Stanley George Allen Hindhaugh (1883-1962), soldier, was born on 12 December 1883 at Camperdown, Victoria. His occupation was Station Manager. 14 April 1904 - Appointed Lieutenant 11th Light Horse Regiment Militia. 3 April 1911 - Promoted to Captain in the Militia. 20 August 1914 - Appointed to the Australian Imperial Forces to A Squadron, 4th Light Horse Regiment at Broadmeadows camp. 19 October 1914 - Embarked for the Middle East from Melbourne with the 4th Light Horse Regiment per Tranport A18 "Wiltshire". 11 December 1914 - Disembarked at Alexandria for camp Mena. 19 May 1915 - Promoted to Major. From 22 May 1915 - On operations at Gallipoli. 6 August 1915 - Noted in the fierce engagement at Leane's Post. 19 August 1915 - Appointed Second in Command 4th Light Horse Regiment. December 1915 - To camp at Tel El Kebir. January 1916 - Acting CO 4th Light Horse Regiment. 21 March 1916 - Embarked Alexandria per "Cestrian" for Marseilles with B Squadron 4th Light Horse Regiment for operations in France and Flanders. 16 February 1917 - Promoted to Lt Colonel. March 1918 - In action at Passchendaele - Awarded Belgian Croix de Guerre. 7 December 1918 - To 2nd Light Horse Regiment. 2nd ANZAC Mounted Regiment. 15 May 1919 - Returned to Australia. 11 October 1919 - Transferred to Reserve of Officers. 1932 - Commanded 20th Light Horse Regiment. 1934 - Commanded 11th Light Horse Regiment. 15 November 1941 - Retired. Full size and miniature sets of medals awarded to Colonel Stanley George Allen Hindhaugh. Comprising: Distinguished Service Order (Flanders 1 June 1918), 1914-1918 Star, British War Medal 1914-1920, Victory Medal (with MID) 1919, War Medal 1939-1945, King George V Coronation 1911, Colonial Officers Auxiliary Forces Decoration, Croix de Guerre (Belgium) 1917. Mounted in glass fronted display case.Plaque in case enscribed: "Decorations of the late Lt Col Stan Hindhaugh 4th Light Horse Regiment. Presented to 4th 19th Motorised Regiment". Adhesive label on case: Alwyn and Barbara Catmore 32 Morrie Crescent Blackburn Vic 3130 (03)8984124 medals, world war, 1, victory medal, 4th light horse, militia, western front, dso, king george v coronation, colonial officers auxiliary decoration, 1914 1918 star, mid, croix de guerrre belgium, passchendaele, 2nd anzac mounted regiment, 20th light horse, 11th light horse

A black and white portrait of an unknown man taken by John William Lindt.A black and white portrait of an unknown man taken by John William Lindt. John William Lindt was born in Germany in 1845. At 17 he took a working passage to Australia on a Dutch sailing ship. Taking up work as an itinerant piano-tuner, he traveled amongst towns in Victoria and New South Wales before settling in Grafton in 1863 where he became assistant and apprentice to photographer Conrad Wagner. After a brief return to Germany in 1867 Lindt took over management of Wagner’s studio in 1869. He married Wagner’s daughter, Anna on 13 January 1872. Over 1873-1874, using the slow and laborious wet-plate collodion process, John Lindt produced photographs of the local indigenous people both in their environment conducting actual traditional ceremonies in the Clarence River district, and in his studio. Twelve of this series is included in his 1874 album Australian Aboriginals. John Lindt moved to Melbourne in 1876 where he worked for Batchelder & Co. before opening his own opulent studios at number 7 at the top of Collins Street opposite the Treasury, in 1877. John Lindt's business of this period was wide-ranging, and included portraits, records of Melbourne public buildings and streetscapes, the Botanical Gardens, and Port Melbourne. He was a welcome photographer of members of parliament and other Melbourne personalities, their society and cultural life including the theatre, and was known as a ‘rich man’s photographer’ for those whose families he grouped informally on the lawns in front of their mansions, with servants at the rails of the upstairs balconies. He continued with landscape, producing folios Fernshaw and Watt River Scenery, Victoria ( c.1878-82), Scenery on the Ovens and Buckland Rivers, Victoria (c.1878–82) and Lorne, Louttit Bay and Cape Otway Ranges (1883). Sales of his Black Spur scenery amounted to approximately 25,000 copies printed from the original negatives between 1882 and 1892. John Lindt, in collaboration with Nicholas John Caire, produced a tourist booklet on the area around "The Hermitage" in 1913.7 Collins Str. East/ J.W. Lindt/ Melbournejohn william lindt, conrad wagner, australian aboriginals, batchelder & co, nicholas john caire, anna lindt

A black and white portrait of an unknown man taken by John William Lindt.A black and white portrait of an unknown man taken by John William Lindt. John William Lindt was born in Germany in 1845. At 17 he took a working passage to Australia on a Dutch sailing ship. Taking up work as an itinerant piano-tuner, he traveled amongst towns in Victoria and New South Wales before settling in Grafton in 1863 where he became assistant and apprentice to photographer Conrad Wagner. After a brief return to Germany in 1867 Lindt took over management of Wagner’s studio in 1869. He married Wagner’s daughter, Anna on 13 January 1872. Over 1873-1874, using the slow and laborious wet-plate collodion process, John Lindt produced photographs of the local indigenous people both in their environment conducting actual traditional ceremonies in the Clarence River district, and in his studio. Twelve of this series is included in his 1874 album Australian Aboriginals. John Lindt moved to Melbourne in 1876 where he worked for Batchelder & Co. before opening his own opulent studios at number 7 at the top of Collins Street opposite the Treasury, in 1877. John Lindt's business of this period was wide-ranging, and included portraits, records of Melbourne public buildings and streetscapes, the Botanical Gardens, and Port Melbourne. He was a welcome photographer of members of parliament and other Melbourne personalities, their society and cultural life including the theatre, and was known as a ‘rich man’s photographer’ for those whose families he grouped informally on the lawns in front of their mansions, with servants at the rails of the upstairs balconies. He continued with landscape, producing folios Fernshaw and Watt River Scenery, Victoria ( c.1878-82), Scenery on the Ovens and Buckland Rivers, Victoria (c.1878–82) and Lorne, Louttit Bay and Cape Otway Ranges (1883). Sales of his Black Spur scenery amounted to approximately 25,000 copies printed from the original negatives between 1882 and 1892. John Lindt, in collaboration with Nicholas John Caire, produced a tourist booklet on the area around "The Hermitage" in 1913.7 Collins Str. East/ J.W. Lindt/ Melbournejohn william lindt, conrad wagner, australian aboriginals, batchelder & co, nicholas john caire, anna lindt

A black and white portrait of an unknown woman taken by John William Lindt.A black and white portrait of an unknown woman taken by John William Lindt. John William Lindt was born in Germany in 1845. At 17 he took a working passage to Australia on a Dutch sailing ship. Taking up work as an itinerant piano-tuner, he traveled amongst towns in Victoria and New South Wales before settling in Grafton in 1863 where he became assistant and apprentice to photographer Conrad Wagner. After a brief return to Germany in 1867 Lindt took over management of Wagner’s studio in 1869. He married Wagner’s daughter, Anna on 13 January 1872. Over 1873-1874, using the slow and laborious wet-plate collodion process, John Lindt produced photographs of the local indigenous people both in their environment conducting actual traditional ceremonies in the Clarence River district, and in his studio. Twelve of this series is included in his 1874 album Australian Aboriginals. John Lindt moved to Melbourne in 1876 where he worked for Batchelder & Co. before opening his own opulent studios at number 7 at the top of Collins Street opposite the Treasury, in 1877. John Lindt's business of this period was wide-ranging, and included portraits, records of Melbourne public buildings and streetscapes, the Botanical Gardens, and Port Melbourne. He was a welcome photographer of members of parliament and other Melbourne personalities, their society and cultural life including the theatre, and was known as a ‘rich man’s photographer’ for those whose families he grouped informally on the lawns in front of their mansions, with servants at the rails of the upstairs balconies. He continued with landscape, producing folios Fernshaw and Watt River Scenery, Victoria ( c.1878-82), Scenery on the Ovens and Buckland Rivers, Victoria (c.1878–82) and Lorne, Louttit Bay and Cape Otway Ranges (1883). Sales of his Black Spur scenery amounted to approximately 25,000 copies printed from the original negatives between 1882 and 1892. John Lindt, in collaboration with Nicholas John Caire, produced a tourist booklet on the area around "The Hermitage" in 1913.7 Collins Str. East/ J.W. Lindt/ Melbournejohn william lindt, conrad wagner, australian aboriginals, batchelder & co, nicholas john caire, anna lindt

A black and white portrait of an unknown woman taken by John William Lindt.A black and white portrait of an unknown woman taken by John William Lindt. John William Lindt was born in Germany in 1845. At 17 he took a working passage to Australia on a Dutch sailing ship. Taking up work as an itinerant piano-tuner, he traveled amongst towns in Victoria and New South Wales before settling in Grafton in 1863 where he became assistant and apprentice to photographer Conrad Wagner. After a brief return to Germany in 1867 Lindt took over management of Wagner’s studio in 1869. He married Wagner’s daughter, Anna on 13 January 1872. Over 1873-1874, using the slow and laborious wet-plate collodion process, John Lindt produced photographs of the local indigenous people both in their environment conducting actual traditional ceremonies in the Clarence River district, and in his studio. Twelve of this series is included in his 1874 album Australian Aboriginals. John Lindt moved to Melbourne in 1876 where he worked for Batchelder & Co. before opening his own opulent studios at number 7 at the top of Collins Street opposite the Treasury, in 1877. John Lindt's business of this period was wide-ranging, and included portraits, records of Melbourne public buildings and streetscapes, the Botanical Gardens, and Port Melbourne. He was a welcome photographer of members of parliament and other Melbourne personalities, their society and cultural life including the theatre, and was known as a ‘rich man’s photographer’ for those whose families he grouped informally on the lawns in front of their mansions, with servants at the rails of the upstairs balconies. He continued with landscape, producing folios Fernshaw and Watt River Scenery, Victoria ( c.1878-82), Scenery on the Ovens and Buckland Rivers, Victoria (c.1878–82) and Lorne, Louttit Bay and Cape Otway Ranges (1883). Sales of his Black Spur scenery amounted to approximately 25,000 copies printed from the original negatives between 1882 and 1892. John Lindt, in collaboration with Nicholas John Caire, produced a tourist booklet on the area around "The Hermitage" in 1913.7 Collins Str. East/ J.W. Lindt/ Melbournejohn william lindt, conrad wagner, australian aboriginals, batchelder & co, nicholas john caire, anna lindt

A letter written to Maurice Keppel by John William Lindt in 1903.A letter written to Maurice Keppel by John William Lindt in 1903. John William Lindt was born in Germany in 1845. At 17 he took a working passage to Australia on a Dutch sailing ship. Taking up work as an itinerant piano-tuner, he traveled amongst towns in Victoria and New South Wales before settling in Grafton in 1863 where he became assistant and apprentice to photographer Conrad Wagner. After a brief return to Germany in 1867 Lindt took over management of Wagner’s studio in 1869. He married Wagner’s daughter, Anna on 13 January 1872. Over 1873-1874, using the slow and laborious wet-plate collodion process, John Lindt produced photographs of the local indigenous people both in their environment conducting actual traditional ceremonies in the Clarence River district, and in his studio. Twelve of this series is included in his 1874 album Australian Aboriginals. John Lindt moved to Melbourne in 1876 where he worked for Batchelder & Co. before opening his own opulent studios at number 7 at the top of Collins Street opposite the Treasury, in 1877. John Lindt's business of this period was wide-ranging, and included portraits, records of Melbourne public buildings and streetscapes, the Botanical Gardens, and Port Melbourne. He was a welcome photographer of members of parliament and other Melbourne personalities, their society and cultural life including the theatre, and was known as a ‘rich man’s photographer’ for those whose families he grouped informally on the lawns in front of their mansions, with servants at the rails of the upstairs balconies. He continued with landscape, producing folios Fernshaw and Watt River Scenery, Victoria ( c.1878-82), Scenery on the Ovens and Buckland Rivers, Victoria (c.1878–82) and Lorne, Louttit Bay and Cape Otway Ranges (1883). Sales of his Black Spur scenery amounted to approximately 25,000 copies printed from the original negatives between 1882 and 1892. John Lindt, in collaboration with Nicholas John Caire, produced a tourist booklet on the area around "The Hermitage" in 1913. Maurice Keppel, from Ireland, was one of the first landholders in the newly surveyed town of Marysville in 1864. He and his wife ran the successful Keppel’s Australian Hotel. Two of their sons, John and Jerry, established a farm and opened up the surrounding high country. The Keppel lease was one of the longest held in the high country and the Keppel Family were amongst Marysville's pioneering families.maurice keppel, keppel family, keppel's australian hotel, marysville, victoria, john william lindt, conrad wagner, australian aboriginals, batchelder & co, nicholas john caire, anna lindt

This photograph is part of the Caulfield Historical Album 1972. This album was created in approximately 1972 as part of a project by the Caulfield Historical Society to assist in identifying buildings worthy of preservation. The album is related to a Survey the Caulfield Historical Society developed in collaboration with the National Trust of Australia (Victoria) and Caulfield City Council to identify historic buildings within the City of Caulfield that warranted the protection of a National Trust Classification. Principal photographer thought to be Trevor Hart, member of Caulfield Historical Society. Most photographs were taken between 1966-1972 with a small number of photographs being older and from unknown sources. All photographs are black and white except where stated, with 386 photographs over 198 pages.From Victorian Heritage Database citation for Rippon Lea H0614 https://vhd.heritagecouncil.vic.gov.au/places/427(as at 23/10/2020) Rippon Lea was commenced in 1868 by Frederick Sargood, a most successful politician and merchant. He was born in England in 1834 and arrived in Melbourne in 1850. He soon joined his father's wholesale soft goods firm, spending some time as its manager on the goldfields. Sargood entered the Legislative Council in 1874. He was Victoria?s first Minister for Defence in 1883. Sir Frederick Sargood was created CMG. In 1885 and KCMG in 1890 as a reward for his contribution to public life. He died suddenly in 1903. Rippon Lea was designed by the leading firm of architects, Reed and Barnes. Joseph Reed had travelled in Europe in 1863, including northern Italy. When he returned he introduced the use of polychromy. While not the first examples, Rippon Lea and the Independent Church in Collins Street were the best and set a fashion which became a distinctly Melbourne style, particularly used for houses and churches. Its popularity was possible because of the new availability of different coloured bricks. Reed's fine Lombardic Romanesque details soon became debased by others. As Sargood's family grew and his fortunes prospered, Rippon Lea was extended to include 33 rooms - a complete mansion. The cast iron porte cochere and the northern conservatory were added in 1897. The architects were Taylor and Fitts. The ballroom was added in 1882 and remodelled in 1889. Many alterations have changed the interior and exterior during the ownerships of Benjamin Nathan and later his daughter Mrs Louisa Jones in the 1930s and are in their own right of significance. Sir Thomas Bent owned the property from 1903 until 1911 but never lived there. He subdivided much of the land. The original garden dates from about 1868, and it seems that William Guilfoyle of the Botanic Gardens was involved. It was redesigned in a more natural style in the 1880s by Sargood and his head gardener, Adam Anderson. The lake, waterfalls, fernery, hill and grotto are balanced by mighty deciduous trees and conifers. These are interspersed with, but never dominated by Australian species such as eucalyptus and other exotics. The sinuous drive with its carefully prepared approach to the house is notable. The original vegetable gardens, orchard and outer paddocks no longer survive. The shade house is important as the largest known in Australia and possibly the world. Its curved plan and form of construction are particularly notable. It was built about 1884.Page 94 of Photograph Album with four photographs (three landscape and one portrait) of Ripponlea - stables, lookout and neighbouring cottages.Handwritten: "Ripponlea" Hotham Street [top right] / Neg 256 Dec 1972 STABLES [under top left photo] / Neg 248 Dec 1972 LOOKOUT [under top right photo] / Neg 254 Dec 1972 / COTTAGES WILLOW STREET [under bottom left photo] / Neg 259 Dec 1972 STABLES [under bottom right photo] / 94 [bottom right]trevor hart, elsternwick, mansion, hotham street, frederick sargood, reed and barnes, 1860's, 1890's, 1880's, benjamin nathan, nathan, louisa jones, thomas bent, sir thomas bent, william guilfoyle, guilfoyle, adam anderson, ripponlea, victorian, sir frederick sargood, architects, bricks, polychrome bricks, taylor and fitts, stables, lookouts, cottages, outbuildings, rippon lea

This photograph is part of the Caulfield Historical Album 1972. This album was created in approximately 1972 as part of a project by the Caulfield Historical Society to assist in identifying buildings worthy of preservation. The album is related to a Survey the Caulfield Historical Society developed in collaboration with the National Trust of Australia (Victoria) and Caulfield City Council to identify historic buildings within the City of Caulfield that warranted the protection of a National Trust Classification. Principal photographer thought to be Trevor Hart, member of Caulfield Historical Society. Most photographs were taken between 1966-1972 with a small number of photographs being older and from unknown sources. All photographs are black and white except where stated, with 386 photographs over 198 pages.From Victorian Heritage Database citation for Rippon Lea H0614 https://vhd.heritagecouncil.vic.gov.au/places/427(as at 23/10/2020) Rippon Lea was commenced in 1868 by Frederick Sargood, a most successful politician and merchant. He was born in England in 1834 and arrived in Melbourne in 1850. He soon joined his father's wholesale soft goods firm, spending some time as its manager on the goldfields. Sargood entered the Legislative Council in 1874. He was Victoria's first Minister for Defence in 1883. Sir Frederick Sargood was created CMG. In 1885 and KCMG in 1890 as a reward for his contribution to public life. He died suddenly in 1903. Rippon Lea was designed by the leading firm of architects, Reed and Barnes. Joseph Reed had travelled in Europe in 1863, including northern Italy. When he returned he introduced the use of polychromy. While not the first examples, Rippon Lea and the Independent Church in Collins Street were the best and set a fashion which became a distinctly Melbourne style, particularly used for houses and churches. Its popularity was possible because of the new availability of different coloured bricks. Reed's fine Lombardic Romanesque details soon became debased by others. As Sargood's family grew and his fortunes prospered, Rippon Lea was extended to include 33 rooms - a complete mansion. The cast iron porte cochere and the northern conservatory were added in 1897. The architects were Taylor and Fitts. The ballroom was added in 1882 and remodelled in 1889. Many alterations have changed the interior and exterior during the ownerships of Benjamin Nathan and later his daughter Mrs Louisa Jones in the 1930s and are in their own right of significance. Sir Thomas Bent owned the property from 1903 until 1911 but never lived there. He subdivided much of the land. The original garden dates from about 1868, and it seems that William Guilfoyle of the Botanic Gardens was involved. It was redesigned in a more natural style in the 1880s by Sargood and his head gardener, Adam Anderson. The lake, waterfalls, fernery, hill and grotto are balanced by mighty deciduous trees and conifers. These are interspersed with, but never dominated by Australian species such as eucalyptus and other exotics. The sinuous drive with its carefully prepared approach to the house is notable. The original vegetable gardens, orchard and outer paddocks no longer survive. The shade house is important as the largest known in Australia and possibly the world. Its curved plan and form of construction are particularly notable. It was built about 1884.Page 90 of Photograph Album with five photographs (one landscape and 4 portrait) of Ripponlea - two different views of the front entrance to the mansion, one of the front gates and two different views of the main residence.Handwritten: "Ripponlea" 192 Hotham Street [top right] / North [under top left photo] / Neg 255 Dec 1972 MAIN DRIVE [under bottom left photo] / Neg 238 8 OCT 1966 [under middle right photo] / 88 [bottom right]trevor hart, elsternwick, mansion, hotham street, frederick sargood, reed and barnes, cast iron porte cochere, conservatory, 1860's, 1890's, ballroom, 1880's, benjamin nathan, louisa jones, thomas bent, sir thomas bent, william guilfoyle, adam anderson, lake, grotto, shade house, portico, ripponlea, victorian, sir frederick sargood, architects, polychrome bricks, lombardic romanesque architectural style, rippon lea, taylor and fitts, land subdivisions, gardens, drives, vegetable gardens, orchards

This photograph is part of the Caulfield Historical Album 1972. This album was created in approximately 1972 as part of a project by the Caulfield Historical Society to assist in identifying buildings worthy of preservation. The album is related to a Survey the Caulfield Historical Society developed in collaboration with the National Trust of Australia (Victoria) and Caulfield City Council to identify historic buildings within the City of Caulfield that warranted the protection of a National Trust Classification. Principal photographer thought to be Trevor Hart, member of Caulfield Historical Society. Most photographs were taken between 1966-1972 with a small number of photographs being older and from unknown sources. All photographs are black and white except where stated, with 386 photographs over 198 pages.From Victorian Heritage Database citation for Rippon Lea H0614 https://vhd.heritagecouncil.vic.gov.au/places/427(as at 23/10/2020) Rippon Lea was commenced in 1868 by Frederick Sargood, a most successful politician and merchant. He was born in England in 1834 and arrived in Melbourne in 1850. He soon joined his father's wholesale soft goods firm, spending some time as its manager on the goldfields. Sargood entered the Legislative Council in 1874. He was Victoria?s first Minister for Defence in 1883. Sir Frederick Sargood was created CMG. In 1885 and KCMG in 1890 as a reward for his contribution to public life. He died suddenly in 1903. Rippon Lea was designed by the leading firm of architects, Reed and Barnes. Joseph Reed had travelled in Europe in 1863, including northern Italy. When he returned he introduced the use of polychromy. While not the first examples, Rippon Lea and the Independent Church in Collins Street were the best and set a fashion which became a distinctly Melbourne style, particularly used for houses and churches. Its popularity was possible because of the new availability of different coloured bricks. Reed's fine Lombardic Romanesque details soon became debased by others. As Sargood's family grew and his fortunes prospered, Rippon Lea was extended to include 33 rooms - a complete mansion. The cast iron porte cochere and the northern conservatory were added in 1897. The architects were Taylor and Fitts. The ballroom was added in 1882 and remodelled in 1889. Many alterations have changed the interior and exterior during the ownerships of Benjamin Nathan and later his daughter Mrs Louisa Jones in the 1930s and are in their own right of significance. Sir Thomas Bent owned the property from 1903 until 1911 but never lived there. He subdivided much of the land. The original garden dates from about 1868, and it seems that William Guilfoyle of the Botanic Gardens was involved. It was redesigned in a more natural style in the 1880s by Sargood and his head gardener, Adam Anderson. The lake, waterfalls, fernery, hill and grotto are balanced by mighty deciduous trees and conifers. These are interspersed with, but never dominated by Australian species such as eucalyptus and other exotics. The sinuous drive with its carefully prepared approach to the house is notable. The original vegetable gardens, orchard and outer paddocks no longer survive. The shade house is important as the largest known in Australia and possibly the world. Its curved plan and form of construction are particularly notable. It was built about 1884.Page 91 of Photograph Album with four photographs (two portrait and two landscape) of various external views of Ripponlea.Handwritten: SOUTH [under top left photo] / SOUTH [under top right photo] / WEST [under bottom left photo] / 91 [bottom left]trevor hart, elsternwick, mansion, hotham street, frederick sargood, reed and barnes, cast iron porte cochere, conservatory, 1860's, 1890's, ballroom, 1880's, benjamin nathan, louisa jones, thomas bent, sir thomas bent, william guilfoyle, adam anderson, lake, grotto, shade house, portico, ripponlea, victorian, sir frederick sargood, architects, taylor and fitts, rippon lea, polychrome bricks, lombardic romanesque style

This photograph is part of the Caulfield Historical Album 1972. This album was created in approximately 1972 as part of a project by the Caulfield Historical Society to assist in identifying buildings worthy of preservation. The album is related to a Survey the Caulfield Historical Society developed in collaboration with the National Trust of Australia (Victoria) and Caulfield City Council to identify historic buildings within the City of Caulfield that warranted the protection of a National Trust Classification. Principal photographer thought to be Trevor Hart, member of Caulfield Historical Society. Most photographs were taken between 1966-1972 with a small number of photographs being older and from unknown sources. All photographs are black and white except where stated, with 386 photographs over 198 pages.From Victorian Heritage Database citation for Rippon Lea H0614 https://vhd.heritagecouncil.vic.gov.au/places/427(as at 23/10/2020) Rippon Lea was commenced in 1868 by Frederick Sargood, a most successful politician and merchant. He was born in England in 1834 and arrived in Melbourne in 1850. He soon joined his father's wholesale soft goods firm, spending some time as its manager on the goldfields. Sargood entered the Legislative Council in 1874. He was Victoria?s first Minister for Defence in 1883. Sir Frederick Sargood was created CMG. In 1885 and KCMG in 1890 as a reward for his contribution to public life. He died suddenly in 1903. Rippon Lea was designed by the leading firm of architects, Reed and Barnes. Joseph Reed had travelled in Europe in 1863, including northern Italy. When he returned he introduced the use of polychromy. While not the first examples, Rippon Lea and the Independent Church in Collins Street were the best and set a fashion which became a distinctly Melbourne style, particularly used for houses and churches. Its popularity was possible because of the new availability of different coloured bricks. Reed's fine Lombardic Romanesque details soon became debased by others. As Sargood's family grew and his fortunes prospered, Rippon Lea was extended to include 33 rooms - a complete mansion. The cast iron porte cochere and the northern conservatory were added in 1897. The architects were Taylor and Fitts. The ballroom was added in 1882 and remodelled in 1889. Many alterations have changed the interior and exterior during the ownerships of Benjamin Nathan and later his daughter Mrs Louisa Jones in the 1930s and are in their own right of significance. Sir Thomas Bent owned the property from 1903 until 1911 but never lived there. He subdivided much of the land. The original garden dates from about 1868, and it seems that William Guilfoyle of the Botanic Gardens was involved. It was redesigned in a more natural style in the 1880s by Sargood and his head gardener, Adam Anderson. The lake, waterfalls, fernery, hill and grotto are balanced by mighty deciduous trees and conifers. These are interspersed with, but never dominated by Australian species such as eucalyptus and other exotics. The sinuous drive with its carefully prepared approach to the house is notable. The original vegetable gardens, orchard and outer paddocks no longer survive. The shade house is important as the largest known in Australia and possibly the world. Its curved plan and form of construction are particularly notable. It was built about 1884.Page 92 of Photograph Album with four photographs (three landscape and one portrait) of Ripponlea - views of entrance and left front of mansion.Handwritten: "Ripponlea" Hotham Street [top right] / Neg 245 Dec 1972 [under top left photo] / Neg 246 Dec 1972 [under bottom left photo] / Neg 247 Dec 1972 [under bottom right photo] / 92 [bottom right]trevor hart, elsternwick, mansion, hotham street, frederick sargood, reed and barnes, lombardic, romanesque, cast iron porte cochere, conservatory, 1860's, 1890's, ballroom, 1880's, benjamin nathan, louisa jones, thomas bent, sir thomas bent, william guilfoyle, adam anderson, lake, grotto, shade house, portico, ripponlea, victorian, sir frederick sargood, architects, polychrome bricks, lombardic romanesque style, rippon lea, entrances

This photograph is part of the Caulfield Historical Album 1972. This album was created in approximately 1972 as part of a project by the Caulfield Historical Society to assist in identifying buildings worthy of preservation. The album is related to a Survey the Caulfield Historical Society developed in collaboration with the National Trust of Australia (Victoria) and Caulfield City Council to identify historic buildings within the City of Caulfield that warranted the protection of a National Trust Classification. Principal photographer thought to be Trevor Hart, member of Caulfield Historical Society. Most photographs were taken between 1966-1972 with a small number of photographs being older and from unknown sources. All photographs are black and white except where stated, with 386 photographs over 198 pages.From Victorian Heritage Database citation for Rippon Lea H0614 https://vhd.heritagecouncil.vic.gov.au/places/427(as at 23/10/2020) Rippon Lea was commenced in 1868 by Frederick Sargood, a most successful politician and merchant. He was born in England in 1834 and arrived in Melbourne in 1850. He soon joined his father's wholesale soft goods firm, spending some time as its manager on the goldfields. Sargood entered the Legislative Council in 1874. He was Victoria?s first Minister for Defence in 1883. Sir Frederick Sargood was created CMG. In 1885 and KCMG in 1890 as a reward for his contribution to public life. He died suddenly in 1903. Rippon Lea was designed by the leading firm of architects, Reed and Barnes. Joseph Reed had travelled in Europe in 1863, including northern Italy. When he returned he introduced the use of polychromy. While not the first examples, Rippon Lea and the Independent Church in Collins Street were the best and set a fashion which became a distinctly Melbourne style, particularly used for houses and churches. Its popularity was possible because of the new availability of different coloured bricks. Reed's fine Lombardic Romanesque details soon became debased by others. As Sargood's family grew and his fortunes prospered, Rippon Lea was extended to include 33 rooms - a complete mansion. The cast iron porte cochere and the northern conservatory were added in 1897. The architects were Taylor and Fitts. The ballroom was added in 1882 and remodelled in 1889. Many alterations have changed the interior and exterior during the ownerships of Benjamin Nathan and later his daughter Mrs Louisa Jones in the 1930s and are in their own right of significance. Sir Thomas Bent owned the property from 1903 until 1911 but never lived there. He subdivided much of the land. The original garden dates from about 1868, and it seems that William Guilfoyle of the Botanic Gardens was involved. It was redesigned in a more natural style in the 1880s by Sargood and his head gardener, Adam Anderson. The lake, waterfalls, fernery, hill and grotto are balanced by mighty deciduous trees and conifers. These are interspersed with, but never dominated by Australian species such as eucalyptus and other exotics. The sinuous drive with its carefully prepared approach to the house is notable. The original vegetable gardens, orchard and outer paddocks no longer survive. The shade house is important as the largest known in Australia and possibly the world. Its curved plan and form of construction are particularly notable. It was built about 1884.Page 93 of Photograph Album with four photographs (two landscape and two portrait) of Ripponlea - lake and gardens.Handwritten: Neg 239 Dec 1973 LAKE [under top left photo] / Neg 242 Dec 1973 FERN HOUSE [under top right photo] / Neg 243 Dec 1972 FERN HOUSE [under bottom left photo] / Neg 241 Dec 1972 LAKE [under bottom right photo] / 93 [bottom left]trevor hart, elsternwick, mansion, hotham street, frederick sargood, sargood, reed and barnes, 1860's, 1890's, 1880's, benjamin nathan, nathan, louisa jones, thomas bent, sir thomas bent, william guilfoyle, adam anderson, lake, grotto, shade house, portico, ripponlea, victorian, sir frederick sargood, architects, taylor and fitts, rippon lea, gardens, ferns, bridges, walking trails

James Jones was the son of Philip Jones, a Chairmaker, and Ann Jones who settled in East Brighton after the sale of land c1852 in the area of the Henry Dendy Special Survey of 1841. Mary Ann Moore was the daughter of Thomas Moore, a Gardener, and Sarah Harris who also settled in Brighton c1852. James and Mary Ann Jones settled and raised their family in East Brighton now Bentleigh. Mr John Herron resided at 4 Vickery St Bentleigh until 1989. Sadly Martha Jones born 1888 died in 1890 and James Jones had to purchase this plot at Brighton General Cemetery for her burial. A further 2 children were interred in 1893 and 1900 then Mary Ann in 1903 and James in 1940 James Jones and Mary Ann Moore were born in Brighton c1857 and c 1859 into pioneer market gardener families in the area of the Dendy Special Survey of 1841. They married in 1883 and raised their family in East Brighton, now Bentleigh. Sadly infectious diseases took the lives of many infants throughout the Colony of Victoria due to the poor state of water supply and sewerage disposal and locally the swamps of the Elster Creek were a constant breeding ground.An original paper Certificate of Right of Burial in The Brighton General Cemetery signed and dated by the Trustees of the Cemetery upon the application of James Jones of East Brighton, Victoria, 22nd April 1890. A plot , Register No. 2844, of 4 feet in width and 8 feet in depth in the Wesleyan Section, No. 199, compartment G in the Brighton General Cemetery. would be supplied upon payment of Two Pounds two shillings and receipt of same is acknowledged. Certificate of Right of Burial / IN THE / BRIGHTON GENERAL CEMETERY. Application of Mr James Jones of East Brighton for a plot to be supplied upon payment of Two Pounds and 2 Shillings and receipt of same acknowledged. Signed by the Trustees of the Cemetery, (4 signatures) in presence of S. Simmonds, dated twenty- second April 1890 Reverse side Dated 22nd April 1890 / Certificate of Right of Burial / IN THE / BRIGHTON GENERAL CEMETERY/ Mr James Jones ( hand written) / DENOMINATION Wesleyan / Compartment G / No. 199 Hand written on right side 3454 (signed) S Simmonds / 4797 (signed) S Simmonds / 36897 20/ 11 / 40 melbourne, brighton, moorabbin, water supply, pioneers, bentleigh, dendy henry, market gardeners, early settlers, jones mary ann, wesleyan church, jones james, vaccination, typhoid, dendys special survey 1841, infectious diseases, elster creek, jones martha, brighton general cemetery

James Jones was the son of Philip Jones, a Chairmaker, and Ann Jones who settled in East Brighton after the sale of land c1852 in the area of the Henry Dendy Special Survey of 1841. Mary Ann Moore was the daughter of Thomas Moore, a Gardener, and Sarah Harris who also settled in Brighton c1852. James and Mary Ann Jones settled and raised their family in East Brighton now Bentleigh. Mr John Herron resided at 4 Vickery St Bentleigh until 1989. Sadly Martha Jones born 1888 died in 1890 and James Jones had to purchase a plot at Brighton General Cemetery for her burial. A further 2 children were interred in 1893 and 1900 then Mary Ann in 1903 and James in 1940James Jones and Mary Ann Moore were born in Brighton c1857 and c 1859 into pioneer market gardener families in the area of the Dendy Special Survey of 1841. They married in 1883 and raised their family in East Brighton, now Bentleigh. Sadly infectious diseases took the lives of many infants throughout the Colony of Victoria due to the poor state of water supply and sewerage disposal and locally the swamps of the Elster Creek were a constant breeding ground. Martha Jones born 1888 died 1890 and was interred in Brighton General Cemetery in a family plot purchased by her father James Jones. An original paper receipt No. 2844 for payment 22 January 1890 by James Jones to Brighton General Cemetery of 3 pounds 1 shilling for burial of Martha Jones aged approx. 2 years in a plot 4 feet x 8 feet. Fees include family grave at 2 pounds 2 shillings, Sinking to 7 feet at 14 shillings and Label 5 shillings .No. 2844( hand written) / BRIGHTON GENERAL CEMETERY / RECEIVED 22 January 18 90 / of Mr James Jones ( hand written ) the sum of £3. 1 being the / following charges in Wesleyan Portion No. / Compt. Name of deceased Martha Jones / Signed S Simmonds (handwritten) Secretary Along left side G.H Orford Printer “ Southern Cross Office” Bay St. Brighton melbourne, brighton, moorabbin, water supply, pioneers, bentleigh, dendy henry, market gardeners, early settlers, jones mary ann, wesleyan church, jones james, vaccination, typhoid, dendys special survey 1841, infectious diseases, elster creek, jones martha, brighton general cemetery, orford g h, printers, southern cross office, bay street brighton

James Jones was the son of Philip Jones, a Chairmaker, and Ann Jones who settled in East Brighton after the sale of land c1852 in the area of the Henry Dendy Special Survey of 1841. Mary Ann Moore was the daughter of Thomas Moore, a Gardener, and Sarah Harris who also settled in Brighton c1852. James and Mary Ann Jones settled and raised their family in East Brighton now Bentleigh. Mr John Herron resided at 4 Vickery St Bentleigh until 1989. Sadly Martha Jones born 1888 died in 1890 and James Jones had to purchase a plot at Brighton General Cemetery for her burial. Baby Ethel May was interred in 1893 and another baby in 1900 then Mary Ann in 1903 and James in 1940James Jones and Mary Ann Moore were born in Brighton c1857 and c 1859 into pioneer market gardener families in the area of the Dendy Special Survey of 1841. They married in 1883 and raised their family in East Brighton, now Bentleigh. Sadly infectious diseases took the lives of many infants throughout the Colony of Victoria due to the poor state of water supply and sewerage disposal and locally the swamps of the Elster Creek were a constant breeding ground. Martha Jones born 1888 died 1890 and was interred in Brighton General Cemetery in a family plot purchased by her father James Jones. In 1893 another daughter Ethel May died and was buried in the family plot. An original paper receipt No. 3454 for payment on 23 March 1893 by James Jones to Brighton General Cemetery of £1 . 1s For the burial of baby Ethel May Jones in a plot 4 feet x 8 feet, in the Wesleyan section portion 199 compartment G. Fee was for reopening the grave he had purchased in 1890 for the burial of his daughter Martha, aged 2 years . BRIGHTON GENERAL CEMETERY / 3454 ( stamped) / 23 March 1893 ( hand written ) / Received from Mr James Jones ( hand written ) / the sum of £1 . 1s being the following / charges in Wesleyan (hand written) / Portion No, 199 compt.G Name of / deceased Ethel May Jones ( handwritten) / for re-opening grave internment recent ( hand written) £1 . 1s / Signed S Simmonds ( ?manager) Along left side of receipt is printed SOUTHERN CROSS PRINT, BRIGHTON melbourne, brighton, moorabbin, water supply, pioneers, bentleigh, dendy henry, market gardeners, early settlers, jones mary ann, wesleyan church, jones james, vaccination, typhoid, dendys special survey 1841, infectious diseases, elster creek, jones martha, brighton general cemetery, orford g h, printers, southern cross office, bay street brighton, jones ethel may

James Jones was the son of Philip Jones, a Chairmaker, and Ann Jones who settled in East Brighton after the sale of land c1852 in the area of the Henry Dendy Special Survey of 1841. Mary Ann Moore was the daughter of Thomas Moore, a Gardener, and Sarah Harris who also settled in Brighton c1852. James and Mary Ann Jones settled and raised their family in East Brighton now Bentleigh. Mr John Herron resided at 4 Vickery St Bentleigh until 1989. Sadly Martha Jones born 1888 died in 1890 and James Jones had to purchase a plot at Brighton General Cemetery for her burial. Baby Ethel May was interred in 1893 and then Mary Ann in 1903 and James in 1940. Their stillborn baby was buried in the Wesleyan public grave in 1900James Jones and Mary Ann Moore were born in Brighton c1857 and c 1859 into pioneer market gardener families in the area of the Dendy Special Survey of 1841. They married in 1883 and raised their family in East Brighton, now Bentleigh. Sadly infectious diseases took the lives of many infants throughout the Colony of Victoria due to the poor state of water supply and sewerage disposal and locally the swamps of the Elster Creek were a constant breeding ground. Martha Jones born 1888 died 1890 and was interred in Brighton General Cemetery in a family plot purchased by her father James Jones. In 1893 another daughter Ethel May died and was buried in the family plot. A stillborn baby was interred in the public grave of Brighton General Cemetery in May1900An original paper receipt No.4360 for payment on 22 May 1900 by James Jones to Brighton General Cemetery of 6 shillings for the burial of a stillborn baby Jones in the Wesleyan section of the public graves. There is no fee for ‘re-opening the grave’ purchased by James Jones in 1890 and in which his daughters Martha 1890 and Ethel May 1893 were interred. BRIGHTON GENERAL CEMETERY / No. 4360 (stamped) 22 May 1900 ( hand written) / Received of Mr Jas. Jones ( hand written) / the sum of 6 s being the following / charges in Wesleyan / Portion No. -- Compt. - Name of / Deceased ‘Stillborn child of Jas / & Mary Ann Jones’ (hand written) Along left side “Brighton Leader” Print, Bay Street, North Brighton This receipt is signed A Shimon man. Secretary wesleyan church, brighton general cemetery, vaccination, pioneers, early settlers, typhoid, brighton, moorabbin, bentleigh, market gardeners, jones james, jones mary ann, jones martha, dendy henry, dendys special survey 1841, infectious diseases, water supply, elster creek, melbourne, orford g h, printers, southern cross office, “brighton leader” print, bay street brighton, jones ethel may

James Jones was the son of Philip Jones, a Chairmaker, and Ann Jones who settled in East Brighton after the sale of land c1852 in the area of the Henry Dendy Special Survey of 1841. Mary Ann Moore was the daughter of Thomas Moore, a Gardener, and Sarah Harris who also settled in Brighton c1852. James and Mary Ann Jones settled and raised their family in East Brighton now Bentleigh. Mr John Herron resided at 4 Vickery St Bentleigh until 1989. Sadly Martha Jones born 1888 died in 1890 and James Jones had to purchase a plot at Brighton General Cemetery for her burial. Baby Ethel May was interred in 1893 and then Mary Ann in 1903 and James in 1940. Their stillborn baby was buried in the Wesleyan public grave in 1900James Jones and Mary Ann Moore were born in Brighton c1857 and c 1859 into pioneer market gardener families in the area of the Dendy Special Survey of 1841. They married in 1883 and raised their family in East Brighton, now Bentleigh. Sadly infectious diseases took the lives of many infants throughout the Colony of Victoria due to the poor state of water supply and sewerage disposal and locally the swamps of the Elster Creek were a constant breeding ground. Martha Jones born 1888 died 1890 and was interred in Brighton General Cemetery in a family plot purchased by her father James Jones. In 1893 another daughter Ethel May died and was buried in the family plot. A stillborn baby was interred in the public grave of Brighton General Cemetery in May1900. Mary Ann Jones died at age 43years and was interred in January 19033 Original documents associated with the death of Mary Ann Jones 18th January 1903. 1) An original paper receipt No. 4797 for payment on 19th January 1903 by James Jones to Brighton General Cemetery of £1 . 1s for the burial of Mary Ann Jones in a plot 4 feet x 8 feet, in the Wesleyan section portion 199 compartment G. 2 ) An original part- section of Form of Notification of Death from The Alfred Hospital Prahran with personal particulars and burial details , signed by the Undertaker. 3) An original Mourning Card 1) BRIGHTON GENERAL CEMETERY / 4797 ( stamped) / 19th Jan. 1903 (hand written) / Received from “Mr James Jones”(hand written) / the sum of £1 . 1s being the following / charges in Wesleyan (hand written) / Portion No, 199 compt.G Name of / Deceased ‘Mary Ann Jones”(hand written) / For re-opening grave interment ‘third’ £1 . 1s./ signed by S. P. Simmonds Secretary. 2) ‘Brighton’ (written over Melbourne) GENERAL CEMETERY FORM OF… / No. of Order____ Date of… / PARTICULARS / Signature of Undertaker J H Lear On back of notice are guides to the questions 3) In Loving Remembrance of / Mary Ann Jones / Dearly Loved Wife of James Jones / Died January 18th 1903 / Aged 43 Years / Poem - “One Less at Home “ / DEEPLY REGRETTED / Art Engraving Company, Royal Arcade, Elizabeth Street, Melbourne * wesleyan church, brighton general cemetery, vaccination, pioneers, early settlers, typhoid, brighton, moorabbin, bentleigh, market gardeners, jones james, jones mary ann, jones martha, dendy henry, dendys special survey 1841, infectious diseases, water supply, elster creek, melbourne, orford g h, printers, southern cross office, “brighton leader” print, bay street brighton, jones ethel may, public grave brighton

James Jones was the son of Philip Jones, a Chairmaker, and Ann Jones who settled in East Brighton after the sale of land c1852 in the area of the Henry Dendy Special Survey of 1841. Mary Ann Moore was the daughter of Thomas Moore, a Gardener, and Sarah Harris who also settled in Brighton c1852. James and Mary Ann Jones settled and raised their family in East Brighton now Bentleigh. Mr John Herron resided at 4 Vickery St Bentleigh until 1989. Sadly Martha Jones born 1888 died in 1890 and James Jones had to purchase a plot at Brighton General Cemetery for her burial. Baby Ethel May was interred in 1893 and then Mary Ann in 1903 and James in 1940. Their stillborn baby was buried in the Wesleyan public grave in 1900James Jones and Mary Ann Moore were born in Brighton c1857 and c 1859 into pioneer market gardener families in the area of the Dendy Special Survey of 1841. They married in 1883 and raised their family in East Brighton, now Bentleigh. Sadly infectious diseases took the lives of many infants throughout the Colony of Victoria due to the poor state of water supply and sewerage disposal and locally the swamps of the Elster Creek were a constant breeding ground. Martha Jones born 1888 died 1890 and was interred in the Brighton General Cemetery in a family plot, in the Wesleyan Section, purchased by her father James Jones. In 1893 another daughter Ethel May died and was buried in the family plot. A stillborn baby was interred in the public grave of Brighton General Cemetery in May1900. Mary Ann Jones died, at age 43years, and was interred in January 1903. Finally in November 1940 Mr James Jones was buried in the family grave. 2 original paper Receipts associated with the Burial of James Jones at Brighton General Cemetery 20th November 1940 by Nelson Bros. Funeral Directors of Williamstown1) 4202 Re the Funeral of the late Mr James Jones / 43 Douglas Parade Williamstown (Tel 34 & 43)/ 27/11/1940 / Received from Mr J P Jones./ by CHEQUE/ CASH the sum of Twenty eight pounds / ten shillings - pence/ WITH MANY THANKS / 7/563 / NELSON BROS./ £28:10:0 per N.Flack / THIS is our only recognised form of receipt / In full settlement / Stamped VICTORIA STAMP DUTY 3d 2) 36897 BRIGHTON GENERAL CEMETERY 20November 1940/ Received of Nelson Bros./ the sum of £1.15.- being the following charges/ in Methodist / Portion No. 199 Compt. G / Name of Deceased James Jones / for reopening grave £1.15.- / signed C Guy Secretarywesleyan church, brighton general cemetery, vaccination, pioneers, early settlers, typhoid, brighton, moorabbin, bentleigh, market gardeners, jones james, jones mary ann, jones martha, dendy henry, dendys special survey 1841, infectious diseases, water supply, elster creek, melbourne, orford g h, printers, southern cross office, “brighton leader” print, bay street brighton, jones ethel may, public grave brighton

James Jones was the son of Philip Jones, a Chairmaker, and Ann Jones who settled in East Brighton after the sale of land c1852 in the area of the Henry Dendy Special Survey of 1841. Mary Ann Moore was the daughter of Thomas Moore, a Gardener, and Sarah Harris who also settled in Brighton c1852. James and Mary Ann Jones settled and raised their family in East Brighton now Bentleigh. Mr John Herron resided at 4 Vickery St Bentleigh until 1989. Sadly Martha Jones born 1888 died in 1890 and James Jones had to purchase a plot at Brighton General Cemetery for her burial. Baby Ethel May was interred in 1893 and then Mary Ann in 1903 and finally James in 1940. Their stillborn baby was buried in the Wesleyan public grave in 1900James Jones and Mary Ann Moore were born in Brighton c1857 and c 1859 into pioneer market gardener families in the area of the Dendy Special Survey of 1841. They married in 1883 and raised their family in East Brighton, now Bentleigh. Sadly infectious diseases took the lives of many infants throughout the Colony of Victoria due to the poor state of water supply and sewerage disposal and locally the swamps of the Elster Creek were a constant breeding ground. Martha Jones born 1888 died 1890 and was interred in the Brighton General Cemetery in a family plot, in the Wesleyan Section, purchased by her father James Jones. In 1893 another daughter Ethel May died and was buried in the family plot. A stillborn baby was interred in the public grave of Brighton General Cemetery in May1900. Mary Ann Jones died, at age 43years, and was interred in January 1903. Finally in November 1940 Mr James Jones was buried in the family grave. 1 original paper account and 1 paper receipt from Nelson Bros. Funeral Directors re the funeral of James Jones in November 19401) M..J.P Jones Esq./ 5 Vickery Street/ Bentleigh / WILLIAMSTOWN/ 27/11/1940 Dr to / NELSON BROS.,/UNDERTAKERS AND FUNERAL DIRECTORS, / 43 Douglas Parade & 51 Stevedore St., Williamstown W16 / Motor Funerals Conducted Anywhere / In reply please quote 7/563/ Re The Funeral of The Late MR. JAMES JONES/ £28:10:0 -1 Glass Hearse & 2 Limousines, Cemetery Fees and Newspaper notices 2) As above / 27/111940 / A Memo. from NELSON BROS.,/ Dear Sir, /Herewith ...our official receipt... / signed A Nelson / Manager* wesleyan church, brighton general cemetery, vaccination, pioneers, early settlers, typhoid, brighton, moorabbin, bentleigh, market gardeners, jones james, jones mary ann, jones martha, dendy henry, dendys special survey 1841, infectious diseases, water supply, elster creek, melbourne, orford g h, printers, southern cross office, “brighton leader” print, bay street brighton, jones ethel may

James Jones was the son of Philip Jones, a Chairmaker, and Ann Jones who settled in East Brighton after the sale of land c1852 in the area of the Henry Dendy Special Survey of 1841. Mary Ann Moore was the daughter of Thomas Moore, a Gardener, and Sarah Harris who also settled in Brighton c1852. James and Mary Ann Jones settled and raised their family in East Brighton now Bentleigh. They sadly lost Martha Jones born 1888 died in 1890 ,and. Baby Ethel May died 1893 and a stillborn baby was buried in 1900. However, their daughter Elizabeth Ann Jones born 1885 married John Patrick Kennedy born 1885, a the son of Thomas Kennedy , Dairyman deceased, and Jane Donovan early settlers in the Brighton area, at South Melbourne in January 1917 . James Jones and Mary Ann Moore were born in Brighton c1857 and c 1859 into pioneer market gardener families in the area of the Dendy Special Survey of 1841. They married in 1883 and raised their family in East Brighton, now Bentleigh. Sadly infectious diseases took the lives of many infants throughout the Colony of Victoria due to the poor state of water supply and sewerage disposal and locally the swamps of the Elster Creek were a constant breeding ground. Martha Jones born 1888 died 1890 and was interred in the Brighton General Cemetery. In 1893 another daughter Ethel May died and stillborn baby in May1900. Mary Ann Jones died, at age 43years, in January 1903 and in November 1940 Mr James Jones was buried in the family grave. Their daughter Elizabeth Ann Jones , born 1885, married John Patrick Kennedy, born 1885, the son of Thomas Kennedy, a dairyman and Jane Donovan also early settlers in Brighton area at St Luke’s Anglican Church in South Melbourne in January 1917 Original Certificate of Marriage of Elizabeth Ann Jones, the daughter of James and Mary Ann Jones, to John Patrick Kennedy at St Luke's Anglican Church in South Melbourne on January 1st 1917In the State of Victoria/ crest/ In the Commonwealth of Australia/FOURTH SCHEDULE ACTSNOS. 2691 and 2720 -FORM B/ CERTIFICATE OF MARRIAGE B/ Year 1917Parish or Church District South Melbourne Denomination Church of England/ signed by Patrick Kennedy and Elizabeth Jones, witnesses Ada Hewton and Alice Steedman and Vicar David Ross Hewton dated this first day of January 1917anglican church, st luke's south melbourne, jones elizabeth ann, kennedy john patrick, kennedy thomas, donovan jane, dairyman, dairy farms, brighton general cemetery, vaccination, pioneers, early settlers, typhoid, brighton, moorabbin, bentleigh, market gardeners, jones james, jones mary ann, jones martha, dendy henry, dendys special survey 1841, infectious diseases, water supply, elster creek, melbourne, jones ethel may, reverend hewton david ross

The loss of life from infectious diseases such as Typhoid in the pioneer settlements of Australia, was very high Hence the free, compulsory vaccination of infants within 6 months of their birth. This Notice To Parents was sent by the Deputy Registrar of Births and Deaths in District of East Brighton , now known as Bentleigh. The notice states that all Public Vaccinators ‘ are supplied with Calf lymph. Parents can chose which Lymph they prefer”James Jones and Mary Ann Moore were born in Brighton c1857 and c 1859 into pioneer market gardener families in the area of the Dendy Special Survey of 1841. They married in 1883 and raised their family in East Brighton, now Bentleigh. Sadly infectious diseases took the lives of many infants throughout the Colony of Victoria due to the poor state of water supply and sewerage disposal and locally the swamps of the Elster Creek were a constant breeding ground. An original paper Notice To Parents for the Compulsory Vaccination Act , First Schedule, 13th August 1888 following the registration of the birth of Martha Jones to James and Mary Ann Jones in Brighton Victoria.A / COMPULSORY VACCINATION ACT – FIRST SCHEDULE / Section 17 / NOTICE TO PARENTS. Typed along left side “ (N.B. All Public Vaccinators are supplied with Calf Lymph. Parents can chose which Lymph they prefer)” This paper notice naming the child Martha Jones is signed and dated by the Deputy Registrar of Births and Deaths of the District of East Brighton , W. Ward, on 13th August 1888, and gives the dates and times he will be in attendance ‘ at his residence’ for the said vaccination. vaccination, pioneers, early settlers, typhoid, brighton, moorabbin, bentleigh, market gardeners, fruit gardens, jones james, jones mary ann, jones martha, dendy henry, dendys special survey 1841, infectious diseases, water supply, elster creek, melbourne

Ill, maps, p.159.non-fictionThe life and times of United States General Joseph Stillwellworld war 1939-1945 - biography, joseph stillwell 1883-1946

Ill, maps, p.159.non-fictionThe life and times of Italian fascist leader Benito Mussoliniworld war 1939-1945 - biography, benito mussolini 1883-1945

This surgical instrument kit, c1870s, originally belonged to Lord Joseph Lister. On his retirement in 1892, Lord Lister presented the instrument kit to his friend Dr Alexander Matthew. The donor of the surgical kit, Professor Ian Stewart Fraser, is the great grandson of Dr Alexander Matthew. The donor, Ian Fraser, checked with his mother about the inscription "Ethel Livie". There was no one of that name in his mother's family tree and the instruments were passed down from his mother's family.This surgical kit, made by Young of Edinburgh Scotland in the 1870s is significant because it belonged to and was most likely used by an internationally important figure in modern medicine, Lord Joseph Lister. Joseph Lister, 1st Baron Lister, Bt., OM, FRS, PC (5 April 1827 – 10 February 1912), known as Sir Joseph Lister, Bt., between 1883 and 1897, was a British surgeon and a pioneer of antiseptic surgery. By applying Louis Pasteur's advances in microbiology, he promoted the idea of sterile surgery while working at the Glasgow Royal Infirmary. Lister successfully introduced carbolic acid (now known as phenol) to sterilise surgical instruments and to clean wounds, which led to a reduction in post-operative infections and made surgery safer for patients. Surgical instruments in original timber case, containing two steel sharp hooks with the manufacturer's stamp,"YOUNG EDINBURGH" on the handles, five steel scalpels with ebony handles in assorted sizes. Also included separately are autopsy hooks, one metal blowpipe [commonly used with urine testing apparatus] and two dissector forceps. "YOUNG EDINBURGH"; "ETHEL LIVIE"surgery

The Royal Australian College of Surgeons (RACS) holds one of Lister's carbolic sprays in its collection.Joseph Lister, 1st Baron Lister, Bt., OM, FRS, PC (5 April 1827 – 10 February 1912), known as Sir Joseph Lister, Bt., between 1883 and 1897, was a British surgeon and a pioneer of antiseptic surgery. By applying Louis Pasteur's advances in microbiology, he promoted the idea of sterile surgery while working at the Glasgow Royal Infirmary. Lister successfully introduced carbolic acid (now known as phenol) to sterilise surgical instruments and to clean wounds, which led to a reduction in post-operative infections and made surgery safer for patients.Two postage stamps issued in the United Kingdom, 1961. The first stamp is a one shilling stamp, depicting an upper body portrait of Joseph Lister against a blue background on the left, with a profile image of Queen Elizabeth II on the right. Text printed on the stamp reads 'Antiseptic/Surgery/Lister/Centenary'. The second stamp is a four pence stamp, depicting Lister's carbolic spray against a grey background on the left, with a profile image of Queen Elizabeth II on the right. Text printed on stamp reads 'Lister Centenary/Antiseptic Surgery'.surgery

A copy of a photograph of the well known builder Richard Rennie 1816-1906 of prominent public buildings in BuninyongRichard Hutchinson Rennie was a well known builder of public buildings including the Buninyong Town Hall/Court House 1886/7, Crown Hotel 1883 and the original Shire Hall 1869Black and white copy of an image of Richard Rennierichard rennie, buninyong town hall, public buildings

The Boroondara General Cemetery is registerd by Heritage VictoriaFrom Heritage Victoria Statement of Significance Last updated on - December 15, 2005 What is significant? Boroondara Cemetery, established in 1858, is within an unusual triangular reserve bounded by High Street, Park Hill Road and Victoria Park, Kew. The caretaker's lodge and administrative office (1860 designed by Charles Vickers, additions, 1866-1899 by Albert Purchas) form a picturesque two-storey brick structure with a slate roof and clock tower. A rotunda or shelter (1890, Albert Purchas) is located in the centre of the cemetery: this has an octagonal hipped roof with fish scale slates and a decorative brick base with a tessellated floor and timber seating. The cemetery is surrounded by a 2.7 metre high ornamental red brick wall (1895-96, Albert Purchas) with some sections of vertical iron palisades between brick pillars. Albert Purchas was a prominent Melbourne architect who was the Secretary of the Melbourne General Cemetery from 1852 to 1907 and Chairman of the Boroondara Cemetery Board of Trustees from 1867 to 1909. He made a significant contribution to the design of the Boroondara Cemetery Boroondara Cemetery is an outstanding example of the Victorian Garden Cemetery movement in Victoria, retaining key elements of the style, despite overdevelopment which has obscured some of the paths and driveways. Elements of the style represented at Boroondara include an ornamental boundary fence, a system of curving paths which are kerbed and follow the site's natural contours, defined views, recreational facilities such as the rotunda, a landscaped park like setting, sectarian divisions for burials, impressive monuments, wrought and cast iron grave surrounds and exotic symbolic plantings. In the 1850s cemeteries were located on the periphery of populated areas because of concerns about diseases like cholera. They were designed to be attractive places for mourners and visitors to walk and contemplate. Typically cemeteries were arranged to keep religions separated and this tended to maintain links to places of origin, reflecting a migrant society. Other developments included cast iron entrance gates, built in 1889 to a design by Albert Purchas; a cemetery shelter or rotunda, built in 1890, which is a replica of one constructed in the Melbourne General Cemetery in the same year; an ornamental brick fence erected in 1896-99(?); the construction and operation of a terminus for a horse tram at the cemetery gates during 1887-1915; and the Springthorpe Memorial built between 1897 and 1907. A brick cremation wall and a memorial rose garden were constructed near the entrance in the mid- twentieth century(c.1955-57) and a mausoleum completed in 2001.The maintenance shed/depot close to High Street was constructed in 1987. The original entrance was altered in 2000 and the original cast iron gates moved to the eastern entrance of the Mausoleum. The Springthorpe Memorial (VHR 522) set at the entrance to the burial ground commemorates Annie Springthorpe, and was erected between 1897 and 1907 by her husband Dr John Springthorpe. It was the work of the sculptor Bertram Mackennal, architect Harold Desbrowe Annear, landscape designer and Director of the Melbourne Bortanic Gardens, W.R. Guilfoyle, with considerable input from Dr Springthorpe The memorial is in the form of a small temple in a primitive Doric style. It was designed by Harold Desbrowe Annear and includes Bertram Mackennal sculptures in Carrara marble. Twelve columns of deep green granite from Scotland support a Harcourt granite superstructure. The roof by Brooks Robinson is a coloured glass dome, which sits within the rectangular form and behind the pediments. The sculptural group raised on a dais, consists of the deceased woman lying on a sarcophagus with an attending angel and mourner. The figure of Grief crouches at the foot of the bier and an angel places a wreath over Annie's head, symbolising the triumph of immortal life over death. The body of the deceased was placed in a vault below. The bronze work is by Marriots of Melbourne. Professor Tucker of the University of Melbourne composed appropriate inscriptions in English and archaic Greek lettering.. The floor is a geometric mosaic and the glass dome roof is of Tiffany style lead lighting in hues of reds and pinks in a radiating pattern. The memorial originally stood in a landscape triangular garden of about one acre near the entrance to the cemetery. However, after Dr Springthorpe's death in 1933 it was found that transactions for the land had not been fully completed so most of it was regained by the cemetery. A sundial and seat remain. The building is almost completely intact. The only alteration has been the removal of a glass canopy over the statuary and missing chains between posts. The Argus (26 March 1933) considered the memorial to be the most beautiful work of its kind in Australia. No comparable buildings are known. The Syme Memorial (1908) is a memorial to David Syme, political economist and publisher of the Melbourne Age newspaper. The Egyptian memorial designed by architect Arthur Peck is one of the most finely designed and executed pieces of monumental design in Melbourne. It has a temple like form with each column having a different capital detail. These support a cornice that curves both inwards and outwards. The tomb also has balustradings set between granite piers which create porch spaces leading to the entrance ways. Two variegated Port Jackson Figs are planted at either end. The Cussen Memorial (VHR 2036) was constructed in 1912-13 by Sir Leo Cussen in memory of his young son Hubert. Sir Leo Finn Bernard Cussen (1859-1933), judge and member of the Victorian Supreme Court in 1906. was buried here. The family memorial is one of the larger and more impressive memorials in the cemetery and is an interesting example of the 1930s Gothic Revival style architecture. It takes the form of a small chapel with carvings, diamond shaped roof tiles and decorated ridge embellishing the exterior. By the 1890s, the Boroondara Cemetery was a popular destination for visitors and locals admiring the beauty of the grounds and the splendid monuments. The edge of suburban settlement had reached the cemetery in the previous decade. Its Victorian garden design with sweeping curved drives, hill top views and high maintenance made it attractive. In its Victorian Garden Cemetery design, Boroondara was following an international trend. The picturesque Romanticism of the Pere la Chaise garden cemetery established in Paris in 1804 provided a prototype for great metropolitan cemeteries such as Kensal Green (1883) and Highgate (1839) in London and the Glasgow Necropolis (1831). Boroondara Cemetery was important in establishing this trend in Australia. The cemetery's beauty peaked with the progressive completion of the spectacular Springthorpe Memorial between 1899 and 1907. From about the turn of the century, the trustees encroached on the original design, having repeatedly failed in attempts to gain more land. The wide plantations around road boundaries, grassy verges around clusters of graves in each denomination, and most of the landscaped surround to the Springthorpe memorial are now gone. Some of the original road and path space were resumed for burial purposes. The post war period saw an increased use of the Cemetery by newer migrant groups. The mid- to late- twentieth century monuments were often placed on the grassed edges of the various sections and encroached on the roadways as the cemetery had reached the potential foreseen by its design. These were well tended in comparison with Victorian monuments which have generally been left to fall into a state of neglect. The Boroondara Cemetery features many plants, mostly conifers and shrubs of funerary symbolism, which line the boundaries, road and pathways, and frame the cemetery monuments or are planted on graves. The major plantings include an impressive row of Bhutan Cypress (Cupressus torulosa), interplanted with Sweet Pittosporum (Pittosporum undulatum), and a few Pittosporum crassifolium, along the High Street and Parkhill Street, where the planting is dominated by Sweet Pittosporum. Planting within the cemetery includes rows and specimen trees of Bhutan Cypress and Italian Cypress (Cupressus sempervirens), including a row with alternate plantings of both species. The planting includes an unusual "squat" form of an Italian Cypress. More of these trees probably lined the cemetery roads and paths. Also dominating the cemetery landscape near the Rotunda is a stand of 3 Canary Island Pines (Pinus canariensis), a Bunya Bunya Pine (Araucaria bidwillii) and a Weeping Elm (Ulmus glabra 'Camperdownii') Amongst the planting are the following notable conifers: a towering Bunya Bunya Pine (Araucaria bidwillii), a Coast Redwood (Sequoia sempervirens), a rare Golden Funeral Cypress (Chamaecyparis funebris 'Aurea'), two large Funeral Cypress (Chamaecyparis funebris), and the only known Queensland Kauri (Agathis robusta) in a cemetery in Victoria. The Cemetery records, including historical plans of the cemetery from 1859, are held by the administration and their retention enhances the historical significance of the Cemetery. How is it significant? Boroondara Cemetery is of aesthetic, architectural, scientific (botanical) and historical significance to the State of Victoria. Why is it significant? The Boroondara Cemetery is of historical and aesthetic significance as an outstanding example of a Victorian garden cemetery. The Boroondara Cemetery is of historical significance as a record of Victorian life from the 1850s, and the early settlement of Kew. It is also significant for its ability to demonstrate, through the design and location of the cemetery, attitudes towards burial, health concerns and the importance placed on religion, at the time of its establishment. The Boroondara Cemetery is of architectural significance for the design of the gatehouse or sexton's lodge and cemetery office (built in stages from 1860 to 1899), the ornamental brick perimeter fence and elegant cemetery shelter to the design of prominent Melbourne architects, Charles Vickers (for the original 1860 cottage) and Albert Purchas, cemetery architect and secretary from 1864 to his death in 1907. The Boroondara Cemetery has considerable aesthetic significance which is principally derived from its tranquil, picturesque setting; its impressive memorials and monuments; its landmark features such as the prominent clocktower of the sexton's lodge and office, the mature exotic plantings, the decorative brick fence and the entrance gates; its defined views; and its curving paths. The Springthorpe Memorial (VHR 522), the Syme Memorial and the Cussen Memorial (VHR 2036), all contained within the Boroondara Cemetery, are of aesthetic and architectural significance for their creative and artistic achievement. The Boroondara Cemetery is of scientific (botanical) significance for its collection of rare mature exotic plantings. The Golden Funeral Cypress, (Chamaecyparis funebris 'Aurea') is the only known example in Victoria. The Boroondara Cemetery is of historical significance for the graves, monuments and epitaphs of a number of individuals whose activities have played a major part in Australia's history. They include the Henty family, artists Louis Buvelot and Charles Nuttall, businessmen John Halfey and publisher David Syme, artist and diarist Georgiana McCrae, actress Nellie Stewart and architect and designer of the Boroondara and Melbourne General Cemeteries, Albert Purchas.Digital image of the Springthorpe Memorial in the Boroondara General Cemeterycemetery, boroondara, kew, gatehouse, clock, tower, clocktower, heritage, memorial, springthorpe memorial

The Boroondara General Cemetery is registerd by Heritage VictoriaFrom Heritage Victoria Statement of Significance Last updated on - December 15, 2005 What is significant? Boroondara Cemetery, established in 1858, is within an unusual triangular reserve bounded by High Street, Park Hill Road and Victoria Park, Kew. The caretaker's lodge and administrative office (1860 designed by Charles Vickers, additions, 1866-1899 by Albert Purchas) form a picturesque two-storey brick structure with a slate roof and clock tower. A rotunda or shelter (1890, Albert Purchas) is located in the centre of the cemetery: this has an octagonal hipped roof with fish scale slates and a decorative brick base with a tessellated floor and timber seating. The cemetery is surrounded by a 2.7 metre high ornamental red brick wall (1895-96, Albert Purchas) with some sections of vertical iron palisades between brick pillars. Albert Purchas was a prominent Melbourne architect who was the Secretary of the Melbourne General Cemetery from 1852 to 1907 and Chairman of the Boroondara Cemetery Board of Trustees from 1867 to 1909. He made a significant contribution to the design of the Boroondara Cemetery Boroondara Cemetery is an outstanding example of the Victorian Garden Cemetery movement in Victoria, retaining key elements of the style, despite overdevelopment which has obscured some of the paths and driveways. Elements of the style represented at Boroondara include an ornamental boundary fence, a system of curving paths which are kerbed and follow the site's natural contours, defined views, recreational facilities such as the rotunda, a landscaped park like setting, sectarian divisions for burials, impressive monuments, wrought and cast iron grave surrounds and exotic symbolic plantings. In the 1850s cemeteries were located on the periphery of populated areas because of concerns about diseases like cholera. They were designed to be attractive places for mourners and visitors to walk and contemplate. Typically cemeteries were arranged to keep religions separated and this tended to maintain links to places of origin, reflecting a migrant society. Other developments included cast iron entrance gates, built in 1889 to a design by Albert Purchas; a cemetery shelter or rotunda, built in 1890, which is a replica of one constructed in the Melbourne General Cemetery in the same year; an ornamental brick fence erected in 1896-99(?); the construction and operation of a terminus for a horse tram at the cemetery gates during 1887-1915; and the Springthorpe Memorial built between 1897 and 1907. A brick cremation wall and a memorial rose garden were constructed near the entrance in the mid- twentieth century(c.1955-57) and a mausoleum completed in 2001.The maintenance shed/depot close to High Street was constructed in 1987. The original entrance was altered in 2000 and the original cast iron gates moved to the eastern entrance of the Mausoleum. The Springthorpe Memorial (VHR 522) set at the entrance to the burial ground commemorates Annie Springthorpe, and was erected between 1897 and 1907 by her husband Dr John Springthorpe. It was the work of the sculptor Bertram Mackennal, architect Harold Desbrowe Annear, landscape designer and Director of the Melbourne Bortanic Gardens, W.R. Guilfoyle, with considerable input from Dr Springthorpe The memorial is in the form of a small temple in a primitive Doric style. It was designed by Harold Desbrowe Annear and includes Bertram Mackennal sculptures in Carrara marble. Twelve columns of deep green granite from Scotland support a Harcourt granite superstructure. The roof by Brooks Robinson is a coloured glass dome, which sits within the rectangular form and behind the pediments. The sculptural group raised on a dais, consists of the deceased woman lying on a sarcophagus with an attending angel and mourner. The figure of Grief crouches at the foot of the bier and an angel places a wreath over Annie's head, symbolising the triumph of immortal life over death. The body of the deceased was placed in a vault below. The bronze work is by Marriots of Melbourne. Professor Tucker of the University of Melbourne composed appropriate inscriptions in English and archaic Greek lettering.. The floor is a geometric mosaic and the glass dome roof is of Tiffany style lead lighting in hues of reds and pinks in a radiating pattern. The memorial originally stood in a landscape triangular garden of about one acre near the entrance to the cemetery. However, after Dr Springthorpe's death in 1933 it was found that transactions for the land had not been fully completed so most of it was regained by the cemetery. A sundial and seat remain. The building is almost completely intact. The only alteration has been the removal of a glass canopy over the statuary and missing chains between posts. The Argus (26 March 1933) considered the memorial to be the most beautiful work of its kind in Australia. No comparable buildings are known. The Syme Memorial (1908) is a memorial to David Syme, political economist and publisher of the Melbourne Age newspaper. The Egyptian memorial designed by architect Arthur Peck is one of the most finely designed and executed pieces of monumental design in Melbourne. It has a temple like form with each column having a different capital detail. These support a cornice that curves both inwards and outwards. The tomb also has balustradings set between granite piers which create porch spaces leading to the entrance ways. Two variegated Port Jackson Figs are planted at either end. The Cussen Memorial (VHR 2036) was constructed in 1912-13 by Sir Leo Cussen in memory of his young son Hubert. Sir Leo Finn Bernard Cussen (1859-1933), judge and member of the Victorian Supreme Court in 1906. was buried here. The family memorial is one of the larger and more impressive memorials in the cemetery and is an interesting example of the 1930s Gothic Revival style architecture. It takes the form of a small chapel with carvings, diamond shaped roof tiles and decorated ridge embellishing the exterior. By the 1890s, the Boroondara Cemetery was a popular destination for visitors and locals admiring the beauty of the grounds and the splendid monuments. The edge of suburban settlement had reached the cemetery in the previous decade. Its Victorian garden design with sweeping curved drives, hill top views and high maintenance made it attractive. In its Victorian Garden Cemetery design, Boroondara was following an international trend. The picturesque Romanticism of the Pere la Chaise garden cemetery established in Paris in 1804 provided a prototype for great metropolitan cemeteries such as Kensal Green (1883) and Highgate (1839) in London and the Glasgow Necropolis (1831). Boroondara Cemetery was important in establishing this trend in Australia. The cemetery's beauty peaked with the progressive completion of the spectacular Springthorpe Memorial between 1899 and 1907. From about the turn of the century, the trustees encroached on the original design, having repeatedly failed in attempts to gain more land. The wide plantations around road boundaries, grassy verges around clusters of graves in each denomination, and most of the landscaped surround to the Springthorpe memorial are now gone. Some of the original road and path space were resumed for burial purposes. The post war period saw an increased use of the Cemetery by newer migrant groups. The mid- to late- twentieth century monuments were often placed on the grassed edges of the various sections and encroached on the roadways as the cemetery had reached the potential foreseen by its design. These were well tended in comparison with Victorian monuments which have generally been left to fall into a state of neglect. The Boroondara Cemetery features many plants, mostly conifers and shrubs of funerary symbolism, which line the boundaries, road and pathways, and frame the cemetery monuments or are planted on graves. The major plantings include an impressive row of Bhutan Cypress (Cupressus torulosa), interplanted with Sweet Pittosporum (Pittosporum undulatum), and a few Pittosporum crassifolium, along the High Street and Parkhill Street, where the planting is dominated by Sweet Pittosporum. Planting within the cemetery includes rows and specimen trees of Bhutan Cypress and Italian Cypress (Cupressus sempervirens), including a row with alternate plantings of both species. The planting includes an unusual "squat" form of an Italian Cypress. More of these trees probably lined the cemetery roads and paths. Also dominating the cemetery landscape near the Rotunda is a stand of 3 Canary Island Pines (Pinus canariensis), a Bunya Bunya Pine (Araucaria bidwillii) and a Weeping Elm (Ulmus glabra 'Camperdownii') Amongst the planting are the following notable conifers: a towering Bunya Bunya Pine (Araucaria bidwillii), a Coast Redwood (Sequoia sempervirens), a rare Golden Funeral Cypress (Chamaecyparis funebris 'Aurea'), two large Funeral Cypress (Chamaecyparis funebris), and the only known Queensland Kauri (Agathis robusta) in a cemetery in Victoria. The Cemetery records, including historical plans of the cemetery from 1859, are held by the administration and their retention enhances the historical significance of the Cemetery. How is it significant? Boroondara Cemetery is of aesthetic, architectural, scientific (botanical) and historical significance to the State of Victoria. Why is it significant? The Boroondara Cemetery is of historical and aesthetic significance as an outstanding example of a Victorian garden cemetery. The Boroondara Cemetery is of historical significance as a record of Victorian life from the 1850s, and the early settlement of Kew. It is also significant for its ability to demonstrate, through the design and location of the cemetery, attitudes towards burial, health concerns and the importance placed on religion, at the time of its establishment. The Boroondara Cemetery is of architectural significance for the design of the gatehouse or sexton's lodge and cemetery office (built in stages from 1860 to 1899), the ornamental brick perimeter fence and elegant cemetery shelter to the design of prominent Melbourne architects, Charles Vickers (for the original 1860 cottage) and Albert Purchas, cemetery architect and secretary from 1864 to his death in 1907. The Boroondara Cemetery has considerable aesthetic significance which is principally derived from its tranquil, picturesque setting; its impressive memorials and monuments; its landmark features such as the prominent clocktower of the sexton's lodge and office, the mature exotic plantings, the decorative brick fence and the entrance gates; its defined views; and its curving paths. The Springthorpe Memorial (VHR 522), the Syme Memorial and the Cussen Memorial (VHR 2036), all contained within the Boroondara Cemetery, are of aesthetic and architectural significance for their creative and artistic achievement. The Boroondara Cemetery is of scientific (botanical) significance for its collection of rare mature exotic plantings. The Golden Funeral Cypress, (Chamaecyparis funebris 'Aurea') is the only known example in Victoria. The Boroondara Cemetery is of historical significance for the graves, monuments and epitaphs of a number of individuals whose activities have played a major part in Australia's history. They include the Henty family, artists Louis Buvelot and Charles Nuttall, businessmen John Halfey and publisher David Syme, artist and diarist Georgiana McCrae, actress Nellie Stewart and architect and designer of the Boroondara and Melbourne General Cemeteries, Albert Purchas.Digital imagescemetery, boroondara, kew, gatehouse, clock, tower, clocktower, heritage, memorial, cussen

Queenscliffe familiy.Queenscliffe family's life & timesTodd Family of Queenscliffe, book extracts & Newspaper clippingsNilhistory