Greenstone hammer approx. 4 inches at sharp end of stone with rough hewn end approx 3 inches with prominent raised areas that appear to enhance grip. No are no inscriptions but the raised markings appear to be deliberately poisitioned for firmer grip.

In early settler days, people used whatever natural materials they could for building houses and furniture.Timber was plentiful.A built-in sturdy rough hewn handmade wooden bench with four heavy red gum slabs forming the bench top. Two legs at the front are formed from roughly trimmed pieces of tree branch. This is attached to the all of the Slab Kitchen below a small window. furniture, furniture - handmade, early settlers

Probably made and used by Dick Richards, who lectured in Physics at the Ballarat School of Mines, and later became the principal. Earlier Dick Richards had been a member of Shackleton's Antarctic Exploration Expedition. A 15cm diameter glass disc, 2.3 cm thick. ONe side is ground concave to 7'=5" (s s7 cm) radius. Rough-hewn circumference. Stored between a pair of 5cm thick 16 x 20 pieces of polystyrene slab, hollowed to accomodate mirror.scientific instruments, mirror, telescope mirror, dick richards, r.w. richards

Three and four-legged milking stools were standard equipment in early dairies, where cows were milked by hand. Similar stools were used in the home for informal seating.A replica of a rough hand hewn rectangular hardwood milking stool with four round wooden legs glued into holes underneath the seat.dairy equipment, stools, furniture, seating furniture

Green stone granite axehead highly sharpened and beautifully fashioned at one end with rough hewn markings over the body of the object. Axe has a "waist" mid section where handle would have been attached. Also evidence of extensive wear from use. This axehead was quarried at one of only two green stone granite sights in Australia both in Victoria. Scarring at one end of the axehead where it has been split from larger piece of granite.defence, food, preparation, green stone granite, axehead, mt camel, jaara jaara people, jaara, waisted, quarries, tree cutting, weapon making

The interior of the timber sawmill was designed to replicate what a mill may have looked like in a small country town circa 1890s. The image shows a rough-hewn building made from tree trunks and raw timber. In the centre, a man is working on making timber planks - around him lat many more pieces. In front a large piece of machinery showing belt-driven parts. The mill was essential to settlement towns, often being the first building to be constructed. pencilled on the reverse 'A8'. Kodak watermarks.sawmill, timber worker

Raquel Ormella is an artist working at the intersections of art and activism, with a diverse practice that includes textiles, video, installation, drawings, and zines. Ormella explores how contemporary art can prompt viewers to reflect on their own beliefs and values regarding political consciousness and social action. Her art practice is also grounded in exploring the nature of the relationship between humans and the natural environment. This artwork, Workers Blues #2, reimagines the Australian National Flag, constructing a rough-hewn approximation of it from blue workers shirts. Flags are one of the most powerful uses of fabric; Ormella is echoing the flag design to explore tensions between aspirational nationhood and the personal effect of this has on individuals, marginalised social groups and the environment. Ormella’s choice of material – blue cotton workers shirts - also references gendered associations with cloth, with masculine nationalism symbolised by the workers shirts, including in the mining industry. The work is an example of the symbolic power of cloth as a marker of identity, including gender and class.

The number of cattle in this photo suggests that it was a small holding, at the beginning of the dairy industry in Bacchus Marsh. This industry became a major source of employment in Bacchus Marsh. By the early twentieth century, the Bacchus Marsh region was a significant contributor to the dairy industry in Australia. Small sepia unframed photograph on card with gold border framing photograph. Housed in the album, 'Photographs of Bacchus Marsh and District in 1883 by Stevenson and McNicoll'. This is a photo of a dairy farm in an unknown location in the Bacchus Marsh district. It has been taken from an elevation looking down at the farm. On the left, the roadside can be seen running alongside a stream or river which is fenced off by a line of trees and a post and rail fence. Parked on the road outside the farmhouse is a wagon which is unhitched. The wagon has a white rooftop and on the side can be seen a professional logo, details unclear. This wagon is most likely the wagon used by the photographers to access outlying properties with their photographic equipment. The farmhouse itself faces the road with side doors giving onto the yard. The roof is partially covered by new slates, possibly slate covering bark. Six milking sheds of post-and-rail construction adjoin the farm yard. In the first and fourth stalls (l to r) the farmer and his wife can be seen seated, miking cows. The rest of the herd are awaiting milking in the yard which also has a post-and-rail fence. A bull of milking shorthorn breed stands outside the fence. The milking herd itself is of various breeds; Herefords, roan shorthorn and roan and white shorthorns can be identified. On the right is a shed of rough-hewn boards and a shingle roof. In the yard at the back of the house stands a cart or dray. On the front: Stevenson & McNicoll. Photo. 108 Elizabeth St. Melbourne. COPIES CAN BE OBTAINED AT ANY TIME. On the back: LIGHT & TRUTH inscribed on a banner surmounted by a representation of the rising sun. Copies of this Portrait can be had at any time by sending the Name and Post Office Money Order or Stamps for the amount of order to STEVENSON & McNICOLL LATE BENSON & STEVENSON, Photographers. 108 Elizabeth Street, MELBOURNE. dairy farms, stevenson and mcnicoll 1883 photographs of bacchus marsh and district, shorthorn dairy cattle

The Gothic church designed by the architect William Wardell (1823 – 1899) in a manner strongly influenced by the English architect Charles Hansom, but later degraded by the rebuilding of the west end after the collapse of the west wall and turret. The church is a simple form with a five bay gabled nave containing geometric decorated gothic windows and stepped buttressing. The gable roof is covered in slate and the sidewalls constructed of rough-hewn local stone. Originally, the church had a tower in the southwest corner but this was demolished due to earth movement resulting from tunnelling for gold in the town. Originally part of the Melbourne Diocese, St Peter’s Parish Daylesford become part of the Ballarat Diocese February 1992. Priests (from Wikipedia with corrections such as adding Fr Humphrey Moynehan) Years Name Annotation D.o.B D.o.D 1861 - 1862 Father John Galvin Williams 1892 1862 - 1871 Father P. Slattery 1903 1869 - Father Timothy M. O'Callaghan applied for leave 1878 1903 1871 - 1874 Father David Barry 1872 - 1874 Father Nicholas Bassetto Italian Augustine 1884 1875 - 1899 Father M. C. Gough 1845 1923 1877 - 1879 Father P. Quigley 1879 - 1880 Father D. Nelan 1880 - Father D. O'Callaghan 1881 - 1889 Father D. Quilter 1884 - 1884 Father J. V. Grant 1903 1884 - 1885 Father T. J. Egan 1888 1886 - 1888 Father W. Hartnett 1932 1889 - 1890 Father Malone 1890 - 1892 Father Michael P. Curran 1892 - 1893 Father Thomas S. Collins 1924 1893 - 1895 Father James Bryne 1938 1895 - 1896 Father Matthew Brady 1896 - 1899 Father P. M. McGee 1944 1899 - 1899 Father Thomas Considine 1931 1899 - 1900 Father M. Heaney 1900 - 1903 Father W. Hartnett 1932 1900 - 1913 Father James J. Malone 1948 1907 - Father John Joseph Cusack 4 months 1917 1913 - 1917 Father James Byrne 1936 1916-19 - Father Humphrey Moynihan Assistant 1892 - 1967 1918 - Father Michael P. Curran 1933-1967 - Father Humphrey Moynihan Parish Priest 1892 - 1967 1955+ - Father F. Nolan Asst 1961+ - Father T. Murray 1962+ - Father Patrick Maye Asst 1967+ - Father Gregory Patrick Handley Administrator 1996 1968+ - Father Joseph Petrauakas Asst 1968+ - Father T. Murray 1977+ - Father W. O'Halloran Asst 1978+ - Father Clem Cafarella 1987 - 1993 Father Peter Priestley 1993 - 1993 Father Dan Torpy 1994 - 2003 Father John Fitzgerald 1899 2004 - 2012 Father Kevin Maloney 2013 - 2022 Father Gary Jones 2022 - 2024 Father Justin Driscoll 2024 - Father Marcello Colasante Colour photographs of St Peter's Catholic Church, Daylesford. Church plaque: Church of St Peter, Prince of the Apostles The foundation stone was laid on November 29th 1863 and the church was blessed and opened on May 14th 1865 by Most Rev. James Alipius Goold O.S.A., D.D. Bishop of Melbourne This stone was blessed to commemorate the 125th anniversary by Most Rev. Sir Thomas Francis Little, D.D., K.B.E. Archbishop of Melbourne May 20th 1990.catholic church, st peter's church, daylesford, daylesford, john mcmahon, catherine d'alton, avelino morganti, mary hetherington

SEAMEN'S INSTITUTE FOR THE VICTORIA MISSIONS TO SEAMEN In architectural style, the new Seamen's Institute for the Victorian Missions to Seamen, in Flinders street Extension which is to be opened early in September by Sir Ronald Munro Ferguson, the Governor-General, may be said to resemble the type adopted by the early settlers in California, and known in recent years by the name of Spanish Mission architecture. This character is particularly sympathetic with the object for which the building has been erected, and is exemplified in a marked degree in the unique chapel tower of oblong shape with its four pinnacles and open bell turret, with an almost rustic cross as terminal point: also in the arcaded Eastern Court cloisters, with simple round arch arcading, and in the chapel roof, which is framed of heavy rough-hewn hardwood timber work left as it came from the saw, and erected green from the forest. but so well framed and bolted that no harm can result from shrinkage. The foundations are constructed of reinforced concrete, and in some places are nine feet wide. The ground is very treacherous, and considering the irregular weights of the one story, two-story, and three-story parts of the building, the result achieved in sta bility is eminently satisfactory. The main hall has a vaulted ceiling of reinforced concrete construction, and, spanning 35f., is the widest span of any floor in Melbourne of similar construction. The chaplain's residence is built above the lecture hall, and consists of a most complete, up-to-date dwelling-house of eight rooms. It is fitted with every modern convenience and labor-saving device. The cupboard in the pantry, for instance, has two faces — one in the diningroom and the other in the pantry. Dishes are washed in the pantry, put into the cupboard, and taken out in the diningroom, ready for the next meal. Special rooms are designed for the many and various works carried out for the sailors by the industrious workers of the mission. One room is shelved and fitted for the reception, sorting, and distribution of books, periodicals, and other reading matter that is parcelled up by willing hands and given to sailors as ships leave port, to beguile the weary hours of leisure on the sea. Any old books or magazines, illustrated papers, and the like are always welcome at the insti tute. Reading matter of this kind can easily be saved and sent along in bundles. The gymnasium is not yet built. This is the only part of the building required to complete the block; and when its concrete dome, with open eye at summit like the Pantheon at Rome is erected, the whole effect of the groups of buildings will be most striking. In the entrance hall is a floor of marble mosaic, with a central feature of a mariner's compass seven foot in diameter, well executed by the Adamant Pavement Company, and the gift of Mr George Russell. The architect has designed a copper ship as a finial for the main gable of the building, and it, like the gymnasium, is awaiting the collection of more funds or the generosity of a special donor. The whole of the woodwork of the in terior of the building, including high dados round the walls of halls, stair cases, billiard and other rooms is car ried out in Tasmanian hardwood, fin ished in a dull beeswax polish, and the floors of the entire building, except the lavatories, which are tiled, are also executed in Tasmanian hardwood. Mr Walter R. Butler, F.R.I.B.A., was the architect, and the work was carried out by Mr A. B. Robertson, builder. PICTURESQUE BUILDING AMID SOMBRE SURROUNDINGSThe article gives a valuable description of the Mission at the end of its construction and before its opening.4 columns article with photograph of the front of the Missionlady fraser, walter richmond butler (1864–1949), architecture, spanish mission, california, reinforced concrete, tasmanian hardwood, gymnasium, norla dome, pantheon, adamant pavement company, george russell, compass, finail, weathervane, chaplain's residence, manse, chapel, courtyard, cloisters, main hall, spannig

Vassilieff dynamited rock from his own property to build his house. Stonygrad is reminiscent of a grotto and in parts, of a sculpture. Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p135 Stonygrad, the home built by Expressionist painter and sculptor Danila Vassilieff, is reminiscent of a grotto and in parts, of a sculpture. Vassilieff, who amongst others influenced painter Sydney Nolan and Albert Tucker, was a member of the artists group the Angry Penguins. He was also a highly regarded art teacher at the nearby Koornong Experimental School and taught at Eltham High School. Art critic Robert Hughes described Vassilieff’s painting as ‘lyrical without social commentary’, and said Vassilieff was ‘the most oddly neglected artist in recent Australian History’. Vassilieff, who was born in 1897 in Russia, had an unusually adventurous life before he settled in Warrandyte. The 12th of 18 children, he lived on a farm in the Don Basin. Vassilieff trained with the Imperial Military Academy at St Petersburg and fought in World War One as an officer in the White Russian Army against the communists. In 1920 he was captured, then escaped from prison, stole a horse and rode bareback 150 miles to the Black Sea, helped at first by Tartar freebooters. He then travelled to India, Shanghai and arrived in Queensland as a refugee in 1923 where he began painting. He and his wife Anisia bought a sugar farm near Ingram, and later he constructed railway lines at Mataranka, in the Northern Territory.4 In 1929 Vassilieff went to Brazil for formal art training from former fellow-officer Dmitri Ismailovich, but he soon left to travel up the Amazon River. He then worked as a sidewalk artist in the West Indies and travelled for two years in England, France and Spain. In 1937 he arrived in Melbourne where he lived until his death in 1958. His first major Australian series was the Carlton streetscapes and from 1951 he sculpted in local hard limestone. Vassilieff rejected all dogma and regarded religious subjects as suitable only for decorative arts. In 1944 he helped defeat a communist attempt to take over the Contemporary Art Society. For a short time, from around 1955, Vassilieff taught at various Victorian schools. The Angry Penguins painted mainly between 1937 and 1947, and included Arthur Boyd, Albert Tucker, Sidney Nolan and Joy Hester. The group formed as they felt isolated from European thought and art (including Surrealism) from which their work was derived. They were also angry at what they considered to be the complacency and insularity of their society. They maintained Australians at first were scarcely aware of the threats of the Wall Street Crash and Hitler and were little interested in the Spanish Civil War. The Angry Penguins also objected to the White Australia Policy. Hughes said although most of the Melbourne Expressionists in the 1940s were unskilled and their work crude in style, they helped jolt Australian painting from its pastoral complacency. Their style influenced nearly every painting produced by significant figurative artists in Melbourne in the 1950s such as Charles Blackman. From 1939 Vassilieff built Stonygrad, mainly with local stone. The house stands at the end of a private road surrounded by trees with the quiet occasionally broken by the sounds of bellbirds. To build his house Vassilieff dynamited rock and cut trees from his own property. The original section of the three-level house is of irregular-shaped pieces of solid stone, exposed inside like the exterior. Vassilieff later built sections with timber and brick. Inside is rustic and cave-like, and several rooms are linked by arched openings with no doors. One undulating wall was carved out of rock from which two sculptured heads protrude. Several ceilings are of rough-hewn logs and the built-in table and bookcase are rough, as is a timber ladder leading to a bedroom. Not for the elderly or unsteady! Yet the general impression in the muted light is beautiful, with artistic originality.This collection of almost 130 photos about places and people within the Shire of Nillumbik, an urban and rural municipality in Melbourne's north, contributes to an understanding of the history of the Shire. Published in 2008 immediately prior to the Black Saturday bushfires of February 7, 2009, it documents sites that were impacted, and in some cases destroyed by the fires. It includes photographs taken especially for the publication, creating a unique time capsule representing the Shire in the early 21st century. It remains the most recent comprehenesive publication devoted to the Shire's history connecting local residents to the past. nillumbik now and then (marshall-king) collection, danila vassilieff, hamilton road, north warrandyte, stonygrad