A small black and white photograph labelled our new home, 134 Sydney road. On the back: wishing you a very happy new year, from us all in this new home.place, house, sydney road

A black and white photo of a house. Date and location unknown. on the back in pencil a description of the various rooms plus a note Auntie Winslade and Uncle Edgar's rooms at the back. Also a message: Dear Dorothy I wish you could come in at the front door and join us at tea in the sitting room.buildings, house, unkown

A black and white postcard depicting a house, an old man is sitting on a chair in the front garden. Date and location unknown. On the back Wishing dear Elena (?) a very happy Christmas.buildings, house, unkown

Bendigo Advertiser "The way we were" from 2004. From the front: titled somewhere in France and dated November 14, 1916, this postcard was sent from Bert Burgess to his mate Herb Watson and brought in by Bert's son Alex, of Bendigo. "What do you think of the cheeky kid now?", Bert wrote. "Looks a bit weary and dangerous, doesn't he, but he is well and hopes that you are all the same. I say, what about a few lines, Herb, as it's a long time since I heard from you. Had a good fruit return this season, Herb. See you've had a dose of rain this year. Hear from Fred pretty regular. Wishing you a Merry Xmas and a Happy New Year. With best wishes to all, from the same old Bert Burgess".newspaper, bendigo advertiser, the way we were

This postcard was sent to Australia by a member of the AIF serving in France. Photograph of an embroidered card sent from the Western Front during World War One from Ewan Grant of Beulah to his sister Jess who married Jessie who married Donald Wright. 7.6.17 Dear Jess, Just a card leting [sic] you know that I am well, + hope you + Don + the children are the same. I almost forgot when your Birthday is, ut, I have an idea that its in July sometime, so I will wish you many happy returns of the day in case I am right. I sent you a photo I hope you get it all right. It is not very good bu I spose it will so. I remain your aff. Bro. Ewanworld war, world war one, embroidered card, ewan grant, jessie grant, jessie wright, don wright, donald wright, beulah, mmm

"The fine structure of St. Peter's, with its prettily-decorated interior, which holds crowded congregations at Holy Mass on Sundays, is alone an eloquent testimony of the piety and devotion which permeates the whole parish. Attached to the church is a circulating library, and Catholic papers and other literature are distributed at the church door. Branches of the H.A.C.B. Society and Catholic Federation are doing much good work. (Melbourne Advocate, 17 January 1914) "OPENING AND CONSECRATION OF THE NEW CATHOLIC CHURCH OF ST. PETER’S, DAYLESFORD Cross on St. Peter'sNotwithstanding the inclemency of the weather, the opening of the new Catholic Church of St. Peter’s, yesterday (Sunday), attracted a crowded congregation. Although the rain, which has poured almost incessantly for some days past, had left our roads and streets in the condition for which Daylesford is celebrated in winter weather, and although he storm and rain seemed to increase as the hour announced for the ceremonies approached, the church was filled by a large congregation, comprising all sects and denominations of Christians in and around the district. The beautiful edifice, erected mainly through the zeal, liberality and energy of the respected pastor, presented a most imposing appearance, and reflects infinite credit upon the Rev. Mr. Slattery, and the flock committed to his charge. The church was commenced in November 1863 and has been in the hands of the workmen up to the present time, work being uninterruptedly carried on. On commencing the foundations, it was necessary to excavate until solid clay was reached, which in consequence of the deep rich chocolate soil on the site of the building, had to be carried down to an average depth of 6 feet 6 inches. The foundations were laid with massive stones in courses of 12-inch, and four feet thick, reducing to 3 feet below the floor line. The style of the building is decorated Gothic, and consists of a nave, 80 feet by 30 feet in the clear, and a chancel 18 feet high; from floor line to apex of roof, 47 feet, which is elegantly constructed, consisting of six spans or frames with puncheons resting on carved corbels, low down between the windows. The north side consists of a handsome entrance, near the north-west angle, approached by nine steps of cut stone, and four bays of windows on nave, and a small door on side of chancel, intended as an entry from the sacristy. The south side presents a very handsome view to Victoria street, a beautiful porch entrance giving access to the building on the south-east end of nave; and on the south-west angle a handsome octagonal spire, terminating in an iron cross, with gilt floriations; the height of top of cross, from floor line, is 88 feet. A stone stairs gives access to the organ gallery and the belfry. The whole of the windows are of a handsome geometrical design, and carved in stone, with mullions and tracery, and glazed with amber-tinted glass, the chancel window being 15 feet high, and 8 feet wide. The chancel arch is unusually large, 27 feet St. Peter's interiorhigh and 18 feet wide, and handsomely moulded, and presents a fine appearance from the body of the church. The roof is stained a rich oak, with heavy cornice, and all the walls are smoothly plastered, and colored peach color, giving the amber-tinted glass a beautiful soft cathedral appearance to the interior. The altar is of a very chaste design, the panels being moulded with Gothic heads, and finished in white and gold; the altar rail was not completed, but is intended to be of polished cedar, with carved pillars. The interior fittings will be proceeded with immediately, and to complete the design, an organ gallery, with sittings for about 100 persons besides the choir, will be constructed on the west end. It is intended also to place pillar gaslights on each side of the main entrance, for lighting during vespers in winter. The style of architecture has been strictly carried out, and in the best and most substantial manner. The building has been erected under the superintendence of the architect Mr. John Townsend Brophy, a member of the congregation, and who has discharged his duty with great ability and care. The hour of half-past eleven has scarcely passed when from the sacristy entered His Lordship the Right Rev. Dr. Gould, Bishop of Melbourne, preceded by the Very Rev. Dean Hayes (Sandhurst), the Rev. P. J. Slattery, and a number of boys dressed in white surplices. The Right Reverend Prelate proceeded to the foot of the altar, the Very Rev. the Dean on his right, and the Rev. P. J. Slattery on the left. The prayers usual upon the occasion were read by the Bishop. A procession was then formed, and went around the church in the following order. Several youths bearing wax candles first, next the Very Rev. the Dean, then the Bishop and his train bearers, and following were the Rev. Mr. Slattery and acolytes. Having returned to the altar in the same order, the Deacon (Dean Hayes) and Sub-Deacon (Rev. P. J. Slattery) proceeded to robe his Lordship, who had taken his seat at the epistle side of the altar, for the solemn High Mass, at appropriate times wearing his mitre and bearing his crozier. The mass, which was chanted by the Bishop with touching simplicity and earnestness, was then commenced. The choir, under the direction of Mr. Meunsch, organist, was full and most effective. Mrs. Testar, of Melbourne, having generously offered her valuable services, took the leading soprano solos, and it is scarcely necessary to add, rendered them with exquisite taste and feeling – her beautiful voice being heard with great effect throughout the entire building. The choir consisted of the following ladies and gentlemen who volunteered to aid in the ceremonies upon this most interesting occasion. Ladies: Mrs. Tresar, soprano; Mrs. J.J. McCormick, alto; Miss Julia Conry, soprano; Mrs. Vincent, soprano; Mrs. Aitken, soprano. Gentlemen: H. Guthiel, tenor; Master John Murphy, tenor; James Knox, bass; J. M. Murphy, bass; Mr. Staunton, baritone; Mr. Sourby, alto; Mr. Short, bass. The chant, “Let us adore,” during the procession, was given by Mrs. Vincent with considerable power. The selection of the “Imperial Mass” (Haydn’s No. 3) was felicitous, and the highly artistic and finished manner in which the different parts were sustained, demonstrated that great and persevering care must have been bestowed on the preparation for “the opening day.” The “Kyrie” was given with the full strength and power of the choir. The swelling of the voices in complete harmony, and the pealing of the organ in the midst of incense and prayer, produced a most marked effect upon the congregation. In the “Gloria,” the solos of Mrs. Testar were really beautiful and Mrs. McCormick rendered the alto solos with considerable merit. Mr. Knox sang the part commencing with the words “Qui tolles” with much taste and power. The “Credo” than which we believe there is not a more magnificent piece of sacred music extant, was most successful in its rendering, nor do we ever remember to have heard anything more touching than the manner in which the line “Vetam Venturi in Seculi,” was given by Mrs. Testar. The offertory hymn “Come unto Me all ye that labor,” was given by Mrs. Testar with the most thrilling effect. The “Sanctus” having been sung, in which Mr. Sourby ably rendered an alto solo, the “Agnus Dei” was commenced with a solo by Mrs. McCormick and was given with great taste and feeling, Mrs. Testar, at the conclusion of the “Agnus,” taking up the soprano part. Mass being concluded, the Very Reverend Dean Hayes ascended the altar and proceeded to preach the opening sermon, taking as his text Second Paralipomenon [Chronicles II], 7th chapter and 16th verse – “For I have chosen and have sanctified this place that My hand may be there for ever, and My eyes and My heart may remain there perpetually.” St Peter's manseAt the close of the sermon a collection was made by the very reverend preacher, assisted by John Egan, Esq., Corinella, on behalf of the church, and about fifty pounds were contributed. When it is remembered that 500 tickets had been issues at 10s each, and the inclemency of the weather taken into consideration, the collection may be regarded as a large one. Benediction was sung by the Rev. P. J. Slattery, assisted by Dean Hayes, the choir singing the “O! Salutaris Hostia” and “Laudate.” Handel’s Hallelujah Chorus was sung at the termination of the ceremonies. The vestments issued at Benediction, as well as at the Mass, were of the most gorgeous and beautiful character. When the Benediction was over, the Rev. P. J. Slattery, standing at the front of the altar said– “I wish to say one or two words before the congregation leave. I feel most deeply indebted to all of you who have attended here today for the honor and glory of God, not withstanding the difficulties you had to encounter from this most inclement season. I am truly delighted at such a manifestation of feeling, and will not easily forget it.” The rev. gentleman having disrobed, thanked the members of the choir for their kindness in assisting at the ceremonies, and more especially Mrs. Testar, who had braved all the storm and rain to be present at, and give the advantage of her great musical abilities on, the “opening day.” (Daylesford Mercury, 15 May 1865.)A number of photographs of St Peter's Catholic Church, Daylesford, taken at the 150th anniversary celebration. st peter's catholic church daylesford, decoration, altar decoration, anniversary, daylesford, religion, painting, interior, slattery, gough, d'alton, mcmahon

black and white postcard, unmounted, original, fair conditionOn back: April 29th 1905 Dear Flo Wishing you many happy returns of the day. Hoping you are all well. Harold is keeping better just now but can't get rid of his cold. With love to all hoping to hear ??? Mrs Williams Kalinan The Grove, Moreland? Victoria

The Flight from Pompeii was designed by Professor Carlo Benzoni and carved by Charles Francis Summers, one of five white marble statues housed in the Statuary Pavilion, Ballarat Botanical Gardens.The Pavilion and its statues were unveiled in 1888 by Premier Duncan Gillies, a former colleague of James Russell Thompson whose bequest to the City enabled the purchase, in Italy, of the statues. The Flight from Pompeii and the four accompanying statues are housed in the Statuary Pavilion in the Ballarat Botanical Gardens. The Flight from Pompeii, in the centre, was designed by Professor Carlo Benzoni and carved by Charles Francis Summers while the four accompanying statues were all designed and carved by Charles Francis Summers. The octagonal Pavilion was specially designed by T.E. Molloy in 1887 to house the statuary. The five statues and Pavilion are believed to be unique in Australia. The Flight from Pompeii, Modesty, Rebekah, Ruth and Susannah are aesthetically significant as they are a group of statues, which are a fine example of the design of Professor G.M. Benzoni [Flight from Pompeii] and the design and carving of Charles Francis Summers. The carving of the Flight from Pompeii is both sensitive and finely done and both the design and carving of Modesty, Rebekah, Ruth and Susannah is sensitive and delicate with great attention to detail. The group is historically important as it epitomises the 'beautification' of the city in the 1880s by men who made their money from gold and who wished to give to the city money for projects such the statuary Pavilion and its contents. The Flight from Pompeii group is located in the Botanical Gardens, which were then also being developed in the Victorian style. This also illustrates the social feeling of the time in which the wealthy had made their money and were wanting to develop in a most substantial way, as well as to 'beautify' the city in which they lived. The Pavilion, designed by the major Ballarat architect T.E. Molloy, is unusual for its top-lit central lantern and curved roofs. The statues are seen to their best advantage because of the provision of all-round and top natural lighting. Classified: 03/03/2003 Victorian Heritage Database.White marble statue of a male, female and baby (family) in flight.The Flight From Pompeii by Charles Summersflight, pompeii, benzoni, summers

Ruth was designed and carved by Charles Francis Summers, one of five white marble statues housed in the Statuary Pavilion, Ballarat Botanical Gardens. The Pavilion and its statues were unveiled in 1888 by Premier Duncan Gillies, a former colleague of James Russell Thompson whose bequest to the City enabled the purchase, in Italy, of the statues. The Flight from Pompeii and the four accompanying statues are housed in the Statuary Pavilion in the Ballarat Botanical Gardens. The Flight from Pompeii, in the centre, was designed by Professor Carlo Benzoni and carved by Charles Francis Summers while the four accompanying statues were all designed and carved by Charles Francis Summers. The octagonal Pavilion was specially designed by T.E. Molloy in 1887 to house the statuary. The five statues and Pavilion are believed to be unique in Australia. The Flight from Pompeii, Modesty, Rebekah, Ruth and Susannah are aesthetically significant as they are a group of statues, which are a fine example of the design of Professor G.M. Benzoni [Flight from Pompeii] and the design and carving of Charles Francis Summers. The carving of the Flight from Pompeii is both sensitive and finely done and both the design and carving of Modesty, Rebekah, Ruth and Susannah is sensitive and delicate with great attention to detail. The group is historically important as it epitomises the 'beautification' of the city in the 1880s by men who made their money from gold and who wished to give to the city money for projects such the statuary Pavilion and its contents. The Flight from Pompeii group is located in the Botanical Gardens, which were then also being developed in the Victorian style. This also illustrates the social feeling of the time in which the wealthy had made their money and were wanting to develop in a most substantial way, as well as to 'beautify' the city in which they lived. The Pavilion, designed by the major Ballarat architect T.E. Molloy, is unusual for its top-lit central lantern and curved roofs. The statues are seen to their best advantage because of the provision of all-round and top natural lighting. Classified: 03/03/2003 Victorian Heritage Database. the artwork is of historic and aesthetic significance to the people of BallaratWhite marble statue, Ruth is in a seated position with a loosely draped dress.Ruthruth

Rebekah was designed and carved by Charles Francis Summers, one of five white marble statues housed in the Statuary Pavilion, Ballarat Botanical Gardens.The Pavilion and its statues were unveiled in 1888 by Premier Duncan Gillies, a former colleague of James Russell Thompson whose bequest to the City enabled the purchase, in Italy, of the statues. The Flight from Pompeii and the four accompanying statues are housed in the Statuary Pavilion in the Ballarat Botanical Gardens. The Flight from Pompeii, in the centre, was designed by Professor Carlo Benzoni and carved by Charles Francis Summers while the four accompanying statues were all designed and carved by Charles Francis Summers. The octagonal Pavilion was specially designed by T.E. Molloy in 1887 to house the statuary. The five statues and Pavilion are believed to be unique in Australia. The Flight from Pompeii, Modesty, Rebekah, Ruth and Susannah are aesthetically significant as they are a group of statues, which are a fine example of the design of Professor G.M. Benzoni [Flight from Pompeii] and the design and carving of Charles Francis Summers. The carving of the Flight from Pompeii is both sensitive and finely done and both the design and carving of Modesty, Rebekah, Ruth and Susannah is sensitive and delicate with great attention to detail. The group is historically important as it epitomises the 'beautification' of the city in the 1880s by men who made their money from gold and who wished to give to the city money for projects such the statuary Pavilion and its contents. The Flight from Pompeii group is located in the Botanical Gardens, which were then also being developed in the Victorian style. This also illustrates the social feeling of the time in which the wealthy had made their money and were wanting to develop in a most substantial way, as well as to 'beautify' the city in which they lived. The Pavilion, designed by the major Ballarat architect T.E. Molloy, is unusual for its top-lit central lantern and curved roofs. The statues are seen to their best advantage because of the provision of all-round and top natural lighting. Classified: 03/03/2003 Victorian Heritage Database. White marble statue of a woman standing with left arm raised to her head and draped in cloth to form a robe tied at the front.Rebekah

Modesty was designed and carved by Charles Francis Summers, one of five white marble statues housed in the Statuary Pavilion, Ballarat Botanical Gardens. The Pavilion and its statues were unveiled in 1888 by Premier Duncan Gillies, a former colleague of James Russell Thompson whose bequest to the City enabled the purchase, in Italy, of the statues. The Flight from Pompeii and the four accompanying statues are housed in the Statuary Pavilion in the Ballarat Botanical Gardens. The Flight from Pompeii, in the centre, was designed by Professor Carlo Benzoni and carved by Charles Francis Summers while the four accompanying statues were all designed and carved by Charles Francis Summers. The octagonal Pavilion was specially designed by T.E. Molloy in 1887 to house the statuary. The five statues and Pavilion are believed to be unique in Australia. The Flight from Pompeii, Modesty, Rebekah, Ruth and Susannah are aesthetically significant as they are a group of statues, which are a fine example of the design of Professor G.M. Benzoni [Flight from Pompeii] and the design and carving of Charles Francis Summers. The carving of the Flight from Pompeii is both sensitive and finely done and both the design and carving of Modesty, Rebekah, Ruth and Susannah is sensitive and delicate with great attention to detail. The group is historically important as it epitomises the 'beautification' of the city in the 1880s by men who made their money from gold and who wished to give to the city money for projects such the statuary Pavilion and its contents. The Flight from Pompeii group is located in the Botanical Gardens, which were then also being developed in the Victorian style. This also illustrates the social feeling of the time in which the wealthy had made their money and were wanting to develop in a most substantial way, as well as to 'beautify' the city in which they lived. The Pavilion, designed by the major Ballarat architect T.E. Molloy, is unusual for its top-lit central lantern and curved roofs. The statues are seen to their best advantage because of the provision of all-round and top natural lighting. Classified: 03/03/2003 Victorian Heritage Database. The artwork is of historic and aesthetic significance to the people of BallaratWhite marble statue, Modesty standing with right arm folded over chest, robed and with veil over face.Modestymodesty

Susannah designed and carved by Charles Francis Summers and accompanies four statues in the Statuary Pavilion in the Ballarat Botanical Gardens. The Pavilion and its statues were unveiled in 1888 by Premier Duncan Gillies, a former colleague of James Russell Thompson whose bequest to the City enabled the purchase, in Italy, of the statues. The Flight from Pompeii and the four accompanying statues are housed in the Statuary Pavilion in the Ballarat Botanical Gardens. The Flight from Pompeii, in the centre, was designed by Professor Carlo Benzoni and carved by Charles Francis Summers while the four accompanying statues were all designed and carved by Charles Francis Summers. The octagonal Pavilion was specially designed by T.E. Molloy in 1887 to house the statuary. The five statues and Pavilion are believed to be unique in Australia. The Flight from Pompeii, Modesty, Rebekah, Ruth and Susannah are aesthetically significant as they are a group of statues, which are a fine example of the design of Professor G.M. Benzoni [Flight from Pompeii] and the design and carving of Charles Francis Summers. The carving of the Flight from Pompeii is both sensitive and finely done and both the design and carving of Modesty, Rebekah, Ruth and Susannah is sensitive and delicate with great attention to detail. The group is historically important as it epitomises the 'beautification' of the city in the 1880s by men who made their money from gold and who wished to give to the city money for projects such the statuary Pavilion and its contents. The Flight from Pompeii group is located in the Botanical Gardens, which were then also being developed in the Victorian style. This also illustrates the social feeling of the time in which the wealthy had made their money and were wanting to develop in a most substantial way, as well as to 'beautify' the city in which they lived. The Pavilion, designed by the major Ballarat architect T.E. Molloy, is unusual for its top-lit central lantern and curved roofs. The statues are seen to their best advantage because of the provision of all-round and top natural lighting. Classified: 03/03/2003 Victorian Heritage Database.The artwork is of historic and aesthetic significance to the people of Ballarat White marble statue, female seated with cloth draped over lower body.Susannahsusannah, summers

Postcard from WWI soldier William West (1268) of the 29 Infantry Battalion, 5th Pioneers Battalion while posted in France to his family at home.Embroidered silk postcards were first made in 1900 for the Paris Exposition. The popularity of silk postcards peaked during the First World War 1914 - 1918.They were mostly embroidered by French women in their homes and then sent to the factories for cutting and mounting on cards. Many of the cards were illustrated with patriotic symbols, flags, slogans, or sentimental texts. During the First World War, many Allied officers and soldiers based in France sent silk embroidered postcards to their loved ones back homeWhite rectangular postcard with embroidered yellow rising sun, crown, banner and foliate decoration. Handwritten message on backFront: "FROM 5TH PIONEER BATTALION FRANCE" "KEEP SMILING" (embroidered) Back: "To Enid best love from Dad xxxxxx / France June 28/6/1917" "My Dear Mary / just a pc to let you know I'm still well and hope you are all the same I have not seen Joe yet is is still warm over here yet we have been out shooting to day I feel tired. I wish it was all over I full up of it. I seen Dexter the other night he is looking well on it ?? I'm beginning to think it is never going to end well this all at present love Will love from your loving husband xxx / xxxx " wwi, postcard, embroidered postcard, carte postale

Postcard from WWI soldier William West (1268) of the 29 Infantry Battalion, 5th Pioneers Battalion while posted in Egypt to his family at home.Embroidered silk postcards were first made in 1900 for the Paris Exposition. The popularity of silk postcards peaked during the First World War 1914 - 1918.They were mostly embroidered by French women in their homes and then sent to the factories for cutting and mounting on cards. Many of the cards were illustrated with patriotic symbols, flags, slogans, or sentimental texts. During the First World War, many Allied officers and soldiers based in France sent silk embroidered postcards to their loved ones back homeWhite rectangular postcard with embroidered foliate and flowers bordering a message. Handwritten message on back.Front: "Remind / France" (embroidered) Back: "1268 2 of 5 Pioneers Battalion" "Egypt / May 28 1916" "My dear Alice just a PC to let you know I'm well and hope you are all the same I got a letter from you yesterday and Enid PC but I have not got the money yet did you ??? if you need not send enny more till I send for it well I have not seen joe since you say you are goin gto town for a trip it will not hurt you i wish I was going to will my eyes are a bit weak yet it is the sand and flys. well this is all at present. Best love to all from your loving husband Will xxxxx"wwi, postcard, embroidered postcard, carte postale

SEND TO MISS McGOWAN FROM MISS E.A. MATHEWS. 1910.1 POSTCARD OF INTERIOR OF ST. PAUL'S ANGLICAN CHURCH, CLUNES. - HARVEST FESTIVAL .2 A PHOTOCOPY OF THE P0STCARDST. PAULS CLUNES. ON A POSTCARD: MARCH 25TH 1910 DEAR MISS MCGOWAN. I RECEIVED YOUR PRETTY POSTCARD FOR WHICH MANY THANKS. IT CAME ON A VERY HOT DAY, AND I WAS WISHING I COULD HAVE BEEN NEAR THAT WATER. THIS IS THE LATEST PHOTO OF THE INTERIOR OF OUR CHURCH DECORATED FOR THE HARVEST FESTIVAL. WE ALL ARE QUITE WELL, WITH LOVE FROM MY SISTER AND SELF. YOURS SINCERELY E.A.MATTHEWSlocal history, document, postcard, churches - st. pauls anglican

This traditional wagga blanket was made by Mrs Eileen Pattle between 1942 and 1950. The wagga was used as everyday bedding, as Eileen and her husband had very few possessions. They boarded with a man who they called “Old Harry” in Footscray. Old Harry had recently lost his wife and looked after the young couple well. They could stay with him and use his house as their own, and all that Old Harry asked for in return was for Eileen to cook him one good meal a day. The blanket was given to Mrs Beverley (Bev) Maguire, the daughter of Eileen, when she and her husband went camping one winter. Her husband was a “mad” fisherman and on one trip on which Bev joined him, her father offered the couple his old tent, that had a wall missing, and the wagga. The wagga was much appreciated as when the couple woke in the countryside, it was freezing, and they could see snow through the missing tent wall. From then on, the tent and the wagga were theirs. The wagga saw many more camping trips until the arrival of Bev’s “lovely new lightweight and down filled sleeping bag”. The wagga was made with a “make do, waste not, want not” attitude. The wagga started as an army issued blanket. The front layer has clothing and panels of mismatched material which has been added to over time. This includes an overcoat, two knitted garments, a panel from a skirt, and a panel from Old Harry’s Trousers. It also includes a man’s sleeveless knitted vest, and a knitted pram blanket. This is all stitched together with string, and the odd button. Bev said she would love to unpick the quilt to see what else is hiding inside but has resisted the urge to do so. All these layers have made the blanket incredibly warm, and heavy. The wagga has been within Bev’s family since creation and comes into the National Wool Museum Collection after serving the family well. It was used to keep everyone warm when not camping over many a winter’s night. Beverley is now getting on in years and donated the Wagga to the National Wool Museum in 2021. Her family referred to the wagga as a “collection of rags”, indicating to her that they did not wish to inherit the blanket. The wagga started as an army issue blanket. It has been made by stitching the khaki army blanket onto a hessian rear. The front layer has clothing and panels of mismatched material. This includes an overcoat, two knitted garments, a panel from a skirt, and a panel from Old Harry’s Trousers. It also includes a man’s sleeveless knitted vest, and a knitted pram blanket. This is all stitched together with string, and the odd button. It is thought that other materials are hiding within the layers of this wagga, however, uncovering these layers would involve unpicking the quilt. The wagga is 1360 x 1880mm, sized to suit a double bed. It is a heavy blanket, originating from all its panels of mismatched reused clothing. The wagga is well worn but has lasted almost 80 years. It has holes that have been lovingly re-stitched.wagga, quilt, upcycle

The large building left of centre is the Star Hotel. Two sides of Main Street on the eastern side of High Street are occupied by shops of David G HamiltonBlack and white postcard photograph of Rutherglen rooftops, probably taken from the roof of the Soldiers' Memorial Hall at the corner of Murray and High Streets.At bottom left of photo: "Rutherglen. 7." Written at top right of photo, with an arrow pointing to a house: "Our place". On back of card: "Rutherglen. April 4th 1918 [or 1910 - illeg.] | My dear Sister Marion, Mumma, Sadie, Florrie, Ruth & Mavis all join in wishing you Many Happy Returns of Your Birthday. We received Joan's letter today. Hope you are all well & that your arm is alright. Ruth is getting along nicely. Best love to all. Your affectionate Brother George."rutherglen, main street, high street, d g hamilton, star hotel

"ST. PETER'S DAYLESFORD. General Communion and Breakfast. On Sunday November 9, a general Communion of the men; of the parish will be held in St Peter's Church, Daylesford. A communion breakfast will subsequently take place." Melbourne Advocate, 30 October 1930. "General Communion and Breakfast, Daylesford War Memorial Protest by Rev. Dr. Collins Rights of Catholics Ignored THE splendid Catholicity of the Daylesford parish was demonstrated on Sunday morning last when a general Communion of the men of the parish took place at the 8 o'clock Mass at St. Peter's Church. This proud and edifying demonstration of faith concluded a very successful mission in the parish, conducted by the Rev. Fr. O'Flynn, C.SS.R., and Rev. Fr. Frean, C.SS.R., Daylesford parish is fairly scattered, and from every corner of it came men to take their part in the general Communion. The missioners and the Rev. W. M. Collins. D.D., P.P.. have reason to be deeply gratified at the result of the mission. His Grace the Archbishop of Melbourne (Most Rev. Dr. Mannix) was the celebrant of the Mass. He was assisted in administering the Sacrament by Rev. Dr. Collins. At the close of the Mass the hymn, "Faith of Our Fathers." was sung. The breakfast was served in the Daylesford Town Hall, the men marching there from the church. More than 250 partook of breakfast. In the balcony were lady parishioners who wished to listen to the speeches. His Grace the Archbishop was at the head table, and with him were Rev. W. M. Collins, P.P.; Crs. Bolton and Gleeson (Shire of Glenlyon), and Courtney (Shire of Davlesford); Messrs. Cleary and Egan (Blampied). Mr. J. T. Murphy. Mr. Considine, and Mr. O'Donnell (BuIIarto). Several selections were played by the Holy Cross Convent orchestra, Daylesford, and the catering was admirably carried out by Mrs. Mann. It was a well-organised and successful function, and the general arrangements reflected the highest credit on the Rev. Dr. Collins and those associated with him. Much favourable comment was made upon the great success achieved. A WAR MEMORIAL SERVICE. Strong Protest by Rev. Dr. Collins. The Rev. Dr. Collins said it was no exaggeration for him to say that he was a proud pastor that day. He had reason to be proud of the magnificent demonstration of faith made by the Catholic men of the parish at St. Peter's Church. It was promoted by a supernatural motive, and the men were sure to get their reward. He knew that many men had attended at great sacrifice, and that numbers had to grope about in the early hours to get everything in readiness at their farms and dairies. He was deeply thankful for the fine response made by the men to his invitation, and no greater encouragement could be given to him in his work in the parish. They had made a creditable demonstration before the people of Daylesford, whose good opinion they valued and wanted to retain. Catholics were part of the community, and the community's troubles were their troubles. Generally they had a few of their own troubles, but they were not wanting in helping the community to bear its troubles. Just now they were passing through a difficult time. The surrounding shires seemed to be better off than Daylesford, but the municipal fathers at Daylesford had spent a lot of money wisely in attracting tourists to the beautiful district. The money spent, he was certain, would come back a hundredfold. They appreciated the good work done by the municipal authorities, and were prepared to do their part in shoulder-ing their civic obligations. A Frankly Protestant Memorial Service. He could not let the occasion pass without calling the attention of the Daylesford people to an injustice that was being done the Catholic body, unwittingly he believed. Hie referred to the ceremony for the unveiling of the Soldiers' Memorial. It had been decided to adopt a frankly Protestant service. Catholics could not take part in a non-Catholic service, and that was not due in any way to any recent whim or caprice. Catholics had made common sacrifices, and the war memorial should stand for the Catholic boys who had fallen as well as non-Catholic soldiers. Catholics had contributed towards the cost of the memorial, and yet a programme had been adopted on the occasion of the public unveiling that excluded Catholics from taking part. They had a right to be at the ceremony, but it was asking them too much to shed their principles in order to be present. Their forefathers did not shed their principles when there was much more at stake, and they did not intend to shed theirs. They took that stand for Faith, and were still loyal citizens of Australia. The great majority, he was certain, did not realise the difficulties of Catholics, and that the stand taken was a matter of principle. There was always a minority, however, who were ever ready to score a victory over Rome at any price. Thanks to Non-Catholics. Having made his protest, he would not be honest if he did not express his gratitude to many non-Catholics in Daylesford for their help. In the Boxing Day carnival, which was their principal effort on behalf of the schools, non-Catholics gave splendid support, which he very much appreciated. The success of the carnival was dependent to a large extent on the generous help of Protestants. He trusted that the Catholic men generally would take note of what he said, and turn over a new leaf, as so many new leaves had been turned over since the mission. Missioners and Nuns Thanked. The work of the Redemptorist Fathers had been fruitful of results in the parish, and what they had done had paved the way for the magnificent men's demonstration. He wished heartily to thank the Fathers, and his thanks were also due to the Holy Cross Convent. If the Faith were strong in Daylesford, it was largely due to the Catholic schools in the district. They should never forget the Presentation nuns, and should be prepared to help them in every possible way. He was very thankful to the Rev. Mother for her kindness in entertaining many at the convent, and also for providing the orchestra at the Communion breakfast. A Splendid Success. He was greatly delighted at the presence of his Grace the Archbishop. When he started to talk about the breakfast, many told him it would not be a success. First of all, it was intended to hold the breakfast in the schoolroom, but the response was so good that it was considered they should get the Rex Theatre. Finally, they were compelled to take the Town Hall in order to accommodate the large number who purchased tickets. The presence of his Grace gave additional lustre to the successful demonstration. He was proud of the men of the parish, and hoped God would bless them and their families. (Applause.) The first toast honoured was that of "The Pope and the King." WELCOME TO HIS GRACE Proposing the toast of "His Grace the Archbishop," Cr. J. Bolton said he wished to congratulate the Rev. Dr. Collins on the wonderful success of the two functions. All parts of the parish were represented at the general Communion in St. Peter's Church, and it was an inspiring spectacle. It showed that the Faith was deep and strong in Daylesford. A great privilege had been given to them, and they owed grateful thanks to the Rev. Dr. Collins. He wished to welcome his Grace the Archbishop, and he trusted that he would enjoy his visit to the district. The country was passing through a difficult time at present, and it required plenty of clear thinking and acting to put things right again. He hoped his Grace would touch on the situation, and give them the benefit of his thoughtful and wellreasoned views. Whatever his Grace said would be worth listening to. (Applause.) THE ARCHBISHOP CONGRATULATES PASTOR AND PEOPLE. DAYLESFORD A MODEL PARISH. His Grace the Archbishop said he need not assure them that he came to Daylesford with great pleasure. His visits to Daylesford were always pleasant, but the present visit was additionally pleasant and memorable because he had the opportunity of assisting at one of the most inspiring functions that it had ever been his good fortune to attend. He was really touched to the heart when he stood on the altar and saw the beautiful St. Peter's Church—there were few churches to compare with it in the country—filled with the men of Daylesford and of the surrounding districts. Practically all the Catholic men in the parish were present at the general Communion, and it gave him very deep satisfaction and genuine pleasure to be amongst them. As the Rev. Dr. Collins and Cr. Bolton had said, it was a proof of the depth and soundness of the Faith of the Catholic people of the parish. He wished to congratulate the Rev. Dr. Collins upon the magnificent success that had attended his efforts since he came to Daylesford. He thought the Rev. Dr. Collins had been a very happy man since he took up work in the parish. He came to Daylesford more or less broken in health, and his best friends were doubtful whether his health would stand the strain of parochial duty. However, he had never looked back. He doubted if Dr. Collins would care to leave Daylesford, unless he were appointed Prefect of Propaganda, Rome, or some very high distinction was conferred on him. At all events, things had gone on well with Dr. Collins since he came to Daylesford, and he could see some of the reason for it in looking at the fine gathering before him. The Rev. Dr. Collins was a very zealous and spiritual man, and his lot had been cast amongst people who had responded to his labours. ... (Melbourne Advocate, 13 November 1930) Black and white photograph taken in Daylesford Town Hall depicting numerous men standing, and sitting at tables during the St Peter's Catholic Church Communion Breakfast. Arch Bishop Daniel Mannix stands centre back.st peter's catholic church, daylesford, communion breakfast, daylesford town hall, daniel mannix, george gervasoni, gus gervasoni

The postcard has a drawing of a traditional landscape of The Netherlands represented by a lake, house with mills, a boat and a child dressed in a colourful, traditional costume. The handwriten text is a letter home and describes the writer Peter's visit with his cousin. Other items addressed to Mrs Elsum are in the archive (see 00180 a postcard from 1915). The connection to Legacy is not known.This postcard has a historical significance for the family involved and remind them the time when Peter was at Holland. Postcard with a drawing of the Netherlands.Handwritten text in blue pen: "10-10-80, Hello There, greetings from Holland. Spending a couple of days with my cousin & his wife at Leiden, which is very old city with narrow cobble stone streets. Last night Paul & I did a 'pub crawl' on bikes which was good fun. Everyone rides bikes here, they even have part of the road reserved for them! All are well at Takerton, [?], send their best wishes & thanks for your gifts. Mum is writing to you. Thanks for keeping my girl company. See you soon. Love. Peter. Addressed to: Mr & Mrs John Elsum, 52 Davey Street, Mordialloc Vic 3195, Australia." Printed on postcard: gebr.spanjersberg / Rotterdam - antwerpen / Cobas y Cia. Barna. Printed in Spain / [Symbol] 7013 [Air mail stamp] LUCHPOST PAR AVION / P 4579 / PTT / [Postage Stamp] JULIANA NEDERLAND REGINA 55csouvenir, postcard

B&W postcard of an ESCo tram at the east end of Sturt St. Ballarat, with the Grenville St. shelter in the background. Shows buildings along both sides of Sturt St. Has a few pedestrians in the photo and some horse drawn vehicles in the background. Tram in style with destination box/lights at back of drivers canopy. Has title "Sturt Street - looking West, Ballarat" in top left hand corner. On rear "H.J. Summerscales, next Post Office, Ballarat - Printed in Germany" on left hand edge vertically. Post card dated 29/12/10 (1910), from E.H. Colson? at 49 Webster St. wishing the recipient a happy new year. Recipient - Mr. A. Steer, Glen Eira Rd. Elsternwick. Has a Ballarat Post office and stamp and Victorian 1d stamp (red). As well in pencil, a price "$15". See also scanned image file and prints from negative at Reg. Item 833. Image cropping is slightly different at the bottom to that of Reg. Item 833. Used in postcard display 2017-2018trams, tramways, esco, sturt st, postcards

Printed black and white photographic postcard of Ballarat ESCo crossbench tram No. 19 at the intersection of Armstrong and Sturt St. travelling east along the north side of Sturt Street. Photo appears to be taken in the early days of tram operation - small destination box. Has the Ballarat Town Hall, the National Mutual Life building, Snows and other buildings on the south side of Sturt. St. Has a number of horse drawn vehicles in the image as well. Titled "Sturt Street, Ballarat" in bottom right hand corner". On rear of postcard, printed is the words "Post Card", areas for "Correspondence" and "Address Only" and in stamp area in a square "Kodak Australia" twice. Handwritten on the card is "With Best Wishes for a Happy New Year to all Rostella / W. Lovett". Images .1 - shows postcard, .2 - close up, of No. 19, note Inspector along side tram, the stance of the motorman/driver, and conductor on the rear platform of the tram. Appears to have a destination of "Gardens ?" .3 - rear of postcard Handwritten letter on card.trams, tramways, esco, sturt st, postcards, armstrong st

Rate Book evidence records that by 1870 Charles Vickers, architect, was the occupier of this house, having an NA.V. at that date o f£1105, although it is apparent that the house was in fact built by 1864, from the dat; set in the brickwork above the main door. In 1873 the property was purchased by David Beath, a merchant, and it was in the following year that the house was first recorded as 'Ivy Grange'. Beath was a deeply religious man and was a foundation member of both the Congregational and the Presbyterian (the Church of Scotland) Churches of Kew . He added, probably the tower wing, to the house in 1877 when architects Crouch and Wilson called tenders in that year 'for the erection of bluestone additions to (a) villa at Kew, for Davis Beath Esq.' The house was again added to in 1885 by the leading firm Reed, Henderson and Smart. For a number of years in the 1920s 'Ivy Grange' was used as a private mental hospital and is currently a guest house. In 1921 a fete was held at Ivy Grange in aid of building a new church (Sacred Heart, Kew): "Garden Fete in Aid of New Church, Kew. A SUCCESSFUL FUNCTION. Beautiful weather favoured the opening of a garden fete at "Ivy Grange," the residence of Mr. and Mrs. J. Lawlor, Malmsbury and Princess streets, Kew, on last Saturday afternoon, in aid of the fine new Church of the Sacred Heart, Kew, which is now receiving its finishing touches. Not content to wait for the official opening, the lady stallholders did a good business on the previous evening. The ceremony was performed" by the Very Rev. Dean Hegarty, P.P., V.F. (Carlton), with whom were associated the Rev. J. Manly, P.P. (Kew), and the Rev. R. S. Benson, P.P. (South Yarra), Mr. and Mrs. J. Lawlor, and others. Fr. Manly, who was cordially received, said he desired to thank Mr. and Mrs. Lawlor for lending their charming grounds, and for the trouble, time and expense they had given to preparing for the fete. He wished to thank Dean Hegarty for coming to open the fete. The Dean had been a dear and lifelong friend of the late Fr. O'Donoghoe, the beloved pastor of the Kew parish. Next June the Dean would celebrate the golden jubilee of his priesthood, so they could see that he was not a young man. (Laughter.) He hoped that the fete would be a great success, and that when his Grace the Archbishop —: (applause) — should open the new church, he (the speaker) would be able to present a satisfactory financial statement. (Applause.) Dean Hegarty, who was very cordially received, said it was a source of great pleasure to him to come to Kew, of which he entertained many pleasant recollections. The new church would have delighted the heart of their late beloved pastor, but it had pleased God to take him to a holler temple. His mantle had fallen on worthy shoulders, in the person of Fr. Manly—(applause)—who was carrying on the work of the parish well and vigorously. (Applause.) Some wondered how these great works were successfully accomplished. The prime factor in the wonderful progress of the Church— the work of the people, priests and nuns—was their deep, abiding Catholic faith. (Applause.) Kew was not by any means a large parish, yet look at the magnificent church that Fr. Manly was building on the hill! He said to his people, "Come, follow me, and we shall win through." (Applause.) It gave him great pleasure to declare the fete open, and he wished it the highest measure of success. (Prolonged applause.) Mr. J. Lawlor, who was greeted with applause, in moving a hearty vote of thanks to Dean Hegarty for his presence and support, said he knew of the great work done by the Dean in Gippsland, where he (the speaker) lived when a young man. The Dean ministered to a parish at that time as large as was the diocese of Sale to-day. The Dean and Fr. Manly reflected credit on the pioneer priests, who had laid well and solidly the foundations, of religion in Victoria. (Applause.) He was glad that reference had been~made to the work of their late beloved pastor, Fr. O'Donoghoe. : Mr. Pierce Cody seconded the motion, which, was carried by acclamation. The Dean,* in acknowledging the compliment, paid a tribute to Mr. and Mrs. Lawlor for their great generosity in connection with the fete, and complimented them on their successful efforts. (Applause.). A cafe chantant, organised by Mr. John. Sullivan, was contributed to by Misses G. Hornal, M. O'Donnell, Ella Burke, Eileen Burke, Alice Marsh, and M. Carrucan, and Messrs. T. Hammond, J. Donovan, J. Sullivan, and Fr. Lanigan. Mrs. J. Donovan was at the piano. St. Vincent de Paul Boys' Orphanage Band (South Melbourne) rendered selections. The stalls ware as follow:—Cake and Sweets Stall: Mesdames Needham, Treacey, Lynch and Cody. Fancy Stall: Mesdames Lawlor, J. P. Martin, M. Treacey, Simpson, Giddons and A. Molton, and Miss, Shirley. Refrestiment Stall: Mesdames Shiels, Hunter, Kealy, Duane and the Misses Turner and Delahunty; Produce Stall: Mesdames O'Sullivan, Mareli, Carrucan, and Kennedy. Mr. P. J. Kennedy acted as hon. general secretary. The fete was continued in the evening, the grounds being brilliantly illuminated. (Advocate (Melbourne, Vic. : 1868 - 1954), Thursday 7 April 1921, page 13) In 1930 it was acquired by the Carmelite Fathers for use as a novitiate: "IVY GRANGE," KEW." Acquired for Carmelite Novitiate. The valuable property, "Ivy Grange," Kew. which" belonged to the McGuiness family has been acquired by the Carmelite Fathers for a novitiate." (Advocate (Melbourne, Vic. : 1868 - 1954), Thursday 18 September 1930, page 18This 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 Society.Ivy Grange, cnr Malmsbury and Princess Streets, Kew. Ivy Grange. Home of David Beath. Commenced 1864, Tower Wing added 1877. Chap 38.ivy grange, malmsbury street, dorothy rogers, david beath, charles vickers, crouch and wilson, kew houses

The Queensland Musical, Literary and Self Aid Society for the Blind was established on 13 March, 1917. Many children who were blind and who had studied music with Mr Hebert Leon Newman at the 'Queensland Blind, Deaf and Dumb Institution wished to continue after leaving school but could not afford to do so. Mr Olsen, the librarian, who was blind, conceived the formation of a Society to meet this need as well as providing an after work social centre and to address the limited job opportunities available for adults who were blind. The committee of the Blind Deaf and Dumb Institution encouraged the new Society by providing a grand piano and seating accommodation for 100 people in their library. In 1921 he established the John Olsen Literary Competition, then became the Edwin Dickinson Literary Competition and later the Vision Australia Dickinson Literary Awards.Photograph in frame with printed inscription below.John Olsen Founder Queensland Musical, Literary & Self-Aid Society for the Blind President 1919-1926 Died 9th Jan 1926queensland musical, literary and self-aid society for the blind, john olsen

The Queensland Musical, Literary and Self Aid Society for the Blind was established on 13 March, 1917. Many children who were blind and who had studied music with Mr Hebert Leon Newman at the 'Queensland Blind, Deaf and Dumb Institution wished to continue after leaving school but could not afford to do so. Mr Olsen, the librarian, who was blind, conceived the formation of a Society to meet this need as well as providing an after work social centre and to address the limited job opportunities available for adults who were blind. The committee of the Blind Deaf and Dumb Institution encouraged the new Society by providing a grand piano and seating accommodation for 100 people in their library. In 1921 he established the John Olsen Literary Competition, then became the Edwin Dickinson Literary Competition and later the Vision Australia Dickinson Literary Awards. When he died in 1926, this tablet was made to recognise his contribution to Braille literacy and work involved to encourage Braille in the community.Marble tablet engraved and with coloured lettingIn Affectionate Memory of John Olsen Founder Queensland Musical, Literary & Self-Aid Society for the Blind President 1919-1926 Died 9th January 1926queensland musical, literary and self-aid society for the blind, john olsen

Dong Ho is on the Duong River in Bắc Ninh Province, Vietnam. The woodcut painting (Tranh khắc gỗ dân gian Dong Ho is a line of Vietnamese folk painting originating in Dong Ho village. The traditional themes of Dong Ho painting are good luck signs, historical figures, folk allegories, popular stories, and social commentaries. Elements of everyday life are well integrated in Dong Ho paintings to express the thoughts and wishes of people. (Wikipedia - https://en.wikipedia.org/wiki/%C4%90%C3%B4ng_H%E1%BB%93_painting, accessed 11 April 2017.) Craftsmen in Dong Ho use a special type of paper named giấy điệp. The bark of dó tree, which normally is grown in Tuyên Quang Province, is soaked in water for months, then mixed with powders of seashells (sò điệp), which is the origin of the paper's name, and glutinous rice to make sheets of paper. The s seashell and glutinous rice results in paper with an exotic sparkling hard background which is able to conserve the durability of colours. The colours are refined from natural materials which are easily found in Vietnam. For instance, the red colour is taken from red gravel in Thiên Thai Mountain, while the black comes from charcoal of burned bamboo leaves. The hand carved woodblock is applied with paint and pressed on a sheet of paper like a stamp. The process is repeated with different colours until the craftsman is satisfied with the outcome. One woodcut is for outline and several others are for each colour printed. The finished picture is covered with a layer of rice paste (hồ nếp) to strengthen the durability of its illustration and colours and afterwards dried under the sun. From beginning to end the process takes six to seven months. (Wikipedia - https://en.wikipedia.org/wiki/%C4%90%C3%B4ng_H%E1%BB%93_painting, accessed 11 April 2017.) The tradition of Đông Hồ painting dates back to the 11th century during the reign of the Lý Dynasty. Originally, Đông Hồ paintings were made with black-and-white prints of woodcuts, but from the 15th century, different colours were introduced by craftsmen in the village. As a village specialized in making woodcuts and paintings, almost all Đông Hồ villagers were involved in the manufacturing of paintings from carving the woodblocks, producing điệp papers, obtaining natural colours to creating new themes, and printing.(Wikipedia - https://en.wikipedia.org/wiki/%C4%90%C3%B4ng_H%E1%BB%93_painting, accessed 11 April 2017.) Before 1945 over 150 families in Đông Hồ village were making pictures, but the tradition has rapidly faded. Villagers can no longer make a living based on this production so only a few households in the village still make pictures, while many others have switched to producing joss paper and votive paper object.(Wikipedia - https://en.wikipedia.org/wiki/%C4%90%C3%B4ng_H%E1%BB%93_painting, accessed 11 April 2017.)Asian ArtA framed collection of work by children from Dong Ho Village, Vietnam.dong ho, vietnam, woodcut, printmaking, dong ho art, dong ho painting, dong ho village, vietnam.

Gratitude for contribution letters Dear Bon and Edna, The members of the Mount Cottrell Group wish to extend to you both their sincere gratitude for the dedicated service you have both provided to the Group Brigades whilst you operated the radio and phone from your home. It is thanks to people such as yourselves who, with foresight, pioneered the Group system and the communications that went with it, that has made the Country Fire Authority what it is today. Words can never express the sacrifices we know you have both made over the years to keep the radio and phone manned. We did try to leave your remote but the Authority would only allow one to Wayne’s residence. Once again many, many thanks to you Bon and Edna for your contribution to the Group, but know we can still look forward to your support in the future, Bon is still a deputy communications officer. Incidently our next meeting is on Wednesday 17th December at the Melton Fire Station, you are both most welcome to attend, our guest that evening will be Ken Coghill M. L. A. Yours Sincerely Darryl Wells Typed letter dated 17th September 1976, Group Secretary  Melton South Dear Mrs. Barrie, The members of the Group wish to extend to you their sincere appreciation for the magnificent job carried out by you in the diligent task of radio operations. It gives confidence and morale to all firemen to know that an any time the pressure’s on, and effective back-up force is readily available via Group Base, and your role in this respect is acknowledged with the highest the highest esteem. Yours sincerely A.J.Morris Group Secretary Copied June 2013 Note MOUNT COTTRELL FIRE BRIDAGES’ GROUP Incorporating the Brigades of Diggers Rest, Melton Rural, Melton Urban Rockbank, Sydenham, Toolern Vale, Truganina, Werribee Rural, Werribee Urban.Edna and Bon Barrie's collection of invitations to fire brigade's eventsemergency services, local identities

Chatterbox was a weekly British paper of stories for children published in the 19th & 20 centuries. It was also published as an annual for much of its run, both in the UK and US. Chatterbox was founded in 1866 by John Erskine Clarke who edited the paper until 1902. It ceased publication in 1955.Card & cloth-bound hard cover book. Cover intact, a little worn at corners, detached from body of book. Loose pages. Binding unravelling. Yellowing of pages. 412 pp. plus advertisements.P.1- 14/262 (hand written). P.3 'To Don,/ - Wishing you/ a merry Xmas./ 1907./ From E.M W.'childrens literature, kilmore mechanics institute library.