Softcoverhomeric civilisation, western civilisation, walsh st library

Sketches of various houses and other significant landmarks in Box Hill with accompanying description. Drawings by Julia Morant. Contents; 56 pagesmachadodorp, pound house, whitehorse, town halls, libraries, houses, cemeteries, parks and gardens, box hill high school, burwood primary school, greek orthodox church, churches, blood's cottage, shops, shadmani, upton house, surrey dive, wattle park

Jane Annois had a long involvement with Potters Cottage in Warrandyte, where she taught for many years. Potters Cottage was established in the late 1950s in Warrandyte as an artist co-operative. Founding members included Reg Preston, Phyl Dunn, Gus McLaren, Artur Halpern, Sylvia Halpern and Elsa Ardern. These talented artists had the ingenuity and foresight to create a teaching studio, gallery shop and restaurant to experiment, make, promote and sell predominantly domestic wares of the time. These activities helped financially sustain each member’s individual creative practice. Potters Cottage was influential in the development of contemporary ceramics, building and developing practices that experimented with traditional ceramic processes, raw materials and locally sourced clay. The group mentored and nurtured many interested in the art of ceramics, producing alumni and teachers such as Peter Laycock, John Dermer, Greg Daly and Jane Annois. Jane Annois is a ceramic artist who has lived and worked locally in Warrandyte for many years. She focuses primarily on exploring the art of Japanese raku, adapting the technique to develop the typical characteristics of crackle glazes and lustres, with contrasting areas of black. Jane also applies a fine slip called terrasigillata which gives soft, warm ochre colours. This technique was once used by the Greeks over 2000 years ago to seal and decorate their pots. She is also strongly onfluenced by the French potters, particularly in the style of terre vernissee, a decorative form of terracotta tableware. Three piece stoneware and raku fired ceramic sculpture. The first piece is a hollow, dome shaped object. It is orange (terracotta slip) in colour with a copper metallic band and a black edge on one side with a small yellow glazed rounded triangle and metallic strip of colour on the otherside. The second piece is shaped like a traditional vase. It is orange (terracotta slip) in colour with white crackle on the inside. It has a yellow slip edge with a dark glazed square on one side and on the other side a black thick edge that mirrors the contour of this shape. The third piece is shaped loosley in the form of the letter 'z'. It compliments the second piece with a yellow slip edge and black glazed square to its lower left side and top right as well as on its' other side a black thick edge that mirrors the contour of this shape. This piece has a very small skewed square opening at its' top. All three pieces have elements of crazing and variations of colour and lustre, caused by the raku process. 2006.52.1VA has the artist name/signature 'J. Annois' inscriped small (with fine point ceramic tool?) on the front of the piece, bottom right; 2006.52.2VA has the artist name 'Jane'? inscribed (unlegible - with fine point ceramic tool?) underneath; 2006.52.3VA has the artist name/signature 'Jane Annois' inscriped (with fine point ceramic tool?) inside its hollow form. evolution, raku, stoneware, terrasigillata, terracotta, glazes, slip, terre vernissee

Geoff Davidson arrived at Dunmoochin around 1968 and began living and working as an apprentice to the potter Robert Main, who was working in a studio rented to him by Clifton Pugh on the Dunmoochin property. When Robert left, Geoff moved into the studio and began collaborating with Clifton Pugh on many projects for a period of 25 years whereby Clifton would decorate pots made by Geoff. Geoff produce the ceramic panels for Leda and the Emu. He mixed and identified the glazes for Clifton, then fired the panels once he had finished painting. Three or four murals were produced in this way, one of which was purchased by Don Dunston (ex-Premier of South Australia) as a gift to his dying wife.Dunmoochin derives its cultural and artistic heritage from the collaborative efforts of a group of artists who purchased land in Cottles Bridge in the early 1950’s. These artists (Pugh) pioneered one of the first artistic communes in Australia and created a lasting vision of how a community can gain knowledge and inspiration from living in a close relationship with nature. Pugh had explored the ‘Leda and the Swan’ mythological themes previously during the sixties in etchings and paintings, although he was more interested in referencing the original myth as allusions to other truths. Pugh was drawn to the Greek myth ‘Leda and the Swan’ in which Zeus transforms into a swan to seduce Leda. Pugh Australianised the myth so that Zeus transformed into an Emu rather than a Swan, and makes a gentle satirical comment on the sexual behaviour of the Australian male, whereby he sees a parallel between this and the proud yet awkward movements and naivety of our national bird. This particular theme was prevalent in Pugh's work right through the 60s and 70s. Leda and the Emu is a work by two prominent local artists (Clifton Pugh and Geoff Davidson) with a national and international reputation.Flat red background, black foliage. Leda is naked and sleeping with head resting in hand. Emu is to the left watching Leda. Drawing style is typical of Pugh’s work: linear, flat and gestural.Signed 'II Clifton'

This 35mm Westrex 14 projector was purchased from Waverley Theatre (Cnr Burke Road and Waverley Road in Malvern, in 1962) last used by "Cosmopolitan Motion Pictures" as follows: from 1962 to 1967 - National Theatre, Richmond. from 1967 to 1970 - in a small leatherette on Bridge Road, Richmond. from 1971 to 1985 - Galaxy Theatre Brunswick. After that it was stored at the back of Westgarth Theatre in Northcote. This projector has a primary historic significance as it covers the largest part of the history of film shows by "Cosmopolitan Motion Pictures", and cultural/social significance since it has been used to project a number of other language films (about 10 different languages) by the company. It also carries a secondary significance of rarity being the last used projector by the company at Galaxy Theatre.This metal (most probably steel) projector is part of a number of projectors owned by "Cosmopolitan Motion Pictures". It is in dark blue/grey colour and still operational to project 35mm films if needed. It has two inscriptions detailed below and was last used at Liberty/Galaxy Theatre in Brunswick in 1985 (for more details about the history of Galaxy Theatre follow this link http://technicolouryawn.com/?page_id=2988)INSCRIPTION 1 (red background) Westrex 14, High Intensity Arc Lamp, Serial Number A.5401018. Manufactured for Westrex (Australia) Pty. Limited by G.B.H. Electronic Laboratories - Made in N.S.W. Australia INSCRIPTION 2 (blue background) Westrex R4A Reproducer Made in Australia Western Electric Co. (Aust) Pty. Ltd.projector, film, culture, language, greek, entertainment, γιαννούδης, yiannoudes, προβολέας

The full costume used traditionally by soldiers in the 16th to 19th century AD. Recently used in parades and plays as a traditional costumeThis full costume has been ordered from Greece by Thessaloniki Association and used in plays and parades of the club functionsThe shirt of a traditional boys Tsolia costume in white linen and with long sleeves and front white buttons. Part "C" of a 6 piece costume.πουκάμισο, shirt, tsolia, costume, στολή

Full uniform used by Thessaloniki Association's soccer team in a tournament organised as part of "Dimitria" celebrations in soccer matches, outdoor and indoor.Historical significance for the purposes it was used by Thessaloniki Association "The White Tower", in indoor and outdoor soccer matches Men's navy blue and white soccer jersey, with white collar and inscriptions. Has Thessaloniki logo across the chest and in white writing, S.S.I. logo, and Pronto Refrigeration logo of same name sponsor. S.S.I. manufacturer logo also on white collar. Polyester material and part "A" of a two piece uniform.Thessaloniki, S.S.I., Pronto Refrigerationjersey, soccer, blue, greek, φανελάκι, dimitria, thessaloniki, plutarch, στολή

The full costume was worn by players belonging to the Thessaloniki Association "The White Tower" taking part in outdoor and indoor soccer matches organised by the Association as part of the annual "Dimitria" celebrations called DIMITRIA CUP, starting from 1997 and beyond. It is not know exactly when was the last time the tournament was held. Historical significance for the purposes it was used by Thessaloniki Association "The White Tower", in tournaments, indoor and outdoor soccer competitions at the DIMITRIA CUP, which was done through co-operation of Thessaloniki Association and Pan-Macedonian AssociationNavy blue polyester soccer shorts with white string around waist and side inscription. Part "B" of a two piece soccer uniform.soccer, shorts, greek, dimitria, matches, team, plutarch, cup

This replica ship was modelled to exact scale by Denis Paraskevatos with the original basic kit enhanced by a large number of brass and mahogany wooden parts used and showing on two labels positioned at the base of the model. These replica parts were specifically designed and constructed by D. Paraskevatos with the help of his family. This model along a large number of others have been displayed at the Victorian Parliament for ten days from the 18th March 2002 (Queens Hall) to the 28th March 2002, and the Melbourne Town Hall from 19th to 27th August 2004. The history of the 65 meter British vessel named Cutty Sark is as follows: THE CUTTY SARK (history) The “Cutty Sark” was a British clipper ship, aptly named of course as a [clipper for its speed ], which was built in 1869 on the [river Clyde in Scotland ] by the Jock Willis Shipping Corporation. It was primarily used to transport tea from China to Great Britain, as well to a lesser extent later in its life, wool from Australia; however, with the advent of the steam engines and the creation also of the Suez Canal in 1869, its days of operation as a sailing vessel were numbered, as the steam ships were now prevailing as technologically advanced cargo carriers through the shorter route by the Suez Canal to China. In fact, within a few years of its operation, as its delegation in the tea industry was declining, it was assigned primarily the duty of transporting wool from Australia to England, but this activity was thwarted again by the steam ships, as they were enabled by their technologies to travel faster to Australia. Eventually, the “Cutty Sark” in 1895 was sold to a Portuguese company called “Ferreira and Co.”, where it continued to operate as a cargo ship until 1922, when it was purchased on that year by the retired sea captain Wilfred Dowman, who used it as a training ship in the town of Falmouth in Cornwall. After his death, the ship was conferred as a gesture of good will to the “Thames Nautical Training College” in Greenhithe in 1938, where it became an auxiliary cadet training ship, outliving its usefulness as a training vessel by 1954, and permanently [being dry docked in Greenwich, London, ] for public viewing. Of course, the “Cutty Sark” was not the only tea clipper constructed and owned by the Jock Willis Corporation, as there were others who were also used for the transportation of tea from China to Great Britain. Noteworthy additionally in its impressive resume is the fact that, the “Cutty Sark” was not only valued and admired for its speed, but also for its prestige that it afforded to its owners, [as media coverage was insatiable during a tea race that was regarded a national sporting event, with fiscal bets being placed on a predicted winning ship ]. Disappointingly, even though the English tea clippers were the best in the world at the time in terms of marine design, they had never won a tea race, and Jock Willis was certainly determined to achieve this goal, as the American clippers were considered the fastest in the tea trade. Nonetheless, the British clippers were proven to be formidable opponents to their American counterparts in the tea trade, when in 1868 a British tea clipper called [“Thermopylae”, managed to travel from the port of London to Melbourne, in only sixty one (61) days, which Jock Willis was hoping to improve on such a feat with the “Cutty Sark” ] . Remarkably, the maximum speed that the “Cutty Sark” could achieve was 17.5 knots in spite of the challenges of the unpredictable winds, if any at times, and the high seas or ferocious storms. Interestingly, [the “Cutty Sark’s” greatest recorded achievement in distance in twenty four (24) hours was three hundred and sixty three (363) nautical miles ], which meant that it was averaging approximately fifteen (15) knots; much faster obviously than the recorded twenty four (24) hour distance of the “Thermopylae” which had accomplished three hundred and fifty (358) nautical miles. .... ______________ -*- Please read the complete history of the Cutty Sark vessel by Maria Paraskevatos in one of the attachments provided with this exhibit. This model along with a large number of others was constructed by the Master craftsman Denis Paraskevatos, in Melbourne and has a historic, artistic significance because of the time and artist efforts in construction.The English Cutty Sark replica model is a wooden replica scaled at 1:25. The wood is mahogany and it is normally displayed in a glass covered enclosure. It has three masts and it is the largest vessel of Denis Paraskevatos collectionCUTTY SARK LONDONreplica, ship, art, model, cutty, sark, greek, artist, paraskevatos, παρασκευάτος, πανομοιότυπο

These type of cigarette silks were included in WD & HO Wills cigarette packets to induce women in particular to take up smoking.|The Word 'Cartophilic?|It is believed that this unusual word was coined in the 1920s by Col. Bagnall, an Englishman, who was the father of the hobby of cigarette card and trade card collecting. It is thought to be a combination of a Latin word, 'carto' meaning 'card and the Greek word 'philic', meaning 'love'.- lover of cards. The term originally related to the collection of the two types mentioned, however, our Society has included postcards in the range of items collected by our members.|The Cigarette Card|The cigarette card began its evolution in the United States of America, in the early 1880s as a plain piece of cardboard used by tobacconists to protect the cigarettes which were sold in that era, not in packets, but loosely. A purchaser would buy his cigarettes then wrap them in paper around the small piece of cardboard, which acted as a stiffener. In fact, for many decades, cigarette cards were known as 'stiffeners' in the USA.|The card depicting 'The Marquis of Lome' is reputed to be the first known cigarette card issued. This is thought to have been in 1879. It did not take long for an enterprising entrepreneur to recognise the advertising potential of the cigarette card, and, very soon, the cards began displaying popular images, often in sets. This had the effect of youngsters, wishing to complete their sets, harassing their fathers to buy a specific brand of cigarettes. The kids who collected cards in the days when they were being issued in the cigarette packets, would hang around outside the local tobacconist's shop, pestering the men who had just bought a packet of cigarette, with the cry: 'can I have the cig can mister?'|It is a proven fact that, here in Australia during the 1930s, at least one set had one card deliberately withheld and issued very sparingly. This card is No. 86 (Mrs Jack Crawford) in the Carreras 'Turf Personality Series'. Thus, in a set of reasonably easy cards to get, this one card is a constant source of frustration for the collector, and as such, commands a premium when it comes to price. It is not hard to imagine the young collector nagging his to Dad to keep buying 'Turf' cigarettes to enable him to finish the set.|From small beginnings the cigarette card soon gave rise to a booming industry in itself. Artists and writers were|employed to produce the cards, which were miniature works of art and served as little encyclopaedia's for the children of the day. By the 1930s cards were being issued in the countless millions. It has been stated, in one book on the history of cards; that 450 million sets of a series produced and issued by the prolific issuer of cards in the United Kingdom, WD & HO Wills. As each set contained 50 cards you would need a calculator with a very long result window to see the answer to how many cards of that series were in circulation.|Australia's involvement would appear to have its beginnings with the English and American firms who shipped their tobacco products here and the cards of American Tobacco Company (ATC) are found in great numbers in early Australian collections; many featuring Australian subjects, e.g. 'Australian Parliament a 1901 issue. Earlier U.S. sets depicting Australians included Goodwin & Co's, so called. 'Australian Series' with cricketers and Australian Rules footballers who were on the sporting scene during the 1880s. The caption of one of theses cards reads:|'W.Hannysee. Captain Port Melbourne Football Club' which enables us to pinpoint the year of issue to either 1889 or 1890.|On the Australian scene the first local manufacturer who issued cards seems to have been The National Cigarette Company of Australia Proprietary Limited, whose 'Tally Ho' packets contained cards from a series of thirteen featuring the touring 'English Cricket Team 1897-8' Of the few Australian manufacturers who issued cards, only two companies issued more the two sets.|Undoubtedly the cards issued by the Melbourne firm Sniders & Abrahams (later Sniders & Abrahams Pty Ltd) are the 'jewels in the crown' of Australian card issues. They issued some thirty-three series, with numerous sub-series and allied issues such as metal badges, metal football shields, celluloid flags etc., which ensured that the hobbyist had a vast range from which to collect. Sporting themes – football, cricket, horse racing – dominate, indicating the Australians' love of sport and the outdoors was as strong in those earlier times as it is today. Military, animals and birds themes were also to the fore, with a touch of culture being provided by 'Shakespeare', 'Dickens', actresses and even classical 'Statuary'. Humour was not forgotten with 'Cartoons and Caricatures', 'Naval and Cricket (double meaning) Terms' and the 'Jokes' series. Art and history were covered by the artist, S.T. Gill's 'Views of Victoria in 1857' while the stereoscopic 'Views of the World' expanded the collectors' knowledge of the world as a whole.|The Sniders & Abrahams series began in 1904 and by 1919 the company was in decline and was eventually taken over by G.G. Goode & Co. Ltd. This company produced one set only, the highly collectable 'Prominent Cricketer Series' issued in 1924. During the early to mid-1920s, J.J. Schuh Tobacco Pty Ltd issued eight series, again containing the popular subjects of sport and war. At least two provincial tobacconists, Lentens of Bendigo and Baillies of Warrnambool, issued private football series. The last series of cards issued by a truly Australian firm was Dudgeon & Arnell's '1934 Australian Cricket Team'.|The Australian market was not neglected by the English companies with WD & HO Wills, Godfrey Phillips and Ogdens all making their contributions. By far the most active issuer was the long-established company Wills, whose 'Cricketers' of 1901 heralded the flood of Australian series, which continued into the mid-thirties.|The onset of the 1939-45 World War sounded the death knell of the cigarette card and very few post-war issues were made, certainly not here in Australia.|The Trade Card|The Trade Card is a non-tobacco item used by manufacturers to promote and advertise their products, in the same way that cigarette cards were. It is uncertain exactly when they were first produced, but in the USA, non-collectable cards were issued by firms in the early 1800s. These were more akin to a latter day 'business card'. It was not until the 1850s, when coloured and pictorial cards were issued to advertise and promote products that the Trade Card|became a collectable item. Many beautiful lithographic cards were produced in this early era and they are very mu sought after by collectors. By the 1870s the issues of Trade Cards became more prolific and it is from this era that more cards are seen.|Again, it is difficult to pinpoint the exact date of the first Australian Trade Card and it may be that the highly collectable and extremely rare 'American Candy Co's' - 'Pure Caramels' Australian Rules football card, issued i 1891, is the earliest series. This confectionery firm was located in Fitzroy, a Melbourne suburb. To date only two subjects have been seen.|Another early set was 'Flags', issued by F.H.Fauldings & Co. It featured testimonials of seven English cricketers who toured Australia with the 1894/5 Test team. Fauldings was an Adelaide based firm which manufactured medicinal toiletries, soaps and oils, using the distinctly Australian eucalyptus oil. During the 20th century a multitude of Australian businesses issued trade cards, with confectionery manufacturers such as Hoadleys, Allens, Sweetacres and Australian Licorice producing the majority of them. Again sporting themes dominated with the ever popular Aussie Rules football cards being the most numerous. Cricket issues ran a close second.|Apart from sporting cards, almost every subject imaginable was covered by the Trade Card, making it the most diverse and interesting branch of cartophilly. In contrast to the Cigarette Card, which had its demise prior to the Second World War, the Trade Card is still alive and well.|We all are aware of the long running 'Birds of Australasia' series put out by Tuck-fields Tea and 1 doubt if there is a kitchen drawer in Australia that has not got one or two of these informative and attractive cards floating about in it. These cards were first produced in the early 1960s and are still being inserted in that company's packets of tea. Such is also the case with Sanitarium Health Foods, manufacturers of the well known Weetbix, who began issuing cards, with a wide range of subjects, in the early 1940s and continue to do so.|The 1940s and 1950s saw the two breakfast food giants, Kornies and Weeties dominating the card scene. Kornies footballers were in production fora decade from 1948 to 1959. Four years later in 1963, we saw the start of four decades of Scanlens bubble-gum card issues, both football and cricket. In the mid 1990s, with the end of the Scanlens/Stimorol cards, the Trading Card came on the scene. These cards do not fit under the umbrella of the Trade Card, having been produced and marketed purely as a 'collectable' with no connection whatsoever to any product, which of course is necessary for an item to be classified as a Trade Card.|The earliest British postcard was issued in 1870 and was designed to send short messages; the stamp was printed on the card, therefore it did not require an envelope. It was considered by many to be lowering the postal standards because the texts were no longer private. However the cards were a great success as on the first day of issue in 1870, half a million passed through the London postal centre.|The first illustrated postcards are said to be those introduced by a French stationer in 1870. He realized that French troops fighting in the Franco-Prussian War needed to be able to send short messages to their families and designed a 'postcard' to suit the purpose. As many of the soldiers were illiterate they decorated their cards with sketches of their many activities at the front rather than writing; thus creating a picture postcard. Private enterprise soon saw the great financial possibilities of this new easy and attractive way of communication by post; also sending a postcard cost less than postage for letters. It was correctly assumed that postcards were likely to overtake letter writing in many instances.|Between 1875 and 1882 every state in Australia introduced official postcards, N.S.W. first and Tasmania last. Each state produced a simple type of postcard with a pre printed stamp allied to that state. The stamp side stated 'The Address Only To Be Written On This Side'; the reverse side sometimes carried a simple illustration or decoration with space fora short message, each state extolling their own state's virtues. In 1901, with the advent of Federation, the new Government became responsible for all postal services in Australia and produced postcards for sale in every state. With several mail deliveries each day in most towns, postcards were used for many purposes. One 1906 postcard, with an illustration of fruit, was sent from Mrs X in the morning to her greengrocer ordering her fruit and vegetables to be delivered that afternoon. Another lady asks her charlady to 'come this afternoon'.|Australian private enterprise also began selling pictorial postcards, most companies using the very experienced German printing works who were the worlds best in the field of lithography and fine detailed colour-printing. Many of these beautiful German cards still exist today, 100 years later. Australia did have a few fine printers but they were in the minority. Black and white postcards printed in Australia in the early 1900s were often of good quality e.g. postcards printed by 'The Bulletin', illustrating the works of 'The Bulletins' top artists.|Between c1903-09 The Melbourne company Osboldstone and Atkins etc. printed coloured reproductions of 46 J.A. Turner bush/rural life paintings, which were generally of good quality and became hugely popular and still sought after today. Like thousands of homes in Europe, Britain and U.S.A., many Australia homes had albums of cherished postcards, which were given pride of place for visitors to see and enjoy.|Postcard collecting remained popular but was changing with the times. About 1912 the Australian photographer George Rose of Melbourne began to produce topographical B/W real photographic postcards covering most of Australia and other photographers began to do likewise. These cards soon found their way into collections as well.|WWI and the horrors of war suddenly changed the world; postcards were still in great demand but the subject matter was far more serious. Thousands of postcards from the trenches in European war zones arrived in Australia to be included in family albums. Propaganda and recruitment messages were produced to encourage enlistment. Australian postcard producers began to create cards decorated with gum leaves, boomerangs, wattle etc., which were designed for sending to Australian troops serving overseas. Very few 'pretty' cards were available, as access to the Gentian printing works was no longer possible and exporting of postcards from Britain was very limited. By the end of WWI people had other more serious problems to contend with and the avid postcard collecting hobby declined, fold greetings took over and topographical photographic postcards became a small but steady income for the producers and newsagents etc. in every town.|Fortunately many of these old postcards still exist and are avidly collected by a new generation or postcard collectors. The Australian Cartophilic Society Inc. is one of four postcard/cigarette card organizations in Australia. They are, N.S.W. Post Card Collectors Society; Queensland Card Collectors' Society Inc. and West Australian Card Collectors|Society, and across the Tasman there is a New Zealand Postcard Society.|References:|Picture Postcards of the Golden Age A Collector's Guide by Toni & Valmai Holt. Picture Postcards in Australia 1898 - 1920 by David CookBox of Cigarette Silks ( 10 ) depicting animal motifs, which were placed in cigarette packets as an incentive for women in particular to smoke.|WD & HO Wills|Produced 1911 - 1917personal effects, smoking accessories, recreations, collections

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

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

Map of the World as it was during World War One. map of the world, world war one, france, spain, england, ireland, germany, austria-hungary, rumania, servia, albania, greece, bulgaria, russia, asia minor, turkey, egypt, tripoli, morocco, algeria, tunis

An image from the Herbert Richmond collection, gifted in 1982 to the Ballarat Library. The collection contains approximately 200 photographs of Ballarat and district in the 1940s, 50s and 60s, as well as photo albums, glass negatives and other memorabilia. Herb Richmond was a keen photographer, a foundation member and a life member of the Ballarat Camera Club, and a photographer with the Ballarat Courier during the 1940s. The Ballarat Camera Club named an annual award after him. Mr Richmond died in 1981 aged 79. These images were digitally re-photographed by members of the Ballarat Camera Club in September 2006. Erected 1872-74, this building now houses The Lost Ones Gallery.freemasons, camp st, ballarat, greek revival

medals, ballarat rsl, ballarat

A book titled ' The Life of Homer. The Poet of the Heroic World.' Published London: Ward, Lock & Co., Salisbury Square, E.C. 753 - 768 pgs. This booklet is one of a series of 53 ' Ward & Lock's Penny Books for the People.' ' Biographical Series.' Price one penny. There are also advertisements of note.books, biography, homer, lydia chancellor, collection, the life of homer, shakespeare, william shakespeare, ward & lock's penny books for the people, ward & lock's penny historical series, penny books, biographical series, poetry, literature, the illiad, the odyssey, greek legends, greece - history, famous people, male, advertisements, ward, lock & co. biographical sketches, ward, lock & co. biographical series

judith wharington, orpheus, echo, river, landscape, greek mythology

A wooden four panel Russian Orthodox icon, c.1800s, with two images of the Virgin Mary, one icon of the Holy Belt and one icon of an unknown saintUnknownicon, russian art, orthodox spirituality, virgin mary

news paper clipping. The Age newspaper from page A11'Editorial Page A11. 13/13/96"parks and reserves, hospital, greek community, people in political roles

Newspaper excerpt from The Sunday Age. Page 5 and a smaller introduction probably from the front page. Smaller excerpt colour photo of blue-stone and cast-iron wall which was to be demolished. Larger excerpt, a black and white aerial view of QVWC and the block where it is situated. building construction, building permits, historic building

Four photos on a page from an albumww1, world war 1, a.i.f, lemnos, gaba tepe, kabatepe, anzac cove, greece, natives, greek islands, 1915

Four photos on a page from an albumww1, world war 1, a.i.f, imbros island, greece, children, bivouac, anzac, 1915

This rug sample was woven at the National Wool Museum on the 1910 gripper type Axminster Jacquard carpet loom. The rug is made from 80% wool and 20% nylon, the internationally preferred blend for high quality, long lasting carpets.Orange, cream, green, red and black patterned carpet with jute backing.back: [handwritten] 2/57axminster loom, carpet, sample, rug, wool, national wool museum, brinton's