A civic campaign for new public offices developed in Kew in the 1880s. After much deliberation, the location chosen was the junction of Bulleen and Cotham Roads. The buildings were designed by George Watson and John Henry Harvey, architects within the Department of Public Works (Victoria). Building was commenced in 1887, and after one year, the buildings were opened. The Post Office was transferred to the new Commonwealth Government in 1901. The Police Station and Court House, sold by the Victorian Government to the City of Boroondara in 2007, are now a community cultural centre and performing arts venue.The buildings were listed on the Victorian Heritage Register Register (HO885) in 1991. They are historically and architecturally significant to the State of Victoria because Watson and Harvey's designs exhibit diversity in integrating civil offices, they accommodate the apex of road junctions, and they demonstrate a departure from the contemporaneously favoured High Victorian Classical to the Queen Anne style in the design of civic buildings.Metal ceiling rose from the Kew Police Station, removed during renovations, 2007-11. From original, now concealed ceilings.kew police station, ceiling roses, architectural fittings

A civic campaign for new public offices developed in Kew in the 1880s. After much deliberation, the location chosen was the junction of Bulleen and Cotham Roads. The buildings were designed by George Watson and John Henry Harvey, architects within the Department of Public Works (Victoria). Building was commenced in 1887, and after one year, the buildings were opened. The Post Office was transferred to the new Commonwealth Government in 1901. The Police Station and Court House, sold by the Victorian Government to the City of Boroondara in 2007, are now a community cultural centre and performing arts venue.The buildings were listed on the Victorian Heritage Register Register (HO885) in 1991. They are historically and architecturally significant to the State of Victoria because Watson and Harvey's designs exhibit diversity in integrating civil offices, they accommodate the apex of road junctions, and they demonstrate a departure from the contemporaneously favoured High Victorian Classical to the Queen Anne style in the design of civic buildings.Two pieces of broken slate from the roof of the Kew Court House / Kew Police Station, formerly the Kew Public Offices. The slate roof was replaced during renovations between 2007-11.kew police station, architectural fittings, slates, kew court house

A civic campaign for new public offices developed in Kew in the 1880s. After much deliberation, the location chosen was the junction of Bulleen and Cotham Roads. The buildings were designed by George Watson and John Henry Harvey, architects within the Department of Public Works (Victoria). Building was commenced in 1887, and after one year, the buildings were opened. The Post Office was transferred to the new Commonwealth Government in 1901. The Police Station and Court House, sold by the Victorian Government to the City of Boroondara in 2007, are now a community cultural centre and performing arts venue.The buildings were listed on the Victorian Heritage Register Register (HO885) in 1991. They are historically and architecturally significant to the State of Victoria because Watson and Harvey's designs exhibit diversity in integrating civil offices, they accommodate the apex of road junctions, and they demonstrate a departure from the contemporaneously favoured High Victorian Classical to the Queen Anne style in the design of civic buildings.Rusted iron pin, the sole remaining example that held the iron finial atop the flèche on the ceiling of the Kew Court House. The pin dates from the building's construction by the Department of Public Works. It was replaced during renovations between 2007-11.architectural fittings, kew court house, iron pin

The Working Men’s College was founded in 1881 by a prominent grazier and philanthropist, The Hon. Francis Ormond, who donated £5000 towards the establishment of the college. The Council of the Melbourne Trades Hall then matched Ormond's initial donation by rallying its members. On 4 June 1887, the college opened in its purpose-built building on the corners of Bowen Street and La Trobe Street in Melbourne, with a gala ceremony. It became the third official provider of higher education in the new Colony of Victoria (the Melbourne Athenaeum was founded in 1839 and the University of Melbourne in 1853). The college was the predecessor to the current-day Royal Melbourne Institute of Technology (RMIT University). Adjoining the college in the 1890s were the Supreme Court of Victoria (later the Melbourne Magistrates' Court) and the Melbourne Gaol - both which are now part of RMIT today. A list of Scholarship Governors and Life Governors is included. The former have donated 250 Pounds Sterling and upwards, the later have donated 20 Pounds and over but less than 250 Pounds Sterling. The Patron of The Working Men's College was His Excellency The Right Honourable Lord Brassey. The President of the Council was Professor W C Kernot. The majority of classes were at night and on Saturdays. Tan soft covered book of 112 pages. The thirteenth edition of the Working Men's College (later Royal Melbourne Institute of Technology [RMIT]). It inlcudes the following photographic images: Main Building, Assaying, 1899 council (W.C. Kernot, W.H. Embling, Thomas smith, F.H. Bromley, John Reid, R.H. Solly, E. Findley, D. McIvor, James Robb, John Hancock, C.E. Oliver, A.J. Arnot, James Smith, Joseph Nixon, R.L.Jellery. C.S. Paterson), UNveiling the Ormond Statue, Victorian Lead and Shot Works, Francis Ormond, Telegraphy room, Lecture Theatre, photography, painting class, wool sorting, plumbing, Remington typewriter, W. Ison, H.D. Evans, library, Verdon prize, Denton Hat Mills. working men's college melbourne, rmit, w.c. kernot, w.h. embling, ormond statue, f. ormond, electricity, surveying, architecture, photography, assaying, dressmaking, veterinary science, plumbing, letterpress printing, w. ison, h.d. evans, library, denton hat mills, literary and commercial department, typewriting department, languages, telegraphy, department of music, department of mathematics, department of engineering, 'department of architecture, department of art and applied art, department of mining and metallurgy, department of chemistry, department of household economy, department of agriculture and rural industries, woodworking, carpentry and joinery, turning and fitting, coachbuilding and carriagedrafting

The Working Men’s College was founded in 1881 by a prominent grazier and philanthropist, The Hon. Francis Ormond, who donated £5000 towards the establishment of the college. The Council of the Melbourne Trades Hall then matched Ormond's initial donation by rallying its members. On 4 June 1887, the college opened in its purpose-built building on the corners of Bowen Street and La Trobe Street in Melbourne, with a gala ceremony. It became the third official provider of higher education in the new Colony of Victoria (the Melbourne Athenaeum was founded in 1839 and the University of Melbourne in 1853). The college was the predecessor to the current-day Royal Melbourne Institute of Technology (RMIT University). Adjoining the college in the 1890s were the Supreme Court of Victoria (later the Melbourne Magistrates' Court) and the Melbourne Gaol - both which are now part of RMIT today. An Index at the back lists all courses available. There is also an Index to Advertisements. Orange/red soft covered book with assorted photographs and advertisements.Office Jun Tech written on front cover.melbourne, prospectus, w.c. kernot, james smith, thos smith, a.e. smith, c.e. oliver, r. solly, s. barker, r. fiddes brown, t.f. bride, daniel white, f.e. shillabeer, d.avery, a.h. merrin, chas gray, w.h. haigh, j.h. hewison, h. burgess, sir d.v. hennessy, w.s. busby, r.b. lemmon, s.n. rodda, j. lemmon, r.b. mccomas, working men's college, melbourne technical school, charles gray, heads of departments, j sarvaas engineering, g b pritchard mining and metallurgy, e s richards chemistry, a hart mathematics, g r pitkeithly art and applied art, r j haddon architecture, instructors-in-charge, e carlton, coach and body building, r j dorey, blacksmithing, j dewar, plumbing gasfitting sheet metal work, h haile, sheep and wool, g leslie, printing, r h mcleod, correspondence courses, f parkin, pattern-making, w penrose, turning and fitting, machinery erecting, d skidmore, moulding, librarian a hart

The Ballarat Technical Art School was part of the Ballarat School of MinesA soft covered book of 58 pages called the Ballarat School of Mines and Industries Prospectus A. Contents includes teaching staff, school hours, curriculum, fee list, Travelling concessions, school library, classification of subjects. scholarships, list of examiners, full science courses Includes images Staff of the Ballarat School of Mines and Students at work in Turning and Fittingballarat school of mines, ballarat technical art school, design, modelling, figure drawing, fashion plate drawing, black and white illustration, wood carving, lettering, art metal work, retouching, architecture, architectural diploma, draughtsmen's courses, art teachers' courses, outdoor sketching classes, photography, building construction, architectural drawing, ticketwriting, signwriting and decorating, dressmaking, needlework, art teachers' certificate., student activities

Used at the Ballarat School of Mines and the Ballarat Technical Art SchoolThis collection of examinations is significant because of its completeness with the full range of examinations between 1914 and 1950.Large leather bound books, with leather spine, containing all examinations held at the Ballarat School of Mines (including the Ballarat Technical Art School and Ballarat Junior Technical School). The examination papers were supplied and printed by the Education Department, Victoria. Examinations include: Agriculture, Algebra, Architecture, Arithmetic, Applied Mechanics, Assaying, Biology, Botany, Boilermaking, Building Design, Blacksmithing, Bricklaying, Carpentry and Joinery, Coachbuilding, Cabinet Making, Civil Engineering, Cabinet Making, Commercial, Chemistry, Engineering Drawing, Economics, English, Electrical technology, Electricity and Magnetism, Electric Wiring, Electric Welding, Electrical Fitting, Electrical Trades, Food Analysis, Geology, Geological Mapping, Graphics, Geometry, Heat Engines, Heat Treatment, Hydraulics, Hand Railing, Instrument Making, Millinery, Milling and Gearouting, Machine Shop Practice. Metal Founding, Mining, Metallurgy, Mineralogy, Mathematics, Motor Mechanics, Mine Surveying, Mining Mechanics, Petrology, Physics, Painting and Decorating, Pattern Making, Plastering, Plumbing and Gasfitting, Printing, Refrigeration, Spelling, Science , Shorthand, Surveying. Signwriting. Sheet Metalwork, Toolmaking, Ladies Tailoring, Trigonometry, Typewriting, Welding, Commercial Geography. Millinery, Dressmaking, Needlework, Decorative Needlework, Architecture, Building Design and Construction, Art (Composition in Form and Colour), Art (Casting Clay MOdels) Art (Drapery), Art (Drawing the Human Figure From Casts), Art (Drawing the Antique from Memory), Art (Drawing from Memory); Art (Drawing Plant Forms from Nature, Art (Drawing Plant Forms From Memory), Art (Drawing from Models and Objects), (Drawing From a Flat Example). Art (Drawing in Light and Shade from a Cast of Ornament or Lower Nature), Art (Drawing Ornament from the Cast), Art (Drawing from Models or Objects), Art (Drawing fro Dressmakers' and Milliners' Fashions), Art (Drawing With the Brush), Art (Drawing from a Flat Example); Art (Modelled Design), Art (General Design), Art (Embossed Leatherwork), Art (Practical Plane Geometry), Art (Practical Solid Geometry), Art (Geometrical Drawing), Carpentry and Joinery, Art (Human Anatomy), Art (Historic Ornament), Art (House Decoration), Art (LEttering), Signwriting, Art (Light Metalwork), Art (Modelling), Art (Modelling the Human Figure from a Life), Art (Stencilling); Art (Wood Carving) Refrigeration, Teaching, Boilermaking, Blacksmithing, Carpentry and Joinery, Coachbuilding and Carriage Drafting, Electric Wiring, Electrical Fitting, Graining and Marbling, Instrument Making , Machine Shop Practice, Metal Founding, Milling and Gear Cutting, Motor Mechanics, Painting and Decorating, Sheet Metalwork, Toolmaking, Printing, Pattern Making, Plumbing and gasfitting, examinations, ballarat school of mines, ballarat technical art school, trades, education department victoria, agriculture, algebra, architecture, arithmetic, applied mechanics, assaying, biology, botany, boilermaking, building design, blacksmithing, bricklaying, carpentry and joinery, coachbuilding, cabinet making, civil engineering, commercial, chemistry, engineering drawing, economics, english, electrical technology, electricity and magnetism, electric wiring, electric welding, electrical fitting, electrical trades, food analysis, geology, geological mapping, graphics, geometry, heat engines, heat treatment, hydraulics, hand railing, instrument making, millinery, milling and gearouting, machine shop practice, metal founding, mining, metallurgy, mineralogy, mathematics, motor mechanics, mine surveying, mining mechanics, petrology, physics, painting and decorating, pattern making, plastering, plumbing and gasfitting, printing, refrigeration, spelling, science, shorthand, surveying, signwriting, sheet metalwork, toolmaking, ladies tailoring, trigonometry, typewriting, welding., dressmaking, needlework, decorative needlework, architecture, building design and construction, art (composition in form and colour), art (casting clay models), art (drapery), art (drawing the human figure from casts), art (drawing the antique from memory), art (drawing from memory), art (drawing plant forms from nature, art (drawing plant forms from memory), art (drawing from models and objects), (drawing from a flat example), art (drawing in light and shade from a cast of ornament or lower nature), art (drawing ornament from the cast), art (drawing from models or objects), art (drawing for dressmakers' and milliners' fashions), art (drawing with the brush), art (drawing from a flat example), art (modelled design), art (general design), art (embossed leatherwork), art (practical plane geometry), art (practical solid geometry), art (geometrical drawing), art (human anatomy), art (historic ornament), art (house decoration), art (lettering), art (light metalwork), art (modelling), art (modelling the human figure from a life, art (stencilling), art (wood carving), teaching, coachbuilding and carriage drafting, graining and marbling, milling and gear cutting, commercial geography, exams, examination book

The Eltham Shire War Memorial, a tower of remembrance, was built with public donations to commemorate the memory of the fallen soldiers from the shire who enlisted in the 1914-1918 war. The tower is reminiscent of the peel-towers or watchtowers that lined the English-Scottish border from the mid 14th century to around 1600 and is constructed from locally quarried stone. This uncommon and picturesque war memorial, which affords an excellent view of the surrounding district was unveiled by His Excellency the Governor-General (Lord Stonehaven) on November 11, 1926. In July 1922 a deputation of returned soldiers from Panton Hill, presumably the Panton Hill branch of the Returned Sailors and Soldiers Imperial League of Australia (RSSILA), proposed to Eltham Shire Council that the monument should be a cairn of local stone “sufficiently high to form a prominent and conspicuous landmark, and crowned with some suitable device”. Eltham Shire Councillor and President of the Panton Hill branch of the RSSILA, Basil Hall, was credited with being the first to suggest a tower, and with organising a Memorial Park committee to raise funds for the monument in the Memorial Park. A meeting for those interested in the establishing a War Memorial monument in the park was held in January 1924 and the Eltham Shire War Memorial League was formed for this purpose. It appears that the broad and rounded cairn that had been recently built was considered by the League a temporary affair, and not the substantial cairn-as-monument, sufficiently high to form the conspicuous landmark, which had been envisaged by the Panton Hill RSSILA. A design competition was held for the monument. The chairman of the League, Councillor Basil Hall, suggested that the site of the memorial in Kangaroo Ground would lend itself to something rugged, instead of polished stone. By April 1924 thirty designs for a memorial had been received from which three designs were selected and of those, the design by the shire engineer Mr McCormack, for a 70ft tower suitable for construction in rough stone, was chosen. Artist Harold Herbert suggested that a peel tower-like design reminiscent of those along the English-Scottish border would be fitting for the site. Herbert drew up a rough sketch that was approved of, and later, Melbourne architect Percy Meldrum volunteered to draw up the design from sketch to architectural drawings. By January 1925 the Soldiers’ Memorial League had adopted Meldrum’s design for a 50ft high tower. Meldrum had also offered his design and supervision of construction free of charge. The Shire provided the stone to the builders, which was a gift quarried from land owned at Kangaroo Ground by Dr Ethel and Professor William Osborne The Shire of Eltham War Memorial, a tower of remembrance, and honour board were unveiled on November 11, 1926, by the Governor General Lord Stonehaven. At this stage a temporary honour roll was painted on the panels on either side of the tower entrance. In September 1930 bronze plates were added above the portal with the names of men who fell in the 1914-18 war. On November 16, 1951, the Governor of Victoria, Sir Dallas Brooks re-dedicated the war memorial tower and unveiled the names of men who gave their lives in the 1939-45 war. Two additional bronze plaques which recognise service in the armed conflicts of Korea, Borneo, Malaya, and Vietnam were unveiled November 11, 2001, by the Governor of Victoria, John Landy, A.C., M.B.E. The tower was first used for fire spotting activities following the Black Friday bushfire in January 1939 in response to a request from Mr R.D. Ness, secretary of the Kangaroo Ground bush fire brigade, who asked Council that the tower be used as an observation tower for detecting bush fires, and asked Council to arrange a telephone to be installed. It was suggested that if the Shire were to appoint a caretaker for the Memorial Park, his duties could also include raising the alarm in the event of a fire. Later in 1939 Council applied for a radio transmitter, which the Forestry Commission planned to install at vantage places throughout the state. The first dedicated fire spotter appointed from December1948, was Mr Smith of Warrandyte. A prefabricated glazed cabin was installed in 1974, which involved the removal of the original stone structure around the rooftop exit door. A new fire spotting cabin, which included the latest technology, was installed soon after the 2009 Black Saturday fires and is manned by CFA personnel on high fire danger days. Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p123This 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. While published in the book in black and white, this collection features the original colour digital photographs. nillumbik now and then (marshall-king) collection, garden hill, kangaroo ground, memorial park, shire of eltham war memorial

Copy of a Heritage Trade & Services Directory Edition 1, dated April 2001. Compiled by City of Greater Bendigo Heritage Advisory Committee. Front cover has an oval picture of part of a building with scaffolding in front of it. Listed are: Architectural Hardware; Architects; Blacksmiths; Brickwork - General; Builders; Castings - Iron and Non Ferrous Metals; Cement Decoration and Rendering; Chimney Pots; Chimney Restoration; Chimney Sweeps; Colour Consultant; Concrete - Pre-cast; Damp Control; Drafting Service; Fabric; Fencing; Fire Mantels and Inserts; Floor Coverings; Furniture Restoration and French Polishing; Garden Renovations; Glass - Etching; Glass - Leadlighting; Guttering, Galvanised Iron and Sheet Metal Work; Interior Decorating; Joinery and Carpentry; Light Fittings; Masonry Cleaning; Paint; Painters and Decorators; Paint Stripping; Plasters and Associated Products; Resurfacing - Enameling; Resurfacing - Powder Coating; Restumping and Underpinning; Roof Restoration - Iron; Roof Restoration - Slate; Roof Restoration - Terracotta; Second Hand Materials; Stone - Quarries and Cutting; Stonemasons; Tile Layers; Tiles; Turning and Verandah Roofing.bendigo, history, long gully history group, the long gully history group - heritage trade & services directory, heritage advisory committee, city of greater bendigo

black and white photo: an architectural niche next to draped windows to left and right. Marble statue on a pedestal, depicting a partially draped woman. On front bottom margin, Bartlett Bros. Bendigo.Bartlett Bros. Bendigo.buildings, fittings & materials, `lancewood house

Newspaper article: A sustainable award, Diamond Valley Leader, 1 November2006, Architect and building Llewellyn Pritchard won resource Efficiency Housing Award, finalist in HIA Greensmart Building of the Year Award. House – Environmental Leader (Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p186) In 2006 environmental awareness was mushrooming in the community, which is reflected in the award-winning house at Main Road near Wattletree Road, Eltham. At first sight, the building appears a mix of a classic Eltham mud-brick house and an avant-garde building style. The crown of solar panels stretching along the width of the curved roof, indicates that this is no ordinary house. In fact it signals a new building trend of minimal impact on the environment. Yet it utilises the environment with high technical expertise to achieve comfort and cut running and maintenance costs. In recognition of this, its designer/builder, Conscious Homes, won the 2006 National HIA Greensmart Resource Efficiency Award. For Conscious Homes director, Llewellyn Pritchard, this house reflects a philosophy, strengthened by his connection with Aboriginal culture, through his foster siblings. Pritchard believes the sustainable way indigenous Australians lived and their spiritual connection with land, demonstrates how humanity is part of the ecology. His interest in environmental design stemmed from growing up in bushy Eltham Shire, with its mud-brick tradition. This was followed by studying Architecture at RMIT in the early 1980s, and learning about passive solar design. Pritchard says this house demonstrates that environmental sustainability is not about sacrifice, but about exceptional levels of occupant comfort, savings in running costs and modern fittings and appliances.1 The solar panels on the north roofs are intentionally obvious to make a statement about what the building is doing. But inside the systems are hidden and interactive with conventional services, such as the underground water tank. The house is water and energy self-sufficient and at 12 squares is much smaller than conventional houses, to minimise resources. Yet it accommodates his family of four with three bedrooms, a living/dining and kitchen area and a bathroom/laundry. Importantly the building is designed to last hundreds of years, by being able to be modified as the need arises, such as for commercial use. In this way the structure minimises its environmental impact. The solid double mud-brick walls (which are insulated) include steel beams and supporting frame, allowing the future removal or alteration of any section. The materials are local, recycled and of low toxicity where possible.2 Inside and out, the mud-brick is rendered and sealed with a combination of cement and sand and a mud-based coating in a soft golden hue increases its life. Inside, the golden-brown timber is plantation Mountain Ash and the concrete floors throughout – of local stone aggregate with a clear seal – have a natural looking random stone appearance. The house sustains a stable temperature of around 20 degrees, assisted by the concrete slab floor. The many large double-glazed windows and highlights (windows set high on walls) provide cross-flow ventilation. The north-facing living area maximises heating from the lower winter sun and is cooler in summer, because the sun is higher. Heating comes from a solar hydronic slab system. All appliances and fittings are high efficiency energy or water rated. Appliances in the timber kitchen include a gas stove and a dishwasher, using the building’s own power and water. French doors open from the living area to a deck, concealing the treatment system for all waste water. This is pumped through sub-soil drippers to the indigenous garden beds and no-dig vegetable patch. Below the carport is the 80,000-litre rainwater tank and at the back, the boiler room houses the solar boiler, water tank access, domestic water supply pump, filter gear and hydronic slab heating controls. The solar system is backed up with gas, which is needed to heat water only in winter. Gas used is less than one quarter of that for an average home with ducted heating. Excess power is fed back to the grid and the building uses about one quarter of the mains electricity of an average home. Other local builders have followed Pritchard’s lead in resource efficiency for minimal environmental impact.main road, eltham, businesses, llewellyn pritchard, hia greensmart building of the year award., efficiency housing award, conscious homes australia pty ltd

Jacket painting by Clifton Pugh. "Eltham Shire is a well known as a district in which a large number of painters, sculptors, potters, writers and other creative people, The early settlers were, for the most part, resourceful and far-sighted ; the present residents are no less so. Mention the name Eltham and many things spring to mind ; conservation ; the integration of architecture with the environment ; mud-brick buildings; Montsalvat - the list is endless. In 1971, the centenary of the Shire's birth, the Council felt that the publication of a history would fittingly mark more than a century of achievement.." - Dust jacket. Contents: The Beginning Kangaroo Ground Education at Kangaroo Ground The Days of Gold Queenstown Panton Hill The Pioneer Women Christmas Hills and Yarra Glen Eltham Education at Eltham and Research Kinglake Hurstbridge by Sheila Ferguson Montmorency and Lower Plenty The New Way of Life Old Identities Eltham in modern times Educationalists and Writers Earth building in Eltham Early Painters by Peter Glass Painters Today by Peter Glass Warrandyte painters and Potters by Peter Glass Wildlife Present day This book provides a comprehensive history of the former Shire of Eltham and its first one hundred years. Hardback Book with Dust Jacket - 144 p. : illus. (part col.) ; ISBN 0170019489 eltham, alan marshall, shire of eltham, clifton pugh

"The fine structure of St. Peter's, with its prettily-decorated interior, which holds crowded congregations at Holy Mass on Sundays, is alone an eloquent testimony of the piety and devotion which permeates the whole parish. Attached to the church is a circulating library, and Catholic papers and other literature are distributed at the church door. Branches of the H.A.C.B. Society and Catholic Federation are doing much good work. (Melbourne Advocate, 17 January 1914) "OPENING AND CONSECRATION OF THE NEW CATHOLIC CHURCH OF ST. PETER’S, DAYLESFORD Cross on St. Peter'sNotwithstanding the inclemency of the weather, the opening of the new Catholic Church of St. Peter’s, yesterday (Sunday), attracted a crowded congregation. Although the rain, which has poured almost incessantly for some days past, had left our roads and streets in the condition for which Daylesford is celebrated in winter weather, and although he storm and rain seemed to increase as the hour announced for the ceremonies approached, the church was filled by a large congregation, comprising all sects and denominations of Christians in and around the district. The beautiful edifice, erected mainly through the zeal, liberality and energy of the respected pastor, presented a most imposing appearance, and reflects infinite credit upon the Rev. Mr. Slattery, and the flock committed to his charge. The church was commenced in November 1863 and has been in the hands of the workmen up to the present time, work being uninterruptedly carried on. On commencing the foundations, it was necessary to excavate until solid clay was reached, which in consequence of the deep rich chocolate soil on the site of the building, had to be carried down to an average depth of 6 feet 6 inches. The foundations were laid with massive stones in courses of 12-inch, and four feet thick, reducing to 3 feet below the floor line. The style of the building is decorated Gothic, and consists of a nave, 80 feet by 30 feet in the clear, and a chancel 18 feet high; from floor line to apex of roof, 47 feet, which is elegantly constructed, consisting of six spans or frames with puncheons resting on carved corbels, low down between the windows. The north side consists of a handsome entrance, near the north-west angle, approached by nine steps of cut stone, and four bays of windows on nave, and a small door on side of chancel, intended as an entry from the sacristy. The south side presents a very handsome view to Victoria street, a beautiful porch entrance giving access to the building on the south-east end of nave; and on the south-west angle a handsome octagonal spire, terminating in an iron cross, with gilt floriations; the height of top of cross, from floor line, is 88 feet. A stone stairs gives access to the organ gallery and the belfry. The whole of the windows are of a handsome geometrical design, and carved in stone, with mullions and tracery, and glazed with amber-tinted glass, the chancel window being 15 feet high, and 8 feet wide. The chancel arch is unusually large, 27 feet St. Peter's interiorhigh and 18 feet wide, and handsomely moulded, and presents a fine appearance from the body of the church. The roof is stained a rich oak, with heavy cornice, and all the walls are smoothly plastered, and colored peach color, giving the amber-tinted glass a beautiful soft cathedral appearance to the interior. The altar is of a very chaste design, the panels being moulded with Gothic heads, and finished in white and gold; the altar rail was not completed, but is intended to be of polished cedar, with carved pillars. The interior fittings will be proceeded with immediately, and to complete the design, an organ gallery, with sittings for about 100 persons besides the choir, will be constructed on the west end. It is intended also to place pillar gaslights on each side of the main entrance, for lighting during vespers in winter. The style of architecture has been strictly carried out, and in the best and most substantial manner. The building has been erected under the superintendence of the architect Mr. John Townsend Brophy, a member of the congregation, and who has discharged his duty with great ability and care. The hour of half-past eleven has scarcely passed when from the sacristy entered His Lordship the Right Rev. Dr. Gould, Bishop of Melbourne, preceded by the Very Rev. Dean Hayes (Sandhurst), the Rev. P. J. Slattery, and a number of boys dressed in white surplices. The Right Reverend Prelate proceeded to the foot of the altar, the Very Rev. the Dean on his right, and the Rev. P. J. Slattery on the left. The prayers usual upon the occasion were read by the Bishop. A procession was then formed, and went around the church in the following order. Several youths bearing wax candles first, next the Very Rev. the Dean, then the Bishop and his train bearers, and following were the Rev. Mr. Slattery and acolytes. Having returned to the altar in the same order, the Deacon (Dean Hayes) and Sub-Deacon (Rev. P. J. Slattery) proceeded to robe his Lordship, who had taken his seat at the epistle side of the altar, for the solemn High Mass, at appropriate times wearing his mitre and bearing his crozier. The mass, which was chanted by the Bishop with touching simplicity and earnestness, was then commenced. The choir, under the direction of Mr. Meunsch, organist, was full and most effective. Mrs. Testar, of Melbourne, having generously offered her valuable services, took the leading soprano solos, and it is scarcely necessary to add, rendered them with exquisite taste and feeling – her beautiful voice being heard with great effect throughout the entire building. The choir consisted of the following ladies and gentlemen who volunteered to aid in the ceremonies upon this most interesting occasion. Ladies: Mrs. Tresar, soprano; Mrs. J.J. McCormick, alto; Miss Julia Conry, soprano; Mrs. Vincent, soprano; Mrs. Aitken, soprano. Gentlemen: H. Guthiel, tenor; Master John Murphy, tenor; James Knox, bass; J. M. Murphy, bass; Mr. Staunton, baritone; Mr. Sourby, alto; Mr. Short, bass. The chant, “Let us adore,” during the procession, was given by Mrs. Vincent with considerable power. The selection of the “Imperial Mass” (Haydn’s No. 3) was felicitous, and the highly artistic and finished manner in which the different parts were sustained, demonstrated that great and persevering care must have been bestowed on the preparation for “the opening day.” The “Kyrie” was given with the full strength and power of the choir. The swelling of the voices in complete harmony, and the pealing of the organ in the midst of incense and prayer, produced a most marked effect upon the congregation. In the “Gloria,” the solos of Mrs. Testar were really beautiful and Mrs. McCormick rendered the alto solos with considerable merit. Mr. Knox sang the part commencing with the words “Qui tolles” with much taste and power. The “Credo” than which we believe there is not a more magnificent piece of sacred music extant, was most successful in its rendering, nor do we ever remember to have heard anything more touching than the manner in which the line “Vetam Venturi in Seculi,” was given by Mrs. Testar. The offertory hymn “Come unto Me all ye that labor,” was given by Mrs. Testar with the most thrilling effect. The “Sanctus” having been sung, in which Mr. Sourby ably rendered an alto solo, the “Agnus Dei” was commenced with a solo by Mrs. McCormick and was given with great taste and feeling, Mrs. Testar, at the conclusion of the “Agnus,” taking up the soprano part. Mass being concluded, the Very Reverend Dean Hayes ascended the altar and proceeded to preach the opening sermon, taking as his text Second Paralipomenon [Chronicles II], 7th chapter and 16th verse – “For I have chosen and have sanctified this place that My hand may be there for ever, and My eyes and My heart may remain there perpetually.” St Peter's manseAt the close of the sermon a collection was made by the very reverend preacher, assisted by John Egan, Esq., Corinella, on behalf of the church, and about fifty pounds were contributed. When it is remembered that 500 tickets had been issues at 10s each, and the inclemency of the weather taken into consideration, the collection may be regarded as a large one. Benediction was sung by the Rev. P. J. Slattery, assisted by Dean Hayes, the choir singing the “O! Salutaris Hostia” and “Laudate.” Handel’s Hallelujah Chorus was sung at the termination of the ceremonies. The vestments issued at Benediction, as well as at the Mass, were of the most gorgeous and beautiful character. When the Benediction was over, the Rev. P. J. Slattery, standing at the front of the altar said– “I wish to say one or two words before the congregation leave. I feel most deeply indebted to all of you who have attended here today for the honor and glory of God, not withstanding the difficulties you had to encounter from this most inclement season. I am truly delighted at such a manifestation of feeling, and will not easily forget it.” The rev. gentleman having disrobed, thanked the members of the choir for their kindness in assisting at the ceremonies, and more especially Mrs. Testar, who had braved all the storm and rain to be present at, and give the advantage of her great musical abilities on, the “opening day.” (Daylesford Mercury, 15 May 1865.)A number of photographs of St Peter's Catholic Church, Daylesford, taken at the 150th anniversary celebration. st peter's catholic church daylesford, decoration, altar decoration, anniversary, daylesford, religion, painting, interior, slattery, gough, d'alton, mcmahon

Victorian Heritage Database: St Paul's Cathedral, Bendigo was built in stages. The nave was built in 1868, the tower in 1872-73 and the transepts and sanctuary in 1926-27. Robert Love was the architect, although the final stage was supervised by architects Gawler and Drummond. Cathedral status was transferred from the original cathedral All Saints to St Paul's in 1981. The Gothic style cathedral is constructed of red brick with stone dressings. It has a simple cruciform plan comprising a six bay nave, transepts and sanctuary. A tall tower centrally located at the west end dominates the exterior. The peal of eight bells was cast by Meares and Co of London and installed in 1873. The interior features elaborately cusped roof principals; an organ by Alfred Fuller built in 1883 with a console and pipes added later from St Andrew's Cathedral, Sydney; and notable stained glass by Ferguson, Urie and Lyon. St Paul's Rectory was built in 1885 to a design by the architect WC Vahland. The Parish Office and Hall was built as a Sunday School in 1898 to a design by FW Lehmann. St Paul's Cathedral is of architectural, aesthetic and historical significance to the state of Victoria. The cathedral is a significant example of the Early English Gothic style. The tower, with its distinctively detailed pinnacles, its spiral staircase and carillon of eight bells, is a notable feature and a town landmark. The interior is aesthetically important for its decorative detail. The roof structure, rising some 18.3 metres from the 11 metre walls in suspended semi-circles from the pillarless nave, is highly significant for both its considerable technical achievement and its aesthetic appeal. The interior features fine examples of carved timber fixtures and fittings. The interior is also noteworthy for the high quality of its stained glass, especially the twelve apostle windows by Ferguson, Urie and Lyon. The cathedral also features a number of important movable objects such as the finely carved eagle lectern in oak, the ornately carved timber chair in the sanctuary, the two baptismal fonts, the ornately carved canons' stalls with eagle motifs in the sanctuary and the two large candle holders. Important works of art include the opus sectile reredos in mosaic; the sculpture of Madonna and Child in Queensland birch by sculptress Leopoldine Mimovich; and the carved figures of St Peter and St Paul at the high altar by the sculptress Ola Cohn. St Paul's Cathedral complex has historical associations with the Anglican church in Bendigo, particularly the rivalry between St Paul's and the original cathedral, All Saints, and the long and controversial debate about 'High Church versus Low Church'. It has associations with individuals important to the history of the Anglican church in Bendigo including John Christian MacCullagh, the first Dean of Bendigo, after whom the MacCullagh Chapel was named, and Canon David Anthony, a former rector of the church. https://vhd.heritagecouncil.vic.gov.au/places/3695National Trust Collection: St Paul's Church of England, Bendigo Church constructed of red brick with contrasting brick features. Church entry/ bell tower is a feature of Bendigo skyline. 3084.102A frontage of the Church and Church Hall onto Myers Street, Bendigo 3084.102B St Paul's C of E, rear of Church and Church Hall facing Bush's Lane, Bendigost paul's church of england

The first school of Mines in Australia was established at Ballarat in 1870. At the time of its jubilee (1930) the following people were members of the School Council: W.H. Middleton (President), W.T. Humphreys (VP), J.S. Vickery (VP), F. Barrow, Col. W.K. Bolton, William Baragwanath, A.E. Cutter, J.N. Dunn, G. Fitches, W.H. Fleay, F. Herman. W.D. Hill, T. Hurley, K. Kean. J. Kelly, L. Lederman, Mayor of Ballarat, Mayour of Ballarat East, D. Maxwell, M. Martin, R. Maddern, D. Ronaldson, F. Saunders, R. Stephenson, A.O. Stubbs, R.E. Tunbridge. The School Staff in 1920 comprised: Herbert H. Smith, Walter Rowbotham, Reginald L. Cutter, M.C. Young, Hilda Wardle, M. Wiliamson, P.S. Richards, L.H. Archibald, J. Woods, Ken Moss, W. Kenneth, Mrs McIlvena. B. Robinson, S. Rowe, E. Hope-Jones, Miss Abrams, L.St.G.P. Austin, Alfred Mica Smith, J.R. Pound, Herbert R. Murphy, N.H. Junner, Maurice Copland, L.H. Archibald, E.J.A. McConnon, Newton King, D.m. Hull, T.R. Gordon, John M. Sutherland, T.K. Jebb, Dick Richards, C. Tonkin, A.W. Steane, J. Paterson, H.W. Malin, R.V. Maddison, S.M. Mayo, F.A. King, W.H. Steane, T.R. Gordon, T.A. Williams, H. Waldron, G. Black, E.J. McConnon, R.V. Duncan. R. Cutter, E.G. Vawdrey, Hilda WardleWhite stapled booklet - landscape format - 20pp + soft covers with blue writing. Includes an historical sketch of the Ballarat School of Mines. Contains images of the school from around 1920. The history outlined in the booklet follows: 'Ballarat has helped to influence the life and destinies of Australia in many ways, the recital of which would perhaps prove tedious to the citizens of less favoured localities! However, it can be said, without much fear of contradiction, that only less known thought Australia than its fame as a gold field is the reputation won for it by its school of Mines, ... Ballarat was still quite a new place when the School was founded, but a very propserous and popular place all the same, with a go-ahead lot of citizens brim full of the spirit of enterprise which seemsto animate mining populations generally. Money was plentiful, and they launched out into ventures, which later, were to develop and take the place of the gold mines, while what is more to the point, they understood the value of education. the old digging days were passing away. So far as Ballarat itself was concerned the day of the cradle and tin dish had already passed into an antiquity "as dead and distant as the age of the Tubal Caon," said dir redmond Barry on declaring the School open. Mining had become a serious business, and the mining engineer, the metallurgist, and the geologist had become a power in the land. In these circumstances the suggestions to found a School of Mines met with ready acceptance. The late Mr James M. Bickett had the honor of bringing forward the proposition at a meeting of the Ballarat Mining Board in October, 1869. it was agreed to, and the Government, having been approached for assistance, granted a lease of the old Supreme Court buildings at a nominal reantal. A modest sum, including 100 pounds from the Borough Council of Ballarat West, was subscribed by a number of sympathisers, and on the 26th October, 1870, the inaugural address was delivered by Sir Redmond Barry, the first President of the School. Classes were commenced on the 23rd January, 1871. The students at first were mostly adults. They were chiefly men emloyed at the mines, who had the wisdom and energy to devote their spare time to study, and, though their attendance was somewhat irregular, they made very good progress. Old prints which have been preserved show them at work at furnaces, big bearded men of the old-fashioned type of miner. It is interesting to note that among those who gave evidence and encouragement was Sir Roderick Murchison, who many years before had advised Cornish miners to emigrate to Australia to search for gold, and who in 1848 was in possession of gold ore sent from this country. Sir Roderick sent a parcel of books for the library, and gave useful advice as to the curriculum which should be adopted. The Museum, which now contains a most valuable collection of minerals, was one of the first things attended to, and the reports presented to the Council from time to time speak of additions being made from all parts of the world. New equipment was constantly being added to the School, a good deal of assay work was done, and some specimens were sent from the East Indies for examination as far back as 1873. By this time there was a difficulty in providing accomodation for the students who wished to enrol, and the number of instructors had grown from two to four. In 1882 the first building was being erected on what was then part of the gaol reserve. A little more than ten years afterwards a buildnig formerly serving as a Methodist Church was absorbed, while later on, the demand for accomodation increasing, the attack upon the gaol was renewed. The School continued to grow in reputation and size, and became the science centre of the district, and in 1889 a learge new building was opened by Sir Alexander Peacock. Students came from over seas as well as from all the States of Australia, and after going through their courses they took with them the name and fame of the old School to all parts of the globe. School of Mines boys have played a great part in developing the mining fields of Western Australia, South Australia, and africa, while old students who have made a name in their profession are constantly dropping in to see how the old place is getting along. It was not to be expected, however, that the Ballarat School would be left without rivals, its very success inspiring competition. Mining Schools were started in other parts of Australia, and, at the same time, Victoria ceased to hold first place as a mining state. On the other hand there was a great advance in manufacturing, and the demand for technicaly trained men became a great and as insistent as ever it had been for trained mining men. The Council was quick to adapt the school to the new conditions, and the result is seen in the institution, which is one of Ballarat's proudest possession. Instruction is given in all branches of technical work, and the classes are filled with students who are building up for Ballarat a reputation as an industrial centre, which promises to equal that which it formerly held as a mining town. Owing to its bracing climate, its abundant opportunities for recreations, and its accessibilty, Ballarat as a city is an ideal place for educational purposed, and is yearly becoming more and more appreciated throughout the State. The chairman of one of Ballarat's biggests industries claims that the workman can do twice the day's work here that he can do in Melbourne. he was a little enthusiastic over it, perhaps, but it is a well-known fact that the healthy and invigourating Ballarat climate is conducive to both physical and mental activity, and the records of the School provide ample proof of it. One of the most interesting and successful branches of the School of Mines and Industries - if the name be enlarged with the enlargement of its scope - is the Technical Art School. "The City of Statues" has from its earliest days been a stronghold of art. Art schools have flourised here, and in 1905 the Education Department came to the conclusion that the best thing to do with them was to place them under the management of the School of Mines Council. A magnificent new Technical Art School was built at a cost of some 12,000 pounds on the site of the old Supreme Court building, and was formally opened on the 23rd July, 1915. The results have not only been justified but surpassed all anticipations. The most comprehensive list of subjects is taught, and this list is constantly added to. Students have flocked to the art School, which may be said to occupy a unique position in Australia, and its record of success is really astonishing. Its students supply art teachers for the newer schools that are being built, and many occupy leading positinos in important business houses. So well is its reputation known that orders are constantly being received, not only from Victoria, but from other States, for honor boards and challenge shields to be designed and made. The most recent addition to the School of Mines and Industries is the Junior Technical School, for which a new building is now being erected on a portion of the gaol site, transferred to the School of Mines Counci by the Government. At the present moment temporary quarters are being occupied. Some students after passing through the Junior School go straight to employment, continuing perhaps to attend the evening trade classes, while others move on to the senior School. In a review of the work of the School of Mines mention must be made of a series of industrial research carried out under supervision of the Principal. One in particular, regarding the suitability of the local ores for the manufacture of pigments attracted much attention, while the experiemtns on the manufacture of white potery from Victorian clayes were considered of sufficient importance by the Federal Advisory Council of Science and Industry to warrant the appointment of a special investigator. The results of these have been most encouraging, and may have far-reaching consequences. The vocational training of returned soldiers also should not be overlooked. The work was taken in hand from the first, before the Repatriation Department gave assistance, and now with the help of the department of the School has become one of the largest vocational training centres in Victoria outside of Melbourne. The soldiers, trained in a variety of occupations, have made remarkable progress, and already considerable numbers have found employment in local workshops and factories. To sum up, the School is divided into the following departments, each well staffed and equipped: - The School of Mines, science, and Engineering; the Techncial Art School, the Boys' Junior Technical School, the Girl's Preparatory Technical Classes, Trade Classes, and the Commercial School. The school of Mines, science and Engineering, comprises the following branches: - Mining, Metallurgy, Geology, Electrical Engineering, Civil Engineering, Mechanical Engineering, Applied Chemistry, and Pharmacy. Battery treatments, Cyanide Testing, Smelting, Assays, and Clay Testing from a regular part of the School's work. Students gaining qualifications obtain concession in their courses at the university, should they proceed there to continue their studies. The technical Art school curriculum includes training in all branches of pictorial and applied art, an Architectural Diploma Course, a Draughtman's Course, technical Art teachers' Course, Photography,Ticket Writing, Art Metal Work, Woodcarving, Needlework, and Leather work. The Trade Classes give instruction in Telephone Mechanics, telegraphy, Carpentry, Cabinet Making, Plumbing, Blacksmithing, Fitting, Electric Wiring, and Printing. Numerous Scholarships are offered every year, and altogether students will find few places to equal the Ballarat School of Mines and Industries as a training place for their life's work. One of the first in the continent to be established, its Jubilee finds it still in the front rank, keeping pace with the times, and offering to the youths of this country the means of taking advantage of Australia's teeming opportunities. william, battery, smith, herbert, drawing from the antique, ballarat school of mines botanical gardens, ballarat school of mines, redmond barry, alfred mica smith, james bickett, museum, dick richards, ballarat junior technical school, s m b, ballarat school of mines and industries, ballarat technical art school, model mine, james m bickett, j m bickett, roderick murchison, vocational training rooms, wesley church, methodist church, alexander peacock, lathes, repatriation, repatriatin department, war service, school council, baragwanath, gold mining, mining laboratory, plaster cast, r.w. richards, anniversary, jubilee

Maroon hard covered bookarchitectural design, ornamental plaster work, ornamental metal work, lighting fittings, stained glass, mosaic, architecture

.2) Timetable book of the Ballarat School of Mines, associated with H.H. Smith, and student fees.ballarat school of mines, trades, h.h.smith, sheet metalwork, plumbing, gasfitting, carpentry, joinery, cabinet making, manuel training, photography, architecture, engineering drawing, dressmaking, assaying, chemistry, electricty and magnetism, fitting and turning, electrical calculations, geology, geometrical drawing, hydraulics, applied mechanics, mining geology, metallurgy, mineralogy, printing, physics, petrology, surveying, steam and gas engineers, turning and fitting, trigonometry, telegraphy, telephone fitters, woolclassing

A decorative architectural element made of iron that is badly corroded historic building, former royal mint, architecture

Seven seated and fifteen standing men dressed in suits around a long table in a panelled room hung with formal portraits of men. A trophy sits on the long table amongst loose paper sheets. Research by project volunteer, Fiona Collyer: The Commercial Travellers’ Association of Victoria (CTA) was formed at a meeting of 40 commercial travellers held at the Duke of Rothesay Hotel, 24 Elizabeth Street on 1 December 1880. Their charter was to advocate for better working conditions for commercial travelling salesmen, including improved accommodation at discounted rates and travel concession fares. At first by locomotive, horse and buggy, steamers and horseback, later also by motor car and motorcycle, “The Man on the Road” went into the back-blocks of the country to extend the interests of commerce to the stores and households of Australian regional towns and isolated settlements. Affiliated organisations existed in all states and New Zealand and in 1895 they integrated to form the United Commercial Travellers’ Association of Australasia (UCTAA). By the turn of the 20th century, the Victorian branch of the CTA had 421 Association Members and 520 Club members. The CTA continued to hold meetings in leased rooms in hotels and offices until 1898 when they commissioned purpose-built premises at 190-192 Flinders Street (extant, now the Macstore, next to former Metropolitan Gas Company Buildings). Designed by leading architectural firm of brothers H.W. & F.B.Tompkins (Dimmey’s Model Store, Swan Street, London Stores, Herald and Weekly Times, Myer building, Diamond House, Centreway Arcade, Manton’s Store) in the Queen Anne Revival style at the cost of £20,000, the four storey building had a facade of red Northcote bricks and an entrance of Pyrmont stone. It was very modern for the time, featuring elevators, offices, bars, kitchen, dining, card and billiard rooms and 31 bedrooms with shared bathrooms for the footsore travellers. However, despite adding two storeys in 1901, and another storey and a basement in 1905, they soon outgrew their premises, and in 1912 the CTA commissioned a new building at 328 Flinders Street. At this time, buildings in Melbourne were constrained by the city height limit of 132 feet (40 metres)- the maximum height of firefighting ladders. The new CTA building was the tallest building in Melbourne until 1932 when regulations changed allowing the Manchester Unity Building to be built. The new CTA headquarters was the epitome of comfort and luxury with cutting edge facilities to ease the fatigued salesman and prepare him for another stint on the road. General Secretary, James Davies travelled to Britain and America to acquire the very best and latest innovations. After visiting the new premises, Punch magazine 11 June 1914 reported “furnishings, appliances, and labour-saving conveniences which were more than up to date- they were up to-morrow.” The Edwardian Baroque style building was again designed by architects H.W. & F.B. Tompkins at the cost of £100,000 and built by contractors F.E. Shillabeer and Sons (Nicholas Building, Kellow-Falkiner Pty Ltd car showroom). The nine storey plus basement building is of steel frame construction with concrete floors. The ground floor facade is of grey granite and above that it is faced with cream glazed bricks chosen to combat discolouration from the pollution emitted by Flinders Street Station trains across the road. The facade is decorated with mascarons, gum leaf trim and balconies with classical style balustrade. The club was entered through revolving doors into a two storey high, circular, domed lobby with white columns, American oak panelled walls and intricate mosaic flooring. The ceiling is festooned with plaster gum leaf and gum nut detail, a theme that is repeated throughout the building. The basement kitchen had modern, labour saving appliances that would be the envy of any Edwardian housewife, including an electric toaster, a potato peeling machine, heated dumb waiter, dishwashing machine and electric refrigeration and cooking. It serviced the commodious second floor dining room which seated 200 people and the cafe/breakfast room, 80 people. Members were permitted to entertain their lady friends there for afternoon tea between the hours of 3 and 5 pm every day, except Sunday. The members’ facilities included a barbershop, clothes pressing machine, boot cleaning chair, pipe and cigar stall with electric humidor, public telephones, lockers and safe deposit. The building was serviced with five elevators, a built in vacuum cleaning plant, hot water radiators and linen and postal chutes. The first floor was devoted to business and relaxing, containing the Board, Writing, Reading and four Business Rooms. The board room had Queensland maple panelling with huge blackwood tables topped with blue morocco and golden tortoise-shell trim and cane bottomed chairs. Large framed photographs of past presidents since 1884 lined the walls. The Reading Room ran the whole width of the building. Arthur Streeton’s painting “Between the Lights, Princes Bridge 1888” and Frederick McCubbin’s “Looking North from Mount Macedon” were hung there, as well as paintings by renowned Australian artists Hans Heysen, Walter Withers, John Mather, Jan Hendrik Scheltema. The Argus 30 May 1914 quipped “Around the walls hang evidences that the commercial traveller's soul has not been killed in his pursuit of commerce”. The blackwood panelled room was furnished with Queen Anne style tables and chairs and green leather armchairs with inviting rocker foot rests allowing weary travellers to relax after traversing the railways and dusty roads of Victoria while planning their next sales trip. “The Australasia Traveller” Volume 10, Number 2, April 1914 page 35 noted “An attendant will be constantly employed on this floor to take care of the stationary supply, to tidy up newspapers, and generally study the convenience of members.” The third floor was for amusements with billiards, a bar and four rooms for playing cards, dominoes and chess. The huge billiard room had seven Alcock billiard tables including a table in a partitioned match-room for tournaments, exhibitions and matches. The walls were lined with members’ cues and for spectators, comfortable lounges with marble topped tables and electric bell pushes for drinks service. There were 150 bedrooms over five floors, each with their own telephone and wash basin and five suites with a private sitting room attached. There were four bathrooms per bedroom floor and capacious, well-lighted shaving rooms. Top rate club tariff for bed and breakfast - 6 shillings, if called for a country train leaving Melbourne before 8am - 4 shillings, suite and breakfast- 9 shillings, sixpence. “The Australasia Traveller” Volume 10, Number 2, April 1914 page 35 reported “All “early calls” will be made from the Club Office to Bedrooms by means of the Telephone, so that instead of waking everybody else up on the corridor, only the member concerned will know that it is his unpleasant duty to get up.” The new CTA premises was widely regarded as the finest club in the Southern Hemisphere. The CTA also built the adjacent six storey Commerce House with 52 sample rooms for travellers to display their wares with the remainder rented to retail businesses and a post and telegraph office. After the CTA moved into their new, larger premises in 1914, neighbouring department store Ball & Welch expanded into the former CTA. The CTA saw themselves in a nation building role and were an influential lobby group to the Government. They advocated for inter city trunk telephone lines, standard gauge railway lines between NSW and Victoria, improved roads and highways, the Murray River water scheme and maintaining the White Australia Policy. They were very active in fund raising for the war efforts. The CTA offered its members support in other ways with benevolent funds for widows and orphans, mortuary, accident, sickness and an annuities fund for members over 65 years. There were scholarships for members’ children and home purchase scheme to assist with home ownership. A secondary membership scheme provided access to non commercial travellers (men only) to its exclusive club premises. They also organised social events and activities such as billiard tourneys, golf tournaments, dances and an annual “Smoke Social” which was a social event where men gathered for a formal dinner, community singing, lectures, speeches and of course, to smoke! Daylesford born James Davies OBE, (1865-1931) worked at the CTA for 50 years, starting as an office boy and working his way up to General Secretary and editor of the monthly trade journal for UCTAA members, “The Traveller” (1890-1905, later “The Australasian Traveller” 1905-1924 and then “The Australian Traveller” 1925-1976) and the annual colour supplement magazine “Australia To-Day” (1904-1973). “The Australasia Traveller” featured commentary on the issues of the day like wars, tariffs and trade, articles on new products and hotel recommendations and their rates and lots of advertising, especially alcohol, tobacco and accommodation in regional hotels. There were regular columns, each illustrated with a line drawing and these included “Our Immigration Record” a state by state summary of arrivals of “desirable immigrants” to Australia, while bemoaning the declining (white) birth rate. The column followed the arrival of British boys sent to Australia as agricultural apprentices to work on rural properties which were short of labour. Between 1913-1928, 1750 “Barwell Boys”, some as young as 14 years of age arrived in South Australia to work. NSW had a similar program known as the Dreadnaught Boys Scheme where 5595 boys immigrated between 1911-1939. The boys were considered of “good British stock”. There was a “Home Page For The Ladies” showcasing the latest fashions in women’s clothing, millinery and hairstyles and tips and trends in home furnishings.“Children’s Corner for Dear Little Folks” which featured puzzles, jokes and stories and members could send in photographs of their children. “Road Echoes” devoted to “The Man On The Road” and his doings. “Face Massage, Smiling is the Best Face Massage”, the humour page full of jokes and funny stories. “Railway Rumbles” news of innovations, timetables, tickets and grumbles about lavatories, food and drinking water on trains and at railway stations. And in case we forget that members had a home away from their CTA home, gardening tips with “The C.T. as Gardener”column. The annual magazine “Australia To-Day” was a vehicle to promote Australia here and overseas as a modern, prosperous country with abundant opportunities and pleasant climate. It sought to showcase its manufacturing, agriculture and tourism and encourage British immigration to Australia. The magazine featured articles about recently arrived migrants at work, quirky native flora and fauna, beach culture, recreation and the Australian way of life in the settler nation. Many of the articles were written by politicians of the day, including Robert Menzies. The UCTAA commissioned original artwork for the front covers and feature articles of “Australia To-day” from leading Australian artists. These included Norman Lindsay, Frederick McCubbin, Napier Waller, Lionel Lindsay, Hans Heysen, C Dudley Wood, Louis McCubbin, Penleigh Boyd, Louis Buvelot, Christian Waller and Ellis Rowan and her Australian wildflowers. Some of the photographs in “Australia To-Day” were provided by state and federal government departments as well as manufacturers, newspapers and mining companies. Amongst of the credited photographers was Helmut Newton who later earned world acclaim as a fashion photographer and architectural and industrial photographer Wolfgang Sievers (unfortunately their photographs remain in copyright and aren’t available online). Also featured was Richard C. Strangman, a professional photographer from Canberra, William Howieson of Melbourne, who has 22 photographs in the collection of NGV, Tasmanian wilderness photographer Frederick Smithies, Athol Shmith, portrait photographer and educator from Melbourne, Gordon de Lisle, a Melbourne commercial, industrial, aerial and society portrait photographer. (One of Gordon’s assignments was as the stills photographer for the 1959 movie “On The Beach” filmed in Melbourne). Photographs taken by acclaimed Antarctic and official war photographer Captain Frank Hurley OBE for Adelaide’s Centenary were also featured. The Australian Government was keenly aware of the influence and quality of the UCTAA publications. On 1 June 1914 The Age reported that to advertise Australia in Great Britain and elsewhere, the Department of External Affairs purchased 6500 copies of “Australia To-Day” magazine for £515 to distribute free to “places where they are most likely to come under the notice of a desirable class of immigrants.” In 1950, the office of Prime Minister Robert Menzies ordered 2550 copies of that year’s issue of “Australia To-Day” for the Department of Commerce and Information to distribute. The CTA donated their archives to University of Melbourne Archives which includes original artworks and photos used in “Australia To-Day” (Melbourne University has digitised 1114 photos) and sundry items including trophies, ashtrays, commemorative souvenirs, menus, a rare “Safechek” sovereign changer, a bust of James Davies and even a CTA embossed wash bowl and chamber pot. After the death of General Secretary James Davies in 1931, the CTA held the annual “James Davies Memorial Cup” golf tournament at various Melbourne golf courses, the winner receiving a splendid silver cup. “Table Talk” magazine photographs from 29 June 1933 depict the travellers beautifully (and I would say correctly) attired in tweedy plus fours, Fair Isle knitwear, flat caps and of course fringed brogues. I have been unable to ascertain whether the trophy in our photo is for golf or another CTA social activity. The CTA Victoria membership peaked in 1951 with 4,672 Aassociation members and 3,693 Club members. In 1959, Hollywood came to Melbourne when film stars Gregory Peck, Ava Gardner, Anthony Perkins and Fred Astaire descended to film ‘On the Beach,’ directed by Stanley Kramer. The film is based on the bestselling Neville Shute novel about the aftermath of World War Three, a nuclear war that has obliterated most of the Northern Hemisphere. Radioactive dust is heading toward Australia and everyone is preparing for death. Scenes with Anthony Perkins were filmed in the CTA billiards room as the exclusive Pastoral Club. Anthony Perkins’ character, Lieutenant Commander Peter Holmes of RAN tells Gregory Peck’s character, Commander Dwight Lionel, that The Pastoral Club is…”A mahogany and polished brass sort of place-some people claim it was the stuffiest club in the Commonwealth” before assuring him that despite shortages, the club is likely to have some Scotch left. In a scene at the Pastoral Club two, old (probably red faced) codgers discuss the challenge of drinking all of the 400 bottles of Gould Campbell vintage port in the club wine cellar before they succumb to radiation sickness in five months time. The NGV has 12 photographs in their collection of wardrobe stills of Ava Gardner modelling costumes designed by the Fontana Sisters of Rome for “On The Beach”, taken by Italian photographer G.B.Poletto. During the filming, Gregory Peck and his family stayed at “Kurneh” 206 Domain Road, South Yarra, the former home of three times Grand Slam winner Norman Brookes. Through the decades, Australian society was changing and in order to stay relevant, the CTA had to change too. In 1971, two women were elected for club membership, although they were only granted limited access to the club’s facilities and in 1972, women were invited for the first time to participate in the previously men only annual “Smoke Social”. In 1975, dwindling membership forced the closure of The Commercial Travellers’ Association building and in 1977, the building was sold, with the CTA ceasing to operate in 2014. It was the end of the road for the “Knights of the Road”. In 1992, the CTA building at 328 Flinders Street was placed on the Victorian Heritage Register in recognition of its architectural and cultural significance. The building has been meticulously restored with many of the original fittings, decorative plasterwork, mosaic flooring, stained glass windows, columns, chandeliers and the panelling made from Australian timbers retained. After renovations the building became first the Euro Asia Hotel, then the Duxton Hotel and in 2005 The Rendezvous Hotel, Melbourne. In tribute to the history of the building and the film “On The Beach”, the Rendezvous Hotel has the Ms Ava Bar, Perkins room, Mr Tompkins restaurant, Commerce Room and the Davies Room. References: COMMERCIAL TRAVELLERS' ASSOCIATION OF VICTORIA. (1899, May 27). The Australasian (Melbourne, Vic. : 1864 - 1946), p. 25. Retrieved February 21, 2025, from http://nla.gov.au/nla.news-article138615498 COMMERCIAL TRAVELLERS. (1914, May 30). The Argus (Melbourne, Vic. : 1848 - 1957), p. 8. Retrieved February 13, 2025, from http://nla.gov.au/nla.news-article7272511 NEWS OF THE DAY. (1914, June 1). The Age (Melbourne, Vic. : 1854 - 1954), p. 8. Retrieved February 19, 2025, from http://nla.gov.au/nla.news-article189414314 COMMERCIAL TRAVELLERS' "AT HOME." (1914, June 11). Punch (Melbourne, Vic. : 1900 - 1918; 1925), p. 32. Retrieved March 19, 2025, from http://nla.gov.au/nla.news-article129699692 https://archives.library.unimelb.edu.au/nodes/view/69669 https://vhd.heritagecouncil.vic.gov.au/places/757 http://www.pikitiapress.com/blog/2015/1/26/australia-today Commercial Travellers at Yarra Yarra (1933, June 29). Table Talk (Melbourne, Vic. : 1885 - 1939), p. 6. Retrieved February 28, 2025, from http://nla.gov.au/nla.news-article149547845 https://archives.library.unimelb.edu.au/nodes/view/537460 https://viewer.slv.vic.gov.au/?entity=IE7420895&file=FL19171568&mode=browse https://www.history.sa.gov.au/wp-content/uploads/2021/03/Barwell_Boys_Catalogue-compressed-compressed-compressed.pdf Australia Today," 1927 (1926, December 11). Weekly Times (Melbourne, Vic. : 1869 - 1954), p. 15. Retrieved March 17, 2025, from http://nla.gov.au/nla.news-article223844810 https://blogs.unimelb.edu.au/librarycollections/2020/12/19/an-inhabited-space-helmut-newtons-lovers/ https://www.ngv.vic.gov.au/explore/collection/artist/2075/ https://www.ngv.vic.gov.au/?s=Poletto+&type=collection https://rendezvousmelbourne.com.au/digital-history-tour/Photographer notations on slide: "Commercial Travellers Group B6".clubs, department stores, 1930-1939, commerce, manufacturing, federation/edwardian style architecture, railways, tourism, games, agriculture

sunshine technical school, technical school, sunshine

Includes site plan; floor plans and details of utilities, interior and fittings.architecture, domestic architecture

Robin Boyd was involved in creating several TV series for the ABC University of the Air. 'Design in Australia' was an eight part series. (Items D184-D193 contain all the manuscripts except part six titled 'Communications'.) In Part 5, Boyd identifies three styles of interior decoration in Australia. The first, Exhibit A is directly influenced by the fashions of Paris, London and New York and does not integrate the interior with the exterior. Exhibit B is the Australian architectural style of the 1960s. Exhibit C is characterised by practical, cheerful and easy to clean up interior fittings based on colourful plastics. Boyd refers to this style as "Australian pop art". He continues by explaining why Exhibit C came to be the preferred Australian style over Exhibit B. He suggests that the Australian public is ill-informed and misguided, ultimately concluding that Australian interior design reflects the public's lack of taste. (Same content as item D193, differing side notes on left side of pages)This is a draft script for the ABC television program 'University of the Air', subtitled 'Design in Australia', broadcast in 1965.Typewritten (c copy), foolscap, 15 pages (compared to D193, 11 pages) (Two copies)One copy has crisper letters typed over on pages 1 and 5.university of the air, design in australia, australian style, interior decoration in australia, frederick ward, lester bunbury, frances burke, grant featherston, modernage fabrics, manuscript

Robin Boyd was involved in creating several TV series for the ABC University of the Air. 'Design in Australia' was an eight part series. (Items D184-D193 contain all the manuscripts except part six titled 'Communications'.) In Part 5, Boyd identifies three styles of interior decoration in Australia. The first, Exhibit A, is directly influenced by the fashions of Paris, London and New York and does not integrate the interior with the exterior. Exhibit B is the Australian architectural style of the 1960s. Exhibit C is characterised by practical, cheerful and easy to clean up interior fittings based on colourful plastics. Boyd refers to this style as "Australian pop art". He continues by explaining why Exhibit C came to be the preferred Australian style over Exhibit B. He suggests that the Australian public is ill-informed and misguided, ultimately concluding that Australian interior design reflects the public's lack of taste. (Same content as item D188, differing side notes on left side of pages)This is a script for the ABC television program 'University of the Air', subtitled 'Design in Australia', broadcast in 1965. Item D188 is the draft version.Typewritten, foolscap, 11 pages, (compared to D188, 15 pages)university of the air, design in australia, australian style, interior decoration in australia, frederick ward, lester bunbury, frances burke, grant featherston, modernage fabrics, manuscript, ohm2022, ohm2022_30

The former Huntly Shire Council Chambers was constructed in 1867 as council chambers for the former shire of Huntly. The building was designed by local engineer, John O'Dwyer and constructed by builders, Hyett and Martin. The Huntly Shire was formed in July 1866 and the construction of a building in which they could hold meetings was a priority. The Council used the building for 110 years before a new chambers was opened in 1977, at which time the former chambers were leased to a local historical society for use as a museum. The one storeyed face brick building has a double hipped roof, partially concealed by parapets on three sides. The design of the building conveys a strong Lombardic influence with banded brick quoining and a large open loggia on the entrance faade formed by double banded brick columns supporting semicircular arches. The building retains much of its early furniture and fittings, including the councillors' meeting table and chairs, a series of honour boards and a photographic collection of all Huntly Shire Council councillors. The former Huntly Shire Chambers is of architectural importance to the State of Victoria. The building is of architectural importance as an unusual example of an engineer designed council chambers with many interesting design elements, including the banded brickwork, overall scale of the building and loggia. The arcade on the eastern faade is a good example of fine engineered brickwork with two levels of arches. The building is substantially intact both internally and externally.Colour photographs of the brick Shire of Huntly building. huntly, shire of huntly, huntly shire council chambers, huntly historical society

Bishops Palace was built in 1877 as the home for the first Catholic Bishop of Ballarat. Designed by Melbourne architect, Joseph Reed, of Reed and Barnes, it was built by George Broom at a cost of £6,000. Reed and Barnes also designed Melbourne’s State Library, Ripponlea Estate and the Melbourne Royal Exhibition Building. The original heritage-listed gold lead stencilled paintwork that can be seen in the front entry and on the staircase walls at Bishops Palace was replicated in the Royal Exhibition Building. The original property was 140 squares set on 11 acres of gardens and took up an entire block of Sturt Street. This was on scale with the importance of Ballarat as a gold-mining centre at the time. Bishop's Palace is of architectural, aesthetic and historical significance to the State of Victoria. The two-storey bluestone mansion is an impressive example of 19th-century Gothic architecture with an unusual design. It retains many of its original features, including lead stencilled paintwork, cornices, ceiling roses, fixtures and fittings. Since sold by the Catholic Church the Bishops Palace has undergone a number of transformations in its lifetime, from the home of the first Bishop to a private residence, and today, as a luxurious accommodation, wedding and events venue. The grounds were subdivided over the years, and the property is now surrounded by four of the original 11 acres of gardens. It opened its doors to the public in 2019.Colour image of the bluestone Bishop's Palace, and it's cast iron lace.architecture, garden, bishop's palace, cast iron lace, cast iron, catholic church

"A court was established in Melton by 1864, when the first recorded case was heard before Mr BA Porter JP, with Mr A Carroll as the Clerk of Courts. John James was convicted of being drunk, for which he was fined five shillings or 24 hours imprisonment. The court was held in the ‘long room’ of the old Melton Hotel, before moving to rented accommodation at the Raglan Hotel, and finally to the Roads Board office. Tenders for construction of the present building were called for by the Public Works Department on 13th February 1892. The architect Samuel Edward Brindley was born in Birmingham, England, in 1842. He was articled to the local architect, J.R. Botham, FRIBA, before emigrating to Victoria where he was employed as an architect in the Education Department from 18 August 1873. With the amalgamation of the architectural branch of the Education Department with the Public Works Department in 1884, Bindley was placed in charge of Victorian government building design for the North-Western District. In 1975, the Melton and District Historical Society became concerned at hearsay that the court house was to be demolished to make way for carparking space. Melton had been declared a ‘satellite city’ and was developing rapidly. A new shopping centre had recently been built at a setback of 60 feet (c.18 metre) from 323-329 High Street, and the court house, together with the adjacent weatherboard police station, had been left standing alone. A new police station was planned, and the weatherboard police station was subsequently demolished. In its nomination of the building for National Trust classification the Society argued that the Court House was ‘the best of two early buildings left in the main street’ (the other being a bluestone hotel) and that its loss would be ‘tragic’. However the nomination was unsuccessful, the National Trust at the time judging that it was of no particular ‘distinction’ or ‘antiquity’. The building continued to be used as a court house at least until 1991 when the Department of Housing and Construction (formerly the PWD) conducted a heritage study of court houses. By this time Federation-era architecture had achieved acceptance within the heritage movement. The building was recognised as being ‘the only surviving example in brick of the Federation Queen Anne style which was used for court houses only twice.’ Twenty years later when it was proposed to modify the eastern façade of the building to accommodate a café, the M&DHS was again concerned. This time the National Trust objected that the proposed extension would be an over-development of the site, and questioned the changes to the interior court room furnishings and fittings. The site never appears to have been nominated to the Victorian Heritage Register. It has since been converted into the Shire of Melton Tourist Information Centre". Opening of the Visitor Centre in Meltoncouncil, local architecture

A civic campaign for new public offices developed in Kew in the 1880s. After much deliberation, the location chosen was the junction of Bulleen and Cotham Roads. The buildings were designed by George Watson and John Henry Harvey, architects within the Department of Public Works (Victoria). Building was commenced in 1887, and after one year, the buildings were opened. The Post Office was transferred to the new Commonwealth Government in 1901. The Police Station and Court House, sold by the Victorian Government to the City of Boroondara in 2007, are now a community cultural centre and performing arts venue.The buildings were listed on the Victorian Heritage Register Register (HO885) in 1991. They are historically and architecturally significant to the State of Victoria because Watson and Harvey's designs exhibit diversity in integrating civil offices, they accommodate the apex of road junctions, and they demonstrate a departure from the contemporaneously favoured High Victorian Classical to the Queen Anne style in the design of civic buildings.Ceiling fixture, chain, metal cap and large white glass shade from the former Kew Police Station, removed during renovations in 2007-11, and presented to the Kew Historical Society by the City of Boroondaralight fittings, kew police station