A number of these fans were ordered from Indonesia by Lia Kellener, the founder of Tempo Doeloe in Melbourne.The item relates to the move of many Dutch to The Netherlands or Australia from post-WWII Dutch East Indies. After a 4year struggle immediately following the ousting of the Japanese in 1945, Indonesia officially gained independence from The Netherlands in 1949. Small Indonesian fan produced for the 50th anniversary of Tempo Doeloe in Australia. The fan is made in a similar manner to the so-called Wayang dolls and is reminiscent of this aspect of traditional Indonesian culture.An orange central patch bears the words: Tempo Doeloe 1945-1995 Indonesia - Australia.

This shield bears the emblem of Australian Army 2nd Recruit Training battalion, raised at Puckapunyal (Vic) to provide basic training for the Second National Service Scheme which was in place during the Vietnam War. It operated from 1965-1973.Wooden plaque with bronze metal insignia of 2 Recruit Training Battalion. Crown on laurel wreath around number 2 with 2 crossed boomerangs below. 2 RECRUIT TRAINING / NULLI SECUNDUS2 recruit training battalion, vietnam, training, 2nd recruit, puckapunyal, conscription, national service

Anne Frank was one of a group of eight Jews in hiding from the Nazis. After their betrayal and transportation only her father Otto Frank survived. Her diary was saved by one of the helpers who brought them food and news during the 2 years in hiding. The diary bears witness to Anne's budding talent as a writer. It is also an invaluable record of a Jewish family in hiding during WWII. It has been translated into over 70 languages and formed the inspiration for several movies and plays. The house on the Prinsengracht quickly became a major Amsterdam tourist destination and is the home of the Anne Frank Foundation.120pp hard cover book about the world-wide reactions to Anne Frank's diary. Hence the title "Echo". It describes a stage play and quotes many reactions from readers worldwide. Some of these are in the form of poetry. Authors are Otto Frank and Henri van Praag, President of the Anne Frank Foundation."For my daughter Bettina Christina - to remember her Mam. Jan.1976."

This vest was probably used in both China and Australia during the 1940s as a procession garment. It is linked to the Young Chinese League.This vest is significant for its links to the Chinese Young League. The League was formally established on 4 October 1932 to to promote free social intercourse and goodwill among its members and their mutual improvement. Membership was open to all persons, with one or both parents or grandparents born in China. Wives of Chinese members were permitted as members with the same privileges. It was a significant social organisation for Chinese-Australians in Melbourne in the mid to late twentieth century.Sleeveless jacket in cream and red silk with red circular panel in centre, containing black, velvet Chinese characters that read 'brave' or 'strong'. A red border runs around the sides with a curled design running underneath the circular panel. Three buttonholes at back of garment bear the same design. There is water damage (red staining) around the sleeve and at the bottom right hand corner.The Chinese character, 勇, in the centre of the panel means 'brave' or 'strong' and is usually associated with soldiers.young chinese league, processions, melbourne, victoria, china

Between 1965 & 1972, twenty-year-old Australian males had to register for National Service. The ballot was held twice a year and the marbles, which bear numbers that represented birth dates, were used in a barrel to determine who would be called up. Each numbered marble represented two birthdates. Men born on the dates of the numbers drawn were thereby called up for National Service. National Service was a hotly debated issue. These ballot balls were the items at the centre of the argument. The peace movement in Australia was opposed not only to Australia's involvement in the Vietnam War, but also to conscription of young men into National Service.The marbles are made of wood that have numbers on them. vietnam ballots, national service scheme, marbles, conscription, birthday ballot, nasho

Commemorative scroll sent to the next of kin of Private Rupert James Cavanagh MOORE 6852 attached to the 3rd Machine Gun Battalion and who made the ultimate sacrifice.- killed in action on 13/7/1918 in France. MOORE was born in Wangaratta, Victoria and a Printer when enlisted on 6/2/1917.In 1922 a Memorial Scroll was presented to the next of kin of those soldiers, sailors, and nurses who died while serving in the Australian Imperial Force or Royal Australian Navy during the First World War. Later they were presented with a Next of Kin Memorial Plaque. The Memorial Scroll bears the Royal Coat of Arms and a message paying tribute to the soldiers who gave up "their own lives that others might live in freedom". Cream paper scroll with Coat of Arms above ten lines of black writing and two lines in red ink.Pte. Rupert James Cavanagh Moore 3rd M.G.Bn., A.I.F.pte rupert james cavanagh moore, kia, wangaratta, ww1

Image depicts two basalt war memorials located in the Memorial Gardens next to the Holy Trinity Cathedral The first commemorating the four local soldiers killed in the Boer War and a declaration of peace at Pretoria. It was unveiled in 1903 by Colonel John Hoad. (Later Sir John Hoad) a one time Wangaratta resident who became chief of the Australian General Staff. The second memorial bears the names of residents who were killed in the two World Wars as well as the Vietnam War. It was unveiled in 1923 by Colonel Scott, a former borough engineer. The image includes 2 x 32 pound cannons taken from HMS Nelson, a Royal Navy warship built between 1809-1814. The Nelson was transferred to the Victorian Colonial Navy as a cut down two decker in 1867.. The ship arrived in Port Phillip on 4 February 1868 and decommissioned in 1893. The cannons arrived in Wangaratta in 1901.Each year an ANZAC service is held in the gardens to remember those that served our country during times of war.Unframed sepia photograph of two tall monuments in garden setting.Memorial Gardens, Wangaratta Valentine Series No 1028cenotaph, wangaratta, war memorial, boer war, ww1, ww2, vietnam war, hms nelson, cannons

Calico bag originally containing porridge and sold in Australia during 1930's. Patent is dated 1936.Front top: THREE BEARS PORRIDGE / OATMEAL / picture of three bears / SOMEBODY'S BEEN TASTING MY PORRIDGE AND THEY'VE EATEN IT ALL UP / 7 LBS.NET Back of bag: Cut-out pattern of Brere Rabbit. Directions - cut around outline of design, place both patterns face to face, stitch around the outline leaving open down the side of the trousers for filling; cut notches, turn right side out, then fill with suitable filling. Sew down side of trousers when filled. Copyrights and Patents Applied for. In order to complete this doll it will be necessary to obtain the Back Design from another Bag of "Three Bears" Rolled Oats or Oat-meals. LOOKOUT FOR FURTHER DESIGNS OF NEW DOLL CUT OUTS ON ALL MCKENZIE'S "THREE BEARS" ROLLED OATS AND OATMEAL BAGS.porridge. oatmeal, mckenzies

The Boer War Memorial was created by sculptor James White in honour of Australian Soldiers who fought in the South African War (1899-1902). White used the electrolytic copper deposit method to produce this large statue, which is sometimes mistaken for a cast bronze work. The Foundation stone was laid on 18 May 1901 by H.R.H The Duke of York (George V). The sculpture was unveiled on the 1st November 1906 by His Excellency Baron Northcote G.C.I.E., C.B. Governor General of Australia and then Mayor of Ballarat, J. J. Brokenshire. Bravery and mateship are beautifully captured in depiction of a scene taken straight from the battlegrounds. Today the memorial is a much-photographed tribute and exploration of the friendships and struggles of men at war. A proud cavalry horse bears the weight of two men in the chaos of the battlefield. The Boer War in Africa was an early example of the Australian Colonies sacrificing men and equipment for Britain to defend it’s Empire against colonial insurgence. The memorial is of historical and aesthetic significance to the people of Ballarat.Horse and figures, bronze mounted on bluestone base and granite plinth, plaques list the war dead. The artwork depicts two soldiers and a horse. A British soldier is being succoured by an Australian mounted rifleman. In honour of Australian Soldiers who fought in South Africa 1899-1902. Foundation stone laid 18th May 1901 by H.R.H The Duke of York (George V). Unveiled 1st November 1906 by His Excellency Baron Northcote G.C.I.E., C.B. Governor General of Australia. J. H. Barker Chairman. J. J. Brokenshire Mayorboer war, south africa monument

This shaved rock bears witness to the sacrifice of soldiers during compulsory conscription for several periods of Australia’s War History. This item is of historic significance to the people of BallaratLarge shaved rock with plaque recognising compulsory conscription of soldiers.This memorial commemorates the sacrifice and service of those men from Ballarat and District conscripted for National Service during the years 1951 and 1959, and 1965 and 1972. Unveiled by the Hon Tony Robinson MP Minister assisting the Premier on Veterans` Affairs 3 February 2008. Erected by the Ballarat and Districts sub-branch of the National Servicemen`s Association of Australia. SERVICE TO THE NATIONnational service, sacrifice of soldiers

The embroideries were machine chained onto colourful cotton sateen (often mistakenly thought to be silk) and usually bear the words 'Souvenir of Egypt' and a year date. Most have a distinctly Egyptian flavour and show the pyramids, camels or date palms. Others show images associated with different armies (such as the Australian Rising Sun Badge, New Zealand General Service Badge or British unit badges) or nations (such as the Australian coat of arms). However, during WW2 they were usually embroidered on black velveteen and the variety of images was not as great as had been available during the First World War. These types of souvenirs were very popular with Australian troops; they were easy to send home and were colourful. The vendors would have a number of designs for sale already machine embroidered, from which the soldier could select and then personalise with a date or message.Black and gold timber frame containing rectangular black cloth edged in light blue fringe. Machine embroidered on the cloth is image of rising sun badge with a camel and pyramids either side. Souvenir of Egypt 1941 Australian Commonwealth Military Forces1941, ww2, embroidered souvenir, egypt

A related souvenir from the Second Word War is the colourful 'Souvenir of Palestine'. Like the First World War Egyptian embroideries, they used cotton sateen in a range of bright colours (although sometimes velveteen was used instead) and bear the words 'Souvenir of Palestine', a year date, and sometimes a personal message, as well as images of specific mosques or landmarks, camels, goats and date palms. The Palestinian souvenirs were often seen displayed for sale outside houses in country villages These types of souvenirs were very popular with Australian troops; they were easy to send home and were colourful. The vendors would have a number of designs for sale already machine embroidered, from which the soldier could select and then personalise with a date or message. Brown timber frame containing dark green square silk cloth edged with gold fringe, embroidered with two flap poles either side of rising sun crest/badge above two red heartsSouvenir Of Palestine 1941 Australia Commonwealth Military Forcespalestine, 1941, souvenir, embroidered cloth

Hilda Elizabeth Foster (1890-1982) was commissioned as a Deaconess in 1914 giving a lifetime of service to the church particularly in the social care aspect of the Gospel. She was also a double certified nurse. Deaconess Hilda Foster began her work as a Deaconess in South Melbourne and then served for 13 years with the Presbyterian Sisterhood in North Fitzroy caring for unmarried mothers and their babies. In 1933 she was appointed Matron of the Presbyterian Girls' Home in Elsternwick where she worked for 15 years. She retired in 1948 when it was noted "In complete dedication matron has given herself to this care of souls". Deaconess Foster was awarded the British Empire Medal for her work in the Queen's birthday honours in 1981. Deaconess Foster was one of the first qualified Mother Christmasses in Australia. [Minutes of the Sixth Synod, Oct 1982]Six pairs and four odd assorted cuff studs in a green plastic box with a clear lid which bears an inscription."Where are those darned studs? RIGHT HERE WITH BEST WISHES FROM"deaconess hilda foster, sunday school council of victoria, australian inland mission, deaconess hilda elizabeth foster, mother christmas, presbyterian girls' home elsternwick

Hilda Elizabeth Foster (1890-1982) was commissioned as a Deaconess in 1914 giving a lifetime of service to the church particularly in the social care aspect of the Gospel. She was also a double certified nurse. Deaconess Hilda Foster began her work as a Deaconess in South Melbourne and then served for 13 years with the Presbyterian Sisterhood in North Fitzroy caring for unmarried mothers and their babies. In 1933 she was appointed Matron of the Presbyterian Girls' Home in Elsternwick where she worked for 15 years. She retired in 1948 when it was noted "In complete dedication matron has given herself to this care of souls". Deaconess Foster was awarded the British Empire Medal for her work in the Queen's birthday honours in 1981. Deaconess Foster was one of the first qualified Mother Christmasses in Australia. [Minutes of the Sixth Synod, Oct 1982]Eight white starched cuffs with stud holes at the sort edges. Some bear laundry marks.presbyterian deaconess, deaconess hilda elizabeth foster

Hardcover w/ Dust JacketBlue ballpoint handwritten inscription on title page: 'For Patricia Davies, / With best wishes, / Hazel Rowley / June 1993' Birthday card loosely inserted in front, printed Hallmark design with cartoon yellow bear on blue background. Inside card is a handwritten message in blue ballpoint pen: 'and if it were $1,000,000 / I'd still love $1,000,000 / Many lofty returns, / lots of love / John'.walsh st library

1. Musical and linguistic perspectives on Aboriginal song Allan Marett and Linda Barwick Song brings language and music together. Great singers are at once musicians and wordsmiths, who toss rhythm, melody and word against one another in complex cross-play. In this paper we outline some initial findings that are emerging from our interdisciplinary study of the musical traditions of the Cobourg region of western Arnhem Land, a coastal area situated in the far north of the Australian continent 350 kilometres northeast of Darwin. We focus on a set of songs called Jurtbirrk, sung in Iwaidja, a highly endangered language, whose core speaker base is now located in the community of Minjilang on Croker Island. We bring to bear analytical methodologies from both musicology and linguistics to illuminate this hitherto undocumented genre of love songs. 2. Iwaidja Jurtbirrk songs: Bringing language and music together Linda Barwick (University of Sydney), Bruce Birch and Nicholas Evans (University of Melbourne) Song brings language and music together. Great singers are at once musicians and wordsmiths, who toss rhythm, melody and word against one another in complex cross-play. In this paper we outline some initial findings that are emerging from our interdisciplinary study of the musical traditions of the Cobourg region of western Arnhem Land, a coastal area situated in the far north of the Australian continent 350 kilometres northeast of Darwin. We focus on a set of songs called Jurtbirrk, sung in Iwaidja, a highly endangered language, whose core speaker base is now located in the community of Minjilang on Croker Island. We bring to bear analytical methodologies from both musicology and linguistics to illuminate this hitherto undocumented genre of love songs. 3. Morrdjdjanjno ngan-marnbom story nakka, ?songs that turn me into a story teller?: The morrdjdjanjno of western Arnhem Land Murray Garde (University of Melbourne) Morrdjdjanjno is the name of a song genre from the Arnhem Land plateau in the Top End of the Northern Territory and this paper is a first description of this previously undocumented song tradition. Morrdjdjanjno are songs owned neither by individuals or clans, but are handed down as ?open domain? songs with some singers having knowledge of certain songs unknown to others. Many morrdjdjanjno were once performed as part of animal increase rituals and each song is associated with a particular animal species, especially macropods. Sung only by men, they can be accompanied by clap sticks alone or both clap sticks and didjeridu. First investigations reveal that the song texts are not in everyday speech but include, among other things, totemic referential terms for animals which are exclusive to morrdjdjanjno. Translations from song language into ordinary register speech can often be ?worked up? when the song texts are discussed in their cultural and performance context. The transmission of these songs is severely endangered at present as there are only two known singers remaining both of whom are elderly. 4. Sung and spoken: An analysis of two different versions of a Kun-barlang love song Isabel O?Keeffe (nee Bickerdike) (University of Melbourne) In examining a sung version and a spoken version of a Kun-barlang love song text recorded by Alice Moyle in 1962, I outline the context and overall structure of the song, then provide a detailed comparative analysis of the two versions. I draw some preliminary conclusions about the nature of Kun-barlang song language, particularly in relation to the rhythmic setting of words in song texts and the use of vocables as structural markers. 5. Simplifying musical practice in order to enhance local identity: Rhythmic modes in the Walakandha wangga (Wadeye, Northern Territory) Allan Marett (University of Sydney) Around 1982, senior performers of the Walakandha wangga, a repertory of song and dance from the northern Australian community of Wadeye (Port Keats), made a conscious decision to simplify their complex musical and dance practice in order to strengthen the articulation of a group identity in ceremonial performance. Recordings from the period 1972?82 attest to a rich diversity of rhythmic modes, each of which was associated with a different style of dance. By the mid-1980s, however, this complexity had been significantly reduced. I trace the origin of the original complexity, explore the reasons why this was subsequently reduced, and trace the resultant changes in musical practice. 6. ?Too long, that wangga?: Analysing wangga texts over time Lysbeth Ford (University of Sydney) For the past forty or so years, Daly region song-men have joined with musicologists and linguists to document their wangga songs. This work has revealed a corpus of more than one hundred wangga songs composed in five language varieties Within this corpus are a few wangga texts recorded with their prose versions. I compare sung and spoken texts in an attempt to show not only what makes wangga texts consistently different from prose texts, but also how the most recent wangga texts differ from those composed some forty years ago. 7. Flesh with country: Juxtaposition and minimal contrast in the construction and melodic treatment of jadmi song texts Sally Treloyn (University of Sydney) For some time researchers of Centralian-style songs have found that compositional and performance practices that guide the construction and musical treatment of song texts have a broader social function. Most recently, Barwick has identified an ?aesthetics of parataxis or juxtaposition? in the design of Warumungu song texts and musical organisation (as well as visual arts and dances), that mirrors social values (such as the skin system) and forms 'inductive space' in which relationships between distinct classes of being, places, and groups of persons are established. Here I set out how juxtaposition and minimal contrast in the construction and melodic treatment of jadmi-type junba texts from the north and north-central Kimberley region similarly create 'inductive space' within which living performers, ancestral beings, and the country to which they are attached, are drawn into dynamic, contiguous relationships. 8. The poetics of central Australian Aboriginal song Myfany Turpin (University of Sydney) An often cited feature of traditional songs from Central Australia (CA songs) is the obfuscation of meaning. This arises partly from the difficulties of translation and partly from the difficulties in identifying words in song. The latter is the subject of this paper, where I argue it is a by-product of adhering to the requirements of a highly structured art form. Drawing upon a set of songs from the Arandic language group, I describe the CA song as having three independent obligatory components (text, rhythm and melody) and specify how text is set to rhythm within a rhythmic and a phonological constraint. I show how syllable counting, for the purposes of text setting, reflects a feature of the Arandic sound system. The resultant rhythmic text is then set to melody while adhering to a pattern of text alliteration. 9. Budutthun ratja wiyinymirri: Formal flexibility in the Yol?u manikay tradition and the challenge of recording a complete repertoire Aaron Corn (University of Sydney) with Neparr? a Gumbula (University of Sydney) Among the Yol?u (people) of north-eastern Arnhem Land, manikay (song) series serve as records of sacred relationships between humans, country and ancestors. Their formal structures constitute the overarching order of all ceremonial actions, and their lyrics comprise sacred esoteric lexicons held nowhere else in the Yol?u languages. A consummate knowledge of manikay and its interpenetrability with ancestors, country, and parallel canons of sacred y�ku (names), bu?gul (dances) and miny'tji (designs) is an essential prerequisite to traditional leadership in Yol?u society. Drawing on our recordings of the Baripuy manikay series from 2004 and 2005, we explore the aesthetics and functions of formal flexibility in the manikay tradition. We examine the individuation of lyrical realisations among singers, and the role of rhythmic modes in articulating between luku (root) and bu?gul'mirri (ceremonial) components of repertoire. Our findings will contribute significantly to intercultural understandings of manikay theory and aesthetics, and the centrality of manikay to Yol?u intellectual traditions. 10. Australian Aboriginal song language: So many questions, so little to work with Michael Walsh Review of the questions related to the analysis of Aboriginal song language; requirements for morpheme glossing, component package, interpretations, prose and song text comparison, separation of Indigenous and ethnographic explanations, candour about collection methods, limitations and interpretative origins.maps, colour photographs, tablesyolgnu, wadeye, music and culture

Reserve Forces Day Council Boer War Commemorative Medallion 2012 Descendant Medallion with ribbon suitable medallion has been struck to allow descendants and supporters to honour those who served in this all-but forgotten conflict 100 years ago. The Reserve Forces Day Council recognises it was a War fought in the main by Reservists. Permanent forces were small in number with only a Permanent Force Artillery unit and a number of staff officers and soldiers serving in the war. The Reserve Forces Day Council’s objective is to "Raise the profile of the Reserve Forces and to thank serving and former members for their service, and their families and employers for their essential support." This medallion has been struck for descendants and in memory of those Soldiers who fought in the War. The "In Memory" medallion is oval 50mm high by 40 mm wide and bears the inscription "BOER WAR 1899-1902" bordering the face within a colour infill and a clear cover of epoxy. The central image is of an Australian soldier in a uniform of the era. The attractive medallion is 'gold', appearing as surrounds for the inscription. The neck ribbon is in the colours of the Queen’s official service medal, all enclosed in a presentation pouch. A space on the reverse side of the Medallion provides for a personal message to be engraved at a later time. An example is "Presented to Leslie Perrett Descendant of Tpr Frederick Avard, NSW Lancers who died in combat 10 October 1900". The Medallion may be worn at memorial ceremonies and will become a family keepsake. It does not matter on which side your ancestor fought, or if the soldier fought in a unit from elsewhere in the then Empire. The Medallion marks an Australian connection, and shows your support for your ancestor's achievement.Associated with the 110th anniversary of the Boer War 1899 to 1902. A descendant's medal issued as a commemorative by the Reserve Forces Day Council in 2012. A round enamel and epoxy medallion issued by the Reseve Forces Day Council for descendants to remember the 110th anniversary of the Boer War and their descendants contribution. The Medallion is round measuring 40mm x 40mm and has the Boer War Campaign Red, Blue and Orange coloured ribbon attached, The medallion has a gold and red border with a photograph of a Boer War Soldier contained in the middle of the medallion. Surrounding wording on the medallion is : Boer War 1899-1902 A War Fought By Reservists. The bottom of the medallion has the letters RFD 2012 (which stands for the Reserve Forces Day National Council). The medallion has a gold and red border with a photograph of a Boer War Soldier contained in the middle of the medallion. Surrounding wording on the medallion is : Boer War 1899-1902 A War Fought By Reservists. The bottom of the medallion has the letters RFD 2012 (which stands for the Reserve Forces Day National Council). boer war descendant's medallion 2012, boer war commemorative medallion, reserve forces day national council boer war commemorative, boer war associated 1899 to 1902

This medal/badge was given to Wilfred Clarence Busse, born in Chiltern in 1898, supposedly during his time at Wesley College. The lion on the badge is a perfect match for Wesley College's logo, and the words Sapere Aude are the school's motto. Busse completed his secondary education as Wesley College in the early twentieth century, and went on to study law at the University of Melbourne. As a lawyer, he spent time in the room of Supreme Court Judge Bernard Cussen (1859-1933). Judge Cussen was popular, known for being just and precise and for completing through statutory consolidation in his spare time. As well as working as a lawyer, Busse wrote historical fiction inspired by his life in Chiltern, these included The Blue Beyond; A Romance of the Early Days in South Eastern Australia" and "The Golden Plague: A Romance of the Early Fifties," which won the T.E.Role gold medal for the best historical novel in 1930 and went on to become a best seller. He was a member of the Chiltern Athenaeum until his death in 1960. Wesley College was founded in 1866 in St. Kilda by Rev. James S. Waugh, Dr James Corrigan, Rev. Daniel Draper and businessman Walter Powell. Wesley College was a founding member of the Associated public School of Victoria in 1908. Originally a boys school, coeducation was introduced in the 1970s, and the school continues to function today and has a reputation as one of the best schools in Victoria witth regards to VCE and IB scores. This item is significant for its connect to W.C. Busse and his literary and non-fiction work inspired by Chiltern. The object is a metal-open work badge depicting a stylised lion surrounded by a oval, which appears to resemble a belt, and bears the words Sapere Aude (translation Dare to be Wise). Below the main body of the badge is a short chain attached to a safety pin at the other end. Obverse: Sapere Aude Reverse: REC 269busse, w.c. busse, wilfred clarence busse, chiltern, chiltern athenaeum, "the blue beyond, a romance of the early days in south eastern australia”, "the golden plague: a romance of the early fifties.", "the golden plague”, wesley college, university of melbourne, sir leo finn bernard cussen, supreme court of victoria, schooling, badge, medal

This book was owned by the late Dr Elizabeth Kerr and was donated to the Museum by the executor of her estate, Margaret Cameron. It was produced by Patons and Baldwins and contains knitting patterns for mens garments. Several of these patterns could be knitted for use by the Armed Forces, including a balaclava and a splint cover for a Bohler Walking Iron (a type of splint used where the foot must not touch the ground or bear any weight, eg. in cases of ulceration). The back cover illustration depicts a man wearing a knitted cardigan, posed with an Australian Army slouch hat and standing in front of an encampment.Knitting Book (front cover) - Patons and Baldwins' Specialty Knitting Book no. 122, WWII. Knitting Book (back cover) - Patons and Baldwins' Specialty Knitting Book no. 122, WWII.No. 122 / 6D. / PATONS & BALDWINS' / SPECIALTY / Knitting Bookworld war ii handicrafts - history knitting, patons and baldwins (australia) ltd, world war ii, handicrafts - history, knitting

Devizes is a medieval market town in the centre of Wiltshire, 16 miles from Stonehenge and 8 miles from Avebury. The building of a castle in Norman times dictated the layout of the town which is still visible. It contains over 50 Heritage Plaques. There were people in Devizes locality in prehistoric times and a Roman villa once stood on The green. The Wiltshire Museum is home to one of the best Broze Age collections in Britain and includes finds from around Stonehenge including the famous Bush Barrow gold. Some convicts that were tried at the Devizes Assizes were transported to Australia. Amongst these was John Chew, transported to Tasmania, but later his family settled in Victoria.devizes, the bear hotel, staircase, window

Devizes is a medieval market town in the centre of Wiltshire, 16 miles from Stonehenge and 8 miles from Avebury. The building of a castle in Norman times dictated the layout of the town which is still visible. It contains over 50 Heritage Plaques. There were people in Devizes locality in prehistoric times and a Roman villa once stood on The green. The Wiltshire Museum is home to one of the best Broze Age collections in Britain and includes finds from around Stonehenge including the famous Bush Barrow gold. Some convicts that were tried at the Devizes Assizes were transported to Australia. Amongst these was John Chew, transported to Tasmania, but later his family settled in Victoria.devizes, the bear hotel, staircase, window

Devizes is a medieval market town in the centre of Wiltshire, near Stonehenge and Avebury, and east of Bath. For more information see https://devizes.org.uk/index.php/history/history-of-devizes.html Some convicts that were tried at the Devizes Assizes were transported to Australia. Amongst these was John Chew, who stole metal, and who was transported to Tasmania. He married in Tasmania, but descendants of his family settled in Victoria, Australia. Colour photograph of a circular staircase at the Bear Hotel in Devizes. devizes, bear hotel, staircase, window, john chew