Stories of a time in history when holidaying was a grand pastime, and when special and unique places in Victoria began to be appreciated, celebrated and shared in that iconic mode of communication: the picture postcard.

Inspired by postcards in their collections, eight historical societies developed themes to explore the history of the Mornington Peninsula. 

This story is based on a touring exhibition which was initiated by the Mornington Peninsula Local History Network and the Mornington Peninsula Shire.

Natural science collections are vast treasure troves of biological data which inform current research and conservation.

Alongside bird skins, nests, eggs and DNA samples sits a magnificent collection of rare books, illustrations and images which charts the history of amateur and professional ornithology in Victoria.

Whilst the big names such as John Gould (1804–1881), are represented, the very local, independent bird observers such as John Cotton (1801-1849) and Archibald James Campbell (1853–1929) made some of the most enduring contributions.

The collections also document the bird observers themselves; their work in the field, building collections, their efforts to publish and the growth of their ornithological networks. Captured within records are changes in ornithological methods, particularly the way data is captured and published.

However the data itself remains as relevant today as it did when first recorded, 160 years of collecting gives us a long-term picture of birdlife in Victoria through space and time.

This selection of early photographs were taken by Antoine Fauchery and Richard Daintree between late 1857 and early 1859 for inclusion in their photographic series Sun Pictures of Victoria. The album consists of fifty albumen silver prints, twelve of which are photographs of Indigenous Victorians and were the first photographic series of Australian scenes presented for sale to the public.

Featuring Victorian scenes such as landscapes and gold mining activities, the series included 12 images of various Indigenous Victorians. Taking a very 19th Century approach to their subjects, the portraits show people in both traditional and western wear, documenting the effects of colonisation.

CULTURAL WARNING: Aboriginal and Torres Strait Islander users of this website are warned that this story contains images of deceased persons and places that could cause sorrow.

The First World War was an event that involved the whole world.

Thousands of Australian troops were sent into battle in support of Britain and France. Among them were two brothers, John and Jim McIntyre. John McIntyre's experiences are particularly well documented because he brought back many objects from all the places he visited. He also sent many postcards home to his family during the war.

John Lachlan McIntyre was born at Beeac, Victoria in December 1890. He enlisted in the 1st AIF in July 1915. John fought on the Western Front, taking part in the battles of Fromelles and the 2nd Battle of the Somme. He was severely wounded at Fromelles and spent 12 months in hospital in England before returning to the front.

Some months after my grandfather Bob Snape’s death in 1977 I collected two old trunks full of memorabilia from his last home, in Sandringham.

What a treasure it turned out to be: jammed full of papers, comprising correspondence, diaries, short stories, a poem or two, much of it typed, some of it hand-written, some official-looking documents and some music scores roughly sorted into manila folders, and a variety of souvenirs and ephemera. There were also half a dozen ordnance maps, aerial photographs of some Western Front battlefields and some battered old albums containing postcards, of WW1 France and Belgium, but also of England and Wales. These have since been catalogued on the Warrnambool RSL Victorian Collections page.

Bob’s treasure trove tells the story of his experiences during the war, and that of his younger brother Harold who also fought. Bob was a prolific correspondent and diarist, whilst Harold’s own tiny pocket diary alone ran to approximately 40,000 words. Near the end of his life, Bob told me, “You can burn the lot for all I care. You decide when I’m gone....”

Walter J.R. Barber

There are currently 5.25 trillion pieces of plastic in our oceans. The demands on renewable sources like timber, clean water and soil are so great they are now being used at almost twice the rate that the earth can replenish them. Finite resources like fossil fuel are consumed at an alarming rate, changing the earth’s climate and pushing animal species to the brink of extinction. Current patterns of consumption are exceeding the capacity of the earth’s ability to provide into the future.

All over the world, environmental movements concerned with sustainability have sprung up in response. Conscious consumers are advocating for their right to repair their own electronic devices, fighting a culture of planned obsolesce and disposability. Others are championing the repair, reuse and recycling of clothing and household goods to extend their lives. Reducing waste in the kitchen and promoting food options with lower environmental impact has become increasingly popular.

Climate change may be a uniquely twenty-first century challenge, but sustainability has a history. In 2021 many people are making a conscious choice to embrace anti-consumerism, but during the Great Depression of the 1930s it was necessity that drove a philosophy of mend and make do.
In 1929 stock markets crashed and sent economies around the western world into free fall, triggering the Great Depression. Australia’s economic dependence on wool and wheat exports meant that it was one of the worst affected countries in the world. The impact of the Depression on the everyday lives of Australians was immense. Not everyone was effected with the same severity, but few escaped the poverty and austerity of the years 1929-1933 unscathed.

At the height of the Depression in 1932 Australia had an unemployment rate of 29%, and thousands of desperate people around the country queued for the dole. Aboriginal Australians were not eligible for the dole, and had to rely solely on government issued rations.

These little films from Victoria's Western Plains are about the actual and the everyday.

They have no hint of sensationalism in them. They are plain and utterly honest. They tell us about tractors and farming machinery. About fire and flood and snow. We glimpse Anzac Day and are touched by the irony of people remembering in a time and place few people remember or think about today. But there is no sentimentality in these films either. They are just plain good. - Martin Flanagan.

John Teasdale (1936 – 2004) was a farmer at Rupanyup in the Victorian Wimmera. He was also a keen and highly accomplished cinematographer, filming consistently for over 50 years to create a long-term record of working life on a family farm and of community life in a particular part of rural Victoria.

When television arrived in Australia in 1956, John successfully applied to the ABC to become a 'stringer' cameraman, shooting regional footage that was frequently included in state-wide news broadcasts and in segments produced particularly for regional viewers. John continued in this role for thirty years, until changing technology eventually made the role of 'regional stringers' obsolete.

The Teasdale film collection constitutes a nationally significant record of working and community life in a small Australian dry-land farming community, reflecting enormous changes in farming practices as well as transformations in the character and scale of community life in and around Rupanyup. At a time when many dry-land farming communities are actively reinventing themselves as their underlying social and economic structures change dramatically, John Teasdale’s films provide a critical point of reference and affirmation.

Artist and filmmaker Malcolm McKinnon, with the support of John Teasdale’s family, is undertaking ongoing work to interpret and celebrate this rich and resonant archive.

Koorie makers of art and artefacts draw upon rich and ancient cultural traditions. There are 38 Aboriginal Language Groups in Victoria, each with unique traditions and stories. These unique traditions include the use of geometric line or free flowing curving lines in designs.

This selection of artworks and objects has been chosen from artworks made across the range of pre-contact, mission era and contemporary times and reflects the richness and diverse voices of Koorie Communities. It showcases prehistoric stone tools, works by 19th century artists William Barak and Tommy McRae right through to artworks made in the last few years by leading and emerging Aboriginal artists in Victoria.

The majority of the items here have been selected from the extensive and significant collections at the Koorie Heritage Trust in Melbourne. The Trust’s collections are unique as they concentrate solely on the Aboriginal culture of south-eastern Australia (primarily Victoria). Over 100,000 items are held in trust for current and future generations of Koorie people and provide a tangible link, connecting Community to the past.

Within the vibrant Koorie Community, artists choose their own ways of expressing identity, cultural knowledge and inspiration. In a number of short films Uncle Wally Cooper, Aunty Linda Turner and Aunty Connie Hart practice a range of traditional techniques and skills. These short documentaries show the strength of Koorie culture today and the connection with past traditions experienced by contemporary Koorie artists.

Taungurung artist Mick Harding draws upon knowledge from his Country about deberer, the bogong moth: "The long zigzag lines represent the wind currents that deberer fly on and the gentle wavy lines inside deberer demonstrate their ability to use those winds to fly hundreds of kilometres to our country every year."

Koorie artists today also draw inspiration from the complex and changing society we are all part of. Commenting on his artwork End of Innocence, Wiradjuri/Ngarigo artist Peter Waples-Crowe explains: "I went on a trip to Asia early in the year and as I wandered around Thailand and Hong Kong I started to think about Aboriginality in a global perspective. This series of works are a response to feeling overwhelmed by globalisation, consumerism and celebrity."

Koorie culture is strong, alive and continues to grow.

CULTURAL WARNING: Aboriginal and Torres Strait Islander users are warned that this material may contain images and voices of deceased persons, and images of places that could cause sorrow.

Joseph Jenkins was a Welsh itinerant labourer in late 1800s Victoria.

Exceptional for a labourer at the time, Jenkins had a high level of literacy and kept detailed daily diaries for over 25 years, resulting in one of the most comprehensive accounts of early Victorian working life.

Itinerant labourers of the 1800s, or 'swagmen', have become mythologised in Australian cultural memory, and so these diaries provide a wonderful source of information about the life of a 'swagman'. They also provide a record of the properties and districts Jenkins travelled to, particularly around the Castlemaine and Maldon area.

The diaries were only discovered 70 years after Jenkins' death, in an attic, and were in the possession of Jenkins’s descendants in Wales until recently, when they were acquired by the State Library of Victoria in 1997.

CULTURAL WARNING: Aboriginal and Torres Strait Islander users are warned that this material may contain images and voices of deceased persons, and images of places that could cause sorrow.

Continuing the practice of making and wearing possum skin cloaks has strengthened cultural identity and spiritual healing in Aboriginal communities across Victoria.

Embodying 5,000 years of tradition, cultural knowledge and ritual, wearing a possum skin cloak can be an emotional experience. Standing on the barren escarpment of Thunder Point with a Djargurd Wurrong cloak around his shoulders, Elder Ivan Couzens felt an enormous sense of pride in what it means to be Aboriginal.

In this story, eight Victorian Elders are pictured on Country and at home in cloaks that they either made or wore at the 2006 Melbourne Commonwealth Games Opening Ceremony.

In a series of videos, the Elders talk about the significance of the cloaks in their lives, explain the meanings of some of the designs and motifs, and reflect on how the cloaks reinforce cultural identity and empower upcoming generations.

Uncle Ivan’s daughter, Vicki Couzens, worked with Lee Darroch, Treahna Hamm and Maree Clarke on the cloak project for the Games. In the essay, Vicki describes the importance of cloaks for spiritual healing in Aboriginal communities and in ceremony in mainstream society.

Traditionally, cloaks were made in South-eastern Australia (from northern NSW down to Tasmania and across to the southern areas of South Australia and West Australia), where there was a cool climate and abundance of possums. From the 1820s, when Indigenous people started living on missions, they were no longer able to hunt and were given blankets for warmth. The blankets, however, did not provide the same level of waterproof protection as the cloaks.

Due to the fragility of the cloaks, and because Aboriginal people were often buried with them, there are few original cloaks remaining. A Gunditjmara cloak from Lake Condah and a Yorta Yorta cloak from Maiden's Punt, Echuca, are held in Museum Victoria's collection. Reproductions of these cloaks are held at the National Museum of Australia.

A number of international institutions also hold original cloaks, including: the Smithsonian Institute (Washington DC), the Museum of Ethnology (Berlin), the British Museum (London) and the Luigi Pigorini National Museum of Prehistory and Ethnography (Rome).

Cloak-making workshops are held across Victoria, NSW and South Australia to facilitate spiritual healing and the continuation of this traditional practice.

Most international travellers today are familiar with phrasebooks. These books provide a guide to pronunciation, useful vocabulary, but most importantly lists of useful phrases to help travellers negotiate their way around a country where they don't speak the language.

Anyone who has tried to communicate across the language divide without such a tool knows how valuable they are.

This web story explores how Chinese from the gold rush period onwards have used phrasebooks to help them find their way in Australia. You can compare examples of Cantonese-English phrasebooks from different eras; watch Museum volunteers Nick and David speak English using a gold-rush era phrasebook; learn a little about the lives of some of the people who owned these phrasebooks; and hear Mr Ng and Mr Leong discuss their experiences learning English in Australia and China in the early to mid-twentieth century.

This project is supported through funding from the Australian Government's Your Community Heritage Program.

In the early 1900s, a trip to Melbourne Zoological Gardens may have involved a ride on Queenie the elephant, throwing peanuts to the bears in the bear pit and watching Mollie the orang-utan smoke a cigarette in her small enclosure!

Things are different these days.

Nowadays, a visit to Melbourne Zoo could include viewing endangered Asian elephant calves, Mali and Ongard, foraging and roaming in the Trail of the Elephants habitat; viewing baby Dewi in the Orang-utan Sanctuary; listening to a keeper explain the Zoo’s breeding program for the endangered Lord Howe Island stick insect or even enjoying a twilight concert in the grounds.

The Zoo has been part of the experiences and memories of the Victorian public for 150 years, and in this story we celebrate, explore and remember the animal stars of yesterday and today, visitor experiences through the generations and stories of the keepers who have cared for the animals since it opened in 1862.

Visitor encounters and expectations of the Zoo have evolved over the years along with the Zoo’s practices. It has transformed from its early days of collecting and displaying species for public viewing to its current role in fighting extinction through local and global breeding and conservation programs.

Zoos Victoria’s commitment to fighting extinction is also explored through the Melbourne Zoo’s breeding programs for threatened and endangered species and their international conservation work outside the zoo walls.

For more on the history of Melbourne Zoo listen to Queenie, Choi and friends , a wonderful radio documentary by Hindsight, Radio National.

For further information, read:

150 years Melbourne Zoo, Zoos Victoria, Bounce Books, 2012

Almost Human: Reminiscences of Melbourne Zoo, A.A.W Wilkie, Whitcombe and Tombs, 1920

The Zoo Story, Catherine de Courcy, Penguin, 1995

Queenie’s Last Ride, Mary O’Brien, The Age, August 9, 2006

Melbourne Zoo: Acclimatisation to Conservation, Mark Kellet, Australian Heritage Magazine, 2009

Evolution of a Zoo: History of Melbourne Zoo 1857 - 1900, Catherine de Courcy, Quiddlers Press, 2003

After more than forty-one years of public service that never ended with his retirement, through surveying and direct design, contracting, supervision, and collaborative approaches, perhaps more than any other single figure, Carlo Catani re-scaped not only parts of Melbourne, but extensive swathes of Victoria ‘from Portland to Mallacoota’, opening up swamplands to farming, bringing access to beauty spots, establishing new townships, and the roads to get us there.

The world is changing. Change is a natural part of the Earth’s cycle and of the things that live on it, but what we are seeing now is both like and unlike the shifts we have seen before.

Anthropogenic change, meaning change created by humans, is having an impact on a global scale. In particular, human activity has altered the composition of the Earth’s atmosphere, causing the world’s climate to change.

Already in the state of Victoria we are seeing evidence of this change around us. In the natural world, coastal waters are warming and bringing tropical marine species to our bays. Desert animals are migrating to Victoria. Alpine winters are changing, potentially putting plants and animals at risk of starvation and pushing species closer to the margins. In the world of humans, island and coastal dwellers deal with the tangible and intangible impacts of loss as sea levels rise, bush dwellers live with an increased risk of life-threatening fires, farmers cope with the new normal of longer droughts, and we all face extreme weather events and the impacts of social and economic change.

This Collections and Climate Change digital story explores how Victoria’s scientific and cultural collections help us understand climate change. It focuses on three Victorian institutions - Museums Victoria, the Royal Botanic Gardens Victoria and Parks Victoria. It looks at how the information gathered and maintained by a dedicated community of researchers, curators, scientists, specialists and volunteers can help us understand and prepare for a hotter, drier, more inundated world.

The story is made up of a short documentary film and twenty-one examples highlighting how botanical records, geological and biological specimens and living flora and fauna provide a crucial resource for scientists striving to map continuity, variability and change in the natural world. And it helps us rethink the significance of some of Victoria’s cultural collections in the face of a changing climate.

In the 1850s tens of thousands of Chinese people flocked to Victoria, joining people from nations around the world who came here chasing the lure of gold.

Fleeing violence, famine and poverty in their homeland Chinese goldseekers sought fortune for their families in the place they called ‘New Gold Mountain’. Chinese gold miners were discriminated against and often shunned by Europeans. Despite this they carved out lives in this strange new land.

The Chinese took many roads to the goldfields. They left markers, gardens, wells and place names, some which still remain in the landscape today. After a punitive tax was laid on ships to Victoria carrying Chinese passengers, ship captains dropped their passengers off in far away ports, leaving Chinese voyagers to walk the long way hundreds of kilometres overland to the goldfields. After 1857 the sea port of Robe in South Australia became the most popular landing point. It’s estimated 17,000 Chinese, mostly men, predominantly from Southern China, walked to Victoria from Robe following over 400kms of tracks.

At the peak migration point of the late 1850s the Chinese made up one in five of the male population in fabled gold mining towns of Victoria such as Ballarat, Bendigo, Castlemaine, Beechworth and Ararat. It was not just miners who took the perilous journey. Doctors, gardeners, artisans and business people voyaged here and contributed to Victoria’s economy, health and cultural life. As the nineteenth century wore on and successful miners and entrepreneurs returned home, the Chinese Victorian population dwindled. However some chose to settle here and Chinese culture, family life, ceremony and work ethic became a distinctive feature of many regional Victorian towns well into the twentieth century.

By the later twentieth century many of the Chinese relics, landscapes and legacy of the goldrush era were hidden or forgotten. Today we are beginning to unearth and celebrate the extent of the Chinese influence in the making of Victoria, which reaches farther back than many have realised.

This project explores the significant contribution Aboriginal people made in colonial times by guiding people and stock across the river systems of Victoria.

Before European colonisation Aboriginal people managed the place we now know as Victoria for millennia. Waterways were a big part of that management. Rivers and waterholes were part of the spiritual landscape, they were valuable sources of food and resources, and rivers were a useful way to travel. Skills such as swimming, fishing, canoe building and navigation were an important aspect of Aboriginal Victorian life.

European explorers and colonists arrived in Victoria from the 1830s onwards. The newcomers dispossessed the Aboriginal people of their land, moving swiftly to the best sites which tended to be close to water resources. At times it was a violent dispossession. There was resistance. There were massacres. People were forcibly moved from their traditional lands. This is well known. What is less well known is the ways Aboriginal people helped the newcomers understand and survive in their new environment. And Victoria’s river system was a significant part of that new environment.

To understand this world we need to cast ourselves back into the 19th century to a time before bridges and cars, where rivers were central to transport and movement of goods and people. All people who lived in this landscape needed water, but water was also dangerous. Rivers flooded. You could drown in them. And in that early period many Europeans did not know how to swim. So there was a real dilemma for the newcomers settling in Victoria – how to safely cross the rivers and use the rivers to transport stock and goods.

The newcomers benefited greatly from Aboriginal navigational skills and the Aboriginal bark canoe.

CULTURAL WARNING: Aboriginal and Torres Strait Islander users are warned that this material may contain images of deceased persons and images of places that could cause sorrow.