Ill, maps. p.371.non-fictionA travellers guide to the churches and cathedrals of Northern Italyitaly - cathedrals, italy - churches

Index, Ill, maps. p.318.non-fictionA travellers guide to the churches and cathedrals of Central Italyitaly - cathedrals, italy - churches

Marble altar shipped out from Italy for new Catholic church built 1914/1915. Altar donated by Mr and Mrs John O'Beirne. Photograph taken in 1990.Colour photo of altar in St Peter's Catholic Church, Linton."The Last Supper St Peter's Church, Linton"st peter's catholic church linton, o'beirne family

Marble altar shipped out from Italy for new Catholic church built 1914/1915. Altar donated by Mr and Mrs John O'Beirne. Photograph taken in 1990.Colour photo front of altar, St Peter's Catholic Church, Linton. Depicts the Last Supper."Altar St Peter's R.C. Church, Linton".st peters catholic church linton, o'beirne family

A barometer is an instrument used for measuring atmosphere pressure thus determining weather changes.The first apparatus generally accepted as a barometer was that set up in Florence in 1644 by Evangelista Torricelli (1608–1647), a mathematician and physicist. Torricelli filled a glass tube with mercury, sealed it at one end, and inverted it with its open end in a dish of mercury. The level always fell a short way down the tube, then settled at a height of about thirty inches. He concluded correctly that the mercury column was sustained by the weight of the air pressing on the open surface of mercury, and further experiments convinced him that the space above the mercury in the tube was a vacuum. He noted that the level rose and fell with changing temperature, but he was unable to use his apparatus to measure variations in the weight of the atmosphere because he had not foreseen that temperature would affect the level of the mercury. News of this experiment circulated quickly among European scientists, who hastened to replicate the experiment. Torricelli's conclusions were not universally accepted because some disputed whether the air had weight, while both Aristotle and the Catholic Church denied the possibility of a vacuum. In France, the philosopher René Descartes (1596–1650) seems to have been the first person, probably in 1647, to attach a graduated scale to the tube so that he could record any changes attributable to the weather. At around this time Duke Ferdinand II of Tuscany organized the first short-lived meteorological network among scientists in other Italian cities, gathering observations of pressure, temperature, humidity, wind direction, and state of the sky.Theis barometer is an example of a household item from the early 20th century, used to determine the day's weather. The barometer is significant as an aid to human social, material and scientific development.Barometer, round, brass housing inset into carved wooden casing (lacquer mostly worn off). Decorative lettering for weather conditions "Stormy, Rain, Change, Fair, Very Dry". Workings are visible through opening in centre of dial. Indicator needle and another adjustable needle . Hook screwed into back of case.flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, barometer, scientific instrument, weather forcasting instrument, weather gauge

Giacomo Barozzi was born at Vignola. He was called Vignola after the name of the town where he was born. Giacomo was an Italian architect of 16th century. He was among those Italian architects who spread the Italian Renaissance style throughout Western Europe. His two masterpieces are the Villa Farnese at Caprarola and the Jesuits' Church of the Gesù in Rome. A blue cloth hard cover book. Title and author's name is engraved in gilt on front cover and spine. Illustrations in b/w. It includes 26 p. of text and 66 b/w plates, notes on the plates and a glossary of French and English terms. The book also includes studies of shadow projection and the orders and thier application.A bookplate inside front cover titled 'Ballarat School of Art Library No. AD/13. A library due date card with patron's name "Vignola, G.B da" date: 24/4/1968.roman architecture, greek architecture, orders of architecture, vignola, doric order, tuscan order, ionic order, corinthian order, composite order, shadow projection, arch of titus, bookplate, library plate, ballarat technical art school library

Naturally, we tend to take commonplace objects for granted, because they have always been there. Yet how many of you actually have thought “hey, where do forks come from?” Well, it takes one trip to China and a 3-year-old laughing at your face because of your desperate attempt to eat with chopsticks to finally appreciate something so ordinary such as a fork. So, where do forks come from? The early history of the fork is obscure. As a kitchen and dining utensil, it is believed to have originated in the Roman Empire, as proved by archaeological evidence. The personal table fork most likely originated in the Eastern Roman (or Byzantine) Empire. Its use spread to what is now the Middle East during the first millennium AD and then spread into Southern Europe during the second millennium. It did not become common in northern Europe until the 18th century and was not common in North America until the 19th century. Carving fork from 1640. Source: Wikipedia/Public Domain Carving Fork from 1640. Source: Wikipedia/Public Domain Some of the earliest known uses of forks with food occurred in Ancient Egypt, where large forks were used as cooking utensils. Bone forks had been found on the burial site of the Bronze Age Qijia culture (2400–1900 BC) as well as later Chinese dynasties’ tombs.The Ancient Greeks used the fork as a serving utensil. Read also: Steven Spielberg to Remake the Classic Musical ‘West Side Story’ In the Roman Empire, bronze and silver forks were used. The use varied according to local customs, social class and the nature of food, but forks of the earlier periods were mostly used as cooking and serving utensils. The personal table fork was most likely invented in the Eastern Roman (Byzantine) Empire, where they were in everyday use by the 4th century (its origin may even go back to Ancient Greece, before the Roman period). Records show that by the 9th century a similar utensil known as a barjyn was in limited use in Persia within some elite circles. By the 10th century, the table fork was in common use throughout the Middle East. Bronze forks made in Persia during the 8th or 9th century.Source: Wikipedia/Public Domain Bronze forks made in Persia during the 8th or 9th century.Source: Wikipedia/Public Domain The first recorded introduction of the fork to Western Europe, as recorded by the theologian and Cardinal Peter Damian, was by Theophano Sklereina the Byzantine wife of Holy Roman Emperor Otto II, who nonchalantly wielded one at an Imperial banquet in 972, astonishing her Western hosts.By the 11th century, the table fork had become increasingly prevalent in the Italian peninsula. It gained a following in Italy before any other Western European region because of historical ties with Byzantium and continued to get popularity due to the increasing presence of pasta in the Italian diet. At first, pasta was consumed using a long wooden spike, but this eventually evolved into three spikes, design better suited to gathering the noodles. In Italy, it became commonplace by the 14th century and was almost universally used by the merchant and upper classes by 1600. It was proper for a guest to arrive with his fork and spoon enclosed in a box called a cadena; this usage was introduced to the French court with Catherine de’ Medici’s entourage. In Portugal, forks were first used at the time of Infanta Beatrice, Duchess of Viseu, King Manuel I of Portugal’s mother around 1450. However, forks were not commonly used in Western Europe until the 16th century when they became part of Italian etiquette. The utensil had also gained some currency in Spain by this time, and its use gradually spread to France. Nevertheless, most of Europe did not adopt the use of the fork until the 18th century. Read also: The 8 Most Famous ‘Functioning Alcoholics’ in History Long after the personal table fork had become commonplace in France, at the supper celebrating the marriage of the Duc de Chartres to Louis XIV’s natural daughter in 1692, the seating was described in the court memoirs of Saint-Simon: “King James having his Queen on his right hand and the King on his left, and each with their cadenas.” In Perrault’s contemporaneous fairy tale of La Belle au bois dormant (1697), each of the fairies invited for the christening is presented with a splendid “fork holder”. The fork’s adoption in northern Europe was slower. Its use was first described in English by Thomas Coryat in a volume of writings on his Italian travels (1611), but for many years it was viewed as an unmanly Italian affectation. Some writers of the Roman Catholic Church expressly disapproved of its use, St. Peter Damian seeing it as “excessive delicacy.” It was not until the 18th century that the fork became commonly used in Great Britain, although some sources say that forks were common in France, England, and Sweden already by the early 17th century. Spaghetti fork By Lady alys - Own work, CC BY-SA 3.0, https://commons.wikimedia.org/w/index.php?curid=6414948 Spaghetti Fork By Lady alys – Own work, CC BY-SA 3.0, The fork did not become popular in North America until near the time of the American Revolution. The curved fork used in most parts of the world today was developed in Germany in the mid 18th century while the standard four-tine design became current in the early 19th century. The fork was important in Germany because they believed that eating with the fingers was rude and disrespectful. The fork led to family dinners and sit-down meals, which are important features of German culture. https://www.thevintagenews.com/2016/08/31/priority-fork-came-italy-european-country-pasta/?chrome=1Serving fork, two prongs, with a shaped wooden handle. Badly rusted.None.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, food, meat, carving

This photograph is part of the Caulfield Historical Album 1972. This album was created in approximately 1972 as part of a project by the Caulfield Historical Society to assist in identifying buildings worthy of preservation. The album is related to a Survey the Caulfield Historical Society developed in collaboration with the National Trust of Australia (Victoria) and Caulfield City Council to identify historic buildings within the City of Caulfield that warranted the protection of a National Trust Classification. Principal photographer thought to be Trevor Hart, member of Caulfield Historical Society. Most photographs were taken between 1966-1972 with a small number of photographs being older and from unknown sources. All photographs are black and white except where stated, with 386 photographs over 198 pages.From Victorian Heritage Database citation for Rippon Lea H0614 https://vhd.heritagecouncil.vic.gov.au/places/427(as at 23/10/2020) Rippon Lea was commenced in 1868 by Frederick Sargood, a most successful politician and merchant. He was born in England in 1834 and arrived in Melbourne in 1850. He soon joined his father's wholesale soft goods firm, spending some time as its manager on the goldfields. Sargood entered the Legislative Council in 1874. He was Victoria's first Minister for Defence in 1883. Sir Frederick Sargood was created CMG. In 1885 and KCMG in 1890 as a reward for his contribution to public life. He died suddenly in 1903. Rippon Lea was designed by the leading firm of architects, Reed and Barnes. Joseph Reed had travelled in Europe in 1863, including northern Italy. When he returned he introduced the use of polychromy. While not the first examples, Rippon Lea and the Independent Church in Collins Street were the best and set a fashion which became a distinctly Melbourne style, particularly used for houses and churches. Its popularity was possible because of the new availability of different coloured bricks. Reed's fine Lombardic Romanesque details soon became debased by others. As Sargood's family grew and his fortunes prospered, Rippon Lea was extended to include 33 rooms - a complete mansion. The cast iron porte cochere and the northern conservatory were added in 1897. The architects were Taylor and Fitts. The ballroom was added in 1882 and remodelled in 1889. Many alterations have changed the interior and exterior during the ownerships of Benjamin Nathan and later his daughter Mrs Louisa Jones in the 1930s and are in their own right of significance. Sir Thomas Bent owned the property from 1903 until 1911 but never lived there. He subdivided much of the land. The original garden dates from about 1868, and it seems that William Guilfoyle of the Botanic Gardens was involved. It was redesigned in a more natural style in the 1880s by Sargood and his head gardener, Adam Anderson. The lake, waterfalls, fernery, hill and grotto are balanced by mighty deciduous trees and conifers. These are interspersed with, but never dominated by Australian species such as eucalyptus and other exotics. The sinuous drive with its carefully prepared approach to the house is notable. The original vegetable gardens, orchard and outer paddocks no longer survive. The shade house is important as the largest known in Australia and possibly the world. Its curved plan and form of construction are particularly notable. It was built about 1884.Page 90 of Photograph Album with five photographs (one landscape and 4 portrait) of Ripponlea - two different views of the front entrance to the mansion, one of the front gates and two different views of the main residence.Handwritten: "Ripponlea" 192 Hotham Street [top right] / North [under top left photo] / Neg 255 Dec 1972 MAIN DRIVE [under bottom left photo] / Neg 238 8 OCT 1966 [under middle right photo] / 88 [bottom right]trevor hart, elsternwick, mansion, hotham street, frederick sargood, reed and barnes, cast iron porte cochere, conservatory, 1860's, 1890's, ballroom, 1880's, benjamin nathan, louisa jones, thomas bent, sir thomas bent, william guilfoyle, adam anderson, lake, grotto, shade house, portico, ripponlea, victorian, sir frederick sargood, architects, polychrome bricks, lombardic romanesque architectural style, rippon lea, taylor and fitts, land subdivisions, gardens, drives, vegetable gardens, orchards

This photograph is part of the Caulfield Historical Album 1972. This album was created in approximately 1972 as part of a project by the Caulfield Historical Society to assist in identifying buildings worthy of preservation. The album is related to a Survey the Caulfield Historical Society developed in collaboration with the National Trust of Australia (Victoria) and Caulfield City Council to identify historic buildings within the City of Caulfield that warranted the protection of a National Trust Classification. Principal photographer thought to be Trevor Hart, member of Caulfield Historical Society. Most photographs were taken between 1966-1972 with a small number of photographs being older and from unknown sources. All photographs are black and white except where stated, with 386 photographs over 198 pages.From Victorian Heritage Database citation for Rippon Lea H0614 https://vhd.heritagecouncil.vic.gov.au/places/427(as at 23/10/2020) Rippon Lea was commenced in 1868 by Frederick Sargood, a most successful politician and merchant. He was born in England in 1834 and arrived in Melbourne in 1850. He soon joined his father's wholesale soft goods firm, spending some time as its manager on the goldfields. Sargood entered the Legislative Council in 1874. He was Victoria?s first Minister for Defence in 1883. Sir Frederick Sargood was created CMG. In 1885 and KCMG in 1890 as a reward for his contribution to public life. He died suddenly in 1903. Rippon Lea was designed by the leading firm of architects, Reed and Barnes. Joseph Reed had travelled in Europe in 1863, including northern Italy. When he returned he introduced the use of polychromy. While not the first examples, Rippon Lea and the Independent Church in Collins Street were the best and set a fashion which became a distinctly Melbourne style, particularly used for houses and churches. Its popularity was possible because of the new availability of different coloured bricks. Reed's fine Lombardic Romanesque details soon became debased by others. As Sargood's family grew and his fortunes prospered, Rippon Lea was extended to include 33 rooms - a complete mansion. The cast iron porte cochere and the northern conservatory were added in 1897. The architects were Taylor and Fitts. The ballroom was added in 1882 and remodelled in 1889. Many alterations have changed the interior and exterior during the ownerships of Benjamin Nathan and later his daughter Mrs Louisa Jones in the 1930s and are in their own right of significance. Sir Thomas Bent owned the property from 1903 until 1911 but never lived there. He subdivided much of the land. The original garden dates from about 1868, and it seems that William Guilfoyle of the Botanic Gardens was involved. It was redesigned in a more natural style in the 1880s by Sargood and his head gardener, Adam Anderson. The lake, waterfalls, fernery, hill and grotto are balanced by mighty deciduous trees and conifers. These are interspersed with, but never dominated by Australian species such as eucalyptus and other exotics. The sinuous drive with its carefully prepared approach to the house is notable. The original vegetable gardens, orchard and outer paddocks no longer survive. The shade house is important as the largest known in Australia and possibly the world. Its curved plan and form of construction are particularly notable. It was built about 1884.Page 91 of Photograph Album with four photographs (two portrait and two landscape) of various external views of Ripponlea.Handwritten: SOUTH [under top left photo] / SOUTH [under top right photo] / WEST [under bottom left photo] / 91 [bottom left]trevor hart, elsternwick, mansion, hotham street, frederick sargood, reed and barnes, cast iron porte cochere, conservatory, 1860's, 1890's, ballroom, 1880's, benjamin nathan, louisa jones, thomas bent, sir thomas bent, william guilfoyle, adam anderson, lake, grotto, shade house, portico, ripponlea, victorian, sir frederick sargood, architects, taylor and fitts, rippon lea, polychrome bricks, lombardic romanesque style

This photograph is part of the Caulfield Historical Album 1972. This album was created in approximately 1972 as part of a project by the Caulfield Historical Society to assist in identifying buildings worthy of preservation. The album is related to a Survey the Caulfield Historical Society developed in collaboration with the National Trust of Australia (Victoria) and Caulfield City Council to identify historic buildings within the City of Caulfield that warranted the protection of a National Trust Classification. Principal photographer thought to be Trevor Hart, member of Caulfield Historical Society. Most photographs were taken between 1966-1972 with a small number of photographs being older and from unknown sources. All photographs are black and white except where stated, with 386 photographs over 198 pages.From Victorian Heritage Database citation for Rippon Lea H0614 https://vhd.heritagecouncil.vic.gov.au/places/427(as at 23/10/2020) Rippon Lea was commenced in 1868 by Frederick Sargood, a most successful politician and merchant. He was born in England in 1834 and arrived in Melbourne in 1850. He soon joined his father's wholesale soft goods firm, spending some time as its manager on the goldfields. Sargood entered the Legislative Council in 1874. He was Victoria?s first Minister for Defence in 1883. Sir Frederick Sargood was created CMG. In 1885 and KCMG in 1890 as a reward for his contribution to public life. He died suddenly in 1903. Rippon Lea was designed by the leading firm of architects, Reed and Barnes. Joseph Reed had travelled in Europe in 1863, including northern Italy. When he returned he introduced the use of polychromy. While not the first examples, Rippon Lea and the Independent Church in Collins Street were the best and set a fashion which became a distinctly Melbourne style, particularly used for houses and churches. Its popularity was possible because of the new availability of different coloured bricks. Reed's fine Lombardic Romanesque details soon became debased by others. As Sargood's family grew and his fortunes prospered, Rippon Lea was extended to include 33 rooms - a complete mansion. The cast iron porte cochere and the northern conservatory were added in 1897. The architects were Taylor and Fitts. The ballroom was added in 1882 and remodelled in 1889. Many alterations have changed the interior and exterior during the ownerships of Benjamin Nathan and later his daughter Mrs Louisa Jones in the 1930s and are in their own right of significance. Sir Thomas Bent owned the property from 1903 until 1911 but never lived there. He subdivided much of the land. The original garden dates from about 1868, and it seems that William Guilfoyle of the Botanic Gardens was involved. It was redesigned in a more natural style in the 1880s by Sargood and his head gardener, Adam Anderson. The lake, waterfalls, fernery, hill and grotto are balanced by mighty deciduous trees and conifers. These are interspersed with, but never dominated by Australian species such as eucalyptus and other exotics. The sinuous drive with its carefully prepared approach to the house is notable. The original vegetable gardens, orchard and outer paddocks no longer survive. The shade house is important as the largest known in Australia and possibly the world. Its curved plan and form of construction are particularly notable. It was built about 1884.Page 92 of Photograph Album with four photographs (three landscape and one portrait) of Ripponlea - views of entrance and left front of mansion.Handwritten: "Ripponlea" Hotham Street [top right] / Neg 245 Dec 1972 [under top left photo] / Neg 246 Dec 1972 [under bottom left photo] / Neg 247 Dec 1972 [under bottom right photo] / 92 [bottom right]trevor hart, elsternwick, mansion, hotham street, frederick sargood, reed and barnes, lombardic, romanesque, cast iron porte cochere, conservatory, 1860's, 1890's, ballroom, 1880's, benjamin nathan, louisa jones, thomas bent, sir thomas bent, william guilfoyle, adam anderson, lake, grotto, shade house, portico, ripponlea, victorian, sir frederick sargood, architects, polychrome bricks, lombardic romanesque style, rippon lea, entrances

This photograph is part of the Caulfield Historical Album 1972. This album was created in approximately 1972 as part of a project by the Caulfield Historical Society to assist in identifying buildings worthy of preservation. The album is related to a Survey the Caulfield Historical Society developed in collaboration with the National Trust of Australia (Victoria) and Caulfield City Council to identify historic buildings within the City of Caulfield that warranted the protection of a National Trust Classification. Principal photographer thought to be Trevor Hart, member of Caulfield Historical Society. Most photographs were taken between 1966-1972 with a small number of photographs being older and from unknown sources. All photographs are black and white except where stated, with 386 photographs over 198 pages.From Victorian Heritage Database citation for Rippon Lea H0614 https://vhd.heritagecouncil.vic.gov.au/places/427(as at 23/10/2020) Rippon Lea was commenced in 1868 by Frederick Sargood, a most successful politician and merchant. He was born in England in 1834 and arrived in Melbourne in 1850. He soon joined his father's wholesale soft goods firm, spending some time as its manager on the goldfields. Sargood entered the Legislative Council in 1874. He was Victoria?s first Minister for Defence in 1883. Sir Frederick Sargood was created CMG. In 1885 and KCMG in 1890 as a reward for his contribution to public life. He died suddenly in 1903. Rippon Lea was designed by the leading firm of architects, Reed and Barnes. Joseph Reed had travelled in Europe in 1863, including northern Italy. When he returned he introduced the use of polychromy. While not the first examples, Rippon Lea and the Independent Church in Collins Street were the best and set a fashion which became a distinctly Melbourne style, particularly used for houses and churches. Its popularity was possible because of the new availability of different coloured bricks. Reed's fine Lombardic Romanesque details soon became debased by others. As Sargood's family grew and his fortunes prospered, Rippon Lea was extended to include 33 rooms - a complete mansion. The cast iron porte cochere and the northern conservatory were added in 1897. The architects were Taylor and Fitts. The ballroom was added in 1882 and remodelled in 1889. Many alterations have changed the interior and exterior during the ownerships of Benjamin Nathan and later his daughter Mrs Louisa Jones in the 1930s and are in their own right of significance. Sir Thomas Bent owned the property from 1903 until 1911 but never lived there. He subdivided much of the land. The original garden dates from about 1868, and it seems that William Guilfoyle of the Botanic Gardens was involved. It was redesigned in a more natural style in the 1880s by Sargood and his head gardener, Adam Anderson. The lake, waterfalls, fernery, hill and grotto are balanced by mighty deciduous trees and conifers. These are interspersed with, but never dominated by Australian species such as eucalyptus and other exotics. The sinuous drive with its carefully prepared approach to the house is notable. The original vegetable gardens, orchard and outer paddocks no longer survive. The shade house is important as the largest known in Australia and possibly the world. Its curved plan and form of construction are particularly notable. It was built about 1884.Page 93 of Photograph Album with four photographs (two landscape and two portrait) of Ripponlea - lake and gardens.Handwritten: Neg 239 Dec 1973 LAKE [under top left photo] / Neg 242 Dec 1973 FERN HOUSE [under top right photo] / Neg 243 Dec 1972 FERN HOUSE [under bottom left photo] / Neg 241 Dec 1972 LAKE [under bottom right photo] / 93 [bottom left]trevor hart, elsternwick, mansion, hotham street, frederick sargood, sargood, reed and barnes, 1860's, 1890's, 1880's, benjamin nathan, nathan, louisa jones, thomas bent, sir thomas bent, william guilfoyle, adam anderson, lake, grotto, shade house, portico, ripponlea, victorian, sir frederick sargood, architects, taylor and fitts, rippon lea, gardens, ferns, bridges, walking trails

This photograph is part of the Caulfield Historical Album 1972. This album was created in approximately 1972 as part of a project by the Caulfield Historical Society to assist in identifying buildings worthy of preservation. The album is related to a Survey the Caulfield Historical Society developed in collaboration with the National Trust of Australia (Victoria) and Caulfield City Council to identify historic buildings within the City of Caulfield that warranted the protection of a National Trust Classification. Principal photographer thought to be Trevor Hart, member of Caulfield Historical Society. Most photographs were taken between 1966-1972 with a small number of photographs being older and from unknown sources. All photographs are black and white except where stated, with 386 photographs over 198 pages.From Victorian Heritage Database citation for Rippon Lea H0614 https://vhd.heritagecouncil.vic.gov.au/places/427(as at 23/10/2020) Rippon Lea was commenced in 1868 by Frederick Sargood, a most successful politician and merchant. He was born in England in 1834 and arrived in Melbourne in 1850. He soon joined his father's wholesale soft goods firm, spending some time as its manager on the goldfields. Sargood entered the Legislative Council in 1874. He was Victoria?s first Minister for Defence in 1883. Sir Frederick Sargood was created CMG. In 1885 and KCMG in 1890 as a reward for his contribution to public life. He died suddenly in 1903. Rippon Lea was designed by the leading firm of architects, Reed and Barnes. Joseph Reed had travelled in Europe in 1863, including northern Italy. When he returned he introduced the use of polychromy. While not the first examples, Rippon Lea and the Independent Church in Collins Street were the best and set a fashion which became a distinctly Melbourne style, particularly used for houses and churches. Its popularity was possible because of the new availability of different coloured bricks. Reed's fine Lombardic Romanesque details soon became debased by others. As Sargood's family grew and his fortunes prospered, Rippon Lea was extended to include 33 rooms - a complete mansion. The cast iron porte cochere and the northern conservatory were added in 1897. The architects were Taylor and Fitts. The ballroom was added in 1882 and remodelled in 1889. Many alterations have changed the interior and exterior during the ownerships of Benjamin Nathan and later his daughter Mrs Louisa Jones in the 1930s and are in their own right of significance. Sir Thomas Bent owned the property from 1903 until 1911 but never lived there. He subdivided much of the land. The original garden dates from about 1868, and it seems that William Guilfoyle of the Botanic Gardens was involved. It was redesigned in a more natural style in the 1880s by Sargood and his head gardener, Adam Anderson. The lake, waterfalls, fernery, hill and grotto are balanced by mighty deciduous trees and conifers. These are interspersed with, but never dominated by Australian species such as eucalyptus and other exotics. The sinuous drive with its carefully prepared approach to the house is notable. The original vegetable gardens, orchard and outer paddocks no longer survive. The shade house is important as the largest known in Australia and possibly the world. Its curved plan and form of construction are particularly notable. It was built about 1884.Page 94 of Photograph Album with four photographs (three landscape and one portrait) of Ripponlea - stables, lookout and neighbouring cottages.Handwritten: "Ripponlea" Hotham Street [top right] / Neg 256 Dec 1972 STABLES [under top left photo] / Neg 248 Dec 1972 LOOKOUT [under top right photo] / Neg 254 Dec 1972 / COTTAGES WILLOW STREET [under bottom left photo] / Neg 259 Dec 1972 STABLES [under bottom right photo] / 94 [bottom right]trevor hart, elsternwick, mansion, hotham street, frederick sargood, reed and barnes, 1860's, 1890's, 1880's, benjamin nathan, nathan, louisa jones, thomas bent, sir thomas bent, william guilfoyle, guilfoyle, adam anderson, ripponlea, victorian, sir frederick sargood, architects, bricks, polychrome bricks, taylor and fitts, stables, lookouts, cottages, outbuildings, rippon lea

The children in the picture were students at the Greek language school which was run by the Greek Community of Melbourne and were attending the '28th October' Greek national day celebration at the Evangelismos Greek Orthodox Church in East Melbourne. The two women, Alexandra Vrachna and Nina Black were teachers at the school. The Evangelismos Church was the first Greek orthodox Church to be established in Melbourne. The foundation stone was laid in December 1900 and church services commenced in August 1902. The 28th October is known as 'OHI' DAY', translated meaning NO DAY. It is an important national day celebrated in Greece and the Greek diaspora and commemorates the anniversary when in 1940 the then Prime Minister Ioannis Metaxas said “NO” to an ultimatum made by Italian Prime Minister Benito Mussolini to allow Italian forces to occupy Greece. It marked the beginning of Greece's entry into WW2. The day symbolises values important to the Greek people - freedom, courage and 'filotimo'. The establishment of the Orthodox church in Melbourne in the early years of the twentieth century was was indicative of the number of Greek migrants who came to Australia in those early years of settlement in this country and the desire maintain their religious and cultural traditions. The early Greek migrants were anxious that their Australian born children maintain their language and religion in their adopted country. A black and white photograph of children with three adults standing outside Evangelismos Church in East Melbourne. Three children in the back row are displaying the Greek and Australian flags.Written in red underneath the photograph: 28th OCTOBER 1948. OUTSUDE THE GREEK CHURCH IN EAST MELBOURNE/PHOTO PROPERTY OF STATHI RAFTOPOULOS.wwii

Penleigh Boyd, Robin and Patricia Boyd's son, writes “Prior to 1950 Robin, like most other amateur or hobby photographers, took black and white printed photographs. The oldest slides date from 1950 when Robin and Patricia travelled to Europe on Robin’s Robert Haddon Travelling Scholarship.” In 1948 Robin Boyd was awarded ‘joint first place’ in the Robert Haddon competition for his design of Mildura art gallery. The scholarship helped fund their first overseas trip. Robin and Patricia were passengers on the Greek ship “Cyrenia” departing in May 1950, passing through the Suez Canal and landing in Genoa five weeks later. For six months, they travelled extensively throughout Europe (predominantly driving themselves) - France, Italy, United Kingdom, Sweden, Denmark, Germany, Austria, Switzerland and Spain.Colour slide in a mount. Country church, SwedenSweden / Church / Country Church / Traditional / Encircled 6 (All Handwritten)haddon travelling scholarship, haddon, robin boyd, slide

Penleigh Boyd, Robin and Patricia Boyd's son, writes “Prior to 1950 Robin, like most other amateur or hobby photographers, took black and white printed photographs. The oldest slides date from 1950 when Robin and Patricia travelled to Europe on Robin’s Robert Haddon Travelling Scholarship.” In 1948 Robin Boyd was awarded ‘joint first place’ in the Robert Haddon competition for his design of Mildura art gallery. The scholarship helped fund their first overseas trip. Robin and Patricia were passengers on the Greek ship “Cyrenia” departing in May 1950, passing through the Suez Canal and landing in Genoa five weeks later. For six months, they travelled extensively throughout Europe (predominantly driving themselves) - France, Italy, United Kingdom, Sweden, Denmark, Germany, Austria, Switzerland and Spain.Colour slide in a mount. Church and street scene, Piraeus, GreeceGreece / Church / In Pyraeus (All Handwritten)haddon travelling scholarship, haddon, robin boyd, slide

Penleigh Boyd, Robin and Patricia Boyd's son, writes “Prior to 1950 Robin, like most other amateur or hobby photographers, took black and white printed photographs. The oldest slides date from 1950 when Robin and Patricia travelled to Europe on Robin’s Robert Haddon Travelling Scholarship.” In 1948 Robin Boyd was awarded ‘joint first place’ in the Robert Haddon competition for his design of Mildura art gallery. The scholarship helped fund their first overseas trip. Robin and Patricia were passengers on the Greek ship “Cyrenia” departing in May 1950, passing through the Suez Canal and landing in Genoa five weeks later. For six months, they travelled extensively throughout Europe (predominantly driving themselves) - France, Italy, United Kingdom, Sweden, Denmark, Germany, Austria, Switzerland and Spain.Colour slide in a mount. Interior of Johannes Church, Basel, Switzerland. (Architects: Karl Egender and Ernst Friedrich Burckhardt.)Basle / St. Johanns Ch. / 5'3 7 3 3/8 Trim / Equally from Top & Bottom for Proportion / Encircled 15 (All Handwritten)haddon travelling scholarship, haddon, robin boyd, slide

Penleigh Boyd, Robin and Patricia Boyd's son, writes “Prior to 1950 Robin, like most other amateur or hobby photographers, took black and white printed photographs. The oldest slides date from 1950 when Robin and Patricia travelled to Europe on Robin’s Robert Haddon Travelling Scholarship.” In 1948 Robin Boyd was awarded ‘joint first place’ in the Robert Haddon competition for his design of Mildura art gallery. The scholarship helped fund their first overseas trip. Robin and Patricia were passengers on the Greek ship “Cyrenia” departing in May 1950, passing through the Suez Canal and landing in Genoa five weeks later. For six months, they travelled extensively throughout Europe (predominantly driving themselves) - France, Italy, United Kingdom, Sweden, Denmark, Germany, Austria, Switzerland and Spain.Colour slide in a mount. Johannes Church, Basel, Switzerland. (Architects: Karl Egender and Ernst Friedrich Burckhardt.)Basle / St. Johann's Ch. / Encircled 14 (All Handwritten)haddon travelling scholarship, haddon, robin boyd, slide

Penleigh Boyd, Robin and Patricia Boyd's son, writes “Prior to 1950 Robin, like most other amateur or hobby photographers, took black and white printed photographs. The oldest slides date from 1950 when Robin and Patricia travelled to Europe on Robin’s Robert Haddon Travelling Scholarship.” In 1948 Robin Boyd was awarded ‘joint first place’ in the Robert Haddon competition for his design of Mildura art gallery. The scholarship helped fund their first overseas trip. Robin and Patricia were passengers on the Greek ship “Cyrenia” departing in May 1950, passing through the Suez Canal and landing in Genoa five weeks later. For six months, they travelled extensively throughout Europe (predominantly driving themselves) - France, Italy, United Kingdom, Sweden, Denmark, Germany, Austria, Switzerland and Spain.Colour slide in a mount. Interior of St Anthony's Church (1926-27), Basel. (Architect: Karl Moser.)Basle / St. Anthony's Ch / Encircled 6 (All Handwritten)haddon travelling scholarship, haddon, robin boyd, slide

The Rev. Dr Robert Gribben was born in 1943 in country Victoria where he was educated through primary and secondary state schools. He entered Queen’s College in 1961 in order to study degrees in law and arts, but after two years discontinued his legal studies and completed his Bachelor of Arts whilst beginning his candidature for the Methodist ministry. In 1965 he and his wife Susan became engaged, but before he could begin his theological studies he was offered the opportunity to undertake his theological studies in Cambridge University in Wesley House. After Susan completed her law degree with honours at Melbourne University, she followed Robert to England in June 1967, and they were married in June 1968 as Robert was completing his Cambridge B.A. He’d received notice that his first Methodist ministry appointment was to be in “Portland No. 2”, but as they had six months before he was to take that up, they moved to India where Robert worked for the Student Christian Movement and Susan for the Church of South India sorting out their legal records. Robert’s placements that followed in the Methodist Church were Portland and Heywood and Highbury Grove Kew, and in the Uniting Church as chaplain of Ormond College, Trinity Church North Balwyn, General Secretary of the Victorian Council of Churches, Wesley Church Melbourne, and Professor of Worship and Mission at the UCA Theological Hall and UFT. He formally retired in 2008. He has been involved with, lectured in, studied at, worked for, chaired committees or directed at one or more times — La Trobe University, Christian Television Association, Australian Consultation on Liturgy, UCA Assembly committees, Lincoln College, England, Brugge Catholic Faculty, Oxford Institute for Methodist Theological Studies, Graduate School in Ecumenism at Bosse, the English Language Liturgical Consultation, World Methodist Council, World Council of Churches, Christian Unity Working Group, the Victorian Casino and Gambling Authority, Centre for Ecumenical Studies, Cambridge Society of Australia, Fellow of the School of Historical Studies Melbourne University, Queen’s College Council, Fellow of Queen’s College, Editor of the Australian Journal of Liturgy, Professorial Fellow of Charles Sturt University, President of the Cornish Association of Victoria, and member of the Council of the Genealogical Society of Victoria. He has written some seven books and edited both editions of Uniting in Worship. On top of all that he has visited, worked in, or represented one body or another in — Colombo, Cairo, Rome, Geneva, Parish, the UK, Bangalore, Mysore, Madras, Kottoyam, Agra, Jaipur, Sri Lanka, Malaysia, Philippines, Japan, Hong Kong, the USA, Canada, Vienna, Israel, Netherlands, Poland, Bangkok, Singapore, Romania, Bucharest, Bulgaria, Greece, Syria, Lebanon, Cyprus, Turkey, Zimbabwe, Ethiopia, Jordan, Italy, Tonga, Finland, Germany, Norway, Denmark, Samoa, South Africa, Spain, Sicily, Chile, Indonesia, New Zealand, Ghana, Nigeria, Russia, Antigua and Jamaica. And on top of all that, he’s had two audiences with the Pope! Susan and Robert have two children and three grandchildren. Head and shoulders portrait of Rev. Dr Robert Gribben."Rev. Dr Robert Gribben", "Church & Nation"rev. dr robert gribben; liturgy; theological hall melbourne

On 3 February 1974 the Revs. W.M. Trewin and Fred Strickland became ministers of the new Mt. Waverley joint Methodist/Presbyterian parish. Rev Bill Trewin born 1926 Moonee Ponds. Worked in two home missions: Western District and Gippsland. Whilst studying at Queen's College did a vacation appointment in Nhill, where he met Jean Bound. Bill and Jean married 1953. Bill was ordained in 1956. His appointments included Dunolly, Mornington, West & East Bentleigh, Moonee Ponds, Mt Waverley and Noble Park. In between his appointments at Bentleigh and Moonee Ponds Bill lived in Milan, where he ministered to both Italian and English speaking Congregations. Served as Chairman of the Presbytery of Westernport 1985-1986. Frederick Phillips Strickland b. 1910. Ormond College. Ordained into the Presbyterian Church 1941 Rainbow-Jeparit. Chaplain A.I.F. 1944, Blackburn 1946, Syndal 1964. Retired 1977.B & W photograph of Rev. Bill Trewin and Rev. Fred Strickland standing in front of the former High St. Road Methodist Church.bill trewin, fred strickland, minister, mount waverley joint methodist presbyterian parish

Born on the West Coast of Tasmania. Became a teacher inTasmania in the early 1930. He married Emily Ferguson, a presbyterian girl, but felt a calling to the Methodist Church. John went to Underbool in Vic in 1939. Joined the RAAF in 1942 and trained as a Navigator for Bomber Command. Was recalled in 1943 and began his ministry in the Woomelang Circuit, then at Mitiamo 1947-1950; Port Fairy 1950-52; Nathalia 1952-54. He left the ministry and bought a small farm near Bendigo. After 18 mths he started preaching at Mckenzie Street Methodist church with the title Pastor. In 1958 he was recalled to the ministry and served at Morwell. He was also chaplain to Morwell River Prison, Newport West, Coburg, Milan Italy and Finally at Moonee Ponds where he retired in 1978. After retirement he did supply work in places such as Sea Lake, Heathcote, Warragul and Quirindi NSW. John died on 25 July 2000. B & W photograph of Rev. John Adamthwaite standing in front of an open briefcase.john adamthwaite, methodist, minister

Penleigh Boyd, Robin and Patricia Boyd's son, writes “Prior to 1950 Robin, like most other amateur or hobby photographers, took black and white printed photographs. The oldest slides date from 1950 when Robin and Patricia travelled to Europe on Robin’s Robert Haddon Travelling Scholarship.” In 1948 Robin Boyd was awarded ‘joint first place’ in the Robert Haddon competition for his design of Mildura art gallery. The scholarship helped fund their first overseas trip. Robin and Patricia were passengers on the Greek ship “Cyrenia” departing in May 1950, passing through the Suez Canal and landing in Genoa five weeks later. For six months, they travelled extensively throughout Europe (predominantly driving themselves) - France, Italy, United Kingdom, Sweden, Denmark, Germany, Austria, Switzerland and Spain.Colour slide in a mount. St. Stephen's Church, Vienna, AustriaVienna Church (Handwritten) / St. Stephen's (Handwritten)haddon travelling scholarship, haddon, robin boyd, slide

Penleigh Boyd, Robin and Patricia Boyd's son, writes “Prior to 1950 Robin, like most other amateur or hobby photographers, took black and white printed photographs. The oldest slides date from 1950 when Robin and Patricia travelled to Europe on Robin’s Robert Haddon Travelling Scholarship.” In 1948 Robin Boyd was awarded ‘joint first place’ in the Robert Haddon competition for his design of Mildura art gallery. The scholarship helped fund their first overseas trip. Robin and Patricia were passengers on the Greek ship “Cyrenia” departing in May 1950, passing through the Suez Canal and landing in Genoa five weeks later. For six months, they travelled extensively throughout Europe (predominantly driving themselves) - France, Italy, United Kingdom, Sweden, Denmark, Germany, Austria, Switzerland and Spain.Colour slide in a mount. St Aldhelm Church in Doulting, Somerset, England (12th century)Doulting Church (Handwritten) / Encircled 5 (Handwritten)haddon travelling scholarship, haddon, robin boyd, slide

Penleigh Boyd, Robin and Patricia Boyd's son, writes “Prior to 1950 Robin, like most other amateur or hobby photographers, took black and white printed photographs. The oldest slides date from 1950 when Robin and Patricia travelled to Europe on Robin’s Robert Haddon Travelling Scholarship.” In 1948 Robin Boyd was awarded ‘joint first place’ in the Robert Haddon competition for his design of Mildura art gallery. The scholarship helped fund their first overseas trip. Robin and Patricia were passengers on the Greek ship “Cyrenia” departing in May 1950, passing through the Suez Canal and landing in Genoa five weeks later. For six months, they travelled extensively throughout Europe (predominantly driving themselves) - France, Italy, United Kingdom, Sweden, Denmark, Germany, Austria, Switzerland and Spain.Colour slide in a mount. St Clement Danes Church, London, England. (Architect: Christopher Wren.)London / Clement Dane's From Aust. House / 1681 / Encircled 4 (All Handwritten)haddon travelling scholarship, haddon, robin boyd, slide

Penleigh Boyd, Robin and Patricia Boyd's son, writes “Prior to 1950 Robin, like most other amateur or hobby photographers, took black and white printed photographs. The oldest slides date from 1950 when Robin and Patricia travelled to Europe on Robin’s Robert Haddon Travelling Scholarship.” In 1948 Robin Boyd was awarded ‘joint first place’ in the Robert Haddon competition for his design of Mildura art gallery. The scholarship helped fund their first overseas trip. Robin and Patricia were passengers on the Greek ship “Cyrenia” departing in May 1950, passing through the Suez Canal and landing in Genoa five weeks later. For six months, they travelled extensively throughout Europe (predominantly driving themselves) - France, Italy, United Kingdom, Sweden, Denmark, Germany, Austria, Switzerland and Spain.Colour slide in a mount. Spire of St. Nicholas Church, Copenhagen, DenmarkCopenhagen / Spire / Spire, Church of St. Nicholas (All Handwritten)haddon travelling scholarship, haddon, robin boyd, slide

Penleigh Boyd, Robin and Patricia Boyd's son, writes “Prior to 1950 Robin, like most other amateur or hobby photographers, took black and white printed photographs. The oldest slides date from 1950 when Robin and Patricia travelled to Europe on Robin’s Robert Haddon Travelling Scholarship.” In 1948 Robin Boyd was awarded ‘joint first place’ in the Robert Haddon competition for his design of Mildura art gallery. The scholarship helped fund their first overseas trip. Robin and Patricia were passengers on the Greek ship “Cyrenia” departing in May 1950, passing through the Suez Canal and landing in Genoa five weeks later. For six months, they travelled extensively throughout Europe (predominantly driving themselves) - France, Italy, United Kingdom, Sweden, Denmark, Germany, Austria, Switzerland and Spain.Colour slide in a mount. Church of our Saviour (1752), Copenhagen, DenmarkCopen Hagen / Spire / Church of our Saviour / 280 / 4 (All Handwritten)haddon travelling scholarship, haddon, robin boyd, slide

The church was opened and dedicated on 7/12/1884, and completed in 1922. http://skhs.org.au/SKHSchurches/Sacred%20Heart%20Church.htmThe church is of architectural significance due to its Italian Renaissance Baroque Style, with red bricks, cement dressings and a slate roof. It indicated the abandonment of the Gothic Revival style favoured by Victoria's Roman Catholics and set the new style for subsequent Roman Catholic churches in Victoria. It was designed by Reed, Henderson & Smart. colour photographst kilda, churches, catholic churches, sacred heart