The photograph was taken by Reverend Weller and published in the Annual report for 1926.Small photograph depicting the hall of the Flinders Street mission with tables and chairs placed in from of the stage. The tables are covered with a white cloth and decorated with flowers in vases. Above the tables, are garland of banners representing flags from different country: Japan, England, USA and Chinese lanterns. On the stage are more vases with flowers, a Christmas Brig in the shape of a ship.brig, ship, flags, chinese lanterns, paper lanterns, flowers, vases, chairs, tables, meals, dinner, central hall, mission to seafarers, seamen's mission, flinders street, weller album, reverend john reginald weller (1880-1969), new year's day, 1926

Purchased by member for Society CollectionWhite cotton hand embroidered designs and two pockets. Has brown binding around edges and pockets. Embroidered floral design on pockets and cross stitch Chinese lanterns at bottom of aproncostume, female working

Whilst my main focus for the artwork design was on the Hotels on Main Road, I felt there was an opportunity to tell a broader story of Main Rd and combine/include some interesting pieces of information from many stages of the history of Main Road. Considering that at one point in time there would have been at more than six hotels in this very short section of street….there’s no doubt Main Rd was an epicentre of communication and festivities for the Goldfields of Ballarat. “No matter what luck he had, every miner needed supplies, food and something to entertain him when he was not searching for gold.” Described as being an overcrowded jumble of muddy streets loosely arranged around mining camps...and loud, muddy, colourful and sometimes illicit. I wanted the artwork composition to consist of overlapping images and text to reflect this sense of hustle and bustle. Main Road Mural tells the broader story of the history of Main Road in Ballarat. In 2018, the City of Ballarat commissioned local Ballarat artist Travis Price to create an artwork to align with the Main Road Revitalisation Project and deliver a key component of the storytelling (heritage interpretation) project that spans the length of the shopping precinct. The artwork is featured on a prominent site in the shopping precinct of main road and tells the story of Main Road through depicting key timeline events. Main Road, as its name suggests, was one of the main entries to the mining areas of East Ballarat. It had several names: Main Street before 1858, Plank Road between 1858 and 1868 and Main Road from 1868 onwards. The centre of mining life, it was crowded, prosperous, raucous and dirty. Painted mural on shop wall in Main Road, BallaratBallaarat, Gold Fever, The Royal Standard Hotel, Flood, Boxing Saloon, Plank Road, Kulin Nation, 3350, Election, East, Grog House, The Scandinavian Hotel. Images; Chinese lantern, Pick & Shovel, Miners Licence burning.main road history, ballarat hotels, gold fever, wadawurrung, kulin nation

Object. MAGIC LANTERN COLLECTION- MAGIC LANTERN SLIDE- Chinese SCENE - lamp seller. Magic Lantern slide - rare (19th Century ?) timber mounted hand painted Lantern Slide. Number 10 is written in ink on top right corner/ glass is cracked.photography, projectors-still

Victorian Heritage Database - Bendigo Chinese Temple. https://vhd.heritagecouncil.vic.gov.au/places/34220/download-report The temple is one of few surviving buildings of its type in Victoria and stands as sole reminder of once extensive Chinese community that flocked to this area during the gold rush. Its symmetrical composition is dominated by ornamental central portico and reflects traditional Chinese design principles; the lantern in centre of interior wall painting in portico. Brick cresting and incised carving of head board are notable features. It is an outstanding feature of this historic city. (Australian Heritage Commission Citation).National Trust Collection: Bendigo Joss House A. Letter dated 1 June 1965 to Consul to the Republic of China requesting assistance with restoration of the Joss House. B. Letter dated 30.6.68 from June Adams reporting information supplied by P. Goon about the layout of the Joss House. C. Two letters ...joss house, preservation, national trust, p.goon

This image shows six older Chinese men standing in a row with two younger non-Chinese men outside a small wooden business or official building in the Beechworth region, circa 1900. The two non-Chinese men are wearing clothes of the period that indicate relative prosperity (such as three piece suits, top hats, and a pocket handkerchief), whereas most of the Chinese men are wearing Western-style working clothes of the era. One Chinese man at the far right of the image is wearing similar garments to the non-Chinese men, including a bowler hat and longer, more tailored suit jacket. Chinese miners were a significant cultural group in Beechworth's gold rush period. Carole Woods' history of Beechworth, 'A Titan's Field', details that there were approximately 60 Chinese people in the area in 1855, more than 1000 in 1856 and 4700 (a quarter of the population) in 1857, despite the introduction in 1855 of official policies such as additional taxes formulated by the Victorian Government to limit access by Chinese immigrants. Most Chinese miners in the region came from southern China and had formerly worked as merchants, mechanics, farmers and shop-keepers. Chinese people were subjected to a 'protectorate' system, ostensibly to minimise the potential for conflict with other groups; this system required Chinese people to live in designated 'hygienic' camps with paid Chinese headmen who supervised the village and enforced the protectorate's rules. Chinese people were required to purchase an annual protection ticket to fund this system. The protectorate system was abolished in 1861, before this image was taken in approximately 1900, but it may still provide insight into social stratification or relationships between and within cultural groups in Beechworth resulting from such practices. Lantern slides, sometimes called 'magic lantern' slides, are glass plates on which an image has been secured for the purpose of projection. Glass slides were etched or hand-painted for this purpose from the Eighteenth Century but the process became more popular and accessible to the public with the development of photographic-emulsion slides used with a 'Magic Lantern' device in the mid-Nineteenth Century. Photographic lantern slides comprise a double-negative emulsion layer (forming a positive image) between thin glass plates that are bound together. A number of processes existed to form and bind the emulsion layer to the base plate, including the albumen, wet plate collodion, gelatine dry plate and Woodburytype techniques. Lantern slides and magic lantern technologies are seen as foundational precursors to the development of modern photography and film-making techniques.This glass slide is significant because it provides insight into Beechworth's cultural and social relationships in the early Twentieth Century, in particular the experiences of Chinese miners. It is also an example of an early photographic and film-making technology in use in regional Victoria in the time period.Thin translucent sheet of glass with a circular image printed on the front and framed in a black backing. It is held together by metals strips to secure the edges of the slide.burke museum, beechworth, lantern slide, slide, glass slide, plate, burke museum collection, photograph, monochrome, magic lantern, indigo shire, north-east victoria, nineteenth century, 1900s, twentieth century, emulsion slides, chinese, chinese miners, protectorate system, protection licence, immigration, racism, classism, social groups, cultural groups, taxes, hygiene camps

This image of a man on horseback is thought to have been taken in Beechworth in approximately 1900. The man pictured may be Chinese. Chinese miners were a significant cultural group in Beechworth's gold rush period. Carole Woods' history of Beechworth, 'A Titan's Field', details a rapid increase in the Chinese population beginning in 1856 that led to Government discrimination and hostility from other miners. Many Chinese people who came to the Victorian goldfields had formerly worked as merchants, mechanics, farmers and shop-keepers. The pictured individual is wearing Western-style clothes indicating prosperity, such as a top hat, so may have held an official position or provided services to the community rather than working as a miner. Lantern slides, sometimes called 'magic lantern' slides, are glass plates on which an image has been secured for the purpose of projection. Glass slides were etched or hand-painted for this purpose from the Eighteenth Century but the process became more popular and accessible to the public with the development of photographic-emulsion slides used with a 'Magic Lantern' device in the mid-Nineteenth Century. Photographic lantern slides comprise a double-negative emulsion layer (forming a positive image) between thin glass plates that are bound together. A number of processes existed to form and bind the emulsion layer to the base plate, including the albumen, wet plate collodion, gelatine dry plate and Woodburytype techniques. Lantern slides and magic lantern technologies are seen as foundational precursors to the development of modern photography and film-making techniques.This glass slide is significant because it provides insight into Beechworth's cultural and social relationships in the early Twentieth Century, in particular the experiences of Chinese people. It is also an example of an early photographic and film-making technology in use in regional Victoria in the time period.Thin translucent sheet of glass with a circular image printed on the front and framed in a black backing. It is held together by metals strips to secure the edges of the slide.burke museum, beechworth, lantern slide, slide, glass slide, plate, burke museum collection, photograph, monochrome, magic lantern, indigo shire, north-east victoria, nineteenth century, 1900s, twentieth century, emulsion slides, chinese, chinese miners, immigration, racism, classism, social groups, cultural groups, horse riding, horses, equestrian, horseback

This lantern slide shows the Ovens District Hospital (also called the Ovens Goldfields Hospital) in Beechworth in approximately 1900. The Hospital was built as part of a community push to develop the infrastructure needed for a permanent town in the 1850s. At the time there was no hospital located between Melbourne and the NSW town of Goulburn and it was recognised that the nature of mining and agricultural work predisposed people to serious injury. The community voted in 1853 to raise funds for a hospital and a voluntary committee elected from people who contributed £2 or more annually determined the organisation's management policies, which aimed to provide care for poor people at rates levied according to the person's means. Ongoing operations of the hospital were primarily supported by Government grants, however. The foundation stone was laid at a site in Church Street at a ceremony held 1st September 1856 which was attended by 2000 people using a locally crafted trowel with a tin ore handle and pure gold blade. The hospital, which was designed by J.H. Dobbyn, cost £2347. The hospital had two wards, a dispensary, apartments for a resident surgeon and the matron, an operating theatre and a board room. Further medical facilities including services to meet the cultural and health needs of the local Chinese community were later added, in addition to a Palladian-style cut-granite face built in 1862-63. It functioned as the region's primary hospital until surpassed by the Wangaratta Hospital in 1910. In the 1940s much of the building materials were salvaged and repurposed, with the exception of the facade which was restored in 1963 by the Beechworth Lions Club and still stands today. The facade featured on the covers of local history volume 'Beechworth: a Titan's Field' by Carole Woods and heritage-focused travel guide the 'Readers Digest Book of Historic Australian Towns'. Lantern slides, sometimes called 'magic lantern' slides, are glass plates on which an image has been secured for the purpose of projection. Glass slides were etched or hand-painted for this purpose from the Eighteenth Century but the process became more popular and accessible to the public with the development of photographic-emulsion slides used with a 'Magic Lantern' device in the mid-Nineteenth Century. Photographic lantern slides comprise a double-negative emulsion layer (forming a positive image) between thin glass plates that are bound together. A number of processes existed to form and bind the emulsion layer to the base plate, including the albumen, wet plate collodion, gelatine dry plate and woodburytype techniques. Lantern slides and magic lantern technologies are seen as foundational precursors to the development of modern photography and film-making techniques.This glass slide is significant because it provides insight into Beechworth's built environment and infrastructure in the early Twentieth Century, around the time of Australia's Federation. It is also an example of an early photographic and film-making technology in use in regional Victoria in the time period.Thin translucent sheet of glass with a round-edged square image printed on the front and framed in a black backing. It is held together by metal strips to secure the edges of the slide.Obverse: Y /burke museum, beechworth, lantern slide, slide, glass slide, plate, burke museum collection, photograph, monochrome, ovens district hospital, indigo shire, north-east victoria, hospital, palladian architecture, granite, community fundraising, community infrastructure, j.h. dobbyn, beechworth lions club, ovens goldfields hospital, chinese community

This item is an example of a lighting device commonly used before electricity was widely available for domestic use.A hurricane lamp with a rounded tank and small carry handle (a larger handle is possibly missing). It has a lever to open the glass tank. It has a metal base which is filled with kerosene. On top is a metal hood with vents.Around base : Chinese characters. On top : "Made in China KWANG HWA"lighting lantern kerosene-lamp hurricane -lamp

Object.MAGIC LANTERN COLLECTION- Magic Lantern slide - rare (19th Century ?) timber mounted hand painted Lantern Slide depicting the presentation of gold coins ? To a Chinese Emperor ? Number 7 is written in ink on top right corner.photography, projectors - still

During the Victorian goldrushes of the 1850s thousands of Chinese migrants arrived to seek their fortunes. At that time many came to the lucrative gold fields of Northeast Victoria. After the Gold rush, many Chinese migrants returned home. However, a number settled in the area as merchants, hawkers and market gardeners in surrounding towns including Wodonga, the Ovens, King, Buffalo River and Kiewa Valleys. They also rented lands and established themselves in the hops and tobacco farming industries. Items of Chinese origin made their way into many households. Importation of Chinese mass produced items such as this lantern continued well into the 20th century and were common domestic items across Australia before households were connected to electricity.This item is representation of kerosene / paraffin lamps used throughout Australia to provide lighting inside and outdoors prior to the widespread availability of electricity.A small hurricane lamp with a rounded tank and small carry handle attached to the top. A larger handle is also attached at the top of the frame. It has a lever to open the glass tank. It has a metal base which is filled with kerosene. It has a screw knob to open the kerosene receptacle. The metal hood also has vents. The Chinese characters around the base translate to "Shanghai Guanghuaheng".Around base : Chinese characters. On top : "Made in China KWANG HWA"kerosene lamp, domestic appliances, chinese artefacts