Esma Turner Collection - ( Esma Turner - secretary of the Huntly and District Historical Society ) Amalgamated Society of Engineers / A4 size booklet plastic cover, cardboard back, plastic binding - front page black and white photo 'Grand Times' Esma Turner with remnants of a once-grand presentation, article Historic portraits create a mystery By Steve Kendall - taken from the Bendigo Weekly - Friday October 31st 2008 relating to the repair of a badly-damaged historic photo presentation, which led to further research into the Amalgamated Society of Engineers. / included in the booklet: - 'the origins of the Amalgamated Society of Engineers / it’s time of operation, its significance or any other detail'.book, engineering, esma turner/ / the huntly and district' s historical society. / article historic portraits create a mystery by steve kendall -/ 'the origins of the amalgamated society of engineers / its time of operation , its significance or any other detail .'

bib, p.47.non-fictionA research essay on the 1950 Victorian Railway strike and its significance in the post-war history of labor relations.industrial relations - victorian railways, railway strikes in victoria - history

In 2003, the then RAIA established the National 25 Year Award. The Boyd House II at 290 Walsh St won the award in 2006. Items D500 and D501 are also associated with this award.Bronze, circular, slightly convexRoyal Australian Institute of Architects 25 year award 2006. House at 290 Walsh St South Yarra grounds Romberg and Boyd. Includes a three line description of its significanceawards, honours, robin boyd, walsh st

Many of the Henty's of the Western District of Victoria also owned houses in Kew, Victoria. Stephen Henty, referred to on the reverse of the postcard, lived while a member of the Vitoria Parliament at 'Findon' in Kew. Kew Historical Society also holds a nationally significant collection of costumes belonging to three generations of Henty women.Monochrome, blue tinted 'real photo' postcard of Housen's Richmond Hotel, Portland. Two women stand on the steps of the hotel at left, with the rose garden in front of them. Behind them is a church spire. The hotel and its significance is outlined in two columns of blue coloured text on the reverse.Printed reverse: "THE RICHMOND is the most historical building in the State. On the site of today's building Edward Henty, the founder of permanent settlement in Victoria, commenced his first house February 19, 1835, finishing the work in two months. He had landed in Portland on Nov. 19th, 1834, and turned the first plough furrows in Victoria where the Hotel now stands on the 26th of the following month. It was also here that Major Mitchell ended his explorations from Sydney, meeting the Hentys on August 29th, 1836. In December of the same year Mrs S. G. Henty joined her husband, their son Richmond, the first male white child in Portland, being born in the Henty cottage. The present Richmond Hotel was built in 1840, and became the home of Stephen Henty until his departure from Portland in 1869. Though Edward Henty's first house was demolished in 1840, to make room for the new surveyed town streets, part of his wool store remains in the Hotel grounds, and is used as a wood shed. This is about the oldest building in the State : in it was held the first christening service in Portland on September 26th, 1841. On the site of the Richmond Hotel all the early visiting celebrities were entertained - Mitchell, Wedge, La Trobe, Fyans, Sir John Franklin, Capt. Stokes, etc. No other hostelry in Victoria can give you the historical atmosphere of the RICHMOND. / THE ORIGINAL HOME OF THE HENTYS."henty family, richmond hotel -- portland (vic.), stephen henty, edward henty, richmond henty, henty houses -- victoria, portland, postcards

The transcript is of state significance, being one of the very few copies still in existence. Its connection with the Court and its presence in the library's collection enhances its significance.The transcript is of state significance, being one of the very few copies still in existence. Its connection with the Court and its presence in the library's collection enhances its significance.Leather Bound Book, with gold Library stampLibrary stamp reads "Library of the Supreme Court, Colony of Victoria). This volume is a "Copy of Mr Webb's shorthand notes of the proceedings on the trial of this information in the Supreme Court of Victoria, before His Honor Sir William a'Beckett, Chief Justice"eureka rebellion

Commemorative object produced by Simplot Food Service and presented to the City of Greater Bendigo on the occasion of the 50th anniversary of the creation of the Chicko Roll by Bendigo born boiler maker, Frank McEncroe. The Chicko Roll has been an Australian icon since the 1960's and 70's. Inspired by the Chinese spring roll and first sold in 1951 as the "Chicken Roll" despite not actually containing chicken. The snack was designed to be easily eaten on the move without a plate or cutlery and is typically deep-fried in vegetable oil. By 1965 the ubiquitous Chicko Roll was sold in every fish and chip shop throughout the country and at the height of their popularity in the 1970s, 40 million Chiko Rolls were being sold Australia-wide each year and more than one million were exported to Japan.(Wikipedia https://en.wikipedia.org/wiki/Chiko_Roll). Advertised with the slogan 'Grab a Chiko', 'Hit the Hot Spot' and 'You Can't Knock the Roll' the marketing around the Chicko Roll was aimed towards the male population with women perched on Harley Davidson's prevocatively preparing to bite into a Chicko Roll. In 2008 with a push towards healthier eating, Chicko Roll reviewed its advertising and although it continues to target young men, it switched to using a 'fun, active' young women, riding a retro pushbike near the beach to improve its image. In 1995 J.R. Simplot, an American company who also own Leggo's, Birds Eye, Edgell and John West acquired Chicko Roll to sure up their foothold in the Australian market. Life size gold plated chicko roll in a hinged wooden presentation box with red lining. Double sided, printed letter accompanying the object explains its creation and significance.CHICKOcity of greater bendigo commerce, mayor acherman

This poster is of Rocky Valley is on the Victorian High Plains where the State Electricity Commission of Victoria worked on the Kiewa Hydro Electric Scheme and also where cattlemen brought their cattle up during summer at various times. Its significance is due to it shows the flora of the area after the Kiewa Hydro Electric Scheme Rocky Valley damn has been build and therefore is a valuable for comparison to see what plants are there now after this information on this poster was complied. Historic: Comparison of the flora at Rocky Valley with other areas on the Victorian High Plains and with Rocky Valley before and after the Kiewa Hydro Scheme and / or grazing there. Is therefore research significance and interpretive capacity due to this compatibility value.Laminated double sided vegetation map and guide to the Alpine flora of the Rocky Valley area, with photographs of plants and vegetation.rocky valley. alpine. flora. vegetation. plants. s.e.c.v.. cattlemen. victorian high plains.

Ushabti are tiny anthropoid (human-shaped) figures placed in the tombs of wealthy Egyptians. They were intended to do the work of the deceased in the afterlife. This purpose is implied through their name, which may have derived from the Egyptian word “to answer”. The Burke Museum in Beechworth is home to a particular ancient Egyptian Ushabti figure. This artefact was donated to the Museum in 1875. No details about how it left Egypt, arrived in Australia, and where it was located before this donation are known. The Nineteenth Century, when this artefact was donated, was a period when many museums acquired items of ancient Egyptian heritage. Many of these items were procured in less than desirable circumstances, having often been looted from ancient tombs and sold to tourists without documentation as to their original location and/or accompanying grave goods. These artefacts were also divested through partage (the trading of artefacts for funds); however, the latter is unlikely to have been the case for this artefact. Since the Ushabti was donated by an unknown donor, it is likely to have been in a private collection rather than an institution. Ushabti can be dated using iconographic analysis which is non-invasive and provides a comprehensive study of the artefact. The later period of the 18th Dynasty marked the beginning of an increase in both the inclusion of Ushabti as essential funerary items and the creation of Ushabti with tools. From this period, they are no longer depicted without tools. Depictions of tools including gardening hoes are frequently depicted grasped in the Ushabti’s hands whilst items like the seed-bag are depicted hanging on the back rather than in an alternative position. This Ushabti figure grasps a gardening hoe and a mattock and a small seed bag surrounded by a yoke bearing water jars are depicted on the upper back of the Ushabti. These features are essential in helping narrow this dating to the late 18th and before the early 20th Dynasty. The position of this seed bag also provides dating information. In the early 18th Dynasty this bag was consistently drawn on the front of the figurine; however, by the reign of Seti I, this feature moved to the back. Thus, since the seed bag is located on the back of this Ushabti, it cannot date to the early 18th Dynasty. By the 19th Dynasty, Ushabti’s were increasingly made from either faience or terracotta. The availability of these materials in Egypt resulted in the increase of Ushabti production with tombs containing many more figurines than previously seen. The Ushabti held by the Burke collections is made from terracotta. Terracotta was rarely used for Ushabti before and during the early 18th Dynasty with only the odd appearance until the late 18th Dynasty and becoming common through that period until the late Third Intermediate Period. Whilst the face has been damaged, there is no evidence for the Ushabti having been provided with an Osirian false beard. This omission rules out a dating of later than the 25th Dynasty when beards became prominent. The inscriptions also date the Ushabti to the New Kingdom. This is because of the use of sḥḏ (“to illuminate”) with Wsjr (“Osiris”) which only occurs in these periods. Therefore, considering all these elements, the Ushabti can be confidently be dated to between the late 18th to early 19th dynasty.Artefacts like this Ushabti are no longer exclusively representative of their origins in burial assemblages and significance in the mythology of the Egyptian afterlife but are also significant for the accumulated histories they have gained through travel. The movement of this artefact from Egypt to Australia allows insight into the collecting habits of the 19th century, and in particular, the reception of ancient Egyptian artefacts in small rural museums. The procurement of Egyptian artefacts was a social trend around the late 1800s to early 1900s. Egyptian artefacts were considered curiosities and recognised for their ability to attract public attention to museums. They were also utilised in Australian museums, like the Burke Museum, to connect the collection to one of the oldest civilisations known to man and since Australia was considered a “young” country by European settlers, this was vital and derived from an interest in Darwin’s “Origin of the Species” 1859. Furthermore, there was a culture of collecting in the 1800s amongst the affluent in English society which led to the appearance of many Egyptian artefacts in private collections. The acquisition of this Ushabti figure is not certain, but it was likely donated from a private collection rather than an institution. This particular artefact is significant as an example of a high-quality Ushabti representative of those produced during the late 18th or early 19th century. It provides insight into the individualism of an Ushabti and the mythology of ancient Egypt. It also provides an example of the types of items required in the tomb assemblages of this period and reinforces the importance of ensuring the successful afterlife of the deceased through art. This Ushabti belonged to a woman named Taweret-Khaiti, Chantress of Amun, in the late 18th Dynasty or early 19th Dynasty (c.1292 BC) of the Egyptian New Kingdom. It likely comes from an undetermined tomb in the locality of Thebes. This figure is made from Nile silt clay (a polyester terracotta; clay sourced from the banks of the Nile River) which was a popular material for Ushabti construction in the early 19th Dynasty. It is in a fair state of preservation (with the exception of a break through the centre) and originally made to a high quality. The face has been damaged but the eyes and eyebrows are clearly marked with black ink and the sclera painted white. The Ushabti is painted a light brown/yellow colour and features a vertical line of inscription down the lower front. The Ushabti wears a large wig and and a schematic collar. The arms are painted light brown and depicted crossed with bracelets around the wrists. It grasps a hoe and mattock. A yellow seed-basket is depicted on the Ushabti’s back. These features represent the likelihood that this particular Ushabti was intended to complete farm work for the deceased in the next life. There would have been additional Ushabti of similar design within the tomb who worked under the supervision of a foreman Ushabti. The foreman Ushabti would be depicted dressed in the clothing of the living. The inscriptions are painted freehand in black ink and written in a vertical column from the base of the collar to the foot pedestal on the front of the Ushabti. The owner of the Ushabti could elect to have the figures inscribed with their name, the Ushabti spell and any other details they deemed necessary. In the case of this example, the Ushabti is inscribed with the owner’s details and is an abbreviated version of the standard Ushabti formula. This formula ensured that the Ushabti would complete the desired task in the afterlife when called upon by the deceased. Ushabti which were not inscribed would represent their intended purpose through design; however, this Ushabti, like most made in the late 18th Dynasty, conveys its purpose both through both design and inscription. The inscription is as follows: sHD wsir nbt pr Smayt imn tA-wr(t)-xai(ti) mAa xrw which translates to: "The illuminated one, the Osiris (the deceased), the mistress of the household, Chantress of Amun, Taweret-Khaiti, true of voice (justified)"ancient egypt

Bendigo Town Hall, built in 1859 and extended over three phases resulting in the present Mannerist style building of stone construction. The original 1859 design by George Avery Fletcher was a simple two storey building in the Italianate style, which served as the foundation for future remodelling and extensions by Bendigo architect William C. Vahland in 1866. The Town Hall contains fine decorative interiors in the main hall and council chamber along with objects and original council chamber furniture which are integral to its significance and heritage values. This photograph taken in 1953 shows the original council chamber in use.Gold framed photograph with mount taken in 1953 showing the old council chambers at the Bendigo Town Hall with City of Bendigo officials. Includes Councilor's, the Mayor, Town Clerk and others. Cr's from left to right are Cr Dungey, Cr Pethard, Cr Granger, Cr Clayton, Cr Floor in mayoral robes, Town Cleark Mr Amer, Cr Michelsen, Cr Pouston, Cr Oliver, Cr Shadforth. Five unknown men seated and standing.Nonecity of bendigo, mayor flood, councillor flood, councillor clayton, councillor granger, councillor pethard, councillor michelsen, councillor oliver, bendigo town hall

Tooradin State School officially opened on April 12, 1875, with Mrs. Adelaide Dredge as the first teacher at 50 Tooradin Station Road. In 1975 the school relocated to Bayview Road. The former school site is recognised for its historical significance, although the buildings are gone, some of the trees remain.Black and white photograph of school children in grades 1 to 6 at Tooradin State School in 1959. Back row: Isabel Bradshaw (Evans) Teacher, ------, I. Schepers, ------, John Carter, ? Radion, Brian Codner, Jim Dawson, Colin East, Gary Burgess, -----, Gert Schepers, John Carter?, Bill Richards Head Teacher, Third row: Robert Dawson, Faye Mitchell,-----, Janette Coram, -----, Dulcie Mynard, Dale Adams, Loris Ward, Marion Mynard, Lyn Carter, Sharna Coram. Second Row: Russell Popple, -----,-----,-----,-----,Diane Dawson, Rosemary Coventry, ? Mynard, -----,-----,? Carter, Anne Adams, -----,-----, Lionel East. Front row: Ronnie Clay,-----,-----,-----, Albert Clay, Terry Evans, Robert Wheatley, ------, Geoffrey Wheatley, ? Carter, Ashley Bould, David Dawsontooradin state school, tooradin (vic.)

Tooradin State School officially opened on April 12, 1875, with Mrs. Adelaide Dredge as the first teacher at 50 Tooradin Station Road. In 1975 the school relocated to Bayview Road. The former school site is recognised for its historical significance, although the buildings are gone, some of the trees remain. Black and White photograph of school children and teacher from Tooradin State School c1958. Prep to Grade 2. Back Row: Robert Wheatley, -----, Isabel Bradshaw, Teacher. Third row: ? Van Wyck, Gert Schepers, Colin East, -----, Adrian Schepers, Second row: Ashely Bould, Diane Dawson, Rosemary Coventry, Sharna Coram, Dulcie Mynard, Janette Coram, Christine Mynard, I Carter, Anne Adams,-----. Front Row: ? Carter,-----, Geoffrey Wheatley, David Dawsom, Gary Dunstan, -----, Ronnie Clay.tooradin state school, tooradin (vic.)

Tooradin State School officially opened on April 12, 1875, with Mrs. Adelaide Dredge as the first teacher at 50 Tooradin Station Road. In 1975 the school relocated to Bayview Road. The former school site is recognised for its historical significance, although the buildings are gone, some of the trees remain.Photograph of Tooradin State School pupils and teacher grades 3 to 4 1956. Teacher Mr Bicknell Top Row: -------, Terry Hewson, Don Smith, Graeme Bell, Tony Jenner, Brian Codner, Johnnie Popple,-----,-----. Centre row: Dale Adams, Shirley Dean, Possie Popple, Merle Clay, Maria Mierziva, Jennifer Wright, Myrah Dean, Lyn Dawson. Bottom Row: Jury Radion, John Carter, Geoff Carter, Gary Codner, ? Wright, ? Wright, Francis Evans, Jim Dawson. tooradin state school, tooradin (vic.)

Tooradin State School officially opened on April 12, 1875, with Mrs. Adelaide Dredge as the first teacher at 50 Tooradin Station Road. In 1975 the school relocated to Bayview Road. The former school site is recognised for its historical significance, although the buildings are gone, some of the trees remain. Black and white school photo of students and teacher at Tooradin State School 1956. Top row: -----, Robert Dawson, ? Hewson, Gary Burgess, ------, Albert Clay, -----. Middle row: ? Wright, -----, Lyn Carter, Miss R Furnell (Teacher), Rosemary Coventry, Dianne Dawson, Fay Mitchell, -----. Bottom row: Russell Popple, John Dean, -----, -----, -----, -----, -----.tooradin (vic.), tooradin state school

Dutch migrants from the province of Limburg started a Jokers Club in Melbourne choosing a "Carnival Prins" every year. Hans 2 was chosen in 1987. The custom of partying prior to the start of Lent was very strong in the mainly Catholic Southern provinces - Limburg and Brabant. The custom has lost some of its religious significance and is mainly kept up as a fun event.Brass medal depicting a Joker on one side with names and a date on the other. The medal is suspended from a red and white twisted cord.Back of the medal reads: "Hans 2 1987 Bieëgdje". Made in Italy.

Tony IRVING (1939- ) Born England Arrived Australia 1942 Tony Irvings work is a snapshot of urban life. In the 1970s, he won the prestigious National Gallery of Victoria's John McCaughey Acquisitive Prize. The St Kilda Kiosk before it was destroyed by fire in 2003, and has since been restored by the state government because of its heritage significance.RealismAn blue etching and aquatint with the St Kilda Kiosk at the subject matter. The St Kilda Kiosk was destroyed by fire in 2003. Donated through the Australian Government Cultural Gifts Programme by Katherine N. Littlewood, 2014artist, artwork, st kilda, churchill, printmaking, st kilda kiosk, tony irving

This 19th-century German secretaire is a refined example of the Biedermeier style, valued for its restrained elegance, high-quality craftsmanship, and practical, compartmentalised interior. Made with fine veneers, typically cherry or walnut, over a sturdy timber carcass, Biedermeier secretaires represent an important era of German domestic design that emphasised order, utility, and tasteful simplicity. Its significance to Ziebell’s Farmhouse Museum is elevated by its direct association with Christian Ziebell, who returned to Germany in 1855 after having settled in Westgarthtown and brought the secretaire back to Melbourne by ship. As a personally selected furnishing, it reflects both Christian’s continued connection to his homeland and the aspirations of a settler family building comfort, status, and familiarity in a new country. The secretaire contributes meaningfully to the interpretation of German migrant domestic life, craftsmanship, and transnational identity, offering tangible insight into what the Ziebell family valued and chose to carry across the world.

Built between 1882 and 1884 for the banker William Greenlaw and with interior decoration by the Paterson Brothers, Villa Alba is important to the state of Victoria for architectural, historic, social and aesthetic reasons. Its cultural significance results from the unrivalled quality of the late Victorian hand-painted decoration of its interiors. The Villa Alba Museum is committed to the collection, study and display of 19th century interior decorative finishes, and the components of 19th and 20th century interior decoration.The photograph is one of a series of views of the interior commissioned from the photographer Russell Winnell by the Board of Management of Villa Alba Museum in 2011.Decoration of painted services is original to 1884.villa alba museum, interior design - 19th century, drawing rooms - 19th century, paterson brothers - decorators - melbourne, russell winnell photography

Research Report on Fairview, Cluny, held in the KHS Reference Files. Research report, prepared by Allan Willingham for Carey Baptist Grammar School in 2006, into Cluny (formerly Fairview) 34 Wrixon Street, Kew 3101. The cultural and architectural history and assessment of cultural heritage includes a summary of the building's current heritage status, a history of the property, biographical portraits of the principal owners, an architectural history, an assessment of its cultural heritage significance, a statement of conservation policy and appendices.fairview -- wrixon avenue -- kew (vic.)

The Sergeant, senior Constable, or Constable on duty at Orbost Watchhouse, received all charges against prisoners brought in by different constables, ascertained their nature and if satisfied it was a proper charge was obliged to record the name of each prisoner and the particulars of the offence. This information was recorded in a charge book. Recorded also were details pertaining to the charge itself included: the charge number; the date and hour of both the apprehension and the recording of the charge in the Charge book; personal details of the person being charged including name, address, date and place of birth, a short summary of the nature of the offence and any other relevant details which followed the charges. In general entries became less detailed over time but the format of the entries and the type of information collected remained similar.This book is associated with Orbost and provides insights into the nature of crime as well as the experiences of police and victims in Orbost.A large, heavy register with hand-written entries. Pages are ruled with columns and printed headings. It also contains an indexed list of names and dates in a separate section at the back.charge-booh-orbost-police-station crimes law

Contains a copy of the agreement dated 23-8-1912 between the Australian Tramway Employees Association with the Melbourne Tramway & Omnibus Company Limited, and a supplemental agreement dated 12-8-1913. See item 6340 for a digital copy and its historical significance in detail. Additional fold-out sheets have been inserted to detail the changes made to the agreement over time. Each section has been cut and pasted into the book with handwritten notes and names in some places.Yields information about the first agreement between the Melbourne cable tram operator and the Union that represented the workers.Book - leather bound, with end papers and tabbed for A to Z, containing the agreement between the MTOCo and the AETA of 1912 and hand written notes for each clause.On top and bottom edges in ink "Old 10/8/12"tramways, trams, unions, atea, cable tramways, mtoco, employment conditions, agreements, cable trams, disputes, discipline

The Black Powder Mill is the last remaining building from the Albion Explosives Factory and is located in the suburb of Cairnlea. It was used to grind gunpowder for bombs and shells in WW2. In 2001 the Black Powder Mill was included in the National Trust's Heritage Register due to its cultural heritage significance. Friends Of The Black Powder Mill A Blast From The Past Memories of Albion Explosives Factoryblack powder mill, albion explosive factory

Fortuna Villa was initially commenced as a modest single storey home in 1861 next to the 180 Mine by Theodore Ballerstedt, who sold the mine and house to George Lansell in 1869. Lansell already owned the adjacent Fortuna Mine, and through deeper mining techniques greatly expanded the mine's operation, his personal wealth, and the house and grounds. Lansell was soon known as the 'Quartz King', Australia's first gold mining millionaire and credited as the driving force behind much of Bendigo's prosperity. He continuously added to and expanded the villa, decorating it extravagantly with the finest of artworks and materials, into a sprawling mansion with extensive landscaped grounds, to create a house and grounds of a size and grandeur with few rivals in Australia. After his death in 1907, his second wife Edith carried on with improvements, creating a house and grounds developed over 50 years. The attached mine also contributes to its significance, being one of the richest mines in Bendigo, and at one stage probably the deepest gold mine in the world at 3176 feet. The 1875 crushing works are attached directly to the mansion, and the mine's tailings and settling ponds (turned into ornamental lakes) represent a direct link between George Lansell's wealth and its source. Fortuna was compulsorily acquired by the Commonwealth in 1942 as the Cartographic Headquarters of the Australian Survey Corps during World War II, and many ancillary structures were added while preserving the main house and ornamental grounds. Victorian Heritage Database Report https://vhd.heritagecouncil.vic.gov.au/places/68334/download-reportMinutes of Army Survey Regiment Unit Historical Fund, Fortuna Villa (28 Aug 1991 - 25 Nov 1992) 28 August 1991 - cost of construction of base of the fountain, and letter to Bendigo Art Gallery to follow-up loan of the "Venus" statue for display in the RM's office and resurfacing of marble baths in the CO and adjutant's offices. Single undated page from Unit Historical Fund Committee in 1991. 11 Nov 1992 - discussion of Christmas tours and a plaque for hallway. 25 Nov 1992 - lights for the Company's office, and a discussion of five tasks for next year. Lansell's Fortuna flyer for tour.fortuna villa, minutes

Fortuna Villa was initially commenced as a modest single storey home in 1861 next to the 180 Mine by Theodore Ballerstedt, who sold the mine and house to George Lansell in 1869. Lansell already owned the adjacent Fortuna Mine, and through deeper mining techniques greatly expanded the mine's operation, his personal wealth, and the house and grounds. Lansell was soon known as the 'Quartz King', Australia's first gold mining millionaire and credited as the driving force behind much of Bendigo's prosperity. He continuously added to and expanded the villa, decorating it extravagantly with the finest of artworks and materials, into a sprawling mansion with extensive landscaped grounds, to create a house and grounds of a size and grandeur with few rivals in Australia. After his death in 1907, his second wife Edith carried on with improvements, creating a house and grounds developed over 50 years. The attached mine also contributes to its significance, being one of the richest mines in Bendigo, and at one stage probably the deepest gold mine in the world at 3176 feet. The 1875 crushing works are attached directly to the mansion, and the mine's tailings and settling ponds (turned into ornamental lakes) represent a direct link between George Lansell's wealth and its source. Fortuna was compulsorily acquired by the Commonwealth in 1942 as the Cartographic Headquarters of the Australian Survey Corps during World War II, and many ancillary structures were added while preserving the main house and ornamental grounds. Victorian Heritage Database Report https://vhd.heritagecouncil.vic.gov.au/places/68334/download-reportMinutes of the Fortuna Historical Committee held 24 August 1994 (hand written minutes over four sheets, referenced Vol 9 Fol 3) including four pages of stakeholder feedback tabled at the meetingfortuna, historical unit