John Halfey (1825-89) was born in Southport, Lancashire and migrated to Victoria in 1852. After finding gold at Sandhurst, and representing the latter in the Victorian Parliament, he moved to Melbourne to engage in various commercial pursuits, including directorships of insurance, mining and banking companies. A resident of Kew from the late 1850s, he was known for the hospitality provided at his house Ordsall (later Southesk) in Cotham Road. On 14 December 1860, Halfey chaired a public meeting calling for separation from the Boroondara Roads Board, which led, four days later, to the proclamation of Kew as a separate municipality. He was elected to the Council in 1861, replacing Cr. Oswin, and subsequently served as the second Chairman of the Municipality in 1862-1863. John Halfey became a trustee of Holy Trinity Church in Bulleen Road (now High Street) in 1862. He was to resign from Council after four years in 1865. Twenty-four years later in January 1889, he died aged 63 from a seizure, at his rooms at the Herald Office. He was interred in the Boroondara General Cemetery where his monument is the tallest in the Cemetery. Donated by Eileen Grigg, 2017Small, full-length portrait of John Halfey in an original gilded frame. The artist depicts him formally dressed in a frock coat beside an open window. He is shown holding a document or perhaps a pair of gloves. The painting is badly damaged with a hole in the area of his face that has been patched and repainted.john halfey, ordsall, chairman of kew, boroondara roads board, municipality of kew

Ordsall (c.1864-1970) - Situated on the southwest corner of Cotham Road and Charles Street, the single-storey Italianate mansion, Ordsall, was built for John Halfey in the 1860s. Following extensions in 1878 and 1881to designs by Michael Hennessy, Halfey commissioned the decorating firm of Cullis Hill & Co to create elaborate coloured frescoes on the ceilings of the drawingroom and ballroom in 1882. These frescoes were among the finest created in Melbourne during this period. Sold in 1905 to David Carnegie, and renamed South Esk, it was sold to the City of Kew in 1947 and demolished in 1970.This work forms part of the collection assembled by the historian Dorothy Rogers, that was donated to the Kew Historical Society by her son John Rogers in 2015. The manuscripts, photographs, maps, and documents were sourced by her from both family and local collections or produced as references for her print publications. Many were directly used by Rogers in writing ‘Lovely Old Homes of Kew’ (1961) and 'A History of Kew' (1973), or the numerous articles on local history that she produced for suburban newspapers. Most of the photographs in the collection include detailed annotations in her hand. The Rogers Collection provides a comprehensive insight into the working habits of a historian in the 1960s and 1970s. Together it forms the largest privately-donated collection within the archives of the Kew Historical Society.The front garden and facade of South Esk in Cotham Road, Kew, during the period when it was owned by the City of Kew. The mansion was demolished by the City in 1970."2. Chap 22 Southesk . Ordsall John Halfey. Orig. part to 1858. Additional about 1862. Southesk once Ordsall . Demolished to make way for Municipal Chambers. Commenced approx. 1858 added front by John Halfey 1862."south esk, ordsall, david carnegie, kew city council, cotham road (kew), dorothy rogers, john halfey

Annie Halfey (nee Marston) was the daughter of Carlington George E. Marston, a chemist of Smith Street, Collingwood. Marston had extensively speculated on land in Kew and in this way had made his money. Marston was the owner of 'Wimba' in Cotham Road, having purchased the house in 1879. Annie Marston married the eminent Victorian pioneer John Halfey, and together they made their home at Ordsall (later Southesk) in Cotham Road, Kew. She died in March 1909. (Rogers, 1973).Donated by Eileen Grigg, 2017Small, full-length portrait of Annie [Mrs. John] Halfey ( -1909) in an original gilded frame. Annie Halfey is depicted in a high necked black dress with a silver brooch at her throat. She stands in a room by an open window. The detailing of the face is highly rendered by the artist/s.annie halfey, john halfey, ordsall, marston

This work forms part of the collection assembled by the historian Dorothy Rogers, that was donated to the Kew Historical Society by her son John Rogers in 2015. The manuscripts, photographs, maps, and documents were sourced by her from both family and local collections or produced as references for her print publications. Many were directly used by Rogers in writing ‘Lovely Old Homes of Kew’ (1961) and 'A History of Kew' (1973), or the numerous articles on local history that she produced for suburban newspapers. Most of the photographs in the collection include detailed annotations in her hand.The Rogers Collection provides a comprehensive insight into the working habits of a historian in the 1960s and 1970s. Together it forms the largest privately-donated collection within the archives of the Kew Historical Society.Southesk in Cotham Road, Kew. It was demolished in 1970 by the City of Kew. Dorothy Rogers used this photograph in 'A History of Kew' (1973), facing page 144."Southeske", formerly "Ordsall". Ca. 1858. John Halfey added front ca. 1862. ordsall, southesk, john halfey, cotham road, kew, dorothy rogers

Colour enlargement of a photograph (slide) of Southesk (formerly Ordsall) in Cotham Road, Kew (demolished 1970).Rare colour photograph of the exterior of SoutheskA colour enlargement of the entrance to ‘Southesk’. Formerly known as ‘Ordsall’, the house was built for John Halfey in 1882 on the corner of Cotham Road and Charles Street. This Italianate mansion was built in the Renaissance villa style on a bluestone plinth. The picture provides photographic evidence of the tiling on the veranda and the typically arched doorway. The neon sign above the door was added during the period when it was owned by the City of Kew (1948-70).david carnegie, john halfey, southesk - cotham road - kew (vic), ordsall - cotham road - kew (vic)

Ordsall was originally built for John Halfey, second Chairman of Kew, and sold after his death to the Carnegie family who renamed it ‘South Esk'. The Carnegie family mounted a defence of their property when the City of Kew sought to compulsorily acquire the site for a new town hall in the 1930s. The house and land were later acquired by Council in 1947 and demolished in 1970. The present Kew Library and the former Council Offices (now owned by Trinity Grammar) are located on the site.One of the earliest photographs of 'Southesk' and its gardens. The house was of statewide significance because of its historical association with John Halfey. It was artistically significant due to its elaborate interiors, decorated by Cullis Hill & Co in the 1880s. Sepia photograph mounted on brown card of "Southesk' (formerly known as 'Ordsall'). The single-storey Italianate facade of the house can be seen surrounded by an extensive garden. The point-of-view of the camera is from Cotham Road.john halfey, david carnegie, southesk - south esk - ordsall

Ordsall was originally built for John Halfey, second Chairman of Kew, and sold after his death to the Carnegie family who renamed it ‘South Esk'. The Carnegie family mounted a defence of their property when the City of Kew sought to compulsorily acquire it as the site for a new town hall in the 1930s. The house and land were later acquired by Council in 1947 and demolished in 1970. The present Kew Library and the former Council Offices (now owned by Trinity Grammar) are located on the site.One of the earliest photographs of 'Southesk' and its gardens. The house was of statewide significance because of its historical association with John Halfey. It was artistically significant due to its elaborate interiors, decorated by Cullis Hill & Co in the 1880s. Sepia photograph mounted on brown card of "Southesk' (formerly known as 'Ordsall'). The single-storey Italianate facade of the house can be seen surrounded by an extensive garden. The point-of-view of the camera is from Cotham Road.john halfey, david carnegie, southesk - south esk - ordsall

Ordsall was originally built for John Halfey, second Chairman of Kew, and sold after his death to the Carnegie family who renamed it ‘South Esk'. The Carnegie family mounted a defence of their property when the City of Kew sought to compulsorily acquire it as the site for a new town hall in the 1930s. The house and land was later acquired by Council in 1947 and demolished in 1970. The present Kew Library and the former Council Offices (now owned by Trinity Grammar) are located on the site.One of the earliest photographs of 'Southesk' and its gardens. The house was of statewide significance because of its historical association with John Halfey. It was artistically significant due to its elaborate interiors, decorated by Cullis Hill & Co in the 1880s. Sepia photograph mounted on brown card of "Southesk' (formerly known as 'Ordsall'). The single-storey Italianate facade of the house can be seen surrounded by an extensive garden. The point-of-view of the camera is from Cotham Road.john halfey, david carnegie, southesk - south esk - ordsall

Ordsall was originally built for John Halfey, second Chairman of Kew, and sold after his death to the Carnegie family who renamed it ‘South Esk'. The Carnegie family mounted a defence of their property when the City of Kew sought to compulsorily acquire it as the site for a new town hall in the 1930s. The house and land were later acquired by Council in 1947 and demolished in 1970. The present Kew Library and the former Council Offices (now owned by Trinity Grammar) are located on the site.One of the earliest photographs of 'Southesk' and its gardens. The house was of statewide significance because of its historical association with John Halfey. It was artistically significant due to its elaborate interiors, decorated by Cullis Hill & Co in the 1880s. Sepia photograph mounted on brown card of "Southesk' (formerly known as 'Ordsall'). The single-storey Italianate facade of the house can be seen surrounded by an extensive garden. The point-of-view of the camera is from Cotham Road.david carnegie, john halfey, southesk - south esk - ordsall

Colour enlargement of a photograph (slide) of Southesk (formerly Ordsall) in Cotham Road, Kew (demolished 1970).Colour photograph of the front lawn and façade of ‘Southesk’ (formerly ‘Ordsall’, built for John Halfey in 1882). The house was located on the corner of Cotham Road and Charles Street, Kew. The Italianate mansion was built in the Renaissance villa style on a bluestone plinth. Two balustrades surrounded the parapet of the roof and ran between the groups of pillars on either side of the entrance porch. The verandah was tiled and wide and Corinthian columns supported its roof. When the house passed into the hands of the City of Kew in 1948, the landscaping and formal flower beds were removed and replaced by lawns.The house was demolished in 1970.david carnegie, john halfey, southesk - cotham road - kew (vic), ordsall - cotham road - kew (vic)

Colour enlargement of a photograph (slide) of Southesk (formerly Ordsall) in Cotham Road, Kew (demolished 1970).A colour photograph of the façade of ‘Southesk’ taken at an oblique angle. Formerly known as ‘Ordsall’, the house was built for John Halfey in 1882 on the corner of Cotham Road and Charles Street. The Italianate mansion was built in the Renaissance villa style on a bluestone plinth. Two balustrades surrounded the parapet of the roof and ran between the groups of pillars on either side of the entrance porch. The verandah was tiled and wide and Corinthian columns supported its roof. When the house passed into the hands of the City of Kew in 1948, the Council used it for a kindergarten, an elderly citizen centre and as a home for the Leo Baeck Centre. The house was demolished in 1970.david carnegie, john halfey, southesk - cotham road - kew (vic), ordsall - cotham road - kew (vic)

Colour enlargement of a photograph (slide) of Southesk (formerly Ordsall) in Cotham Road, Kew (demolished 1970).A colour photograph of the façade of ‘Southesk’ taken at an oblique angle. Formerly known as ‘Ordsall’, the house was built for John Halfey in 1882 on the corner of Cotham Road and Charles Street. The Italianate mansion was built in the Renaissance villa style on a bluestone plinth. Two balustrades surrounded the parapet of the roof and ran between the groups of pillars on either side of the entrance porch. The verandah was tiled and wide and Corinthian columns supported its roof. When the house passed into the hands of the City of Kew in 1948, the Council used it for a kindergarten, an elderly citizen centre and as a home for the Leo Baeck Centre. The house was demolished in 1970.david carnegie, john halfey, southesk - cotham road - kew (vic), ordsall - cotham road - kew (vic)

Ordsall, renamed Southesk in the 20th century was built for John Halfey in or before 1865. The house was rebuilt in the 1870s to designs by architect Michael Hennessy. In 1882 the house was redecorated by the firm of Cullis Hill & Co., who hired the artists 'Mr Vandenbrandt' and 'Signor Rizzi" to paint the ceilings of the ballroom and the drawingroom. The artistic triumph was described in detail in The Argus, 30 October, 1882. In 1947, Southesk was purchased by the Kew City Council. For 23 years it was used as a meeting place for community groups. The house was then demolished in 1970 to make way for a new Town Hall.The interiors of the two main reception rooms at Ordsall included some of the most outstanding domestic frescos painted in Australia in the late Victorian period. These frescos were executed by artists hired by the firm of Cullis Hill & Co. While a number of photographs were taken of the interiors prior to the house's demolition in 1970, this small fragment of the fresco is one of only three extant. The fresco allows conservators to examine and evaluate fresco techniques of the period.A fragment of the painted domed ceiling of the drawingroom of Ordsall (later renamed Southesk) which once stood at the corner of Cotham Road and Charles Street, Kew. This rectangular fragment of painted plaster is a small section of the rectangular frieze of neo-gothic scenes that were a feature of the drawingroom ceiling. The fragment differs from those remaining from the ballroom in that it includes a section of gold leaf.Label: 'This is from "Southesk" drawing room'ordsall, southesk, cullis hill & co., halfey, john

Colour enlargement of a photograph (slide) of Southesk (formerly Ordsall) in Cotham Road, Kew (demolished 1970).The ceilings of and architraves of Ordsall were painted by artists employed by the decorating company, Cullis Hill & Co. The frescos, of which fragments survive, were some of the most important murals used as elements of interior decoration in Melbourne during the Boom Period of the 1880s. These photographs were taken immediately prior to the demolition of the house, and are the best examples of the murals.Notwithstanding its grand Italianate façade, the most important aspect of Southesk (formerly ‘Ordsall’) were the murals in the front two rooms. An article in the Melbourne Argus in 1882 records that Mr Vandenbrandt and Signor Rizzi created these under the supervision of Cullis Hill. This fresco from the ceiling of the ballroom depicts ‘Night, represented by a female figure in a diaphanous garment, skirted with flowers, wafted before the approaching dawn into space illuminated by the moonlight, and peopled by the fairies, is a striking picture. Flying with her are an attendant Cupid bearing an artificial light, and a tired little votary of Bacchus with a reversed wine-pitcher and goblet’.david carnegie, john halfey, southesk - cotham road - kew (vic), ordsall - cotham road - kew (vic)

Colour enlargement of a photograph (slide) of Southesk (formerly Ordsall) in Cotham Road, Kew (demolished 1970).The ceilings of and architraves of Ordsall were painted by artists employed by the decorating company, Cullis Hill & Co. The frescos, of which fragments survive, were some of the most important murals used as elements of interior decoration in Melbourne during the Boom Period of the 1880s. These photographs were taken immediately prior to the demolition of the house, and are the best examples of the murals.The most significant decorative aspects of Southesk (formerly ‘Ordsall’) were the murals in the front two rooms. An article in the Melbourne Argus in 1882 records that Mr Vandenbrandt and Signor Rizzi created these under the supervision of Cullis Hill. This fresco from the ceiling of the ballroom is believed to depict two of the Seasons. Signor Rizzi was a renowned painter of flowers. He is credited with painting these parts of the murals. Examples of his floral paintings can still be seen at Villa Alba in Walmer Street.david carnegie, john halfey, southesk - cotham road - kew (vic), ordsall - cotham road - kew (vic)

Colour enlargement of a photograph (slide) of Southesk (formerly Ordsall) in Cotham Road, Kew (demolished 1970).The ceilings of and architraves of Ordsall were painted by artists employed by the decorating company, Cullis Hill & Co. The frescos, of which fragments survive, were some of the most important murals used as elements of interior decoration in Melbourne during the Boom Period of the 1880s. These photographs were taken immediately prior to the demolition of the house, and are the best examples of the murals.The most significant decorative aspects of Southesk (formerly ‘Ordsall’) were the murals in the front two rooms. An article in the Melbourne Argus in 1882 records that Mr Vandenbrandt and Signor Rizzi created these under the supervision of Cullis Hill. This fresco from the ceiling of the ballroom is believed to depict ‘Africa’. The article records that: ‘Notwithstanding the large size of the drawings they are often marked by delicate touches, and a minuteness of detail in evident sympathy with nature. The figures have grace, life and animation and the skillful shading of the colours used — chiefly amber, gold, light blue, green, light fawn and brown – is in harmony with the quiet tone of the general furnishing of the rooms.’david carnegie, john halfey, southesk - cotham road - kew (vic), ordsall - cotham road - kew (vic)

Colour enlargement of a photograph (slide) of Southesk (formerly Ordsall) in Cotham Road, Kew (demolished 1970).The ceilings of and architraves of Ordsall were painted by artists employed by the decorating company, Cullis Hill & Co. The frescos, of which fragments survive, were some of the most important murals used as elements of interior decoration in Melbourne during the Boom Period of the 1880s. These photographs were taken immediately prior to the demolition of the house, and are the best examples of the murals.The most significant decorative aspects of Southesk (formerly ‘Ordsall’) were the murals in the front two rooms. An article in the Melbourne Argus in 1882 records that Mr Vandenbrandt and Signor Rizzi created these under the supervision of Cullis Hill. This fresco from the ceiling of the ballroom is believed to depict one of the ‘boldly drawn four great geographical divisions of the Earth’. The crowned woman, believed to represent Europe, stands aloft in a chariot drawn by cherubs holding garlands of flowers.david carnegie, john halfey, southesk - cotham road - kew (vic), ordsall - cotham road - kew (vic)

Colour enlargement of a photograph (slide) of Southesk (formerly Ordsall) in Cotham Road, Kew (demolished 1970).The ceilings of and architraves of Ordsall were painted by artists employed by the decorating company, Cullis Hill & Co. The frescos, of which fragments survive, were some of the most important murals used as elements of interior decoration in Melbourne during the Boom Period of the 1880s. These photographs were taken immediately prior to the demolition of the house, and are the best examples of the murals.The most significant decorative aspects of Southesk (formerly ‘Ordsall’) were the murals in the front two rooms. An article in the Melbourne Argus in 1882 records that Mr Vandenbrandt and Signor Rizzi created these under the supervision of Cullis Hill. This fresco from the ceiling of the drawingroom was described by the reporter as ‘done in the quaint old 14th century style’. This section depicts ‘out-door sports. The fishing-lines of the jester and the almoner have become entangled, and a large wolf-dog seems disposed to arbitrate in the difficulty, while a party of young men and maidens are angling, feeding swans, or training hawks for a future day’s sport.’david carnegie, john halfey, southesk - cotham road - kew (vic), ordsall - cotham road - kew (vic)

Colour enlargement of a photograph (slide) of Southesk (formerly Ordsall) in Cotham Road, Kew (demolished 1970).The ceilings of and architraves of Ordsall were painted by artists employed by the decorating company, Cullis Hill & Co. The frescos, of which fragments survive, were some of the most important murals used as elements of interior decoration in Melbourne during the Boom Period of the 1880s. These photographs were taken immediately prior to the demolition of the house, and are the best examples of the murals.The most significant decorative aspects of Southesk (formerly ‘Ordsall’) were the murals in the front two rooms. An article in the Melbourne Argus in 1882 records that Mr Vandenbrandt and Signor Rizzi created these under the supervision of Cullis Hill. This fresco from the ceiling of the drawingroom was described by the reporter as ‘done in the quaint old 14th century style … The second panel represents a hawking party. The ladies hold aloft the natural perches for their falcons. The men, seated in picturesque variety of attitude, hold their cross-bows, and a boy is relieving a heron from an arrow which has pierced its bosom.’david carnegie, john halfey, southesk - cotham road - kew (vic), ordsall - cotham road - kew (vic)

Ordsall, renamed Southesk in the 20th century was built for John Halfey in or before 1865. The house was rebuilt in the 1870s to designs by architect Michael Hennessy. In 1882 the house was redecorated by the firm of Culls Hill & Co., who hired the artists 'Mr Vandenbrandt' and 'Signor Rizzi" to paint the ceilings of the ballroom and the drawingroom. The artistic triumph was described in detail in The Argus, 30 October, 1882. In 1947, Southesk was purchased by the Kew City Council. For 23 years it was used as a meeting place for community groups. The house was then demolished in 1970 to make way for a new Town Hall.This is the earliest known photograph of Ordsall / South Esk, a significant mansion in Kew, built for John Halfey and now demolishedMembers of the Kew Congregational Church in front of one of the verandas of Southesk, circa 1900.congregational church - kew (vic), south esk - south esk - ordsall - kew (vic)

'Ordsall', renamed 'Southesk' in the 20th century was built for John Halfey in or before 1865. The house was rebuilt in the 1870s to designs by architect Michael Hennessy. In 1882 the house was redecorated by the firm of Cullis Hill & Co., who hired the artists 'Mr Vandenbrandt' and 'Signor Rizzi" to paint the ceilings of the ballroom and the drawingroom. The artistic triumph was described in detail in The Argus, 30 October, 1882. In 1947, Southesk was purchased by the Kew City Council. For 23 years it was used as a meeting place for community groups. The house was then demolished in 1970 to make way for a new Town Hall.Rare, and possible unique fragment of a plaster cornice from one of the most architecturally distinctive houses in Kew, demolished 1970.Section of plaster cornice removed from Southesk on the corner of Charles Street and Cotham Road, Kew, when it was demolished in 1970 by the City of Kew. The cornice has a narrow layer of previously coloured plaster which is now overlaid with a grey distemper. The foundation of the cornice is moulded cement. Remnant flowers moulded in the central band of the cornice include a rose and a sunflower. The plaster decoration was probably located in the entrance hall, dining room or ballroom, all of which were created in the 1870s by Michael Hennessy and decorated by the firm of art decorators, Cullis Hill & Co in 1882.Nilordsall, south esk, cullis hill, plasterwork, cornices, victorian interiors

Ordsall, renamed Southesk in the 20th century was built for John Halfey in or before 1865. The house was rebuilt in the 1870s to designs by architect Michael Hennessy. In 1882 the house was redecorated by the firm of Culls Hill & Co., who hired the artists 'Mr Vandenbrandt' and 'Signor Rizzi" to paint the ceilings of the ballroom and the drawingroom. The artistic triumph was described in detail in The Argus, 30 October, 1882. In 1947, Southesk was purchased by the Kew City Council. For 23 years it was used as a meeting place for community groups. The house was then demolished in 1970 to make way for a new Town Hall.The interiors of the two main reception rooms at Ordsall included some of the most outstanding domestic frescos painted in Australia in the late Victorian period. These frescos were executed by artists hired by the firm of Cullis Hill & Co. While a number of photographs were taken of the interiors prior to the house's demolition in 1970, this small fragment of the fresco is one of only three extant. The fresco allows conservators to examine and evaluate fresco techniques of the period.One of only two fragments of the painted domed ceiling of the ballroom of Ordsall (later renamed Southesk) which once stood at the corner of Cotham Road and Charles Street, Kew. This triangular piece of the fresco is of a cherub's face.Label: 'This is from the "Southesk" ballroom 14-7-70'ordsall, southesk, cullis hill & co.

Ordsall, renamed Southesk in the 20th century was built for John Halfey in or before 1865. The house was rebuilt in the 1870s to designs by architect Michael Hennessy. In 1882 the house was redecorated by the firm of Culls Hill & Co., who hired the artists 'Mr Vandenbrandt' and 'Signor Rizzi" to paint the ceilings of the ballroom and the drawingroom. The artistic triumph was described in detail in The Argus, 30 October, 1882. In 1947, Southesk was purchased by the Kew City Council. For 23 years it was used as a meeting place for community groups. The house was then demolished in 1970 to make way for a new Town Hall.The interiors of the two main reception rooms at Ordsall included some of the most outstanding domestic frescos painted in Australia in the late Victorian period. These frescos were executed by artists hired by the firm of Cullis Hill & Co. While a number of photographs were taken of the interiors prior to the house's demolition in 1970, this small fragment of the fresco is one of only three extant. The fresco allows conservators to examine and evaluate fresco techniques of the period.One of only two fragments of the painted domed ceiling of the ballroom of Ordsall (later renamed Southesk) which once stood at the corner of Cotham Road and Charles Street, Kew. This roughly square piece of the plasterwork shows a woman's head. Given the size of the face, it is believed that this section of the fresco represents one of the four 'geographic depictions of the earth including the seasons, night and morning'.Label: 'This is from the Southesk Ballroom 14-7-70'cullis hill & co., fresco, ordsall, southesk

Boroondara Cemetery, established in 1858, is within an unusual triangular reserve bounded by High Street, Park Hill Road and Victoria Park, Kew. By the 1890s, the Boroondara Cemetery was a popular destination for visitors and locals admiring the beauty of the grounds and the splendid monuments. The Boroondara Cemetery is of historical significance for the graves, monuments and epitaphs of a number of individuals whose activities have played a major part in Australia's history. They include the Henty family, artists Louis Buvelot and Charles Nuttall, businessmen John Halfey and publisher David Syme, artist and diarist Georgiana McCrae, actress Nellie Stewart and architect and designer of the Boroondara and Melbourne General Cemeteries, Albert Purchas.Walking tour led by Kew Historical Society members for members of the Royal Historical Society of Victoria in 1977. The photograph shows members of both parties assembled at a grave in the Cemetery. The photograph was one of six taken by KHS member Stewart West on that occasion, and subsequently donated by him to the collection by him.Reverse: "Front row in dark coat and glasses - Mrs Mills, With dark glasses reading - Mrs Ekberg (KHS member); Second from right Mr Slattery then president of Society; Far left Miss B Mackie (KHS member)" boroondara general cemetery, kew cemetery, walking tours

Boroondara Cemetery, established in 1858, is within an unusual triangular reserve bounded by High Street, Park Hill Road and Victoria Park, Kew. By the 1890s, the Boroondara Cemetery was a popular destination for visitors and locals admiring the beauty of the grounds and the splendid monuments. The Boroondara Cemetery is of historical significance for the graves, monuments and epitaphs of a number of individuals whose activities have played a major part in Australia's history. They include the Henty family, artists Louis Buvelot and Charles Nuttall, businessmen John Halfey and publisher David Syme, artist and diarist Georgiana McCrae, actress Nellie Stewart and architect and designer of the Boroondara and Melbourne General Cemeteries, Albert Purchas.Walking tour led by Kew Historical Society members for members of the Royal Historical Society of Victoria in 1977. The photograph shows a Kew youth placing a sprig of Rosemary on Ellen Quick's grave. The photograph was one of six taken by KHS member Stewart West on that occasion, and subsequently donated by him to the collection by him.Reverse: "Kew youth placing a sprig of rosemary on grave of Ellen Quick nee Derrick who was the first burial on 12/3/1859. Her family Derricks were early Kew Landowners." boroondara general cemetery, kew cemetery, walking tours, ellen quick, dannock family, kew pioneers

The Melbourne and Metropolitan Board of Works (MMBW) plans were produced from the 1890s to the 1950s. They were crucial to the design and development of Melbourne's sewerage and drainage system. The plans, at a scale of 40 feet to 1 inch (1:480), provide a detailed historical record of Melbourne streetscapes and environmental features. Each plan covers one or two street blocks (roughly six streets), showing details of buildings, including garden layouts and ownership boundaries, and features such as laneways, drains, bridges, parks, municipal boundaries and other prominent landmarks as they existed at the time each plan was produced. (Source: State Library of Victoria)This plan forms part of a large group of MMBW plans and maps that was donated to the Society by the Mr Poulter, City Engineer of the City of Kew in 1989. Within this collection, thirty-five hand-coloured plans, backed with linen, are of statewide significance as they include annotations that provide details of construction materials used in buildings in the first decade of the 20th century as well as additional information about land ownership and usage. The copies in the Public Record Office Victoria and the State Library of Victoria are monochrome versions which do not denote building materials so that the maps in this collection are invaluable and unique tools for researchers and heritage consultants. A number of the plans are not held in the collection of the State Library of Victoria so they have the additional attribute of rarity.Original survey plan, issued by the MMBW to a contractor with responsibility for constructing sewers in the area identified on the plan within the Borough of Kew. The plan was at some stage hand-coloured, possibly by the contractor, but more likely by officers working in the Engineering Department of the Borough and later Town, then City of Kew. The hand-coloured sections of buildings on the plan were used to denote masonry or brick constructions (pink), weatherboard constructions (yellow), and public buildings (grey). Development in the 20th century has irreparably altered that part of Kew represented in this plan. In the block bounded by Cotham Road, Charles Street, Wellington Street and Gellibrand; just one house standing in 1903 remains. This block included two of the most historic houses in Kew: ‘Ordsall’ (later ‘Southesk’) and ‘Madford’ (previously ‘Elm Lodge’). Ordsall was the home of the second chairman of Kew, John Halfey. It contained some of the most significant interior murals in Kew, created for Halfey by artists working for Cullen & Co. It was demolished in 1960 to make way for the Kew Civic Centre. Elm Lodge had been built for William Siddeley in ca. 1864. Arthur Septimus King purchased it in 1874. The lower paddocks of Madford were sold in 1905 by his wife to the Borough of Kew and, after landscaping by George and Thomas Pockett, opened as the Alexandra Gardens in 1908. Elm Lodge/Madford was in 1922 to become St. Anthony’s Home for Little Children before its subsequent demolition in the 1980s.melbourne and metropolitan board of works, detail plans, maps - borough of kew, mmbw 1576, cartography

The Boroondara General Cemetery is registerd by Heritage VictoriaBoroondara Cemetery in kew was established in 1858. It has an unusual triangular reserve bounded by High Street, Park Hill Road and Victoria Park, Kew. The caretaker's lodge and administrative office (1860 designed by Charles Vickers, additions, 1866-1899 by Albert Purchas) form a picturesque two-storey brick structure with a slate roof and clock tower. A rotunda or shelter (1890, Albert Purchas) is located in the centre of the cemetery: this has an octagonal hipped roof with fish scale slates and a decorative brick base with a tessellated floor and timber seating. The cemetery is surrounded by a 2.7 metre high ornamental red brick wall (1895-96, Albert Purchas) with some sections of vertical iron palisades between brick pillars. Albert Purchas was a prominent Melbourne architect who was the Secretary of the Melbourne General Cemetery from 1852 to 1907 and Chairman of the Boroondara Cemetery Board of Trustees from 1867 to 1909. He made a significant contribution to the design of the Boroondara Cemetery Boroondara Cemetery is an outstanding example of the Victorian Garden Cemetery movement in Victoria, retaining key elements of the style, despite overdevelopment which has obscured some of the paths and driveways. Elements of the style represented at Boroondara include an ornamental boundary fence, a system of curving paths which are kerbed and follow the site's natural contours, defined views, recreational facilities such as the rotunda, a landscaped park like setting, sectarian divisions for burials, impressive monuments, wrought and cast iron grave surrounds and exotic symbolic plantings. In the 1850s cemeteries were located on the periphery of populated areas because of concerns about diseases like cholera. They were designed to be attractive places for mourners and visitors to walk and contemplate. Typically cemeteries were arranged to keep religions separated and this tended to maintain links to places of origin, reflecting a migrant society. Other developments included cast iron entrance gates, built in 1889 to a design by Albert Purchas; a cemetery shelter or rotunda, built in 1890, which is a replica of one constructed in the Melbourne General Cemetery in the same year; an ornamental brick fence erected in 1896-99(?); the construction and operation of a terminus for a horse tram at the cemetery gates during 1887-1915; and the Springthorpe Memorial built between 1897 and 1907. A brick cremation wall and a memorial rose garden were constructed near the entrance in the mid- twentieth century(c.1955-57) and a mausoleum completed in 2001.The maintenance shed/depot close to High Street was constructed in 1987. The original entrance was altered in 2000 and the original cast iron gates moved to the eastern entrance of the Mausoleum. Some notable memorials include The Springthorpe Memorial (VHR 522), The Syme Memorial (1908), The Cussen Memorial (VHR 2036). Burials within the cemetery include the Henty family, artists Louis Buvelot and Charles Nuttall, businessmen John Halfey and publisher David Syme, artist and diarist Georgiana McCrae, actress Nellie Stewart and architect and designer of the Boroondara and Melbourne General Cemeteries, Albert Purchas. The Boroondara Cemetery features many plants, mostly conifers and shrubs of funerary symbolism, which line the boundaries, road and pathways, and frame the cemetery monuments or are planted on graves. The major plantings include an impressive row of Bhutan Cypress (Cupressus torulosa), interplanted with Sweet Pittosporum (Pittosporum undulatum), and a few Pittosporum crassifolium, along the High Street and Parkhill Street, where the planting is dominated by Sweet Pittosporum. Planting within the cemetery includes rows and specimen trees of Bhutan Cypress and Italian Cypress (Cupressus sempervirens), including a row with alternate plantings of both species. The planting includes an unusual "squat" form of an Italian Cypress. More of these trees probably lined the cemetery roads and paths. Also dominating the cemetery landscape near the Rotunda is a stand of 3 Canary Island Pines (Pinus canariensis), a Bunya Bunya Pine (Araucaria bidwillii) and a Weeping Elm (Ulmus glabra 'Camperdownii'). Amongst the planting are the following notable conifers: a towering Bunya Bunya Pine (Araucaria bidwillii), a Coast Redwood (Sequoia sempervirens), a rare Golden Funeral Cypress (Chamaecyparis funebris 'Aurea'), two large Funeral Cypress (Chamaecyparis funebris), and the only known Queensland Kauri (Agathis robusta) in a cemetery in Victoria. The Cemetery records, including historical plans of the cemetery from 1859, are held by the administration and their retention enhances the historical significance of the Cemetery. Digital images of a red brick gatehouse at Boroondara General Cemetery in Kew.cemetery, boroondara, kew, gatehouse, clock, tower, clocktower, heritage, memorial

The Boroondara General Cemetery is registerd by Heritage VictoriaFrom Heritage Victoria Statement of Significance Last updated on - December 15, 2005 What is significant? Boroondara Cemetery, established in 1858, is within an unusual triangular reserve bounded by High Street, Park Hill Road and Victoria Park, Kew. The caretaker's lodge and administrative office (1860 designed by Charles Vickers, additions, 1866-1899 by Albert Purchas) form a picturesque two-storey brick structure with a slate roof and clock tower. A rotunda or shelter (1890, Albert Purchas) is located in the centre of the cemetery: this has an octagonal hipped roof with fish scale slates and a decorative brick base with a tessellated floor and timber seating. The cemetery is surrounded by a 2.7 metre high ornamental red brick wall (1895-96, Albert Purchas) with some sections of vertical iron palisades between brick pillars. Albert Purchas was a prominent Melbourne architect who was the Secretary of the Melbourne General Cemetery from 1852 to 1907 and Chairman of the Boroondara Cemetery Board of Trustees from 1867 to 1909. He made a significant contribution to the design of the Boroondara Cemetery Boroondara Cemetery is an outstanding example of the Victorian Garden Cemetery movement in Victoria, retaining key elements of the style, despite overdevelopment which has obscured some of the paths and driveways. Elements of the style represented at Boroondara include an ornamental boundary fence, a system of curving paths which are kerbed and follow the site's natural contours, defined views, recreational facilities such as the rotunda, a landscaped park like setting, sectarian divisions for burials, impressive monuments, wrought and cast iron grave surrounds and exotic symbolic plantings. In the 1850s cemeteries were located on the periphery of populated areas because of concerns about diseases like cholera. They were designed to be attractive places for mourners and visitors to walk and contemplate. Typically cemeteries were arranged to keep religions separated and this tended to maintain links to places of origin, reflecting a migrant society. Other developments included cast iron entrance gates, built in 1889 to a design by Albert Purchas; a cemetery shelter or rotunda, built in 1890, which is a replica of one constructed in the Melbourne General Cemetery in the same year; an ornamental brick fence erected in 1896-99(?); the construction and operation of a terminus for a horse tram at the cemetery gates during 1887-1915; and the Springthorpe Memorial built between 1897 and 1907. A brick cremation wall and a memorial rose garden were constructed near the entrance in the mid- twentieth century(c.1955-57) and a mausoleum completed in 2001.The maintenance shed/depot close to High Street was constructed in 1987. The original entrance was altered in 2000 and the original cast iron gates moved to the eastern entrance of the Mausoleum. The Springthorpe Memorial (VHR 522) set at the entrance to the burial ground commemorates Annie Springthorpe, and was erected between 1897 and 1907 by her husband Dr John Springthorpe. It was the work of the sculptor Bertram Mackennal, architect Harold Desbrowe Annear, landscape designer and Director of the Melbourne Bortanic Gardens, W.R. Guilfoyle, with considerable input from Dr Springthorpe The memorial is in the form of a small temple in a primitive Doric style. It was designed by Harold Desbrowe Annear and includes Bertram Mackennal sculptures in Carrara marble. Twelve columns of deep green granite from Scotland support a Harcourt granite superstructure. The roof by Brooks Robinson is a coloured glass dome, which sits within the rectangular form and behind the pediments. The sculptural group raised on a dais, consists of the deceased woman lying on a sarcophagus with an attending angel and mourner. The figure of Grief crouches at the foot of the bier and an angel places a wreath over Annie's head, symbolising the triumph of immortal life over death. The body of the deceased was placed in a vault below. The bronze work is by Marriots of Melbourne. Professor Tucker of the University of Melbourne composed appropriate inscriptions in English and archaic Greek lettering.. The floor is a geometric mosaic and the glass dome roof is of Tiffany style lead lighting in hues of reds and pinks in a radiating pattern. The memorial originally stood in a landscape triangular garden of about one acre near the entrance to the cemetery. However, after Dr Springthorpe's death in 1933 it was found that transactions for the land had not been fully completed so most of it was regained by the cemetery. A sundial and seat remain. The building is almost completely intact. The only alteration has been the removal of a glass canopy over the statuary and missing chains between posts. The Argus (26 March 1933) considered the memorial to be the most beautiful work of its kind in Australia. No comparable buildings are known. The Syme Memorial (1908) is a memorial to David Syme, political economist and publisher of the Melbourne Age newspaper. The Egyptian memorial designed by architect Arthur Peck is one of the most finely designed and executed pieces of monumental design in Melbourne. It has a temple like form with each column having a different capital detail. These support a cornice that curves both inwards and outwards. The tomb also has balustradings set between granite piers which create porch spaces leading to the entrance ways. Two variegated Port Jackson Figs are planted at either end. The Cussen Memorial (VHR 2036) was constructed in 1912-13 by Sir Leo Cussen in memory of his young son Hubert. Sir Leo Finn Bernard Cussen (1859-1933), judge and member of the Victorian Supreme Court in 1906. was buried here. The family memorial is one of the larger and more impressive memorials in the cemetery and is an interesting example of the 1930s Gothic Revival style architecture. It takes the form of a small chapel with carvings, diamond shaped roof tiles and decorated ridge embellishing the exterior. By the 1890s, the Boroondara Cemetery was a popular destination for visitors and locals admiring the beauty of the grounds and the splendid monuments. The edge of suburban settlement had reached the cemetery in the previous decade. Its Victorian garden design with sweeping curved drives, hill top views and high maintenance made it attractive. In its Victorian Garden Cemetery design, Boroondara was following an international trend. The picturesque Romanticism of the Pere la Chaise garden cemetery established in Paris in 1804 provided a prototype for great metropolitan cemeteries such as Kensal Green (1883) and Highgate (1839) in London and the Glasgow Necropolis (1831). Boroondara Cemetery was important in establishing this trend in Australia. The cemetery's beauty peaked with the progressive completion of the spectacular Springthorpe Memorial between 1899 and 1907. From about the turn of the century, the trustees encroached on the original design, having repeatedly failed in attempts to gain more land. The wide plantations around road boundaries, grassy verges around clusters of graves in each denomination, and most of the landscaped surround to the Springthorpe memorial are now gone. Some of the original road and path space were resumed for burial purposes. The post war period saw an increased use of the Cemetery by newer migrant groups. The mid- to late- twentieth century monuments were often placed on the grassed edges of the various sections and encroached on the roadways as the cemetery had reached the potential foreseen by its design. These were well tended in comparison with Victorian monuments which have generally been left to fall into a state of neglect. The Boroondara Cemetery features many plants, mostly conifers and shrubs of funerary symbolism, which line the boundaries, road and pathways, and frame the cemetery monuments or are planted on graves. The major plantings include an impressive row of Bhutan Cypress (Cupressus torulosa), interplanted with Sweet Pittosporum (Pittosporum undulatum), and a few Pittosporum crassifolium, along the High Street and Parkhill Street, where the planting is dominated by Sweet Pittosporum. Planting within the cemetery includes rows and specimen trees of Bhutan Cypress and Italian Cypress (Cupressus sempervirens), including a row with alternate plantings of both species. The planting includes an unusual "squat" form of an Italian Cypress. More of these trees probably lined the cemetery roads and paths. Also dominating the cemetery landscape near the Rotunda is a stand of 3 Canary Island Pines (Pinus canariensis), a Bunya Bunya Pine (Araucaria bidwillii) and a Weeping Elm (Ulmus glabra 'Camperdownii') Amongst the planting are the following notable conifers: a towering Bunya Bunya Pine (Araucaria bidwillii), a Coast Redwood (Sequoia sempervirens), a rare Golden Funeral Cypress (Chamaecyparis funebris 'Aurea'), two large Funeral Cypress (Chamaecyparis funebris), and the only known Queensland Kauri (Agathis robusta) in a cemetery in Victoria. The Cemetery records, including historical plans of the cemetery from 1859, are held by the administration and their retention enhances the historical significance of the Cemetery. How is it significant? Boroondara Cemetery is of aesthetic, architectural, scientific (botanical) and historical significance to the State of Victoria. Why is it significant? The Boroondara Cemetery is of historical and aesthetic significance as an outstanding example of a Victorian garden cemetery. The Boroondara Cemetery is of historical significance as a record of Victorian life from the 1850s, and the early settlement of Kew. It is also significant for its ability to demonstrate, through the design and location of the cemetery, attitudes towards burial, health concerns and the importance placed on religion, at the time of its establishment. The Boroondara Cemetery is of architectural significance for the design of the gatehouse or sexton's lodge and cemetery office (built in stages from 1860 to 1899), the ornamental brick perimeter fence and elegant cemetery shelter to the design of prominent Melbourne architects, Charles Vickers (for the original 1860 cottage) and Albert Purchas, cemetery architect and secretary from 1864 to his death in 1907. The Boroondara Cemetery has considerable aesthetic significance which is principally derived from its tranquil, picturesque setting; its impressive memorials and monuments; its landmark features such as the prominent clocktower of the sexton's lodge and office, the mature exotic plantings, the decorative brick fence and the entrance gates; its defined views; and its curving paths. The Springthorpe Memorial (VHR 522), the Syme Memorial and the Cussen Memorial (VHR 2036), all contained within the Boroondara Cemetery, are of aesthetic and architectural significance for their creative and artistic achievement. The Boroondara Cemetery is of scientific (botanical) significance for its collection of rare mature exotic plantings. The Golden Funeral Cypress, (Chamaecyparis funebris 'Aurea') is the only known example in Victoria. The Boroondara Cemetery is of historical significance for the graves, monuments and epitaphs of a number of individuals whose activities have played a major part in Australia's history. They include the Henty family, artists Louis Buvelot and Charles Nuttall, businessmen John Halfey and publisher David Syme, artist and diarist Georgiana McCrae, actress Nellie Stewart and architect and designer of the Boroondara and Melbourne General Cemeteries, Albert Purchas.Digital image of the Springthorpe Memorial in the Boroondara General Cemeterycemetery, boroondara, kew, gatehouse, clock, tower, clocktower, heritage, memorial, springthorpe memorial

The Boroondara General Cemetery is registerd by Heritage VictoriaFrom Heritage Victoria Statement of Significance Last updated on - December 15, 2005 What is significant? Boroondara Cemetery, established in 1858, is within an unusual triangular reserve bounded by High Street, Park Hill Road and Victoria Park, Kew. The caretaker's lodge and administrative office (1860 designed by Charles Vickers, additions, 1866-1899 by Albert Purchas) form a picturesque two-storey brick structure with a slate roof and clock tower. A rotunda or shelter (1890, Albert Purchas) is located in the centre of the cemetery: this has an octagonal hipped roof with fish scale slates and a decorative brick base with a tessellated floor and timber seating. The cemetery is surrounded by a 2.7 metre high ornamental red brick wall (1895-96, Albert Purchas) with some sections of vertical iron palisades between brick pillars. Albert Purchas was a prominent Melbourne architect who was the Secretary of the Melbourne General Cemetery from 1852 to 1907 and Chairman of the Boroondara Cemetery Board of Trustees from 1867 to 1909. He made a significant contribution to the design of the Boroondara Cemetery Boroondara Cemetery is an outstanding example of the Victorian Garden Cemetery movement in Victoria, retaining key elements of the style, despite overdevelopment which has obscured some of the paths and driveways. Elements of the style represented at Boroondara include an ornamental boundary fence, a system of curving paths which are kerbed and follow the site's natural contours, defined views, recreational facilities such as the rotunda, a landscaped park like setting, sectarian divisions for burials, impressive monuments, wrought and cast iron grave surrounds and exotic symbolic plantings. In the 1850s cemeteries were located on the periphery of populated areas because of concerns about diseases like cholera. They were designed to be attractive places for mourners and visitors to walk and contemplate. Typically cemeteries were arranged to keep religions separated and this tended to maintain links to places of origin, reflecting a migrant society. Other developments included cast iron entrance gates, built in 1889 to a design by Albert Purchas; a cemetery shelter or rotunda, built in 1890, which is a replica of one constructed in the Melbourne General Cemetery in the same year; an ornamental brick fence erected in 1896-99(?); the construction and operation of a terminus for a horse tram at the cemetery gates during 1887-1915; and the Springthorpe Memorial built between 1897 and 1907. A brick cremation wall and a memorial rose garden were constructed near the entrance in the mid- twentieth century(c.1955-57) and a mausoleum completed in 2001.The maintenance shed/depot close to High Street was constructed in 1987. The original entrance was altered in 2000 and the original cast iron gates moved to the eastern entrance of the Mausoleum. The Springthorpe Memorial (VHR 522) set at the entrance to the burial ground commemorates Annie Springthorpe, and was erected between 1897 and 1907 by her husband Dr John Springthorpe. It was the work of the sculptor Bertram Mackennal, architect Harold Desbrowe Annear, landscape designer and Director of the Melbourne Bortanic Gardens, W.R. Guilfoyle, with considerable input from Dr Springthorpe The memorial is in the form of a small temple in a primitive Doric style. It was designed by Harold Desbrowe Annear and includes Bertram Mackennal sculptures in Carrara marble. Twelve columns of deep green granite from Scotland support a Harcourt granite superstructure. The roof by Brooks Robinson is a coloured glass dome, which sits within the rectangular form and behind the pediments. The sculptural group raised on a dais, consists of the deceased woman lying on a sarcophagus with an attending angel and mourner. The figure of Grief crouches at the foot of the bier and an angel places a wreath over Annie's head, symbolising the triumph of immortal life over death. The body of the deceased was placed in a vault below. The bronze work is by Marriots of Melbourne. Professor Tucker of the University of Melbourne composed appropriate inscriptions in English and archaic Greek lettering.. The floor is a geometric mosaic and the glass dome roof is of Tiffany style lead lighting in hues of reds and pinks in a radiating pattern. The memorial originally stood in a landscape triangular garden of about one acre near the entrance to the cemetery. However, after Dr Springthorpe's death in 1933 it was found that transactions for the land had not been fully completed so most of it was regained by the cemetery. A sundial and seat remain. The building is almost completely intact. The only alteration has been the removal of a glass canopy over the statuary and missing chains between posts. The Argus (26 March 1933) considered the memorial to be the most beautiful work of its kind in Australia. No comparable buildings are known. The Syme Memorial (1908) is a memorial to David Syme, political economist and publisher of the Melbourne Age newspaper. The Egyptian memorial designed by architect Arthur Peck is one of the most finely designed and executed pieces of monumental design in Melbourne. It has a temple like form with each column having a different capital detail. These support a cornice that curves both inwards and outwards. The tomb also has balustradings set between granite piers which create porch spaces leading to the entrance ways. Two variegated Port Jackson Figs are planted at either end. The Cussen Memorial (VHR 2036) was constructed in 1912-13 by Sir Leo Cussen in memory of his young son Hubert. Sir Leo Finn Bernard Cussen (1859-1933), judge and member of the Victorian Supreme Court in 1906. was buried here. The family memorial is one of the larger and more impressive memorials in the cemetery and is an interesting example of the 1930s Gothic Revival style architecture. It takes the form of a small chapel with carvings, diamond shaped roof tiles and decorated ridge embellishing the exterior. By the 1890s, the Boroondara Cemetery was a popular destination for visitors and locals admiring the beauty of the grounds and the splendid monuments. The edge of suburban settlement had reached the cemetery in the previous decade. Its Victorian garden design with sweeping curved drives, hill top views and high maintenance made it attractive. In its Victorian Garden Cemetery design, Boroondara was following an international trend. The picturesque Romanticism of the Pere la Chaise garden cemetery established in Paris in 1804 provided a prototype for great metropolitan cemeteries such as Kensal Green (1883) and Highgate (1839) in London and the Glasgow Necropolis (1831). Boroondara Cemetery was important in establishing this trend in Australia. The cemetery's beauty peaked with the progressive completion of the spectacular Springthorpe Memorial between 1899 and 1907. From about the turn of the century, the trustees encroached on the original design, having repeatedly failed in attempts to gain more land. The wide plantations around road boundaries, grassy verges around clusters of graves in each denomination, and most of the landscaped surround to the Springthorpe memorial are now gone. Some of the original road and path space were resumed for burial purposes. The post war period saw an increased use of the Cemetery by newer migrant groups. The mid- to late- twentieth century monuments were often placed on the grassed edges of the various sections and encroached on the roadways as the cemetery had reached the potential foreseen by its design. These were well tended in comparison with Victorian monuments which have generally been left to fall into a state of neglect. The Boroondara Cemetery features many plants, mostly conifers and shrubs of funerary symbolism, which line the boundaries, road and pathways, and frame the cemetery monuments or are planted on graves. The major plantings include an impressive row of Bhutan Cypress (Cupressus torulosa), interplanted with Sweet Pittosporum (Pittosporum undulatum), and a few Pittosporum crassifolium, along the High Street and Parkhill Street, where the planting is dominated by Sweet Pittosporum. Planting within the cemetery includes rows and specimen trees of Bhutan Cypress and Italian Cypress (Cupressus sempervirens), including a row with alternate plantings of both species. The planting includes an unusual "squat" form of an Italian Cypress. More of these trees probably lined the cemetery roads and paths. Also dominating the cemetery landscape near the Rotunda is a stand of 3 Canary Island Pines (Pinus canariensis), a Bunya Bunya Pine (Araucaria bidwillii) and a Weeping Elm (Ulmus glabra 'Camperdownii') Amongst the planting are the following notable conifers: a towering Bunya Bunya Pine (Araucaria bidwillii), a Coast Redwood (Sequoia sempervirens), a rare Golden Funeral Cypress (Chamaecyparis funebris 'Aurea'), two large Funeral Cypress (Chamaecyparis funebris), and the only known Queensland Kauri (Agathis robusta) in a cemetery in Victoria. The Cemetery records, including historical plans of the cemetery from 1859, are held by the administration and their retention enhances the historical significance of the Cemetery. How is it significant? Boroondara Cemetery is of aesthetic, architectural, scientific (botanical) and historical significance to the State of Victoria. Why is it significant? The Boroondara Cemetery is of historical and aesthetic significance as an outstanding example of a Victorian garden cemetery. The Boroondara Cemetery is of historical significance as a record of Victorian life from the 1850s, and the early settlement of Kew. It is also significant for its ability to demonstrate, through the design and location of the cemetery, attitudes towards burial, health concerns and the importance placed on religion, at the time of its establishment. The Boroondara Cemetery is of architectural significance for the design of the gatehouse or sexton's lodge and cemetery office (built in stages from 1860 to 1899), the ornamental brick perimeter fence and elegant cemetery shelter to the design of prominent Melbourne architects, Charles Vickers (for the original 1860 cottage) and Albert Purchas, cemetery architect and secretary from 1864 to his death in 1907. The Boroondara Cemetery has considerable aesthetic significance which is principally derived from its tranquil, picturesque setting; its impressive memorials and monuments; its landmark features such as the prominent clocktower of the sexton's lodge and office, the mature exotic plantings, the decorative brick fence and the entrance gates; its defined views; and its curving paths. The Springthorpe Memorial (VHR 522), the Syme Memorial and the Cussen Memorial (VHR 2036), all contained within the Boroondara Cemetery, are of aesthetic and architectural significance for their creative and artistic achievement. The Boroondara Cemetery is of scientific (botanical) significance for its collection of rare mature exotic plantings. The Golden Funeral Cypress, (Chamaecyparis funebris 'Aurea') is the only known example in Victoria. The Boroondara Cemetery is of historical significance for the graves, monuments and epitaphs of a number of individuals whose activities have played a major part in Australia's history. They include the Henty family, artists Louis Buvelot and Charles Nuttall, businessmen John Halfey and publisher David Syme, artist and diarist Georgiana McCrae, actress Nellie Stewart and architect and designer of the Boroondara and Melbourne General Cemeteries, Albert Purchas.Digital imagescemetery, boroondara, kew, gatehouse, clock, tower, clocktower, heritage, memorial, cussen