This historic site of Australia’s first open-air gallery is being redeveloped in 2023 for multi-housing fronting the Research Creek. In 1955, Ian and Joan Hassall moved to Eltham. They took a property on the corner of Zig Zag Road and Main Road, Eltham, north of the township (later known as 1215 Main Road). In July 1962, they opened their open-air gallery. Hassall’s Roadside Galley, “…cradled in the fold of hills to the north of Eltham” inspired by Ian’s own experience of exhibitions along the Embankment in London. The property included remnants of a stone quarry, paintings were hung on screens and removed at night. Various pedestals, that looked like giant mushrooms displayed sculpture, pottery, and jewellery. It had a small natural amphitheatre at the foot of a little sandstone cliff that fall away to the bed of a stream. To enter the gallery, a visitor crossed a small freestone bridge of oriental design, built by Hassall from local stone. The bridge spanned the stream flowing beneath great willow trees. Near the entrance wooden figures were displayed formed from pieces of local wood, said to speak to Ian Hassall’s sense of fun. Hassall’s Gallery was the first gallery of its kind in Australia. Ian became a full-time artist and when it first opened, he exhibited paintings he had made while touring the outback with writer and fellow Eltham resident Alan Marshall. He also exhibited other Australian artists over time including locals Lindsay Edward and Peter Glass.daryl morrow collection, eltham heights luxury living, hassalls roadside gallery, housing development, real estate development, research creek, 2023-07-13

Christ Church was constructed in 1854-57 and designed in Decorated Gothic style by Albert Purchase & Charles Swyer. It was enlarged in 1874 and 1881 to the designs of Sydney W Smith. It is one of four main buildings constructed on land granted to the Church of England in 1855 and named Church Square. The other buildings are the bishop's residence, vicarage and parish hall. Heritage Victoria describes it as a 'rare and significant square in the history of town planning in Victoria which demonstrates the importance of the church to the community'. It is built from rarely used undressed random coursed sandstone from Point King Sorrento. It is located at 14 Acland Street, St Kilda. The triangular rose window is said to have been modelled on Lichfield Cathedral and shows outstanding craftsmanship. According to Heritage Victoria, the only other known example in Victoria is at St Georges Presbyterian Church in East St Kilda, designed by the same architect, Albert Purchas. The Church has a varied collection of stained glass, including work by leading stained glass firms and artists in Victoria in the nineteenth and early twentieth century: Ferguson & Urie, William Montgomery and Brooks Robinson. The 'shipwreck window,' north west transept, is an historically significant memorial window dedicated to Miles and William Dalzell Nicholson, the second and third sons of the Hon. William Nicholson, M.L.A, a Lord Mayor of Melbourne and Premier of Victoria in the 1850s. Miles, died in England on 27 April 1874. His younger brother William died in the wreck of the ‘British Admiral’ off King Island on 23 May 1874. The images show the condition of the church at the time they were taken (c 2012). Signs of deterioration can be seen. The bell is not rung any more because of damage to the stonework.There has been some remedial work since and the National Trust of Australia conducted a heritage restoration appeal.churches, acland street, purchase, swyer, st kilda, christ church

ELTHAM HERITAGE TOUR The Society excursion on 24th May 1992 was arranged by David Bick, leader of the team carrying out the Shire's heritage study. David selected a number of sites or buildings identified in the study, some of them lesser known components of the Shire's heritage. The tour commenced at the Eltham Shire Office at 10.00 am. Travel was by private car and mini-bus with stops at about twelve locations for commentary by David.It included a short walk in Hurstbridge and lunch at Kinglake. Highlights of the tour included: - 10 am Leave from Shire Offices - 3 Important Trees - A Physical Link to Eltham's First Settlers - Toorak Mansion Gates - A Surviving Farm House - An Intact Circa 1900 Main Street - First Settlers - Gold Miners, and Timber-getters - An Early Hotel - A Pioneering Homestead - Changing Eltham Shire - 20th Century - 4 pm Afternoon Tea and Finish Tour Extract from ELTHAM CULTURAL HERITAGE TOUR (Newsletter No. 85, July 1992, by Bettina Woodburn) "Now we drove through stands of pines to the Kangaroo Ground Lookout Tower, a most unusual War Memorial, World War I. The tower and a shed/residence (it had a chimney) were built from local sandstone. Below to the south and east of Melbourne spread 'suburbia'. Close by the landscape seemed so contrived - English fields and hedgerows! Although only about twenty inches deep, the soil of this ancient volcano, its crater lost under subsequent weathering, was rich, deserving the name of "Garden Hill". Now native trees are taking over again. In Kangaroo Ground itself stand the inevitable Store, School and Church - and two Norfolk pines and a monkey puzzle tree."Record of the Society's history and activities and highlighting various aspects of the Heritage Study undertaken by David Bick used to create the future heritage overlay for the Shire of Eltham and later Nillumbik Shire.Roll of 35mm colour negative film, 4 stripsKodak Gold 100 5095shire of eltham historical society, activities, heritage tour, kangaroo ground, kangaroo ground tower, war memorials, kangaroo ground memorial

ELTHAM HERITAGE TOUR The Society excursion on 24th May 1992 was arranged by David Bick, leader of the team carrying out the Shire's heritage study. David selected a number of sites or buildings identified in the study, some of them lesser known components of the Shire's heritage. The tour commenced at the Eltham Shire Office at 10.00 am. Travel was by private car and mini-bus with stops at about twelve locations for commentary by David.It included a short walk in Hurstbridge and lunch at Kinglake. Highlights of the tour included: - 10 am Leave from Shire Offices - 3 Important Trees - A Physical Link to Eltham's First Settlers - Toorak Mansion Gates - A Surviving Farm House - An Intact Circa 1900 Main Street - First Settlers - Gold Miners, and Timber-getters - An Early Hotel - A Pioneering Homestead - Changing Eltham Shire - 20th Century - 4 pm Afternoon Tea and Finish Tour Extract from ELTHAM CULTURAL HERITAGE TOUR (Newsletter No. 85, July 1992, by Bettina Woodburn) "Now we drove through stands of pines to the Kangaroo Ground Lookout Tower, a most unusual War Memorial, World War I. The tower and a shed/residence (it had a chimney) were built from local sandstone. Below to the south and east of Melbourne spread 'suburbia'. Close by the landscape seemed so contrived - English fields and hedgerows! Although only about twenty inches deep, the soil of this ancient volcano, its crater lost under subsequent weathering, was rich, deserving the name of "Garden Hill". Now native trees are taking over again. In Kangaroo Ground itself stand the inevitable Store, School and Church - and two Norfolk pines and a monkey puzzle tree."Record of the Society's history and activities and highlighting various aspects of the Heritage Study undertaken by David Bick used to create the future heritage overlay for the Shire of Eltham and later Nillumbik Shire.Roll of 35mm colour negative film, 4 stripsKodak Gold 100 5095shire of eltham historical society, activities, heritage tour, kangaroo ground, kangaroo ground tower, war memorials, kangaroo ground memorial

Made in Nottingham, England by K. Evans. K. Evans Potteries in Nottingham has an intriguing history. During the construction of the Manchester, Sheffield & Lincolnshire Railway Company’s new London line (now known as the Great Central) through Nottingham, several objects of antiquarian interest were discovered. Among these treasures was an ancient pottery kiln, buried for centuries beneath the soft yellow Bunter sandstone rock that forms a significant part of the city’s foundation. The excavation took place near the point where Parliament Street intersects the railway, at a depth of ten to twelve feet below the original surface. The credit for rescuing many of these pottery fragments from destruction goes to Mr. C. B. Wright, of the late firm I. & I. C. Wright & Co., Bankers. His dedication and ingenuity allowed him to piece together broken parts, sometimes assembling as many as thirty or forty fragments to form a single complete specimen. These pottery pieces provide a fascinating glimpse into the past. Here are some details about the pottery found at K. Evans Potteries: Material: The pottery is made of coarse, reddish-brown clay. Construction: Evidence suggests that the potter’s wheel was used in their creation. Ornamentation: The vessels lack decorative patterns, except for indented or grooved handles. These handles exhibit a crude attempt at foliation, with the potter’s thumb leaving its mark. Function: The pottery likely served practical purposes, such as carrying water, ale, mead, or wine. Stew jars and drinking vessels were also part of this collection. This discovery remains almost unique, and its age continues to intrigue local antiquaries. While theories about its origin are scarce, the K. Evans Potteries offer a fascinating glimpse into Nottingham’s ancient craftsmanship. Cylindrical brown pottery jar (Bottle) with broken neck section. Uneven and work appearance of glazed surface.'... Stone bottles. K. Evans. ...Potteries of Nottingham'ceramics, pottery, bottles

This private late-nineteenth-century four-wheeled carriage has been built to transport a family or group of passengers with a coachman in the front seat. It can be pulled by one horse, or by two horses if the T-pole is attached. The button fittings along each side of the carriage indicate that a folding roof or hood was once attached. The frame across the front of the carriagewas likely to have been a ‘dashboard’ with a leather or wood covering to prevent water, mud and other particles from splashing onto the passengers. The rear step between the two side-facing bench seats is adjustable to allow for ladies’ long skirts. These rear seats appear to be removable, in which case the carriage could be converted to a wagon to transport goods and equipment. The carriage could have been illuminated by oil or carbide lamps placed into the lamp holders on the sides. The carriage was kept under cover for many years in an open-front sandstone building that also included living quarters and an area that may have been stable. It was at ‘Murweh’ a Warrnambool property at 203 Liebig Street. The home is now Heritage and National Trust Listed and described as a ‘gentleman’s residence’. It was built by James Wotton Shevill in the 1860s. Shevill was a councillor from 1875 to 1878, serving in 1878 as Mayor of the Borough of Warrnambool. Jeremiah Wade lived at Murweh there from 1879-1880. By 1915 F.B. Whitehead and his family were living there, and by 1930 the address was used by Mr T.J. Rome and his family. Thomas James Rome was still using that address in September 1973 after his 100th birthday. It is believed that one of the property’s owners had been an Obstetrician in Warrnambool. The current owner re-told the story that children used to hide in the back section of the carriage and smoke, hidden from the sight of onlookers. He had heard the story from a previous owner.The well-appointed horse-drawn four-wheeled carriage is likely to have first belonged to a local councillor and past Mayor of the town of Warrnambool, J.W. Shervill, whose 1860s city property was the carriage location for many years. The carriage is a rare local example of a town-based lifestyle befitting a prosperous personality of the late 19th century. It adds to the story of Warrnambool's development as a town influenced by the port, wealth gained from shipping and the home place of prominent local people such as the Councillor and later Mayor. The side-facing rear seating is unusual for a passenger carriage. It has the feature of removable rear bench seats, allowing for the dual purpose of a carriage or wagon.Carriage; the Victorian-era horse-drawn four-wheeled open carriage has a coachman’s bench seat across the front and two side-facing bench seats in the rear. There are steps at the front on each side and a centre adjustable step and the back. It has a hinged shaft, two lamp holders and a separate T-pole. The bench seats have padded backrests upholstered in green leather and each has padded armrests at the ends. A rectangular metal frame, likely to have been a dashboard, is mounted across the front of the carriage. It has two inner vertical bars. The carriage's body is painted dark green with crimson highlights on some of the panelling. Decorative oval panels with hand-painted motifs are mounted along the sides. The side panels of the carriage have metal fastener buttons attached. The iron-rimmed wheels have sixteen wooden spokes and copper cuffs on the outside of the hubs, and the rear wheels are higher than the front wheels. Wooden brake blocks are mounted onto the back wheels and are active by a metal lever at the front right side of the carriage. The undercarriage is fitted with leaf springs on each side, mounted from front to back axles. Included are: (1) The separate T-pole that allows two horses to be harnessed to the carriage (2) Leather horse winkers with metal hardware and oval brass plate on the side of each winkerMotif painted on an oval panel [a musical lyre within a blue floral wreath flanked by scrolls] flagstaff hill maritime museum and village, warrnambool, great ocean road, shipwreck coast, murweh, buggy, cart, carriage, wagon, horse-drawn vehicle, victorian buggy, four-wheeled carriage, coachman’s seat, bench seat, side-facing benches, upholstered seats, victorian decals, heritage vehicle decoration, antique hand painting, hand painted decals, motifs, iron-rimmed wheels, wooden brake blocks, leaf springs, t-pole shaft, rear step, equine carriage, 19th century vehicle, victorian transport, transport, gentleman’s vehicle, james wotton shevill, councillor, mayor, jeremiah wade, f.b. whitehead, thomas james rome, warrnambool obstruction, warrnambool genealogy, warrnambool pioneers, victorian carriage, one horse carriage, two horse carriage, horse drawn carriage

This set of glossy black and white photographs is a set of images of Glenample Homestead circa late 1960s to early 1970s. They were taken by John Chance and are part of the John Chance Collection. The Colonial Georgian style Glenample Homestead was built from 1866 to 1869 from locally quarried sandstone. In is built on the top of a hill amongst trees. There are paddocks below and around the building. The building is basically a rectangular shape with a recessed room on the right side of the front. The pitched roof is covered in corrugated iron. The veranda, added in 1886, also has a corrugated iron room and is supported by square posts with decorative tops. It shelters three sides of the building. The edge of the veranda is decorated with scalloped shapes along the front and left side of the building. On the right is a brick wall incorporating a chimney. Another chimney on the left is contained within the building. The four-panelled outside doors are visible in some of the photos, as are the 12-paned glass windows, which are framed in contrasting stone. The veranda is trimmed with scalloped metal work on two sides and had some enclosed corners. There appears to be a cubical water tank on the roof line. Out-buildings include a toilet built against the house's brick wall. Another building appears to have two rooms with outside doors, perhaps for workers. There is the remains of a two-wheeled cart under a shelter. GLENAMPLE & the LOCH ARD Glenample Homestead became famous after the disastrous wreck of the sailing ship Loch Ard on June 1, 1878. The owners, Hugh Hamilton Gibson and Peter McArthur, were involved in the rescue and recovery of the only two survivors, as well as overseeing the salvage of items from the shipwreck and the burial of those who lost their lives. Glenample Homestead is on the Great Ocean Road at Princetown. Originally the land was part of Kennan’s Station lease, one of the district’s early settlements, circa 1847. James Murray bought Kerman’s land in 1856-57, combined it with nearby land, and named it Glenample Homestead. The ruins of huts Murray built on the property were still there until recently. Glenample was sold in 1866 to the partnership of Gibson and McArthur, who built a Georgian style house there using local sandstone, completing it by 1869. On 1st June 1878 the Loch Ard was wrecked at what is now called Loch Ard Gorge. Apprentice crewman Tom Pearce and eighteen year old passenger Eva Carmichael were the only survivors. Pearce had brought Eva ashore and sheltered her in a cave, reviving her with whiskey found amongst items washed up from the wreck. He climbed the cliffs and came across two riders from Glenample. No other survivors were found and sadly, Eva’s family members were amongst those who drowned. Hugh and Lavinia Gibson cared for Pearce and Eva at Glenample and extended their hospitality to Eva, who stayed on for about six weeks as she recovered from the ordeal physically and emotionally. Mrs Gibson introduced Eva to Jane Shields and the young ladies became lifelong friends. Years after Eva had returned to England, Jane’s daughter visited her. Eva handed her a blue china tea set to pass onto her mother as a gift. A descendant of Jane’s donated part of the tea set to Flagstaff Hill Maritime Village while another descendant donated her inherited share of the tea set to the Warrnambool and District Historical Society. In 1886 Glenample Homestead was updated to include a veranda on three sides. In 1887 Gibson sold his share to partner Peter McArthur. McArthur’s son Ernest inherited the property in 1897. Ernest established the Glenample Cheese Factory in around 1911. It was closed due to the World War and reopened in 1929 by McArthur’s sons, Robert and Colin, when they took control. In 1945 they sold Glenample and several owners followed but it was left unoccupied and became dilapidated. It was during this time that John Chance visited the property and photographed the buildings. In the 1980s the National Parks Service acquired the Glenample Homestead and began a restoration program. Work began in 1989 by Cathedral Stone, which was established in 1989 by James Charlwood, a specialist stonemason and son of maritime author Don Charlwood. This set of photographs are significant as a record of Glenample Homestead as it was from around the late 1860s to the late 1960s. The photographs are also significant as they were taken by John Chance, a diver from the wreck of the Loch Ard in the 1960s-70s. Items that come from several wrecks along Victoria's coast have since been donated to the Flagstaff Hill Maritime Village’s museum collection by his family, illustrating this item’s level of historical value. The photographs are significant as a link between Glenample, the vessel Loch Ard, and the only survivors of the Loch Ard. Glenample Homestead is of historical, social and architectural significance to the State of Victoria and is listed on the Victorian Heritage Register (VHR H0392). It is a historical example of early settlement and development of a run in the coastal land of South West Victoria, and it is constructed from locally quarried sandstone but doesn’t take away from its Georgian design. Glenample Homestead is of State significance through its unique connection with the wreck of the ship Loch Ard and the connection to its owners, Hugh and Lavinia Gibson and Peter McArthur, played a historically and socially significant role in the rescue and care of the survivors, the salvage of goods and the burial of those who lost their lives. The shipwreck of the Loch Ard itself is of significance for Victoria and is registered on the Victorian Heritage Register (S417). The set of ten rectangular black and white photographs of the Glenample Homestead, taken in the late 1960s or early 1970s, give san overview of the Glenample property. The views include the front, back and one side of the building, three outbuildings, and the situation of the homestead on the property. The details on the photographs show the materials used and the Colonial Georgian style. The photographs are also a record of the deterioration of the property over the years it was unoccupied.flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, kennans station, glenample homestead, georgian homestead, loch ard, princetown, victoria, james murray, hugh hamilton gibson, lavinia gibson, jane shields, eva carmichael, tom pearce, blue china tea set, peter mcarthur, ernest mcarthur, robert mcarthur, colin mcarthur, glenample cheese factory, cathedral stone, don charlwood, james charlwood, antique door key, glenample photographs, john chance, victorian heritage database 392

The minutes book of the Warrnambool Woollen Mill are an important record of the beginnings of one of Warrnambool's major industries for close to one hundred years. They record the struggle in the early days of 1909 and 1910 to raise the capital. Also mentioned is the support which had been given by local people of small means who were prepared to back the enterprise while those with financial means had been rather more reserved. Apart from a Mr Vidler all the initial directors were initially working in an honorary capacity. They lamented the fact that local banks held half a million pounds on fixed interest so there was no shortage of money. The first directors were appointed in March 1909 : Jas. Worland, W H Philpott, G S Mackay, E H Price, S McDonald, J C Beeching, W Rogers ,J Marfell, J Deany, Jas Duirs, Jas. Ponting, H Jessen, S Nettleton, J Blain, J Gooden, Drs. Holmes, Henderson and Powell. Mr J E Bennett was secured as first manager of the mill in 1910 Over the ten year period of this book there is much discussion on possible returns and share prices as well as decisions relating to the operation of and production from the mill. Within four years they were using more yarn than they were producing. Electricity was connected around 1914 and by 1915 shareholders were receiving eight percent return on their investment and were also contributing to the first world War effort by supplying blankets. Assets continued to accumulate and building was also continued with sandstone being quarried from the site and rain water tanks and asphalt floors installed, all contributing to savings. By 1917 The Warrnambool Woollen Mill was considered to be one of the states best investments and it continued to prosper through the years. The second minutes book likewise records similar events and circumstances for the period 1933-1945. This like wise is an interesting period, covering the period of the second World War. In 1955 the Warrnambool Woollen Mill formed a partnership with the Wangaratta Woollen Mills. Dunlop bought the mill in 1968. From that time until its closure in 2000 it had a number of different owners, the last being the Smith Family Industries. These minutes books hold an important information regarding the establishment and early operation of one of Warrnambool's major industries. The mill itself has strong connection to the Warrnambool community and many of the names mentioned as directors and shareholders have held positions within the community as businessmen and city officials. These minutes add another dimension to their contribution to Warrnambool..1Navy blue hard card cover with cloth spine. White label glued to front cover.186 pages.There are handwritten entries in black ink which are interspersed with reports from newspaper. .2 Pale grey cloth cover on early Kalamazoo filing system 612 pages of typed minutes . .1There are dates from 1910 through to 1923. Minutes have been signed by chairman of directors, M Saltau.label on front cover has blue stamp, The Warrnambool Woollen Mill Company. hand written above in black ink "opened 24th March 1909." .2 dated from May 1933 to September 1945. Signatures include M Saltau, James Disckson and Fletcher Jones.warrnambool, warrnambool woollen mill, first minutes book warrnambool woollen mill, minutes book, warrnambool woollen mill 1909, minutes book warrnambool woollen mill 1945

12 photocopied pages. Page four has acknowledgements, Page five mentions Pen-Portraist by Raly Wallace and Kevin Vallence, Page 14 mentions some rich areas: White Hills, Red Hill (now Virginia Hill), Eaglehawk, Golden Gully, New Chum Gully, Long Gully, Spring Gully, Derwent Gully, California Gully, Sailors Gully and Peg Leg Gully. There are two sketches on the page: Windless, by W. Ralston, Australasian Sketcher 20/12/1879 (D O'Hoy Collection) and a sketch of some miners in a tent with some mining equipment in front of it. There are two men in front of a fire at the front of the tent. Page 16 has a sketch of an old brick house with iron lace on the veranda and a picket fence at the front. Page 17 mentions the school and some Friendly Societies and Church. Page 22 mentions Quartz Mining. There is a Lithograph of a Quartz outcrop, New Chum Gully 1852 by George Rowe and a View of Surface Workings 1861, a Batchelder Photo. Page 23 mentions Edward Nucella Emmett, a pioneer gold digger who became involved in many important public issues. Page 25 mentions Company Mining and Crushing. It has a sketch of a Primitive Quart Crusher. Page 37 Mentions Richard Pope, a Miner who tramped from job to job in Bendigo and eventually followed the rush to Broken Hill. Page 38 mentions the Eaglehawk Brass Band and Friendly Societies in Eaglehawk. Page 39 is headed Miner's Cottage. It mentions stone miners' cottages. Page 40 has a sketch of a Georgian Style Sandstone Cottage Harvey Town. Page 41 mentions men sweeping the road to get gold, Bull Family grocery shop and a blacksmith. Page 42 is headed St. Augustine's. Page 43 has a sketch of St. Augustine's Church. Page 59 is headed Bendigo Amalgamated Goldfields (B.A.G.) Edward Clarence Dyason was largely behind a new company set up in 1917 to work the Bendigo field in an entirely new way. (B.A.G.) wished to take over all existing mining companies, and place them under a single management structure.bendigo, history, long gully history group, the long gully history group - some historical information, mr l hooley, mr l bennetts, mr w watson, mr w heraud, mr d m davies, mr w perry, mr h harvey, mr a llewellyn, mr e oates, chook temple by mr alan llewellyn, mr f cusack, tracey ipsen, ray wallace, bendigo field naturalists' club, eaglehawk tree lovers' society, bendigo historical society, university of melbourne, kevin vallence, monash university, bendigo technical college, south australian writer's fellowship, windlass, w ralston, australasian sketcher 20.12.1879, d o'hoy, mechanics institute, california gully school, bell topper hill, i.o.r. (rechabites), cobden tent, refuge tent, sutton tent, m.u.i.o.o.f.'s loyal darling, bible christian church, california hill wesleyan methodist church, saint jude's anglican church, quartz mining, e n emmett, jonathan harris, haris' claim, j hustler, george rowe, batchelder, la trobe library, cave, amos, new chum line of reef, edward nucella emmett, bendigo city council, all saints, william westgarth, latham and watson, hustler's line of reef, bell and irons, ballerstedt and son, young and company, nicholas and bassit, ensor, thomas carpenter, quartz crusher, goldfields and mineral districts of victoria, richard pope, daniel webster mine, isaac dyason, old chum mine, north old chum mine, young chum mine, george lansell, lazarus, silicosis of the lungs, eaglehawk brass band, victoria hotel, mr williams, eaglehawk branch of the australian natives association, loyal catherine lodge, mr james, odd fellows in the loyal catherine lodge branch no 4935, richard harvey, thomas harvey, moonta copper mines, harvey town, national trust of australia, eaglehawk tree lovers society, saint mungo's methodist church, clark's beehive battery, world war 1, kee-young, lady barkly hotel, prankhurst, bull family, cousin jack, st augustine's, myers, nicholls, john o'brien, around the boree log, the rev dean hayes, st kilian's, bendigo amalgamated goldfields (b.a.g.), edward clarence dyason, r h s abbott, hercules and energetic, south new moon, new chum goldfields, central red white and blue consolidated, brown john, the life and times of long gully, bendigo press, val white, megan snoop

The dam at the entrance to the Nerreman Gateway in Eltham was built according to an internationally acclaimed theory developed by the builder's father. In 1920, Victorian engineer B.A. Smith was awarded the American Society of Civil Engineers J. James R. Cross Gold Medal for his Technical Paper titled 'Arched Dams'. It was the first time this medal had been awarded outside the United States. The concrete arched dam across the Eltham West Drain was built in 1940 by B.A. Smith's son and engineer, D. B. (Bernie) Smith to water the 24 acre (9.75 ha) hobby farm owned by himself and new wife, Isa Smith. Upon completion of the dam a pump-house was constructed beside the creek but before the water could be pumped up the hill they had to dig a trench and lay 500m of 100mm water main to an elevated holding tank. The Smiths made the pump-house their home for several years until they constructed their home at the top of the hill overlooking Eltham and views extending to Kinglake. Following Bernie's death in 1983, Nerreman Park was subdivided between 1993 and 1995. Gordon Ford designed the landscaping and the pump-house was demolished. Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p137 The dam at the entrance to the Nerreman Gateway in Eltham, was built according to an internationally acclaimed theory developed by the builder’s father. In 1920, Victorian engineer B A Smith was awarded the American Society of Civil Engineers J. James R. Croes Gold Medal, for his Technical Paper titled Arched Dams. It was the first time this medal had been awarded outside America. An international example of the application of Smith’s work can be found in the design of the Hoover Dam on the Colorado River, Nevada, USA. Built between 1930 and 1936, it is recognised by the ASCE as one of ‘America’s Seven Modern Civil Engineering Wonders’.1 The concrete arched dam across the Eltham West Drain was built by B A Smith’s son and engineer, D B (Bernie) Smith. Bernie’s dam followed his father’s theory, having a curvature that takes maximum advantage of concrete’s great strength in compression. The water load is carried into the abutments because of this curvature, which permits a wall thickness of only 225 millimetres thick at its crest, despite the dam’s capacity of more than 4.5 megalitres. The Eltham dam was designed to water the 24 acre (9.75 ha) hobby farm belonging to newly married couple Bernie and Isa Smith. Bernie, from Armadale, and Isa, from a farm at Tyntynder near Swan Hill, were attracted to the hilly topography and the creek running through the property. It extended from Ryans Road, Eltham, to Karingal Drive, Montmorency and was adjacent to Meruka Park. The Smiths named it Nerreman Park using the Aboriginal word Nerreman meaning ‘River Bend’ as their creek had a pronounced bend.2 In 1940 the first thing Bernie did was to build a dam, and with Isa’s help, a pump-house, to secure a water supply for their cattle, pigs, chickens, orchard and vegetable gardens. It was also available for the fire-plugs, which they placed all over the property in case of bushfire. The couple built the pump-house beside the creek and installed a Tange three-plunger pump, which had originally supplied the City of Wodonga with water. But before the Smiths could pump water up the hill from the dam they had to dig a trench and lay about 550 yards (500m) of a four-inch (100mm) water main up to an elevated holding tank. The trench was dug with a single furrow plough drawn by an old draught horse. Living in rough conditions did not deter the Smiths, who made the pump-house their home, where they still lived when their first child was born in 1944. They later built their home at the top of their property overlooking Eltham, with magnificent views to Kinglake, the Dandenong Ranges and Melbourne. From 1946 it took them almost 20 years to complete the 36-square house with its 12-foot (3.6m) high ceilings. Material for the concrete roof and walls faced with sandstone, was ripped out of the ground on their property by plough pulled by tandem Clydesdale horses. Isa was a strong woman – two days before their second child was born – she set three huge sandstone boulders in place in the bottom wall of the garage. She also mixed all the cement for the house. A collapsed kitchen wall did not discourage her from rebuilding it in a week, while her husband was away working in the country. She later recalled: ‘We stood back to admire this beautiful wall we’d built and while we were looking at it, it came tumbling down’.3 Following Bernie’s death in 1983, Nerreman Park was subdivided, between 1993 and 1995. Local Gordon Ford designed the landscaping and the pump-house was pulled down. But the dam remains as a reminder of exceptional engineering4 – and of a remarkable couple.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, karingal drive, smiths dam, bernie smith, gordon ford, isa smith, nerreman gateway, nerreman park estate, dams

This dessert spoon is from the wreck of the LOCH ARD, a Loch Line ship of 1,693 tons which sailed from Gravesend, London, on 2 March 1878 with 17 passengers and a crew of 36 under Captain George Gibbs. “The intention was to discharge cargo in Melbourne, before returning to London via the Horn with wool and wheat”. Instead, on 1 June 1878, after 90 days at sea, she struck the sandstone cliffs of Mutton Bird Island on the south west coast of Victoria, and sank with the loss of 52 lives and all her cargo. The manifest of the LOCH ARD listed an array of manufactured goods and bulk metals being exported to the Colony of Victoria, with a declared value of £53,700. (202 bills of lading show an actual invoice value of £68, 456, with insurance underwriting to £30,000 of all cargo). Included in the manifest is the item of “Tin hardware & cutlery £7,530”. This dessert spoon is one of 482 similar items of electro-plated cutlery from the LOCH ARD site, comprising spoons and forks of various sizes but all sharing the same general shape or design and metallic composition. 49 of these pieces display a legible makers’ mark — the initials “W” and “P” placed within a raised diamond outline, which is in turn contained within a sunken crown shape — identifying the manufacturer as William Page & Co of Birmingham. An electroplater’s makers’ marks, unlike sterling silver hallmarks, are not consistent identifiers of quality or date and place of manufacture. A similar line of five impressions was usually made to impress the consumer with an implication of industry standards, but what each one actually signified was not regulated and so they varied according to the whim of the individual foundry. In this case, the maker’s marks are often obscured by sedimentary accretion or removed by corrosion after a century of submersion in the ocean. However sufficient detail has survived to indicate that these samples of electro-plated cutlery probably originated from the same consignment in the LOCH ARD’s cargo. The generally common range of marks are drawn from 255 tea spoons, 125 dessert spoons, and 99 table forks. These marks are clearly visible in 66 instances, while the same sequence of general outlines, or depression shapes, is discernible in another 166 examples. Suggested trade names for William Page & Co’s particular blend of brass plating are ‘roman silver’ or ‘silverite’. This copper alloy polishes to a lustrous gold when new, discolouring to a murky grey with greenish hue when neglected. The LOCH ARD shipwreck is of State significance – Victorian Heritage Register S 417. 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. Unrestored dessert spoon from the wreck of the LOCH ARD. The spoon design has a flattened fiddle-back handle, with a thin stem or shank, flared collar, and a shallow rounded bowl. The spoons metallic composition is a thin layer of brass alloy which has partially corroded back to a nickel-silver base metal. Bent stem and buckled bowl. Only 5% of original plate remains and base metal exhibits cu, fe, zi, oxidisation in bright spots. Some verdigris and an amount of encrustation on front and back of the spoon. Outlines of five makers marks are visible - Crown, Elipse, Rounded square, Circle, Diamond.flagstaff hill maritime museum, shipwreck coast, great ocean road, loch line, loch ard, mutton bird island, loch ard gorge, electroplated cutlery, loch ard shipwreck, william page and co, birmingham brass plating, spoon

This table spoon is from the wreck of the LOCH ARD, a Loch Line ship of 1,693 tons which sailed from Gravesend, London, on 2 March 1878 with 17 passengers and a crew of 36 under Captain George Gibbs. “The intention was to discharge cargo in Melbourne, before returning to London via the Horn with wool and wheat”. Instead, on 1 June 1878, after 90 days at sea, she struck the sandstone cliffs of Mutton Bird Island on the south west coast of Victoria, and sank with the loss of 52 lives and all her cargo. The manifest of the LOCH ARD listed an array of manufactured goods and bulk metals being exported to the Colony of Victoria, with a declared value of £53,700. (202 bills of lading show an actual invoice value of £68, 456, with insurance underwriting to £30,000 of all cargo). Included in the manifest is the item of “Tin hardware & cutlery £7,530”. This table spoon is one of 482 similar items of electro-plated cutlery from the LOCH ARD site, comprising spoons and forks of various sizes but all sharing the same general shape or design and metallic composition. 49 of these pieces display a legible makers’ mark — the initials “W” and “P” placed within a raised diamond outline, which is in turn contained within a sunken crown shape — identifying the manufacturer as William Page & Co of Birmingham. An electroplater’s makers’ marks, unlike sterling silver hallmarks, are not consistent identifiers of quality or date and place of manufacture. A similar line of five impressions was usually made to impress the consumer with an implication of industry standards, but what each one actually signified was not regulated and so they varied according to the whim of the individual foundry. In this case, the maker’s marks are often obscured by sedimentary accretion or removed by corrosion after a century of submersion in the ocean. However sufficient detail has survived to indicate that these samples of electro-plated cutlery probably originated from the same consignment in the LOCH ARD’s cargo. The generally common range of marks are drawn from 255 tea spoons, 125 dessert spoons, and 99 table forks. These marks are clearly visible in 66 instances, while the same sequence of general outlines, or depression shapes, is discernible in another 166 examples. Suggested trade names for William Page & Co’s particular blend of brass plating are ‘roman silver’ or ‘silverite’. This copper alloy polishes to a lustrous gold when new, discolouring to a murky grey with greenish hue when neglected. The LOCH ARD shipwreck is of State significance – Victorian Heritage Register S 417. 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 Unrestored table spoon from the wreck of the LOCH ARD. The spoon design has a flattened fiddle-back handle, with a thin stem or shank, flared collar, and a shallow rounded bowl. The spoons metallic composition is a thin layer of brass alloy which has partially corroded back to a nickel-silver base metal. Approximately 40% of original plate remains. Some verdigris and concretion on front of spoon. Balance covered in Silver Oxide. Outlines of five makers marks are visible - Crown, Ellipse, Rounded Square, Circle, Diamond - but details are illegible.flagstaff hill maritime museum, shipwreck coast, great ocean road, loch line, loch ard, mutton bird island, loch ard gorge, electroplated cutlery, loch ard shipwreck, william page and co, birmingham brass plating, table spoon, spoon

This sugar spoon is from the wreck of the LOCH ARD, a Loch Line ship of 1,693 tons which sailed from Gravesend, London, on 2 March 1878 with 17 passengers and a crew of 36 under Captain George Gibbs. “The intention was to discharge cargo in Melbourne, before returning to London via the Horn with wool and wheat”. Instead, on 1 June 1878, after 90 days at sea, she struck the sandstone cliffs of Mutton Bird Island on the south west coast of Victoria, and sank with the loss of 52 lives and all her cargo. The manifest of the LOCH ARD listed an array of manufactured goods and bulk metals being exported to the Colony of Victoria, with a declared value of £53,700. (202 bills of lading show an actual invoice value of £68, 456, with insurance underwriting to £30,000 of all cargo). Included in the manifest is the item of “Tin hardware & cutlery £7,530”. This sugarspoon is one of 482 similar items of electro-plated cutlery from the LOCH ARD site, comprising spoons and forks of various sizes but all sharing the same general shape or design and metallic composition. 49 of these pieces display a legible makers’ mark — the initials “W” and “P” placed within a raised diamond outline, which is in turn contained within a sunken crown shape — identifying the manufacturer as William Page & Co of Birmingham. An electroplater’s makers’ marks, unlike sterling silver hallmarks, are not consistent identifiers of quality or date and place of manufacture. A similar line of five impressions was usually made to impress the consumer with an implication of industry standards, but what each one actually signified was not regulated and so they varied according to the whim of the individual foundry. In this case, the maker’s marks are often obscured by sedimentary accretion or removed by corrosion after a century of submersion in the ocean. However sufficient detail has survived to indicate that these samples of electro-plated cutlery probably originated from the same consignment in the LOCH ARD’s cargo. The generally common range marks are drawn from 255 tea spoons, 125 dessert spoons, and 99 table forks. These marks are clearly visible in 66 instances, while the same sequence of general outlines, or depression shapes, is discernible in another 166 examples. Suggested trade names for William Page & Co’s particular blend of brass plating are ‘roman silver’ or ‘silverite’. This copper alloy polishes to a lustrous gold when new, discolouring to a murky grey with greenish hue when neglected. The LOCH ARD shipwreck is of State significance – Victorian Heritage Register S 417. 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. Unrestored sugar spoon from the wreck of the LOCH ARD. The spoon design has a flattened fiddle-back handle, with a thin stem or shank, flared collar, and a rounded bowl. The spoons metallic composition is a thin layer of brass alloy which has partially corroded back to a nickel-silver base metal. 10% of surface area is encrusted sediment and 10% displays aqua-marine coloured oxidation. Five impressions are visible on back of handle but only discernible makers mark is (4) fleur de lys. flagstaff hill maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, mutton bird island, loch ard gorge, electroplated cutlery, nickel silver, william page & co., birmingham brass plating, makers marks

This sugar spoon is from the wreck of the LOCH ARD, a Loch Line ship of 1,693 tons which sailed from Gravesend, London, on 2 March 1878 with 17 passengers and a crew of 36 under Captain George Gibbs. “The intention was to discharge cargo in Melbourne, before returning to London via the Horn with wool and wheat”. Instead, on 1 June 1878, after 90 days at sea, she struck the sandstone cliffs of Mutton Bird Island on the south west coast of Victoria, and sank with the loss of 52 lives and all her cargo. The manifest of the LOCH ARD listed an array of manufactured goods and bulk metals being exported to the Colony of Victoria, with a declared value of £53,700. (202 bills of lading show an actual invoice value of £68, 456, with insurance underwriting to £30,000 of all cargo). Included in the manifest is the item of “Tin hardware & cutlery £7,530”. This sugarspoon is one of 482 similar items of electro-plated cutlery from the LOCH ARD site, comprising spoons and forks of various sizes but all sharing the same general shape or design and metallic composition. 49 of these pieces display a legible makers’ mark — the initials “W” and “P” placed within a raised diamond outline, which is in turn contained within a sunken crown shape — identifying the manufacturer as William Page & Co of Birmingham. An electroplater’s makers’ marks, unlike sterling silver hallmarks, are not consistent identifiers of quality or date and place of manufacture. A similar line of five impressions was usually made to impress the consumer with an implication of industry standards, but what each one actually signified was not regulated and so they varied according to the whim of the individual foundry. In this case, the maker’s marks are often obscured by sedimentary accretion or removed by corrosion after a century of submersion in the ocean. However sufficient detail has survived to indicate that these samples of electro-plated cutlery probably originated from the same consignment in the LOCH ARD’s cargo. The generally common range marks are drawn from 255 tea spoons, 125 dessert spoons, and 99 table forks. These marks are clearly visible in 66 instances, while the same sequence of general outlines, or depression shapes, is discernible in another 166 examples. Suggested trade names for William Page & Co’s particular blend of brass plating are ‘roman silver’ or ‘silverite’. This copper alloy polishes to a lustrous gold when new, discolouring to a murky grey with greenish hue when neglected. The LOCH ARD shipwreck is of State significance – Victorian Heritage Register S 417. 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. Unrestored sugar spoon from the wreck of the LOCH ARD. The spoon design has a flattened fiddle-back handle, with a thin stem or shank, flared collar, and a shallow rounded bowl. The spoons metallic composition is a thin layer of brass alloy which has partially corroded back to a nickel-silver base metal. The stem is bent and the bowl is cracked and corroded. Approximately 40% of the original plate remains. No makers marks are legible.flagstaff hill maritime museum, shipwreck coast, great ocean road, loch line, loch ard, mutton bird island, loch ard gorge, electroplated cutlery, loch ard shipwreck, nickel silver, william page & co, birmingham brass plating, makers marks

This sugar spoon is from the wreck of the LOCH ARD, a Loch Line ship of 1,693 tons which sailed from Gravesend, London, on 2 March 1878 with 17 passengers and a crew of 36 under Captain George Gibbs. “The intention was to discharge cargo in Melbourne, before returning to London via the Horn with wool and wheat”. Instead, on 1 June 1878, after 90 days at sea, she struck the sandstone cliffs of Mutton Bird Island on the south west coast of Victoria, and sank with the loss of 52 lives and all her cargo. The manifest of the LOCH ARD listed an array of manufactured goods and bulk metals being exported to the Colony of Victoria, with a declared value of £53,700. (202 bills of lading show an actual invoice value of £68, 456, with insurance underwriting to £30,000 of all cargo). Included in the manifest is the item of “Tin hardware & cutlery £7,530”. This sugarspoon is one of 482 similar items of electro-plated cutlery from the LOCH ARD site, comprising spoons and forks of various sizes but all sharing the same general shape or design and metallic composition. 49 of these pieces display a legible makers’ mark — the initials “W” and “P” placed within a raised diamond outline, which is in turn contained within a sunken crown shape — identifying the manufacturer as William Page & Co of Birmingham. An electroplater’s makers’ marks, unlike sterling silver hallmarks, are not consistent identifiers of quality or date and place of manufacture. A similar line of five impressions was usually made to impress the consumer with an implication of industry standards, but what each one actually signified was not regulated and so they varied according to the whim of the individual foundry. In this case, the maker’s marks are often obscured by sedimentary accretion or removed by corrosion after a century of submersion in the ocean. However sufficient detail has survived to indicate that these samples of electro-plated cutlery probably originated from the same consignment in the LOCH ARD’s cargo. The generally common range of marks are drawn from 255 tea spoons, 125 dessert spoons, and 99 table forks. These marks are clearly visible in 66 instances, while the same sequence of general outlines, or depression shapes, is discernible in another 166 examples. Suggested trade names for William Page & Co’s particular blend of brass plating are ‘roman silver’ or ‘silverite’. This copper alloy polishes to a lustrous gold when new, discolouring to a murky grey with greenish hue when neglected. The LOCH ARD shipwreck is of State significance – Victorian Heritage Register S 417. 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. Unrestored sugar spoon from the wreck of the LOCH ARD. The spoon design has a flattened fiddle-back handle, with a thin stem or shank, flared collar, and a shallow rounded bowl. The spoons metallic composition is a thin layer of brass alloy which has partially corroded back to a nickel-silver base metal. Approximately 15% of surface area is covered with sediment (collar and stem) and 30% of original plate remains. The outlines of five makers marks are visible - Crown, Small circle, Rounded square, Circle, Diamond - but details are obscured.flagstaff hill maritime museum, shipwreck coast, great ocean road, loch line, loch ard, mutton bird island, loch ard gorge, electroplated cutlery, loch ard shipwreck, nickel silver, william page & co, birmingham brass plating, makers marks

This sugar spoon is from the wreck of the LOCH ARD, a Loch Line ship of 1,693 tons which sailed from Gravesend, London, on 2 March 1878 with 17 passengers and a crew of 36 under Captain George Gibbs. “The intention was to discharge cargo in Melbourne, before returning to London via the Horn with wool and wheat”. Instead, on 1 June 1878, after 90 days at sea, she struck the sandstone cliffs of Mutton Bird Island on the south west coast of Victoria, and sank with the loss of 52 lives and all her cargo. The manifest of the LOCH ARD listed an array of manufactured goods and bulk metals being exported to the Colony of Victoria, with a declared value of £53,700. (202 bills of lading show an actual invoice value of £68, 456, with insurance underwriting to £30,000 of all cargo). Included in the manifest is the item of “Tin hardware & cutlery £7,530”. This sugarspoon is one of 482 similar items of electro-plated cutlery from the LOCH ARD site, comprising spoons and forks of various sizes but all sharing the same general shape or design and metallic composition. 49 of these pieces display a legible makers’ mark — the initials “W” and “P” placed within a raised diamond outline, which is in turn contained within a sunken crown shape — identifying the manufacturer as William Page & Co of Birmingham. An electroplater’s makers’ marks, unlike sterling silver hallmarks, are not consistent identifiers of quality or date and place of manufacture. A similar line of five impressions was usually made to impress the consumer with an implication of industry standards, but what each one actually signified was not regulated and so they varied according to the whim of the individual foundry. In this case, the maker’s marks are often obscured by sedimentary accretion or removed by corrosion after a century of submersion in the ocean. However sufficient detail has survived to indicate that these samples of electro-plated cutlery probably originated from the same consignment in the LOCH ARD’s cargo. The generally common range of marks are drawn from 255 tea spoons, 125 dessert spoons, and 99 table forks. These marks are clearly visible in 66 instances, while the same sequence of general outlines, or depression shapes, is discernible in another 166 examples. Suggested trade names for William Page & Co’s particular blend of brass plating are ‘roman silver’ or ‘silverite’. This copper alloy polishes to a lustrous gold when new, discolouring to a murky grey with greenish hue when neglected. The LOCH ARD shipwreck is of State significance – Victorian Heritage Register S 417. 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. Unrestored sugar spoon from the wreck of the LOCH ARD. The spoon design has a flattened fiddle-back handle, with a thin stem or shank, flared collar, and a shallow rounded bowl. The spoons metallic composition is a thin layer of brass alloy which has partially corroded back to a nickel-silver base metal. Approximately 15% of original plate remains, with 10% verdigris, and 10% sedimentary concretion on top of handle. No makers marks are visible.flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, loch line, loch ard, captain gibbs, eva carmichael, tom pearce, glenample station, mutton bird island, loch ard gorge, electroplated cutlery, nickel silver, william page & co, birmingham brass plating, makers marks

This sugar spoon is from the wreck of the LOCH ARD, a Loch Line ship of 1,693 tons which sailed from Gravesend, London, on 2 March 1878 with 17 passengers and a crew of 36 under Captain George Gibbs. “The intention was to discharge cargo in Melbourne, before returning to London via the Horn with wool and wheat”. Instead, on 1 June 1878, after 90 days at sea, she struck the sandstone cliffs of Mutton Bird Island on the south west coast of Victoria, and sank with the loss of 52 lives and all her cargo. The manifest of the LOCH ARD listed an array of manufactured goods and bulk metals being exported to the Colony of Victoria, with a declared value of £53,700. (202 bills of lading show an actual invoice value of £68, 456, with insurance underwriting to £30,000 of all cargo). Included in the manifest is the item of “Tin hardware & cutlery £7,530”. This sugarspoon is one of 482 similar items of electro-plated cutlery from the LOCH ARD site, comprising spoons and forks of various sizes but all sharing the same general shape or design and metallic composition. 49 of these pieces display a legible makers’ mark — the initials “W” and “P” placed within a raised diamond outline, which is in turn contained within a sunken crown shape — identifying the manufacturer as William Page & Co of Birmingham. An electroplater’s makers’ marks, unlike sterling silver hallmarks, are not consistent identifiers of quality or date and place of manufacture. A similar line of five impressions was usually made to impress the consumer with an implication of industry standards, but what each one actually signified was not regulated and so they varied according to the whim of the individual foundry. In this case, the maker’s marks are often obscured by sedimentary accretion or removed by corrosion after a century of submersion in the ocean. However sufficient detail has survived to indicate that these samples of electro-plated cutlery probably originated from the same consignment in the LOCH ARD’s cargo. The generally common range of marks are drawn from 255 tea spoons, 125 dessert spoons, and 99 table forks. These marks are clearly visible in 66 instances, while the same sequence of general outlines, or depression shapes, is discernible in another 166 examples. Suggested trade names for William Page & Co’s particular blend of brass plating are ‘roman silver’ or ‘silverite’. This copper alloy polishes to a lustrous gold when new, discolouring to a murky grey with greenish hue when neglected. The LOCH ARD shipwreck is of State significance – Victorian Heritage Register S 417. 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. Unrestored sugar spoon from the wreck of the LOCH ARD. The spoon design has a flattened fiddle-back handle, with a thin stem or shank, flared collar, and a shallow rounded bowl. The spoons metallic composition is a thin layer of brass alloy which has partially corroded back to a nickel-silver base metal. Bowl covered with sediment and edges are cracked. Handle is corroded. No makers marks are visible.flagstaff hill maritime museum, shipwreck coast, great ocean road, loch line, loch ard, mutton bird island, loch ard gorge, electroplated cutlery, nickel silver, william page & co, birmingham brass plating, makers marks

This sugar spoon is from the wreck of the LOCH ARD, a Loch Line ship of 1,693 tons which sailed from Gravesend, London, on 2 March 1878 with 17 passengers and a crew of 36 under Captain George Gibbs. “The intention was to discharge cargo in Melbourne, before returning to London via the Horn with wool and wheat”. Instead, on 1 June 1878, after 90 days at sea, she struck the sandstone cliffs of Mutton Bird Island on the south west coast of Victoria, and sank with the loss of 52 lives and all her cargo. The manifest of the LOCH ARD listed an array of manufactured goods and bulk metals being exported to the Colony of Victoria, with a declared value of £53,700. (202 bills of lading show an actual invoice value of £68, 456, with insurance underwriting to £30,000 of all cargo). Included in the manifest is the item of “Tin hardware & cutlery £7,530”. This sugarspoon is one of 482 similar items of electro-plated cutlery from the LOCH ARD site, comprising spoons and forks of various sizes but all sharing the same general shape or design and metallic composition. 49 of these pieces display a legible makers’ mark — the initials “W” and “P” placed within a raised diamond outline, which is in turn contained within a sunken crown shape — identifying the manufacturer as William Page & Co of Birmingham. An electroplater’s makers’ marks, unlike sterling silver hallmarks, are not consistent identifiers of quality or date and place of manufacture. A similar line of five impressions was usually made to impress the consumer with an implication of industry standards, but what each one actually signified was not regulated and so they varied according to the whim of the individual foundry. In this case, the maker’s marks are often obscured by sedimentary accretion or removed by corrosion after a century of submersion in the ocean. However sufficient detail has survived to indicate that these samples of electro-plated cutlery probably originated from the same consignment in the LOCH ARD’s cargo. The generally common range of marks are drawn from 255 tea spoons, 125 dessert spoons, and 99 table forks. These marks are clearly visible in 66 instances, while the same sequence of general outlines, or depression shapes, is discernible in another 166 examples. Suggested trade names for William Page & Co’s particular blend of brass plating are ‘roman silver’ or ‘silverite’. This copper alloy polishes to a lustrous gold when new, discolouring to a murky grey with greenish hue when neglected. The LOCH ARD shipwreck is of State significance – Victorian Heritage Register S 417. 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. Unrestored sugar spoon from the wreck of the LOCH ARD. The spoon design has a flattened fiddle-back handle, with a thin stem or shank, flared collar, and a shallow rounded bowl. The spoons metallic composition is a thin layer of brass alloy which has partially corroded back to a nickel-silver base metal. Bowl is bent and handle is corroded. Approximately 15% of original plate remains. No makers marks are visible.flagstaff hill maritime museum, shipwreck coast, great ocean road, loch line, loch ard, mutton bird island, loch ard gorge, electroplated cutlery, nickel silver, william page and co, birmingham brass plating, makers marks

This sugar spoon is from the wreck of the LOCH ARD, a Loch Line ship of 1,693 tons which sailed from Gravesend, London, on 2 March 1878 with 17 passengers and a crew of 36 under Captain George Gibbs. “The intention was to discharge cargo in Melbourne, before returning to London via the Horn with wool and wheat”. Instead, on 1 June 1878, after 90 days at sea, she struck the sandstone cliffs of Mutton Bird Island on the south west coast of Victoria, and sank with the loss of 52 lives and all her cargo. The manifest of the LOCH ARD listed an array of manufactured goods and bulk metals being exported to the Colony of Victoria, with a declared value of £53,700. (202 bills of lading show an actual invoice value of £68, 456, with insurance underwriting to £30,000 of all cargo). Included in the manifest is the item of “Tin hardware & cutlery £7,530”. This sugarspoon is one of 482 similar items of electro-plated cutlery from the LOCH ARD site, comprising spoons and forks of various sizes but all sharing the same general shape or design and metallic composition. 49 of these pieces display a legible makers’ mark — the initials “W” and “P” placed within a raised diamond outline, which is in turn contained within a sunken crown shape — identifying the manufacturer as William Page & Co of Birmingham. An electroplater’s makers’ marks, unlike sterling silver hallmarks, are not consistent identifiers of quality or date and place of manufacture. A similar line of five impressions was usually made to impress the consumer with an implication of industry standards, but what each one actually signified was not regulated and so they varied according to the whim of the individual foundry. In this case, the maker’s marks are often obscured by sedimentary accretion or removed by corrosion after a century of submersion in the ocean. However sufficient detail has survived to indicate that these samples of electro-plated cutlery probably originated from the same consignment in the LOCH ARD’s cargo. The generally common range of marks are drawn from 255 tea spoons, 125 dessert spoons, and 99 table forks. These marks are clearly visible in 66 instances, while the same sequence of general outlines, or depression shapes, is discernible in another 166 examples. Suggested trade names for William Page & Co’s particular blend of brass plating are ‘roman silver’ or ‘silverite’. This copper alloy polishes to a lustrous gold when new, discolouring to a murky grey with greenish hue when neglected. The LOCH ARD shipwreck is of State significance – Victorian Heritage Register S 417. 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. Unrestored sugar spoon from the wreck of the LOCH ARD. The spoon design has a flattened fiddle-back handle, with a thin stem or shank, flared collar, and a shallow rounded bowl. The spoons metallic composition is a thin layer of brass alloy which has partially corroded back to a nickel-silver base metal. Concretion on bowl and collar.Some 25% verdigris on spoon. Handle corroded and bent slightly. Perished rubber band attached. One of five makers marks on lower rear of spoon handle is legible - (2) Plain cross mounted on inverted triangle (religious motif).flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, loch line, loch ard, captain gibbs, eva carmichael, tom pearce, glenample station, mutton bird island, loch ard gorge, electroplated cutlery, nickel silver, william page and co, birmingham brass plating, makers marks

In Australia, precious opal is found in Cretaceous age sandstones and mudstones. These sedimentary rocks were deeply weathered and this weathering released silica into the groundwater.Australia is the only part of the world where opalised animal and plant fossils have been found. Opal artefacts several thousands of years old have been discovered in East Africa. As early as 250 BC the Romans prized opals, thought to have come from mines in Eastern Europe, the ancient world's main source of opals. There are many aboriginal dreamtime stories that feature opal. Australian opals discovered during the late 1800's found little favour with European markets but their commercial value increased in the 1900's and in 1932 Australia took over as the major producer of opals in the world and remains the largest producer to this day. Opal is found around the world (Brazil, Mexico, Honduras and the western US) however Australia produces 95% of the world's precious opal and it is our official national gemstone. Opal was first mined commercially at Listowel Downs in Queensland in 1875 and later at White Cliffs in NSW. Today, Coober Pedy (SA) is the main producer of white opal, though in recent years this field has expanded and all types of opals are found. Other centres in SA include Andamooka and Mintabe. Lightning Ridge (NSW) is renowned for black opal and formerly White Cliffs was a large producer of high quality opal. Boulder opals (opals in concretionary ironstone) are mined in Queensland from numerous localities in a zone extending from the Eulo and Cunnamulla district in the south and northwest for a distance of over 700 km to Kynuna in the north. The towns of Quilpie, Yowah and Winton are the main opal mining and wholesale centres. Opals are considered gemstones and have been used in jewellery for thousands of years.Throughout much of history, opals were actually believed to be good luck. The Romans thought that opals were one of the luckiest gemstones and a symbol of hope. In the Middle Ages, opals were believed to be bestowed with all the positive properties of coloured gemstones due to its rainbow-like play of colour. Finally, there is a superstition that you should not wear an opal unless it is your birthstone otherwise misfortune will befall you. This, of course, is far-fetched, but the notion could have been promoted in the late 19th and early 20th Centuries by diamond traders who were trying to increase sales of diamonds and deter people from buying opals. Possibly related to this is the thought that you should set opal jewellery with diamonds as their powers of good fortune will override any negativity held by the opal. The great majority of opal does not show play of colour and is called common opal or potch however this is not the case with a precious opal. Opal is a precious gemstone, like rubies, emeralds or diamonds. Opal is rare, and it is expensive to prospect and mine for.Silica is one of the most common minerals on the planet, but precious opal is very rare – far more rare than diamonds. Precious opal is rare because the natural processes that create it rarely occur.Most (at least 95%) of the opal found by miners is common opal without gem colour. In Australia we call it potch. It can be white, grey, black or amber coloured. Even when a miner finds gem-coloured opal, most of it can’t be cut into gemstones because it’s too thin, or sandy. This specimen is part of a larger collection of geological and mineral specimens collected from around Australia (and some parts of the world) and donated to the Burke Museum between 1868-1880. A large percentage of these specimens were collected in Victoria as part of the Geological Survey of Victoria that begun in 1852 (in response to the Gold Rush) to study and map the geology of Victoria. Collecting geological specimens was an important part of mapping and understanding the scientific makeup of the earth. Many of these specimens were sent to research and collecting organisations across Australia, including the Burke Museum, to educate and encourage further study.It is not known where this opal originated, except that it is probably from Victoria, as it has been recorded from many localities in the State. Common Opal is formed from silica-rich water circulating through rocks near the Earth’s surface. It consists of minute spheres of silica arranged in different ways. In common opal, the spheres are of different sizes and randomly arranged, unlike in precious opal where the spheres are of similar size and uniformly arranged in three dimensions. These differences account for common opal generally being translucent to opaque and without the play of colours, or opalescence, displayed by precious opal. Common opal is found in many localities and different geological environments throughout Australia and the world. Precious opal requires special conditions to form and is much less common. Australia produces most to the world’s precious opal. burke museum, beechworth, indigo shire, beechworth museum, geological, geological specimen, precious opal, opal, brazil, mexico, honduras, queensland, coober pedy, gemstones, jewellery, play-of-colour, light blue

This medium-sized dessert spoon is from the wreck of the LOCH ARD, a Loch Line ship of 1,693 tons which sailed from Gravesend, London, on 2 March 1878 with 17 passengers and a crew of 36 under Captain George Gibbs. “The intention was to discharge cargo in Melbourne, before returning to London via the Horn with wool and wheat”. Instead, on 1 June 1878, after 90 days at sea, she struck the sandstone cliffs of Mutton Bird Island on the south west coast of Victoria, and sank with the loss of 52 lives and all her cargo. The manifest of the LOCH ARD listed an array of manufactured goods and bulk metals being exported to the Colony of Victoria, with a declared value of £53,700. (202 bills of lading show an actual invoice value of £68, 456, with insurance underwriting to £30,000 of all cargo). Included in the manifest is the item of “Tin hardware & cutlery £7,530”. This dessert spoon is one of 482 similar items of electro-plated cutlery from the LOCH ARD site, comprising spoons and forks of various sizes but all sharing the same general shape or design and metallic composition. 49 of these pieces display a legible makers’ mark — the initials “W” and “P” placed within a raised diamond outline, which is in turn contained within a sunken crown shape — identifying the manufacturer as William Page & Co of Birmingham. An electroplater’s makers’ marks, unlike sterling silver hallmarks, are not consistent identifiers of quality or date and place of manufacture. A similar line of five impressions was usually made to impress the consumer with an implication of industry standards, but what each one actually signified was not regulated and so they varied according to the whim of the individual foundry. In this case, the maker’s marks are often obscured by sedimentary accretion or removed by corrosion after a century of submersion in the ocean. However sufficient detail has survived to indicate that these samples of electro-plated cutlery probably originated from the same consignment in the LOCH ARD’s cargo. The generally common range of marks are drawn from 255 tea spoons, 125 dessert spoons, and 99 table forks. These marks are clearly visible in 66 instances, while the same sequence of general outlines, or depression shapes, is discernible in another 166 examples. Suggested trade names for William Page & Co’s particular blend of brass plating are ‘roman silver’ or ‘silverite’. This copper alloy polishes to a lustrous gold when new, discolouring to a murky grey with greenish hue when neglected. The LOCH ARD shipwreck is of State significance – Victorian Heritage Register S 417.Unrestored dessert spoon from the wreck of the LOCH ARD. The spoon design has a flattened fiddle-back handle, with a thin stem or shank, flared collar, and a shallow rounded bowl. The spoons metallic composition is a thin layer of brass alloy which has partially corroded back to a nickel-silver base metal. 50% original plate, 20% concretion, and 15% verdigris. There is a plain heraldic shield embossed on upper rear of spoon bowl (ratstail). Spoon is slightly bent.flagstaff-hill-maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, electroplated cutlery, loch ard shipwreck, william page and co, birmingham brass plating, dessert spoons

ELTHAM HERITAGE TOUR The Society excursion on 24th May 1992 was arranged by David Bick, leader of the team carrying out the Shire's heritage study. David selected a number of sites or buildings identified in the study, some of them lesser known components of the Shire's heritage. The tour commenced at the Eltham Shire Office at 10.00 am. Travel was by private car and mini-bus with stops at about twelve locations for commentary by David.It included a short walk in Hurstbridge and lunch at Kinglake. Highlights of the tour included: - 10 am Leave from Shire Offices - 3 Important Trees - A Physical Link to Eltham's First Settlers - Toorak Mansion Gates - A Surviving Farm House - An Intact Circa 1900 Main Street - First Settlers - Gold Miners, and Timber-getters - An Early Hotel - A Pioneering Homestead - Changing Eltham Shire - 20th Century - 4 pm Afternoon Tea and Finish Tour Extract from ELTHAM CULTURAL HERITAGE TOUR (Newsletter No. 85, July 1992, by Bettina Woodburn) "Now we drove through stands of pines to the Kangaroo Ground Lookout Tower, a most unusual War Memorial, World War I. The tower and a shed/residence (it had a chimney) were built from local sandstone. Below to the south and east of Melbourne spread 'suburbia'. Close by the landscape seemed so contrived - English fields and hedgerows! Although only about twenty inches deep, the soil of this ancient volcano, its crater lost under subsequent weathering, was rich, deserving the name of "Garden Hill". Now native trees are taking over again. In Kangaroo Ground itself stand the inevitable Store, School and Church - and two Norfolk pines and a monkey puzzle tree." On November 11th 1926 the Shire of Eltham War Memorial Tower at Kangaroo Ground was opened. It is regarded as one of Melbourne’s most outstanding lookout towers. It commands a magnificent 360 degree panorama from Kinglake across the Diamond Valley to Macedon and the You Yangs. It is built on a peak which was once a volcano, 237 metres above sea level. After World War one a memorial cairn was erected on the site, and in 1925 a committee of public-minded citizens began to plan for a tower. Many generous donations of material and money were forthcoming so that in 1926 the Governor General Lord Stonehaven was able to unveil the plaque before a crowd of 500 people. There was some concern in the 1960s when the Forests Commission wanted to build a firespotters cabin on the top. At first R.S.L. branches opposed the idea, but it was realised that this use could combine with its use as a tourist attraction, and would ensure its maintenance for the future, Today the Kangaroo Ground tower provides one of the best views around Melbourne and is a fitting memorial to those who died in two world wars. From: Historic items for Diamond Valley Community Radio September 1990 (EDHS collection) Record of the Society's history and activities and highlighting various aspects of the Heritage Study undertaken by David Bick used to create the future heritage overlay for the Shire of Eltham and later Nillumbik Shire.Roll of 35mm colour negative film, 4 stripsKodak Gold 100 5095culture, events, garden hill, kangaroo ground, kangaroo ground memorial, memorial park, shire of eltham war memorial tower, war memorials

This tea spoon is from the wreck of the LOCH ARD, a Loch Line ship of 1,693 tons which sailed from Gravesend, London, on 2 March 1878 with 17 passengers and a crew of 36 under Captain George Gibbs. “The intention was to discharge cargo in Melbourne, before returning to London via the Horn with wool and wheat”. Instead, on 1 June 1878, after 90 days at sea, she struck the sandstone cliffs of Mutton Bird Island on the south west coast of Victoria, and sank with the loss of 52 lives and all her cargo. The manifest of the LOCH ARD listed an array of manufactured goods and bulk metals being exported to the Colony of Victoria, with a declared value of £53,700. (202 bills of lading show an actual invoice value of £68, 456, with insurance underwriting to £30,000 of all cargo). Included in the manifest is the item of “Tin hardware & cutlery £7,530”. This teaspoon is one of 482 similar items of electro-plated cutlery from the LOCH ARD site, comprising spoons and forks of various sizes but all sharing the same general shape or design and metallic composition. 49 of these pieces display a legible makers’ mark — the initials “W” and “P” placed within a raised diamond outline, which is in turn contained within a sunken crown shape — identifying the manufacturer as William Page & Co of Birmingham. An electroplater’s makers’ marks, unlike sterling silver hallmarks, are not consistent identifiers of quality or date and place of manufacture. A similar line of five impressions was usually made to impress the consumer with an implication of industry standards, but what each one actually signified was not regulated and so they varied according to the whim of the individual foundry. In this case, the maker’s marks are often obscured by sedimentary accretion or removed by corrosion after a century of submersion in the ocean. However sufficient detail has survived to indicate that these samples of electro-plated cutlery probably originated from the same consignment in the LOCH ARD’s cargo. The following descriptions of maker’s marks are drawn from 255 tea spoons, 125 dessert spoons, and 99 table forks. These marks are clearly visible in 66 instances, while the same sequence of general outlines, or depression shapes, is discernible in another 166 examples. 1. A recessed Crown containing a raised Diamond outline and the initials “W” and “P” (the recognised trademark of William Page & Co) 2. An impressed Ellipse containing a raised, pivoted, Triangle in its lower part and bearing a Resurrection Cross on its upper section (a possible dissenting church symbol reflecting religious affiliation); OR a rounded Square impression containing a raised, ‘lazy’, letter “B” (possibly mimicking sterling silver hallmark signifying city of manufacture i.e. Birmingham) 3. An impressed rounded Square filled with a raised Maltese Cross (the base metal composite of nickel silver was also known as ‘German silver’ after its Berlin inventors in 1823) 4. A recessed Circle containing a Crab or Scarab Beetle image; OR a recessed Circle containing a rotated ‘fleur de lys’ or ‘fasces’ design 5. A depressed Diamond shape enclosing a large raised letter “R” and a small raised letter “D” (mimicking the U.K. Patent Office stamp which abbreviated the term ‘registered’ to “RD”, but also included date and class of patent) Suggested trade names for William Page & Co’s particular blend of brass plating are ‘roman silver’ or ‘silverite’. This copper alloy polishes to a lustrous gold when new, discolouring to a murky grey with greenish hue when neglected. The LOCH ARD shipwreck is of State significance – Victorian Heritage Register S 417.Unrestored tea spoon from the wreck of the LOCH ARD. The spoon design has a flattened fiddle-back handle, with a thin stem or shank, flared collar, and elongated bowl. The spoons metallic composition is a thin layer of brass alloy which has partially corroded back to a nickel-silver base metal. Approximately 35% of original electroplating survives, with some verdigris, and 25% sediment encrusted on bowl of spoon.electroplated cutlery, loch ard, shipwreck artefact, nickel silver, william page & co., birmingham, tea spoons, makers marks, flagstaff-hill-maritime-museum, shipwreck-coast, electroplated cutlery, loch ard, shipwreck artefact, nickel silver, william page & co., birmingham, tea spoons, makers marks

This commemorative plaque refers to the religiously themed window situated in the western (weather) wall of the St. Nicholas Mission to Seamen’s Church building in the Flagstaff Hill Maritime Village. It was crafted circa 1928. ABOUT THE WINDOW The window, to which this plaque belongs was once known as the Dr Connell Memorial Window, which was a feature of an external wall adjacent to the Women’s Children’s Wards of Warrnambool Hospital. Honorary Doctors had played a significant role in the operation of the hospital between the years 1900 to 1939. One of these doctors was Dr. Connell, who passed away in 1928. A paragraph in the book ‘A History of the Warrnambool Base Hospital’ by Forth and Yule describes the role of the Honorary Doctors - “At the start of the period the senior-part time medical officer was replaced by the junior resident medical officer and control of beds and the right to operate were given to the honorary medical officers...and these men dominated the Warrnambool medical world in the years before the Second World War.” Dr. Connell leased ‘Ambleside’, 192 Koroit Street, in the early 20th century, following Dr Teed who had previously run his medical practice there. In 1914 Dr Connell purchased the property and continued his private practice there until his death in 1928. He also took a prominent part in hospital work, both as physician and surgeon, and often acted as spokesmen for the Honorary Doctors. According to colleague Dr. Horace Holmes’ subsequent notes, it was after the close of the First World War, and the following years of the world-wide pneumonic influenza epidemic, that Dr. Connell himself contracted pneumonia and died. His family and friends then recognised his work by gifting the memorial window in his honour to the Hospital. By the mid-1970s the old wards at the hospital had been replaced and there was no obvious place for the window. Discussions between the previous and past Hospital managers, the Anglican Diocese, and Flagstaff Hill Planning Board, led to its installation in its present position in St Nicholas Seamen’s Church. It was installed without the bottom section of stained glass, which was inscribed as a memorial to Dr. Connell. St NICHOLAS SEAMEN’S CHURCH, Anglican Church Flagstaff Hill’s Mission to Seamen was opened in 1981. Its conception was partly motivated by the offer of Stained Glass Memorial Windows from the local Warrnambool and District Base Hospital, which was undergoing multi-storey development in the late 1960’s and early 1970’s. The Manager/Secretary at the time was keen to see the historical windows installed in an appropriate location. The chapel was designed by a local architectural draftsman in conjunction with members of the Planning Board of Flagstaff Hill, and built by Mr Leon Habel. The vision of the designers included the hope that the church be used for formal worship such as weddings and funeral, and for multi-denominational special services such as War commemorations. The design is based on the ‘Mission to Seamen’ buildings in both Portland and Port Melbourne. These types of buildings were often erected to house social and worshipful activities for seamen. The materials used in the building include sandstone recycled from nineteenth-century buildings demolished in Warrnambool and American slate tiles retrieved from the 1908 wreck of the FALLS OF HALLADALE. Most of the chapel furnishings came from the Williamstown Missions to Seamen, which was consecrated in 1946 but later decommissioned. These artefacts range from the altar cloth to the hymn board and include a visually stunning round stained glass widow called ‘Christ Guiding the Helmsman’. However the provenance of this particular artefact, large western window, is local.This plaque is significant because of its association with stained glass memorial window is of local, historical and social significance, linking local history and heritage with one of Warrnambool's doctors, Dr. Egbert John Connell (d. 1928), who gave 30 years of dedicated, medical service to the local citizens.Plaque, opaque, pale green glass rectangle mounted on white timber board and held in place with six decorative silver coloured clasps. Five rows of printed, capitalised text are fixed on the top surface. The plaque is companion to the commemorative, stained glass window installed in the St. Nicholas Mission to Seamen's Church at Flagstaff Hill. (The window was previously known locally as the Dr. Connell Memorial Window.)"A TRIBUTE TO / EGBERT JOHN CONNELL, M.B.B.S. / WHO FOR 30 YEARS RENDERED DEVOTED AND / VALUABLE SERVICE TO THIS INSTITUTION / OBIIT APRIL 4th 1928, A.D."flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, chapel window, stained glass window, warrnambool and district base hospital, st nicholas mission to seamen’s church, williamstown mission to seamen, dr egbert connell, ambleside warrnambool, leon habel builder, falls of halladale slate, memorial window, commemorative window, dr connell, commemorative plaque, plaque, edgar mcconnell

This religiously themed window is situated in the western (weather) wall of the St. Nicholas Mission to Seamen’s Church building in the Flagstaff Hill Maritime Village. It was crafted circa 1928. ABOUT THE WINDOW This window, once known as the Dr Connell Memorial Window, was a feature of an external wall adjacent to the Women’s Children’s Wards of Warrnambool Hospital. Honorary Doctors had played a significant role in the operation of the hospital between the years 1900 to 1939. One of these doctors was Dr. Connell, who passed away in 1928. The green glass plaque is also a registered object in Flagstaff Hill's Collection. Its inscription dedicates the window to Dr. Connell. The inscription reads: “A tribute to Egbert John Connell M.B.B.S. who for 30 years rendered devoted and valuable service to this institution. Obiit April 4th 1928 A.D." A paragraph in the book ‘A History of the Warrnambool Base Hospital’ by Forth and Yule describes the role of the Honorary Doctors - “At the start of the period the senior-part time medical officer was replaced by the junior resident medical officer and control of beds and the right to operate were given to the honorary medical officers...and these men dominated the Warrnambool medical world in the years before the Second World War.” Dr. Connell leased ‘Ambleside’, 192 Koroit Street, in the early 20th century, following Dr Teed who had previously run his medical practice there. In 1914 Dr Connell purchased the property and continued his private practice there until his death in 1928. He also took a prominent part in hospital work, both as physician and surgeon, and often acted as spokesmen for the Honorary Doctors. According to colleague Dr. Horace Holmes’ subsequent notes, it was after the close of the First World War, and the following years of the world-wide pneumonic influenza epidemic, that Dr. Connell himself contracted pneumonia and died. His family and friends then recognised his work by gifting the memorial window in his honour to the Hospital. By the mid-1970s the old wards at the hospital had been replaced and there was no obvious place for the window. Discussions between the previous and past Hospital managers, the Anglican Diocese, and Flagstaff Hill Planning Board, led to its installation in its present position in St Nicholas Seamen’s Church and the memorial plaque was later installed beside the window. St NICHOLAS SEAMEN’S CHURCH, Anglican Church Flagstaff Hill’s Mission to Seamen was opened in 1981. Its conception was partly motivated by the offer of Stained Glass Memorial Windows from the local Warrnambool and District Base Hospital, which was undergoing multi-storey development in the late 1960’s and early 1970’s. The Manager/Secretary at the time was keen to see the historical windows installed in an appropriate location. The chapel was designed by a local architectural draftsman in conjunction with members of the Planning Board of Flagstaff Hill, and built by Mr Leon Habel. The vision of the designers included the hope that the church be used for formal worship such as weddings and funeral, and for multi-denominational special services such as War commemorations. The design is based on the ‘Mission to Seamen’ buildings in both Portland and Port Melbourne. These types of buildings were often erected to house social and worshipful activities for seamen. The materials used in the building include sandstone recycled from nineteenth-century buildings demolished in Warrnambool and American slate tiles retrieved from the 1908 wreck of the FALLS OF HALLADALE. Most of the chapel furnishings came from the Williamstown Missions to Seamen, which was consecrated in 1946 but later decommissioned. These artefacts range from the altar cloth to the hymn board and include a visually stunning round stained glass widow called ‘Christ Guiding the Helmsman’. However the provenance of this particular artefact, large western window, is local. This stained glass memorial window is of local, historical and social significance, linking local history and heritage with one of Warrnambool's doctors, Dr. Egbert John Connell (d. 1928), who gave 30 years of dedicated, medical service to the local citizens.Stained glass leadlight window in Gothic arched metal frame with six horizontal reinforcing rods. Image depicts a golden flat-bowled baptismal font on a slender stand with foliage proceeding from it. The image is internally framed by a Roman arch of coloured glass and surrounding rectangular and breaking-wave shapes. (The window was previously known locally as the Dr. Connell Memorial Window and a plaque dedicated to Dr. Connell is catalogued separately. See Context notes for details.)flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, chapel window, stained glass window, warrnambool and district base hospital, st nicholas mission to seamen’s church, williamstown mission to seamen, dr egbert connell, ambleside warrnambool, leon habel builder, falls of halladale slate, memorial window, commemorative window, dr connell

Part of the original cottage named Culla Hill built by Thomas Sweeney (a former convict) remains as a small section of today’s house. Covered under Heritage Overlay, Nillumbik Planning Scheme National Estate National Trust of Australia (Victoria) Local Sifgnificance Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p19 Thomas Sweeney, a former convict who became a respected citizen, once lived on a property at what is now the corner of Sweeneys Lane and Culla Hill, Eltham. As Sweeney was one of the district’s first settlers, the property is registered by the National Trust. Thomas Sweeney was born in 1802, son of impoverished tenant farmers in Tipperary County, Ireland. He became a ploughman, then at 21 he was sentenced to hang for setting on fire the house of Patrick Guyder at Gullshill. It is said the arson was due to a dispute over undelivered guns to a social justice guerilla group, the White Boys, of which Sweeney was a member. But the sentence was commuted to life transportation to Australia in 1823.1 Apparently in Sydney he became a servant to James Chandler at Botany. Soon James Chandler leased his farm and became a catechist on the Hawkesbury River, so Sweeney was reassigned to a former convict, John Brown, at Liverpool. Later Sweeney was assigned to George Brown of Lake Illawarra. In 1831, Sweeney was granted a ticket-of-leave and bought a boat to carry goods between Illawarra district and Sydney Town. He married his first wife who had come to Australia as a free woman. However she drowned after bearing him a daughter. In 1838, one month after he had received a conditional pardon, Sweeney married a blacksmith’s daughter, Margaret Meehan, newly arrived from Ireland. They then moved to Port Phillip and squatted on the south side of the Yarra River, about seven miles (11km) from Melbourne. Around 1842, Sweeney bought 110 acres (44.5ha) in the parish of Nillumbik for £110. He built a slab hut 12 x 10 feet (3.6m x 3m) and then his homestead, Culla Hill, a typical Tipperary style cottage, now known as Sweeney’s Cottage. It was here that many generations of Sweeneys lived for almost 100 years. Culla Hill became a social centre for the district and the Catholic community used it as a church. Sweeney was apparently on good terms with a tribe of Aborigines living on the river nearby, who helped him build his house.2 Sweeney proved himself a civic-minded leader. In 1844, he led a call for a bridge over the Plenty River. He was on the first school board and supplied the first grain for Eltham’s mill. Sweeney profited during the gold rush, not by gold digging, but by providing supplies for nearby fields and others as far away as Beechworth.3 Thomas Sweeney died in 1867 and was buried at the Eltham Cemetery, leaving two sons, five daughters, and 300 acres (121.4ha), as well as Culla Hill. Culla Hill – by then reduced to 75 acres (30ha) – was sold out of the family in 1939, then renamed Sweeneys. The present Sweeneys Lane, running diagonally through the original holding, was the track to the house. Part of the original cottage remains as a small section of today’s house. The dining-family room fronted by a veranda is original, and although there have been some changes, the cedar door and most of the small 12-paned wooden-framed windows are original. The walls are made of the original hand-made brick. After buying the property in 1952 Mr and Mrs Burston demolished a dilapidated slab hut, a three-roomed detached kitchen and cellar, as materials needed to restore them were very difficult to obtain so soon after the war.4 However the barn remains almost in its original condition. It is believed to have been built from stone quarried on the property. Now roofed with iron sheets it was probably originally thatched. The sandstone barn has a peaked roof supported by the original saplings and a doorway large enough to accommodate a fully loaded wagon.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, culla hill, eltham, sweeney's cottage, sweeneys lane, thomas sweeney

The College Church congregation initially worshipped in Ormond College in 1891. In 1895 they purchased the site of the present building. A committee set out certain specifications (including the crown tower), and a competition for the best design was won by architect RA Lawson. The building, constructed by Lang Brothers of Parkville at a cost of 2,170 pounds, was opened in 1898. College Church remained the only parish church in Parkville until 1934. The outstanding element is the crown tower, a choice of the first minister, the Reverend Alexander Yule. It is a copy, albeit on a reduced scale, of King's College Chapel, Aberdeen University, of which Reverend Yule was a former student. This crown tower is the only example in Victoria and is possibly unique in Australia. The church is constructed of red brick and Oamaru sandstone with a steeply pitched slate roof and parapeted gables. Windows are in the Gothic pointed arch style. The interior of the Church has a fine timber ceiling with arch braces. There are a number of quality stained glass windows, the two largest being dedicated to Mungo Scott and his wife, Scott having been a benefactor of the Church. The late nineteenth century pipe organ was built by George Fincham and Son (Richmond), with Professor Franklin Peterson as consultant, and was completed in November 1903. In the 1940s College Church was internally re-ordered and this work was designed by prominent church architect, Louis Williams. The church became part of the Uniting Church in Australia in 1977, and ownership subsequently passed to Mar Thoma Syrian Church in 2008. From The Argus, Friday 19 April 1907: Rev. Alexander Yule washeld in highest esteem in his ministerialbrethren and a large circle of friends was abundanrly evident by the expressions ofsorrowful regret at his death and of sympathy with his widow and her three sonsby those who attended the funeral servicesyesterday morning. To most of those present the announcement of Mr. Yule's death, made in "The Argus" on Wednesday, came as a painful surprise. It was known that at the time of his ministerial jubilee last January he shown symptoms of failing health, and that his illness had gradually become more serious, but few among the intimate friends of the family thought the end was so near. Although Mr. Yule suffered much physical weakness, his mental faculties were unimpaired, and he was able to carry on his ministerial work almost to the last. He even conducted the services at the College Church, Parkville, on Sunday, March 31. Testimony is borne that his ministry was appreciated most highly by the important congregations, both in Scotland and Victoria, under his charge; that in the church courts he was a safe and wise counsellor; and that he did excellent service on various committees, and as the convenor of the Theological-hall committee, on which he was appointed by the General Assembly. The esteem in which he was regarded by the Presbyterian Church as a whole was expressed in his election in 1891 to the Moderator's chair of the Victorian Church, and to that of the Federal Assembly in 1901. The funeral service was held at College Church, the scene of Mr. Yule's ministry since 1891. The building was filled to overflowing by a congregation that included most of the members of the metropolitan presbyteries, representatives from several of the provincial presbyterues, the students of the Theological-hall, members of the Parkville congregation, and the children of Miss Sutherland's Home. The pulpit and furniture were draped in black, and the plain oak coffin rested on the communion-table. The simple yet impressive service usual with the Presbyterian Church was conducted by Professor Rentoul, president of the Theological-hall Senatus, who was assisted by Professor Skene, Rev. W. Fraser (moderator of the Melbourne North Presbytery), Rev. D. S. McEacharn, and the Rev. John Thomson, a life-long friend of the departed minister. The Dead March in "Saul" was played on the organ as the coffin was borne to the hearse. The procession along Parkville-crescent to the cemetery gates was a notable one, and in the following order:—Theological-hall students; the hearse; the chief mourners—Dr. Yule, Rev. A. Yule, Mr. James Yule, and Mr. Groom, M.H.R., a relative of the family; the Theological-hall professors and committee; members of the presbyteries; and other friends, making a large and repre-sentative gathering. At the grave Professor Rentoul, Rev. Dr. Meiklejohn, Rev. D. Ross, and the Rev. Dr. Marshall officiated. The pall-bearers were Revs. D. S. McEachran, J. Thomson, A. McDonald, R. J. Smith,Mr. P. McLennan and Mr. L. E. Groom, M.H.R. The funeral arrangement were in the hands of Mr. Josiah Holdsworth.Portion of photocopy of the church and two of the portraits.college church, presbyterian church, yule, rev. alexander

The College Church congregation initially worshipped in Ormond College in 1891. In 1895 they purchased the site of the present building. A committee set out certain specifications (including the crown tower), and a competition for the best design was won by architect RA Lawson. The building, constructed by Lang Brothers of Parkville at a cost of 2,170 pounds, was opened in 1898. College Church remained the only parish church in Parkville until 1934. The outstanding element is the crown tower, a choice of the first minister, the Reverend Alexander Yule. It is a copy, albeit on a reduced scale, of King's College Chapel, Aberdeen University, of which Reverend Yule was a former student. This crown tower is the only example in Victoria and is possibly unique in Australia. The church is constructed of red brick and Oamaru sandstone with a steeply pitched slate roof and parapeted gables. Windows are in the Gothic pointed arch style. The interior of the Church has a fine timber ceiling with arch braces. There are a number of quality stained glass windows, the two largest being dedicated to Mungo Scott and his wife, Scott having been a benefactor of the Church. The late nineteenth century pipe organ was built by George Fincham and Son (Richmond), with Professor Franklin Peterson as consultant, and was completed in November 1903. In the 1940s College Church was internally re-ordered and this work was designed by prominent church architect, Louis Williams. The church became part of the Uniting Church in Australia in 1977, and ownership subsequently passed to Mar Thoma Syrian Church in 2008. From The Argus, Friday 19 April 1907: Rev. Alexander Yule washeld in highest esteem in his ministerialbrethren and a large circle of friends was abundanrly evident by the expressions ofsorrowful regret at his death and of sympathy with his widow and her three sonsby those who attended the funeral servicesyesterday morning. To most of those present the announcement of Mr. Yule's death, made in "The Argus" on Wednesday, came as a painful surprise. It was known that at the time of his ministerial jubilee last January he shown symptoms of failing health, and that his illness had gradually become more serious, but few among the intimate friends of the family thought the end was so near. Although Mr. Yule suffered much physical weakness, his mental faculties were unimpaired, and he was able to carry on his ministerial work almost to the last. He even conducted the services at the College Church, Parkville, on Sunday, March 31. Testimony is borne that his ministry was appreciated most highly by the important congregations, both in Scotland and Victoria, under his charge; that in the church courts he was a safe and wise counsellor; and that he did excellent service on various committees, and as the convenor of the Theological-hall committee, on which he was appointed by the General Assembly. The esteem in which he was regarded by the Presbyterian Church as a whole was expressed in his election in 1891 to the Moderator's chair of the Victorian Church, and to that of the Federal Assembly in 1901. The funeral service was held at College Church, the scene of Mr. Yule's ministry since 1891. The building was filled to overflowing by a congregation that included most of the members of the metropolitan presbyteries, representatives from several of the provincial presbyterues, the students of the Theological-hall, members of the Parkville congregation, and the children of Miss Sutherland's Home. The pulpit and furniture were draped in black, and the plain oak coffin rested on the communion-table. The simple yet impressive service usual with the Presbyterian Church was conducted by Professor Rentoul, president of the Theological-hall Senatus, who was assisted by Professor Skene, Rev. W. Fraser (moderator of the Melbourne North Presbytery), Rev. D. S. McEacharn, and the Rev. John Thomson, a life-long friend of the departed minister. The Dead March in "Saul" was played on the organ as the coffin was borne to the hearse. The procession along Parkville-crescent to the cemetery gates was a notable one, and in the following order:—Theological-hall students; the hearse; the chief mourners—Dr. Yule, Rev. A. Yule, Mr. James Yule, and Mr. Groom, M.H.R., a relative of the family; the Theological-hall professors and committee; members of the presbyteries; and other friends, making a large and repre-sentative gathering. At the grave Professor Rentoul, Rev. Dr. Meiklejohn, Rev. D. Ross, and the Rev. Dr. Marshall officiated. The pall-bearers were Revs. D. S. McEachran, J. Thomson, A. McDonald, R. J. Smith,Mr. P. McLennan and Mr. L. E. Groom, M.H.R. The funeral arrangement were in the hands of Mr. Josiah Holdsworth.William Downes - one of the founders.college church, presbyterian church, yule, rev. alexander

The College Church congregation initially worshipped in Ormond College in 1891. In 1895 they purchased the site of the present building. A committee set out certain specifications (including the crown tower), and a competition for the best design was won by architect RA Lawson. The building, constructed by Lang Brothers of Parkville at a cost of 2,170 pounds, was opened in 1898. College Church remained the only parish church in Parkville until 1934. The outstanding element is the crown tower, a choice of the first minister, the Reverend Alexander Yule. It is a copy, albeit on a reduced scale, of King's College Chapel, Aberdeen University, of which Reverend Yule was a former student. This crown tower is the only example in Victoria and is possibly unique in Australia. The church is constructed of red brick and Oamaru sandstone with a steeply pitched slate roof and parapeted gables. Windows are in the Gothic pointed arch style. The interior of the Church has a fine timber ceiling with arch braces. There are a number of quality stained glass windows, the two largest being dedicated to Mungo Scott and his wife, Scott having been a benefactor of the Church. The late nineteenth century pipe organ was built by George Fincham and Son (Richmond), with Professor Franklin Peterson as consultant, and was completed in November 1903. In the 1940s College Church was internally re-ordered and this work was designed by prominent church architect, Louis Williams. The church became part of the Uniting Church in Australia in 1977, and ownership subsequently passed to Mar Thoma Syrian Church in 2008. From The Argus, Friday 19 April 1907: Rev. Alexander Yule washeld in highest esteem in his ministerialbrethren and a large circle of friends was abundanrly evident by the expressions ofsorrowful regret at his death and of sympathy with his widow and her three sonsby those who attended the funeral servicesyesterday morning. To most of those present the announcement of Mr. Yule's death, made in "The Argus" on Wednesday, came as a painful surprise. It was known that at the time of his ministerial jubilee last January he shown symptoms of failing health, and that his illness had gradually become more serious, but few among the intimate friends of the family thought the end was so near. Although Mr. Yule suffered much physical weakness, his mental faculties were unimpaired, and he was able to carry on his ministerial work almost to the last. He even conducted the services at the College Church, Parkville, on Sunday, March 31. Testimony is borne that his ministry was appreciated most highly by the important congregations, both in Scotland and Victoria, under his charge; that in the church courts he was a safe and wise counsellor; and that he did excellent service on various committees, and as the convenor of the Theological-hall committee, on which he was appointed by the General Assembly. The esteem in which he was regarded by the Presbyterian Church as a whole was expressed in his election in 1891 to the Moderator's chair of the Victorian Church, and to that of the Federal Assembly in 1901. The funeral service was held at College Church, the scene of Mr. Yule's ministry since 1891. The building was filled to overflowing by a congregation that included most of the members of the metropolitan presbyteries, representatives from several of the provincial presbyterues, the students of the Theological-hall, members of the Parkville congregation, and the children of Miss Sutherland's Home. The pulpit and furniture were draped in black, and the plain oak coffin rested on the communion-table. The simple yet impressive service usual with the Presbyterian Church was conducted by Professor Rentoul, president of the Theological-hall Senatus, who was assisted by Professor Skene, Rev. W. Fraser (moderator of the Melbourne North Presbytery), Rev. D. S. McEacharn, and the Rev. John Thomson, a life-long friend of the departed minister. The Dead March in "Saul" was played on the organ as the coffin was borne to the hearse. The procession along Parkville-crescent to the cemetery gates was a notable one, and in the following order:—Theological-hall students; the hearse; the chief mourners—Dr. Yule, Rev. A. Yule, Mr. James Yule, and Mr. Groom, M.H.R., a relative of the family; the Theological-hall professors and committee; members of the presbyteries; and other friends, making a large and repre-sentative gathering. At the grave Professor Rentoul, Rev. Dr. Meiklejohn, Rev. D. Ross, and the Rev. Dr. Marshall officiated. The pall-bearers were Revs. D. S. McEachran, J. Thomson, A. McDonald, R. J. Smith,Mr. P. McLennan and Mr. L. E. Groom, M.H.R. The funeral arrangement were in the hands of Mr. Josiah Holdsworth.G. H. Scott - Treasurer.college church, presbyterian church, yule, rev. alexander

The College Church congregation initially worshipped in Ormond College in 1891. In 1895 they purchased the site of the present building. A committee set out certain specifications (including the crown tower), and a competition for the best design was won by architect RA Lawson. The building, constructed by Lang Brothers of Parkville at a cost of 2,170 pounds, was opened in 1898. College Church remained the only parish church in Parkville until 1934. The outstanding element is the crown tower, a choice of the first minister, the Reverend Alexander Yule. It is a copy, albeit on a reduced scale, of King's College Chapel, Aberdeen University, of which Reverend Yule was a former student. This crown tower is the only example in Victoria and is possibly unique in Australia. The church is constructed of red brick and Oamaru sandstone with a steeply pitched slate roof and parapeted gables. Windows are in the Gothic pointed arch style. The interior of the Church has a fine timber ceiling with arch braces. There are a number of quality stained glass windows, the two largest being dedicated to Mungo Scott and his wife, Scott having been a benefactor of the Church. The late nineteenth century pipe organ was built by George Fincham and Son (Richmond), with Professor Franklin Peterson as consultant, and was completed in November 1903. In the 1940s College Church was internally re-ordered and this work was designed by prominent church architect, Louis Williams. The church became part of the Uniting Church in Australia in 1977, and ownership subsequently passed to Mar Thoma Syrian Church in 2008. From The Argus, Friday 19 April 1907: Rev. Alexander Yule washeld in highest esteem in his ministerialbrethren and a large circle of friends was abundanrly evident by the expressions ofsorrowful regret at his death and of sympathy with his widow and her three sonsby those who attended the funeral servicesyesterday morning. To most of those present the announcement of Mr. Yule's death, made in "The Argus" on Wednesday, came as a painful surprise. It was known that at the time of his ministerial jubilee last January he shown symptoms of failing health, and that his illness had gradually become more serious, but few among the intimate friends of the family thought the end was so near. Although Mr. Yule suffered much physical weakness, his mental faculties were unimpaired, and he was able to carry on his ministerial work almost to the last. He even conducted the services at the College Church, Parkville, on Sunday, March 31. Testimony is borne that his ministry was appreciated most highly by the important congregations, both in Scotland and Victoria, under his charge; that in the church courts he was a safe and wise counsellor; and that he did excellent service on various committees, and as the convenor of the Theological-hall committee, on which he was appointed by the General Assembly. The esteem in which he was regarded by the Presbyterian Church as a whole was expressed in his election in 1891 to the Moderator's chair of the Victorian Church, and to that of the Federal Assembly in 1901. The funeral service was held at College Church, the scene of Mr. Yule's ministry since 1891. The building was filled to overflowing by a congregation that included most of the members of the metropolitan presbyteries, representatives from several of the provincial presbyterues, the students of the Theological-hall, members of the Parkville congregation, and the children of Miss Sutherland's Home. The pulpit and furniture were draped in black, and the plain oak coffin rested on the communion-table. The simple yet impressive service usual with the Presbyterian Church was conducted by Professor Rentoul, president of the Theological-hall Senatus, who was assisted by Professor Skene, Rev. W. Fraser (moderator of the Melbourne North Presbytery), Rev. D. S. McEacharn, and the Rev. John Thomson, a life-long friend of the departed minister. The Dead March in "Saul" was played on the organ as the coffin was borne to the hearse. The procession along Parkville-crescent to the cemetery gates was a notable one, and in the following order:—Theological-hall students; the hearse; the chief mourners—Dr. Yule, Rev. A. Yule, Mr. James Yule, and Mr. Groom, M.H.R., a relative of the family; the Theological-hall professors and committee; members of the presbyteries; and other friends, making a large and repre-sentative gathering. At the grave Professor Rentoul, Rev. Dr. Meiklejohn, Rev. D. Ross, and the Rev. Dr. Marshall officiated. The pall-bearers were Revs. D. S. McEachran, J. Thomson, A. McDonald, R. J. Smith,Mr. P. McLennan and Mr. L. E. Groom, M.H.R. The funeral arrangement were in the hands of Mr. Josiah Holdsworth.G. H. Scott - Treasurer.college church, presbyterian church, yule, rev. alexander