This cast iron hitching rail, designed to accommodate horses on Sturt Street Ballarat, incorporates a bronze plaque dedicated to the Australian Poet Adam Lindsay Gordon (1833-1870).The memorial is of historic and aesthetic significance to the people of BallaratOrnate cast iron post designed for hitching horsesA.L. GORDON, AUSTRALIAN POET, 1833 - 1870 (on plaque)adam lindsay gordon, ballarat, australian poet

A grand cement rendered masonry structure of a single central arch flanked by wide piers 20metres in width, spanning the roadway, and 18 metres high. Crowned by the 'Rising Sun' symbol of the Australian Commonwealth Military Forces beneath which the words Avenue of Honour and Victory are written prominently across the arch. Erected in 1920, the Arch marks the beginning of s 22 kilometre stretch of 3728 trees, each one a memorial to men and women in order of enlistment for World War 1. On 2 June 1920, the Prince of Wales opened the Arch and was presented with a pair of silk pyjamas embroidered with Australian emblems. Each of the 500 'Lucas Girls' had put in a stich. The Arch of Victory, located at the entrance to the Avenue of Honour Ballarat, was erected in 1920 as a memorial to the people of the Ballarat and the surrounding district who enlisted in World War I. The Avenue of Honour, with the Arch of Victory, was officially opened by the Prince of Wales on 3rd June 1920. The single central arch is flanked by wide piers 20 metres in width, spanning the roadway, and 18metres high. The monument is of historical significance to the people of BallaratCement rendered masonry arch structureCrowned by the 'Rising Sun' symbol of the Australian Commonwealth Military Forces beneath which the words Avenue of Honour and Victory are written prominently across the arch.arch of victory, avenue of honour ballarat, australian commonwealth military forces, world war i, prince of wales, lucas girls

Incidents in Time consists of a number of small, whimsical artworks tucked in to the small nooks and crannies that are a feature of Time Lane. This laneway was once a narrow watchmakers shopfront that ran the entire length of the lane and was packed with the accoutrements of a busy 19th Century store. The tiny works are miniature landscapes depicting moments in time, from the banal, to the sublime, to the strange. They spill out onto the laneway and are a treasure hunt for the audience of shoppers and passers-by. Incidents in Time is of aesthetic significance to the people of BallaratSmall cast metal forms installed into brick walls of Time Lane, BallaratSmall cast bronze panels with titles of each vignette

These sculptures represent peace and harmony for the collaboration between two artists commissioned by the City of Ballarat during the refurbishment of the park. The artwork is of aesthetic significance to the people of BallaratA pair of circular sculptures featuring painted metal structures with brick details

Murrup Laarr translates as 'Ancestral Stones' in Wadawurrung. This artwork by Dr Deanne Gilson is located in the North Gardens Indigenous Sculpture Park. The park is a significant project for the City of Ballarat and features works by Aboriginal and Torres Strait Islander artists, celebrating the richness and diversity of culture and telling important cultural stories. Dr Deanne Gilson is a Wadawarrung Traditional Custodian and established artist. She installed the first artwork commissioned by the City of Ballarat for the Sculpture Park in early 2019. Murrup Laarr is a contemporary artwork consisting of a traditionally-built stone hut in the middle of a circle of basalt standing stones, marked with ceramic plates reflecting the stories and symbols of dreaming, memory, ceremony.The artwork is of aesthetic and cultural, social and spiritual significance to the people of Ballarat and to Wadawurrung peopleA traditional hut made from river stone and stacked rocks, with the hut surrounded by large basalt rocks with plaques featuring unique designs on stoneware plates imbedded into them. Murrup Laarr (Ancestral Stones), 2019 / By Deanne Gilson / Wadawurrung people have always used stones to mark places of ceremony and important business. The stones are the holders of memory and knowledge, Country and Spirit. They mark the cosmos and seasons. They follow the sun, marking the summer and winter solstice, important dates for planting and harvesting and telling stories of past, present and future. / The stones are alive and still present. Murrup Laar has been created using local basalt stones to tell Wadawurrung stories of dreaming, memory and ceremony. / “Creating Murrup Laarr (Ancestral Stones) at this time has placed Aboriginal people and practices back on Country and created a place to tell our stories. I am very honoured to have had this opportunity. An Aboriginal stone circle existed in Ballarat pre-colonisation; by putting back what was lost throughout colonisation I pay homage to my ancestors, past, present and emerging”/ – Deanne Gilson, March 2019 murrup laarr, wadawurrung

The artwork sought inspiration by the local history of Wendouree West and is a feature at the Wendouree West Recreation Reserve commissioned as part of a redevelopment of the park in 2017-2018. The artwork is located within close proximity to new playground facilities and promotes positive stories about Wendouree West to locals and the wider community.The artwork is of aesthetic significance to the people of BallaratThree stainless steel sculptures of Kurrajong tree leaves Col Henry 2018spirit of the forest, wendouree west, col henry, australian sculpture

This depiction of Major George Devine Treloar (1884-1980) by artist Lis Johnson was commissioned by the George Devine Treloar Memorial Committee an initiative of Merimna Kynon of Oceania, Central Portian Pontion Association of Melbourne and Victoria Pontiaki Estiaâ and the City of Ballarat. Treloar was appointed as the League of Nations Commissioner for Refugees in Greece in 1922 where he worked to provide food, aid and comfort to what would eventually total over 100,000 refugees from the collapsing Ottoman Empire. This memorial grew from the desire of the descendants of refugees to honour his memory and his humanitarian work. Bronze statue of George Treloar and a child on granite plinthFront: Major George Devine Treloar (Born Ballarat 1884 - Died Dalkeith 1980) Artist: Lis Johnson Commissioned by the George Devine Treloar Memorial Committee an initiative of Merimna Kynon of Oceania, Central Portian Pontion Association of Melbourne and Victoria ‘Pontiaki Estia’ and the City of Ballarat. Unveiled by Ballarat Mayor Councillor Samantha McIntosh on 8 September 2019 His glory lies not in the earth, but in the hearts of men (After Thucydides, 460-395 BCE) Back: Ballarat’s George Devine Treloar – Soldier and Refugee Helper Born in 1884, George Devine Treloar the son of Jane and Thomas Treloar, grew up in Ballarat attending St Patrick’s College. Treloar began his military career by joining the British Army during WWI and transferred to the elite Coldstream Guards where his bravery earnt him the Distinguished Service Order and Military Cross. Treloar was appointed as the League of Nations Commissioner for Refugees in Greece in 1922 where he worked tirelessly – with his wife and family – to provide food, aid and comfort to what would eventually total over 100,000 refugees from the collapsing Ottoman Empire. Based in the town of Komotini and then Thessaloniki, he created new villages to accommodate refugees. For his efforts Treloar would earn the praises of those he had helped. One of the new towns he had helped create was named in his honor – Thrylorion. He was awarded the Greek Gold Cross of the Order of the Redeemer in 1923. This memorial grew from the desire of the descendants of refugees assisted by Major George Devine Treloar in Greece to honor his memory. Without his help their ancestors would not have survived, making their way from across the former Ottoman Empire, from Pontus and Asia Minor to Australia. Here in the town of his birth stands his memorial, dedicated to his memory and good works, created by the people of Ballarat and the descendants of the refugees he saved.treloar, george devine, refugee, asia minor

The Flock is a kinetic sculpture made up of 11 parts. It celebrates a local migratory bird, the ibis. The sculpture comprises tall steel poles with a steel ibis balanced on the top of each pole by its beak. Balanced on a spherical joint to allow fluid movement in all directions, each element of the Flock is designed to look like a bird in flight. The kinetic wind-powered elements of the artwork were inspired by the nearby Waubra Wind Farm.The artwork is of aesthetic and social significance to the people of BallaratEleven white and black birds on poles with moving partsibis, friends of learmonth, learmonth

A temporary artwork by Lead On Ballarat was installed in a carpark at the Ballarat Library from 2013-2020. Art Streetz Murals was an initiative of Lead On Ballarat’s, “Take Back the Streets” art program and the City of Ballarat. The project was funded under the Graffiti Prevention and Removal Grants, part of the Victorian Government’s Community Crime Prevention Program. The aim of the project was for the young people involved to develop their skills, ideas and designs with assistance from the ‘Lead Artist’ Pauline O'Shannessy-Dowling. The artwork was created through a number of workshops, planning and design sessions. The final design received approval from the City of Ballarat and was painted by the lead artist and collaborators from April – May 2013.The artwork is of aesthetic and social significance to the people of Ballaratpainted mural lead on ballarat, take back the streets

Whilst my main focus for the artwork design was on the Hotels on Main Road, I felt there was an opportunity to tell a broader story of Main Rd and combine/include some interesting pieces of information from many stages of the history of Main Road. Considering that at one point in time there would have been at more than six hotels in this very short section of street….there’s no doubt Main Rd was an epicentre of communication and festivities for the Goldfields of Ballarat. “No matter what luck he had, every miner needed supplies, food and something to entertain him when he was not searching for gold.” Described as being an overcrowded jumble of muddy streets loosely arranged around mining camps...and loud, muddy, colourful and sometimes illicit. I wanted the artwork composition to consist of overlapping images and text to reflect this sense of hustle and bustle. Main Road Mural tells the broader story of the history of Main Road in Ballarat. In 2018, the City of Ballarat commissioned local Ballarat artist Travis Price to create an artwork to align with the Main Road Revitalisation Project and deliver a key component of the storytelling (heritage interpretation) project that spans the length of the shopping precinct. The artwork is featured on a prominent site in the shopping precinct of main road and tells the story of Main Road through depicting key timeline events. Main Road, as its name suggests, was one of the main entries to the mining areas of East Ballarat. It had several names: Main Street before 1858, Plank Road between 1858 and 1868 and Main Road from 1868 onwards. The centre of mining life, it was crowded, prosperous, raucous and dirty. Painted mural on shop wall in Main Road, BallaratBallaarat, Gold Fever, The Royal Standard Hotel, Flood, Boxing Saloon, Plank Road, Kulin Nation, 3350, Election, East, Grog House, The Scandinavian Hotel. Images; Chinese lantern, Pick & Shovel, Miners Licence burning.main road history, ballarat hotels, gold fever, wadawurrung, kulin nation

Old uncle is standing on the mountainside watching over the modern-day empires built on Aboriginal land shaking his head, saying: “they are doing it again, every empire has a rise and fall”. It’s something that has never been learnt over time. — Josh Muir Josh Muir’s work, Roots, was the first temporary artwork to be installed on the Gallery Annex Wall on the approach to Alfred Deakin Place, Police Lane in Ballarat Central. The space is an important site to host this work given that Alfred Deakin Place is commonly used as a place of discussion, engagement, protest and performance.Temporary artwork - printed vinyl application to concrete wallnoneelder, aboriginal and torres strait islander

The Campsite mural features Bunjil (wedge-tailed eagle) the creator and spiritual leader for Aboriginal people of this land. The Baarlijan (platypus) is a representation of the local Aboriginal community who have come from different Aboriginal nations and have made Ballaarat their home. The circular motifs represent campsites of different sizes located across Ballaarat, indicating that Ballaarat was and continues to be an important meeting place. Campsite (2020) is a re-commissioned artwork based on the original Campsite Mural installed in Alfred Deakin Place for the Commonwealth Games in 2006. The Campsite mural features Bunjil (wedge-tailed eagle) the creator and spiritual leader for Aboriginal people of this land. The Baarlijan (platypus) is a representation of the local Aboriginal community who have come from different Aboriginal nations and have made Ballaarat their home. The circular motifs represent campsites of different sizes located across Ballaarat, indicating that Ballaarat was and continues to be an important meeting place. Commissioned by the City of Ballarat. Painted mural on six weatherproof sheetsbunjil, baarlijan, aboriginal history, ballarat history, wadawurrung

It's encouraging to see my city using poetry in such a public way. The park itself is a humble one, which suits these little poems perfectly. If you're ever in town come and take a seat for a while. The poem 'Little Bridge' by Nathan Curnow was commissioned as part of a placemaking project in Little Bridge Street Pocket Park, Ballarat in 2018. The Park was redesigned to include more passive surveillance, and improved amenity to increase community safety in the area. The poem is engraved onto seating to provide a rest and point of interest space in the small park. Six seats featuring an engraved poemPut it all down and take a seat/ Pull out a snack from your shopping/ Listen to the trumpeter busking a tune/ With every visit this park is growing/ Killing time takes real devotion/ Stare at the flags and masts of your town/ And the buses come rolling down Bakery Hill/ It may be cold but we lean to the sun/ If you feel like a square of the Eureka flag/That’s hopelessly lost and tattered/ Remember you’re as precious as a corner-piece/ We search for you first to get started/ There is something big on Little Bridge/ Not a beanstalk that leads to a giant/ But another day in the life of Ballarat/ All of this gold at the surface poetry, little bridge street, ballarat

The Garden of the Grieving Mother is an acknowledgement of the trauma, grief and anxiety felt by the families of Australian servicemen and women. Of the 3,801 WWI service men and women commemorated in the Ballarat Avenue of Honour, 1 in 5 made the ultimate sacrifice, giving their lives. At the centre of the memorial space is a bronze sculpture of a mother clutching a photograph of her son by sculptor Peter Corlett who has created many war memorial public artworks. The memorial was unveiled on 15 February 2017 by Governor General Sir Peter Cosgrove and Mrs Kaye Baird, mother of posthumous Victoria Cross recipient, Corporal Cameron Baird.Bronze sculpture installed in landscaped garden on lit plintha mother grieving the loss of her child at war

"The idea behind this artwork installation ‘Spirit of the Ballarat Winter Festival’ was to incorporate arts and cultural symbology as if it were painted like a brush stroke upon the footpath yet embedded like a time stamp within the urban streetscape. ‘Spirit of the Ballarat Winter Festival’ offers an unexpected burst of colour and vibrancy within the Ballarat CBD." This artwork was created as pert of the Ballarat Winter Festival in 1998. The Spirit of the Ballarat Winter Festival mosaic is an interpretation of the Ballarat Winter Festival logo image designed by Paul McKenna. Principal Artist Belinda (Bel) Woodruff then trading as Deevine Mosaics received Project Support from Anne Bonighton and City of Ballarat Community Arts Department staff. Vitrified glass tiles adhered to a pre-cast concrete form - installed into the footpath.SPIRIT OF THE / BALLARAT WINTER FESTIVAL / MOSAIC BY/ DEVINE ORIGINALS / SUPPORTED BY / COMMUNITY ARTS - 1998

“This public art project honours the people and suburb of Sebastopol, as well as providing a strong visual identity for Albert Street. It will make the street a lot more attractive and welcoming. The project is the outcome of extensive consultation with groups and individuals in the Sebastopol community, who have made suggestions both as to the nature of the project but also the aspects of life in their community they wanted to represent through the artwork.”Crossing Rubicon by Ratartat is located in Albert Street, Sebastopol, Ballarat. A row of 16 lampposts in Sebastopol’s main street are topped with large enamelled steel sculptures of trees, representing different aspects of Sebastopol’s community life and history. Ratartat is an artistic collaboration of Ballarat-based artists Geoff Bonney and Pete Widmer. The name, Crossing Rubicon, refers to Rubicon Street, the boundary between Redan and Sebastopol. The street was named after the Rubicon River, an ancient boundary between Italy and Gaul. Julius Caesar’s decision to cross the river, thereby rebelling against the Roman Senate, gave rise to the expression “crossing the Rubicon”, meaning going past the point of no return.Sixteen powder-coated steel sculptures mounted on light polesrubicon, sebastopol, ratartat

Swan Pool forms the southern gateway to the ‘Fairyland’ area on the western shore of Lake Wendouree, Ballarat. The new bridge was built c2013 and designed based on the form of water lily flowers. The sculptural form of the bridges enhances the ‘Fairyland’ experience for children and adults alike.white decorative steel bridge edgings

At the crossover between placemaking and public art, this space designed and constructed by Katherine Masiulanis embeds local stories to enliven the local community centre. Masiulanis has designed the public artwork to reflect the lines of crops and ploughed fields and mountains in the surrounding landscape. The artwork also refers to the seasonal travel of Aboriginal people from Wendouree to Burrumbeet and migratory birds making a similar journey. The style of the refurbished courtyard will reflect the 1970s positivity style reflected in the Community Centre architectural design and the history of the first development of the ‘Village’. Cardigan Village is home to about 450 residents on the outskirts of Ballarat. It was established in the 70s, with all the positivity and optimism of the period.Painted walls, metal bird shapes, metal cut out wall shapes, stone bowl

“The artwork speaks to the historical architecture of this area, while exploring the idea of changing understanding of space. Space is bent, bulged and repeated, in this painting, like a mirror maze. In this way, it will inspire playfulness, curiosity and thought, by transforming the way we observe, move through and engage with public space”Artist George Goodnow has installed their artwork on the Annex Wall in Alfred Deakin Place from 30th November 2021 - 1 November 2022. George is a multidisciplinary artist and curator currently living in Naarm (Melbourne). Their work for the Annexe Wall will feature a fictional architectural arrangement of the Police Lane site. George utilises painting (designed through hand-drawn and digital processes) to adjust existing architecture, illuminating how spaces reflect, orientate and hold bodies. Recent work explores feelings of disorientation, binaries and queerness within suburban and urban landscapes. painted wall

“The painted works are very intricate to make as I work in various sized brush strokes to make the images appear hand-drawn" This artwork by artwork by Briony Galligan was installed from Friday 20th November 2020 to 1 November 2021. Open Every Door consists of two wall paintings, each will remain at the site for 6 months, and a website publication. In April 2021 Briony installed the second artwork A Lover not a Fighter. Each abstract wall painting references queer histories and art makers, as well as abstract drawings made by Deakin’s Spiritualist contemporaries, such as Georgiana Haughton (1814-1884). The work was part of a City of Ballarat annual commission program to create temporary public artworks in Alfred Deakin Place, Ballarat. The artwork featured on a prominent site near the Art Gallery of Ballarat Annex. Currently a destination for art lovers and students from Federation University’s Arts Academy, Alfred Deakin Place is actively programmed as a space for new and innovative, contemporary public art. painted wall

"This project has extra meaning for me. It’s intended to create a positive effect on the local community” Ballarat-born artist, Justine McAllister's artwork was commissioned to bring a colourful facelift to the Little Bridge Street Bus Exchange precinct from December 2020-December 2021. The artwork installation is part of the extended City of Ballarat early works beautification program, designed to bring a fresh, bold and vibrant aesthetic to the location. painted work onto bus shelter

Medal commemorating the Centenary of Government of Victoria and the Discovery of Gold, commissioned by the Victorian Government and gifted to the Shire of Glenlyon. Designed by Andor Mészáros and minted by K.G. Luke, Melbourne, 1951. 1951 marked the centenary of Victoria's separation from the colony of New South Wales. As part of the celebrations, the Victorian Government commissioned this medal from Andor Meszaros. Drawing on his classical background, Mészáros developed the imagery for 'Equality and Justice through Freedom'. The man holding the torch represents equality; the blindfolded woman holding a sword is the symbol of justice, and both are mounted on a horse that has broken its shackles. Features on the reverse a design of a banksia and bottlebrush. There was another version of this medal which depicted a pair of gold prospectors on the reverse.This medal was presented to the Shire of Glenlyon in 1951. For over half a century, sculptors Andor (1900-1973) and Michael (1945- ) Meszaros have created medals that reflect the high points of life in Australia. From major awards and portraits of eminent Australians to artwork celebrating popular culture and the natural world, these objects illuminate our culture and history. Grounded in a centuries-old European art tradition, the medals create connections across disciplines and link such diverse subjects as scientific advances, religious themes, sport, the performing arts and motherhood. Through their public and private commissions and their personal artworks, the Meszaros sculptors have defined the modern Australian medal.Bronze medal with images and text insetObverse Description: Horse bounding left, broken shackles on foreleg, carrying woman holding sword and man holding torch; around, EQUALITY AND JUSTICE THROUGH FREEDOM Artist's name behind horse's tail: A MESZAROS Reverse Description: Stake supporting plant; above, CENTENARY OF GOVERNMENT OF VICTORIA 1851 - 1951; inscribed, Presented to / the Shire of / Glenlyon / 1951 Artist's initials to left of stakeglenlyon, hepburn shire, centenary of government, centenary of gold discovery, history of victoria, victorian governement, meszaros, kg luke, commemorative, commemorative plaque, centenary 1951

Boy with a Thorn Though the classical bronze that the figure was modeled has become known as Lo Spinario, both Stuart Rattle and Kevin O’Neill referred to it as The Boy with a Thorn. Information from the late Stuart Rattle and John Graham, the late Kevin O’Neill’s partner. The statue was bought by Kevin O’Neill from a South Yarra antique dealer in the 1980s. She had bought it in Europe. Stuart believed that it was cast in Berlin by Moritz Geiss who had pioneered the popular process of zinc casting of classical statues. Schinkel, the architect of early 19th Century Prussian public buildings used the process extensively. I assume that the decorations that can be seen in Berlin currently are copies of those copies, given the comprehensive destruction of the city in 1945. Unless there is a date stamped on the statue, and there might well be, there is no firm indication of its age, although Stuart and Kevin believed it was “turn of the century”. It was given to Stuart by John Graham after the death of Kevin O’Neill. Prior to its installation at Musk Farm, it was “by the dam” at Marnarnie, O’Neill’s property at Mt Macedon. It became a much photographed focal point in the sunken garden at Musk Farm. The statue is a gift from the Rattle family to The Friends of Wombat Hill Botanic Gardens who intend to give it, in turn, to Hepburn Shire to be placed in the Botanic Gardens. Both the family and the Friends see it as a memorial to Stuart’s tireless work to raise funds for the Gardens and to raise the profile of the Gardens so that their considerable significance could be more broadly acknowledged. The CMP notes that statuary has been a feature of most botanic gardens (and a notable feature of the Ballarat Botanical Gardens) and James Lowe, the head of Parks for the Shire has also commented that it is an area that could well be developed in the Gardens. This comes from his attendance at meetings of the BGANZ, the “peak professional body” for the development and maintenance of registered botanic gardens in Aus and NZ. Given the lack of funds that the Shire has been able to allocate to the Gardens, a donation of this calibre is a welcome addition to the cultural asset that the Gardens represent. A very large number of residents of the Shire are members of the Friends, have visited Musk Farm and are appreciative of the Gardens. There is a current feeling that the Gardens are undergoing a dynamic revival as a result of the success of the Café and also because of the extraordinary improvement and enhancement of the amenity that has been undertaken over the past two years by the Friends. The installation of the Boy with the Thorn is another move forward for the Gardens. The statue is cast zinc. It is sometimes referred to a white bronze. As can be seen in the photographs, it is in very good condition with no damage or apparent degeneration of the metal. The Smithsonian Institution has a lengthy document relating to the deterioration and repair of similar casts in the US where urban pollution has taken its toll but for the most part it deals with inappropriate repair rather than maintenance protocols. One of the properties of zinc that is appreciated in Australia is its ability to withstand the elements and given that the artwork has been either on Mt Macedon or at Musk for the last 30 years or more, its relocation to Wombat Hill seems to be an appropriate one. The Friends are prepared to organise and pay for the relocation of the statue. The issue of security from the point of view of theft, malicious damage and environmental impact will need to be addressed. The Ballarat Botanical Gardens have recently reinstalled statuary which has been damaged and which had been removed from the Gardens on account of this. They have used Rockworks Ballarat and Wilson’s Memorials to make plinths, secure artworks with steel pins and to provide especially robust fixings to ensure the safety of the various sculptures. The CMP (2007) makes a number of recommendations regarding security in the Gardens ranging from the installation of lighting to the locking of the gates overnight and the repair/reinstatement of appropriate fencing – not done as yet to my knowledge. Paul Bangay has also agreed to act as a consultant in the process of installing the Boy. John Graham estimates its value at $20,000 The preferred location for the work would be at the entrance to the Fernery from the lawn. The paths form an intersection at that point that could be modified to fit the statue. But this is currently a suggested location only. The statue is a gift from the Rattle family to The Friends of Wombat Hill Botanic Gardens who have gifted it to the Hepburn Shire to be placed in the Botanic Gardens. Both the family and the Friends of the Wombat Hill Botanical Gardens Daylesford see it as a memorial to Stuart’s tireless work to raise funds for the Gardens and to raise the profile of the Gardens so that their considerable significance could be more broadly acknowledged. Lo Spinario (Boy with a thorn) c. 1900 copy after the Greco-Roman Hellenistic antique bronze in Rome. c. 1900 copy after the Greco-Roman Hellenistic antique bronze in Rome (Palazzo dei Conservatori, Musei Capitolini, Rome) Manufacturer M. Geiss, Berlin Nonedaylesford, wombat hill botanical gardens, stuart rattle, kevin o'neill, john graham, boy with a thorn, lo spinario, classical sculpture, zinc, classical nude, hepburn shire, public art, sculpture, art

Hardcoverwalsh st library

Dictionary including Indigenous and European place names. Origins are given.maps, b&w photographsdaung wurrung, woiwurrung, dja dja wurrung, wathawurrung, wadawurrung, boon wurrung, jardwadjali, melbourne, yarra, baw baw, central goldfields, bass coast, greater geelong, south gippsland, surf coast, yarra ranges, golden plains, mornington peninsula, yarra ranges, ballarat, frankston, greater dandenong, queenscliffe, moorabool, boroondara

Rev Charles Lane (1823 - 1910) Wesleyan Methodist minister. The Observer 15 January 1910, p.36: The Rev. Charles Lane, better known In South Australian Methodism as "Father" Lane, died at his residence, Dorset Cottage, Magill, on Saturday, at the advanced age of 88 years. The deceased clergyman attended the Methodist Conference in 1900 —the year of his jubilee as a minister--and was accorded a vote of congratulation. Mr. Lane was born in Dorset, and be associated himself with the Congregational Sunday school at an early age, and when 16 years old took a practical part in religious matters. Then he removed to another town and joined the Methodist Church. In 1855 a request for a number of energetic Christian workers came from Australia, and 10 were sent out in the ship Walmer Castle, among the number Mr. Lane. He was received into the Victoria ministry in the following year, and received his first - charge at Ballarat. He proved a successful preacher in the early days of the Victorian goldfields, and accomplished much valuable work. He was impressive in the pulpit, humorous on. the platform, and welcome everywhere. About 1878 he wag transferred to the South Australian Conference, and from that time until being placed on the supernumerary list in 1889. he laboured in all the most important circuits. He was President of the Wesley an Conference in 1886, and displayed conspicuous ability in fulfilling the important duties associated with that office. He had resided at Magill for 17 years, and up to the time of his death had evinced a deep interest in work to which he had devoted .the best years of his life. Sepia toned carte de visite: seated studio portrait of the Rev. Charles LaneRev Chas Lanerev charles lane, methodist, minister, south australia

Matthew Burnett (1839 - 1896). Wesleyan temperance evangelist. Born in Yorkshire, came to Australia in 1857 with his wife Sarah Gibson. He spent the years 1864 to 1867 on the goldfields evangelising against drink and securing temperance pledges. Sarah Burnett died in 1871 and Matthew returned to England in 1873, meeting leading temperance reformers. He returned to Australia in the mid-1870s. He went to South Australia, Western Australia, Tasmania and New Zealand as a temperance campaigner, and claimed to have received pledges from 140,000 people. He returned to England in 1890 and died at Scarborough in 1896.Sepia toned head and shoulders studio portrait of Matthew Burnett in three quarter profile."Yours faithfully Matthew Burnett"matthew burnett, sarah gibson, temperance, evangelist, wesleyan

Born in goldfields (Stawell) in 1858. Began work as teacher in Victoria and then New Zealand. In July 1881, joined cousin Thomas Moran and established their chain of grocery stores. By 1935, they operated some 120 stores in Victoria and Tasmania, plus 40 in New South Wales. Died 1935. Ardent Methodist, philanthropist - gave properties to MLC Hawthorn and Elsternwick, Wesley College and other institutions.Head and shoulders studio portrait of Mr. Frederick John Cato wearing suit.moran and cato grocery stores, cato, f. j., methodist, methodist ladies' college, wesley college

Born in goldfields (Stawell) in 1858. Began work as teacher in Victoria and then New Zealand. In July 1881, joined cousin Thomas Moran and established their chain of grocery stores. By 1935, they operated some 120 stores in Victoria and Tasmania, plus 40 in New South Wales. Died 1935. Ardent Methodist, philanthropist - gave properties to MLC Hawthorn and Elsternwick, Wesley College and other institutions.Line drawing by E. Powell of Mr. Frederick John Cato from the shoulders up (reproudced in Church + Nation in 22/06/1988, page 20).Identification on rear.moran and cato grocery stores, cato, f. j., methodist, methodist ladies' college, wesley college