This metal sphere is part of the wooden barque, the Grange, built in 1840. The sphere was recovered from the shipwreck of the Grange in around 1968, 110 years after the Grange was wrecked (see below for further details on the Grange). It is part of the John Chance Collection. THE GRANGE, 1840-1858- The wooden barque ’Grange’ was a three-masted ship built in Scotland in 1840 for international and coastal trade. On March 22, 1858, the Grange set sail from Melbourne under Captain A. Alexander, carrying a cargo of ballast. The barque had left the Heads of Phillip Bay and was heading west along the Victorian coast towards Cape Otway. The ship struck Little Haley’s Reef at Apollo Bay due to a navigational error and was stuck on the rocks. The crew left the ship carrying whatever they could onto the beach. Eventually, the remains of the hull, sails and fittings were salvaged before the wreck of the Grange broke up about a month later. About 110 years later, in 1968, the wreck of the Grange was found by divers from the Underwater Explorers Club of Victoria. They were amazed to find a unique, six to nine pound carronade (type of small cannon) and a cannonball on the site. There have been no other similar carronades recorded. In that same year the anchor of the Grange was recovered by diver John Chance and Mal Brown. The sphere is significant historically as an example of hardware used when building wooden ships in the early to mid-19th century. The sphere is historically significant as an example of the work and trade of blacksmith. The sphere also has significant as it was recovered by John Chance, a diver from the wreck of the Grange in the 1968. Items that come from several wrecks along Victoria's coast have since been donated to the Flagstaff Hill Maritime Village’s museum collection by his family, illustrating this item’s level of historical value. The sphere is historically significant for its association with the 1840s wooden barque, the Grange. The Grange is an historical example of a Scottish built vessel used for international and coastal trader of both cargo and passengers in the mid-19th century. The Grange is an example of an early ship, designed with a wooden hull. It is significant as a ship still available to divers along the south coast of Victoria, for research and education purposes. The Grange is an example of a mid-19th century vessel that carried a weapon of defence onboard. Sphere; thin hollow copper, various shades of brown, dimpled or hammered surface with a sheen, no joins. Base has a small hole and is fitted with a hollow, cylindrical brass collar. The collar had a rim on top, inward curving sides and a narrower rim on the bottom. The sphere looks similar to a bed post knob.flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, west coast trader, apollo bay, mid-19th century shipwreck, the grange, scottish barque, little henty reef, captain a alexander, underwater explorers club of victoria, 1840s carronade, vhr 5297, coastal trader, wooden shipwreck, john chance, wooden ship, ship fitting, sphere, knob, bed knob, post decoration

Toasting fork, brass. Casting of cat handle and pierced tines, 3 tines. The body of the fork has been indented along its length in seveal places, appears to be post manufacture decoration.Body of fork has several indentationsfork, toasting, brass

W.J. CHAMPION OWNED A GENERAL DRAPER SHOP IN FRASER STREET, CLUNES FOR MANY YEARS. TWO STOREY BUILDING, THREE SHOP WINDOWS, IRON VERANDAH POSTS, ORNATE CAST IRON DECORATION ON TOP OF POSTS..1 SEPIA PHOTOGRAPH MOUNTED ON CARDBOARD OF W. J. CHAMPION SHOP, FRASER STREET, CLUNES, GROUP OF GENTLEMEN IN FOREGROUND. .2 BLACK AND WHITE COPY OF THE ABOVE PHOTOGRAPH PRINTED ON GLOSS PHOTOGRAPHIC PAPERlocal history, photography, photographs, shops, w.j. champion.[ 2 storey building], buildings

sepia photograph, cream board. Worker's cottage, picket fence, 2 chimneys, man with shovel. Woman holding child dressed in white pinafore. Verandah with unusual fretwork. Wooden decoration at posts. 2 windows, one each side of central door. 2 brick chimneys. Cottage in LH background. On back in writing 'Mr and Mrs Wearne' in grey lead pencil.Wharton and Rickards, Photographers, Golden Gullybuildings, residential, miner's cottage

Sepia photograph on cream board. Two storey building with parapet and decoration. Lamp post at left centre. Trees in streets. Men, women and children on footpath. Horse and cart at right under trees. In photo on building 'T.J. Connelly' ' Established 1853' The building of Thomas James Connelly, a hardware business that was established in 1853. W.C. Vahland was the architect for this building which was erected in 1877 on the corner of High and Forest Streets. On back Royal Historical Society Of Victoria 1959 see notation infothomas james connelly, t.j. connelly, ironmongers, tin business

This photograph was on display in the Orbost Information Centre - the Slab Hut - for many years. Originally the post office was not at Orbost at all but in the small settlement of Newmerella. The building in the photograph was completed and opened in 1898 at a cost of 1038/4/8 pounds. The post office building today is a replica of this building, opened in 2004 after a local campaign to retain a full post office in the town.The photograph of the early post office shows that it was a popular meeting place. Today's post office is a replica of this one and stands on the same site.A framed photograph of the Orbost Post Office (photocopy?) in 1917. The glass was cracked and has been removed. The frame is a wooden one with carved shell shape decorations. In the foreground of the photo is a horse and coach and an early model car. The mail coach is on its way to Cann River. In the car is the Warren family.W.S. Vogt, Bairnsdaleorbost post-office

Top part of a post and rail combination. Decorative metal piece which held the rail in place. Severe encrustation. Height 4" width 5" flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village

Items in the "Swatton" collection. .1) Jack Swatton, 2nd from left front row. .2) front row 5th from the left. John (Jack) William Swatton. His first connection with the Australian Military is with the Universal Conscription scheme pre WW1. On 1.7.1913 he is alloted to D Coy 67th Bn (Bendigo) Regt No 671 as part of quota 1895 (Year of his birth) He then enlists in the AIF on 10.7.1915 No 4905 age 19 years in 15th Reinforcements 7th Bn AIF. Embark for Eygpt 7.3.1916, embark for France 2.6.1916, Transfer to 48th Bty 12 F.A.B 17.4.1916, transfer to 24th F.A.B 15.6.1916, Transfers to 43rd Bty 11th F.A.B 25.1.1917, detached to Ordnance Works Viviers Hill 15.2.1917, Promoted Bombadier 10.12.1917, attends 2nd Army Artillery School, promoted Corporal 16.3.1918, promoted Sgt 17.6.1918, promoted Bty Sgt Major 15.12.1918, awarded MID 31.12.1918, embark for Australia 11.5.1919, discharged from the AIF. Post WW1 he enlists in the 38th Bn (CMF Bendigo) in 1921, he is Commissioned as an Officer in Sept 1929, from that date till 1940 he is the CO of the BN. The same year he transfers to the 8th Bn CMF. Besides his Mention in Despatches (WW1) he is also awarded the Long Service and Efficiency decorations. On 25.4.1942 he enlists in VDC age 46 years No V362516 in the 15th BN Volunteer Defence Corp for part time duty with the rank of Lt Col, His appointment is terminated on 19.12.1945. In 1941 he is elected to the Committee of the Bendigo RSL, serves as Snr Vice President 1949 - 57 then President 1958 - 60. In 1962 he is made a life member of the RSL..1) Photograph B & W showing 21 Officers of the 38th BN standing outside a building. .2) Photograph sepia tone showing 20 Officers of the 38th Bn in three rows in front of a tent.photographs, 38th bn, post ww1, passchendaele barracks trust.

A Copy of the Victoria Cross for display only purpose.Copy of Victoria Cross for Lara R.S.L. Display purposes only.Victoria Cross Medal with Red RibbonOn Reverse it a marking stating COPY. The Victoria Cross for Australia is the highest award in the Australian Honours System, superseding the British Victoria Cross for issue to Australians. The Victoria Cross for Australia is the "decoration for according recognition to persons who in the presence of the enemy, perform acts of the most conspicuous gallantry, or daring or pre-eminent acts of valour or self-sacrifice or display extreme devotion to duty. The Victoria Cross for Australia was created by letters patent signed by Elizabeth II, Queen of Australia, on 15 January 1991. It is listed equal first with the British Victoria Cross on the Australian Order of Wear with precedence in Australia over all orders, decorations and medals. The decoration may be awarded to members of the Australian Defence Force and to other persons determined by the Australian Minister for Defence.] A person to whom the Victoria Cross for Australia has been awarded is entitled to the post nominals VC placed after the person's name.copy of victoria cross

.1) - .6) & .8) These seven cards are from J.H. Robertson No. 4895, enlisted 20/09/1915 aged 25 years, embarked with 15th Reinforcements 6th Bn on 07/03/1916, transfers to the 59th Bn. Discharged medically unfit in 1918. The cards are all addressed to "Violet" and signed off "Jack". .3) dated 29.8.1916 .4) dated 7.12.17 ,7) This card is from "Bert to Violet" dated May 1916, and is possibly from Violet's brother. Robertson was married to "Sarah". No other information re "Violet". She could have been a friend or even a daughter..1) Post Card, silk, colour, Rising Sun, flags and shields. .2) Post Card, silk, colour, basket of flowers with "Fondest Love" in light blue. .3) Post Card, silk, colour, with pocket, shows flags and flowers, inside pocket small card with "Greetings from France". .4) Post Card, silk, colour with Rising Sun,flag and "Honour to Australia" in light blue. .5) Post Card, colour showing 8 flags, under "With all Good Wishes from Wareham". .6) Post Card, colour with flowers over a horse shoe, at the top "Best Birthday Wishes", at the bottom a small four line poem re birthday. .7) Post Card, black & white showing roses down one side, flags and ships at top. Main heading at top "Goodbye to my Dear Sister". Under a poem re leaving England for France. .8) Card, folding, colour, front has gold Rising Sun at top, bottom xmas decoration with "From one of the Australian Expeditionary Force". Inside a small poem and then xmas wishes. postcards, silk, 6th

Produced as part of Australian Remembers Commemoration.Miniature medals displayed on dark cardboard background surrounded by silver coloured plastic frame.Printed top centre: “Decorations, Campaign and Service Medals. Awarded to Australians”passchendaele barracks trust, medals, awards

Hard Cover. Colour Grey. Child's 'decoration' on cover. Title on Front cover. Title and Date on Spine. Damaged Dust Cover inside front cover. (See Media File DSCF6204.JPG)Subtitled: A Cavalcade of events with the Australian Services from 1788-1946 Publisher: Australian War Memorial Canberra Year Published 1946 post-war. 1946. armed services

In the 19th and early 20th centuries, J. & G. Meakin were important, large-scale producers of good quality, ironstone tableware (‘White Granite’ ware) that met a ready market in the United States, South America, Australia, and other traditional British markets. By the 1890s the company was one of the world’s largest earthenware manufacturers. Although export teaware and tableware was the factory’s staple commodity, Meakin also manufactured toilet ware, kitchen ware and a wide range of fancy earthenware. The company was amongst the first British pottery firms to experiment with modernist designs associated with the art deco period. The Moderne' range was introduced in 1929 consisting of an angular shape decorated design with geometric patterns and often highlighted with silver or gold. This range remained in production through the 1930s. Post 1945 the company introduced the streamlined Studio shape (1953) and Horizon shape (1955) both heavily influenced by the Russell Wright ‘American Modern’ tableware. In 1964 a new Studio shape was released with tall streamlined coffee pots used as the background for many contemporary patterns now associated with the 1950s and 1960s. Designs by Jessie Tate and Eve Midwinter, some originally found on Midwinter shapes, also appear on 1970s Studio ware. The Studio range was one of Meakin’s most successful and continued in production until the late-1970s. The enormous range of floral, geometric, and abstract designs make Studio Ware collectible in its own right. In the 1970s and 1980s as part of the Wedgwood Group Meakin produced contemporary products under the ‘Bull in a China Shop’ and ‘Creative Tableware’ names. ‘Sol’ (c.1912-1963), ‘Studio’ (1953 on) and ‘Royal Staffordshire’ (post 1968) were important J. & G. Meakin Ltd trade names. Meakin marks are numerous, but all include the J. & G. Meakin name. The significance of this item and pottery generally is that often earthenware is portrayed as being a landmark in the evolution of humanity. This is because these items are the few things from the past that have survived in a tangible form. Pottery is an important functional part of society and it has a critical role to play as it helps archaeologists to date other artefacts of the same time period. Also, the decorations on pottery have told much about the beliefs, lifestyles and lives of the people who bought them and used them. In other words it gives us today a snapshot of society from the past and how people used these items in their daily lives, their likes as well as societal and design trends. Earthenware white glazed ironstoneJ & G Meakin Hanley England stamped to base, with white flora designwarrnambool, flagstaff-hill, flagstaff-hill-maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, pottery, earthenware, iron stone, alfred meakin, james meakin, george meakin, earthenware manufactures, chamber pot

In the 19th and early 20th centuries, J. & G. Meakin were important, large-scale producers of good quality, ironstone tableware (‘White Granite’ ware) that met a ready market in the United States, South America, Australia, and other traditional British markets. By the 1890s the company was one of the world’s largest earthenware manufacturers. Although export teaware and tableware was the factory’s staple commodity, Meakin also manufactured toilet ware, kitchenware and a wide range of fancy earthenware. The company was amongst the first British pottery firms to experiment with modernist designs associated with the art deco period. The Moderne' range was introduced in 1929 consisting of an angular shape decorated design with geometric patterns and often highlighted with silver or gold. This range remained in production through the 1930s. Post 1945 the company introduced the streamlined Studio shape (1953) and Horizon shape (1955) both heavily influenced by the Russell Wright ‘American Modern’ tableware. In 1964 a new Studio shape was released with tall streamlined coffee pots used as the background for many contemporary patterns now associated with the 1950s and 1960s. Designs by Jessie Tate and Eve Midwinter, some originally found on Midwinter shapes, also appear on 1970s Studio ware. The Studio range was one of Meakin’s most successful and continued in production until the late-1970s. The enormous range of floral, geometric, and abstract designs make Studio Ware collectible in its own right. In the 1970s and 1980s as part of the Wedgwood Group Meakin produced contemporary products under the 'Bull in a China Shop' and 'Creative Tableware' names. 'Sol' (c.1912-1963), 'Studio' (1953 on) and 'Royal Staffordshire' (post-1968) were important J. & G. Meakin Ltd trade names. Meakin marks are numerous, but all include the J. & G. Meakin name. The significance of this item and pottery generally is that often earthenware is portrayed as being a landmark in the evolution of humanity. This is because these items are the few things from the past that have survived in a tangible form. Pottery is an important functional part of society and it has a critical role to play as it helps archaeologists to date other artefacts of the same time period. Also, the decorations on pottery have told much about the beliefs, lifestyles and lives of the people who bought them and used them. In other words it gives us today a snapshot of society from the past and how people used these items in their daily lives, their likes as well as societal and design trends. Chamber pot ceramic white with handle at side and decoration around top. Unclearwarrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, champer pot, personal hygiene, personal item, ceramic pot, domestic object

The design of this and other similar treadle powered dental engine (or dentist drill) was in common use by dentists from the 1870’s into the 1920's. When electricity became accessible to most communities the electrically powered dental engines began to take over from the treadle power. Over the ages teeth were extracted using picks and scissors and other gouging instruments. Bow drills, hand drills and even a "bur thimble" drill were later used to prepare cavities for filling. Some drills were made bendable by attaching flexible shanks between the metal bur and the handle, giving access to the teeth at the back of the mouth. Other mechanical devices were introduced along the way, such as clockwork drills, but they were hard to handle and inefficient. Over the centuries “dentistry has been performed by priests, monks and other healers. This was followed by barbers; the barber’s chair may well have been the precursor to the dental chair. “(SA Medical Heritage Society Inc.) In 1871 James Morrison patented the first commercially manufactured 'foot treadle dental engine', the first practica dental engine although others had been introduced as early as 1790 (by John Greenwood). Handmade steel burs or drills were introduced for dental handpieces, taking advantage of the significant increase in the speed of the drill. In 1891 the first machine-made steel burs were in use. The treadle drill reduced the time to prepare a cavity from hours to less than ten minutes. In 1876 the Samuel S. White Catalogue of Dentist Instruments listed a 12 ½ inch wheel diameter dental engine, with 14 bright steel parts, for sale at US $55 In today’s market, this is the equivalent to US $1200 approx. The specifications of that dental engine are very similar to the this one in our Flagstaff Hill Maritime Village’s collection. It is interesting to note that workings of a similar treadle dentist drill were used and modified to power a treadle spinning wheel of one of the volunteer spinners at Flagstaff Hill Maritime Village. The foot treadle dental engine was a milestone in dental history. “Historic importance of treadle powered machines; they made use of human power in an optimal way” (Lowtech Magazine “Short history of early pedal powered machines”) The invention of a machine to speed up the process of excavation of a tooth lead to the invention of new burs and drills for the handpieces, improving speed and the surgical process of dentistry. They were the fore-runner of today’s electrically powered dental engines. This treadle-powered dentist drill, or dentist engine, is made of iron and steel and provides power for a mechanical dental hand-piece that would be fitted with a dental tool. The drill has a three footed cast iron base, one foot being longer than the other two. A vertical C shaped frame is joined into the centre of the base, holding an axle that has a driving-wheel (or flywheel) and connecting to a crank. A slender, shoulder height post, made from telescoping pipes, joins into the top of this frame and is height adjusted by a hand tightened screw with a round knob. On the post just above the frame is a short metal, horizontal bar (to hold the hand-piece when it is not in use). A narrow tubular arm is attached to the top of the stand at a right angle and can move up and down. At the end of the arm is a firmly fixed, flexible rubber hose protected for a short distance by a sheath of thin metal. At the end of the hose there is a fitting where the drill’s hand-piece would be attached; a small, silver coloured alligator clip is also at the end. A treadle, or foot pedal, is hinged to the heel to the long foot of the base, and joined at the toe to the crank that turns the driving-wheel. There is a spring under the toe of the treadle. The metal driving-wheel has a wide rim. Touching the inside of the rim are four tubular rings that bulge towards the outside of the driving-wheel, away from the pole, and all meet at the hub of the axle. The axle is bulbous between the inside of the driving-wheel and the frame then passes through the frame and is attached on the other side. The driving-wheel has a groove around which a belt would sit. The belt would also fit around a pulley on the arm, at the top of the post. The pulley is joined to a rod inside the arm and this spins the drill's hand-piece and dental tool holder. The two shorter feet of the base are made from a long metal bar that has been curved outwards, and its centre is bolted to the base of the pole. Under the ends of the curved legs of the base are wedge shaped feet. The driving-wheel is decorated in light coloured paint on both sides, each side having three sets of floral decals evenly spaced around them, and each about a sixth of the wheel's circumference. Similar decoration is along the sides of the frame. The foot pedal has decorative cutout patterns in the centre of the foot and at the toe. On the long foot of the stand is some lettering with a fine, light coloured border around it. The lettering is hard to read, being a dark colour and flaking off. There are also remnants of fine, light coloured flourishes. The foot pedal has lettering of the maker’s trade mark cast into the metal at the ball of the foot. Lettering on the base is peeling and difficult to read. The foot pedal has a trade mark cast into it that looks like a combination of ‘C’ , ‘S’ , ‘A’, ‘R’. flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, dentist, teeth, dental drill, dental engine, treadle drill, foot powered drill, treadle engine, orthodontics, dental surgery, james morrison

Nylon was a new synthetic material that became very popular c 1960 because it was easy care, had machine embossed decoration and required no ironing. Women in City of Moorabbin made clothes for their families while settling in the new estates opened in Ormond, Bentleigh and Moorabbin post World War 11.Nylon was a new synthetic material that became very popular c 1960 because it was easy care, had machine embossed decoration and required no ironing. A Baby's white nylon dress size 1 with machine embossed flowers, short sleeves, lace trim, plastic buttons and appliqued nylon flowers. Size 1clothing, baby clothes, nylon, dressmaking, layette, knitting,craftwork, wool, early settlers, city of moorabbin, bentleigh, ormond, moorabbin, post war settlers, world war 11 1939-40 sharp valma,

Black and white photograph of E. W. Hands Butchery and poulter shop, located at the corner of Forest and Barnard Streets, Est. 1859. Verandah faces both streets and has very ornate lacework where the hand rail is fitted on the top floor, and more lacework the top edge of the roof and similar lacework at beneath the floor of the top floor. There are seven males standing front and centre wearing the uniform of the trade, coat and black and white horizontal striped apron. Other bystanders can be seen to the left including children. A large tree can be seen to the left and a smaller leafless tree to the front facing Barnard Street. Two large white posts font centre, left post does not appear to have attachments, the other has five crossbars carrying power and/or phone wiring, and some sort of decoration attached to the top of the post. Top right corner can be seen the wiring to provide power for the trams.buildings, commercial, hands butchery

black and white photo: brick residence, corrugated iron roof cladding, two chimneys, brick construction with brick gable ends, stucco ? Entrance decoration along verandah spout line. Batchelder standing by his handcart, similar features to male leaning on front fence and male standing by front entrance. Front fence has brick base, cast iron rails and posts with woven wire covering. Bow windows. Decorative wooden gate. In grey lead on back '9' In image on cart 'Batchelder, Photographer/Pall Mall'Batchelderbuildings, residential, brick house

SEPIA PHOTOGRAPH OF YOUNG LADY WEARING A LACE FORMAL FROCK WITH SASH AND DECORATION AT WAIST.local history, photography, photographs, early citizens

Karl Duldig’s ceramic bowl is a particularly interesting example of Karl’s ability to creatively respond to a new environment with a fresh visual repertoire, in this case, the flowering Eucalyptus in a design reminiscent of traditional European folk art. The bowl is an excellent example of the utilitarian and decorative studio pottery produced by Karl and his wife Slawa Horowitz-Duldig between 1944 and 1960. Clay was an important medium for Karl. When he was forced to flee Austria for Switzerland, working with clay became a convenient medium; and he continued to expand his use of clay in Singapore. In Australia his work in clay extended from domestic hand-made pottery to public sculptures and architectural reliefs. In 1944 Duldig purchased a kiln, which was installed in the garage of the family’s St. Kilda flat, soon after a pottery wheel was acquired. It was the beginning of a cottage industry that supplemented the family income during the war years and beyond. Duldig initially sold his decorative ceramic wares through a local florist in St. Kilda, and subsequently through shops such as the Chez Nous French Art Shop (Howey Place) and Light and Shade (Royal Arcade), and the Primrose Pottery shop in Collins Street. The Primrose Pottery shop was an extremely important commercial outlet, and hub, for emerging artists, potters and designers from 1929 until 1974. Its proprietors Edith and Betty MacMillan worked closely with their suppliers, commissioning and taking items on consignment. In the post war period important Melbourne studio potters such as Allan Lowe, Arthur Boyd, John Perceval and Neil Douglas exhibited and sold domestic wares in the Primrose Pottery shop. The Duldigs studio pottery provides a counterpoint to the ceramics produced at Arthur Merric Boyd Pottery in Murrumbeena, which was established in 1944 by Arthur Boyd, John Perceval and Peter Herbst. The emphasis on painterly decoration was important and the AMB potters also produced simple household wares decorated with Australian flora and wildlife, for example Neil Douglas also made small bowls decorated with the fairy wrens, lyrebirds, gumnuts and eucalypts. Ann Carew 2016The Duldig Studio’s collection of ceramics has national aesthetic and historic significance. It contains a representative sample of works of art in ceramics created by Karl Duldig during his lifetime, including small sculptures, as well as functional and novelty items for the tourist market during the 1956 Melbourne Olympic Games. The artist’s working methods and the development of his practice are comprehensively demonstrated in the collection. This in-situ collection demonstrates the philosophy of the Vienna Secession and its inheritors that handcrafted, simple functional domestic wares might enrich both the lives of the maker and the user. This bowl is part of a collection of ceramics that has national historic significance in providing a rich illustration of an immigrant and artistic experience, and touching on the themes of settlement adaptation of artistic practice. The collection is also associated with places of cultural and historical significance in Melbourne such as the Primrose Pottery Shop, and the story of Australian studio ceramics in the post-war years. Ann Carew 2016Cream earthenware bowl with flowering gum motif and sponged green background.Duldig in script incised under.

Stawell Shire Hall built 1866 Hewitt Photo. A professional photograph of the Shire Hall showing the road and footpath in front of the building. The view shows three side windows and two at the front opf the building with four urn shaped decorations on top of the building. A flag post can be seen behind the central building decoration on the roof above the entrance doorway. The landscape around the building is well manicured with tall to medium sized shrubs. Stawell Shire Hall built 1866. Black & white photograph showing a front and side view of the building. This photo shows three side windows compared to an earlier photo, 84.2 where only one side window can be seen.Stawell Photographic Co. Close Railway Station C. HEWITT, Managerstawell

Digital images of a priest during the 150th anniversary mass at St Peter's Dayelsford. The stunning altar decorations are visible in the photorgraphs.victoria, 150, anniversary, heritage, celebration, daylesford, people, crowd, community, swiss italian, catholic, church, st peter's, mass, interior, st peter's catholic church, daylesford, priest, celebrant, stencils, altar decorations

An illuminated star used in Christmas Decorations in Ballarat.ballarat, night, christmas, decorations

Colour photographs of night Christmas scenes at Ballarat.christmas, sturt street, night, christmas decorations, festive season, sturt street gardens, town hall, queen victoria, queen victoria square, ballarat

christmas, sturt street, night, christmas decorations, festive season, sturt street gardens, christmas tree, myer, christmas windows, myer windows

Colour photograph of the Christmas Sleigh in Sturt Street, Ballarat.christmas, sturt street, night, christmas decorations, festive season, sturt street gardens, santa's sleigh, rudolf