Hygieia (Ύγεια, lit., “healing”) probably began as an abstraction, which later became personified. She does not appear to be a deity of extremely ancient origin, and there has been much scholarly debate as to exactly where and when worship of her first developed. Her cult most likely arose in the territory of Sikyon, where she was worshipped along with Asklepios, the legendary god of medicine. In later times Hygieia came to be regarded as the daughter of Asklepios, although her cult was not introduced to Epidauros, his principal sanctuary, until at least the 4th century BC. The earliest large-scale devotion to her is found in the aftermath of the Plague of Athens (420BC). The cult of Hygieia was taken to Rome, along with that of Asklepios (Æsculapius), in 293BC, to avert a pestilence. Here she gradually became integrated with the old Italian god Salus. Towards the end of the pagan era both Hygieia and Asklepios lost their specific associations with medicine, and became general protective deities. A beautiful wooden statue representing Hygieia, the Greek goddess of health.The figure is highly polished, which brings out the intricate grain of the timber. In it, the sculptor has endeavoured to combine the qualities of a classical pose with a contemporary yet timeless surreal sensuality. It will stand on a stone pedestal about 90cm high, and be placed in a prominent location in the Melbourne headquarters. The College’s statue is semi-abstract in style, carved from a single piece of jarrah. The piece of timber from which it is fashioned was salvaged from the remains of a century-old shearing shed on Rifle Downs, at Darkan in the south-west of Western Australia.

'Surveyor of Suburban Environs' was one of the acquisitions from the 1991 Eltham Art Awards (now known as the Nillumbik Prize - and formally the Nillumbik Art Awards). This was the first piece acquired from this award which was suitable for a public space. Nillumbik is referred to as the "Green Wedge" and the sculpture "Surveyor of Suburban Environs" suggests a watchful observer of the surrounding landscape. The sculpture's central motif represents an eye held up on a pedestal by a tail. Its form has been likened to the Eye of Horus, an ancient Egyptian symbol of protection, royal power and good health personified in the goddess Wadjet or 'green one'. This likeness would suggest that the observer or surveyor has a divine status and spiritual connection to its environment. Polished stainless steel sculpture comprising an eye reminiscent of ancient egyptian hieroglyphics, which is held up with a tappered and jaggered tail like pedestal. Concrete base. N/Apublic art, fries, spiritual, eye, stainless steel, goddess, surveyor, sculpture, environment

New York : Franklin Watts, 1963 vii, 253 p. ; 25 cm. non-fictionGeneral history with very brief mention of Aborigines.settlement and contacts - colonisation., settlement and contacts - ancient and early historical., politics and government - sovereignty, economic sectors - agriculture and horticulture - pastoral industry., settlement and contacts - government settlements, history - political. | settlement and contacts - settlers., australia -- history.

Purchased by Mr. & Mrs. H. N. Lord in 1970. Cloisonné, a French word meaning "enclosed", is a metal-working technique. It is an ancient technique for decorating metalwork objects. The resulting objects can also be called cloisonné. The decoration is formed by first adding compartments or cells to the metal object. This is done by soldering or sticking silver or gold wires or thin strips placed on edge. These are visible in the finished piece, separating the different compartments. Coloured enamel is the usual filling for the cells. Cloisonné enamel objects are worked on with enamel powder made into a paste, which then is fired in a kiln. In older times inlays of cut gemstones were often used. They were decorated with geometric or schematic designs, with thick cloison walls. IPair of miniature royal blue Chinese Cloisonne vases with pink floral design.vases

The order of service of the ceremony to dedicate the Shrine Forecourt by the Queen on 28 February 1954. It was the official commemorative document of the occasion. The Queen lit the Eternal Flame as part of the ceremony. The design of the Forecourt was part of a competition that was run to find a suitable memorial. The Forecourt is cross shaped. The Cenotaph is 65 feet high and rises as a focal point to the Forecourt, it is balanced on the other side by three 70 foot high flagstaffs. The sculpture at the top of the Centoph is "carved in Footscray basalt. It represents six men in battle dress of the Navy, Army and Air Services, carrying a bier on which lies the figure of a dead comrade draped with the national flag. Its simple symbolism harmonises with the great shrine itself and sums up with dramatic power the whole message of the monument - the debt of the living to the dead, the eternal bond between the fallen and those who enjoy the fruits of their sacrifice." Also from the souvenir booklet: "In front of the Cenotaph, surrounded by a protective railing, the Eternal Flame which burns continually in its great bronze bowl. The eternal flame is an ancient symbol signifying at times the continuing spirit of a city, at others the constancy of man to an ideal, and again as they symbol of continuing faith." The document was in a file with other documents concerning the Shrine and it's history (01181 - 01190).A record of the dedication of the Forecourt at the Shrine of Remembrance by the Queen. There was an effort to record historical events for the "Archive Committee" which collected this and other documents relating to the Shrine together in a file (see items 01181 - 01190)Booklet x 12 pages with sepia photos and brown text in a cream card cover for the dedication of the Shrine Forecourt on 28 February 1954.memorial, wreath laying ceremony, royal visit, shrine of remembrance

Ticket and notice about the Dedication of the Forecourt by The Queen, possibly kept as souvenirs by a Legatee. The Forecourt is cross shaped. The Cenotaph is 65 feet high and rises as a focal point to the Forecourt, it is balanced on the other side by three 70 foot high flagstaffs. The sculpture at the top of the Centoph is "carved in Footscray basalt. It represents six men in battle dress of the Navy, Army and Air Services, carrying a bier on which lies the figure of a dead comrade draped with the national flag. Its simple symbolism harmonises with the great shrine itself and sums up with dramatic power the whole message of the monument - the debt of the living to the dead, the eternal bond between the fallen and those who enjoy the fruits of their sacrifice." Also from the souvenir booklet: "In front of the Cenotaph, surrounded by a protective railing, the Eternal Flame which burns continually in its great bronze bowl. The eternal flame is an ancient symbol signifying at times the continuing spirit of a city, at others the constancy of man to an ideal, and again as the symbol of continuing faith." The document was in a file with other documents concerning the Shrine and it's history (01181 - 01191).A record of the dedication of the Forecourt at the Shrine of Remembrance by the Queen. There was an effort to record historical events for the "Archive Committee" which collected this and other documents relating to the Shrine together in a file (see items 01181 - 01191)Ticket for admission and notice about Etiquette for the Dedication of the Shrine Forecourt on 28 February 1954.memorial, wreath laying ceremony, royal visit, shrine of remembrance

The order of service of the ceremony to dedicate the Shrine Forecourt by the Queen on 28 February 1954. The Queen laid a wreath and lit the Eternal Flame as part of the ceremony. The design of the Forecourt was part of a competition that was run to find a suitable memorial. The Forecourt is cross shaped. The Cenotaph is 65 feet high and rises as a focal point to the Forecourt, it is balanced on the other side by three 70 foot high flagstaffs. The sculpture at the top of the Centoph is "carved in Footscray basalt. It represents six men in battle dress of the Navy, Army and Air Services, carrying a bier on which lies the figure of a dead comrade draped with the national flag. Its simple symbolism harmonises with the great shrine itself and sums up with dramatic power the whole message of the monument - the debt of the living to the dead, the eternal bond between the fallen and those who enjoy the fruits of their sacrifice." Also from the souvenir booklet: "In front of the Cenotaph, surrounded by a protective railing, the Eternal Flame which burns continually in its great bronze bowl. The eternal flame is an ancient symbol signifying at times the continuing spirit of a city, at others the constancy of man to an ideal, and again as they symbol of continuing faith." The document was in a file with other documents concerning the Shrine and it's history (01181 - 01191).A record of the dedication of the Forecourt at the Shrine of Remembrance by the Queen. There was an effort to record historical events for the "Archive Committee" which collected this and other documents relating to the Shrine together in a file (see items 01181 - 01191)Cream paper program with blue print, single page folded in half, order of service for the dedication of the Shrine Forecourt on 28 February 1954.memorial, wreath laying ceremony, royal visit, shrine of remembrance

524p., plus 115p (indices). Paper slipcover.non-fictionA reference book on the rules of golf. Contains the new rules updated on 01/04/2004. Provides clear answers to practical problems encountered when playing golf.golf - rules, royal and ancient, r & a, st andrews

Part of a letter dated Aug 9th/66 in reference to Brother Salter and the writer mentions that the P.O.Order for 11s 1d had been received. The Court had granted a clearance which was enclosed with the letter.societies, aof, correspondence, ancient order of foresters no. 3770 collection - correspondence, court foresters home, royal hotel moonta, bro salter

Letter from Josiah Hampton dated 14 June 1865. He desires the assistance for himself and family of the medical officer of the Court in accordance with General Law 47 of the B.U.D. and also of Law 46 of the B.U.D. and hoped to obtain the consent of Court King of the Forest at an early date that he may communicate with his own Court accordingly. He was a financial member of Court Tarrangower No. 3514.societies, aof, correspondence, ancient order of foresters no. 3770 collection - correspondence, mount pleasant cottage redan hill, court king of the forest, josiah hampton, court tarrangower 3514, d f martin, royal hotel maldon

Note dated October 8/66 mentioning that he has removed his family to the White Hills, and he wished to have the attendance of the Court Surgeon of Court Royal Oak which he intended applying for under law 47. Signed William H. Nicholas.societies, aof, correspondence, ancient order of foresters no. 3770 collection - correspondence, court king of the forest, court royal oak, william h nicholas

Note, written on blue paper and dated Oct? /66 mentioning that Br. W. H. Nicholas has applied & permission granted for the services of your Ct. Surgeon. Also on the same sheet is a letter written on paper with printed letterhead and crest, dated Oct 17th, 1866, mentioning that Br Hampton had applied to Court King of the Forest for services of the Surgeon and you will oblige information whether permission has been granted him by your Court, as no information has been received. Another letter written on the back between Court King of the Forest ad Court Happy Valley mentioning that the application for Meeting removal had been laid before the Court and the instruction was to inform the writer that the Court will not oblige if the meeting was called for the especial purpose.societies, aof, correspondence, ancient order of foresters no. 3770 collection - correspondence, court king of the forest, court royal oak, br w h nicholas, commercial hotel, court tarrangower, br hampton