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: Glen Eira Heritage Management Plan (1996) by Andrew Ward and Associates This Area is marked by the imposing brick and freestone gothic Revival church of the Holy Cross, built in 1937 to the design of O.H. Jorgensen. Church of the Holy Cross and Presbytery are contributory buildings to HO66.Page 65 of Photograph Album with one exterior photograph (landscape) of a brick church with a three storey tower.Hand written: Glenhuntly Rd [top left] / HOLY CROSS RC CHURCH / Dec 1972 [written underneath the photo] / 65 [bottom left] trevor hart, 1930's, gothic revival, brick, bell tower, spire, facade, catholic church, o h jorgensen, holy cross catholic church, caulfield, glenhuntly road, caulfield south, presbytery

One of a group of slides taken by members of the Society of built heritage in Kew in 1979-80. The selection of subject matter reflects the priorities of the period. The colour of some slides has degraded. This particular slide is of 'Fairholme' on the corner of Barry and Fellows Street. The building is listed by the National Trust (Victoria). The citation on the Historic Buildings Register states: 'Fairholme is of State architectural significance as a distinctive free Romanesque Revival residence. Built in two stages, 1889 for solicitor Edward Smart and early this century for importer, J K Meritt, the singular architectural character of Fairholme is achieved by combining window bays and groups of windows with a two-storey gabled porch. The deliberate and distinctively asymmetrical composition is emphasised by Art Nouveau pressed cement detailing (coprosma) on a bowed balcony and the two-storey timber verandah, which is typical of the Edwardian period. The architects were Reed, Henderson & Smart (1889) and C Gordon McCrae (c 1900-1). Internally a grand entry hall with inglenook, staircase and gallery follow the Arts and Crafts quality of the exterior. Classified: 17/03/1993'The slides represent a snapshot in time of built architecture in Kew, much of which has changed in the forty-plus period since they were created. 35mm colour transparency (slide) of 'Fairholme' (1889) on the north-east corner of the intersection of Fellows and Barry Streets, Kew. The photo was developed in May 1979.barry street -- kew (vic.), fellows street -- kew (vic.), historic houses -- kew (vic.), architects -- reed henderson & smart, architectural styles -- romanesque revival, j k merritt

Dwight James Baum is an American architect. He was born in 1886 in Newville, New York. As a young man, Baum moved to Syracuse. In 1909, he graduated from Syracuse University with an architecture degree. He worked for Boring and Tilton and Sanford White which are well known Architecture firms in America. Around 1912, he started his own residential design firm. During the 1920s, Baum designed a significant buildings and several houses in Sarasota, Tampa, Terrace, Temple and Florida all in the Mediterranean Revival Style such as the Ringlings dubbed Cà d'Zan, which is now known as the John and Mable Ringling Museum of Art. In 1923-1924, he also designed Sunset Hill for Mrs. Eugene D. Stocker at Warren, New York which was listed on the National Register of Historic Places in 2007. During the Depression Baum became involved with Good Housekeeping Magazine as consulting architect, and as designer of their building exhibit at the 1933 Chicago World's Fair. His later work includes Hendricks Memorial Chapel at Syracuse University, with John Russell Pope in 1929–1930 and the pedestal for V. Renzo Baldi's statue of Columbus in the city's Columbus Circle. Dwight James Baum died in 1939. Book with large blue hard cover. Title is written on the front cover and the spine in gold. Manufacturer's logo is written on front cover in gold. The book includes index, preface and an introduction. black and white illustrations, plates and floor planes of the architect's work such as Ca d Zan, the fantastical Venetian Gothic waterfront palace of John and Mable Ringling in Sarasota, Florida and the stately Italianate house of Anthony Campagna in Riverdale, New York and more.architecture, architectural designs, art moderne, domestic designs, ca d zan

Two Newspaper clippings pasted onto a single sheet of paper with two Punch holes on the left hand side, with one hole through each cutting. First clipping from The Courier, Ballarat, Monday, 28/4/1971 about a plan by Mr Donald Fraser of Lindfield (NSW) to retain the tramway around Lake Wendouree and use Sturt St. as well as Ripon St. Item has map (see image) showing the proposed route and some comments about tramway museums, museums in general and static preservation. Part of the item in the first column is missing. Second cutting dated 3/5/1971 with headline about the possible revival of horse drawn trams in Ballarat. Item also looks at Council's Tourism Committee considerations for retaining trams in Ballarat, relaying lines, reconditioning overhead, looks at costs of running horse drawn trams versus electric trams. Quotes Cr. J.Chisholm, Committee chairman. 1072.2 - duplicate of second cutting added 26/2/2017 from donation of Ruth NelsonIn red ink in upper right hand corner of first cutting "28/4/71" and in upper left hand corner of second, in pencil, "3/5/71". On rear has various pencil marks from former use at perhaps Donor's employer, Ronaldson and Tippet. 1072.2 - in ink on top edge "Courier 3/5/71"trams, tramways, lake wendouree tramway, horse trams, museum establishment, tramway museums

"The breeze going through the eel trap gives a feeling of water flowing through the vessel with the feathers softly waiving as the water flows. My grandfather Nicholas Couzens and my uncles made eel traps to fish the Hopkins River - this is how my mother learnt the techniques which she passed on to me."Bronwyn RAZEM Gunditjmara/Kirrae Whurrong Bronwyn Razem is an Indigenous Australian basket weaver and painter. She is a Gunditjmara woman of the Kirrae Whurrong clan of western Warrnambool on the Victorian coastline. Bronwyn’s practice involves an exploration of her Indigenous heritage and identity, and she creates symbolic representations of places and events that are meaningful to her family. She integrates ochres, sand and other materials into her paintings, and her works also draw on the possum skin cloak traditions of her ancestors. In 2008, Bronwyn was chosen by the Australia Council for the Arts to be part of a delegation of Indigenous artists to attend the 10th Pacific Arts Festival in Western Samoa. Bronwyn’s mother, Aunty Zelda Couzens, was a well-respected basket weaver and elder who taught Bronwyn basket-making techniques. Bronwyn now regularly conducts basket weaving workshops with Victorian Indigenous communities in order to facilitate the revival of cultural traditions. She has a Bachelor of Arts with Honours at Deakin University, and in 2008 she was enrolled in a Master by Research degree at Deakin Institute of Koorie Education, Geelong, and was living in Ballarat. (https://www.daao.org.au/bio/bronwyn-razem/biography/, accessed 18 April 2016) This item is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.Bronwyn RAZEM (1953- ) Gunditjmara/Kirraw Wurrong A woven New Zealand flax eel trap with emu feathers. This work won the University of Ballarat Acquisitive Award for work reflecting Victoria's Western District. The judges were impressed by Bronwyn Razem's translation of the traditional eel trap into a sculptural form evocative of the flow of water and possible the passage of time. The design and technical knowhow which Razem inherited from her mother, uncles, and grandfather connects this work to the family;s life and traditions. She then enhances the simplicity of this very functional object by the addition of delicate emu feathers, creating a work that creatively and symbolically transcends its original form. art, artwork, bronwyn razem, razem, eel trap, aboriginal, indigenous, available

Events and information concerning the 1983 Eltham Festival including advertisements On page 37 the article "Force behind the revival" is about how Alistair Knox was the instigator of the revival of the Eltham Festival in 1975 and discusses the history of four earlier festivals held in the early 1960s. Advertisers and people noted include: AAAA Display Signs, Alan Leake, Alan Marshall, Alistair Knox, Allan Leake, Ansell and Muir, Australian Film, Barry Maddock, Beverley Sheehan, Bimbi World, Brian Jeeves, Brian Wright, Briar Hill Glass centre, Briar Hill Swimming Pools Pty Ltd, Briar Hill Timber, Bryan Payne, Bush band, Cal Martin, Central Park, Country Art Store, Cr. Horsley, David Baker, David Sadedin, Dawn Mack, Diamond Valley Big Band, Diamond Valley Drapes, Diamond Valley Dutch Social Club, Diamond Valley Society, Dr Peter Reichenbach, Dr Rob Moffitt, Eastern District Bottle Company, Eccacentre, Eltham Central Cellars, Eltham Community Centre, Eltham Concert Band, Eltham Festival, Eltham High School, Eltham Jazz festival, Eltham Little Theatre, Eltham Living and Learning Centre, Eltham Newsagency & Toyworld, Eltham Orchestra, Eltham Pharmacy, Eltham Phoenix Club, Eltham Shire Council, Eltham Sports & Tennis, Eltham Wiregrass Gallery, Eltham Yamaha, Five and a Zack, Franciscus Henri, Frank Gow, Gavin Gray, George Barker, Graham Coyle, Graham Taylor, Greensborogh Hire service, I Can Jump Puddles (film), Ian Orr, Ian Walkear, International Communications Year, Janice Dadd, Jerry Clements, John Adams, John Higgins, John Murray, Kenton Shoes Eltham, Kings, Lazy Ade Monsbourgh, Leisure Footwear Pty Ltd, Lower Plenty Sports Centre, Mal Harrop, Matcham Skipper, Maurie Dann, Michael Poore, Montsalvat, MontsalvatValma Brundell, Myra Skipper, Panton Hill Hotel, Pats, Penna Guardian Chemist, Pine Canection, Purdy's Furniture, Ralph's Eltham Meat Supply, Ranger, Roller City, Ron Blyth, Ron Mack, Rotary Club of Eltham, Second Life decor Pty Ltd, Shire of Eltham Historical Society, Shire President, Skippers Marine Greensborough, Society for Growing Australian Plants, Squeaker's Mate (film), Storyville Allstars, Strings 'n Things, Style Interiors, T.J.'s Hair & Beauty Centre, The Eltham Chicken Shop, The Printing Works, The Prize (film), Thompson's Pharmacy, tim burstall, Todaro Coiffure, Tony Figgins, Tony Floyd, Travel Affair, Two Roads Boutique, Valley Door Centre, Warrandyte Hire, Warren Fordham, Wonderland Plant Nursery, Woolworths ArcadeNewsprint - 12 page newspaper insert1983, eltham festival, alistair knox

The foundation stone for St George's Church of England, Mont Albert was laid in 1886 on land donated by Edward Dyer and the first service was preached in January 1887. From 1904 until 1907 it was known as Holy Trinity, Surrey Hills. The original church was weatherboard and replaced by a brick one in the Gothic Revival style which was designed by local architect George J V Blackburne, who also designed the Wesleyan School at Surrey Hills. The building was partly funded by donations, profits from a bazaar and concert, and other people donated furnishings. The church had boundaries along Mont Albert Road and St Georges Road. In 1998 the Church was sold and converted into a complex of units. Its current address is 19 St Georges Avenue, Mont Albert. The purpose of this working bee in 1923 was to close up the double gateway, which in earlier times had been used for entry of by horse-drawn vehicles to the church grounds. 'Lugano' was built in 1893 for William Wilson, a prominent stonemason and importer of marble fireplaces. In 1903 it became the home of William Holmes who was Chief Electrical Engineer for the Victorian Railways. He designed the electrification of the Melbourne suburban network. 'Lugano' stayed in the Holmes family until the 1930s. Norman Carter took many photos of Surrey Hills and Mont Albert from the 1920s in particular of events and activities associated with the Church of England.Black and white photo of 6 men behind and in front of a picket fence, a section of which has posts and railings only. In front of the fence is a wide grassy verge on which a bench is set up for cutting lengths of wood. A large Victorian house ('Lugano') can be seen in the background and a lamp post with a street sign. Beyond the house are mature eucalyptus trees.churches, holy trinity church, anglican church, st george's anglican church, working bees, lugano, william holmes, william wilson, norman brodley carter

Taken in Beechworth, this photograph depicts the business of Camp Street looking towards the Ovens and Murray Benevolent Asylum. In the foreground of right hand side; there are row of buildings, on the left hand side; there are a two standing figures. The Ovens Benevolent Asylum (or the Ovens and Murray Hospital for the Aged) was constructed in 1862 on an elevated site overlooking the township of Beechworth. This Asylum was built in response to boom in population due to the discovery of Gold in Beechworth in 1852. This period also saw the development of additional administration buildings such as; the Court house, the Town Hall, and offices. The original Benevolent Asylum building was designed in an unusual Flemish Gothic Revival style. The single storey building is of red brick on a dressed granite base, and the main facade is dominated by four curved, Flemish gable ends, those at the extremities being added to the original central section in 1867. This facade incorporates paired windows of pointed Gothic form and dark brick diaperwork patterning. The adjacent J. A. Wallace Wing of 1899 was designed by Donald Fiddes as a separate building. Also constructed of red brick, Fiddes adopted a conservative approach, designing a simple domestic scale building with central projecting gable porch and flanking bull nosed verandahs. The Benevolent Asylum was renamed the Ovens Benevolent Home in 1935 and The Ovens and Murray Home in 1954. Many buildings have been added to this site, particularly since the 1960s, including a poorly sited addition to the front of the original building. Extensive internal renovations have also been made to the original buildings. [https://vhd.heritagecouncil.vic.gov.au/places/118]The Ovens and Murray Hospital for the Aged is of architectural significance as an unusual example of Flemish influenced design from the 1860s. Although the facade has been partly obscured, it remains intact, and, together with the more simply designed Wallace wing, are important examples of early buildings designed for the specific purpose of aged care. The Flemish gables remain as a dominant form of Beechworth's urban landscape. The Ovens and Murray Hospital for the Aged is of historical significance due to its association with the early development of Beechworth and its dominant siting within the town. It is illustrative of the civic development that took place in the town after the peak of the gold rush, when Beechworth was develpoing as the administrative centre of the north east of Victoria. [https://vhd.heritagecouncil.vic.gov.au/places/118]Black and white rectangular photograph. Image is printed on matte photographic paper. Obverse: BOOT SHOE STORE Reverse: 7770.2 / 1997.3099beechworth, burke museum, diggings, camp street, the benevolent asylum, ovens benevolent hom, gold rush

Taken in Beechworth, this photograph depicts Albert Road looking towards the Ovens and Murray Benevolent Asylum. In the center of the image are figures standing of a bridge. The Ovens Benevolent Asylum (or the Ovens and Murray Hospital for the Aged) was constructed in 1862 on an elevated site overlooking the township of Beechworth. This Asylum was built in response to boom in population due to the discovery of Gold in Beechworth in 1852. This period also saw the development of additional administration buildings such as; the Court house, the Town Hall, and offices. The original Benevolent Asylum building was designed in an unusual Flemish Gothic Revival style. The single storey building is of red brick on a dressed granite base, and the main facade is dominated by four curved, Flemish gable ends, those at the extremities being added to the original central section in 1867. This facade incorporates paired windows of pointed Gothic form and dark brick diaperwork patterning. The adjacent J. A. Wallace Wing of 1899 was designed by Donald Fiddes as a separate building. Also constructed of red brick, Fiddes adopted a conservative approach, designing a simple domestic scale building with central projecting gable porch and flanking bull nosed verandahs. The Benevolent Asylum was renamed the Ovens Benevolent Home in 1935 and The Ovens and Murray Home in 1954. Many buildings have been added to this site, particularly since the 1960s, including a poorly sited addition to the front of the original building. Extensive internal renovations have also been made to the original buildings. [https://vhd.heritagecouncil.vic.gov.au/places/118]Black and white rectangular photograph. The image is printed on matte photographic paper. Obverse: NO INSCRIPTION Reverse: BMM7590 1997.2848 AO2848 beechworth, albert road, benevolent, asylum, burke museum, photograph, black and white

Bendigo Operatic Society Programme Booklet 'The New Moon' performed at the capital Theatre View Street Bendigo for six nights opening September 27th, 1963. Bendigo Operatic Society with permission of J.C. Williamson Theatres Ltd presents 'The New Moon' A Beatrice Oakley Production. Music Sigmund Romberg Book & Lyrics Oscar Hammerstein II, Frank Mandel & Lawerence Schwab. The New Moon is the name of an operetta ,the show was the third and last in a string of Broadway hits for Romberg (after The Student Prince (1924) and The Desert Song (1926)) written in the style of Viennese operetta. It spawned a number of revivals and two film versions, and it is still played by light opera companies. The piece turned out to be "Broadway's last hit operetta",] as World War II and the Golden Age of musicals approached. Songs Include: 'Dainty Wisp of Thistledown,' 'Marianne,' ''The Girl on the Prow,'' ''Gorgeous Alexander,'' ''Softly as in a Morning Sunrise,'' ''Love is Quite a Simple Thing'' and many others. Cast: Mary Speedy, Victor White, Desmond Duguid, Peter Houston, Alfred Annison, Leonard Carr, Fred Trewarne, Reginald Boromeo, Roger Sprawson, George Steele, Aileen Simmonds, Graham Filcock, Max Rule, Gertrude Perry, Graham Filcock, Erica Scharp, Anne PearsonArthur Hocking Press.clubs and associations, theatre, bendigo operatic society

This mug was made by Reinhold Merkelbach. Reinhold Merkelbach was founded in 1845 by Wilhelm Merkelbach, a descendent of a long line of German potters, and the company eventually took the name of his son Wilhelm Reinhold Merkelbach, who left school early to get involved with the family business. The company became a major name in German ceramics, especially in the Jugendstil style. The company produced a large number of collectable beer steins in the late 18th and early 19th centuries, including a number of so-called “character steins.” In 1882, the firm began producing art pottery, which at that time was enjoying a revival and new appreciation in Europe in general and in Germany in particular. Reinhold Merkelbach produced ceramic objects both with and without pewter hardware but rarely altered its manufacturing techniques. Many of its products were destined for use at pubs, bars, or breweries as well as in the homes of Germany’s beer-drinking populace. It had a retail location in Munich and also sold products through its factory warehouse. In 1971, half of the company’s ownership was sold to W. Goebel KG and the firm’s name changed officially to Merkelbach Manufaktur GmbH & Co. KG. Goebel ultimately purchased the other half of the business before members of the Merkelbach family, along with a handful of collectors and former staff members, repurchased the factory in 1988. In 2007, Judith Merkelbach Engelmann decided to close the firm; demand for ceramics had been decreasing and the next generation of the family had no interest in maintaining the business. Luckily, Reinhold Merkelbach transferred its moulds to Töpferei Girmscheid Höhr-Grenzhausen to ensure that its best-known pieces of Jugendstil art pottery and steins would continue to be available to interested consumers and collectors.This beer stein was made around the mid-20th century by a popular German maker. It fits in with the context of maritime village life. At this current time, there is no particular connection with people, places and events. The German beer stein is made from ceramic ironstone. It has a bell-shaped hinged pewter lid with a leaf-shaped thumb lever. The lid has a pattern stamped on it. The design on the mug includes a woman in bright colours, a man holding a musket, and buildings in mountain settings. There are inscriptions on the mug. Marked "Made in Germany" "RM" "4070" (underside of mug) "05" to the side of mug flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, beer stein, ceramic beer stein, reinhold merkelbach, drinking vessel

The drags would have been leaving St George's Church of England in Mont Albert Road. The foundation stone for St George's Church of England, Mont Albert was laid in 1886 on land donated by Edward Dyer and the first service was preached in January 1887. From 1904 until 1907 it was known as Holy Trinity, Surrey Hills. The original church was weatherboard and replaced by a brick one in the Gothic Revival style which was designed by local architect George J V Blackburne, who also designed the Wesleyan School at Surrey Hills. The building was partly funded by donations, profits from a bazaar and concert, and other people donated furnishings. The church had boundaries along Mont Albert Road and St Georges Road. In 1998 the Church was sold and converted into a complex of units. Its current address is 19 St Georges Avenue, Mont Albert. The annual Sunday School picnic was held at Hampton and drags were the usual mode of transport. 'Lugano' was built in 1893 for William Wilson, a prominent stonemason and importer of marble fireplaces. In 1903 it became the home of William Holmes who was Chief Electrical Engineer for the Victorian Railways. He designed the electrification of the Melbourne suburban network. 'Lugano' stayed in the Holmes family until the 1930s. The annual Sunday School picnic was held at at a variety of locations and drags were the usual mode of transport. Donor information is that this was taken as the congregation prepared to depart for at Hampton on the picnic held on 25/2/1922. There are 2 copies: the original donated print and an enlargement. The original was mounted on card with photo mounts along with 506, 871, 872, and 873. It measures 13 cm x 9 cm.Black and white photo of 4 'drags' (horse-drawn hooded carriages) lined up in Mont Albert Road near the corner of St George's Avenue, in readiness for departure for the Sunday School picnic. The carriages are loaded with people and decorated with flags. The front carriage has a material sign attached to the side; the top line of writing is not decipherable, but the bottom one reads "SURREY HILLS". Four men stand in the road, which has bluestone curb and channelling. In the background is 'Lugano'.On rear in ink: "S.S. picnic to Hampton / 25th. Feb. 1922" and in a different hand in biro: "At Mont Albert. St George's Church"churches, holy trinity church, anglican church, sunday schools, picnics, lugano, horse-drawn vehicles, william wilson, willaim holmes, st george's church of england, mont albert, mont albert road

Druids are known to exist from around the 3rd century B.C. Their name may have come from a Celtic word meaning “knower of the oak tree.” Many of their ceremonies were carried out in oak groves, which they considered sacred and members were, at that time a mix of priest, judge, doctor and philosopher. The Druids enjoyed a revival in the 19th century and were taken up enthusiastically during the Victorian era. Druidry was believed to have been introduced into Australia in 1851 with the setting up of the first lodge in Melbourne under the name United Ancient Order of Druids. Unlike the Freemasons, the Druids were not a secret society and were not selective in who they let in, as long as they paid their dues and acted more like a benevolent society than a spiritual movement. "They originally operated when there were few benefits available from the government or employers and the introduction of sick leave and other employer provided benefits, combined with the gradual introduction of government subsidised medicine, caused the need for them to diminish." Druids House — in Swanston Street, was opened by the Lord Mayor in 1927 and was designed to be the movement's national head office. It was completed at a cost of 19,000 pounds. This photograph was believed to have been commissioned by the Druids of Bendigo to the Licensees of the Queens Head pub where they regularly met, situated on the corner of the Bendigo-Maryborough Rd & the Calder Alternate Hwy ( Lockwood Cross Roads). The old Marong Council offices were situated opposite from 1864 until around 1908 when new offices were then built in Marong. It is believed that this photograph and a photo of the pub were given to Marong Shire by descendants of the publicans, probably in the 90’s. Framed black and white group photographic portrait of 37 members of the Sandhurst Chapter of the Druids staged and shot outdoors. Each of the gentlemen is carrying a bouquet of flowers. The photograph has a gold inner mount with the second mount cut to give the impression of a frame. The outer mount is hand painted with botanical motifs and elaborate text c.t. DRUIDS Sandhurst Lodge/ No 247. l.c Presented to Mr and Mrs Chadwick / Lockwood / in recognition for kindness rendered.W. G. Robinson / Photo and J.H. Gribble / Long Gully / 1,11,10robinson photographer, j.h.b. gribble artist, chadwick, shire of marong, city of greater bendigo portraits, city of greater bendigo community groups

"This edited volume represents the first book-length study of the history of research on Australian Aboriginal languages, and collects together 18 original papers on a wide variety of topics, spanning the period from first settlement to the present day. The introduction sets the scene for the book by presenting an overview of the history of histories of research on the languages of Australia , and identifying some of the major issues in Aboriginal linguistic historiography as well as directions for future investigations. Part 1 presents three detailed investigations of the history of work on particular languages and regions.The eight papers of Part 2 study and re-evaluate the contributions of particular individuals, most of who are somewhat marginal or have been marginalised in Aboriginal linguistics. Part 3 consists of six studies specific linguistic topics: sign language research, language revival, pidgins and creoles, fieldwork, Fr. Schmidt's work on personal pronouns, and the discovery that Australia was a multilingual continent. Overall, the volume presents two major challenges to Australianist orthodoxy. First, the papers challenge the typically anachronistic approaches to the history of Aboriginal linguistics, and reveal the need to examine previous research in the context of their times - and the advantages of doing so to contemporary understanding and language documentation. Second, the widespread presumption that the period 1910-1960 represented the 'dark ages' of Aboriginal linguistics, characterised by virtually no linguistic work, is refuted by a number of studies in the present volume."B&w photographs, maps

Ebenezer Presbyterian Church is located in Armstrong Street South, Ballarat. The earliest church on the site was wooden church was and built in 1857 for the miners Gold Rush. In 1862 the wooden building was replaced by the bluestone church still in use today. The bluestone church was designed by architect Henry Richards Caselli in Lombardic Romanesque style. It features tall windows with paired round headed lights, buttresses and huge brackets. The porch and gallery were added in the 1880s to cater for an increase in the size of the congregation and are the only additions to the church. The 1880s porch features bracketted gables, finial, piers, string course and triple windows. The Ebenezer Church is important architecturally for its interior as well as its exterior, as it has a Classical Revival design that is both distinctive and unusual in Australia. The Ebenezer Presbyterian Church Hall built to the right of the church was constructed in 1892 and is made of locally produced red brick, which was more fashionable at the time. It too has been built in Lombardic Romanesque style in sympathy with the church building and features tall arched windows. The double-storey presbytery, built on the left of the church dates around the 1880s and is also constructed of red brick. Built in Victorian Classical Freestyle, it has elegant quoining on its corners, large windows upstairs, and prominent bay windows on the ground floor. The Armstrong Street facade is sheltered from the sun by a verandah and balcony featuring fine cast iron columns and lacework. The whole complex is surrounded by its 1880s cast iron paling fence. Henry Richards Caselli is perhaps best known in Ballarat for the large number of churches in Victoria that he designed, with two Lombardic Romanesque examples in Ballarat, the Ebenezer Presbyterian church, Armstrong Street South between 1862 and 1863 and the Lutheran Church in Doveton Street in 1876. This photograph was taken during the Covid19 pandemic and the associated shutdowns.Colour photographs of Ebenezer St John's Presbyterian Church.ebenezer st john's presbyterian church, ebenezer, church, ballarat, henry richards caselli

This black and white photograph shows the front view of the Ovens Benevolent Home with one person sitting on a bench seat against the nearest part of the building and another person walking on the grass. This photo is estimated to have been taken in the early 1900’s when the Ovens Benevolent home would have still been fairly contemporary. According to Woods (p. 121) in the 1860’s the government spent considerable sums to establish several public buildings such as the Benevolent Asylum, the Hospital and Insane Asylum to support those in need of care in the area directly after the Indigo gold rush which had left Beechworth, a fairly remote regional and newly formed township (Gold was first discovered in Beechworth in 1852) with a number of infirm and destitute people in its wake and which due to the support and establishment of these facilities ‘made Beechworth a significant social welfare centre in Victoria’ (Woods, p. 121). Originally named the Benevolent Asylum, the building was renamed as The Ovens Benevolent Asylum in 1935 and again to The Ovens and Murray Home in 1954. The building construction began in 1862 and was unique in its features of Flemish Gothic Revival style which utilised red brick and granite, ‘the main facade is dominated by four curved, Flemish gable ends, […] incorporates paired windows of pointed Gothic form and dark brick diaperwork patterning. The adjacent J. A. Wallace Wing of 1899 was designed by Donald Fiddes as a separate building. Also constructed of red brick, Fiddes adopted a conservative approach, designing a simple domestic scale building with central projecting gable porch and flanking bull nosed verandahs.’ (https://vhd.heritagecouncil.vic.gov.au/places/118). Initially established to provide housing and care for aged, orphaned or widowed members of the population, over time the Ovens Benevolent Home focused more on the age care responsibility which functioned as such up until 2005.The Ovens Benevolent Home is significance due to its association with the early development of Beechworth. It shows the civic, social welfare development that took place in the town after the peak of the gold rush which helps to establish the character of the community being built at the time and their cultural values at play. This photograph also clearly shows the early functioning landscape of that building and its purpose as well as the significant elements of its aesthetic significance and unique and striking architectural forms of the building.Black and white rectangular photograph [copy from slide]Reverse: / 7588 /housing and care, aged care, donald fiddes, ovens benevolent home, flemish gable, brick diaperwork, photograph, black and white photograph, public building, benevolent asylum, indigo gold rush, beechworth, the ovens and murray home

The nine postcards in this set were donated together and date to the early 1900s. All but one postcard in this set shows images of Warrnambool, in the Western District of Victoria; the other has a London image. The postcards were all printed in Great Britain according to that country’s postal regulations. The fronts of all cards have titles printed in red. Most of the images on the cards are attributed to photographer Joseph Jordan and belong to the Jordan Series. The back of these cards has an outline for a postage stamp, a vertical dividing line and a heading on each side of the line to separate the Correspondence from the Address. Postcards or ‘correspondence cards’ appeared in Britain in 1894. They were plain cards with a space for the message on one side and an address on the other; regulations didn’t allow anything but the address to be written on the ‘address’ side. In 1902 the British regulations then allowed a picture to be printed on the front and the address on the back, so messages had to be written on the picture side. Soon, the regulations changed and the back was divided for a message and the address. Bay of Biscay, Hopkins River, Warrnambool – This same image was published in Table Talk on January 6th, 1910 and in The Age, on December 18, 1929, referred to a revival of fishing at the Bay of Biscay on the Hopkins River. These and similar articles showcased the Bay of Biscay as a popular boating and fishing location and well worth promoting to places outside of Warrnambool. Joseph Jordan - Joseph Jordan was born in 1841 in Leicester England. When he was 16 he joined the 7th Queen's Own Hussars and was sent to India at the outbreak of the mutiny. He took part in the relief of Lucknow and remained in India for eleven years. It was during this time that he became interested in photography. He was posted to New Zealand and later came to Victoria, becoming a sergeant major of the Mounted Rifles. In the mid-1880s he came to the Western district where he was responsible for establishing units of the Mounted Rifles in various country towns such as Dunkeld, Mortlake, Panmure, Bushfield, Koroit etc. He resigned from the army in 1889 and set up a professional photography studio in Liebig Street, Warrnambool. He became very well known in the Western District for family photographs, official photographs of local councillors and groups as well as views of local scenery. In 1891 he photographed the wrecked barque ‘Fiji’ at ‘Wrecks Beach’ near Princetown. His business was taken over by his son Arthur around 1917. Joseph was a keen rifle shot and in 1924 he donated the "Jordan Shield" as a prize to the Victorian Rifle Association. He was made a "Life Honorary Member" of the Warrnambool Returned Soldiers League and in 1933 he was recognised as being the oldest living soldier in Victoria. Joseph died in 1935 aged 95.The image of the figures in a row boat on the river suggests that the location was a popular place to visit. The choice of subject for this postcard indicates the popularity of Warrnambool's natural environment as a tourist attraction at a time when ships called coastal traders brought passengers and cargo to the Port of Warrnambool from ports along Victoria's southwest coast. Joseph Jordan is a significant figure in Warrnambool history as he helped to establish early units of the Mounted Rifles (G Company) in local towns during the late 1880's and later, photographed local scenes, groups and citizens of early Warrnambool.Postcard, one of nine, portrait orientation, coloured print within a rectangle border with an impressed line around the image and a title in red. The picture shows three figures wearing hats in a rowboat on the bank of a river beside cliffs. There is no correspondence written on the card. The back has inscriptions and outlines for a postage stamp. Jordan Series, printed in Great Britain.Front, in red: “Bay of Biscay, Hopkins River, Warrnambool” Back in green: “Jordan Series” “POST CARD” “PRINTED IN GREAT BRITAIN” “For correspondence” “The Address only to be written here”flagstaff hill maritime museum, flagstaff hill maritime village, flagstaff hill maritime museum and village, maritime museum, warrnambool, great ocean road, warrnambool and district, warrnambool scenes, local scenes, views of warrnambool, joseph jordan, jordan series, jordan photography, postcard, souvenir, correspondence, cameo postcard, bay of biscay, fishing, boating

St Margaret’s Church of England was officially opened on December 12, 1861. It is the oldest intact church building in Eltham. At the time it was known as Christ Church until its consecration in 1871, when it was completely free of debt (£1,700 for the church and parsonage) despite the district’s poverty. This was largely due to the free labour and materials, including locally made bricks donated by local artisans and others. The church is historically significant because it is the oldest church in the former Shire of Eltham and has associations with the philanthropist and founder of Brighton, Henry Dendy (who donated the land on which the church is built), the architect Nathaniel Billing and the prominent local builder, George Stebbing. The church is architecturally and aesthetically significant because it is constructed in the Gothic Revival style with several stained-glass windows of various dates and is also a very early use of polychromatic brickwork in Victoria. Billing was one of the first Melbourne architects to employ polychromatic brickwork and an important early architect. The rear wall was intended to be temporary. A major feature of the design is the large buttresses with long, steeply graded upper faces. The overall design is well proportioned with the surface brick patterns relieving an otherwise austere design. The church is spiritually and socially significant because it has been an important place of worship for the people of Eltham for almost 150 years. The land on which the buildings stand was donated by Henry Dendy. Dendy arrived in Melbourne in 1841 after purchasing in England eight square miles at Brighton under the system of "special surveys". After this land passed out of his hands, Dendy moved about Victoria, visited England, then returned to settle in Eltham where he purchased a flour mill. Dendy chaired the meeting held in 1860 “for the purpose of devising such means as may be expedient for the establishment of a Church of England in the township of Eltham”. He became chairman and treasurer of the church committee. Unlike the establishment of many early churches in Victoria where a vicar was appointed to a parish and later a permanent church was constructed, the population at Eltham initiated action to build a church. The nearest church at that time was at Heidelberg and the Eltham settlement was part of the parish of St Johns Heidelberg. Isolation and the tedious, time consuming journey between Heidelberg and Eltham resulted in the Eltham community taking its own action. The original vicarage (Dendy House) at the rear of the church is also an important part of the cultural significance of this place because it is connected to the church and the development of the Eltham area. Together, the church and the vicarage are aesthetically significant because they form a significant streetscape feature. The mud-brick community hall designed by Robert Marshall was added in 1978. In 2014 the original temporary rear wall was removed as part of a modern extension designed by Architects Atelier Wagner and constructed by Conrad Construction and Management. Covered under Heritage Overlay, Nillumbik Planning Scheme. National Trust of Australia (Victoria) State significance Victorian Heritage Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p67This collection of almost 130 photos about places and people within the Shire of Nillumbik, an urban and rural municipality in Melbourne's north, contributes to an understanding of the history of the Shire. Published in 2008 immediately prior to the Black Saturday bushfires of February 7, 2009, it documents sites that were impacted, and in some cases destroyed by the fires. It includes photographs taken especially for the publication, creating a unique time capsule representing the Shire in the early 21st century. It remains the most recent comprehenesive publication devoted to the Shire's history connecting local residents to the past. nillumbik now and then (marshall-king) collection, eltham, st margaret's anglican church, st margaret's church, christ church

This is a set of 17 photographs taken during the first year of Army occupation at Fortuna, Bendigo in 1942. The photos provide an insight into the preparatory work performed on the Fortuna Villa and surrounding buildings, by the Working Party 5th Army Troop and Ordnance Training Depot, before its occupation by personnel from LHQ Cartographic Company, Royal Australian Survey Corps. The annotation on the back of Photos .9P and .10P is misspelt. The correct spelling is ‘Nell Gwynne’. The poppet head of the Central Nell Gwynne mine is still an iconic landmark in Bendigo, lying just down the road from the poppet head lookout at Victoria Hill. The Central Nell Gwynne was the premier mine of Bendigo's 1930s mining revival and is of high historical value, due to the extensive and relatively intact features which remain at the site. The annotation on the back of Photo .17P is incorrect. The location of HQ 5th Army Troop was ‘Reynard St, Coburg.’ By late 1941 as Japan extended its control throughout Indo-China, resolving the accommodation problem of AHQ Cartographic Company located in Melbourne became more urgent. The steady Japanese advance made the bombing of Melbourne no longer a remote possibility, and in accordance with a general policy of dispersion, the Deputy Chief of the General Staff, Major General Sidney Rowell instructed Major William Sarll, in the interests of security of plant and to provide against possible damage of air attack, to investigate suitable safer inland accommodation for AHQ Cartographic Company. Major Sarll inspected many properties before finding one that would meet the requirements of the Cartographic Company. In late 1941, he came to inspect Fortuna, a rambling old mansion with about fifteen acres of ground in central Bendigo. Initially there was no intention to occupy the site beyond the end of the war, although Major Sarll's report to the Director of Survey noted many advantages in moving the Company to Bendigo. Major General Rowell quickly approved the selection of Fortuna before other authorities, which were investigating the evacuation of school children, could get in ahead of the Cartographic Company. On 23 March 1942, the Commonwealth of Australia, under the provisions of the National Security Act of 1939, took possession of the house, the old battery buildings and the fifteen acres of grounds. Under Warrant Officer J. Trist’s direction, over fifty Parks and Works tradesmen completed building works necessary to accommodate the Survey Corps’ military, map making and printing requirements. The building program was still under way when the first officer, Lieutenant Ralph Westgarth, arrived in May 1942 with the advance party which received and positioned all equipment as it came up from Melbourne in semi-trailers. Once the equipment was installed the rest of the Cartographic Company completed its shift to Bendigo by 11th June 1942. The first year of the Survey Corps’ occupation of Fortuna is covered in more detail with additional historic photographs, in pages 17-22 of Valerie Lovejoy’s book 'Mapmakers of Fortuna – A history of the Army Survey Regiment’ ISBN: 0-646-42120-4.This is a set of 17 photographs taken during the first year of Army Occupation at Fortuna, Bendigo in 1942. The black and white photographs were printed on photographic paper and are part of the Army Survey Regiment’s Collection. The photographs were scanned at 300 dpi. .1) - Photo, black & white, 1942. Bendigo Parks and Works tradesmen at Fortuna. L to R: Cliff Day, Ernie Arnold, Norm? .2) - Photo, black & white, 1942. “Don” - possibly SGT Don Sutcliffe. Fortuna, Bendigo. .3) - Photo, black & white, 1942. Parks and Works tradesmen in garden at Fortuna, Bendigo. L to R: Fred & Ernie. .4) - Photo, black & white, 1942. Benny Jack Williams at Fortuna, Bendigo. Accommodation tents were erected above the lake, which later became the parade ground. .5) - Photo, black & white, 1942. Working dress - Giggle suits. Parks and Works tradesmen at Fortuna, Bendigo. L to R: Cliff and Harry on big roof. .6) - Photo, black & white, 1942. Parks and Works tradesmen at Fortuna, Bendigo. Ted on big roof. .7) - Photo, black & white, 1942. Gold crusher battery just behind Fortuna. .8) - Photo, black & white, 1942. Scene of Bendigo from Fortuna. .9) - Photo, black & white, 1942. Nell Gwynne Mine from mullock heap at Victoria Hill near Fortuna, Bendigo. .10) - Photo, black & white, 1942. Nell Gwynne Mine and crusher near Fortuna, Bendigo. .11) - Photo, black & white, 1942. Sluicing for gold at Eaglehawk. .12) - Photo, black & white, 1942. Fortuna, Bendigo taken from the far side of tennis courts. .13) - Photo, black & white, 1942. Fortuna, Bendigo & its reflection from across the lake. .14) - Photo, black & white, 1942. Fortuna, Bendigo from the fishpond. .15) - Photo, black & white, 1942. Fortuna, Bendigo. .16) - Photo, black & white, 1942. First Fortuna Football Team at unknown location. L to R: 5th Bob Wright, 11th SGT Don Sutcliffe. .17) - Photo, black & white, 1942. Working Party from 5th Army Troop and Ordnance Training Depot at Fortuna, Bendigo.Some personnel are identified. Annotated with date within photos. .1) – Annotated on back ‘Cliff, Ernie, Norm, Dec ‘42. Cliff Day - dairy farmer, plasterers’ labourer. Ernie Arnold – hard plasterer. Norm? - QM Store for tools etc. QM Store was the Stables.’ .2) - Annotated on back ‘Don. Fortuna 1942’ .3) - Annotated on back ‘Fred & Ernie. Dec 1942. Carpenters. Note the state of the gardens.’ .4) - Annotated on back ‘Benny Jack Williams Fortuna Bendigo. Tents were erected where present day parade ground is above the lake.’ .5) - Annotated on back ‘Working dress - Giggle suits. June 42. Cliff and Harry on big roof. This photo was taken as the ventilating ridge was being installed on the building housing the printing machines. The machines were installed later by civilian labour when building was complete.’ .6) - Annotated on back ‘Ted on big roof Fortuna Bendigo.’ .7) - Annotated on back ‘Gold crusher battery – Bendigo for slay heap – 1942. 12 stamp battery. Just behind Fortuna. Was working at night when the “Army” came to Bendigo. Later removed to “Coolgardie - WA. Present site of Southern Cross TV.’ .8) - Annotated on back ‘Scene of Bendigo from Fortuna. June 1942.’ .9) - Annotated on back ‘Nell Gwyne Mine from mullock heap (Victoria Hill) Sept 1942.’ .10) - Annotated on back ‘Nell Gwyne Mine and crusher September 1942.’ .11) - Annotated on back ‘Sluicing for gold at Eaglehawk. August 1942.’ .12) - Annotated on back ‘Fortuna Bendigo 1942. Taken from far side of tennis courts.’ .13) - Annotated on back ‘ “Fortuna” across the lake & reflection.’ .14) - Annotated on back ‘Fortuna from fishpond June 1942.’ .15) - Annotated on back ‘Fortuna Dec 1942.’ .16) - Annotated on front ‘X’ x2. Annotated on back First Fortuna Football Team 1942‘Bob Wright’, ‘SGT Don Sutcliffe’. .17) - Annotated ‘Working Party at Fortuna before one of the drafts’, Working Party 5th Army Troop and Ordnance Training Depot Showgrounds, now the Sportsground Bendigo’, ‘HQ of 5th Army Troop was Reynards Rd, Coburg.’royal australian survey corps, rasvy, army survey regiment, army svy regt, fortuna, asr

St Margaret’s Church of England was officially opened on December 12, 1861. It is the oldest intact church building in Eltham. At the time it was known as Christ Church until its consecration in 1871, when it was completely free of debt (£1,700 for the church and parsonage) despite the district’s poverty. This was largely due to the free labour and materials, including locally made bricks donated by local artisans and others. The church is historically significant because it is the oldest church in the former Shire of Eltham and has associations with the philanthropist and founder of Brighton, Henry Dendy (who donated the land on which the church is built), the architect Nathaniel Billing and the prominent local builder, George Stebbing. The church is architecturally and aesthetically significant because it is constructed in the Gothic Revival style with several stained-glass windows of various dates and is also a very early use of polychromatic brickwork in Victoria. Billing was one of the first Melbourne architects to employ polychromatic brickwork and an important early architect. The rear wall was intended to be temporary. A major feature of the design is the large buttresses with long, steeply graded upper faces. The overall design is well proportioned with the surface brick patterns relieving an otherwise austere design. The church is spiritually and socially significant because it has been an important place of worship for the people of Eltham for almost 150 years. The land on which the buildings stand was donated by Henry Dendy. Dendy arrived in Melbourne in 1841 after purchasing in England eight square miles at Brighton under the system of "special surveys". After this land passed out of his hands, Dendy moved about Victoria, visited England, then returned to settle in Eltham where he purchased a flour mill. Dendy chaired the meeting held in 1860 “for the purpose of devising such means as may be expedient for the establishment of a Church of England in the township of Eltham”. He became chairman and treasurer of the church committee. Unlike the establishment of many early churches in Victoria where a vicar was appointed to a parish and later a permanent church was constructed, the population at Eltham initiated action to build a church. The nearest church at that time was at Heidelberg and the Eltham settlement was part of the parish of St Johns Heidelberg. Isolation and the tedious, time consuming journey between Heidelberg and Eltham resulted in the Eltham community taking its own action. The original vicarage (Dendy House) at the rear of the church is also an important part of the cultural significance of this place because it is connected to the church and the development of the Eltham area. Together, the church and the vicarage are aesthetically significant because they form a significant streetscape feature. The mud-brick community hall designed by Robert Marshall was added in 1978. In 2014 the original temporary rear wall was removed as part of a modern extension designed by Architects Atelier Wagner and constructed by Conrad Construction and Management. Covered under Heritage Overlay, Nillumbik Planning Scheme. National Trust of Australia (Victoria) State significance Victorian Heritage Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p67 St Margaret’s Anglican Church in Pitt Street, Eltham, which officially opened on December 12, 1861, is the oldest intact church building in Eltham.1 With the nearby courthouse and police station, it was one of the first permanent community buildings in the district. The church and vicarage are on the Register of the Heritage Council of Victoria and the National Trust of Australia – Victoria. The church is important as an early example of polychrome brickwork by the notable architect Nathaniel Billings. It is also notable for its historic associations with the early settlement of the Shire of Eltham and its connection with Henry Dendy, Brighton’s founder.2 Henry Dendy, who lived in Eltham much longer than at Brighton, chaired the original meeting which planned the church, and he donated the half-acre (0.2ha) site. Dendy had arrived in Melbourne in 1841 after buying eight square miles (20.7sq km) at Brighton while in England. After this land passed out of his hands, he eventually settled in Eltham where he bought a flour mill, west from the corner of Main Road and Pitt Street (then called Brewery Lane). The vicarage was named Dendy House after him. The Eltham settlers were unusual in initiating the establishment of a church. Usually in Victoria a vicar was appointed to a parish and then a permanent church was constructed. But then, the nearest church was at Heidelberg, which was a tedious and time-consuming journey. St Margaret’s builder was a local, George Stebbing, who also constructed the former Methodist, later Uniting, Church at John Street and the Shillinglaw Cottage near Eltham’s Central Park. It is believed the first Anglican Bishop of Melbourne, Bishop Perry, dedicated the church. After the ceremony he joined in the festivities at the nearby pub and a bill was sent to the parish for teas taken there by the bishop with other participants. The first vicar was the Reverend Robert Mackie from 1864 to1866. St Margaret’s Church was originally called Christ Church until its consecration in 1871, when it was completely free of debt (£1700 pounds for the church and parsonage) despite the district’s poverty. This was largely due to the free labour and materials, including local bricks, donated by local artisans and others. St Margaret’s Church is in the Gothic Revival tradition with a buttressed nave, paired lancet windows, porch and bell-cote. It was the first polychromatic brick church in Australia, using softly contrasting coloured brickwork.3 Billing was one of the first architects to introduce polychrome brickwork into Melbourne. His original drawings for St Margaret’s survive in a folio of his architectural work. However the church’s brickwork is more subdued than in his drawings. About half the windows – those in clear glass with gold borders – are original. The stained glass windows were made much later, but the one behind the altar is thought to be the oldest in the Diamond Valley. It was to be temporary until the congregation could afford to extend the church. In the early 1960s the original cedar pews were replaced by blonde timber pews and the originals were sold to restaurants and to private individuals. Eminent local sculptor Matcham Skipper created a crucifix for the church. A major addition was made in 1978, when the weatherboard hall was replaced by a mud-brick hall. Made of local material, it was designed by local architect and a former shire president Robert Marshall. The mud-brick hall reflects the style of building in Eltham of the late 1970s and for which Eltham is well-known. Perhaps because its earthy tones blend with the surrounding environment, the hall sits well with the church building. St Margaret’s membership has included economist and ABC chairman, Richard Downing; political commentator, diplomat and academic, William Macmahon Ball; Eltham civic leader, Charles Wingrove; artist, Peter Glass; and Eltham’s first postmaster, Frederick Falkiner.This collection of almost 130 photos about places and people within the Shire of Nillumbik, an urban and rural municipality in Melbourne's north, contributes to an understanding of the history of the Shire. Published in 2008 immediately prior to the Black Saturday bushfires of February 7, 2009, it documents sites that were impacted, and in some cases destroyed by the fires. It includes photographs taken especially for the publication, creating a unique time capsule representing the Shire in the early 21st century. It remains the most recent comprehenesive publication devoted to the Shire's history connecting local residents to the past. nillumbik now and then (marshall-king) collection, eltham, st margaret's anglican church, st margaret's church, st margarets church hall, christ church

“The Squadron’s Most Prestigious Trophy” THE CACTUS STORY Years ago a story was told of a Donkey which lived in the desert. The standard of living was poor, and the main course on the menu when things were tough was cactus. The Donkey accepted the good with the bad, and in bad seasons it was always cactus. One day during his wanderings he came to a high fence. On the other side of the fence was lush grass and all sorts of vegetation and animals in prime condition. The Donkey said to a horse, “things look good in there, how does one get in”. The horse said “go down to the end of this fence, and you will come to a gate, there will be someone at the get, ask to get in”. The Donkey went to the end of the fence, found the gate and asked to get in. The horse at the gate said, “what do you want to come in for, all of us are geldings?”. The Donkey said “if that is the case, it is back to the cactus for me”. It was during the early stages of the great depression of 1929-1932, that this story was simulated to the conditions at the then Royal St. Kilda Yacht Club, when during the yachting season there were very few trophies due to the lack of money. A lot of members were out of work, and each Monday many would front up for the jobs that were offering or those who missed out went back to the dole or as many put it “Back to the Cactus”. The “Cactus Cup” race, to be free of entrance fees, was an idea conceived by H.A. (Toby) Armstrong, soon to be backed by Bert Bryant, Ivor Bowles and Jim Thorpe. It was First sailed March 25, 1922, when 9 yachts on sealed handicaps, raced over a 5 mile rectangular course for a small Trophy donated by Jim E. Thorpe and the winning crew of the yacht Helen, skippered by D.Dowse, entertained at a café after the race by the instigators of the race. The next contest was April 12, 1930, for another small trophy also donated by Jim Thorpe, and the crew of the winning yacht Petrel, skippered by Stan Gamble, later on having to arrange for a mussel supper to the extent of Trophy money at an informal musical evening held in the spar room. From then on races for the Cactus Cup became an annual event. In time the format was changed to result in the crew of the first winning yacht having to collect mussels from the pier on the first Saturday of July, cook and prepare them for a no charge informal supper and entertainment evening held in the spar room, towards which the Club provided a keg of Beer. Member Bob Ellis had a special song for the occasion, “Up at Tumba Bloody Rumba shooting Kanga Bloody Roos”. Jim Thorpe then agreed to purchase a Perpetual Cup to be named the Cactus Cup. As guest of honor at the Cactus Supper Evening, May 1940, a dinner suit function in the Spar room, he presented the Cup along with Replica to Barney Snider who won with Eun-Na-Mara. Soon entries became few, for reason nobody wanted to win because of the penalty of having to collect, cook and prepare the mussels. In the interest of the contest and its revival, it was decided that the crew of the last yacht to finish had to collect, cook and prepare the mussels. On the death of Jim E Thorpe in 1944, the trophy, along with its annual replicas, were then provided for by Ivor Bowles until his death in 1970. In time for reason of pollution, the collecting of mussels from the pier was discontinued, so Otto Meik the new provider decided that the format be changed and be replaced by a supper on the day of the race, consisting of bottle mussels, beer and frankfurts. Following the death of Otto Meik in 1979, with no provider for the trophy of replicas, the Squadron in the early 80’s broke tradition by introducing race entry fees. In 2006 the Cactus Cup Tradition was reinstituted by a donation from J.H. (Bert) Ferris – RMYS historian. The Cactus Cup is now free to enter once again for all. The race is run early and a late afternoon feast of mussels and frankfurts is eaten afterwards.Deep sectioned Silver Cup, 300mm high to lip, tapering to thick plain stem flaring out to stepped footing, has two shaped handles. Silver Lid with Donkey positioned on shaped dome. Overall height 110mm. Cup stands on 145mm high round black base with stepped footing, surrounded with Silver winner inscription band.ROYAL ST. KILDA YACHT CLUB PERPETUAL CACTUS CUP INAUGURATED 1922 INSTIGATED BY H.A. ARMSTRONG ESQ. ORIGINAL CUP PRESENTED BY J.E. THORPE ESQ.cactus cup, trophy

In the 1650s, the newest exciting development had arrived on Britain’s shores, this time it was tea from China. As it was brought back from overseas, tea was incredibly scarce and as such its price was very high; in 1664, the cost of tea was already 40s per pound, although this is not as high as what it would become when taxed in the 18th century. This resulted in only the social elite enjoying a cup of tea, and most commonly tea was enjoyed in coffee houses, and teapots were therefore not yet a household item. As the East India Company imported larger quantities of tea, it became more widely available and a larger section of the British population were able to enjoy it meaning that, by 1669, tea was available nearly everywhere. Likely due to the fact that tea was first enjoyed in coffee houses, the first known teapot resembles a coffee pot, with a tapering cylindrical shape and standing much taller than what we now know as a teapot at 13.5 inches tall. Into the 1680s, these teapots were given a conical cover for the spout that was fixed to the pot via a chain. As Queen Anne took the throne in 1702, teapots had become much more widely used and had formed two common groups. The first style of teapot was the pear shaped style which began to appear in 1705. The pear shaped pot usually had a domed lid and sometimes featured a finial. This form was generally supplied with a heater and stand as well as having a baluster shaped handle on one side. This iteration would disappear by 1725 but does make a reappearance in the 1740s, only this time as an inverted pear shape. The second group was the more spherical, or globular, shape which appeared in 1710. The globular teapot had a flush, hinged lid as well as a narrow moulded rim foot and a straight sided, tapering spout. Both generalised groups of teapots have polygonal examples – that is, teapots that are made up of straight sided segments – but six or seven sided teapots are incredibly rare. There is one known example of a seven sided globular teapot, made by Isaac Ribouleau in 1724. This is so unique because polygonal teapots are much more technically difficult and time consuming to make. Other than the occasional band of engraving round the shoulder of the teapot, they remain quite plain until c.1740 when scrollwork and chased shells begin to be applied for decoration. ‘Chasing’ is the process of decorating the front of a piece of metal by indenting the back, without cutting or engraving. From 1755 until 1770, silver teapots became incredibly uncommon and it is likely that this either reflects a change in drinking habits or changing trends producing a favour for porcelain. This dip in popularity could also be in response to the outrageous taxes placed on tea, up to 119%! In 1765, the Leeds creamware globular teapot seemed to kickstart a resurgence and this, combined with the Commutation Act of 1784 – which reduced tax on tea from 119% to 12.5% – saw teapots return in all their forms. It’s around this time, in 1780, that a form of teapot with a detachable, openwork stand appeared; however, the plain, oval teapot remained the most popular in the 1780s and 90s. In the later years of George III’s tenure on the throne, during the last decade of the 18th century, there was a revival of chasing and embossing teapots with flower and foliage designs. At the turn of the century, the spherical, partly fluted teapot with classical decoration was superseded by a more oblong shaped pot that sat on four spherical feet. This was then changed again when teapots became more melon shaped. It was at this time that the capacity of a teapot greatly increased and the previously wooden or ivory handles were replaced by silver handles with ivory washers for insulation. As Britain entered into the Victorian era, the design quality often suffered as there was a tendency to over-decorate the silver. In the early 19th century, the last major addition to the shape of the teapot, a raised collar was added between the cover and body. Whilst this seems to just be for decoration, there is some speculation that it could also be to prevent overspills. https://www.marklittler.com/silver-teapots-history/ This item shows that silver and silver plated teapots were used for tea making.Plain sliver teapot. Heavy oxidation. Dented.None.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, teapot, silver, siver plate, tea

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

The Nillumbik Cemetery is of historical, architectural, aesthetic and social significance at a Regional level (North-east Melbourne). The memorial arch is of State significance. Nillumbik Cemetery, which was established in 1867, is of historical and social significance for its association with the early history of Diamond Creek and as a record of the pioneering families of the district. Significant graves include those of the famous writer Alan Marshall, author of 'I Can Jump Puddles', footballer Gordon Coventry, and William Ellis, notable early settler and benefactor. The 1897 Tudor/Gothic revival memorial arch, bequeathed by William Ellis, is a rare design in ornamental gateways and is relatively large for the size of the cemetery. It is unique in Victoria as a cemetery gateway arch. The burial ground has associated structures, such as the hexagonal timber sexton's office, post and wire fence and picket hand gate along Main Street, all probably built in the early twentieth century. Covered under Heritage Overlay, Nillumbik Planning Scheme. National Trust of Australia (Victoria) - Regional significance Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p83 Entering Nillumbik Cemetery through an ornamental gateway and shaded by the Monterey Cypress hedge helps one leave the busy world outside and contemplate yesterday’s Diamond Creek. The gateway, classified by the National Trust of Australia (Victoria), and inscribed with ‘JANVA VITAE’ (gate of life), was a gift from a distinguished pioneer, William Ellis. Ellis, who was an original trustee of the Nillumbik Cemetery representing the Primitive Methodists and a successful farmer, bequeathed £100 to build the red-brick and carved stone gateway in 1887. In 1867 surveyor Edward Bage had set aside two acres (0.8ha) now 35 Main Street, for this cemetery, in what was then called the village of Nillumbik. Several earlier burials on private lands in the district might have been exhumed and re-interred in the new cemetery. The first burials in the cemetery are thought to be of ‘a Chinaman who hanged himself from a tree behind the Church of England’ and ‘another man who was drowned in a water-hole behind the same church’.1 The 1000 or so graves in the cemetery are grouped into five denominational sections: two Anglican and one each for the Methodist (the largest), Catholic and Presbyterian Churches. It is believed that several unmarked graves are of Aborigines and Chinese miners.2 Perhaps the most famous person buried in the cemetery was author Alan Marshall, who died in 1984 and wrote, among other books, I Can Jump Puddles. Surprisingly his grave is particularly modest consisting of only a grassed plot with a tiny boulder and a simple bronze plaque. It lies about halfway down the main path, at the west and third row back. The first European, interred at the cemetery on July 9, 1869, was Hannah, aged 13 years eight months, daughter of local orchardist John Lawrey and wife Honor.3 Each grave has a story which reflects a rich history. Phillip Cummings, who died in 1884, provided the barn for Diamond Creek’s first school, run by the Primitive Methodist Church. The barn stood at the corner of Phipps Crescent and the main road.4 Former Eltham Shire councillor George Stebbings, who died in 1896, built several prominent buildings in the district, including Shillinglaw Cottage in Eltham.5 The grave of miner James Joseph Whyte, who died in 1908, is a reminder of Diamond Creek’s gold mining history. At age 51, Whyte died from a rock fall in the Diamond Mine, Diamond Creek. Diamond Creek’s first butcher, Patrick Ryan, became President of the Shire of Heidelberg and Chairman of the Eltham Hurstbridge Railway Trust. A former gold miner, he was grandfather of local historian Reverend Jock Ryan. He was buried in an unmarked grave halfway down the central path. His son John Lawrence, who is buried elsewhere, had been a Mayor of the City of Heidelberg. George Martin Pizzey gave a hall, for what was to become The St John’s Anglican Church in Diamond Creek. He was a Crimean War veteran, mason and leather goods manufacturer in Melbourne, who died in 1915. The two world wars took a heavy toll of locals with 54 personnel buried here, two thirds of whom served in World War One. A sporting pioneer was Greensborough District Cricket Club founder, Andrew Webb, who was buried in 1971. Politician Roy Mountford Vale (Monte), who died in 1977, was a Member of the Legislative Assembly of Greensborough, and a founding councillor and president of the Diamond Valley Shire. Modern-day residents are also remembered in this cemetery. The tragic Ash Wednesday bushfires took their toll on the district: William Marsden of Panton Hill CFA died, aged 39, fighting bushfires at Upper Beaconsfield in 1983.6 Several graves tell of those who held distinguished positions overseas, including William Constable, who died in 1989. Constable was artistic director of a ballet company, art director of more than 30 films for London-based film productions, and was awarded best Film Art Director at the Moscow Film Festival in 1960.This collection of almost 130 photos about places and people within the Shire of Nillumbik, an urban and rural municipality in Melbourne's north, contributes to an understanding of the history of the Shire. Published in 2008 immediately prior to the Black Saturday bushfires of February 7, 2009, it documents sites that were impacted, and in some cases destroyed by the fires. It includes photographs taken especially for the publication, creating a unique time capsule representing the Shire in the early 21st century. It remains the most recent comprehenesive publication devoted to the Shire's history connecting local residents to the past. nillumbik now and then (marshall-king) collection, diamond creek, memorial arch, gateway, nillumbik cemetery, william ellis

Refer also https://en.wikipedia.org/wiki/52nd_Battalion_(Australia)Rectangular framed Certificate. Salute to the Gippsland Regiment. ---------------------------------------------------------------------------------------------------------------------------------------- In Shield in top half of certificate-: Defending Australia with rising sun badge then In commemoration of: No 52 surrounded by wreath with inscription on bottom Always Ready Gippsland Regiment 52nd Infantry Battalion (The Gippsland Regiment) "Always Ready" 1921-1930 1936-1942 Circle with white top half and light blue bottom half. -------------------------------------------------------------------------------------------------------------------------------- Under the Shield-: History of the 52nd Battalion. Tracing the ancestry going back to the "Gippsland Battalion of the Victorian Rangers, the Militia (CMF) 52nd Battalion was raised from the 2nd Bn/5th Australian Infantry Regiment (HQ Dandenong) as part of an overhaul of Australia's defences in 1920-21 that saw the reintroduction of compulsory military service. To afford it a proud identity ,the new battalion was assigned the same number as the 52nd/1st AIF which had performed with distinction in France ( Somme, Pozieres, Bullicort, Messine and Ypes to name just some). In addition the new battalion also inherited the Kings and Regimental Colours which, as part of the 52nd Bn/1st AIF's lineage including battle honours earned by 2nd Bn, Tasmanian Infantry Regiment in the Boer War, 1899-1902, and the same circular colour patch, horizontally bisected with white over blue halves. Later the 52nd officially received its regional title, "The Gippsland Regiment" and its motto "Always Ready". Digger prevailing during WW2 it was nicknamed "The Gippsland Bushrangers". The 52nd formed part of the 10th Infantry Brigade, 3rd Militia (CMF) Division. With the reversion to voluntary citizen forces in1930,declining numbers forced an amalgamation with the 37th Bn to become 37th/52nd Bn. Then in mid 1936, an expansion and modernisation of the CMF, including the conversation of the Light Horse to motorised, allowed both battalions to separate and for the 52nd to expand into East Gippsland. In 1938, 52nd Bn was granted linkage with the "Queens Own Cameron Highlanders" and permission to use its Regimental March- "March of the Cameron Men'. When Japan entered the war in December 1941,the Australian Military Forces were fully mobilized, (part time to full time) for the defence of homeland Australia. While training at various locations in central Victoria, the militia became for many, a stepping stone into the AIF and other services, as well as a training unit for new conscripts. As part of our national defence preparations, in mid 1942 the 52 Bn relocated to Queensland as part of the 3rd Division, replacing the AIF 7th Div on the so called "Brisbane Line". However as the threat of invasion lifted, a restructure of army units saw the disbandment of the 10th Brigade and hence the 52nd in September 1942 and the revival of the 37th/52nd Battalion. The 52nds colours were returned to Melbourne, eventually being placed in the Shrine of Remembrance for safe keeping. ----------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------- At bottom of the certificate- We thank the Berwick and Dandenong volunteers for their dedication and self sacrifice during the period 1921- 1942 in defence of our nation. (Signed) D W Shields President Dandenong RSL Sub Branch L Lucas President Berwick RSL Sub Branch Presented by the Dandenong and Berwick RSL Sub Branches November 2009.

The building was designed by Charles Maplestone of Heidelberg, son-in-law to Anthony Beale of St Helena. Maplestone was a prominent architect who came out to Australia with his family in 1852. The foundation stone was laid by Mrs Isabella Maplestone on 11th November 1867. The bricklayers for the church were George Stebbing, H Limmer, H Spicer and a Mr Timm while Thomas Day was the stonemason. Another three years were to pass before sufficient money could be raised for its completion. It was opened by Bishop Perry on 1st November, 1870. The church bell which hung under a tree for 50 years until it was incorporated in the parish hall was brought out from England and presented by Charles Orme. In 1916, the estate of George Martin Pizzey left sufficient money to build the red brick hall, which still stands today (2023) though in January 1969 the hall and bell tower were badly damaged by bushfire. Coincidentally the former home of benefactor, George Pizzey was destroyed in the same fire. Of particular significance are the interior and exterior of the church, the Sunday school and hall with emphasis on pre-World War I fabric (excluding the 1990s additions) and the three coloured glass windows currently suspended in the 1990s entry foyer. In 2011 further alterations were made to the front of the Church. The church is historically significant because it was the oldest public building in the former Diamond Valley Shire, is amongst the oldest buildings in the Shire of Nillumbik and is associated with the early settlement of the Diamond Creek district. The church is historically, socially and spiritually significant because it has been a place of worship for over 150 years and continues to be, an important meeting place in the Shire. The church is aesthetically significant for the three stained glass windows executed by the noted stained glass manufacturers, Ferguson & Urie, as well as the supporting coloured glass windows in the church. The Sunday school & parish hall is architecturally significant because the hall is a well executed and preserved example of the work of noted church architects, North & Williams. It is historically significant because it is connected with local parishioner and Melbourne industrialist, George Pizzey, who bequeathed funds for its construction. Covered under Heritage Overlay, Nillumbik Planning Scheme. National Estate Ntionl Trust of Australia (Victoria) Local significance Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p85 St John’s Anglican Church stands like a beacon on the hill on Main Street, Diamond Creek. Today the church has a large congregation, but its early years were marked by a small congregation struggling to find enough money to survive. It was gold in Diamond Creek that resulted in the building of this National Trust registered property.1 This church is far removed from William Wilson’s humble barn (later the Bowling Green) where the first Anglican church services were conducted – probably the first in the district.2 In the mid 19th century services were infrequent as the Rev Francis Hales, travelling on horseback, also conducted services elsewhere, including at Heidelberg, Coburg, Kinglake, Arthurs Creek, St Andrews and Kangaroo Ground. In 1860 Diamond Creek came under the jurisdiction of the Eltham Parish. Until the mid 1860s the Diamond Creek settlement included only about 20 families who were struggling farmers. But this changed when gold was found in 1862. Then the township grew to 200 families, including miners, civil administration workers and shopkeepers. The resulting growth of Church of England adherents prompted them to petition the Government in 1866 for land to build a church. The area chosen, on which the original building still stands, was at the centre of the proposed township. Today church leaders believe that this conspicuous location is one of the reasons for its exceptional growth. Prominent architect Charles Maplestone designed the building as he did the Presbyterian Church at Kangaroo Ground. St John’s, which is still intact, was built in the Gothic Revival style with the traditional rectangular plan of a central nave and sanctuary at the end. It is typical of small churches built in Victoria at that time, with polychromatic hand-made bricks, a porch, diagonal buttresses and a slate roof.3 The church was officially opened by Lord Bishop Perry on November 1, 1870. But during the next 40 years, due to the varying fortunes of gold mining, the church struggled to remain viable. In 1909 it separated from the Eltham Parish to form a parish with Greensborough. Life became more difficult with the privations of World War One. Then disaster struck in 1915 when fire destroyed the Diamond Creek Gold Mine, wiping out the major livelihood of most parishioners. However the church’s morale was lifted in 1916, when it received a bequest to build the red brick hall, from late parishioner and prominent leather manufacturer, George Pizzey. As prosperity grew, in 1924 the congregation separated from Greensborough, but they rejoined in the 1930s Depression. In the 1950s the wider population soared, impacting on St John’s, and it became a separate parish, becoming responsible for six churches at St Andrews, Hazel Glen, Hurstbridge, St Helena and Yarrambat. As parishioner numbers outgrew the building, extensions were added in 1989 and then in 1993, blending in well with the original building. Church members have made a huge contribution to the local community. John Ryan was a Heidelberg Shire Councillor for 25 years from 1931, Mayor in 1939 and headed several local sporting and other organisations. His son Jock became a clergyman and a local historian heading the Nillumbik Historical Society. Another parishioner, Dr Ted Cordner, came to Diamond Creek in 1920. One of his sons Donald, who was a local doctor, won the Brownlow Medal, was President of the Melbourne Cricket Club and President of the Melbourne Grammar School Council. Roy ‘Monty’ Vale was a state Liberal MP and was related to May Vale, a member of the Heidelberg School of Artists.4 In the early 21st century St John’s Anglican Church is one of the fastest growing congregations in Melbourne. References: St Johns Anglican Church complex, Sunday School and Parish Hall 61 Main Street DIAMOND CREEK, NILLUMBIK SHIRE. (2023, June 7). Retrieved from https://vhd.heritagecouncil.vic.gov.au/places/64023 Diamond Creek, VIC. – St John’s Anglican (2023, June 7). Retrieved from https://www.churchhistories.net.au/church-catalog/diamond-creek-vic-st-johns-anglican This collection of almost 130 photos about places and people within the Shire of Nillumbik, an urban and rural municipality in Melbourne's north, contributes to an understanding of the history of the Shire. Published in 2008 immediately prior to the Black Saturday bushfires of February 7, 2009, it documents sites that were impacted, and in some cases destroyed by the fires. It includes photographs taken especially for the publication, creating a unique time capsule representing the Shire in the early 21st century. It remains the most recent comprehenesive publication devoted to the Shire's history connecting local residents to the past. nillumbik now and then (marshall-king) collection, st john's anglican church, diamond creek