Standing amid a well maintained garden of exotics and standard roses with a well clipped lawn, this substantial 1920s Art Deco villa in the Ballarat suburb of Wendouree, would have been for a larger sized upper-class family.

Built of honeyed clinker bricks with red and brown feature brick detailing, this sprawling house with its high gables is far simpler than some of its older Federation Queen Anne style neighbours, extolling the clean lines of the Art Deco movement so popular across Britain and her dominions during the 1920s and 1930s. Built in the years after the Great War (1914 - 1918), you can start to see the transition from Edwardian villa to the popular Californian Bungalow of the early 1920s. The overall design is very in keeping with the Arts and Crafts Movement. However, decoration typical of the "Metroland" Art Deco period are starting to appear in the design: most notably in the window design which features leadlight glass, rather than stained glass, in geometric patterns. This is most noticable in the centre bay window.

This style of house would have appealed to the moneyed upper-classes of Ballarat whose money came from either the Nineteenth Century gold rush, or from the wool or farming industries that developed post the boom. Comfortable and very English, it would have shown respectable and not inconsiderable wealth.

Built between the two World Wars, this wonderfully stylised Streamline Moderne Art Deco Villa of clinker brick is in one of the finer suburbs of Ballarat.

The villa is large and stand alone, with its original garage next to it. The clean uncluttered lines of the villa attest to the architectural fashions of the Art Deco movement during the 1920s and 1930s. Streamline Moderne features include the brown brick banding mid way around the wall and the top of the enclosed vestibule. It also features large sash windows.

A house of this style would have appealed to a moneyed upper-class Ballarat family who wished to express their chic artistic advancement, and would have displayed their wealth and standing in the Ballarat community.

This splendid Reformist (Arts and Crafts) style villa is situated in one of the finer areas of the inner northern Melbourne suburb of Essendon. Built on the crest of a hill, it affords splendid views from its bay window and French doors, across the inner nothern and eastern suburbs of Melbourne all the way to the Dandenongs on the far east horizon.

Built between Federation (1901) and the Great War (1914), the wide shingled barge board beneath the eaves of the gable is very Arts and Crafts inspired, as is the choice of red brick to build the villa with. The latticed glass windows featuring blue stained glass diamond panes are also in keeping with the Arts and Crafts movement. The builder has shown his admiration for the Arts and Crafts movement by making the bricks real features in their design and layout across the differing sections of the facade.

Arts and Crafts houses challenged the formality of the mid and high Victorian styles that preceded it, and were often designed with uniquely angular floor plans. This is an example of a more traditional floor plan, featuring a central hallway off which the principal rooms were accessed.

Essendon was etablished in the 1860s and became an area of affluence and therefore only had middle-class, upper middle-class and some very wealthy citizens. A large villa like this built in one of the finer pockets of the suburb suggests that it was built for an aspiring upper middle-class family of some means. This villa would have required a small retinue of servants to maintain.

Oscar’s Hotel and Café Bar is a beautiful Art Deco, boutique hotel in the heart of the Victorian provincial city of Ballarat. Located at 18 Doveton Street, it is the perfect base when sightseeing around the city, as it is so close to many beautiful and historical Ballarat buildings.

Oscar’s, when it was first built in the 1860s was originally the Criterion Hotel, a popular venue in the gold rush days. However, as the Gold Rush dwindled and was replaced with wealth generated through grazing and agriculture in the surrounding area, so the Criterion Hotel changed.

In the 1930s, it was completely refurbished inside. It is this interior with its Streamline Moderne liner style staircase, acid etched frosted glass windows and skyscraper style fireplaces that you see today after a recent restoration.

On a personal note as someone who has stayed there, Oscar’s offers a stylish and comforatable hotel experience at a reasonable price. It also has great food and excellent service.

This wonderful Art Deco walnut case wireless radio was made by the New Zealand manufacturers, Temple. According to its serial number, it was made in 1935 and is very much typical of a wireless found in most middle-class homes during the 1930s. It has a pyramid case; still a popular shape after “Egyptomania” or “Tutmania” gripped the world after the discovery of Pharaoh Tutankhamen’s tomb in 1922. Its edges however, are rounded, hinting at the Streamline Moderne style so popular in the mid 1930s. Whilst the fine veneer is a warm walnut, the very Art Deco speaker grille and the two fin details on the front are made of stained blackwood. The manufacturer’s name is picked out in brass on red enamel above the convex glass dial and the lozenge knobs are of mottled chocolate brown Bakelite (an early form of plastic that came into everyday use in the 1920s and 30s). Worked with beautiful glass valves, this radio has to be allowed to warm up before use, but still works beautifully, sending forth a soft, slightly dappled sound that only wireless radios of this era and vintage can do. It can still pick up all AM radio stations as well as shortwave radio from around the world.

Private collection.

Collection: Cornell University Collection of Political Americana, Cornell University Library

Repository: Susan H. Douglas Political Americana Collection, #2214 Rare & Manuscript Collections, Cornell University Library, Cornell University

Title: Bryan "The People's Money" Portrait Glass Mug with Lid, ca. 1896

Political Party: Democratic

Election Year: 1896

Date Made: ca. 1896

Measurement: Mug (height, with lid): 5.25 in.; 13.335 cm

Classification: Decorative Arts

Persistent URI: http://hdl.handle.net/1813.001/5z89

There are no known U.S. copyright restrictions on this image. The digital file is owned by the Cornell University Library which is making it freely available with the request that, when possible, the Library be credited as its source.

This wonderfully stylised "Metroland" Art Deco villa in the Melbourne suburb of Travancore has a large street frontage, and would have been home to a medium sized family when first built.

Well proportioned, this stand alone villa has white stuccoed brick walls with picked out brown and red feature bricks in geometric patterns along the interconnecting walls and around the central porch. It also features leadlight windows with a beautiful pattern picked out in frosted, bevilled and plain glass. A thin decorative panel featuring two curls appear above each window. The black wrought-iron grille of curls enclosing the vestibule is very Spanish Mission in style.

This house has a beautiful garden with any number of perenials including geraniums and salvias and exotics, some of which have probably been growing in the garden since the house was first built in the early 1920s.

Travancore is a bijou suburb named after a beautiful Victorian mansion erected in 1863. The mansion's grounds were subdivided in the late 1890s to form the new suburb, which consists only of only about five streets. With commanding views of Royal Park, the area was much sought after by aspiring middle and upper middle-class citizens. This spacious stand alone double brick residence would have been acquired by the former of these groups and is not as grand in size as some of its neighbours. Nonetheless, houses like these would have suited a medium sized family, and would still have required assistance from a full time servant and probably a "daily" woman to maintain.

Located on Coburg's elm lined and most prestigious street, The Grove, this property was one of the original buildings of the Moreland Park Estate.

Designed by T. J. Crouch in 1888, although it looks like one large high Victorian mansion, this property, is a clever piece of architectural trickery, and is in fact two semi-detatched double storey residences. This in no way suggests that they were small. Quite the contrary, each was of a substantial size with their own towers, stables and outbuildings, and would have suited a wealthy upper middle-class Victorian family. The houses have ornate ceilings, wide arches, marble mantelpieces, cedar paneling and Australian blackwood staircases.

Built of polychromatic bricks, each villa is a mirror to that of its neighbour with a return verandah featuring elegant cast iron lacework. The roof is made of slate tiles as is the hipped roof of the verandah. The brown and yellow bricks are constructed in a profusion of geometric designs, which even make the shared wall between the two villas a smart feature. All window sills are bluestone as is the foundation of the property. Perhaps its most outstanding features are the twin towers both of which are sixty feet in height, which make the property stand out for miles around. These towers are solidly built and are roofed with lead. They have railings and four large draped urns on each. The building is a landmark to the area and is referred to affectionately as "Coburg Castle".

This villa represents the brief initial period of development prior to the bust of the 1890s and subsequent housing boom of the early 20th Century, in which much of Coburg's residential development occurred.

The Grove, was part of the Moreland Park Estate. This was Coburg's most prestigious subdivision in the 1880s. In 1882 Charles Moreland Montague Dare, a St Kilda businessman, bought Jean Rennie's forty acre farm and, with his architect, T. J. Crouch, subdivided thirty acres of it into 147 allotments. The Grove was originally christened Moreland Grove after its owner. A covenant was placed on the subdivision prohibiting the building of hotels or shops, or any house under the value of 400 pounds. By 1890 there were twenty-four brick houses on the estate, twenty one of them owned by Charles Moreland Montague Dare himself. There was a caretaker to tend the streets, the wooden pavilion and the tennis courts, which soon became a bowling rink to suit the more sedate interests of the residents. Men of substance, including a banker, a merchant, a manufacturer and several civil servants and accountants lived on the estate and the Moreland Park Ladies' College in The Grove offered a genteel education. By the 1890s the Melbourne property boom had burst and by 1900 there were still only twenty seven houses in The Grove and many vacant allotments; Charles Moreland Montague Dare's own place at "Moreland Park", a ten acre property on Merri Creek, added to the rural atmosphere. In 1896 Dare fell into financial difficulties and had to transfer many of his properties to the Australian Widows' Fund Life Assurance Society. In 1900 he owned only seven houses, a few allotments and Moreland Park. He died in 1919.

Located on Ballarat’s Doveton Street, the former Lutheran Church was built in 1876 to the grand designs of local Ballarat architect C. D. Figgis and was constructed by Taylor & Ellis.

The church building is architecturally quite striking with a formal composition with elements of a Ruskinian Italian Gothic style. It features with banded brick arches, Lombardic motifs and an attenuated version of a stepped arcaded corbel table leading to the central tower. The tall blind arcading of the tower is similar to the Campanile at Venice. The tower has an arcaded corbel table with trefoil arches, above which is a parapet with quatrefoil openings surmounted by a slate clad pyramidal roof. The lower part of the building consists of more conventional elements. There are two occuli in the gable ends flanking the tower and the banded Gothic openings have nail head brick label moulds. At the base of the tower there are two entrance doors under a Gothic banded arch surrounded by cream brick nail head moulding, and an outer Scotia label mould; these continue down to a low impost height and return horizontally as a string course across the facade. Banded Gothic openings and a patterned string course at low impost height lightens the heaviness of the red brickwork. The side elevation has the same nail head and Scotia string course at impost level rising up as stilted segmental arches over the double lancet windows in each of the five bays. The combination of unusual elements in patterned relief brickwork, and the imposing superimposed Venetian Campanile combine to make this a unique church composition.

This impressive Reformist (Arts and Crafts) style villa in the inner northern Melbourne suburb of Essendon was built between Federation (1901) and the Great War (1914).

The choice of red brick to construct the villa with is very in keeping with the Arts and Crafts Movement, but hat makes this villa stand out from its neighbours is its picked out geometric brick patterns and its leadlight glass windows featuring a geometric pattern.

Essendon was etablished in the 1860s and became an area of affluence and therefore only had middle-class, upper middle-class and some very wealthy citizens. Not as large as its neighbours, a villa like this built in one suggests that it was built for an aspiring middle-class family . This villa would have required a live in maid to help her mistress, and probably the assistance of a "daily" woman to do all the harder chores.

Oscar’s Hotel and Café Bar is a beautiful Art Deco, boutique hotel in the heart of the Victorian provincial city of Ballarat. Located at 18 Doveton Street, it is the perfect base when sightseeing around the city, as it is so close to many beautiful and historical Ballarat buildings.

Oscar’s, when it was first built in the 1860s was originally the Criterion Hotel, a popular venue in the gold rush days. However, as the Gold Rush dwindled and was replaced with wealth generated through grazing and agriculture in the surrounding area, so the Criterion Hotel changed.

In the 1930s, it was completely refurbished inside. It is this interior with its Streamline Moderne liner style staircase, acid etched frosted glass windows and skyscraper style fireplaces that you see today after a recent restoration.

On a personal note as someone who has stayed there, Oscar’s offers a stylish and comforatable hotel experience at a reasonable price. It also has great food and excellent service.

Collection: Cornell University Collection of Political Americana, Cornell University Library

Repository: Susan H. Douglas Political Americana Collection, #2214 Rare & Manuscript Collections, Cornell University Library, Cornell University

Title: Bryan "The People's Money" Portrait Glass Mug with Lid, ca. 1896

Political Party: Democratic

Election Year: 1896

Date Made: ca. 1896

Measurement: Mug (height, with lid): 5.25 in.; 13.335 cm

Classification: Decorative Arts

Persistent URI: http://hdl.handle.net/1813.001/5z8b

There are no known U.S. copyright restrictions on this image. The digital file is owned by the Cornell University Library which is making it freely available with the request that, when possible, the Library be credited as its source.

Surrounded by a well kept lawn, this sprawling Reformist (Arts and Crafts) style bungalow may be found at the provincial Victorian city of Ballarat.

Built in the years just before the Great War (1914), you can just start to see the transition from Edwardian villa to the popular low slung Californian Bungalow of the early 1920s. Although now painted white, the choice of red and brown brick to construct the house is very in keeping with the Arts and Crafts Movement, as is roughcast treatment of the wall above the brick dado. Elements of the Art Deco period of the 1920s are making themselves known in elements of this villa. The prominent gable features a geometric brick pattern underneath the eave which would originally have been picked out as an ornamental feature. A matching geometric pattern may be seen on the original stuccoed brick garden wall that surrounds the property, where the red bricks can be seen to great effect against their grey roughcast background. The windows also contain geometric Art Deco designs, rather than the more fluid Art Nouveau stained glass found in other villas of this era.

Arts and Crafts houses challenged the formality of the mid and high Victorian styles that preceded it, and were often designed with uniquely angular floor plans. However, this house's floor plan appears to be more traditional than others, with a central hallway off which the principal rooms were located.

This sizable house built on a large block in a prestigious street would have appealed to the moneyed middle-classes of Ballarat whose money came from the many businesses that boomed in the burgeoning city as a result of the Nineteenth Century gold rush. Comfortable and very English, it would have shown respectability and not inconsiderable wealth.

Although not famous for its Art Deco architecture, the provincial Victorian city of Ballarat, which was established between the 1860s and 1880s when the area was at the centre of a gold rush, does have some fine examples of interwar and post war architecture when the gold boom was replaced with wealth generated through grazing and agriculture.

During the 1920s and 1930s, those people thriving from farming or local industry had plenty to spend in local shops. This wonderful Art Deco facade (circa 1925 - 1930) belongs to the PPL Building in Ballarat's main shopping thoroughfare, Sturt Street. Whilst the street level may have fallen victim to the changes in marketing, the upper floors remain unchanged by fickle owners. It still retains its striking minimalist Art Deco design. It features the building's name in a rounded cartouche on the building's corner facade which overlooks Albert Street. The PPL Building has a stylised stepped roofline, long spandrels with rounded edging and glass brick windows, all of which were popular architectural features of the Art Deco movement in the late 1920s and early 1930s. The rounded edges are very representative of the Streamline Moderne movement, and the building is everything a smart and successful business would want in the booming interwar years in Australia.

This wonderful Art Deco walnut case wireless radio was made by the New Zealand manufacturers, Temple. According to its serial number, it was made in 1935 and is very much typical of a wireless found in most middle-class homes during the 1930s. It has a pyramid case; still a popular shape after “Egyptomania” or “Tutmania” gripped the world after the discovery of Pharaoh Tutankhamen’s tomb in 1922. Its edges however, are rounded, hinting at the Streamline Moderne style so popular in the mid 1930s. Whilst the fine veneer is a warm walnut, the very Art Deco speaker grille and the two fin details on the front are made of stained blackwood. The manufacturer’s name is picked out in brass on red enamel above the convex glass dial and the lozenge knobs are of mottled chocolate brown Bakelite (an early form of plastic that came into everyday use in the 1920s and 30s). Worked with beautiful glass valves, this radio has to be allowed to warm up before use, but still works beautifully, sending forth a soft, slightly dappled sound that only wireless radios of this era and vintage can do. It can still pick up all AM radio stations as well as shortwave radio from around the world.

Private collection.

This wonderful Metroland "Mock Tudor" Art Deco Villa can be found in the Melbourne suburb of Essendon.

Well proportioned and set well back from the road, this large stand alone double storey villa stands on the corner of two streets has a large street frontage, which suggests that it may have belonged to an upper-middle class family with more money than some of its smaller neighbours. The mistress of this house would have required the assistance of a a full time domestic, if not a whole retinue of servants to keep it maintained for her Edwardian large family.

The villa is built of decorative red and brown bricks with a panel of clinker and brown brick nogging at the apex of the eaves. There are also a stepped design in brick at the end of the eaves. To add to its cottage-like appearance and to make it a true "Mock Tudor" villa, the house features an enclosed vestibule of faux latticework in black and wattle-and-daub painted white.

A spacious villa like this was very much the style of home that aspirational middle-class families in the 1920s saught. Cottage like in style, it is not too showy, yet represented the comfort and modernity that the burgeoning Australian middle-class wanted.

This house has a beautiful garden of well kept lawns and old shrubs and ornamental trees, some of which may be part of the original plantings made back in the 1920s when the house was first built.

Essendon was etablished in the 1860s and became an area of affluence and therefore only had middle-class, upper middle-class and some very wealthy citizens.

Collection: Cornell University Collection of Political Americana, Cornell University Library

Repository: Susan H. Douglas Political Americana Collection, #2214 Rare & Manuscript Collections, Cornell University Library, Cornell University

Title: "McKinley and Hobart Gold Standard 1896" Ink Well

Political Party: Republican

Election Year: 1896

Date Made: 1896

Measurement: Inkwell (height): 4 in.; 10.16 cm

Classification: Decorative Arts

Persistent URI: http://hdl.handle.net/1813.001/5zgg

There are no known U.S. copyright restrictions on this image. The digital file is owned by the Cornell University Library which is making it freely available with the request that, when possible, the Library be credited as its source.

The facade of a Mock Tudor style villa in white and cream stucco, and red brick in the Melbourne suburb of Ascot Vale.

Set well back from the road behind its original low Art Deco fence, this house with its generous proportions was probably the home of an upper-middle class family of a decent size.

This English Turoresque style with its half-timbered gabling and stuccoed brick work with picked out brown and red feature bricks in geometric patterns, and the Mock Tudor entrance with its red brick canopy was popular in the early 1920s amongst the newly moneyed middle-classes who could finally afford to leave the inner city and buy their own homes in the burgeoning suburbs. It gave them the ability to live in chic and spacious modern style with all the mod-cons, without sacrificing the respectability of English design.

Australia was still a British Colony when this house was built, and styles in the Motherland were mirrored in Australia.

Ascot Vale, etablished in the late 1880s and early 1890s is bound in the west by the Maribyrnong River, in the north by Maribyrnong and Ormond Roads, in the east by the Moonee Ponds Creek, and in the south by Lyons Road, Epsom Road to the railway line thence generally north-east to Moonee Ponds Creek. Like its neighbouring suburb Flemington, Ascot Vale had a mixture of lower middle, middle and upper middle-class citizens. Situated on Union Road, this large residence would have required a small retinue of servants to maintain it for the family that lived in it.

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Built in the late 1920s or early 1930s, "Tay Creggan" is a classic Inter-War Mediterranean villa that may be found in the provincial Victorian city of Ballart.

"Tay Creggan" has many attributes of the Inter-War Mediterranean architectural movement. These include the light coloured and subtly textured wall treatment, an arcaded loggia enclosing the portico, Georgian style fan detailing above the windows and a medium pitch roof of Spanish inspired terracotta tiles.

Inter-War Mediterranean style was a regionalisation of Georgian domestic architecture. The style was introduced to Australia by the Professor of Architecture of the University of Sydney, Leslie Wilkinson (1882 - 1973) in 1918 after perceiving a similarity in temperature between temperate coastal regions of Australia and European Mediterranean environments. Practitioners in this style usually had a very wealthy clientele who wanted something a little more chic and European than the Spanish Mission style that came out of America at the same time.

"Tay Creggan" comes from the Scottish which means "house built on a rock". Whilst this villa is certainly not built on a rock, it has been built on a block of land that affords it fine views of nearby Lake Wendouree. Many enterprising Scottish immigrants settled in and around Ballarat, so the name might be a throw back to the owner's heritage.

"Tay Creggan" is sizable villa and would have appealed to the moneyed upper middle classes of Ballarat whose money came from either commercial aspects of Ballarat, or from the wool or farming industries that developed in the area post the Gold Rush boom of the Nineteenth Century.

The Ballaarat Club was established as a gentleman’s club along traditional London lines in 1872. Its founding members included some of Ballarat’s leading identities of the time such as Judge Robert Trench, Lieutenant Colonel Robert Rede (the army commander that put down the Eureka Rebellion), William Collard Smith (a mining entrepreneur and a mayor of Ballarat), and T. D. Wanliss (the proprietor of local newspaper the Ballarat Star). At the heart of the club was a desire to encourage social interaction between gentlemen from a similar social class. In the main, members of the club came from the professional, civic and pastoral elite. Many of Ballarat’s more established families have been well represented on past membership lists.

Early on in its life, the Ballaarat Club was housed in a variety of hotels in central Ballarat (including Craig's Royal Hotel) until its membership raised enough money to build its own clubhouse, which was completed in 1889.

The Baallarat Club clubhouse at 203 Dana Street is designed in Victorian Free Classical style. It features bay windows upstairs and down, a red brick facade with stonework detailing, large sash windows, archways and Italianate ballustrading. The clubhouse, which has only seen a few changes to its building and grounds over the years, remains largely intact and is one of the few buildings in Ballarat that still retains most of its past majesty. Interestingly, the clubhouse is a rarity in as much as the building was designed and purpose built as a clubhouse.

Ballarat is a Victorian provincial city built on the fortunes made through the mining of gold in the surrounding area, and at the time this house was built, Ballarat was one of the wealthiest cities in Australia, if not the world. Much work was done to build magnificent civic buildings, but the extravagance extended to domestic architecture and buildings for private functions such as the Ballaarat Club as well. This building would have been just such a statement of wealth and exclusivity, built on a grand scale and situated well back from the road.

Designed by local architectural firm Terry and Oakden, the former Wesleyan Church of Ballarat was constructed between 1883 and 1884. Built on the corner of Lydiard and Dana Streets, on the crest of a steep hill, the former Wesleyan Church is architecturally significant as an important and essentially intact example of the work of the prominent firm of architects Terry and Oakden.

The Gothic design of the former Wesleyan Church, which skilfully handles a difficult site, is important as a striking example of polychromatic brickwork. The elongated windows of the former Wesleyan Church, with geometric tracery, are also of significance for their notched brickwork diaper patterns, together with the horizontal wall banding the lozenge motifs.

The buildings are of historical significance as a symbol of faith and identity of the Wesleyan community in Ballarat, which was, at the time of construction, was one of the wealthiest cities in Victoria, indeed Australia, at the time.

The buildings are significant in their ability to indicate the aspirations and values of Wesleyans in the colony in the Nineteenth Century. Whilst Wesleyans typically constructed austere chapels, it is probable that this elaborate church at Ballarat was intended to be a symbol of the faith of Ballarat Wesleyans.

Although not famous for its Art Deco architecture, the provincial Victorian city of Ballarat, which was established between the 1860s and 1880s when the area was at the centre of a gold rush, does have some fine examples of interwar and post war architecture when the gold boom was replaced with wealth generated through grazing and agriculture.

During the 1920s and 1930s, those people thriving from farming or local industry had plenty to spend in local shops. This wonderful Art Deco facade (circa 1925) belongs to a shop in Ballarat's main shopping thoroughfare, Sturt Street. Whilst the street level may have fallen victim to the changes in marketing, the upper floors remain unchanged by fickle owners. It still retains its Functionalist windows and Art Deco grillework. It features a central fin and has a stylised stepped roofline, both of which were popular architectural features of the Art Deco movement.

Built in the 1920s, this pretty stylised white stuccoed brick Art Deco villa can be found in the Melbourne suburb of Travancore.

This cottage style with its low slung tile roof in a mixture of shades, white stucco work, picked out brown and red feature bricks and rounded porch were very popular amongst the newly moneyed middle-class who could finally afford to buy their own homes. Comfortable and cottage like in the Metroland style of interwar Art Deco architecture so popular in Australia during the late 1920s, this house and many others like it represented stability and respectability, without being showy.

This house has a beautiful garden with azaleas and a topiaried camelia covered in buds about to burst forth.

Travancore is a bijou suburb named after a beautiful Victorian mansion erected in 1863. The mansion's grounds were subdivided in the late 1890s to form the new suburb, which consists only of only about five streets. With commanding views of Royal Park, the area was much sought after by aspiring middle and upper middle-class citizens. This small residence was built on the lowest section of Travancore, which was the last portion of the suburb to be subdivided on what was formerly the mansion's old dairy.

Situated at 25 to 29 Barkly Street in the Victorian provincial city of Ballarat, the former East Ballarat Free Library is to this day, still an imposing building. When it was built in 1867, it must have been even more imposing, as it would have been one of only a few permanent structures in the area, which was filled with tents as the are was hit by goldmining fever.

The East Ballarat Free Library is not only imposing, but has an unusual design using polychromatic brickwork to define separate highly individual elements of the facade, rather like much of the Methodist Church architecture built during slightly later periods. The library is the only known work of the architect C. Ohlfsen Bagge, and dates from 1867. At that date it represents an early use of coloured brick-work in Victoria. The building is of architectural importance as an early example of the polychromatic Gothic Revival style which survives substantially intact with a number of fine interiors including the spiral staircase, the original library, the hall and the pine-lined rear rooms. The construction of the front section of the Barkly Street was completed in 1869. C. Ohlfsen-Bagge acted as honorary architect and the interior design and supervision as carried out by J. J. Lorenz. The builders were Boulton and Fyfe and the interiors were completed by Fly Brothers.

Established in 1862 the East Ballarat Free Library was amongst the earliest of Ballarat's social and educational institutions and when housed in its own building in Barkly Street, the library built up an outstanding collection which was second in Australia only to the State Library of Victoria . It served as a focal point for educational purposes; the school of design founded there in 1870 advancing to become the Ballarat East branch of the school of mines in the 1900s. The library was officially closed in 1973 after a life of 111 years. The books were taken to the Camp Street Library and the Ballarat Historical Society's exhibits were moved from Camp St to the Old Ballarat East Library. In 1980 the Ballarat School of Mines Council presented a proposal to the Ballarat City Council regarding occupying and managing the East Ballarat Free Library as a School of Traditional Crafts. The proposal included maintaining the building in optimum condition. In 1983, land formally occupied by the East Ballarat Free Library in Barkly St was gazetted as a reserve for educational purposes and allocated to the Ballarat School of Mines. In 1987 the former East Ballarat Library reopened after extensive renovations and repairs, as the Management Training Centre of the Ballarat School of Mines.

This wonderful Metroland "Mock Tudor" Art Deco Villa can be found in the Melbourne suburb of Essendon.

Well proportioned and set well back from the road, this large stand alone double storey villa stands on the corner of two streets has a large street frontage, which suggests that it may have belonged to an upper-middle class family with more money than some of its smaller neighbours. The mistress of this house would have required the assistance of a a full time domestic, if not a whole retinue of servants to keep it maintained for her Edwardian large family.

The villa is built of decorative red and brown bricks with a panel of clinker and brown brick nogging at the apex of the eaves. There are also a stepped design in brick at the end of the eaves. To add to its cottage-like appearance and to make it a true "Mock Tudor" villa, the house features an enclosed vestibule of faux latticework in black and wattle-and-daub painted white.

A spacious villa like this was very much the style of home that aspirational middle-class families in the 1920s saught. Cottage like in style, it is not too showy, yet represented the comfort and modernity that the burgeoning Australian middle-class wanted.

This house has a beautiful garden of well kept lawns and old shrubs and ornamental trees, some of which may be part of the original plantings made back in the 1920s when the house was first built.

Essendon was etablished in the 1860s and became an area of affluence and therefore only had middle-class, upper middle-class and some very wealthy citizens.

The Ballaarat Club was established as a gentleman’s club along traditional London lines in 1872. Its founding members included some of Ballarat’s leading identities of the time such as Judge Robert Trench, Lieutenant Colonel Robert Rede (the army commander that put down the Eureka Rebellion), William Collard Smith (a mining entrepreneur and a mayor of Ballarat), and T. D. Wanliss (the proprietor of local newspaper the Ballarat Star). At the heart of the club was a desire to encourage social interaction between gentlemen from a similar social class. In the main, members of the club came from the professional, civic and pastoral elite. Many of Ballarat’s more established families have been well represented on past membership lists.

Early on in its life, the Ballaarat Club was housed in a variety of hotels in central Ballarat (including Craig's Royal Hotel) until its membership raised enough money to build its own clubhouse, which was completed in 1889.

The Baallarat Club clubhouse at 203 Dana Street is designed in Victorian Free Classical style. It features bay windows upstairs and down, a red brick facade with stonework detailing, large sash windows, archways and Italianate ballustrading. The clubhouse, which has only seen a few changes to its building and grounds over the years, remains largely intact and is one of the few buildings in Ballarat that still retains most of its past majesty. Interestingly, the clubhouse is a rarity in as much as the building was designed and purpose built as a clubhouse.

Ballarat is a Victorian provincial city built on the fortunes made through the mining of gold in the surrounding area, and at the time this house was built, Ballarat was one of the wealthiest cities in Australia, if not the world. Much work was done to build magnificent civic buildings, but the extravagance extended to domestic architecture and buildings for private functions such as the Ballaarat Club as well. This building would have been just such a statement of wealth and exclusivity, built on a grand scale and situated well back from the road.

Designed by local architectural firm Terry and Oakden, the former Wesleyan Church of Ballarat was constructed between 1883 and 1884. Built on the corner of Lydiard and Dana Streets, on the crest of a steep hill, the former Wesleyan Church is architecturally significant as an important and essentially intact example of the work of the prominent firm of architects Terry and Oakden.

The Gothic design of the former Wesleyan Church, which skilfully handles a difficult site, is important as a striking example of polychromatic brickwork. The elongated windows of the former Wesleyan Church, with geometric tracery, are also of significance for their notched brickwork diaper patterns, together with the horizontal wall banding the lozenge motifs.

The buildings are of historical significance as a symbol of faith and identity of the Wesleyan community in Ballarat, which was, at the time of construction, was one of the wealthiest cities in Victoria, indeed Australia, at the time.

The buildings are significant in their ability to indicate the aspirations and values of Wesleyans in the colony in the Nineteenth Century. Whilst Wesleyans typically constructed austere chapels, it is probable that this elaborate church at Ballarat was intended to be a symbol of the faith of Ballarat Wesleyans.

After the Great War (1914 - 1918), although many people were affected by the "servant problem", it was not impossible to find good help, it simply meant living in a comfortable style, rather than a grand one.

Set well back from the road, this villa with its generous proportions in the Melbourne suburb of Kooyong was probably the home of an upper-middle class family of a decent size with at least two servants and a daily maid-of-all work.

This Mock Tudor, or Turoresque style house with its stepped gabling, buttercup yellow stuccoed brick work, picked out brown and red feature bricks in geometric patterns, stylised stepped edgeing beneath the eaves, shutters and the Mock Tudor lamp above the porch was popular amongst the newly moneyed middle-classes who could finally afford to leave the inner city buy their own homes in the burgeoning suburbs. It gave them the ability to live in chic and spacious modern style with all the mod-cons, without sacrificing the respectability of English design.

Australia was still a British Colony when this house was built, and styles in the Motherland were mirrored in Australia.

This wonderful Metroland "Mock Tudor" Art Deco Villa can be found in the Melbourne suburb of Essendon.

Well proportioned, the stand alone villa with white painted stuccoed brick walls with picked out brown and red feature bricks in geometric patterns beneath the eaves and around the enclosed vestibule was very much the style of home that aspirational middle-class families in the 1920s saught. Cottage like in style, it is not too showy, yet represented the comfort and modernity that the burgeoning Australian middle-class wanted.

This house has a beautiful garden of old shrubs and ornamental trees, some of which may be part of the original plantings made back in the 1920s when the house was first built. The property is surrounded by the original low brick wall featuring brick nogging and cornices, which are echoed on the villa's "olde English" chimney.

This villa is almost exactly the same as another I found in Essendon on a later visit: www.flickr.com/photos/40262251@N03/6081362714 The only real differences are that this villa has different picked out brick patterns and that it has an arched window to the far left of the house, whereas the other villa only has a latticed nook in the same shape.

Essendon was established in the 1860s and became an area of affluence and therefore only had middle-class, upper middle-class and some very wealthy citizens. A villa like this may have required the employment of a live-in maid or two to assist the mistress of the house keep the villa well maintained.

Part of an old wooden door with Islamic geometric patterns in the old part of Rawalpindi, Pakistan.

Geometric , Geometric Patterns , Geometric Pattern , Geometry , Patterns , crop circles , sacred geometry , Jai Deco , geometry , vinyl ,

"Designer Patterns 2012" "geometric fashion 2012" "geometric patterns" "canadian designer" "designer fashion 2012" "toronto fashion 2012" "toronto artist"

Located on Ballarat’s Doveton Street, the former Lutheran Church was built in 1876 to the grand designs of local Ballarat architect C. D. Figgis and was constructed by Taylor & Ellis.

The church building is architecturally quite striking with a formal composition with elements of a Ruskinian Italian Gothic style. It features with banded brick arches, Lombardic motifs and an attenuated version of a stepped arcaded corbel table leading to the central tower. The tall blind arcading of the tower is similar to the Campanile at Venice. The tower has an arcaded corbel table with trefoil arches, above which is a parapet with quatrefoil openings surmounted by a slate clad pyramidal roof. The lower part of the building consists of more conventional elements. There are two occuli in the gable ends flanking the tower and the banded Gothic openings have nail head brick label moulds. At the base of the tower there are two entrance doors under a Gothic banded arch surrounded by cream brick nail head moulding, and an outer Scotia label mould; these continue down to a low impost height and return horizontally as a string course across the facade. Banded Gothic openings and a patterned string course at low impost height lightens the heaviness of the red brickwork. The side elevation has the same nail head and Scotia string course at impost level rising up as stilted segmental arches over the double lancet windows in each of the five bays. The combination of unusual elements in patterned relief brickwork, and the imposing superimposed Venetian Campanile combine to make this a unique church composition.

Built in the late 1920s, this pretty stylised white stuccoed brick Art Deco villa can be found in the Melbourne suburb of Coonans Hill.

This cottage style with its low slung tile roof in a mixture of shades, white stucco work, picked out feature clinker bricks in geometric patterns, windows of frosted and leadlight glass and arched porch were very popular amongst the newly moneyed middle-class who could finally afford to buy their own homes. Comfortable and cottage like in the Metroland style of interwar Art Deco architecture so popular in Australia during the late 1920s, this house and many others like it represented stability and respectability, without being showy.

This house has a beautiful garden with a neat lawn, standard roses, neighbours-be-gone and a wisteria.

The facade of a pretty stylised white stuccoed brick Art Deco maisonette villa in the Melbourne suburb of Preston.

This cottage style with its low slung tile roof in a mixture of shades, white stucco work, picked out brown and red feature bricks in geometric patterns, stylised stepped edgeing beneath the eaves and the Mock Tudor mullioned windows were very popular amongst the newly moneyed middle-class who could finally afford to buy their own homes. Comfortable and cottage like in the Metroland style of interwar Art Deco architecture so popular in Australia during the late 1920s, this house and many others like it represented stability and respectability, without being showy.

This house has a beautiful garden with a family of tree ferns up against the vestibule entrance. The decorated brick edging around the portico can just be seen. There is also a topiaried camelia covered in blossoms in the middle of the well clipped lawn.

Standing proudly behind its picket fence with a ornate gates, this large and sprawling Victorian villa is situated in the inner northern Melbourne suburb of Essendon.

Built in the 1890s, this Victorian style villa is constructed of polychromatic brick (including the chimneys) and features a splendid return verandah of corrugated iron featuring wrought-iron lacework decoration. All of these features are typical of the Victorian period. Its original slate roof is also very Victorian.

Essendon was etablished in the 1860s and became an area of affluence and therefore only had middle-class, upper middle-class and some very wealthy citizens. A large villa like this built in one of the finer pockets of the suburb suggests that it was built for an aspiring middle-class family. This villa would have required one of two live-in maids to help its mistress keep maintained and a gardener to keep the gardens in check.

Situated on a large block, complete with tennis courts, behind its original low stuccoed brick wall, this large Inter-War Mediterranean style mansion may be found in the provincial Victorian city of Ballarat.

Built in the suburb of Wendouree in the late 1920s or early 1930s, this villa features classic Inter-War Mediterranean architectural features. These include the light coloured and subtly textured wall treatment, classical cast iron grillework, formal entrance with Ionic columns, balcony over the entrance and Georgian style fan detailing above the balcony door.

Inter-War Mediterranean style was a regionalisation of Georgian domestic architecture. The style was introduced to Australia by the Professor of Architecture of the University of Sydney, Leslie Wilkinson (1882 - 1973) in 1918 after perceiving a similarity in temperature between temperate coastal regions of Australia and European Mediterranean environments. Practitioners in this style usually had a very welathy clientele who wantes something a little more chic and European than the Spanish Mission style that came out of America at the same time.

This sizable house would have appealed to the moneyed upper-classes of Ballarat whose money came from either the Nineteenth Century gold rush, or from the wool or farming industries that developed post the boom. Comfortable and with pretentions of Hollywood glamour, it would have shown considerable wealth.

A fusion look with traditional embroidery

Built in the late 1920s or early 1930s, "Tay Creggan" is a classic Inter-War Mediterranean villa that may be found in the provincial Victorian city of Ballart.

"Tay Creggan" has many attributes of the Inter-War Mediterranean architectural movement. These include the light coloured and subtly textured wall treatment, an arcaded loggia enclosing the portico, Georgian style fan detailing above the windows and a medium pitch roof of Spanish inspired terracotta tiles.

Inter-War Mediterranean style was a regionalisation of Georgian domestic architecture. The style was introduced to Australia by the Professor of Architecture of the University of Sydney, Leslie Wilkinson (1882 - 1973) in 1918 after perceiving a similarity in temperature between temperate coastal regions of Australia and European Mediterranean environments. Practitioners in this style usually had a very wealthy clientele who wanted something a little more chic and European than the Spanish Mission style that came out of America at the same time.

"Tay Creggan" comes from the Scottish which means "house built on a rock". Whilst this villa is certainly not built on a rock, it has been built on a block of land that affords it fine views of nearby Lake Wendouree. Many enterprising Scottish immigrants settled in and around Ballarat, so the name might be a throw back to the owner's heritage.

"Tay Creggan" is sizable villa and would have appealed to the moneyed upper middle classes of Ballarat whose money came from either commercial aspects of Ballarat, or from the wool or farming industries that developed in the area post the Gold Rush boom of the Nineteenth Century.

View On Black

Made of locally produced red and brown bricks this substantial Mock Tudor villa in the Melbourne suburb of Coonans Hill, would have been for a larger sized middle-class family.

This house with its high gabled roof line features wonderful brick detailing around the windows and vestibule entrance. The interesting stepped chimney breast of stuccoed brick also shows off a selection of random feature bricks in geometric designs.

The Mock Tudor or Tudorbethan style, was most popular between the two World Wars throughout Britain and her dominions, especially in the new garden suburbs and ribbon developments that appeared during this period.

This style of house would have appealed to the newly moneyed middle-classes who could finally afford to leave the inner city buy their own homes in the burgeoning suburbs. Comfortable and very English, it would have shown respectable and not inconsiderable wealth.

This villa still has its original low brick garden wall with wrought iron gates. The wall has been softened by the creation of a pretty hedge.

The facade of a pretty stylised white stuccoed brick Art Deco maisonette villa in the Melbourne suburb of Preston.

This cottage style with its low slung tile roof in a mixture of shades, white stucco work and picked out brown and red feature bricks in geometric patterns were very popular amongst the newly moneyed middle-class who could finally afford to buy their own homes. Comfortable and cottage like in the Metroland style of interwar Art Deco architecture so popular in Australia during the late 1920s, this house and many others like it represented stability and respectability, without being showy.

Although all very similar, each house could be afforded some individuality, usually in the window treatment given them. In this case an unusually low casement window, almost out of proportion with the height of the wall, is surrounded by a plaster rope "boisery" decoration.

This house has an appropriately charming cottage garden with standard roses, bush roses and daisies. It also still has its original side gate with a stepped brick geometric pattern along its top.

"Riawena" is a wonderfully stylised Streamline Moderne Art Deco Villa in the Melbourne suburb of Thornbury. Its name is taken from the Australian Aboriginal word for "fun" or "sport", which is an unusual choice in the 1930s, when so many people were naming their houses after English or American places.

Standing on the corner of a busy main thoroughfare and a much quieter side street, this well proportioned stand alone villa is extremely large and sprawling, with its original garage next to it behind a high wall. The clean uncluttered lines of the house, the speed lines around the pedement of the rounded portico, feature bricks in geometric patterns and the overall low slung design of the house are very Streamline Moderne in design.

The whole property is surrounded by a low fence with plain pillars and wrought-iron swirls inserts and a gate featuring a geometric Art Deco pattern.

The tree in blossom in this photograph is a prunus; a genus of trees and shrubs, which includes the plums, cherries, peaches, apricots and almonds. This is an ornamental variety, which burst into blossom almost a month before usual owing to an unusually warm spell of weather just prior to the photograph being taken.

This large Reformist (Arts and Crafts) style mansion may be found in the inner nothern Melbourne suburb of Essendon.

Built between Federation (1901) and the Great War (1914), the red and brown brick dado, rough cast stuccoed brick wall treatment and hipped roof are very Arts and Crafts inspired, as are leadlight geometric patterns in all the mansion's windows. The mansion also features its original low brick wall. The stepped decoration on the chimneys is also very typical of the Arts and Crafts movement.

Arts and Crafts houses challenged the formality of the mid and high Victorian styles that preceded it, and were often designed with uniquely angular floor plans. The mansion features two entrances; one facing onto the street and a second up the sideway which suggests a more unusual floor plan than other houses.

Essendon was established in the 1860s and became an area of affluence and therefore only had middle-class, upper middle-class and some very wealthy citizens. Set well back from the road on a large block, this mansion, built in the finest street of the suburb suggests that it was built for an upper class family of means. This villa would have required a retinue of servants to maintain and a series of gardners to maintain the grounds.

The Ballaarat Club was established as a gentleman’s club along traditional London lines in 1872. Its founding members included some of Ballarat’s leading identities of the time such as Judge Robert Trench, Lieutenant Colonel Robert Rede (the army commander that put down the Eureka Rebellion), William Collard Smith (a mining entrepreneur and a mayor of Ballarat), and T. D. Wanliss (the proprietor of local newspaper the Ballarat Star). At the heart of the club was a desire to encourage social interaction between gentlemen from a similar social class. In the main, members of the club came from the professional, civic and pastoral elite. Many of Ballarat’s more established families have been well represented on past membership lists.

Early on in its life, the Ballaarat Club was housed in a variety of hotels in central Ballarat (including Craig's Royal Hotel) until its membership raised enough money to build its own clubhouse, which was completed in 1889.

The Baallarat Club clubhouse at 203 Dana Street is designed in Victorian Free Classical style. It features bay windows upstairs and down, a red brick facade with stonework detailing, large sash windows, archways and Italianate ballustrading. The clubhouse, which has only seen a few changes to its building and grounds over the years, remains largely intact and is one of the few buildings in Ballarat that still retains most of its past majesty. Interestingly, the clubhouse is a rarity in as much as the building was designed and purpose built as a clubhouse.

Ballarat is a Victorian provincial city built on the fortunes made through the mining of gold in the surrounding area, and at the time this house was built, Ballarat was one of the wealthiest cities in Australia, if not the world. Much work was done to build magnificent civic buildings, but the extravagance extended to domestic architecture and buildings for private functions such as the Ballaarat Club as well. This building would have been just such a statement of wealth and exclusivity, built on a grand scale and situated well back from the road.

Designed by local architectural firm Terry and Oakden, the former Wesleyan Church of Ballarat was constructed between 1883 and 1884. Built on the corner of Lydiard and Dana Streets, on the crest of a steep hill, the former Wesleyan Church is architecturally significant as an important and essentially intact example of the work of the prominent firm of architects Terry and Oakden.

The Gothic design of the former Wesleyan Church, which skilfully handles a difficult site, is important as a striking example of polychromatic brickwork. The elongated windows of the former Wesleyan Church, with geometric tracery, are also of significance for their notched brickwork diaper patterns, together with the horizontal wall banding the lozenge motifs.

The buildings are of historical significance as a symbol of faith and identity of the Wesleyan community in Ballarat, which was, at the time of construction, was one of the wealthiest cities in Victoria, indeed Australia, at the time.

The buildings are significant in their ability to indicate the aspirations and values of Wesleyans in the colony in the Nineteenth Century. Whilst Wesleyans typically constructed austere chapels, it is probable that this elaborate church at Ballarat was intended to be a symbol of the faith of Ballarat Wesleyans.

Cambridge Central Mosque

Neabsco, Virginia

So many houses in Portugal are adorned with beautiful decorative tiles like this one in Sintra. I particularly loved the shape and design of the arched window.

Standing well back from the road on a substantial block behind a well clipped hedge, this 1920s Art Deco villa with Arts and Crafts detailing in the Ballarat suburb of Wendouree, would have been for a middle-class family.

Built of honeyed clinker bricks with red and brown feature brick detailing around the vestibule entrance and in geometric patterns across the walls, this house has typical Metroland suburban detailing. However the old fashioned sash windows and hipped roof are more in keeping with the prevailing fashions of the previous decade's Arts and Crafts Movement. The designers Percy Richards and Herbert Leslie Coburn of the Ballarat firm Richards, Coburn, Richards, were probably following the wishes of a more conservative client.

This style of house would have appealed to the up and coming middle-classes of Ballarat whose money came from local merchant trade, the wool or farming industries that developed in the Twentieth Century. Comfortable and very English, it would have shown respectablity and a mixture of traditional and modernity.