Lisa Green and Lisa Morcom of Ballarat College of Advanced Educatiion contributed to this report.275 page landscape study of Ballarat including Trees in the Victorian Landscape; Plant sources early Ballarat nurseries, Botanical Gardens, Lake Wendouree, Fairy Gardens, Victoria Park, Ballaarat Old Cemetery, Eastern Oval, City Oval, Ballarat East Town Hall Gardens, Eureka Stockade, Observatory, Yarrowee, Black Hill, Sovereign Hill, Cheek Channels, Canadian Creek, Poverty Point Reserve, Goldmining Relics, Woah Hawp, Buninyong, street plantings, Russell, Victoria, Bridge Mall, Sturt Street Gardens, Avenue of Honour, Webster, Elms, ballarat, trees, nursery, r.u. nicholls, francis moss, ballarat botanical gardens, victoria park, lake wendouree, ballaarat old cemetery, eastern oval, ballarat east town hall gardens, ballarat school of mines botanical gardens, eureka stckade recreation reserve, ballarat observatory, yarrowee creek, black hill reserve, sovereign hill, ballarat avenue of honour, victoria street plantings, bridge mall plantings, george longley

Business owners collectionCollected for archival reasonsMaterial in foldernewspaper cuttings, certificates, photographs, articles re the business operationswestern district industries, warrnambool, elmac hydroponicswestern district industries, warrnambool, elmac hydroponics

This is a book of 188 pages. The cover has colour photographs and printing in red and white. The pages contain printed text, maps and illustrations, and black and white and colour photographsnon-fictionDescription of Western Victorian Coast from Point Lonsdale to South Australian Borderwestern victoria coastline, graham patterson, warrnambool, shipwreck coast

This book contains information on milk and cream bottles and other dairy-related items. It includes photographs of local milk and butter factories – Warrnambool (Allansford), Grassmere, Koroit, Garvoc, Glenormiston and Byaduk and references to Warrnambool milk suppliers – Antarctic Ice, Tooram and H Lindsay. No details have been found on H. Lindsay, selling milk in the 1920 to 1940 period. Antarctic Ice had a pasteurising plant in Kepler Street in the 1930s and sold to Warrnambool Cheese and Butter and Kraft in partnership and milk was sold under the new label, Sungold Dairies. They then purchased the Kaye Ryan pasteurizing plant in Verdon Street. Kraft moved out of the partnership with Warrnambool Cheese and Butter and Sungold Dairies relocated to the Allansford factory site where they still operate today. Tooram was the name of the property established in the Allansford area by the pioneer settler, John Allan. By the 1860s Tooram had become well-known for its cheese making and in the 1880s Tooram, owned by Thomas Palmer, had what was described as the finest dairy farm in Victoria. This book is of interest as it contains information on milk and cream bottles and dairy-related items and Warrnambool is the centre of an important dairying industry with the Warrnambool Cheese and Butter Factory in Allansford being the oldest existing dairy product factory in Australia. The book will be very helpful to researchers. This is a soft cover book of 224 pages. The cover has a red background with black printing and a colour image of five bottles and five other dairy-related items on the front cover and colour images of four bottles, a tin and three labels or signs on the back cover. The contents include text on milk and cream bottles and allied material and colour and black and white photographs. dairying in western district of victoria, warrnambool district dairying, history of warrnambool, sungold dairies, tooram

Second edition (revised a& expanded edition) First edition 2004. Guide to the indigenous plants of South West Victoria. South West Victoria: Nelson – Port Campbell. Zone A.B.C & D. Local maps BioregionsCard cover green) gloss white paper. End papers. Map 1&2. 6 pages credits, title, table of contents, forward, acknowledgements, disclaimer, websites. 348 pages. Colour maps & photographs. References & reading. Index plantsof western victoria, kevin sparrow, warrnambool

These birds’ eggs were collected by Charles Brittlebank before 1910 but at this stage it is not known from which area they came. English-born Charles Brittlebank was a naturalist interested in ornithology, geology and mycology. He was the Government Plant Pathologist for Victoria from 1913 to 1924. He was the first to discover evidence of glaciation in the Werribee Gorge and published many papers on this subject and other aspects of natural history. It is not known when Charles Brittlebank was in the Warrnambool area or the origin of the birds’ eggs but it a very interesting (and perhaps rare) historical collection. .1 Birds’ Eggs - There are 27 eggs, either whole or partial specimens, contained in a box with home–made cardboard partitions. Ten are intact and the rest are broken. Eight are white and the remainder are speckled. The eggs are resting on a turquoise-coloured piece of material .2 Nest – This is woven from hair and fine twigs and is filled with white wool-like fragments .3 Letter – These are two sheets of writing paper with handwritten information in blue ink. .4 Envelope - This is a small envelope which contained the sheets of paper (.3 above) and the front has handwritten material in blue ink..3 ‘To whom it may concern – I hereby declare that these eggs were collected before 1910, and were part of a collection of the late Charles Brittlebank which is now in the Melbourne Museum. Fred. A. Shirrefs.’ .4 ‘To whom it may concern’ charles brittlebank, history of warrnambool

Joseph Bosisto was a Yorkshireman who had qualified as a Pharmacist in Leeds and London. He arrived in Adelaide in 1848 at the age of 21. In 1851 he moved to Victoria in search of gold, but instead opened a pharmacy in Richmond, where he built a laboratory to investigate the chemical and medicinal properties of Australian plants. As a result of the collaboration with von Meuller the essential oil industry of Australia began in 1852, when Bosisto commenced operations in a small, rudely constructed still at Dandenong Creek, Victoria, using the leaves of a form of E. radiata (then known as E. amygdalina) which grew profusely in the district. Bosisto soon built other distilleries at Emerald, Menzies Creek and Macclesfield. World War II soldiers packed it in their mess kits to keep foot fungus in the tropics at bay. Small clear glass Eucalyptus Oil bottle with metal screw lid and large label on front.Front Label - War Time Pack Back - This bottle remains property of J Bosisto &Co Pty Ltd Richmond Victoria Bottom-F1196bottle eucalyptus-oil bosisto-joseph

The Eltham Community and Reception Centre was Australia's first public mud-brick building. Commissioned in 1977 by Eltham Shire Council, led by Shire president (and architect) Robert Marshall, architects Whitford and Peck were asked to design a multipurpose facility in mud-brick and timber. The official opening was performed by the Hon. R.J. Hamer; E.D., M.P., Premier of Victorai on Saturday, April 22, 1978. Architects: Whitford & Peck Pty Ltd Quantity Surveyor: D.J. Cant & Associates Structural Civil Engineers: Charlett & Moore Pty Ltd Landscape: Peter Glass, Dennis Edwards Mech Elec: Lobley Treidel & Partners Pty Ltd Acoustics: Riley Barden & Kirkhope Builder: L.U. Simon Pty Ltd Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p177 The Wiggles performed there, so has the ABC’s Play School. New citizens have made their vows, volunteers have been honoured, school children have performed, weddings celebrated and people mourned at funerals. Since 1978 the Eltham Community and Reception Centre at the corner of Pitt Street and Main Road, has provided a beautiful and quintessential Eltham environment for people from all over Melbourne. Recognised as Australia’s first public mud-brick building, the centre was built partly on the site of the parsonage of the former Methodist Church (now the Uniting Church).1 Commissioned by the Eltham Council headed by President Robert Marshall, architects Whitford and Peck were asked to design a multipurpose facility in mud-brick and timber. Following public consultation, it was agreed to build a centre for dances, exhibitions, films, plays or concerts. The results – at a cost of around $620,000 – captured the Eltham rustic style. The building – in soft tones of mud-brick and timber and immense floor-to-ceiling windows – overlooks the Diamond Creek and sporting fields. Eltham’s strong artistic heritage is reflected in the centre. Although the lighting is not ideal for a gallery and labels cannot be placed on walls, the centre hosts the Nillumbik Art Awards and displays around ten to 20% of the Nillumbik Shire Art Collection, usually for around a year at a time.2 On permanent display, close to the entrance, is local artist Clifton Pugh’s White Choughs in the Landscape. Further to the right is the Walter Withers Gallery, named after a local member of the Heidelberg School of artists. As part of the Eltham Gateway opposite the Eltham Hotel, the centre stands on what was once part of the Eltham Town Centre along this section of Main Road, then known as Maria Street. On the same site once stood the house and flour mill owned by Henry Dendy, best known as the founder of Brighton, although he lived longer in Eltham. Beside the drive is a wheel-rim tool with accompanying plaque, illustrating a technology important during the horse-powered age and now almost completely gone, as has the blacksmith’s shop that had housed it nearby. The implement is a platform for fitting iron tyres to the wooden rims of cartwheels. Beneath it is a capsule placed in 1985 to commemorate Victoria’s 150 years, which is to be opened in 2035. Although the plants, forming part of the landscaping by Peter Glass and Denis Edwards, are largely indigenous and other native species, some exotic plants are protected as an important link with the site’s past. Planted at the front around 1920, is a large Peppercorn tree with two joined trunks growing from the base, and close by is a Bhutan Cypress (Cupressus torulosa). Three other Peppercorn trees fringe the drive. The building includes two halls – the larger seating 250 people – and a large foyer overlooking trees and ovals. Both halls have retractable rear walls providing varying spaces as required, and guests can use several external decks. A site for outdoor theatre has been carved out of the natural slope outside the entrance. The Bricklayers Union refused to use the traditional mud-bricks, which weigh more than 22kg. As a result the mud-bricks were redesigned to reduce their weight and were laid back-to-back to produce a wall of normal thickness.3 The centre’s massive timber frame is reminiscent of timber bridge construction, with infill panels of mud-brick.4 In accord with the rustic style are colossal rough-sawn posts, bolts and steel brackets. The combination of mud-brick, exposed feature timber framing and creative design in this centre, characterises Eltham’s innovative buildings and the social movement behind them from the 1940s to the 1970s.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, eltham community and reception centre, mudbrick construction

In 1857, tanner John Pearson purchased three and a half acres of land in Little Eltham, at the western end of Pitt Street, with a 70-foot frontage to Maria Street (Main Road) and stretching down to the Diamond Creek for £100. He contracted Benjamin Oliver Wallis to build house for him. Wallis, a mason by trade who originated from the Cornish village of Newlyn, migrated to Melbourne in 1853 and was shortly engaged by Richard Warren to build the Eltham Hotel, which opened in 1854. When Warren fell into financial difficulty in 1858, Wallis purchased the hotel. That same year, Pearson constructed a tannery below the house with access to the water in the Diamond Creek. When Pearson became bankrupt in 1867, Wallis similarly acquired the house from Pearson’s creditors in 1868 and lived there until his death in 1896. For some of this time the house was in the name of Wallis’s son Richard but following his death in 1888, ownership reverted to his father. It was purchased by retired teacher Richard Gilsenen in 1899. Gilsenen was made acting head teacher at the Eltham State School in 1906 following the sudden death of head teacher John Brown. In the 1950s the house was bought by retired engineer Dr Alfred Fitzpatrick and his wife Claire who made various modifications to house goats and poultry as well as structural modifications to the house. In the early 1970s, Eltham Shire Councillors Frank Maas and Don Maling proposed an extended communities’ activities program be set up and the Commonwealth Grants Commission was approached for financial assistance. In 1974 a $50,000 Commonwealth Grant was received by the Shire Council to acquire the Fitzpatrick property as part of the planning to establish an extended communities’ activities program. The Fitzpatricks moved next door and Claire taught at the new Living and Learning Centre, which began in 1975, one of the first community education centres in Victoria. Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p59 It’s a centre for sharing knowledge and friendship and it stands on the former hub of Eltham’s original township near Pitt Street. The Eltham Living and Learning Centre, with around 2000 participants a year, began in 1975 as one of the first Community Education Centres in Victoria. Classes ranging from macramé to wine making to environmental living have enriched the lives of thousands of people through the generosity of tutors sharing their skills free of charge. The centre’s heart is the brick cottage, built in 1858 by tanner John Pearson. He bought the three and a half acre (1.4ha) allotment fronting Maria Street (now Main Road) and stretching down to the Diamond Creek. The allotment formed part of a 316 acre (127.8ha) subdivision, owned by Josiah Holloway, called Little Eltham, north of the original Eltham Reserve.1 The allotment then passed through the hands of several speculators before it was sold to Pearson for £100 in 1857. Mr Pearson’s children attended the Eltham Primary School from 1864 to 1867. But creditors took possession of the property when his tannery folded in 1867. It was then sold to publican Benjamin Wallis, who owned the Eltham Hotel at the corner of Pitt Street and Main Road. In 1899 the property was bought by Richard Gilsenan, who became acting head teacher of the Eltham Primary State School in 1906. In the 1950s, retired engineer Dr Alfred Fitzpatrick and his wife Claire bought the property, and made structural changes. Claire, a journalist and community campaigner, modified and built pens for goats and poultry, a stable, a garage and planted fruit trees and a vegetable garden. In the early 1970s a young woman called Carina Hack approached Gwen Wesson at the Diamond Valley Learning Centre (Victoria’s first Community Education Centre) about starting a community centre. Following Wesson’s suggestion, Hack spoke to Shire President Alistair Knox ‘one bleak rainy afternoon, sipping hot drinks and discussing life’.2 Eltham Shire Councillors Frank Maas and Don Maling proposed a community activities program and the council received a $50,000 Commonwealth Government Grant for this venture.3 The Fitzpatricks sold their property to the council and moved next door and Claire taught at the new centre, which Hack named. Eltham obviously wanted such a centre as Hack recalls. ‘During the next two months we had about 50 volunteers working day, night and weekends, scrubbing down, plastering and painting walls, replacing floors, repairing fences, recycling furniture, sewing curtains and cushions, donating furniture, toys, equipment, clean-ing and gardening…’4 The first enrolment day saw a queue stretching up the driveway nearly to the gate and the first sessions attracted 270 people a week. Soon the outbuildings were converted into pottery studios and a large workshop. From 1979 the Eltham Art and Craft Market was held in the centre’s grounds and the Friends of the Centre ran it from 1980. A former program coordinator, Margaret Johnson, remembers enrolment day in the late 1970s and 1980s, when hundreds of people would queue – and some even camped overnight! Overnighters were greeted in the morning with fresh tea and toast. Another tradition was The Enrolment Day Cake with Recipe, given to volunteers. ‘One happy Enrolment Day fell on February 14 and let’s just say that St Valentine found some willing participants, paying $2 for a kiss.’5 Meanwhile the participants’ children could play at the Council Eltham Lower Park house in Hohnes Road, later in Susan Street. But the centre has had difficulties too. In 1990 a fire destroyed the stable and the police suspected arson. However the pavilion was built in its place.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, benjamin oliver wallis, claire fitzpatrick, don maling, dr alfred fitzpatrick, eltham living and learning centre, frank maas, john pearson, richard gilsenen, tannery

Built by artist and cartoonist Percy Leason in 1927 in what was then New Street but renamed Lavender Park Road in the late 1950s/early 1960s. Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p121 Said to be a genius, cartoonist Percy Leason’s career was at its peak when in 1925 to 1926 he built his home at New Street (now Lavender Park Road) Eltham. The Herald newspaper owner, Sir Keith Murdoch, had hired Leason for his newly acquired Melbourne Punch magazine at a salary of £1750, making him ‘one of the highest paid cartoonists in the world’.1 With this salary and financial help from Murdoch, Leason was able to build his lovely home in Eltham. At the crest of a sweeping drive, the home now two-storey in white brick with a gabled grey slate roof and dormer windows is flanked by an extension built by another owner in the 1980s. Leason lived in the home with his wife, Isabel and children, until 1937, when he left for the United States of America, where he lived until his death in 1959. The four-bedroom house and garden would have been well-suited to bringing up his family and to entertaining their friends in style. Large airy rooms have high ceilings with moulded plaster, timber floors and several are brightened with bay windows. Leason made friends with many of the artists and personalities who gravitated to Eltham. Around 1931 Justus Jörgensen, founder of the Montsalvat Artists’ Colony, helped Leason build his large studio at the back of the house. Another friend was journalist Mervyn Skipper, father of jeweller and sculptor Matcham, and artists Helen and Sonia. Leason’s teacher, artist Max Meldrum, also visited and rented accommodation in Eltham, opposite Wingrove Park. Punch folded in 1925, but Leason continued as cartoonist for Table Talk. In 1926 Leason began the cartoons of a mythical Australian town Wiregrass, which were inspired by Kaniva, his home town. The art gallery in Main Road Eltham was named Wiregrass in Leason’s honour. Leason completed 1000 drawings from 1919 to 1937, which author Garrie Hutchinson claimed, were technically unsurpassed and had regional and universal interest. Leason’s acute observations of country life stemmed from his childhood in Kaniva in Victoria’s western Wimmera, where he was born, the son of a selector, in 1889. Meldrum claimed that Leason could name every plant and the habits of every animal.2 Leason also painted 28 portraits of the last full-blooded aboriginals in Victoria at Lake Tyers in Gippsland, most of which are in a private collection. In Sydney Leason illustrated Henry Lawson’s Selected Poems and worked for The Bulletin. Leason had begun his career at 13 as an apprentice lithographic artist at Sands and MacDougall. He attended night classes at the National Gallery and the Victorian Artists Society. Leason first visited Eltham in 1910 to paint with fellow artist William ‘Jock’ Frater. They camped near Bible and Pitt Streets and along the Diamond Creek on the site of the present Eltham Retirement Centre. Despite his success as a cartoonist, Leason wanted to be recognised as a serious painter and for his anthropological work.3 He was also conservative and felt uncomfortable with the modern art scene in Melbourne.4 So he left for the United States of America to work as a painter. Ironically his time in New York saw the burgeoning of modern art, notably by artists such as Jackson Pollock. But Leason found his niche by running an art school, painting society portraits and illustrating books and magazines.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, landscape, lavender park road, percy leason, new street

Black and white photograph of Victorian house with shrubs and trees. Steps leading up to verandah, decorative lace work on verandah and ornamentation on roof. Inscriptions: on back - hand printed 'Burrowes Home, Myrtle Street. Now defaced by additional dormitories at Girton College. The two trees in front were planted by the Princes on their visit to Bendigo to 'open the Alexandra Fountain'. Royal Historical Society of Victoria, Bendigo Branch circular stamp on reverse, 'Kindon, Myrtle St'.buildings, residential, burrowes home

Sepia photo. Photograph of entry for the 1893 Easter Fair Procession. Shows Ice works in the rear of photo, front of photo is men dressed in beer barrels and masks the float is decorated with business name material and plants with a large beer barrel on the top. Some men also standing on float, some boys are also on photo. Markings/Inscriptions: Cohn Bros. Limited. Pageant at Easter Fair Procession, 1893. W H Robinson. Photo Bendigo. GP31. On rear Royal Historical Society of Victoria, Bendigo BranchW H Robinson, Bendigoorganization, business, cohn bros. limited, w h robinson, bendigo

Black and white photograph on green mount. Group of 24 students and 3 adult males. Trees, shrubs and lawn. Plant arch at LB. Poppet legs in background. Inscriptions: in image - on small board 'Violet St 877 Merits 1912'. 'Royal Historical Society of Victoria, Bendigo Branch', circular stamp on back of photo. 'E Bond Photographer, Landscape and Portrait'. Oval stamp on rear. History: Previous Acc. No. 'GP19'. Wilma Meggs 20.7.2001 'Merit was achieved in year 8 of school'. James Lerk 19.11.1999 'Violet St State School, Merits pupils 1912. Mine in the background on the Sheepshead Line of Reef'.E Bond, Photographer, Landscape and Portraitperson, group, violet street state school

The Noisy Friarbird are conspicuous and active Honey-eaters mainly seen in small groups and often active in flowering plants, especially eucalyptus trees. Noisy Friarbirds are found along the east coast of Australia, from north-eastern Queensland to north-eastern Victoria. They often feed in noisy flocks, alongside other Honey-eaters such as the Red Wattlebird. This specimen has been mounted in an accurate, yet stylised fashion. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.The Noisy Friarbird has a characteristically black head which lacks plumage and has a prominent casque (bump) on the base of its strong bill. The specimen has an off-white underbody and neck, a light brown back and tail with a white tip at the end of the tail. This specimen stands upon a wooden platform and has an identification tag tied around its leg.59a / Friarbird / See Catalogue Page 18 /taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, bird, noisy friarbird, friarbird, australian birds, oz animals, wattlebird

Taken in c. 1902, depicted is a group of adults and children dressed in formal clothing, with some of the women in the crowd carrying parasols, standing and sitting around and upon the rock at Queen Victoria Park on the Ford Street side of the park. This group is celebrating the official opening of the park. On top of the rock is a gas lamp post.Originally known as the Beechworth Botanical Gardens, the Queen Victoria Park features a extensive collection of historic trees and plants, which have been listed on the Indigo Shire’s Significant Tree Register. Sepia rectangular photograph printed on matte photographic paperReverse: 3716 (in black pen)/ 97.2273 (in pencil)/entertainment album, beechworth, queen victoria park, gardens & parks, opening, burke museum

Taken in c. 1905, depicted is a large group of children and adults dressed in formal attire sitting and standing upon a granite rock that is located in the centre of Queen Victoria Park. In front of the group is a wooden picket wire fence that sides the granite rock. On top of the rock is a gas lamp post.Originally known as the Beechworth Botanical Gardens, the Queen Victoria Park features a extensive collection of historic trees and plants, which have been listed on the Indigo Shire’s Significant Tree Register.Black and white rectangular reproduced photograph printed on matte photographic paperReverse: 6956 (in pencil)/ ©/ DONALD HAYES/ BEECHWORTH (stamped in orange ink)/entertainment album, burke museum, beechworth, queen victoria park, park

Taken in c. 1903, depicted is a large group of adults and children dressed in formal attire gathered around and upon the granite rock in the centre of Queen Victoria Park.Originally known as the Beechworth Botanical Gardens, Queen Victoria Park features a extensive collection of historic trees and plants, which have been listed on the Indigo Shire’s Significant Tree Register.Black and white rectangular postcard printed on cardObverse: QUEEN'S ROCK VICTORIA PARK BEECHWORTH Reverse: 3701/ 3641 (this has been crossed out)/ Parks & Gardens/ 1998.00059/ entertainment album, burke museum, beechworth, queen victoria park, gardens & parks

The scene on the postcard depicts the Spanish courtyard (or Cloisters) as a space within the Mission to Seafarers Melbourne. The view to the courtyard is from the Celia Little Room. The Spanish mission design was inspired by a need to make the 1917 Mission complex at Flinders st extension distinctive and easily found. (ref Church and Sailor journal) This scene shows the way in which the courtyard leads into the Chapel and that it is a large space for varied uses.Sepia toned scene on front of postcard depicting "The Cloisters" or Spanish Courtyard at Mission to Seafarers Melbourne. There is ivy growing up the pillar to the right of the scene, tall plants in the garden bed in the corner of the courtyard and pots with plants placed between the archways to the rear of the photograph.Label on front of postcard: "No. 9 THE CLOISTERS, MISSIONS TO SEAMEN, MELBOURNE, VIC." Reverse of postcard: "POST CARD/A Real Photograph Produced in Australia" There is also a divided line down the centre of the reverse for writing a message.plants, cloisters, ivy, pillars, archways, seamen's mission, mission to seamen, mission to seafarers, st peter chapel, spanish courtyard, melbourne, flinders street, valentine's postcards, real photo series

This local factory was typical of small butter factories in the 1890's in Western Victoria. It was established in 1894 when farmers brought their milk to the factory on horse drawn drays and carts and waited for their cream to be separated. The skimmed milk was mostly used by farmers to feed calves and pigs and the separated cream was manufactured into butter, some of which was exported to England. By 1910 this butter factory had an electricity generating plant called Mortlake Electricity which supplied both the factory and the township with power and this took precedence over the butter production which continued until 1926 when it was sold to the Electricity Commission. By 1930 the Butter Factory had a yearly turnover of 24,000 pounds sterling and in1935 it was producing 6 tons of butter weekly. But in 1936 the factory was sold to Glenormiston Cheese & Butter Factory who ceased operations. The manager's residence still remains in 2011 as does the remnants of the small timber butter factory (charcoal lined) and the double brick cheese room but the bluestone chimney has long gone. This complex is listed by Heritage Victoria Black and White Photograph Nonecheese factory, mortlake, butter factory