Hand written notes on the peculiarities of the Hustlers Line of Reef. Notes on pitch of the reef and a peculiar type of false saddle reef.mine, gold, great extended hustlers., great extended hustlers mine, peculiarities of the reef, pitch of reef, false saddle reefs

Seven men were killed at the Great Extended Hustler's mine disaster on 2nd May 1914 by an explosion of dynamite occurring as the men were waiting at the plat to ascend the mine at the end of their shift. No blame was attached to anyone in the findings of the inquisition. It was unknown what caused the dynamite to explode. This document formed part of the research done at the time by Bendigo Historical Society, of the 100 years commemoration of the mine disaster, held at Hustlers Hill in 2014. Six page copy of research document, describing the history and geology of the Great Extended Hustlers Mine and the Great Extended Hustlers Reef Q.M. Co.. Topics include: general overview of history, mines along the Hustlers line, characters of the saddle reefs, gold occurrences, effect of pitch, influence of faulting, payable reefs and saddle reefs and spurs. Mine overview researched by Mr. Albert Richardson. great extended hustlers, goldmining, hustlers consols, united hustlers and redan, k.k. mine, comet, hustlers reef no. 1, hustlers reef, hustlers royal reserve co., park shaft, hustlers royal reserve no. 2, city shaft, fortuna hustlers

Great Hall at Montsalvat built 1938-52, designed by Justus Jorgensen Covered under National Estate, National Trust of Australia (Victoria) State Significance, Victorian Heritage and Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p129 At first glance, Montsalvat, the artists’ community at Hillcrest Avenue, Eltham, could belong to another time and place. The French provincial Gothic-style buildings blend picturesquely with the introduced and native trees and farm animals on the five hectare property. But Montsalvat belongs very much to today’s Eltham, having inspired much of its creative activity and style. The use of mud-brick and recycled building materials, for which Eltham is so well-known, was largely popularised by Montsalvat. Montsalvat – unique in Victoria and probably in Australia – is registered by the National Trust and National Estate.1 Montsalvat, named after the castle of the Knights of the Holy Grail, has attracted artists and intellectuals since it was founded in 1934. For years at weekends, artists, lawyers, philosophers, politicians and others, who shared a love for what Montsalvat stood for, gathered for a meal and stimulating discussion. The focus for this gathering of talent was Justus Jörgensen, an eccentric man with vision and charisma. It was Jörgensen’s foresight that saw the creation of Montsalvat, which in 1975 was formed into a trust to benefit the Victorian people. The property was then valued at about three million dollars. It is now visited by thousands of people annually. Born in 1894 and brought up a Catholic, Jörgensen had trained as an architect. He later studied painting at the National Gallery School under artist, Frederick McCubbin, then joined the studio of artist Max Meldrum. In 1924, Jörgensen married medical student Lillian Smith, and with artist friends they travelled to Europe to study the great masters. In London Jörgensen exhibited in several major galleries. One of his still life paintings was included in the book The Art of Still Life by Herbert Furst, which featured 100 of the greatest ever still life paintings.2 In 1929, Jörgensen returned to Melbourne where Lil, now qualified, worked as an anaesthetist at St Vincent’s Hospital. They bought a small house in Brighton and Jörgensen rented a large building in Queen Street for his studio until the Royal Automobile Club of Victoria bought it in 1955. While designing and overseeing the building of a studio for his friend the famous cartoonist Percy Leason, in Lavender Park Road, Jörgensen decided to buy land for a country retreat in Eltham. So the building of Montsalvat began. Jörgensen gathered around a dozen of his friends and students from his Queen Street studio. They set to work, first at weekends then some decided to live permanently on the site. Jörgensen had seen mud-brick buildings in Spain and recognised that Eltham’s clay soil was ideal for mud-bricks and although labour intensive, it was a very cheap way of building. Jörgensen’s students and friends worked under his direction with the help of local tradesmen, including carpenter, Len Jarrold and later stone mason, Horrie Judd. In return Jörgensen would give the students a painting lesson or two. It was the Great Depression when many were out of work. Jörgensen also inspired people to give generously of money and materials. With their help Jörgensen found second-hand materials for building. Friends donated slate for roofing, discarded firebricks were used for flooring and windows and doors and a cast-iron circular staircase came from a wrecker. The students’ day started at 7am with building and domestic chores, shared equally between the sexes. The first building was used by his friends at weekends and then became a home for his wife Lil. It consisted of three rooms and an attic under a high-pitched roof. Jörgensen then built a similar structure with the same high-pitched roof as a more permanent home for his students. The two buildings were joined together with a tower and a studio for Jörgensen. While excavating for the studio a reef of yellow mud-stone was found and then used in construction. The next building was the Great Hall, to be used for dining, exhibitions and meetings and completed in 1958, after a halt during the war. Whelan the Wrecker donated the stone-framed windows from the building that housed the Victorian Insurance Co. in Collins Street, which had been demolished in the 1930s. The swimming pool was donated and cubicles were built for the students with their initials marked in tiles on each doorstep.1 One of Jörgensen’s great abilities was to recognise how to use material which harmonised. He would comb through wreckers’ yards for what he needed. Regarding his buildings as sculptural pieces, his first consideration was for the aesthetic quality of a building and only then for its functionality.2 At Montsalvat, Jörgensen found he was able to put his ideas into practice without compromise and those who worked with him had to conform to his ideas. With the Jörgensens, the colony’s original nucleus consisted of the Skipper family – Mervyn and wife Lena, daughters Helen and Sonia and son Matcham,who was to become an eminent jeweller and sculptor represented in National Gallery collections throughout Australia and in European museums.3 Other members were Arthur Munday, Lesley Sinclair, Helen Lempriere, Ian Robertson, John Smith, George Chalmers, John Busst and Sue Van der Kellan; also Jörgensen’s three sons – Max, Sebastian and Sigmund – and Saskia, Sonia Skipper and Arthur Munday’s daughter. Montsalvat went through some hard times when local gossips spread rumours of sexual shenanigans at Montsalvat. However Montsalvat also had many local supporters – especially amongst the local tradespeople. The colony was certainly unconventional – with Jörgensen’s wife Lil (and son Max) and life-time partner Helen Skipper, (mother of Sebastian and Sigmund) living at Montsalvat. Sonia Skipper says in her biography that the group were ‘very conscious of their responsibilities to each other and a desire to make their relationships work’.4 By World War Two many buildings around the Great Hall were completed. Jörgensen was a pacifist, as were most of his students. Some of the Montsalvat community enlisted while others engaged in essential services like dairy farming and market gardening for the war effort. It was then that Jörgensen constructed farm buildings. After the war many well-known personalities such as Clifton Pugh, landscape gardener Gordon Ford, and builder Alistair Knox, were drawn to Montsalvat. They learnt that building was not a ‘sacred cow’ only for professionals, but that anyone who was willing to get their hands dirty could do it. The post-war shortage of materials also encouraged builders to follow Montsalvat’s lead in reusing materials. When Jörgensen died in 1975, his influence did not – thanks largely to the vigilance of his son, Sigmund, who became its administrator. The weekend dinners have gone, but in 2008 about 14 artists still work at Montsalvat – some living there – including a couple who have been there since its early days. Under Sigmund’s direction Montsalvat further expanded its activities which included festivals, art exhibitions, concerts and weddings. Sigmund completed the Chapel, then the Long Gallery next to the pool, After the barn burnt down, he replaced it in 1999 (the builder was Hamish Knox, Alistair’s son) with a new gallery and entrance and added a restaurant. Sigmund has been careful that any new building blends in with the character of Montsalvat. In 2006 Montsalvat was restructured for its continued financial viability and with the help of Arts Victoria a new executive officer was appointed. A representative board from the wider community was established, which includes members from the former Montsalvat Trust including Sigmund Jörgensen – who is now the heritage and arts adviser to the new company Montsalvat Ltd.5 Today, visiting Montsalvat one still sees artists, students and visitors enjoying the unique and beautiful surroundings.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, great hall, montsalvat

The Central Red White and Blue Gold Mine was Bendigo's leading gold mine from 1910 - 1913. During the mine's operation, the main shaft was sunk 670 metres, and retrieved over 2500KG of gold. The Central Red White and Blue Gold Mine was located on the corner of Chum St and Honeysuckle St in Golden Square. Extract from Whitelaw Report: Central Red White and Blue Mine, Bendigo. Author: H E Whitelaw Share Abstract Early in 1910, some considerable time after it had become generally known that a rich reef at a depth of 405 ft was being worked southward from the privately owned Lansell's Little 180 shaft and immediately following the plotting of the Geological Survey pitch diagram of the Sheepshead line of reefs, some wide awake local mining men seized the opportunity to secure the holding known as Eadie's which, overlapping Lansell's lease and containing a stretch of the Sheepshead reef channel between the Little 180 north and south shafts, had been declared void some five years previously. That the Lansell Estate did not acquire this property on its becoming available is puzzling in the light of the fact that in Eadie's day the late Mr G W Lansell, on discovering auriferous spurs in the south shaft (now the Central Blue) had offered 2,000 pounds for, and a percentage of gold won from the lease. https://search.informit.org/doi/10.3316/aesis.200105326 Draftsman's drawing of Central Red, White and Blue Mine Map. Printed by Troedel & Cooper Pty Ltd. Mr. H. Cundy, Surveyor Forms part of the Margaret Roberts Collection of mining records.bendigo, gold, map, mine, central red white & blue, margaret roberts collection, sheepshead reef

Three page typed report titled ' Notes on diagram showing pitch lines, Bendigo'. Longitudinal sections along the lines of reefs or anticlines within the 8 mile block at Bendigo are shown in a diagram' (diagram not included with notes) Mines and reef lines mentioned in the report are : New Chum line, New Chum Railway mine, Catherine United mine, Hercules and Energetic mine, Garden Gully, Hustlers and Redan, Sheepshead Reef, Sea Mine, Garden Gully, Miller's line of reef and Bendigo Development Mine. The 'old stacks' or chimneys, on Bendigo are described. 'Among the earliest of the stacks built at Bendigo in connexion with Quartz crushing plant, are the two figured in this Annual report No 1 was situate in Sailor's Gully but was demolished about three years ago. This, if not the first, must have been one of the first built, for it had a stone inserted on which chiselled the date 1854. It was built altogether of rough masonry. The other, No. 2, is still standing at the Sheepshead line and was apparently of later date, the upper portion being of brick. They are intersting landmarks of an era that is rapidly passing.' Map attached to report showing location of stacks. Stack at Sailors Gully was near the corner of Murchison Street and Lester Street. The stack at Sheepshead ( Deborah Triangle area) was near the intersection of Belle Vue Road and Adam Street.bendigo, mining, pitch lines bendigo

Hand drawn plan of mine, showing spurs, slate, lava. Christmas Reef shaft and Great Western shaft drawn. Notations in pencil. On left hand side 'Memo: the shaft of the Christmas Reef Co is about 5 chains north of Great Western Cos shaft. The strata and surface pitch north, assumed at same rate. The working of Allingham and Moore's Trib Co are taken from their reports in Bendigo Advertiser May 1872 to May 1873. Jas Down Mgr' Scale on plan 20 ft to 1 inch Legend shows sandstone, slate and quartz.Bendigo Advertiserbendigo, mining, christmas reef gold mining

Mines on plan were located in the Virginia Hill area of Eaglehawk. Longitudinal section along reef line showing North Virginia, East Clarence and New Argus gold mines. 'Pitch of cap of New Argus Reef' handwritten on plan. Scale printed on top of plan: '264 ft to an inch'. Plan forms part of the Margaret Roberts Collection.gold mining, gold, bendigo, new argus, north virginia, east clarence, gold mines

The Central Red White and Blue Gold Mine was Bendigo's leading gold mine from 1910 - 1913. During the mine's operation, the main shaft was sunk 670 metres, and retrieved over 2500KG of gold. The Central Red White and Blue Gold Mine was located on the corner of Chum St and Honeysuckle St in Golden Square.. During the mine's operation, the main shaft was sunk 670 metres, and retrieved over 2500KG of gold. The registration of the Company in 1891 (Government Gazette 138, November 6th. 1891, page 4465) lists the value of the Company's property as three hundred and fifty pounds. The number of shares was thirty thousand at 2 shillings each. The Manager was Mr. William Weeks Barker. Ref: https://gazette.slv.vic.gov.au/view.cgi?year=1891&class=general&page_num=4465&state=v&classnum=g138&id= Extract from Whitelaw Report: Central Red White and Blue Mine, Bendigo. Author: H E Whitelaw Abstract Early in 1910, some considerable time after it had become generally known that a rich reef at a depth of 405 ft was being worked southward from the privately owned Lansell's Little 180 shaft and immediately following the plotting of the Geological Survey pitch diagram of the Sheepshead line of reefs, some wide awake local mining men seized the opportunity to secure the holding known as Eadie's which, overlapping Lansell's lease and containing a stretch of the Sheepshead reef channel between the Little 180 north and south shafts, had been declared void some five years previously. That the Lansell Estate did not acquire this property on its becoming available is puzzling in the light of the fact that in Eadie's day the late Mr G W Lansell, on discovering auriferous spurs in the south shaft (now the Central Blue) had offered 2,000 pounds for, and a percentage of gold won from the lease. https://search.informit.org/doi/10.3316/aesis.200105326 Hand drawn plan of Central Red, White and Blue Mine. Cross section and longitudinal plan drawn on plan. Printed name on top of plan: 'Central Red White and Blue Co' Plan printed by Troedel & Cooper Pty Ltd. Surveyor W. H. Cundy, Bendigo April 1913 Plan is part of the Margaret Roberts Collection of mining records.bendigo, margaret roberts, gold, central red white and blue gold mine, map, margaret roberts collection

The Confidence Extended Gold Mine was located near the corner of Taylor Street and Upper California Road, Long Gully. CONFIDENCE EXTENDED This company, as will be soon by the plan, has a large lease holding on the extension of the line. The main shaft, which is in a fairly central position, is down about 2350 ft., while the lowest level at the N. shaft is at 1403ft. After making- allowances for the northerly pitch of the country, it is calculated that the main shaft would require to be deepened about 600ft. in order to pick lip the continuation of the reef being opened up successfully in the "Windmill Hill mine. 'Bendigo Advertiser' 7th May 1909.Printed in black text on top of plan: 'Confidence Extended Co'. Handwritten name inscribed: 'N.Cundy, 8.2.10'. Transverse section of mine shaft, annotated with geological features and depths. Plan forms part of the Margaret Roberts Collection.gold mining, gold, bendigo, transverse section, confidence extended gold mine