Dorothy Wickham contributed many articles to the weekend pages of the Ballarat Courier for many years. This article appeared in The Courier, nd.

Rosslyn Chapel was founded in 1446 by Sir William St Clair. The beauty of its setting, in rural Midlothian, and the mysterious symbolism of its ornate stonework have inspired, attracted and intrigued writers, artists and visitors ever since.State Heritage Scotlandmasons' marks, chapel, scotland, masons,

Roman style chasuble, part of a full vestment set used in the Catholic Cathedral Ballarat in the 1920s. This style of vestment was superseded in the1970s following the second Vatican Council. This set is unusual in its use of art-deco design.The main component of a set of vestments for use in the Catholic liturgy rare in its use of art-deco style embroidery. Roman style.Symbolism of wheat and vine with central medallion of Christ as the Sacred Heart. Also a Chiro in lower section of orphery.vestment, chasuble, art-deco, sacred heart,

The influence of Symbolist art is clear in Slawa's early folios of drawings and paintings where familiar themes of dream-like states, apparitions and mythological creatures are used. Later drawings such as Head of a Woman with closed eyes, c.1921 show a boldness and psychological intensity reminiscent of notable member of the Vienna Secession, painter Egon Schiele whose final exhibition took place in Vienna in 1918. Signed Slawa Horowitzsymbolism

Pink document trifold. Self Guided Tour No. 8 of White Hills Cemetery, Friends of the Bendigo Cemeteries 2002 - 2003. Theme of tour 'Symbolism in White Hills Cemetery' Map with numbered grave sites.Friends of Bendigo Cemeteries 2002bendigo, cemetery, white hills cemetery tour

Upton has used the traditional technique of Indonesian batik to create 'Gumnuts Galore'. Batik has a long history in the world and is believed to have originated on the island of Java in Indonesia. The designs traditionally used in batik are imbued with meaning and powerful symbolism to reflect the culture and beliefs of the place where it was made and for whom it was made for. Upton has instilled her piece such meaning and symbolism by depicting eucalyptus leaves and gumnuts which evokes a sense of belonging and pride.Rural City of Wangaratta Collection, purchased with funds from the Wangaratta Art CouncilA rectangular design of gumnuts on silk created through the batik technique using natural dyes in shades of red, brown, and greenwangaratta art gallery, christine upton, batik, gumnuts, flora, australian flora, textile

Linocut print on paper. Printer's Proof.'P/P' below printed section bottom left, 'Iian Mask II' under printed section centre, signed along bottom right edge of print. linocut, symbolism, pattern, line

Seven page document, typed, detailing the symbolism behind Masonic regalia. Top of document 'Bro Will you please present to us some of the thoughts suggested by the contemplation of THE Collar's Some terms mentioned, Tyler, the stewards, inner guard, organist, choir master, junior and senior deacons, charity, ceremonies, secretary, treasurer, chaplain, junior warden, senior warden.bendigo, clubs, lodge, masonic lodge, bendigo, regalia

Linocut print on paper. Printer's Proof.'P/P' bottom left under printed area, '...AND THEY FLEW FROM THE AIRFIELD AT NGURUPAI II' centred under printed area, signed along bottom right edge of printlinocut, cultural reference, pattern, symbolism, aircraft

Linocut print on paper. Printer's Proof.'P/P' bottom left of printed image, 'Marrkai gub (cyclone Anthony)' centred under image, signed and dated in bottom right of printed area.linocut, cyclone, patterns, symbolism, cultural reference

The Port Phillip District Branch of the Manchester Unity I.O.O.F. in Victoria was registered on 5 September 1857.A framed commemorative certificate presented to Mary L. Cranston in recognition of her services to the Port Phillip District Branch of the Manchester Unity Independent Order of Oddfellows (MUIOOF). In addition to the photograph of the recipient, six other photographs of officers of the lodge are included. The imagery of the certificate references western art and Christian symbolism, as well as obligatory references to labour and learning. Mary Cranston is pictured centre front."Royal Industry Lodge No.4831, Port Phillip District M.U.I.O.O.F., Presented to Sister Mary L. Cranston for services rendered.m.u.i.o.o.f, muioof, lodge, oddfellows,, royal industry lodge, mary cranston, mary l. cranston, a.h. nitz, e. bloxham, a. newbegin, f.p. brown, e. jones, j.n. trawin, howard brown, eden studios, friendly society, port phillip, dove, loyal industry lodge no.4831, calligraphy, illumination

This booklet is used as a template for the Honor Roll book on display at Legacy House, refer to item 00312. It contains a copy of 'In Flanders Field', with an explanation of symbolism of The Torch and The Spirit of Legacy. The Honour Roll is a record, made in honour of deceased Legatees, who have given service to the cause of Legacy. Significant in that this template is used for the Honor Roll books of deceased Legatees.Booklet of white cardboard and white pages with black type and Legacy logo printed in black.Front cover, HONOR ROLL Page 1, Poem. "In Flanders Fields" Page 2, Poem. "The Torch"; Legacy logo by Col. John McCrae. KIA Flanders 1916. (The Badge of Legacy) LEGACY CLUB Page 2, "The Spirit of Legacy" MELBOURNEhonour roll, legatees

Linocut print on paper. Printer's Proof.'P/P' bottom left under printed area, 'HUNTING DHANGAL' centred under print, signed along bottom right edge.linocut, symbolism, pattern, cultural reference, astronomical, hunting

Linocut print on paper. Printer's Proof.'P/P' bottom left under printed section, 'ILAN REGATTA' centred under printed area, signed along bottom right edge.linocut, line, pattern, cultural reference, symbolism, boats

Booknon-fictionAnalysis of late 19th century American and European writing, art, science and philosophy exploring cultural misogyny. Discusses the attitude to women as having only sexual and reproductive roles and being depicted as symbols of evil, passivity and sensuality, and ever dependent, while men were free to follow financially independent public and intellectual lives. painting, feminism, sexuality, violence, symbolism, mythology, motherhood, darwinism, pre-raphaelites

Symbolismoil on canvasfigures, baby, charles douglas richardson, painting, star, cd richardson, c douglas richardson, australian symbolism, symbolism

These works are a display of my frustration of hour our family were lucky we were not beheaded, scalped, taken away and impaled as a warning to others not to enter farming lands, which had been traditional lands of the Nganyaywana country. The word 'Policy' represents the White Australia Policy, the word "Lost' stands for those lost including hundreds of family members, 'Jobs' asks why Aboriginal people can only find employment if through Aboriginal positions and policies. The number 3 symbolises myself and my siblings, red is for bloodshed, blue is for secrets and black the family history. Patrice MUTHAYMILES MAHONEY OAM Anewan/Nganyaywan/Dunghutti country. Patrice Mahoney is a printmaker, sculptor, weaver, drawer and painter. Her work challenges mainstream and Aboriginal Australians and is profoundly influenced by space, place and country, taking inspiration from nature, environment and looking forward to a time when she can return to her family's traditional country to make work. In 2012 the artist completed a Bachelor of Visual and Media Arts at Monash University’s Churchill campus (from 2014 Federation University's Churchill Campus). The Victorian Indigenous Art Awards 2014 were exhibited and judged at the Art Gallery of Ballarat.This unique edition triptych involves the techniques of intaglio copper plate, pigment, soft ground, open bite, aquatint, spit-bite, stamping, relief, drawing and burnishing on paper. It was awarded the 2014 Victorian Indigenous Art Awards Federation University Acquisitive Award for for work by a Victorian regional artist. Text, colour, metaphor and Aboriginal symbolism are important components of her work. This work expresses the artist's frustration with unjust situations experienced by traditional owners of Nganyaywana country. The word 'Policy' refers to White Australia Policy, 'Lost' the hundreds of lost family members, and 'Jobs' highlights the difficulty of Aboriginal peple obtaining work, especially outside Aboriginal positions and policy. The number 3 symbolises Patrice Mahoney's siblings, with black used to denote family history. The violently splattered red represents bloodshed, with the blue washing across the work obscuring details and representing secrets. The Selection Panel of the 2014 Victorian Indigenous Art Awards made the following comments on the work: 'The selection panel for the Federation University Acquisitive Award for 2014 were highly impressed by this work and applauded the vigorous use of symbolism and metaphor in a well scripted visual composition. The poignancy of connectedness to the past, memory, place and country is palpable and enhanced by the suggestive employment of text and minimal colour. A provocative and evocative work of art!artist, artwork, patrice mahoney, aboriginal, victorian indigenous awards, jobs, culture, printmaking, drawing, policies, lost, victorian indigenous art awards, available, alumni

A courting chain was carved by a man and given to the girl he was courting. This was a common European practice in the past, with Welsh courting chains surviving from the 17th century, though the practice may have gone back even further than that. The chain indicated that man was a capable artisan and was occupying his hands in a healthy way, particularly when the lady was present. The many types of loops and chains carved all had symbolic meanings. The cage with the wooden balls inside was said to indicate the desire of the man for children and the number he would like. The symbolism of the arm and hand with the two digits touching is not known. This courting chain has no known local provenance but it is an interesting object as an example of the customs of the past. It will be useful for displays. This is a wooden carved courting chain. One end is in the shape of an arm and hand with the thumb and first finger touching at the tips. Then there are three chains linked to the arm with a peg inserted into another loop at the end. Next, joined to this, is another loop attached to a wooden cage which has two wooden balls inside. The chain is finished with a carved turret structure at the end. courting chains, history of warrnambool

From the Swainston Collection, a set of documents and medals from a National Serviceman. The Australian Defence Medal recognises Australian Defence Force personnel who have completed either an enlistment period or four years service after 3 September 1945.This is an example of the Australian Defence Medal for which all Vietnam veterans were eligible.Cupro-nickel Australian Defence Medal plus miniature of same, attached to red and white striped ribbons with black edges to represent the colours of the Flanders poppy, symbol of the Anzac spirit. Three red stripes signify Army, Air Force, Navy. Striped ribbon bar with pins forms part of set. Covering letter addressed to N E Swainston, dated '27 April 2011'. The information card about symbolism of medal and original hard black case complete the set. Front shows Commonwealth Coat of Arms surrounded by the words 'THE AUSTRALIAN DEFENCE MEDAL'. Reverse bears "FOR SERVICE' plus Crown of St Edward within a wattle wreath.'3801127 N E SWAINSTON' engraved around bottom edge of large medal.medal, defence medal, honours

Strampp lived and worked at Clifton Pugh's artist colony Dunmoochin from 1980 to 1985. 'Into the Night' is Strampps' "own marriage painting". The wedding dress and horse, "a symbol of virility and passion" represents Strampp and the background landscape was inspired by her stay in Somerset, England. The cliff edge on the left symbolises "an audacious step into the future." The painting "is of a bride, passionate yet absent, about to embark upon a new journey in life, and of the voyage ahead. It is about acknowledging the past, and having the courage to move forward. To take risks". Strampp was largely influenced by both the new German Neo-Expressionists of the time and by English artist John Walker, which is evident in this painting. Her work took on popular stylistic trends and themes of the time, which included a painterly aesthetic and an energetic application of the medium, which transferred to an emotional and or personal connection to subject matter that was communicated symbolically. Strampp is an artist of national significance. This work encompasses themes and a style of painting (Neo - Expressionism) that was prevalent during the time of its making in the eighties. This work represents a transition from Strampp's highly regarded early paintings of heroic horses in the mid to late 1980’s to her highly regarded paintings of contemporary wedding and/or armour-like bodices dresses of the 1990s. Both the 'horse' and 'dress' were often set in empty backgrounds or dreamy/foreboding landscapes. Painted in oil on linen (x2) in a 'Neo-Expressionist' style, 'Into the Night' depicts a ghostly white horse to the right of the painting looking away from a ghostly white wedding dress to the left of the painting. The dress has sprouted white wings and is adorned with bows on the bottom edge of the dress and roses on the sleeves. The dress seems full bodied although there is no figure. The dress and horse are placed in the foreground on a stage like platform with a white curtain framing the picture to the right, and a black ladder and brown cliff edge framing the picture to the left. The background depicts a foreboding and dark cloudy sky and seascape with a firery red landscape burning on the horizon. Signed low right (1988.7b VA) with brush in purple (light) 'Adriane Strampp 87'. into the night, neo expressionism, wedding dress, horse, symbolism, painting, seascape, dramatic, emotional, poetic, strampp

16 mm Black and white film with sound produced by Southern Cross Films, Perth. It begins with archival film from WWII, explains the meaning and symbolism of the Legacy badge,and shows young girls taking the Legacy oath. There were 1900 orphans in W. Australia and the film explains the origins of Legacy. Perth Legacy's Board of Management is shown and care of children - health and fitness - is explained. Also shown are the January seaside camp activities, annual Christmas picnic with 1000 guests, and a Legatee visiting one of his families with helpful advice. Craig House, Perth Legacy's co-ed residence is featured, followed by the annual presentation of debutantes. 10 mins 41 sec.A visual record of life in the 1950s and the huge number of children to have lost their father in WWII. The commitment of Legacy to giving them a better childhood and the amount of work done by Legatees is impressive.Blue metal canister and film on a spool labelled as The Legacy Story. The 16mm film runs for 10 mins 41 secs.Canister lid exterior, Label, HERSCHELLES FILM LABORATORIES, East Melbourne, Australia SUBJECT, “THE LEGACY STORY’, copy, length 404’ reel no. Canister base exterior, Label from Legacy Club Melbourne. 45 Market St, Melbourne, C.1. Typed label say '16mm Sound film of Perth Legacy's Activities. Purchased by Melbourne Legacy with Perth Legacy's permission and with authority of L/tee Morrie Tonkin and Board of Management of Melbourne Legacy. June 1965. I.E.L.'legacy promotion, activities, junior legatee, marketing

The use of these buttons as a means of raising revenue through patriotic sentiment occurred soon after Australia pledged allegiance to Empire. Buttons reflected ‘public sentiment, courage, patriotism, generosity and several [un- named] virtues’ such as the martyred mother of a ‘fallen’ hero. Attention was paid to attractiveness of design, encoded symbolism and high quality of production. Expressing ‘loyalty’, they were tokens to be kept for perpetuity. Female labour was used to operate the die that compressed the tin backing, photographic print and celluloid cover together. The pin was applied by hand. Women, of all ages, entered into the spirit of voluntary sales. Often they were sold at the entry and exit points of major pedestrian thoroughfares. . Pride in salesmanship was affected by publishing the name of the woman and her fiscal achievement in the major newspapers of the day.Small circular pressed tinplate button featuring a white map of Australia on a dark blue ground with the stars of the Southern Cross surrounding, all within a gold border. The phrase ‘I Will Help Until the War is Won’ is printed in red across the mapI will Help until the war is won

Tarli GLOVER Tarli Glover undertook a Bachelor of Arts at Ballarat College of Advanced Education [now Federation University] between 1980 and 1983, majoring in Fine Art Painting. Based in Central Victoria, she has been practicing professionally for over three decades and has exhibited widely throughout Australia. While Tarli's work covers a wide range of creative disciplines’ she concentrate’s primarily on painting, drawing and multi-media works with a focus on both landscape and figurative genres. Her work leans toward semi abstract symbolism and representation. This triptych was part of Tarli Glover's final year folio in 1983. This item is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.A painted triptych by Tarli Glover with the following titles: .1) 'Bits and Speechless Pieces' .2) 'A Grimace on Obscurity' .3) 'Keeping the Interval'art, artwork, tarli glover, theatre, triptyc, oil on board, ballarat college of advanced education, alumni

'Black Day' was part of a series of paintings drawn from a larger body of work produced over a four-year period exploring the 'harsher side' of the Australian landscape and the aftermath of extreme weatehr events and climatic occurences of fire, flood, drough and wind. Although loosely based on real places and events, the works are essentially fictional with ideas gleaned from popular media - telveision, Internet, magazines and newspapers. While my return to abstraction and landcape painting from figuration has been relatively recent, the natural environment has always been informed by my artistic practice regardless of subject matter, and has had always informed my artistic practice regardless of subject matter, and has had a long-standing influence on the aesthetics, the compositional structre and imagery in my work. The flattening of the picture plane and the prominent horizontal and vertical marks in my composition are informed by a response to both natural and man-made interventions in the land - the muted and restricted colour palette echoing my response to extrems in environmental changes, particulalry of cental and western ditrict Victoria. Created in the studio environment, I consisder this boxy of work as being imaginative 'conglomerates' which reflect varying perspectives and textural interpretrations of the land - defining and expresssing my response to particular and significant climatic, environmental events and my personal experiances. September 2012Tarli GLOVER Tarli Glover undertook a Bachelor of Arts at Ballarat College of Advanced Education [now Federation University] between 1980 and 1983, majoring in Fine Art Painting. Based in Central Victoria, she has been practicing professionally for over three decades and has exhibited widely throughout Australia. While Tarli's work covers a wide range of creative disciplines’ she concentrate’s primarily on painting, drawing and multi-media works with a focus on both landscape and figurative genres. Her work leans toward semi abstract symbolism and representation. This item is part of the Federation University Art Collection and was purchased for the collection by Vice Chancellor David Battersby. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Acrylic on canvas paintingart, artwork, glover, tarli glover, bushfire, alumni, available

Tarli GLOVER Tarli Glover undertook a Bachelor of Arts at Ballarat College of Advanced Education [now Federation University] between 1980 and 1983, majoring in Fine Art Painting. Based in Central Victoria, she has been practicing professionally for over three decades and has exhibited widely throughout Australia. While Tarli's work covers a wide range of creative disciplines’ she concentrate’s primarily on painting, drawing and multi-media works with a focus on both landscape and figurative genres. Her work leans toward semi abstract symbolism and representation. This item is part of the Federation University Art Collection and was purchased for the collection by Vice Chancellor David Battersby. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.art, artwork, glover, tarli glover, fire, bushfire, firetruck, cfa, country fire authority, alumni, available

The Coat of Arms, represents Brighton City Council's "growing awareness of the importance of formality and correct symbolism in local government". It replaced the council's crest of a pier and yachting scene and was used as council's seal, and emblem on its flag and letterhead. The new Coat of Arms, drawn up by the College of Arms in England, depicts the progression from a seaside gardening community to a modern residential city. The prominent forms are on the shield-like coat of arms include waves and a Lymphad (a ship, symbolic of the sea); a market gardener; an aboriginal man; two horns plenty with abundant fruit and vegetables (the wealth and plenty) and Elster Creek. It is underscored by the motto 'By their fruits, ye shall know them'. Brighton was first incorporated as a borough on 18 January 1859, it became a town on 18 March 1887 and was proclaimed a city on 12 March 1919.Ink and gouache on parchment with wax seals. Allocates a Coat of Arms to the City of Brighton, by the College of Arms in London on 08/09/1970. The Coat of Arms is located on the upper left quadrant and has the following parts: the crest, the wreath, the helmet and mantle, the shield, the supporters, the compartment and the motto. The crest is two cornucopias with fruits and vegetables, above which sits a seagull. The mantle above the helmet is in green and gold. The shield is also green and gold with a lymphad (ship), and blue and white waves, representing the sea. The market gardener, holding a hoe, and Aboriginal figure, bearing a boomerang, support the shield and stand upon the compartment which is soil with a representation of Elster Creek. A ribbon below contains the motto in 'FRUCTU NOSCITUR'. The certificate text explains the origins of Brighton and the parts of the coat of arms. At the bottom of the folded parchment are three signatures and titles, below which three red wax seals in gold tin containers hang from blue ribbons.coat of arms, certificate, city of brighton, college of arms, market gardener, aboriginal, wax seal, elster creek, lymphad, fructu noscitur, letters patent, armorial bearings, heraldry, seal

The coat of arms on this flag were granted by the British College of Arms in 1970 and represented Brighton City Council's "growing awareness of the importance of formality and correct symbolism in local government". It replaced the council's crest of a pier and yachting scene and was used as council's seal, emblem on its flag and letterhead. The new Coat of Arms, drawn up by the College of Arms in England, depicts the progression from a seaside gardening community to a modern residential city. The prominent forms are on the shield-like coat of arms include waves and a Lymphad (a ship, symbolic of the sea); a market gardener; an aboriginal man; two horns of plenty with abundant fruit and vegetables (the wealth and plenty) and Elster Creek (now Elster Canal). It is underscored by the motto "By their fruits, ye shall know them". Brighton was first incorporated as a borough on 18 January 1859, it became a town on 18 March 1887 and was proclaimed a city on 12 March 1919.Green flag with circular City of Brighton Coat of Arms in the centre. The central circle is white with a yellow edge, with a polychrome coat of arms featuring: the crest which is two cornucopia with fruits and vegetables, above sits a seagull. The mantle above the helmet is in green and gold. The shield is also green and gold with a lymphad (ship) and blue and white waves. The market gardener, holding a hoe, and Aboriginal figure, bearing a boomerang, support the shield and stand upon the compartment which is soil with a representation of Elster creek. A ribbon below contains the motto in blue 'FRUCTU NOSCITUR'.flag, brighton, city of brighton, coat of arms, college of arms, market gardener, aboriginal, elster creek, lymphad, fructu noscitur, armorial bearings, heraldry, cornucopia, by their fruits ye shall know them, motto

“All Irusagi robes of office are highly symbolic. Generally black or dark blue, they are richly jewelled and embroidered; each one individually designed for its owner, as he, or she, takes office at the central court. The miniature is a record of this office. This, the Armourer’s Robe is typical of the richly decorated formal styles of the 10” to 12" Centuries Post Imperium. The symbolism is obvious: oversleeves of silver, to indicate one of the metals used in the making of weapons; decorative daggers, indicative of the famous throwing and fighting knives; studs, symbolising protective armour; and touches of red alongside the predominating metal, to represent the shedding of blood, (a minor theme, because bloodshed is undesirable). The Void, the centre of Irusaqu worship is always shown on this Robe, because all fighting men or women have a deep religious responsibility to obey the Voidic code. Lastly, the jewel, with its elongated triangle, forms the ancient symbol of Man, at the base of the Void, but not subordinate to it.” -Inga Hunter

The use of these buttons as a means of raising revenue through patriotic sentiment occurred soon after Australia pledged allegiance to Empire. Buttons reflected ‘public sentiment, courage, patriotism, generosity and several [un- named] virtues’ such as the martyred mother of a ‘fallen’ hero. Attention was paid to attractiveness of design, encoded symbolism and high quality of production. Expressing ‘loyalty’, they were tokens to be kept for perpetuity. Female labour was used to operate the die that compressed the tin backing, photographic print and celluloid cover together. The pin was applied by hand. Women, of all ages, entered into the spirit of voluntary sales. Often they were sold at the entry and exit points of major pedestrian thoroughfares. The women of Kew set up a kiosk in front of the Post Office and the Railway Station to solicit their round, oval and square shaped wares. Pride in salesmanship was affected by publishing the name of the woman and her fiscal achievement in the major newspapers of the dayWorld War I-era pressed tin fundraising button. The button features the French flag and a red cross over a starburst, against a gold background. Encircling the image is a white ring with the text ‘French Red Cross’ in blueFrench Red Cross