This black and white photograph from 1998 shows students greeting each other outside the Banksia Gardens Community Centre. The image highlights the Centre's role in fostering community connections and support, pivotal in transforming the estate through educational and social programs.This black and white photograph from 1998, depicting students greeting each other outside the Banksia Gardens Community Centre, highlights the Centre's crucial role in fostering community connections and support. The image symbolises the Centre's impact in transforming the estate through educational and social programs, enhancing community resilience and cohesion.Black and white photograph on glossy photographic paper.Students greet each other outside/Banksia Gardens Community Centre 1998banksia gardens, broadmeadows, community centre, 1998

These photographs, taken by The Advocate in 1993, are of the Italian Day Festival held in St. Albans. Italian Day celebrations and Italian festivals play an important role in preserving Italian culture and strengthening community connections, particularly in areas with a significant Italian Australian population.These types of festivals help preserve traditions, language, music, dance, food, and customs. They provide opportunities for younger generations to learn about their cultural heritage and maintain connections with their family history.7656.01 - Italian Day Celebrations St. Albans 1993 Photographs (Advocate 559.2).JPG 7656.02 - Italian Day Celebrations St. Albans 1993 Photographs (Advocate 559.2).JPG 7656.03 - Italian Day Celebrations St. Albans 1993 Photographs (Advocate 559.2).JPG 7656.04 - Italian Day Celebrations St. Albans 1993 Photographs (Advocate 559.2).JPG 7656.05 - Italian Day Celebrations St. Albans 1993 Photographs (Advocate 559.2).JPGst. albans

The Brimbank Men’s Health Project is a year‑round initiative focused on improving men’s physical, mental, and emotional wellbeing across the municipality. It delivers workshops, social activities, health education, and community connection opportunities. The project also hosts an annual Men’s Health Week program, featuring events, guest speakers, health checks, and activities designed to reduce stigma and encourage men to seek support. The emphasis on men’s health arises from long‑standing patterns in health outcomes and behaviour. Across Australia, and reflected locally in Brimbank, men are more likely to experience preventable illness, less likely to seek support early, and more likely to become socially isolated. Men’s health initiatives aim to address these gaps through education, connection, and accessible community programs.Brimbank Men's Health Project Australian Bush Comfort and Confidence Westvale Community Centre 45 Kings Road, Kings Park Soup Social Westvale Community Centre 45 Kings Road, Kings Park Hearth Health Session Westvale Community Centre 45 Kings Road, Kings Park Dad's Man Cave On-line Ezee Tennis (Adults) West Sunshine Community Centre 5 Kermeen Street, West Sunshine Table Tennis Time (Adults) Delahey Community Centre 80 Copperfield Drive, Delahey Gluten Free Baking (Adults) West Sunshine Community Centre 5 Kermeen Street, West Sunshine Pizza Meet-Up Westvale Community Centre 45 Kings Road, Kings Park

'Balam Balam', by Aunty Kim Wandin and Christine Joy’s (Murrup Biik) is located at Balam Balam Place. This artwork responds to the name of the site and represents the earth and the extraordinary migratory journeys that butterflies make around our planet, referencing their resilience and strength. It recognises that butterflies as pollinators are an important food source for birds and other vertebrates, and are a part of a living, interconnected planetary system. They are indicator species for healthy environments. Grounded in a deep relationship with Country and a commitment to creating culturally rich artwork, Murrup Biik's 'Balam Balam' honours Aboriginal knowledge, ceremony, and community connection.merri-bek public art collection

This 1981 photograph of Grade 2 and 3 students from Room 12 at Jacana Primary School offers a valuable glimpse into the everyday life of primary education in Melbourne’s northern suburbs during a period of suburban growth and demographic transformation. Founded in 1959, Jacana Primary School served the local community for over four decades, providing not only academic instruction but also a vital space for social development and community connection. The image reflects the school’s dedication to creating a nurturing and inclusive environment for young learners in their early years of schooling. It also illustrates the cultural diversity and changing social landscape of Jacana in the late 20th century. As part of the school’s visual archive, this photograph contributes to a broader understanding of how public education supported community cohesion, shaped local identity, and played a formative role in the lives of children and families across generations.The 1981 photograph of Grade 2 and 3 students in Room 12 at Jacana Primary School is a historically significant artefact that captures the everyday realities of early primary education during a period of growth and change in Melbourne’s northern suburbs. It reflects the school’s commitment to providing a nurturing and inclusive learning environment for young children, many of whom came from diverse cultural backgrounds. This image offers insight into the social and educational atmosphere of the early 1980s, including classroom dynamics, fashion, and the evolving demographic character of the Jacana community. As part of the visual legacy of a now-closed institution, the photograph preserves the memory of a school that played a vital role in shaping childhood experiences and fostering community identity across generations.Colour Photograph on Matte Paper, with white borderBack, Top Left Corner: (White label): PH-5009/ (Blue Label): PH-5596 Centre (in pencil) J.P.S., Manufacturers Mark; this paper/Manufactured/ by Kodakjacana primary school, education, photograph, group photograph, class photograph, grade 2 and 3, room 12, 1981

Rochelle SUMMERFEILD Born Sydney, Australia This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Artists Statement: I am based in Northern NSW. My art practice is deeply influenced by my connections and experiences with the rivers and habitat where I live. Through drawing, paint, collage and digital media my work explores human relationships with riparian environments. Every day I see the undeniable beauty of our rivers as well as the ecological suffering of these riparian landscapes. Historical practices of land clearing, water politics and weed infestation put tremendous pressure on the Australian ecology. Disrupting traditional art forms, I combine them with new technologies to reveal some of the complexities behind human relationships with nature. With bold collagist experimentation, I combine numerous mediums to expose the small revelations between media. These juxtapositions open up the possibilities of reinventing different ways of being with the natural environment. Like the layers in my work, the issues surrounding our riverine environments are multifaceted and complex and begin with individual choices. I want to direct people’s attention to our rivers, to love, appreciate and reconnect with the natural environment. Human experience with nature is a fundamental part of our sense of self, health and well-being as well as community connection. (https://rochellesummerfield.com/about/, accessed 10 June 2020)art, artwork, rochell summerfield, printmaking, print council of australia

Rowing was introduced to Bendigo in 1872 by John Godfrey, who built the first wooden skiff and promoted the sport locally. The Sandhurst and Bendigo Rowing Clubs were formed in 1873, with Lake Weeroona's creation in 1879 providing a permanent home for the club. BRC members have competed nationally and internationally, including at the Commonwealth and Olympic Games. Notable achievements include women from Bendigo winning the Henley on the Maribyrnong three years in a row during the 1930s, challenging gender norms in sport. Key athletes such as Hannah Every-Hall and Neville Howell have played significant roles in the club's development and reputation. The club emphasizes inclusivity, welcoming juniors, women, men, and masters, and fostering a family-friendly, socially responsible culture.The ethos of volunteerism and community connection is central to the club's identity and future aspirations. The club has survived challenges such as droughts, wars, and the COVID-19 pandemic, consistently adapting and continuing its activities. Physical mementos and historical relics are preserved and celebrated, especially during milestone events like the 150th anniversary. 1872 the First skiff built and rowing demonstrated in Bendigo.1879: Lake Weeroona created.1927: Club officially named Bendigo Rowing Club.1969: Revitalization led by Olympic gold medallist Neville Howell.1992: Jason Day represents Australia at the Barcelona Olympics.2012: Hannah Every-Hall competes at the London Olympics.2022: 150th anniversary celebration.Bendigo Advertiser Article - Rowing for 150 years, Sat 04 June 2022, by Anthony Pinder This item contains the following documents: 3486.61a Colour photo of current Bendigo Rowing Club President Lynda Davis and Jesse Sherwood in the club rooms 3486.61b Colour photo of four members in a kayak 3486.61c Colour photo of Livia Rosaia exercising 3486.61d Black and white photo of the Bendigo Rowers in 1905 at the old sheds which were situated at the Nolan St end of Lake Weeroona 3486.61e Bendigo Advertiser Article - Rowing for 150 years bendigo, bendigo rowing club, john godfrey, lake weeroona

Jacana Primary School, established in 1959 amid Melbourne’s post-war suburban expansion, was a cornerstone of the Jacana community for over four decades. Built to serve families settling in newly developed housing estates in the northern corridor, the school quickly became a hub for education, inclusion, and community connection. Its student population reflected the area’s growing diversity, with many migrant families contributing to a vibrant and evolving school culture. By the late 1980s, Jacana Primary had earned recognition not only for its academic programs but also for its strong commitment to extracurricular activities. Soccer, in particular, emerged as a defining feature of school life. It united students across cultural and social backgrounds, fostering teamwork, resilience, and a deep sense of school pride. The sport’s popularity mirrored the cultural heritage of many students, making it both a recreational and symbolic activity. The 1990 Soccer Premiers photograph captures a moment of triumph and togetherness during this dynamic period. More than a record of athletic success, it embodies the school’s values of inclusion, participation, and community spirit. It stands as a testament to Jacana Primary’s role in nurturing personal growth and social cohesion through sport. Though Jacana Primary School closed in the early 2000s, its legacy lives on in images like this—offering a window into the lived experiences of students and the social fabric of Melbourne’s northern suburbs during a time of transformation.The 1990 Soccer Premiers photograph from Jacana Primary School is a culturally and historically significant artifact that reflects the school’s role as a vital educational and social institution in Melbourne’s northern suburbs. Established in 1959 during a period of rapid suburban development, Jacana Primary served a diverse and growing community, including many migrant families whose cultural backgrounds enriched the school’s identity. This image captures more than a moment of sporting success—it embodies the inclusive spirit, resilience, and camaraderie that defined Jacana Primary’s approach to education. Soccer was a central part of school life, bridging cultural divides and fostering a sense of belonging among students. The photograph stands as a testament to the school’s commitment to holistic development, where extracurricular activities played a key role in shaping character and community cohesion. Although Jacana Primary School closed in the early 2000s, its legacy endures through visual records like this one, offering valuable insight into the lived experiences of students and the evolving social fabric of Melbourne’s northern corridor during a transformative era.A colour photograph on Matte embossed photo paper.PH-5339(blue label) This paper/ Manufactured/ By Kodakjacana primary school, photograph, school photograph, education, soccer team, 1990, jacana

This photograph from 1998 captures the public housing at Banksia Gardens Housing Estate in Broadmeadows. The image provides a valuable historical record of the estate's development and the living conditions during that period. Banksia Gardens was designed to offer accessible and inclusive housing, reflecting the broader social and economic context of the time. The estate served as a vital community hub, fostering social connections and providing support to its residents.This photograph of the public housing at Banksia Gardens Housing Estate in Broadmeadows, taken in 1998, holds significant historical value. It captures the essence of the estate's development and the living conditions of the time. Banksia Gardens was designed to provide accessible and inclusive housing, reflecting the social and economic priorities of the late 1990s. The estate served as a crucial community hub, fostering social connections and offering essential support to its residents. This image stands as a testament to the efforts made to create a supportive and cohesive community environment, highlighting the importance of public housing in enhancing the quality of life for its inhabitants.Black and white photograph on glossy paper.Banksia Gardens Housing Estate/Broadmeadows 1998banksia gardens, broadmeadows, 1998

This photograph from 1998 captures a significant public housing development in Broadmeadows. It offers valuable insight into the architectural design and living conditions within the estate during the late 1990s. Established to provide affordable and accessible housing, the development reflects the social and economic priorities of the era. It served as a vital community hub, fostering social connections and offering essential support to residents. The image stands as a historical record of efforts to build stable and inclusive communities through public housing initiatives.This photograph from 1998 captures a public housing estate in Broadmeadows, reflecting the architectural style and living conditions of the time. The image offers valuable insight into the social and economic priorities of the late 1990s, when affordable and accessible housing was a key focus. The estate served as an important community hub, fostering social connections, providing essential support, and enhancing the quality of life for residents. This photograph stands as a testament to the role of public housing in building stable and inclusive communities.Black and white photograph on glossy paper.Public Housing Estate/Banksia Gardens 1998/(Upside down bottom left corner) 28broadmeadows, 1998, public housing, public housing estate in broadmeadows

This Kodak camera was a popular model early in the 20th century. This one belonged to Elisabeth Tait (nee Pearson). Elisabeth Pearson was born in 1911 to James and Amy Pearson. Her father had established, in 1910, the clothing firm of Pelaco in association with James Law. The business mostly produced men’s shirts. Elisabeth Pearson married a Warrnambool lawyer and was known for her community work, especially in connection with the Warrnambool Ladies’ Benevolent Society. She joined this society in March 1969 and became president in November, 1961. She retained this position until the society was disbanded in 1993. This camera is retained as a memento of Elisabeth Tait, a well-known Warrnambool person in the 20th century. .1 This is a brown leather camera case with a metal catch and a leather shoulder strap. The case has stitching along the sides. The initials of the owner are stamped in gold lettering on the front of the cover. The leather is somewhat rubbed. 2. This is a Kodak camera with a black covering and a telescopic mechanism inside. It has gold lettering on the back. ‘E.M.P.’ (twice) ‘Use film no. A 116’ ‘No 2A Folding Autographic Brownie’ ‘Kodak’ ‘Tait 246 Lava Street Warrnambool’ 20th century photography, elisabeth tait, warrnambool

This 1993 group photograph of Prep students and their teachers at Jacana Primary School offers a valuable glimpse into the foundational years of education within a public school setting in Melbourne’s northern suburbs. Established in 1959 and active until the early 2000s, Jacana Primary was a vital institution that supported generations of local families through learning, connection, and community engagement. The image reflects the school’s dedication to creating a nurturing and inclusive environment for its youngest learners. It also captures the broader social and cultural shifts occurring in Jacana during the late 20th century, as suburban development brought together families from diverse backgrounds. As part of the school’s visual archive, this photograph contributes to a deeper understanding of how public education shaped local identity, fostered social cohesion, and left a lasting legacy in the lives of children and their communities.This 1993 group photograph of Grade Prep students and their teachers at Jacana Primary School offers a vivid portrayal of early school life within a community-oriented educational setting. Operating from 1959 until the early 2000s, Jacana Primary was a foundational institution in Melbourne’s northern suburbs, shaping the educational experiences and social connections of generations of children. The image reflects the school’s enduring values of inclusivity, friendship, and belonging, capturing not only the individuals present but also the collective spirit that defined Jacana’s learning environment. It also provides insight into the broader social context of the suburb during a time of suburban expansion and increasing cultural diversity. As a historical artifact, the photograph contributes to a deeper understanding of how public schools like Jacana Primary fostered community identity, supported social cohesion, and left a lasting legacy in the lives of students and families.Colour Photograph on Satin Finish Paper, mounted on card backingBack; (Blue Label): PH-5558 (Manufactures Mark): Fujicolor/ Paperjacana primary school, education, photograph, group photograph, 1993, dwayne norman, elke-beth koistinen, jywei luong, danielle szuhai-andrews, robbie brewer, tulin cayvarli, krystle phillips, kevin le, jessica kidd, matthew haby, timothy blaney, nemate hamad, khaled nahas, steven churchill, sonia born, faye dabrowski, chen zhao, peter cindric, matthew tracey, ammoun houssein, neddy changtave, miss s bouchier, n. greisser, mrs. k smith, mr brian o'dea

This 1979 group photograph of Grade 2 students and their teacher at Jacana Primary School offers a meaningful glimpse into the everyday experiences of primary education in Melbourne’s northern suburbs during a time of suburban expansion and demographic change. Established in 1959, Jacana Primary served the local community for over 40 years, providing not only academic instruction but also a vital space for social connection and community identity. The image reflects the school’s commitment to fostering a nurturing and inclusive environment for young learners in their early years of schooling. It also highlights the cultural diversity and evolving social fabric of Jacana in the late 20th century. As part of the school’s visual archive, this photograph contributes to a broader understanding of how public education supported community cohesion, shaped local identity, and played a formative role in the lives of children and families across generations.This 1979 group photograph of Grade 2 students and their teacher at Jacana Primary School is a historically significant artifact that captures a formative moment in the educational and social life of Melbourne’s northern suburbs. Established in 1959, Jacana Primary operated for over four decades, serving as a key institution in the local community until its closure in the early 2000s. The photograph reflects the school’s enduring commitment to nurturing young learners in an inclusive and supportive environment. It also offers insight into the cultural and demographic landscape of Jacana during a period of suburban growth and transformation. As part of the school’s visual legacy, this image documents the everyday experiences of students and highlights the role of public education in fostering community identity, cohesion, and continuity across generations.Colour Photograph on Matte Paper, with white borderBack, Top Left Corner: (White label): PH-5009/ (Blue Label): PH-5596 Centre (in pencil) J.P.S., Manufacturers Mark; this paper/Manufactured/ by Kodakjacana primary school, education, photograph, group photograph, 1979, class photograph, grade 2

"The fist references the Black Lives Matter movement and also represents the strength of Indigenous peoples all over the world and symbolises solidarity and justice for everyone affected by systematic racism. Bunjil (wedge-tailed eagle) is flying high on the building. He is the creator spirit for Wurundjeri people who looks over us and protects us. Bunjil represents healing and power to our people. The blue circles and lines represent revival and waterways; in particular, they depict the Birrarung (Yarra River), which is very significant for the Wurundjeri people. Our people are known as the Manna Gum people. The leaves in the artwork highlight Wurundjeri people and their Country. These leaves also represent the cleansing of negative spirits. The Manna Gum leaf is also an important symbolic offering in our traditional Welcome to Country ceremony. Leaves are offered to visitors as they are granted safe passage through our land. They are made welcome to everything from the tops of the trees to the roots of the earth. We ask that they take care of the land, plants and animals and to respect the protocols and rules of the Traditional Owners whilst on our Country."In 2020 Council declared its support for the global Black Lives Matter (BLM) movement. In consultation with Yarra City Council's Yana Ngargna advisory group a motion was prepared and passed unanimously by all Councillors. A number of actions were generated from this decision; one of which was for Council to commission a large-scale mural that aligned with the movement. Emerging artist Ky-ya Nicholson-Ward, a proud Wurundjeri, Dja Dja Wurrung, Nguarai Illam-Wurrung, German and Irish woman, created the mural installed on a building in Peel Street Park, Collingwood. Selected by Council's Yana Ngargna, Black Lives Matter Working Group the artwork identifies the cultural importance of the local area to the Wurundjeri Woi Wurrung people as the Traditional Owners. With a strong focus on Aboriginal identity the mural outlines the local context of the Black Lives Matter movement, which is connected to racism, policing of Aboriginal and Torres Strait Islander peoples and associated deaths in custody. The artwork acknowledges the ongoing challenges faced by Aboriginal community members and their struggle to survive white systems, policies and institutions. Ky-ya's mural tells the story of Aboriginal resilience, strength and self-determination; and will support the process of healing. It is a celebration of the local Aboriginal and Torres Strait Islander community; the significant Aboriginal history of Fitzroy, Collingwood and surrounds; and community's continuing cultural connection to the area. Importantly, this artwork provides a platform to educate a broader audience about the local context of the Black Lives Matter movement and Aboriginal deaths in custody. The mural will activate this site, enliven the area, promote inclusion, incite conversation and contribute to the creative capital of this locale. A welcoming environment for Aboriginal and non-Aboriginal communities.Aboriginal Lives Matter Ky-ya Nicholson WardOn a black background a hand fist (strength, solidarity and justice) is placed at the centre of the building; Bunjil (wedge-tailed eagle) is depicted flying high on the building; blue circles and lines represent revival and waterways (Birrarung-Yarra River) and the leaves in the artwork highlight Wurundjeri people (cleansing of spirit and welcome to Country)The artist name 'Ky-ya Nicholson Ward' painted in white, low right of the wall facing into Peel Street Park. black lives matter (blm) movement, wurundjeri woi wurrung, bunjil, identity, birrarung, country

Water is key to a thriving community and it is through the representation of water Flow enlivens the space at Bakery Hill. Historically ‘water races’ ran through the valleys of the Greater Ballarat area unearthing the minerals that forged prosperity and wealth. This water still flows today unearthing new possibilities for the community. Possibilities focusing on sustainability, ecology, health and prosperity. Flowing over the site a series of kinetic turbines flutter in the wind creating a contemporary water race. The interactive elements offer visual stimulation enticing people to connect with the artwork and in turn the surrounding spaces. Bakery Hill has great historical significance. It’s connection to the Eureka Stockade and the series of events that were to unfold during the 1850’s was to become the turning point in Australian political history. The placement of each turbine is to mirror a point of history in the timeline of events that occurred during the Eureka Stockade. The Water Race is a symbol of possibilities, the ones created by history and those of modern society. It is a visual timeline that can be read by traversing the site. The connecting turbines that flow and turn in sync are a representation of time passing and the interconnectedness of history with the community that surrounds it. The gateway to Bridge Mall is framed through the placement of each turbine allowing the sense of prosperity and wealth to flow through to the surrounding community. This gateway also references the significance of Bakery Hill reinvigorating the historical site by reconnecting it back to its town centre. The artwork is of aesthetic and historical significance to the people of BallaratTwelve steel turbines set on poles with dates attached and a large bronze 'timeline' plaqueFLOW/ Plotting the motion of Wind, Water, History and Time/ by Holly Grace and Aaron Robinson/ This site has great historical significance. It’s connection to the Eureka Stockade and the series of events that unfolded in the 1850’s was to become the turning point in Australian history. The placement of each turbine within this artwork mirrors a point of history in the events that led up to the Eureka Stockade. It is a visual timeline that can be read by traversing the site. The connecting turbines that flow and turn in sync are a representation of time passing. They are a symbol of the community’s connection to their history. 1851 June James Esmond makes the first discovery of gold in Victoria at Clunes./ 1st July The Port Phillip District separates from New South Wales and becomes the Colony of Victoria. It is still subject to British rule./ August Gold is discovered at Buninyong and at Golden Point, Ballarat. Lt-Governor La Trobe introduces the Gold Licence system in an attempt to reduce the colony’s debt./ 20th September First gold licences issued in Ballarat. / 1852 August/ Eureka Lead discovered on the Ballarat goldfields. December Charles La Trobe resigns as Lt-Governor but he is not relieved until 1854/ July – December/ Unrest builds on the various goldfields with protest meetings held in Bendigo and Castlemaine. Bendigo’s Red Ribbon Movement is active on the goldfields and the Bendigo Petition is presented to Lt-Governor./ December/ Charles Hotham is appointed Lt-Governor/ 1854 March/ A bill to extend the Elective Franchise is passed by the Legislative Council and sent to London for the assent of the British Parliament. 22nd June/ Lt-Governor Sir Charles Hotham arrives in Victoria. The colony faces mounting debt and Hotham orders weekly licence hunts in an attempt to increase income./ August/ Hotham is acclaimed during his visit to the Ballarat goldfield./ 13th September? Hotham orders twice-weekly licence hunts to further increase revenue./ September – October/ Miners are experiencing problems – no shafts bottomed on the Eureka Lead for five weeks./ 7th October/ James Scobie is murdered outside the Eureka Hotel. Many diggers believe that publican James Bentley is responsible./ 9th October/ At Scobie’s inquest, Bentley is acquitted, despite strong evidence of his guilt./ 10th October/ Father Smythe’s servant is beaten up by authorities and falsely arrested for not holding a licence./ 15th October/ Mass meeting of miners on Bakery Hill. Catholic miners meet after Mass. // 17th October/ A meeting of up to 10,000 Diggers is held near the Eureka Hotel to protest against Bentley’s acquittal. The meeting results in the burning of the hotel. Three diggers, Westerby, Fletcher and McIntyre, are arrested. Hotham dispatches 400 soldiers to Ballarat. 22nd October/ Another large meeting is held to address grievances. The Catholics send their leaders, Hayes, Kennedy and Manning to meet Rede. The Government Camp is under siege 11th November/ A public meeting on Bakery Hill results in the formal establishment of the Ballarat Reform League and adoption of the League’s proposals./ 21st November/ The enquiry into the Bentley affair is published. It recommends the dismissal of the judge and the establishment of a Royal Commission. 23rd November/ Westerby, Fletcher and McIntyre are convicted of burning the hotel. The Ballarat Reform League demands their release. 27th November/ A deputation from The Ballarat Reform League, including Humffray, Black and Kennedy, meet with Hotham to demand the release of the three prisoners. Hotham does not believe the diggers have the right to “demand anything”, Rede requests reinforcements in Ballarat. 28th November/ Miners attack the troop reinforcements and wagons passing near the Eureka diggings. A drummer boy is seriously wounded. 29th November/ A “Monster Meeting” attended by more than 10,000 diggers is held on Bakery Hill. The Southern Cross flag is flown for the first time. Peter Lalor addresses the miners and a number of diggers burn their licences. 30th November/ A licence hunt occurs in the morning at the order of Commissioner Rede. Another meeting of radical miners is held on Bakery Hill. Peter Lalor becomes leader of the diggers and calls for volunteers. Many diggers wear an oath to defend their rights and liberties under the Southern Cross flag. A number of diggers move to the Eureka Lead and start to erect a stockade. 3rd December In the early hours of Sunday morning 296 soldiers and police led by Captain Thomas proceed from the Government Camp to the Eureka Lead and attack the Stockade. 22 diggers and 7 military are officially listed as being killed. Many others are wounded. Approximately 120 diggers are arrested and marched to the Government Camp. 4th December/ Funeral of some of the fallen diggers and soldiers. Martial Law is proclaimed in Ballarat. Henry Seekamp, editor of the Ballarat Times is charged with seditious libel. 6th December/ Major General Sir Robert Nickle, commander-in-chief of the military forces in the Australian colonies, arrives in Ballarat. 9th December/ General Nickle repeals martial law. 14th December/ The Gold Fields Commission sits for the first time. 18th December/ The first Ballarat sitting of the Gold Fields Commission is held at Bath’s Hotel. 1855 23rd January/ Henry Seekamp is found guilt of sedition and sentenced to three months in prison. 22nd February/ The Eureka trials starts in Melbourne. February to March/ 13 prisoners are tried and acquitted amid great public rejoicing. 27th March Report of the Royal Commission recommends miners’ rights and significant reforms. 10th November/ Peter Lalor and John Basson Humffray are nominated for seats in the legislative Council. 31st December Sir Charles Hotham dies before his resignation takes effect. flow, aaron robinson, holly grace, public art, eureka stockade, bakery hill

Trudi HARLEY Born Korumburra, Victoria Born in country Victoria Trudi Harley graduated with a Bachelor of Education (Art and Craft) at Victoria College, Burwood. After teaching for 10 years in both Government and Independent schools in Melbourne she worked as a Sales Executive and Art Educator for Cavalier Art Supplies for 16 years. Recently Trudi Harley completed a Bachelor of Arts (Visual Arts) (Honours) with Distinction between 2008 – 2009, and a Master of Arts (Research), Visual Art between 2010 – 2012 at the University of Ballarat (now Federation University). Maintaining an artistic practice while in a business partnership Trudi Harley owns and runs Atelier Art Supplies in Williamstown, Victoria, which is a major supporter of the arts in the western suburbs of Melbourne/ This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Artist's Statement: As an artist am continually drawn to ‘what makes us who we are’ and as a result the work, whatever it may be, is a reflection on what makes me who I am. In this I refer to perception, experience and memory as aspects that contribute to our sense of reality. By using these references I intend to engage the audience and develop a sense of connection and community through the visual image. ‘Fallen’ was not necessarily a reflection on my own life but of life in general as I recall at the time I had a family member who was struggling to cope with their own reality. I can also recall at the time reflecting on the adage ‘walk a mile in my shoes’ and the pressures we all face in life. Added to this were my own influences of upbringing, I have always been particularly drawn to fabrics and patterns as my mother was/is (getting a little old now) a seamstress and my father was a bit of a ‘perfectionist’. During my honours study I came across the term ‘Esperpento’ which included such visual elements as exaggeration and unusual viewpoints. Fallen was a comment on the psychology associated with expectations in life, or more importantly those expectations placed on offspring by their parents. This painting reflected the consequences of not living up to those expectations. It is unfortunate that in life, by the time you get to the point of realising that you have the opportunity to set your own standards, that you’ve probably embodied a great many set of values by osmosis and that you’ve now claimed them as your own. The view is from above to dramatize the subject, the figure placed compositionally in the top right hand corner to open up the picture plane and allow for the narrative to continue outside the visual area of the canvas. It was also in this painting that I rubbed back some of the darker oil paint to allow the lighter underpainting to show through.art, artwork, trudi harley, harley, carpet, portrait, self-portrait, alumni

This wall clock originated from the Bank of Australasia. The label on the base matches other items from the same donor. It was spring powered by winding the key mechanism with the clock's key through the hole in the clock face. The hinged door on the base of the clock's case allows access to the clock's working mechanism. James Murray (son of James Murray 1780-1847) was a maker of clocks and chronometers. He worked at No. 1, Royal Exchange, London and from 1861 at 107 Great Bourke Street, Melbourne. In 1854 William Kerr ordered a clock from James Murray and erected it on the Albert Street frontage of the National Model & Training School in Spring Street Melbourne. It was Melbourne's first turret clock and remained there for 80 years before it was transferred to the Public Library in Melbourne in 1934 (now Museum Victoria). The Bank of Australasia was incorporated by Royal Charter of England in March 1834. It had its Australian beginning on 14th December 1835, opening in Sydney. The Acting Superintendent of the bank at that time was David Charters McArthur. He was Superintendent from 1867-to 1876. The Melbourne branch opened on 28th August 1838 in a two-roomed brick cottage on the north side of Little Collins Street, where two huge mastiff dogs were used at night to guard the bank. The government also provided an armed military sentinel. Due to the bank's rapid growth, a new building for the Melbourne branch was opened in 1840 at 75 Collins Street West. By 1879 the bank had been upgraded to a magnificent two-storey building on the corners of Collins and Queens Streets, with the entry on Collins Street. In 1951 the Bank of Australasia amalgamated with the Union Bank to form the Australia and New Zealand Bank, now known as the ANZ. Then in 1970, the ANZ merged with both the ES&A and the London Bank of Australia to form the ANZ Banking Group Limited. The ANZ Banking Group Ltd kindly donated a variety of historic items from the Bank of Australasia. BANK of AUSTRALASIA, WARRNAMBOOL – In 1854 Warrnambool had two banks, the Union Bank and the Bank of Australasia. Later, completely different bank businesses opened; in 1867 the National Bank of Australasia, then in 1875 the Colonial Bank of Australasia. The original Warrnambool branch of the Bank of Australasia was established in July 1854, and operated from a leased cottage on Merri Street, close to Liebig Street. The bank next bought a stone building previously erected by drapers Cramond & Dickson on the corner of Timor and Gibson Streets. Samuel Hannaford was a teller and then Manager at the Warrnambool branch from 1855 to 1856 and the Warrnambool Council chose that bank for its dealings during 1856-57. In 1859 Roberts & Co. was awarded the contract to build the new Bank of Australasia branch for the sum of £3,000. The land was on a sand hill on the northeast corner of Timor and Kepler Streets and had been bought in 1855 from investor James Cust. The new building opened on May 21, 1860. The bank continued to operate there until 1951 when it merged with the Union Bank to form the ANZ Bank, which continued operating from its Liebig Street building. Warrnambool City Council purchased the former Bank of Australasia building in 1971 and renovated it, then on 3rd December 1973 it was officially opened as the Art Gallery by Cr. Harold Stephenson and Gallery Director John Welsh. The Gallery transferred to the purpose-built building in Liebig Street in 1986 and the old bank building is now the Gallery club. Staff at the Bank of Australasia in Warrnambool included the following men but others were also involved: Samuel Hannaford, Teller then Manager from 1855-1856; W H Palmer, Manager from January 1857 until November 1869 when the Teller Basil Spence was promoted to Manager; H B Chomley, Manager from April 1873 and still there in 1886; A Butt, Manager in 1895-1904; J R McCleary Accountant and Acting Manager for 12 months, until 1900; A Kirk, Manager 1904; J Moore, staff until his transfer to Bendigo in December 1908; J S Bath was Manager until 1915; C C Cox, Manager until April 1923; Richard C Stanley, Manager 1923 to April 1928. The clock has significance through its association with the Bank of Australasia. The early Australian bank was established in 1834 by Royal Charter and opened in Sydney, Australia, in Sydney in 1835. The bank had many Australian offices in November 1877, particularly on the east and south coasts. Victoria had 45 percent of all Offices. The clock is significant for its connection with the quality clockmaker James Murray, originally from Royal Exchange London with a branch that opened in Melbourne in 1861. James Murray is renown for making the first turret clock to be installed in Melbourne. The clock is locally significant for its association with the Warrnambool Bank of Australasia, which was established in 1854. It was Warrnambool Council’s first bank. The bank continued to operate until the organisation's merger in 1951 when it became the ANZ Bank Group today. The Bank was an integral part of the growth of local commerce and the community.Wall clock with a round face behind glass in a wooden case. The painted brass face has Roman numerals, two decorative hands, divisions for minutes and a keyhole. The curved base of the case has a hinged access door with a keyhole and adhesive label. The back of the clock's case has metal mounting brackets. Inscriptions on the rectangular white label. Made by James Murray, Melbourne.Face: "JAMES MURRAY / - GT. BOURKE ST. / MELBOURNE / & / ROYAL EXCHANGE / LONEON" Label: "A M / 40"flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, bank of australasia, boa, union bank, australia & new zealand bank, anz bank, james murray, clock, wall clock, great bourke street melbourne, royal exchange london, william kerr, turret clock, old model school, national model & training school, access door, winding key

The Book of Common Prayer. Blue cloth cover. Title: The Book of Common Prayer with the Additions and Deviations proposed in 1928 Publisher: Humphrey Milford, Oxford University Press, London. 244 numbered pages. This is one of a set of original items in our ‘St Nicholas Seamen's Church Williamstown Collection’.non-fictionThe Book of Common Prayer is the foundational liturgical text of the Church of England and the broader Anglican Communion. The subject book as a standard 730-page UK edition often printed in the late 19th or early 20th century by major privilege presses like Cambridge University Press, Oxford University Press, or William Clowes & Sons contains the complete 1662 standard text. The volume is structured into distinct sections designed for daily worship, sacramental rites, and personal devotion. There is introductory matter within the text that includes the original prefaces regarding the service of the Church and how the Psalter and Holy Scriptures are ordered to be read. Lectionary and calendar tables are also included as well as lessons for daily Bible readings, rules for determining the date of Easter, and the calendar of Holy Days and saints' days.flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, preyer books, book of common prayer, anglican church prayer book, religion, religious service, sailors rest, bethel sailors’ church, bethel floating church, ladies harbour light guild, missions to seamen victoria, mission to seafarers, flying angels club, st nicholas seaman’s church williamstown, st nicholas mission to seamen church williamstown, mission to seamen williamstown, st nicholas seamen’s church flagstaff hill, 139 nelson place williamstown, anglican church, religious book, vc queries, search -, photo, st nicholas seamen’s church williamstown collection

The Book of Common Prayer. Blue cloth cover. Title: The Book of Common Prayer with the Additions and Deviations proposed in 1928 Publisher: Humphrey Milford, Oxford University Press, London. Spines have gold inlay print. 244 numbered pages. This is one of a set of original items in our ‘St Nicholas Seamen's Church Williamstown Collection’.non-fictionThe Book of Common Prayer is the foundational liturgical text of the Church of England and the broader Anglican Communion. The subject book as a standard 730-page UK edition often printed in the late 19th or early 20th century by major privilege presses like Cambridge University Press, Oxford University Press, or William Clowes & Sons contains the complete 1662 standard text. The volume is structured into distinct sections designed for daily worship, sacramental rites, and personal devotion. There is introductory matter within the text that includes the original prefaces regarding the service of the Church and how the Psalter and Holy Scriptures are ordered to be read. Lectionary and calendar tables are also included as well as lessons for daily Bible readings, rules for determining the date of Easter, and the calendar of Holy Days and saints' days.flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, preyer books, book of common prayer, anglican church prayer book, religion, religious service, sailors rest, bethel sailors’ church, bethel floating church, ladies harbour light guild, missions to seamen victoria, mission to seafarers, flying angels club, st nicholas seaman’s church williamstown, st nicholas mission to seamen church williamstown, missions to seamen williamstown, st nicholas seamen’s church flagstaff hill, 139 nelson place williamstown, anglican church, religious book

The Book of Common Prayer. Blue cloth cover. Title: The Book of Common Prayer with the Additions and Deviations proposed in 1928 Publisher: Humphrey Milford, Oxford University Press, London. Spines have gold inlay print. 244 numbered pages. This is one of a set of original items in our ‘St Nicholas Seamen's Church Williamstown Collection’.non-fictionThe Book of Common Prayer is the foundational liturgical text of the Church of England and the broader Anglican Communion. The subject book as a standard 730-page UK edition often printed in the late 19th or early 20th century by major privilege presses like Cambridge University Press, Oxford University Press, or William Clowes & Sons contains the complete 1662 standard text. The volume is structured into distinct sections designed for daily worship, sacramental rites, and personal devotion. There is introductory matter within the text that includes the original prefaces regarding the service of the Church and how the Psalter and Holy Scriptures are ordered to be read. Lectionary and calendar tables are also included as well as lessons for daily Bible readings, rules for determining the date of Easter, and the calendar of Holy Days and saints' days.flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, preyer books, book of common prayer, anglican church prayer book, religion, religious service, sailors rest, bethel sailors’ church, bethel floating church, ladies harbour light guild, missions to seamen victoria, mission to seafarers, flying angels club, st nicholas seaman’s church williamstown, st nicholas mission to seamen church williamstown, missions to seamen williamstown, st nicholas seamen’s church flagstaff hill, 139 nelson place williamstown, anglican church, religious book

The Book of Common Prayer. Red cloth cover. Title: The Book of Common Prayer with the Additions and Deviations proposed in 1928 Publisher: Humphrey Milford, Oxford University Press, London. Spines have gold inlay print. 244 numbered pages. This is one of a set of original items in our ‘St Nicholas Seamen's Church Williamstown Collection’.non-fictionThe Book of Common Prayer is the foundational liturgical text of the Church of England and the broader Anglican Communion. The subject book as a standard 730-page UK edition often printed in the late 19th or early 20th century by major privilege presses like Cambridge University Press, Oxford University Press, or William Clowes & Sons contains the complete 1662 standard text. The volume is structured into distinct sections designed for daily worship, sacramental rites, and personal devotion. There is introductory matter within the text that includes the original prefaces regarding the service of the Church and how the Psalter and Holy Scriptures are ordered to be read. Lectionary and calendar tables are also included as well as lessons for daily Bible readings, rules for determining the date of Easter, and the calendar of Holy Days and saints' days.flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, preyer books, book of common prayer, anglican church prayer book, religion, religious service, sailors rest, bethel sailors’ church, bethel floating church, ladies harbour light guild, missions to seamen victoria, mission to seafarers, flying angels club, st nicholas seaman’s church williamstown, st nicholas mission to seamen church williamstown, missions to seamen williamstown, st nicholas seamen’s church flagstaff hill, 139 nelson place williamstown, anglican church, religious book, book

The Book of Common Prayer. Blue cloth cover. Title: The Book of Common Prayer with the Additions and Deviations proposed in 1928 Publisher: Humphrey Milford, Oxford University Press, London. Spines have gold inlay print. 244 numbered pages. This is one of a set of original items in our ‘St Nicholas Seamen's Church Williamstown Collection’.non-fictionThe Book of Common Prayer is the foundational liturgical text of the Church of England and the broader Anglican Communion. The subject book as a standard 730-page UK edition often printed in the late 19th or early 20th century by major privilege presses like Cambridge University Press, Oxford University Press, or William Clowes & Sons contains the complete 1662 standard text. The volume is structured into distinct sections designed for daily worship, sacramental rites, and personal devotion. There is introductory matter within the text that includes the original prefaces regarding the service of the Church and how the Psalter and Holy Scriptures are ordered to be read. Lectionary and calendar tables are also included as well as lessons for daily Bible readings, rules for determining the date of Easter, and the calendar of Holy Days and saints' days.flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, preyer books, book of common prayer, anglican church prayer book, religion, religious service, sailors rest, bethel sailors’ church, bethel floating church, ladies harbour light guild, missions to seamen victoria, mission to seafarers, flying angels club, st nicholas seaman’s church williamstown, st nicholas mission to seamen church williamstown, missions to seamen williamstown, st nicholas seamen’s church flagstaff hill, 139 nelson place williamstown, anglican church, religious book, book

The Book of Common Prayer. Blue cloth cover. Title: The Book of Common Prayer with the Additions and Deviations proposed in 1928 Publisher: Humphrey Milford, Oxford University Press, London. Spines have gold inlay print. 244 numbered pages. This is one of a set of original items in our ‘St Nicholas Seamen's Church Williamstown Collection’.non-fictionThe Book of Common Prayer is the foundational liturgical text of the Church of England and the broader Anglican Communion. The subject book as a standard 730-page UK edition often printed in the late 19th or early 20th century by major privilege presses like Cambridge University Press, Oxford University Press, or William Clowes & Sons contains the complete 1662 standard text. The volume is structured into distinct sections designed for daily worship, sacramental rites, and personal devotion. There is introductory matter within the text that includes the original prefaces regarding the service of the Church and how the Psalter and Holy Scriptures are ordered to be read. Lectionary and calendar tables are also included as well as lessons for daily Bible readings, rules for determining the date of Easter, and the calendar of Holy Days and saints' days.flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, preyer books, book of common prayer, anglican church prayer book, religion, religious service, sailors rest, bethel sailors’ church, bethel floating church, ladies harbour light guild, missions to seamen victoria, mission to seafarers, flying angels club, st nicholas seaman’s church williamstown, st nicholas mission to seamen church williamstown, missions to seamen williamstown, st nicholas seamen’s church flagstaff hill, 139 nelson place williamstown, anglican church, religious book, book