For several years Sam Angelico and his partner, Rosanna used the Norla Dome for their show, Illusionaire. In 2019, due to the renovations works, the show ended at the Mission.The Mission has always been open to the community and has a tradition of hosting cultural events: shows, concerts, exhibitions, festivals.Colour flyer (postcard format) for a magic showcultural events, magic show, illusionaire, sam angelico, norla dome, flinders street

Postcard, black and white. Image shows Soldiers Memorial Hall, Bendigo. Ornate façade, with dome supported by pillars on first level. On bottom ' Soldiers Memorial Hall, Bendigo. On back 'Valentine's Post Card, a genuine photograph'Valentine'scottage, miners

Cattlemen used cooking pots when on the High Plains.Used by the Cattlemen on the Bogong High Plains at Roper's Hut.This cast iron lid fits the cast iron pot. It has a handle (cast iron) on top. The lid is domed. The outer 1 cm edge is flat. Inside this edge the lid dips 2 cms before rising into the dome.Albion / No. 15 / Maryboroughbogong high plains. cattlemen. camp oven. cooking. roper's hut.

A sealed dome-lid Dunlop 'Turnier' tennis ball can. Key winder attached to base of can. [Czech type can with key in recessed groove and solder spot on base]. Materials: Metal, Ink, Rubber, Synthetic materialtennis

This light hanging mechanism could have been used for an adjustable chandelier with candle holders. It would likely be attached to the ceiling by its long stem to suspend the light fitting. A chain would have been threaded around each pulley, with one end joined to the top of the light fitting and the other end joined to a counter weight. The four counter weights would allow the light fitting to be raised or lowered to the desired height with little effort, to allow for lighting the candles or change the intensity of the light. This light fitting was once installed on the famous sailing ship, the Loch Ard, which was built in 1873 and tragically wrecked in 1878.The fitting was recovered from the wreck almost 100 years later, at the time it was discovered. LOCH ARD 1873-1878 – The Scottish-built clipper ship Loch Ard was bound for Melbourne in 1878 with 54 people on board. The mixed cargo it carried included items for the 1880 International Exhibition in Melbourne, one of which was the now famous Majorca ware Minton ‘Peacock’ statue. The Loch Ard was wrecked on June 1st when the ship crashed into Mutton Bird Island, east of Port Campbell. The only survivors were Tom Pearce, a crew member, and Eva Carmichael, a young passenger who was rescued by Pearce. The Gibsons, owners of nearby Glenample Homestead, cared for Tom, and for Eva who stayed longer before returning to Ireland. The wreck of the Loch Ard was discovered in 1967, before the introduction of the Victorian historic shipwreck legislation. In 1969 it was decided that all recovered material should be lodged with the Receiver of Wrecks. In 1980 Flagstaff Hill Maritime Museum Divers received a permit to recover artefacts from the wreck to safeguard them from looters. In 1982 the site was listed as a Historic Shipwreck, and the Maritime Archaeology Unit recovered loose artefact material. The light fitting is recognised as being historically significant as an example of lighting either as part of the ship ‘Loch Ard’ or part of the ship’s cargo, imported for use in Colonial Victoria in the 19th to early 20th century. Flagstaff Hill’s collection of artefacts from LOCH ARD is significant for being one of the largest collections of artefacts from this shipwreck in Victoria. It is significant for its association with the shipwreck, which is on the Victorian Heritage Register (VHR S417). The collection is significant because of the relationship between the objects, as together they have a high potential to interpret the story of the LOCH ARD. The LOCH ARD collection is archaeologically significant as the remains of a large international passenger and cargo ship. The LOCH ARD collection is historically significant for representing aspects of Victoria’s shipping history and its potential to interpret sub-theme 1.5 of Victoria’s Framework of Historical Themes (living with natural processes). The collection is also historically significant for its association with the LOCH ARD, which was one of the worst and best known shipwrecks in Victoria’s history. Light fitting; hanging mechanism with simple pulley wheels for pendant light. Metal pipe, closed and hooked at one end, stem has three decorative rings, and open end has a short narrower metal pipe inserted. Narrow pipe has a three tiered, scallop-edged dome attached to the end. The dome encloses remnants of broken chain length and is attached to a set of four pulley wheels arrayed in a circle with their edge sat right angles to each other. The light fitting was recovered from the wreck of the Loch Ard.flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, shipwreck artefact, loch ard, victoria, eva carmichael, tom pearce, lighting, lidht fitting, pendant light, chandelier, pulley light, adjustable height light

in 1882 Thomas Maidment paid the Society of Jesus £5,750 for nine allotments along Barkly Road (now Glenferrie Road). Maidment, who had arrived in Australia from the Glastonbury district in England in 1858, owned and managed a number of sheep stations in Victoria and subsequently became an '... eminently respectable ...' member of District society. In 1883 the Rate Books list Maidment's land in Barkly Road as the 'Buxton Hill Estate' and it was given an N.A.V. of £90, while in the following year his property attracted an N.A.V. of £160, suggesting that substantial improvements were taking place. Maidment's two-storey mansion, named 'Butleigh Wooton' after his birth-place in England, was completed in 1885 and was given an initial N.A.V. of £420. While Maidrnent is recorded as the owner of the building until at least 1896, Jane Maidment, his wife, continued the family ownership of the twenty-six roomed house with its extensive grounds until at least 1910. (Sanderson P. City of Kew Urban Conservation Study Vol 2)Butleigh Wooton is a substantial two storeyed house built in the Italianate style common in the 1880s. Its walls are rendered and it has limited applied decoration that includes brackets to the eaves line and engaged ionic columns under a broken pediment over the front entrance. The bowed window unit is of particular distinction and is not at all typical of this type of building. This interior by John T Collins is a view of the staircase from the first floor landing. (Sanderson P. City of Kew Urban Conservation Study Vol 2)Reverse: "JOHN COLLINS / 11 Anderson Road / Hawthorn East, 3123 / Film 395 Exposure 21A / Kew / Butleigh Wooton / Staircase looking up to dome / 8-4-79thomas maidment, butleigh wooton, 867 glenferrie road -- kew (vic.), john t collins

Colour print showing two W class trams in Harbour Esplanade with the "Telstra Dome" in the background. Photo is probably soon after the opening of the section of the City Circle route in Jan. 2003.Yields information about the Melbourne Docklands.Colour print on paper - Kodak Professional papertrams, tramways, harbour esplanade, docklands melbourne, telstra dome, w class trams

These badges were produced for the Commonwealth Button Fund to raise funds for the victims of the Armenian massacre in the Ottoman Empire during World War One. The button was designed by Frances Woolcot the Honorary Organiser of the Melbourne Branch of the Commonwealth Button Fund. The buttons were sold late in February 1918 and raised 7,300 pounds for the victims.February These badges are of interest as an example of the Australian fund raising efforts during World War One for a specific group of people - in this case the victims of the Armenian massacres..1 Concave metal badge featuring sky, a minaret, two onion shaped domes, buildings, sand, three mounted camels and palm trees. There is a clip pin on the reverse. .2 As for .1 but discoloured and there is no slot into which the pin may be inserted. SERVIA SYRIA ARMENIA

In 1964, Robin and Patricia Boyd spent several weeks on a world tour - Boyd took a leading role at the International Design Conference in Aspen and he also visited Chicago, Yale University, and New York’s World Fair. The Boyds then travelled on to England, Finland (especially to see Tapiola), Russia and India to see Le Corbusier's Chandigarh, and also Hong Kong and Thailand.Colour slide in a mount. West tower of McCormick Hall (1963) Massachusetts Insitute of Technology (MIT), Cambridge, Massachusetts, USA. Kresge Auditorium is on the left background and dome of the MIT main building is just visible on the right. (Architect: Herbert Beckwith.)Made in Australia / 13 / AUG 64Mslide, robin boyd

Pressed, embossed sheet steel tin, with overhanging top. Dome on top for beans, hinged, with curved handle and wooden knob. Wooden drawer set into bottom, removable, sheet metal and sign of handle missing. Decorative embossing on each side.L 4' embossed on basedomestic items, food and drink preparation, coffee, grinder, beans, kitchen, drink, pressed sheet steel, embossed

Postcard, B&W photograph, taken from the Eiffel Tower in Paris, of the new section of the Champs-de-Mars park. The park and trees have been tinted green for the postcard. Among the buildings in the distance can be seen the dome of the Pantheon.postcard, photograph, postcard, paris, parc du champ-de-mars, eiffel tower, pantheon

In 2008, the photographer Simon Terrill, organised a photo shoot of a crowd in the industrial port of Melbourne. The photographs were exhibited in the Norla Dome. The film tells about the making of the photo shoot and documents the exhibition.crowd theory, 2008, norla dome, the port of melbourne, simon terrill, footscray community arts centre, mission to seafarers

This Post Office Receiving Pillar was restored in 1980 and is now a fully operational Australia Post mailbox. In early August 1980 Prime Minister Mr. Fraser posted Warrnambool’s first commemorative envelope into this restored Post Office Receiving Pillar at Flagstaff Hill Maritime Village. The special limited edition envelopes are numbered 1 – 7000. When posted, the envelopes would have the Flagstaff Hill Logo and Flagstaff Hill Maritime Village’s own postmark of a ship’s steering wheel surrounding a lighthouse and a sailing ship, and were dated August 3 on the First Day Cover. Amongst Flagstaff Hill’s collection is that very first letter posted by Prime Minister Fraser. HISTORY OF POST OFFICE RECEIVING PILLARS In 1851 ‘pillar boxes’ were installed at roadside locations in the island of Jersey, England; they had already been successful in several European countries. The use of new prepaid, adhesive postage stamps as well as the roadside pillar boxes meant there was no need for the public to take a trip to the Post Office just to post a letter. By 1855 London had installed its first six Pillar Boxes. In 1856 the pillar boxes were first introduced in Sydney. These were circular with a crown on the dome, supported by leaves. Early Victoria Mail was originally collected by ‘letter carriers’, first appointed in Melbourne in 1841, equipped with leather bag and hand bell. He wore a red coat with brass buttons and a black top hat! In 1844 two wooden receiving boxes were erected in Melbourne. The first cast iron boxes were installed in South Melbourne (Emerald Hill) and were still in service until 1967. They were a fluted circular design and made in England. In the early 1860’s the ‘low door round’ design posting box was introduced, being circular and surrounded by a crown, with two broad embossed bands around its circumference. The clearance door was in front of the box and low down. These were made in Australia. In the early 1870’s square boxes with a tapering top were being used. These too were made in Australia by different manufacturers with slight variations on style such as the orientation and number of slots. Next came the circular boxes again, similar to the ‘low door round’ but with the clearance door extending to just below the posting slot, often referred to as ‘high door round’. These boxes did not have embossed bands. In 1887 small cast iron boxes were introduced, attached to posts and poles and called ‘lamp post receivers’. Around 1930 a ‘London’ model was used in Victoria. It was copied from the flat-domed type in London but made in Tasmania. [References: Flagstaff Hill Maritime Village records, The Warrnambool Standard, August 1st, 1980, “Stamps.Au” http://www.stampsau.com, 4th April 2011 (Extracted from “Australian Street Posting Boxes” by Ken Sparks – out of print)] Post Office Receiving Pillar, or letterbox.1885 “High Door Round” design. Tall cast iron cylinder with decorative dome cap with crown on top. Side has a slot and a hinged door with handle shaped as a fist. Painted red with gold trim. “POST OFFICE / RECEIVING PILLAR” lettering cast into cylinder. Restored in 1980 and once again operating as an Australia Post mailbox. Commemorative plague on pillar.“POST OFFICE / RECEIVING PILLAR” lettering cast into cylinder. Flagstaff Hill Maritime Museum – Port of Warrnambool. This letter receiver was officially commissioned on 3rd August 1980 by the Prime Minister of Australia, the Right Honourable Malcolm Fraser M.P. on completion of 25 years’ service as the Federal Minister for Wannon.”flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, post office receiving pillar, letterbox, mailbox, australia post

This jar comes from the Sharpe Brothers Warrnambool factory. John Sharpe founded the soft drinks business in 1903 and it existed until 1972. At one stage the company had 35 factories in Australia and New Zealand. It specialized in the home deliveries of ginger beer and other brewed beverages in one gallon earthenware jars. The Warrnambool factory opened in 1919 at the site of the Rowley cordial factory at the corner of Banyan and Timor Streets. It continued until 1951. John H. Sharpe, the former manager of the Sydney factories, put his signature on the base of this jar when he visited the Warrnambool and District Historical Society headquarters at History House in the mid 1980s. This jar is of considerable importance as it is a fine memento of the Sharpe Bros soft drinks factory that operated in Warrnambool in the 20th century for over 30 years.This is a stone jar in beige/brown colouring with a cylindrical base with a bulbous-shaped piece above the base and a dome-shaped top above that. A metal handle is attached to the neck and there is a composite material screw top. The maker’s information is printed on both sides of the jar. Keep this stopper tight This jar is the absolute property of, and must be returned to, Sharpe Bros Australia & New Zealand Original and largest hygiene brewers Caution. Persons Damaging, Willfully Retaining, Trading with or Misappropriating the use of this jar WILL BE PROSECUTED John H. Sharpe. Jar made prior to 1914 sharpe bros factory, john h. sharpe, history of warrnambool

Black enamel top cover with circular dome. Mantle with glass cover 8cm: adjustable fuel knob. Protective guard with carrying handle attached - silver coated steel. Silver coated domed base with primer knob. mantle fragile & damaged.Tilley 'Pyrex' 171. Made in UK. Manufactured in United Kingdom '570XA'

This crystal goblet was presented to Mrs. T. O'Brien (Margaret O'Brien nee Leyden) on 26 January 1915 when the Starkie Memorial was unvieled by the then Shire President Cr. O'Brien. The memorial was erected in recognition of Cr. Joseph David Starkie's efforts in bringing the water supply to Sunbury.Engraved crystal goblet with diamond cut decoration on bowl of goblet. Stem and base plain. A black round wood base with three white clips for holding goblet. A clear glass dome shaped cover that is used to enclose the goblet on wood base.around rim - "PRESENTED TO MRS. T.O'BRIEN..."o'brien, margaret, 1910s, sunbury, starkie memorial fountain, starkie, joseph david, george evans collection

Opened on Tuesday, November 15th, 1921 the Hall was erected by the Citizens of Bendigo to commemorate the deeds of the men and women of the district who served in the Great War. Now one of the largest Memorial Museums in the country the Bendigo Soldiers Memorial is now home to a broad range of military memorabilia. Situated on the highly visible Pall Mall, the hall was redeveloped and officially reopened as a museum in 2018. Brown paper covered booklet with front cover cut out window showing the dome of the Soldiers Memorial. Inside describes the reason for the building of the Soldiers Memorial and the programme for the opening events. Mayor Holland gave a speech with the Y.W.C.A providing the afternoon tea. city of greater bendigo memorials

This photograph shows the Reading Room of the State Library of Victoria taken from above during the removal of blackout material from the SLV Dome in 1947. GHS member Rex Smith's father worked on this project.Digital copy of black and white photograph.rex smith, state library of victoria dome

Alexandria McKIM (1991- ) Born Australia Alexandra McKim completed studies at the University of Ballarat Arts Academy (now Federation University) in 2013. This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.64 marbled porcelain halves creating a porcelain diamond. University of Ballarat Acquisition Award, 2013art, artwork, mckim, ceramics, university of ballarat acquisition award, alexandra mckim, dome

Margaret Woodward is a an artist and an an associate professor of design at Charles Sturt University. Artist statement: "The Sea is All Around us is a multi-layered event which creates a memorable experience for those visiting the Dome Gallery and the Mission to Seafarers in Melbourne’s Docklands. The event acknowledges and raises awareness of the often difficult and dangerous working lives and journeys of seafarers by making visible their role in transporting commodities, materials and objects to and from Australia’s shores. This installation at the Dome Gallery in the Mission to Seafarers in Melbourne’s Docklands marks the third stage of an ongoing research project which seeks to reveal the ‘social life’ of souvenirs. Beyond their representational role souvenirs also trigger intangible, affective qualities – reminders of journeys and places, new associations with tastes, sounds and people, and thereby becoming objects which focus and hold memories. This installation invites seafarers and visitors to participate in a global project which aims to witness sea journeys and trace the mobile life of seafarers and souvenirs. For a fortnight in May 2015, the Dome Gallery became an architectural large scale compass, with the circular floor marking the intersection of its latitude and longitude (37 º 49'21" S 144º 57'03"E). Over these two weeks the Dome Gallery was inscribed with marks recording journeys made by seafarers, recording destination and departure ports, home lands and waterways, and in doing so making visible a small segment of the global patterns of seafaring. Custom-made souvenirs designed for the installation are given to seafarers as gestures of welcome and a memento of their visit. The souvenirs originating in Poland continue their journey by sea, to destinations beyond the Dome becoming part of the global network of seafaring, with an invitation for seafarers to record their future journeys using QR code scanning technologies. It is hoped that by releasing the 200 limited edition souvenirs accompanying the seafarers the mobile life of souvenirs and seafarers will also become visible. Like messages in bottles they leave our shores, becoming ambassadors, representing the Dome Gallery at the Mission to Seafarers, the waters of Port Phillip Bay, Australia’s red soil and vegetation, and carrying memories of visiting Melbourne." The Mission has always been open to the community and has a tradition of hosting cultural events: shows, concerts, exhibitions, festivals.Orange enamel and teal mug created for the art installation by artist Margaret Woodward at the Mission to Seafarers. On one side it is decorated with a compass and a latitude and longitude; on the opposite side, a leaf, a QR code on the bottom takes you to the website.Written at the bottom of the mug: Please scan to map the journey of this souvenir * www.sensingtheremote.net *2015cultural events, norla dome, mso, 2015, art installation, margaret woodward

Margaret Woodward is a an artist and an an associate professor of design at Charles Sturt University. Artist statement: "The Sea is All Around us is a multi-layered event which creates a memorable experience for those visiting the Dome Gallery and the Mission to Seafarers in Melbourne’s Docklands. The event acknowledges and raises awareness of the often difficult and dangerous working lives and journeys of seafarers by making visible their role in transporting commodities, materials and objects to and from Australia’s shores. This installation at the Dome Gallery in the Mission to Seafarers in Melbourne’s Docklands marks the third stage of an ongoing research project which seeks to reveal the ‘social life’ of souvenirs. Beyond their representational role souvenirs also trigger intangible, affective qualities – reminders of journeys and places, new associations with tastes, sounds and people, and thereby becoming objects which focus and hold memories. This installation invites seafarers and visitors to participate in a global project which aims to witness sea journeys and trace the mobile life of seafarers and souvenirs. For a fortnight in May 2015, the Dome Gallery became an architectural large scale compass, with the circular floor marking the intersection of its latitude and longitude (37 º 49'21" S 144º 57'03"E). Over these two weeks the Dome Gallery was inscribed with marks recording journeys made by seafarers, recording destination and departure ports, home lands and waterways, and in doing so making visible a small segment of the global patterns of seafaring. Custom-made souvenirs designed for the installation are given to seafarers as gestures of welcome and a memento of their visit. The souvenirs originating in Poland continue their journey by sea, to destinations beyond the Dome becoming part of the global network of seafaring, with an invitation for seafarers to record their future journeys using QR code scanning technologies. It is hoped that by releasing the 200 limited edition souvenirs accompanying the seafarers the mobile life of souvenirs and seafarers will also become visible. Like messages in bottles they leave our shores, becoming ambassadors, representing the Dome Gallery at the Mission to Seafarers, the waters of Port Phillip Bay, Australia’s red soil and vegetation, and carrying memories of visiting Melbourne." The Mission has always been open to the community and has a tradition of hosting cultural events: shows, concerts, exhibitions, festivals.Small flyer in PDf for the art installation by artist Margaret Woodward at the Mission to Seafarerscultural events, norla dome, mso, 2015, art installation, margaret woodward

The inner dome of the Ferguson's mask was covered in an ordinary vaporising surface of gauze, while the outer tower (circular ring) was enveloped in a domette bag closing at the top to exclude the air so that the ether vapor could be concentrated.Wire mask for ether inhalation. The handle for the mask is made from the same wire as the mesh and there is a circular wire ring above the mask.mask, ether, robert ferguson, inhalation, ramsay surgical limited

The Bruck Inhaler is a modification of the Clover Inhaler, designed by Lambert Bruck. Bruck added a glass dome which enabled the level of ether to be monitored during administration. This was a revolutionary change as it removed guess work from the process.The Bruck Inhaler is a historically, aesthetically and scientifically significant piece. The basic design is based on the Clover Inhaler, but with a rounded bottom. The idea of a glass viewing window was possibly inspired by Wilson-Smith Inhaler. The Bruck Inhaler is historically significant as it is the first inhaler to be made with a completely clear lower glass section. This improved the usability for the ether administrator, and eliminated much of the guesswork associated with dosage and ether levels, which in turn improved the patient experience. This piece provides a strong local link to both anaesthetic and general medical practice at the turn of the century. The design is credited to Ludwig Bruck of Sydney, and was presumably manufactured in the same area. Bruck, as the attributed designer, holds much relevance to the significance of the object, as connected with him is much historical information about the social context of medical practice. Ludwig Bruck was a prominent figure in the medical industry. He started his medical career in Sydney as a Medical Transfer Agent, and later owned a shop at 16 Castlereagh Street, Sydney. This business is listed in the 1903 Register of Firms as a Medical Agent and Importer of Medical Instruments and Books. Bruck was vocal as a journalist and published analyses of medical statistics, as well as the well known Australasian Medical Dictionary and Handbook, which included the “List of Unregistered Medical Practitioners”. Ludwig Bruck was an immigrant. He was of German descent, which placed him in a precarious position within Sydney society during the turn of century. Bruck conducted several public conversations with prominent members of the Australian Natives Association through the Sunday News in regards to his disagreement of the employment of medical practitioners by the ANA specifically to corroborate their health insurance policies. He was also a stalwart supporter of the Australian arm of the British Medical Association, being the publisher of the first and subsequent editions of The Australian Medical Gazette. Bruck chose to end his life with a combination of poison and chloroform on 14 August 1915, after being accused of trading with the enemy during World War One. His suicide note stated his horror at leaving his business partner to deal with the tarring of his reputation as the reason for his decision. The Bruck Inhaler has aesthetic significance as it is a beautiful example of turn of the century surgical design and craftsmanship. Aseptic methods of surgery were well known by 1909, and the aesthetic design of the Bruck Inhaler conformed to these principles. The ability for the surgeon to unscrew, clean and sterilize each part of the Inhaler contributes to the streamlined design of the piece. The Buck Inhaler holds scientific significance. There is the capacity for further research to be undertaken on the object. Geoffrey Kaye often collected multiple examples of equipment, usually one for reverse engineering and another for teaching. There are currently two examples of the Bruck Inhaler in the collection, presenting an opportunity for further technical research on the object. The inhaler is oval shaped with one half made of glass to allow observation of the ether level. A vertical cross tube, 22mm in diameter passes between the face-piece and the bag [missing]. There is a stopcock for admission of oxygen or nitrous oxide opposite the bag attachment. There is a central tube, 28mm in diameter, with controllable ports on either side. There is also a tear-drop shaped fask mask.Hand engraved on side of base: L. Bruck / Sydneyclover, joseph, bruck, lambert, inhaler, rebreather, nitrous oxide, oxygen, williams, probyn

This photograph informs the viewer of the grand ballroom at Rippon Lea homestead in Elsternwick in the late 1800s. One of 33 rooms in this mansion, built for Fredrick Sargood in 1868, the ballroom stood where the swimming pool is currently located. Louisa Jones’ (nee Nathan) love of the 1930s Hollywood style prompted her to demolish the old ballroom and replace it with the swimming pool. She converted Sargood’s billiard room into a ballroom during the late 1930s. Large black and white photograph (now sepia with age) in a ' landscape format' mounted on cardboard. The room featured in the image has an arched dome-shaped roof, a floor adorned with rugs, a vast and heavily ornate space and approximately 12 wicker chairs in the foreground.Written on verso of mount: 'Ballroom & organ at Rippon Lea' Stamped onto front left bottom corner of photograph: 'Johnstone & O'Shannessy/ & Co./ Propy. Ltd/ Collins St. Melb.' rippon lea, 1890s, ballroom, architecture, decorative arts, sargood family

"J547 undergoes maintenance that required removal of its motion gear, axle box and wheel set. The dome cover has also been removed to facilitate a boiler inspection and/or work on the regularor valve. November 1962" - NewsrailDigital TIFF file Scan of 35mm Ilford FP3 black and white negative transparencybendigo, bendigo railway station, george coop collection, j-512, j-547, j-class steam locomotive (vulcan foundry), railway turntable, railway workshop

Louise Hearman used the Norla Dome and painted a mural painted which had taken her around a year to complete. The exhibition called Elephant Room was shown from June 1988. The work was vandalised in 1989 and subsequently demolished.Louise Hearman is a Melbourne born artist and Archibald Prize winner. Hearman first came to public notice in 1987/88 when she spent a year painting the mural in the Norla Dome. The premises of the Mission also served as her studio at that timeBlack and white copy of a newspaper article, printed on A4 paper.The sky’s the limit for modern Michelangelo Because it was there . . . Melbourne artist Louise Hearman in the domed gymnasium of the Mission to Seamen - Picture: ROSS DUNCAN THE dilapidated pool halls of Melbourne’s Mission to Seamen are an unlikely setting for a budding Michelangelo. But when Louise Hearman came across the one-time mission gymnasium she could not resist the urge to create a fresco. It did, however, take a little persuading for the Anglican Church, which still owns and operates a mission in the 61-year-old building, to agreee to house a minor Sistine Chapel on their premises. A year of labour later, Hearman has had no complaints about the great swirling sky or huge oil paintings which now adorn the empty 11-sided room. Instead she is constantly visited by old sailors and passers-by who are thrilled to discover the unusual architecture and artwork. “When peoiple come here it’s a real discovery. It’s something they find for themselves,” she said. Her pictures are neither religious nor symbolic, merely outpourings to create an atmosphere. “THere are lots of things I’d like to say but I’m not saying them in my paintings. “There are no messages, they don’t have any political statement. Life was a little more comfortable for Hearman than her renaissance predecessors. After struggling with cumbersome scaffolding to reach her “canvas” she discovered the modern wonders of the scissor lift. She does not look on the work as a huge achievement. However, it may all be for nought. Unless money is spent to restore the building the paintings she has created will crumble and die - Deborah Stone The Australian Tuesday 10 May 1988louise hearman, elephant room, norla dome, exhibitions, 1988, melbourne, flinders street, ross duncan, cultural events

Louise Hearman used the Norla Dome and painted a mural painted which had taken her around a year to complete. The exhibition called Elephant Room was shown from June 1988. The work was vandalised in 1989 and subsequently demolished.Louise Hearman is a Melbourne born artist and Archibald Prize winner. Hearman first came to public notice in 1987/88 when she spent a year painting the mural in the Norla Dome. The premises of the Mission also served as her studio at that time.Black and white copy of a newspaper article, printed on A3 paper.louise hearman, exhibitions, 1988, norla dome, flinders street, cultural events, melbourne, elephant room, ian hunter

Louise Hearman used the Norla Dome and painted a mural painted which had taken her around a year to complete. The exhibition called Elephant Room was shown from June 1988. The work was vandalised in 1989 and subsequently demolished.Louise Hearman is a Melbourne born artist and Archibald Prize winner. Hearman first came to public notice in 1987/88 when she spent a year painting the mural in the Norla Dome. The premises of the Mission also served as her studio at that time.Black and white copy of a newspaper article, printed on A3 paper.It’s Louise’s masterpiece, come heaven, hell or high water Report: SARAH TURNER PICTURE: LEIGH HENNINGHAM When her Little Bourke St studio was pulled down to make way for a carpark, artist Louise Hearman, above, contacted The Seamen’s Mission in Flinders St to see whether she could use their cottage. They agree. But neither knew what it was going to lead to. When Hearman saw ‘the Elephant Room’ at the mission, a big domed room, she felt she “just had to do something with it”. She applied for and was granted a $3250 grant from the Australia Council, with which she was able to buy the necessary scaffold and paint, and then set about transforming the room. Now, a year later, her masterpiece is complete. Hearman emphasised the the mural doesn’t represent “heaven and hell”. Rather, she said, “people should make their own interpretations”. She said it was “not particularly heaven and hell, it’s not particularly anything”. And there is “no narrative” to the mural. It “just developed with the building”, out of whatever images and feeling Hearman had at the time. Sadly though, Hearman said the mural was likely to fall off the walls and domed ceiling unless the room was waterproofed - water damage is a serious problem at the mission. louise hearman, norla dome, exhibitions, 1988, elephant room, flinders street, melbourne, leigh henningham, cultural events