919), Alfred's brother, and his family in Devonport, where she died. Bronze plaque placed on the east wall of the "Celia Little Room" in the Mission to Seafarers, 717 Flinders Street.This hall is built in loving memory of Celia Little of Devonport England / who died March 4th 1895 / It replaces the wing of the former institute which served as the chapel from 1909 to 1917 / Erected by her nephew.celia little, celia little room, plaque, memorial plaque, chapel, siddeley street institute, alfred gurney goldsmith

105 Lyons Street South, Ballarat Central is a double brick Spanish Mission house with slate roof.105 lyons st south ballarat central, spanish mission, architecture, slate roof

This photograph was taken while painters were on-site, the colour changing from green to grey. 105 Lyons Street South, Ballarat Central is a double brick Spanish Mission house with slate roof.105 lyons st south ballarat central, spanish mission, architecture, slate roof

105 Lyons Street South, Ballarat Central is a double brick Spanish Mission house with slate roof.105 lyons st south ballarat central, spanish mission, architecture, slate roof

Recently painted.105 Lyons Street South, Ballarat Central is a double brick Spanish Mission house with slate roof.105 lyons st south ballarat central, spanish mission, architecture, slate roof

Recently painted.105 Lyons Street South, Ballarat Central is a double brick Spanish Mission house with slate roof.105 lyons st south ballarat central, spanish mission, architecture, slate roof

This photograph was taken during the 2020 Covid19 lockdowns.105 Lyons Street South, Ballarat Central is a double brick Spanish Mission house with slate roof.105 lyons st south ballarat central, spanish mission, architecture, slate roof, covid19

A KEY MELBOURNE LANDMARK Although primarily dedicated to providing for the welfare of visitors from abroad, the Mission has always been a community-based organisation, and its doors are always open to the general public. Today, the Flinders Street complex lends its ample space to a variety of community pursuits – including yoga classes, religious sermons and gallery exhibitions. The Mission also continues as a popular venue for weddings and other social events, mainly due to the endearing historical connections and unique architecture and ambience. It is a distinctive and significant feature of Melbourne’s riverside streetscape. This window, titled ‘Thou of Little Faith’ is part of a pair that were installed at around the time the Mission was built in 1917. It is dedicated to a prominent family member of the ‘Forges of Footscray’ store fame, who were great supporters of the Mission’s work.Reflections of the Sea was an exhibition of 10 framed montage of photographs from the mission's archive collection showcasing 10 stained glass windows from the St Peter chapel. This exhibition curated by Georgia Melville and Catherine McLay, and funded by PROV and Creative Victoria, was displayed in the World Trade Centre Wharf Gallery in June July 2013 and toured to Queenscliff Maritime Museum. The photographs of the windows were taken by scientific photographer Justine M. Philip. This frame is showcasing the window in memry of James Leslie Forge, a photograph during a service in the chapel and a wedding photograph.Framed and mounted on black cardboard of black and white and colour reproductions from the MTSV collection for the exhibition Reflections of the Sea with brief label signageon label: ABOVE RIGHT: Sunday services in St Peter the Mariner's chapel, attended by seafarers and the public, circa 1950s BELOW RIGHT: Mr and Mrs Lee under the arches after their wedding at the Mission on May 1st, 1967reflections of the sea, georgia melville, exhibition, 2013, world trade centre, wtc, creative victoria, prov, mission to seafarers, stained glass windows, justine m. philip, flinders street, james leslie forge, weddings, service, chapel of saint peter, catherine mclay, arthouse

Group of Stawell Ministers Serving in Stawell District June 1912 Back Row Rev. Griffith, (Baptist), Rev. Matthew, (Presbyterian), Rev. Dewhurst, (C of E), Rev. Milne, (Congregational) Front Row Adj. Perry, (Sal. Army), Rev. Harrison, (Methodist), Rev. Storrs, (The Missioner), Rev Shipway, (Church of Christ)Two Black & white photograph of a group of males, four standing, four seated. Picket fence in background. These photographs were taken from a Photographic Post Card.Empire Post Card June 1912 Back Row Rev. Griffith, (Baptist), Rev. Matthew, (Presbyterian), Rev. Dewhurst, (C of E), Rev. Milne, (Congregational) Front Row Adj. Perry, (Sal. Army), Rev. Harrison, (Methodist), , Rev. Storrs, (The Missioner), Rev Shipway, (Church of Christ)stawell portrait

The photograph portrays the main hall of the Mission to Seamen as it was used c.1950.The photograph is documents a moment in history that reflects how the main hall of the Mission to Seamen was used around the 1950s. The photograph also portrays one of many events held by the Ladies Harbour Lights Guild as one of the services provided for visiting seafarers.A black and white photograph inside the Mission to Seafarers Melbourne main hall. In the foreground there are two couples; on the left side of the photograph the couple are facing the left side, a man in a suit, vest and tie and a lady to the right in a mid-length skirt, jumper and short hair. The couple on the right of the photograph are facing each other - the lady has her back to the camera, and the man facing more toward the camera, he is also in a suit and is balding. A couple are standing in the mid ground, central in the photograph; a lady is on the left in a light coloured cardigan, mid length skirt and short dark hair; the man on the right is wearing a dark suit and tie, and a light coloured shirt. There are a number of people in the background that are partly concealed by the couples in the mid-foreground. An archway is visible to the left, that leads to the 'cafeteria', and an arch window can be seen on the right side of the photograph in the background, The hardwood floorboards are visible, as is the wainscote (wood panelling) on the walls in the background. A clock is situated right of centre on the back wall.collar, clock, vest, window, suit, 1950s, main-hall, tie, wainscote, cardigan, jumper, skirt, arch, bald, lhlg, dance, socialising, events, entertainments, mission to seafarers, mission to seamen, seamen mission, flinders street, ladies harbour lights guild, hardwood, floorboards, wood panelling

Along with the pulpit, this Altar was designed by architect Rodney Howard Alsop (1881-1932) (Annual report 1908). It was originally made for the Siddeley Street Institute, which was built in 1907 on a block of land leased from the Melbourne Harbour Trust and donated by Mrs Amelia Shuter (nee Lord) (see Annual Report 1907). The altar is photographed in an early picture of the Siddeley Mission in a room used as chapel before the chapel built in 1909. Although a 21 year lease for the site had been granted, a notice was delivered to the Mission to quit the site in 1912. In 1915, the present site was agreed on. The Altar sits within the Chapel of Saint Peter, which belongs to the State Heritage listed (H1496) Mission to Seafarers Victoria complex. This complex was designed by Walter Richmond Butler in 1916, and officially opened on 11 September 1917. On the right hand side of the altar, is a brass plaque in memory of Charles Shuter, a colonist and police magistrate who died in 1902. The plaque was made in 1907.The Altar is significant because it is located within the Memorial Chapel of Saint Peter, forming part of the State Heritage listed Mission to Seafarers Victoria complex. It is of religious significance in catering for all denominations and the spiritual needs of visiting seafarers.The Altar has a shelf above and three panels along the front, with carved decoration and lettering. Altar bears a plaque that reads "To the Glory of God - In memory of Charles Shuter, of Melbourne, Police Magistrate, Given by his Wife, December 13th 1907". Carved letters "MTS" in centre of three panels along front of Altar, and "HOLY, HOLY, HOLY" in three panels below shelf on top of Altar.altar, mission, seafarers, seamen, melbourne, victoria, charles shuter, siddeley street institute, chapel, australian timber, walter richmond butler, australian maritime history, rodney howard alsop (1881-1932), saint peter chapel, communion table, amelia shuter nee lord, heritage listed, gifts-1917

These 11 printers blocks were used as formal identifiers on documentation for administrative, correspondence and publication, used especially mid 20th Century around the time of the Centenary in 1956/57. Some have inscriptions at the back (Coffey) or some pasted paper (one in Chinese). They come in a metal box.These printers blocks were used as formal identifiers on documentation. The various designs show the evolution of the Mission iconography and in particular the earlier designs of the Flying Angel logos featuring the angel of the Revelation. One block uses graphic design representing symbolic evolution of shipping from sail to container.Set of nine printers blocks of various sizes with Mission logo, centenary commemorative logo and flying angel logo.centenary, ink, stamps, printers-blocks, mission-to-seamen, flying-angel, logos, administration, reverend hubert william coffey (1915-2002)

Cream paper folded document with lithographic image on the front of the Wesleyan Mission premises in Natal, South-Eastern Africa.non-fictionPublished quarterlythe wesleyan missions

B & W Gloss photo of a group of girls and leaders from the North Melbourne Methodist Mission on holiday at Dromana.

Whitehorse residents have donated 120 boxes of food and essential items to the Wesley Mission Food for Families Appeal.wesley central mission, food for families appeal

BHS CollectionWesleyan City Mission Sandhurst Minute Book 1883-1891 Brown cover with marbled pattern. Handwritten minutes.church, history, uniting church forest street

An historical visual record of some of the members of the Ladies Harbour Lights Guild, circa 1950. Many events run by the LHLG founded in 1906, were initially held in venues across Melbourne. In later years the main hall of the building opened in 1917 became a main venue for entertainment, meals and dancing. The LHLG organisation eventually amalgamated with the Flying Angels at the Mission circa 1962 and many LHLG members such as Dora Simpson, later elected as FA President went on to officiate.The Ladies Harbour Lights Guild (LHLG) a Melbourne and statewide network initially raised funds and held events for the Mission to Seafarers. Originally founded in 1906 the LHLG were responsible in 1917 for raising the funding for the Chapel and Dome at the Mission. The group and network developed a structure promoted to and adopted in one form or another by other similar auxiliary groups supporting Missions around the world. Black and white photograph. Image shows a number of women sitting in front of the stage in the main hall of the Mission to Seafarers Melbourne. In the background there is a three-piece band situated on the stage. Depicts the MtSV stage decorated with flowers, and lengths of material woven through an arch.The ladies seated in two rows in front of the stage all wearing summer dresses and have short hair styles typical of the 1950s Printed title and donor information printed across the top of the mount. See also historical informationpiano, drums, band, floorboards, stage, 1950s, dresses, main-hall, curtain, celebrations, lhlg, ladies harbour lights guild, mission to seafarers, seamen mission, mission to seamen, flying angel, melbourne, flinders street, prue leggoe, music, dance, entertainment, events, sailors, seafarers, seamen, lynette reynolds (nee madson), king george vi

This photograph was probably sent to be used for advertising purposes to the mission. Here is the program of the tour published in the Age on Saturday 22 November 1952, page 16: "Australia's 15 stations of the world-famous Missions to Seamen are being visited by the general superintendent of the parent body in London, Rev. C. J. Brown, and. Mrs. Brown, who will arrive from Adelaide today. This is the first visit of the world head of the organisation to this country. Mr; Brown will attend the triennial Australasian chaplains' conference at the Central Club, Flinders-street Extension, next month. A full programme will include visits to the three clubs at Central. Port Melbourne and Williamstown, and to Geelong and Balla-rat, a tour of the Bay, an inspection of the work of a sister organisation, the British Sailors' Society, Geelong, and then on , to Geelong Grammar School. Mr. and Mrs. Brown will be the guests of the Governor and Lady Brooks at lunch at Government House tomorrow, and of the Lord Mayor at a reception on Tuesday. On Friday afternoon Archbishop and Mrs. Booth will hold a reception at Bishopscourt to enable the visitors to meet heads of the churches. Mr. Brown will preach at St. Paul's Cathedral tomorrow morning, and at St. Peter's Mariners' Church at 7 p.m. On December 7 he will preach, at Ballarat Cathedral, afterwards meeting workers of the Missions to. Seamen. He will address a Rotarians' luncheon on Wednesday. On Thursday evening he will meet the Company of Master Mariners. At a reception by the chairman of the Harbor Trust (Mr. A. D. Mackenzie) on December 8, Mr. Brown will meet the heads of Melbourne shipping firms."This was the first visit of the world head of the organisation to Australia since the beginning of the Missions to Seamen in this country.Black and white photograph depicting Reverend C.J Brown and his wife embarking at Liverpool for their Australian and Far East Tour.Written at the back in black ink: Missions to Seamen/Australasian and Far East Tour of General Superintendant (Rev. C.J. Brown, M.A. and Mrs Brown/Arriving in Melbourne by air from Adelaide on Saturday next (22/11). This will be the first visit of the world chief of the Missions to Seamen in the nearby 100 years history of the Society in Melbourne/The photograph shows the visitors embarking at Liverpool when setting out on their tour. In pencil: Padre+wife/2 vol./Pg 5 One black ink stamp from Associated Photo Services , 12A, Mount Pleasant, Liverpool 3 / one purple ink stamp emptyreverend c.j. brown, liverpool

"Art is the vehicule for communications far Beyond the confines of a space, while design is the aesthetic cradle in which messages are nurtured and processed." "A 586 rework of the iconic building that has withstood the redevelopment of the Melbourne Docklands and defied the odds. On display a large format print 700mm x 1400mm print. Also a limited run of smaller prints on archival paper also available to support Melbourne's first non-profit charitible organisation that is still self funded, ie. not government funded." During the Open House Melbourne 30-31 July 2011, the artist nicknamed "586" participated in one of the Norla Dome Project Space events sponsored by Bendigo Wealth. Made in Melbourne, 586 is an urban digital experimentalist who blends social narrative with found image creating messages that inspire social consciousness and free thought. Cast in a local foundry back in 1991, 586 was a number, amid hundreds of men working between the ladie and the furnace in a clock on - clock off automated industrious landscape. Legend tells of a time when correspondance to workers was addressed to their number, not their name. Disapproval spread rapidly and a revoit soon followed, eventually the power of the masses won out, but the demoralizing treatment of the worker would go on to shape 586's perception and became the catalyst for a personal protest against social imbalance. This print was on display and smaller prints were also sold to raised funds for the Mission.DigitalLarge digital print of a design that overlays various symbols ( 4 flying angels ), the sails of a sailing ship and contemporary cityscapes and seascapes. centrally features a full photograph of the Mission to seafarers building at 717 Flinders St. Melbourne. Mounted in a large black frame and glazed with perspex .mission to seafarers, flinders street, melbourne, windvane, dome, flying angel, sea, norla dome, bendigo wealth, artist 586, 2011, artwork-paintings, open house, norla dome project space