"This project has extra meaning for me. It’s intended to create a positive effect on the local community”

Ballarat-born artist, Justine McAllister's artwork was commissioned to bring a colourful facelift to the Little Bridge Street Bus Exchange precinct from December 2020-December 2021. The artwork installation is part of the extended City of Ballarat early works beautification program, designed to bring a fresh, bold and vibrant aesthetic to the location.

painted work onto bus shelter

“The painted works are very intricate to make as I work in various sized brush strokes to make the images appear hand-drawn"

This artwork by artwork by Briony Galligan was installed from Friday 20th November 2020 to 1 November 2021. Open Every Door consists of two wall paintings, each will remain at the site for 6 months, and a website publication. In April 2021 Briony installed the second artwork A Lover not a Fighter. Each abstract wall painting references queer histories and art makers, as well as abstract drawings made by Deakin’s Spiritualist contemporaries, such as Georgiana Haughton (1814-1884). The work was part of a City of Ballarat annual commission program to create temporary public artworks in Alfred Deakin Place, Ballarat. The artwork featured on a prominent site near the Art Gallery of Ballarat Annex. Currently a destination for art lovers and students from Federation University’s Arts Academy, Alfred Deakin Place is actively programmed as a space for new and innovative, contemporary public art.

painted wall

“The artwork speaks to the historical architecture of this area, while exploring the idea of changing understanding of space. Space is bent, bulged and repeated, in this painting, like a mirror maze. In this way, it will inspire playfulness, curiosity and thought, by transforming the way we observe, move through and engage with public space”

Artist George Goodnow has installed their artwork on the Annex Wall in Alfred Deakin Place from 30th November 2021 - 1 November 2022. George is a multidisciplinary artist and curator currently living in Naarm (Melbourne). Their work for the Annexe Wall will feature a fictional architectural arrangement of the Police Lane site. George utilises painting (designed through hand-drawn and digital processes) to adjust existing architecture, illuminating how spaces reflect, orientate and hold bodies. Recent work explores feelings of disorientation, binaries and queerness within suburban and urban landscapes.

painted wall

At the crossover between placemaking and public art, this space designed and constructed by Katherine Masiulanis embeds local stories to enliven the local community centre. Masiulanis has designed the public artwork to reflect the lines of crops and ploughed fields and mountains in the surrounding landscape. The artwork also refers to the seasonal travel of Aboriginal people from Wendouree to Burrumbeet and migratory birds making a similar journey. The style of the refurbished courtyard will reflect the 1970s positivity style reflected in the Community Centre architectural design and the history of the first development of the ‘Village’. Cardigan Village is home to about 450 residents on the outskirts of Ballarat. It was established in the 70s, with all the positivity and optimism of the period.

Painted walls, metal bird shapes, metal cut out wall shapes, stone bowl

Swan Pool forms the southern gateway to the ‘Fairyland’ area on the western shore of Lake Wendouree, Ballarat. The new bridge was built c2013 and designed based on the form of water lily flowers. The sculptural form of the bridges enhances the ‘Fairyland’ experience for children and adults alike.

white decorative steel bridge edgings

“This public art project honours the people and suburb of Sebastopol, as well as providing a strong visual identity for Albert Street. It will make the street a lot more attractive and welcoming. The project is the outcome of extensive consultation with groups and individuals in the Sebastopol community, who have made suggestions both as to the nature of the project but also the aspects of life in their community they wanted to represent through the artwork.”

Crossing Rubicon by Ratartat is located in Albert Street, Sebastopol, Ballarat. A row of 16 lampposts in Sebastopol’s main street are topped with large enamelled steel sculptures of trees, representing different aspects of Sebastopol’s community life and history. Ratartat is an artistic collaboration of Ballarat-based artists Geoff Bonney and Pete Widmer. The name, Crossing Rubicon, refers to Rubicon Street, the boundary between Redan and Sebastopol. The street was named after the Rubicon River, an ancient boundary between Italy and Gaul. Julius Caesar’s decision to cross the river, thereby rebelling against the Roman Senate, gave rise to the expression “crossing the Rubicon”, meaning going past the point of no return.

Sixteen powder-coated steel sculptures mounted on light poles

rubicon, sebastopol, ratartat

"The idea behind this artwork installation ‘Spirit of the Ballarat Winter Festival’ was to incorporate arts and cultural symbology as if it were painted like a brush stroke upon the footpath yet embedded like a time stamp within the urban streetscape. ‘Spirit of the Ballarat Winter Festival’ offers an unexpected burst of colour and vibrancy within the Ballarat CBD."

This artwork was created as pert of the Ballarat Winter Festival in 1998. The Spirit of the Ballarat Winter Festival mosaic is an interpretation of the Ballarat Winter Festival logo image designed by Paul McKenna. Principal Artist Belinda (Bel) Woodruff then trading as Deevine Mosaics received Project Support from Anne Bonighton and City of Ballarat Community Arts Department staff.

Vitrified glass tiles adhered to a pre-cast concrete form - installed into the footpath.

SPIRIT OF THE / BALLARAT WINTER FESTIVAL / MOSAIC BY/ DEVINE ORIGINALS / SUPPORTED BY / COMMUNITY ARTS - 1998

The Garden of the Grieving Mother is an acknowledgement of the trauma, grief and anxiety felt by the families of Australian servicemen and women. Of the 3,801 WWI service men and women commemorated in the Ballarat Avenue of Honour, 1 in 5 made the ultimate sacrifice, giving their lives. At the centre of the memorial space is a bronze sculpture of a mother clutching a photograph of her son by sculptor Peter Corlett who has created many war memorial public artworks. The memorial was unveiled on 15 February 2017 by Governor General Sir Peter Cosgrove and Mrs Kaye Baird, mother of posthumous Victoria Cross recipient, Corporal Cameron Baird.

Bronze sculpture installed in landscaped garden on lit plinth

a mother grieving the loss of her child at war

It's encouraging to see my city using poetry in such a public way. The park itself is a humble one, which suits these little poems perfectly. If you're ever in town come and take a seat for a while.

The poem 'Little Bridge' by Nathan Curnow was commissioned as part of a placemaking project in Little Bridge Street Pocket Park, Ballarat in 2018. The Park was redesigned to include more passive surveillance, and improved amenity to increase community safety in the area. The poem is engraved onto seating to provide a rest and point of interest space in the small park.

Six seats featuring an engraved poem

Put it all down and take a seat/ Pull out a snack from your shopping/ Listen to the trumpeter busking a tune/ With every visit this park is growing/ Killing time takes real devotion/ Stare at the flags and masts of your town/ And the buses come rolling down Bakery Hill/ It may be cold but we lean to the sun/ If you feel like a square of the Eureka flag/That’s hopelessly lost and tattered/ Remember you’re as precious as a corner-piece/ We search for you first to get started/ There is something big on Little Bridge/ Not a beanstalk that leads to a giant/ But another day in the life of Ballarat/ All of this gold at the surface

poetry, little bridge street, ballarat

The Campsite mural features Bunjil (wedge-tailed eagle) the creator and spiritual leader for Aboriginal people of this land. The Baarlijan (platypus) is a representation of the local Aboriginal community who have come from different Aboriginal nations and have made Ballaarat their home. The circular motifs represent campsites of different sizes located across Ballaarat, indicating that Ballaarat was and continues to be an important meeting place.

Campsite (2020) is a re-commissioned artwork based on the original Campsite Mural installed in Alfred Deakin Place for the Commonwealth Games in 2006. The Campsite mural features Bunjil (wedge-tailed eagle) the creator and spiritual leader for Aboriginal people of this land. The Baarlijan (platypus) is a representation of the local Aboriginal community who have come from different Aboriginal nations and have made Ballaarat their home. The circular motifs represent campsites of different sizes located across Ballaarat, indicating that Ballaarat was and continues to be an important meeting place. Commissioned by the City of Ballarat.

Painted mural on six weatherproof sheets

bunjil, baarlijan, aboriginal history, ballarat history, wadawurrung

Old uncle is standing on the mountainside watching over the modern-day empires built on Aboriginal land shaking his head, saying: “they are doing it again, every empire has a rise and fall”. It’s something that has never been learnt over time. — Josh Muir

Josh Muir’s work, Roots, was the first temporary artwork to be installed on the Gallery Annex Wall on the approach to Alfred Deakin Place, Police Lane in Ballarat Central. The space is an important site to host this work given that Alfred Deakin Place is commonly used as a place of discussion, engagement, protest and performance.

Temporary artwork - printed vinyl application to concrete wall

none

elder, aboriginal and torres strait islander

Whilst my main focus for the artwork design was on the Hotels on Main Road, I felt there was an opportunity to tell a broader story of Main Rd and combine/include some interesting pieces of information from many stages of the history of Main Road. Considering that at one point in time there would have been at more than six hotels in this very short section of street….there’s no doubt Main Rd was an epicentre of communication and festivities for the Goldfields of Ballarat. “No matter what luck he had, every miner needed supplies, food and something to entertain him when he was not searching for gold.” Described as being an overcrowded jumble of muddy streets loosely arranged around mining camps...and loud, muddy, colourful and sometimes illicit. I wanted the artwork composition to consist of overlapping images and text to reflect this sense of hustle and bustle.

Main Road Mural tells the broader story of the history of Main Road in Ballarat. In 2018, the City of Ballarat commissioned local Ballarat artist Travis Price to create an artwork to align with the Main Road Revitalisation Project and deliver a key component of the storytelling (heritage interpretation) project that spans the length of the shopping precinct. The artwork is featured on a prominent site in the shopping precinct of main road and tells the story of Main Road through depicting key timeline events. Main Road, as its name suggests, was one of the main entries to the mining areas of East Ballarat. It had several names: Main Street before 1858, Plank Road between 1858 and 1868 and Main Road from 1868 onwards. The centre of mining life, it was crowded, prosperous, raucous and dirty.

Painted mural on shop wall in Main Road, Ballarat

Ballaarat, Gold Fever, The Royal Standard Hotel, Flood, Boxing Saloon, Plank Road, Kulin Nation, 3350, Election, East, Grog House, The Scandinavian Hotel. Images; Chinese lantern, Pick & Shovel, Miners Licence burning.

main road history, ballarat hotels, gold fever, wadawurrung, kulin nation

A temporary artwork by Lead On Ballarat was installed in a carpark at the Ballarat Library from 2013-2020. Art Streetz Murals was an initiative of Lead On Ballarat’s, “Take Back the Streets” art program and the City of Ballarat. The project was funded under the Graffiti Prevention and Removal Grants, part of the Victorian Government’s Community Crime Prevention Program. The aim of the project was for the young people involved to develop their skills, ideas and designs with assistance from the ‘Lead Artist’ Pauline O'Shannessy-Dowling. The artwork was created through a number of workshops, planning and design sessions. The final design received approval from the City of Ballarat and was painted by the lead artist and collaborators from April – May 2013.

The artwork is of aesthetic and social significance to the people of Ballarat

painted mural

lead on ballarat, take back the streets

The Flock is a kinetic sculpture made up of 11 parts. It celebrates a local migratory bird, the ibis. The sculpture comprises tall steel poles with a steel ibis balanced on the top of each pole by its beak. Balanced on a spherical joint to allow fluid movement in all directions, each element of the Flock is designed to look like a bird in flight. The kinetic wind-powered elements of the artwork were inspired by the nearby Waubra Wind Farm.

The artwork is of aesthetic and social significance to the people of Ballarat

Eleven white and black birds on poles with moving parts

ibis, friends of learmonth, learmonth

This depiction of Major George Devine Treloar (1884-1980) by artist Lis Johnson was commissioned by the George Devine Treloar Memorial Committee an initiative of Merimna Kynon of Oceania, Central Portian Pontion Association of Melbourne and Victoria Pontiaki Estiaâ and the City of Ballarat. Treloar was appointed as the League of Nations Commissioner for Refugees in Greece in 1922 where he worked to provide food, aid and comfort to what would eventually total over 100,000 refugees from the collapsing Ottoman Empire. This memorial grew from the desire of the descendants of refugees to honour his memory and his humanitarian work.

Bronze statue of George Treloar and a child on granite plinth

Front: Major George Devine Treloar (Born Ballarat 1884 - Died Dalkeith 1980) Artist: Lis Johnson Commissioned by the George Devine Treloar Memorial Committee an initiative of Merimna Kynon of Oceania, Central Portian Pontion Association of Melbourne and Victoria ‘Pontiaki Estia’ and the City of Ballarat. Unveiled by Ballarat Mayor Councillor Samantha McIntosh on 8 September 2019 His glory lies not in the earth, but in the hearts of men (After Thucydides, 460-395 BCE) Back: Ballarat’s George Devine Treloar – Soldier and Refugee Helper Born in 1884, George Devine Treloar the son of Jane and Thomas Treloar, grew up in Ballarat attending St Patrick’s College. Treloar began his military career by joining the British Army during WWI and transferred to the elite Coldstream Guards where his bravery earnt him the Distinguished Service Order and Military Cross. Treloar was appointed as the League of Nations Commissioner for Refugees in Greece in 1922 where he worked tirelessly – with his wife and family – to provide food, aid and comfort to what would eventually total over 100,000 refugees from the collapsing Ottoman Empire. Based in the town of Komotini and then Thessaloniki, he created new villages to accommodate refugees. For his efforts Treloar would earn the praises of those he had helped. One of the new towns he had helped create was named in his honor – Thrylorion. He was awarded the Greek Gold Cross of the Order of the Redeemer in 1923. This memorial grew from the desire of the descendants of refugees assisted by Major George Devine Treloar in Greece to honor his memory. Without his help their ancestors would not have survived, making their way from across the former Ottoman Empire, from Pontus and Asia Minor to Australia. Here in the town of his birth stands his memorial, dedicated to his memory and good works, created by the people of Ballarat and the descendants of the refugees he saved.

treloar, george devine, refugee, asia minor

The artwork sought inspiration by the local history of Wendouree West and is a feature at the Wendouree West Recreation Reserve commissioned as part of a redevelopment of the park in 2017-2018. The artwork is located within close proximity to new playground facilities and promotes positive stories about Wendouree West to locals and the wider community.

The artwork is of aesthetic significance to the people of Ballarat

Three stainless steel sculptures of Kurrajong tree leaves

Col Henry 2018

spirit of the forest, wendouree west, col henry, australian sculpture

Murrup Laarr translates as 'Ancestral Stones' in Wadawurrung. This artwork by Dr Deanne Gilson is located in the North Gardens Indigenous Sculpture Park. The park is a significant project for the City of Ballarat and features works by Aboriginal and Torres Strait Islander artists, celebrating the richness and diversity of culture and telling important cultural stories. Dr Deanne Gilson is a Wadawarrung Traditional Custodian and established artist. She installed the first artwork commissioned by the City of Ballarat for the Sculpture Park in early 2019. Murrup Laarr is a contemporary artwork consisting of a traditionally-built stone hut in the middle of a circle of basalt standing stones, marked with ceramic plates reflecting the stories and symbols of dreaming, memory, ceremony.

The artwork is of aesthetic and cultural, social and spiritual significance to the people of Ballarat and to Wadawurrung people

A traditional hut made from river stone and stacked rocks, with the hut surrounded by large basalt rocks with plaques featuring unique designs on stoneware plates imbedded into them.

Murrup Laarr (Ancestral Stones), 2019 / By Deanne Gilson / Wadawurrung people have always used stones to mark places of ceremony and important business. The stones are the holders of memory and knowledge, Country and Spirit. They mark the cosmos and seasons. They follow the sun, marking the summer and winter solstice, important dates for planting and harvesting and telling stories of past, present and future. / The stones are alive and still present. Murrup Laar has been created using local basalt stones to tell Wadawurrung stories of dreaming, memory and ceremony. / “Creating Murrup Laarr (Ancestral Stones) at this time has placed Aboriginal people and practices back on Country and created a place to tell our stories. I am very honoured to have had this opportunity. An Aboriginal stone circle existed in Ballarat pre-colonisation; by putting back what was lost throughout colonisation I pay homage to my ancestors, past, present and emerging”/ – Deanne Gilson, March 2019

murrup laarr, wadawurrung

These sculptures represent peace and harmony for the collaboration between two artists commissioned by the City of Ballarat during the refurbishment of the park.

The artwork is of aesthetic significance to the people of Ballarat

A pair of circular sculptures featuring painted metal structures with brick details

Incidents in Time consists of a number of small, whimsical artworks tucked in to the small nooks and crannies that are a feature of Time Lane. This laneway was once a narrow watchmakers shopfront that ran the entire length of the lane and was packed with the accoutrements of a busy 19th Century store. The tiny works are miniature landscapes depicting moments in time, from the banal, to the sublime, to the strange. They spill out onto the laneway and are a treasure hunt for the audience of shoppers and passers-by.

Incidents in Time is of aesthetic significance to the people of Ballarat

Small cast metal forms installed into brick walls of Time Lane, Ballarat

Small cast bronze panels with titles of each vignette

This cast iron hitching rail, designed to accommodate horses on Sturt Street Ballarat, incorporates a bronze plaque dedicated to the Australian Poet Adam Lindsay Gordon (1833-1870).

The memorial is of historic and aesthetic significance to the people of Ballarat

Ornate cast iron post designed for hitching horses

A.L. GORDON, AUSTRALIAN POET, 1833 - 1870 (on plaque)

adam lindsay gordon, ballarat, australian poet

Point to Sky is one of Akio Makigawa’s final works, the commission was completed posthumously. It is the only public artwork by the celebrated Australian-Japanese sculptor of this scale located in regional Victoria. You will see two stainless steel forms, a smaller more rectangle form and the towering geometric form, with seed pod shapes at the peak. These forms represent the house, the artist is expressing that home is a shelter and also a place for gathering. The house form grows into a tower to symbolise the achievements of mankind and the action taken to protect the rights of the community during the Eureka Stockade. The top seed pod is gold, referencing Ballarat as the centre of the gold rush in Victoria, as well as representing the sun as the source of life. The paving of the forecourt was designed in bluestone, typical of the work of Makigawa.

Stainless steel panelling and shaping on armature. Set into raised platform of bluestone pavers.

Point to Sky, 1999 / Akio Makigawa (1948-1999)/ stainless steel/ Born in Japan, Akio Makigawa arrived in Australia in 1974. He worked as a sail maker in Perth before studying sculpture at the Claremont School of Art and WAIT (now known as Curtin University). He moved to Melbourne in 1981 to do post graduate studies in sculpture at the Victorian College of the Arts and set up his studio. From 1984 he was involved in many public commissions in Victoria and interstate and Japan. / Commissioned by the Victorian Government and the City of Ballarat in 1999.

point to sky, akio makigawa, modern, australian sculpture

The Pioneer Miners’ Monument marks the very first finding of gold at Poverty Point in 1851. The quartz structure features a replica of the 62.8kg Welcome Nugget – the world’s largest at the time, found in Ballarat in 1858. The original was once displayed, and local mothers would sit their babies on top for luck. The artwork tells the story of gold discovery with plaques and dates of some of the more famous gold nuggets finds in Ballarat and is a reminder that these gold discoveries changed the world for Australians.

The monument is of aesthetic and historical significance to the people of Ballarat

Fitted copper miniature poppet head set atop a rough made plinth in Quartz and concrete mortar. A copy of the Welcome Nugget (Ballarat) is affixed to the front of the memorial. Includes several plaques listing the nuggets, the companies involved, the shop that paid for the last repair.

THIS MONUMENT WAS ERECTED/ BY THE BALLARAT HISTORICAL/ SOCIETY TO COMMEMORATE THE/ FINDING OF GOLD AT POVERTY/ POINT 21ST AUGUST 1851 AND IS/ DEDECATED TO THE MEMORY OF/ PIONEER MINERS OF BALLARAT

gold, ballaraat, gold rush

This fountain was created as the result of a bequest from Ballarat businessman Carsten Heinrich Petersen who was killed at the age of eighty-five years when crossing Sturt Street opposite the Base Hospital. On the other side of the street were three brick shops which he owned. The fountain has four bronze frog water spouts beneath four marble stork spouts. Above the top bowl is another stork in bronze with its wings spread and water issues from its outstretched beak. The Petersen Fountain has been restored many times, first in 1977 with funds provided by the Rotary Club of Ballarat South. In 1989 further restoration works were completed to replace bronze frogs and a brass and copper stork made by Ballarat craftsman Lloyd Lusk to replace the original bird which was stolen and never recovered. The second stork was also stolen on the 3rd of August 1983 and further repairs of the fountain were carried out in 1993.

The artwork is of historical and aesthetic significance to the people of Ballarat.

The Petersen Fountain is carved marble, features storks carved into its base and the faces of cherubs in the bowl. It has a copper crane perched at the top and bronze frogs surrounding that spray water. The fountain stands on a granite base.

PRESENTED/ BY/ C.H. PETERSEN/ BORN IN DENMARK 2nd MARCH 1836/ DIED BALLAARAT 9 FEBRUARY 1922

petersen fountain

Mother Earth was created by modernist era sculptor George Allen. It is located in the western median strip at the intersection of Sturt and Raglan Streets. Made from Hawksbury stone on a granite base, the sculptor has created a female figure as the centrepiece, with two reliefs figures at the front and rear depicting a miner and a farmer. The work was created in commemoration of Mr Frank Pinkerton, an esteemed local lawyer in Ballarat. George Allen won the commission to design and execute the Pinkerton Statue in open competition in 1949. The statue is a significant work of one of Victoria's leading sculptors of the mid twentieth century, and controversy at the time surrounding its installation reflects the general attitude of the period to progressive public sculpture.

Mother Earth was classified as regionally significant by the National Trust in 2003. The statement of significance below ha been provided by the National Trust, Victoria: The Pinkerton Statue by George Allen is of a simplified female figure which symbolises 'Earth', with smaller figures representing Mining and Agriculture carved in bas-relief at its base. The statue is carved in Hawkesbury Freestone and mounted on a granite plinth. It is located in a prominent position in central Ballarat. The statue in commemoration of Mr. Frank Pinkerton, an esteemed local lawyer, erected in Ballarat in 1952 is significant for aesthetic and social reasons at a Regional level. The statue is a significant example of the work of one of Victoria's leading sculptors of the mid twentieth century, and the controversy at the time surrounding its installation reflects the general attitude of the period to progressive public sculptures. George Allen won the commission to design and execute the Pinkerton Statue in open competition in 1949 against a large group of his peers. Following this. Allen was again successful in another major competition to design the National War Memorial for the Forecourt of the Shrine of Remembrance in Melbourne in 1951. Allen chose to work in a 'symbolic' manner using simplified forms with little detail, and relying on the strength of composition, 'boldness of statement' and the consideration of material for impact. Because of its lack of realism the Pinkerton Statue engendered much controversy, particularly within the popular press at the time, although it was generally appreciated in artistic circles. Allen had travelled extensively in Europe in the late 1930's, but his work mainly reflected influences from early modem sculptors in the United Kingdom such as Frank Dobson and Eric Gill. The Pinkerton Statue was the first example of modem sculpture to be erected in Ballarat and is an excellent example Allen's own work and the changing artistic culture of the period. Allen himself said that it reflected the "spirit of the time".

A large Hawkesbury Freestone statue of a female figure and smaller figures representing Mining and Agriculture carved in bas-relief at its base. The statue is mounted on a granite plinth.

CENTRAL FIGURE EARTH EMERGING FROM RELIEF FIGURES REPRESENTING THE INDUSTRIES OF MINING AND AGRICULTURE.

pinkerton, mother earth

The bronze statue of a horse commemorates poet and horseman Adam Lindsay Gordon and the horses and mules killed during WWI. The statue depicts a horse going into battle known as a 'charger' mounted on a base of Warrenheip granite. During World War II the artist, Raymond Ewers was made an official war artist with the rank of lieutenant. Funds were raised from visitors to the Adam Lindsay Gordon cottage for the artwork which was unveiled on the centenary of the poet's arrival in Ballarat. Adam Lindsay Gordon the English born Australian poet spent some time in Ballarat, at one stage owning and running Craig's Stables in the city. He was not a very good businessman and his ventures left him in financial ruin. However his ballads and poems were recognized around the world as strong lines that told the story of the Australian bush. He is the only Australian Poet to be memorialized in Westminster Abbey, UK. The Queen quoted his work in 1992 Queens message..."Kindness in another's trouble, courage in one's own.."

The artwork is of historic and aesthetic significance to the people of Ballarat

Bronze horse on granite plinth

ERECTED BY/ THE ADAM LINDSAY GORDON SOCIETY/ TO MARK THE CENTENARY OF/ THE POET'S LIVING IN BALLAARAT,/ ALSO AS A MEMORIAL TO THE 958,600 HORSES AND MULES/ KILLED IN THE FIRST WORLD WAR/ INCLUDING 196,000/ THAT LEFT THESE SHORES NEVR TO RETURN./ "THE LAY OF THE LAST CHARGER"/ FORWARD, THE TRUMPETS WERE SOUNDING THE CHARGE./ THE ROLL OF THE KETTLEDRUM RAPIDLY RAN/ THAT MUSIC, LIKE WILDFIRE SPREADING AT LARGE/ MADDEN'D THE WAR HORSE AS WELL AS THE MAN./ WHERE ARE THEY? THE WAR-STEEDS WHO SHARED IN OUR GLORY/ THE "LANERCOST" COLT AND THE "ACROBAT" MARE,/ AND THE IRISH DIVISION "KATE KEARNEY" AND "RORY" AND RUSHING "ROSCOMMON" AND EAGER "KILDARE"./ WE TOO, SPRUNG FROM THE LOINS OF ISHMAELITE STALLIONS,/ THE RENDERING OF BLACKTHORNS AND RATTLE OF RAILS./ AND WHAT THEN? THE COLOURS REVERSED, THE DRUMS, MUFFLED/ THE BACK NODDING PLUMES, THE DEAD MARCH AND THE PALL/ THE STERN FACES, SOLDIER-LIKE SILENT UNRUFFLED,/ THE SLOW SACRED MUSIC THAT FLOATS OVER ALL/ BY A.L. GORDON/ UNVEILED BY/ HIS WORSHIP THE MAYOR OF BALLAARAT,/ CR. M.J.BROWN/ 1969/ PRESIDENT CR.W.E.ROOF C.B.E. SECRETARY P. ABSOY. ESQ.

horse statue, adam lindsay gordon horse statue

The Ballarat Cenotaph commemorates those who died in service or were killed in action in WWI and WWI. The cenotaph was unveiled by the Governor, Sir Dallas Brooks on the 24th November 1949 in front of a crowd estimated to be between 3000 and 4000 people. It was made possible through donations bolstered by an ANZAC Day radio appeal.

The Ballarat Centotaph is of historical significance to the people of Ballarat

Sandstone obelisk with inscribed lettering and bronze decorative elements attached to two sides and copper cap at the top of the memorial.

OUR GLORIOUS DEAD

cenotaph, our glorious dead

Eternal Flame was created by Ballarat sculptor Peter Blizzard as a marker of the end of WWII in the Pacific. Engraved into the bluestone shaped tile across the base of the statue is details about conflict areas where Australian Troops were active. The metal structure mimics a moving flame with it's polished golden hue, a feature included in many war memorials around the world. Peter Blizzard also designed the Prisoner of War Memorial in the South Gardens, Ballarat Botanic Gardens. The metal structure mimics the moving flame of polished golden hue that is present in war memorials around the world.

Eternal flame is aesthetically and historically significant to the people of Ballarat

Metal construction on bluestone tile base

Conflict areas for Australian Troops are engraved into bluestone shaped tile across the base of the statue.

eternal flame, world war ii, conflict, peter blizzard, australian sculpture

The Peter Lalor statue by Thomas Nelson McLean is said to be a striking likeness of Lalor who is remembered as the leader of the Eureka Rebellion. The artist has depicted Lalor’s missing arm which he lost in the Rebellion efforts on of 3rd December 1854 and 4 bronze relief panels depict major events in Lalor`s life including his involvement at Eureka and in Parliament, where he served as the Speaker of the House. The cast bronze statue stands at a grand scale of 3 meters high and is mounted on a pedestal of polished Aberdeen granite. The statue was gifted to the citizens of Ballarat by James Oddie, who founded a number of Ballarat institutions and was the first chairman of the municipality. It was unveiled by then Premier of Victoria Duncan Gillies on 26 January 1883 to a cheering crowd reported to be in the thousands. The commission cost £2,200. The sculpture was unveiled by then Premier of Victoria Duncan Gillies on 26 January 1983 to a cheering crowd reported to be in the thousands, such was the popularity of Lalor and the appreciation of Eureka rebellion efforts.

The statue is of historic and aesthetic significance to the people of Ballarat

The cast bronze statue of Peter Lalor stands 3 meters high and is mounted on a pedestal of polished Aberdeen granite

Names of rebellion dead. Artist signature on bronze base.

peter lalor, eureka rebellion, eureka, ballarat

Lest We Forget is a contemporary and crisp treatment, marking the sacrifices of Australian forces involved in the conflicts of South East Asia, including the Korean War 1950-53, the Malayan Emergency 1950-60, the Borneo Uprising 1962-64 and the Vietnam War 1962-72. A plaque was added in 2006 by the Victorian Vietnam Veterans Community in commemoration of the 40th anniversary of the Battle of Long Tan.

The memorial is of historic significance to the people of Ballarat

Lest We Forget is a contemporary and crisp treatment, marking the sacrifices of Australian forces involved in the conflicts of South East Asia, including the Korean War 1950-53, the Malayan Emergency 1950-60, the Borneo Uprising 1962-64 and the Vietnam War 1962-72. A plaque was added in 2006 by the Victorian Vietnam Veterans Community in commemoration of the 40th anniversary of the Battle of Long Tan.

Lest We Forget/ Korea/ Malaya/ Borneo/ Vietnam

korean war, malayan emergency, borneo uprising, vietnam war, battle of long tan, war history, ballarat

This shaved rock bears witness to the sacrifice of soldiers during compulsory conscription for several periods of Australia’s War History.

This item is of historic significance to the people of Ballarat

Large shaved rock with plaque recognising compulsory conscription of soldiers.

This memorial commemorates the sacrifice and service of those men from Ballarat and District conscripted for National Service during the years 1951 and 1959, and 1965 and 1972. Unveiled by the Hon Tony Robinson MP Minister assisting the Premier on Veterans` Affairs 3 February 2008. Erected by the Ballarat and Districts sub-branch of the National Servicemen`s Association of Australia. SERVICE TO THE NATION

national service, sacrifice of soldiers