speculation photos on Flickr

The unknown years of Jesus (also called his silent years, lost years, or missing years) generally refers to the period of Jesus's life between his childhood and the beginning of his ministry, a period not described in the New Testament.

The "lost years of Jesus" concept is usually encountered in esoteric literature (where it at times also refers to his possible post-crucifixion activities) but is not commonly used in scholarly literature since it is assumed that Jesus was probably working as a carpenter in Galilee, at least some of the time with Joseph, from the age of 12 to 29.

In the late medieval period, there appeared Arthurian legends that the young Jesus had been in Britain. In the 19th and 20th centuries theories began to emerge that between the ages of 12 and 29 Jesus had visited India, or had studied with the Essenes in the Judea desert. Modern mainstream Christian scholarship has generally rejected these theories and holds that nothing is known about this time period in the life of Jesus.

The use of the "lost years" in the "swoon hypothesis", suggests that Jesus survived his crucifixion and continued his life, instead of what was stated in the New Testament that he ascended into Heaven with two angels. This, and the related view that he avoided crucifixion altogether, has given rise to several speculations about what happened to him in the supposed remaining years of his life, but these are not accepted by mainstream scholars either.

Among all of Israel’s neighbors, Egypt is the most prominent one in the Bible, especially in relation to Moses in the Old Testament, and in the New – to Jesus. Though not a lot of Egypt’s own history is described in the Bible, it carries great significance in Biblical history and in Jewish life.

Since the rebirth of modern Israel in 1948, relations between the Jewish state and neighboring Egypt have only gained momentum. Peace treaties, negotiations over the Suez Canal, and mediation with Gaza are just examples of how much has been happening on Israel’s southern border.

But politics aside, the land of Egypt is mentioned by the Jewish people on a regular basis. Why? Consider the story of Passover – it begins in Egypt! The entire Book of Exodus (meaning ‘departure’ or ‘escape’) speaks of the Hebrews fleeing Egypt and finding their way to the Promised Land through the desert.

Most notably, Mount Sinai is likely located in present-day Egypt, on Sinai Peninsula, where Moses received God’s commandments. You may be wondering: How do the Jewish people feel about Egypt today? Is it hard for Egyptian believers to read the Old Testament? Do they take the harsh words about Egypt personally? Let’s take a closer look at history.

Ancient Egypt and the Modern Arab Republic

Before visiting Egypt, I knew quite a bit about her ancient beginnings from schoolbooks, movies and photo albums. But although the ancient tombs and temples remain impressive to this day, I was curious about believers in present day Egypt. Because what does Egypt mean to us?

Some may think of hieroglyphs of slender men and women with neatly shaved or trimmed hair. Others will immediately think of pyramids and the Sphinx. Still, some may associate Egypt with the kingdom described in the Old Testament – the enemy that oppressed the Jewish people. And a nation that endured plagues and served pharaohs.

If you follow modern-day events, you may think Egypt is a turbulent country that was at the forefront of the Arab Spring in early 2010s. One thing is abundantly clear. Egypt was and is a unique place that is in great need of our prayers.

Egypt – the Cradle of Civilization

Egypt’s remarkable historical heritage is a major part of her people’s identity even today. Which is easily noticeable at every step, with ancient symbols appearing on items of common use. Egyptians are proud of the superpower that the ancient Egypt once was.

We know from the Bible that Egypt had wealth, a strong army and powerful kings. Abraham and many of his descendants sojourned to Egypt in difficult times, for food and shelter. This only confirms that it was the most powerful and prosperous nation in the region.

Already in antiquity Egypt became known for its advancements in construction, medicine and agriculture. Their achievements are recognized to this day in mathematics or literature (including early paper production). And also in art, for example in unique ceramic and glass techniques.

On top of that, Egypt had an elaborate religious system. The pagan nature of the land was very evident. Kings were considered to be gods and superstition was common. After the Israelites escaped slavery in Egypt, the Bible instructed them not to follow the ways of Egypt (Lev. 18:3).

How Long were Israelites in Egypt?

Joseph, son of Jacob, did not end up in Egypt by choice (Genesis 37). But God raised him to hold a very influential position in this foreign land. Historically, Egypt was known for cooperating with other tribes and kingdoms, even allowing foreigners to take high positions in governance. We read that Joseph became second only to Pharaoh (Genesis 41:39-41) in all of Egypt.

In the end, the entire family of Jacob moved to Egypt, escaping famine and drought. For as long as Joseph was remembered by the rulers in the country, the Hebrews led a peaceful and good life among the Egyptians. But that changed once a new Pharaoh ascended to the throne “who did not know Joseph.” (Exodus 1:8)

Life conditions became progressively worse for the descendants of Abraham, Isaac, and Jacob. This situation deteriorated to the point that a few generations later, they became slaves to the Egyptians. But then, we read that God heard their cry (Exodus 3:7-8) and raised up Moses to lead them out of this land and into freedom.

Despite Moses being raised in the Pharaoh’s house, it was no easy task to set his people free. It took some intense negotiations, ten plagues and the death of Pharaoh’s own son for the Israelites to finally leave Egypt. The Bible says that the chosen nation spent 430 years in Egypt (Exodus 12:40-41) , but it was time for them to return home.

The Foreign Affairs of the Promised Land

Moses is considered to be the most important prophet in Judaism. And the Exodus from Egypt was undoubtedly the most significant event on the Nile that is mentioned in the Bible. But it is far from the last one. As Israelites were taking possession of their Promised Land, they were still very aware of the powerful kingdom to the south.

That could be the reason why Israel’s third king, Solomon, made the diplomatic decision to marry Pharaoh’s daughter: “And Solomon made affinity with Pharaoh king of Egypt, and took Pharaoh’s daughter, and brought her into the city of David…” (1 Kings 3:1).

What may have seemed like a good political move did not turn out to be a good one spiritually. The many wives of Solomon weakened his devotion to the Lord. One of his biggest downfalls was building altars to other gods for his wives. His rulership ended with the Kingdom of Israel being split into two. But it was his son who reaped the fruit of his failures:

“Rehoboam, son of Solomon and the first king of Judah, was attacked in the fifth year of his reign by an Egyptian pharaoh. As a result of his defeat, Judah became a vassal state, subordinate to Egypt. The Israelites had forsaken the LORD and so, the LORD left them to the hands of Pharaoh. And it came to pass, that in the fifth year of King Rehoboam Shishak King of Egypt came up against Jerusalem, because they had transgressed against the Lord.” (2 Chronicles 12:2)

Jesus in Egypt

The family of Jesus was instructed to seek shelter in Egypt when His life was in danger (Matt. 2:13). We don’t know much about the time they spent by the Nile, but we can assume they were safe. God Himself instructed them to find refuge in the south. Egyptian Christians share this story with pride, even though not much else can be said about it.

But this remains true: the Jewish Messiah, our Savior and Son of God, lived for a short season in Egypt. What an exceptional fact to have as a part of your nation’s history! Nevertheless, not too many Egyptians know this, given that the majority of the country follows Islam.

It is legal to be a Christian in Egypt, as long as you are born one. Every citizen has their religious affiliation specified on their identity card. If your passport or other document states you were born into a Muslim family, you cannot change it.

This means that the right to choose what to believe is practically withdrawn from you at the moment of birth. So, are there no people in Egypt who consciously chose to accept Jesus as their Savior? There are. But often they have to keep their faith secret, to avoid persecution or even death.

My Egyptian host explained to me how significant the stories of Joseph and baby Jesus are to the believers in his country. It is what unites them all across Egypt. And then, he started asking me about Western countries, and sighed: “It must be wonderful to live in a country where everyone’s a Christian…” Inadvertently, I sighed as well.

Why is Egypt in the Bible?

I asked my host how the Egyptian Christians look at some of the prophecies and harsh words about Egypt in the Old Testament. Aside from actual events that took place in Egypt or in relation to Egypt, the Bible often uses this nation as a negative example or a lesson to learn.

After enslaving the Hebrews and because of idolatry, Egypt became synonymous with sin and bondage. Compelling the Jewish people to choose life, God cautions them about returning to Egypt and living in sin (Deut. 17:16).

Since the days of the Old Testament’s prophets, many of the prophecies about Egypt have been fulfilled. The glory of the Pharaohs is long gone, and Egypt is not as powerful as it was in antiquity. As the prophets had foretold, Egypt became a home of rebellion and internal conflicts.

But just as God said Egypt will be smitten, He also promised that she will be healed. Christians in Egypt hold on to this promise and continue to pray for their nation. In response to my question, my host smiled with understanding. Maybe I wasn’t the first one to ask these questions.

He humbly replied, “This country probably deserved great damnation in the past. But Jesus came to earth for that very reason. He showed us that there is such a thing as grace.”

Thanks to the prophet Isaiah, we know that to be true. “And when the Lord will strike Egypt, strike and heal, then they will turn to the Lord, and He will turn to God, let them plead and heal them.” (Isa. 19:22)

firmisrael.org/learn/from-moses-to-jesus-egypt-in-the-bib...

The 18 unknown years

Following the accounts of Jesus' young life, there is a gap of about 18 years in his story in the New Testament. Other than the statement that after he was 12 years old (Luke 2:42) Jesus "advanced in wisdom and stature, and in favour with God and men" (Luke 2:52), the New Testament has no other details regarding the gap.[4] Christian tradition suggests that Jesus simply lived in Galilee during that period. Modern scholarship holds that there is little historical information to determine what happened during those years.

The ages of 12 and 29, the approximate ages at either end of the unknown years, have some significance in Judaism of the Second Temple period: 13 is the age of the bar mitzvah, the age of secular maturity,and 30 the age of readiness for the priesthood, although Jesus was not of the tribe of Levi.

Christians have generally taken the statement in Mark 6:3 referring to Jesus as "Is not this the carpenter...?" (Greek: οὐχ οὗτός ἐστιν ὁ τέκτων, romanized: ouch outos estin ho tektōn) as an indication that before the age of 30 Jesus had been working as a carpenter. The tone of the passage leading to the question "Is not this the carpenter?" suggests familiarity with Jesus in the area, reinforcing that he had been generally seen as a carpenter in the gospel account before the start of his ministry. Matthew 13:55 poses the question as "Is not this the carpenter's son?" suggesting that the profession tektōn had been a family business and Jesus was engaged in it before starting his preaching and ministry in the gospel accounts.

Background of Galilee and Judea

Cultural and historical background of Jesus

The historical record of the large number of workmen employed in the rebuilding of Sepphoris has led Batey (1984) and others to suggest that when Jesus was in his teens and twenties carpenters would have found more employment at Sepphoris rather than at the small town of Nazareth.

Aside from secular employment some attempts have been made to reconstruct the theological and rabbinical circumstances of the "unknown years", e.g., soon after the discovery of the Dead Sea Scrolls novelist Edmund Wilson (1955) suggested Jesus may have studied with the Essenes, followed by the Unitarian Charles F. Potter (1958) and others. Other writers have taken the view that the predominance of Pharisees in Judea during that period, and Jesus' own later recorded interaction with the Pharisees, makes a Pharisee background more likely, as in the recorded case of another Galilean, Josephus studied with all three groups: Pharisees, Sadducees and Essenes.

Other sources

See also: Infancy gospels and Pseudepigrapha

The New Testament apocrypha and early Christian pseudepigrapha preserve various pious legends filling the "gaps" in Christ's youth. Charlesworth (2008) explains this as due to the canonical Gospels having left "a narrative vacuum" that many have attempted to fill.

Jesus's childhood is described in the Infancy Gospel of Thomas, the Gospel of Pseudo-Matthew, and the Syriac Infancy Gospel, among other sources.

Claims of young Jesus in Britain

The story of Jesus visiting Britain as a boy is a late medieval development based on legends connected with Joseph of Arimathea. During the late 12th century, Joseph of Arimathea became connected with the Arthurian cycle, appearing in them as the first keeper of the Holy Grail. This idea first appears in Robert de Boron's Joseph d'Arimathie, in which Joseph receives the Grail from an apparition of Jesus and sends it with his followers to Britain. This theme is elaborated upon in Boron's sequels and in subsequent Arthurian works penned by others.

Some Arthurian legends hold that Jesus travelled to Britain as a boy, lived at Priddy in the Mendips, and built the first wattle cabin at Glastonbury. William Blake's early 19th-century poem "And did those feet in ancient time" was inspired by the story of Jesus travelling to Britain. In some versions, Joseph was supposedly a tin merchant and took Jesus under his care when his mother Mary was widowed. Gordon Strachan wrote Jesus the Master Builder: Druid Mysteries and the Dawn of Christianity (1998), which was the basis of the documentary titled And Did Those Feet (2009). Strachan believed Jesus may have travelled to Britain to study with the Druids.

Claims of young Jesus in India and/or Tibet

Nicolas Notovitch

In 1887, Russian war correspondent Nicolas Notovitch claimed that while at the Hemis Monastery in Ladakh, he had learned of a document called the "Life of Saint Issa, Best of the Sons of Men" – Isa being the Arabic name of Jesus in Islam.[30][31][32] Notovitch's story, with a translated text of the "Life of Saint Issa", was published in French in 1894 as La vie inconnue de Jesus Christ (Unknown Life of Jesus Christ).[7][32]

According to the scrolls, Jesus abandoned Jerusalem at the age of 13 and set out towards Sind, “intending to improve and perfect himself in the divine understanding and to studying the laws of the great Buddha”. He crossed Punjab and reached Puri Jagannath where he studied the Vedas under Brahmin priests. He spent six years in Puri and Rajgirh, near Nalanda, the ancient seat of Hindu learning. Then he went to the Himalayas, and spent time in Tibetan monasteries, studying Buddhism,[30] and through Persia, returned to Jerusalem at the age of 29.

Notovitch's writings were immediately controversial and Max Müller stated that either the monks at the monastery had deceived Notovitch (or played a joke on him), or he had fabricated the evidence.[30][33][34] Müller then wrote to the monastery at Hemis and the head lama replied that there had been no Western visitor at the monastery in the past fifteen years and there were no documents related to Notovitch's story.[35] J. Archibald Douglas then visited Hemis monastery and interviewed the head lama who stated that Notovitch had never been there. Indologist Leopold von Schroeder called Notovitch's story a "big fat lie". Wilhelm Schneemelcher states that Notovich's accounts were soon exposed as fabrications, and that to date no one has even had a glimpse at the manuscripts Notovitch claims to have had.

Notovich responded to claims to defend himself. But once his story had been re-examined by historians – some even questioning his existence – it is claimed that Notovitch confessed to having fabricated the evidence. Bart D. Ehrman states that "Today there is not a single recognized scholar on the planet who has any doubts about the matter. The entire story was invented by Notovitch, who earned a good deal of money and a substantial amount of notoriety for his hoax".However, others deny that Notovich ever accepted the accusations against him – that his account was a forgery, etc. Although he was not impressed with his story, Sir Francis Younghusband recalls meeting Nicolas Notovitch near Skardu, not long before Notovitch had visited Hemis monastery.

In 1922, Swami Abhedananda, the president of the Vedanta Society of New York between 1897 and 1921 and the author of several books, went to the Himalayas on foot and reached Tibet, where he studied Buddhist philosophy and Tibetan Buddhism. He went to the Hemis Monastery, and allegedly found the manuscript translated by Notovitch, which was a Tibetan translation of the original scrolls written in Pali. The lama said that it was a copy and that the original was in a monastery at Marbour near Lhasa. After Abhedananda's death in 1939, one of his disciples inquired about the documents at the Hemis monastery, but was told that they had disappeared.

en.wikipedia.org/wiki/Unknown_years_of_Jesus

Lupe Velez by Truus, Bob & Jan too!

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Austrian postcard by Iris Verlag, no. 6744. Photo: Radio Pictures.

Lupe Velez (1908-1944), was one of the first Mexican actresses to succeed in Hollywood. Her nicknames were 'The Mexican Spitfire' and 'Hot Pepper'. She was the leading lady in such silent films as The Gaucho (1927), Lady of the Pavements (1928), and Wolf Song (1929). During the 1930s, her well-known explosive screen persona was exploited in a series of successful films like Hot Pepper (1933), Strictly Dynamite (1934), and Hollywood Party (1934). In the 1940s, Vélez's popularity peaked after appearing in the Mexican Spitfire films, a series created to capitalise on Vélez's well-documented fiery personality. She had several highly publicised romances and a stormy marriage. In 1944, Vélez died of an intentional overdose of the barbiturate drug Seconal. Her death and the circumstances surrounding it have been the subject of speculation and controversy.

Lupe Vélez was born María Guadalupe Villalobos Vélez in 1908 in the city of San Luis Potosí in Mexico. She was the daughter of Jacobo Villalobos Reyes, a colonel in the army of the dictator Porfirio Diaz, and his wife Josefina Vélez, an opera singer according to some sources, or vaudeville singer according to others. She had three sisters: Mercedes, Reina and Josefina, and a brother, Emigdio. The family was financially comfortable and lived in a large home. At the age of 13, her parents sent her to study at Our Lady of the Lake (now Our Lady of the Lake University) in San Antonio, Texas. It was at Our Lady of the Lake that Vélez learned to speak English and began to dance. She later admitted that she liked dance class, but was otherwise a poor student. Denny Jackson at IMDb: "Life was hard for her family, and Lupe returned to Mexico to help them out financially. She worked as a salesgirl for a department store for the princely sum of $4 a week. Every week she would turn most of her salary over to her mother, but kept a little for herself so she could take dancing lessons. By now, she figured, with her mature shape and grand personality, she thought she could make a try at show business." She began her career as a performer in Mexican vaudeville in 1924. She initially performed under her paternal surname, but after her father returned home from the war, he was outraged that his daughter had decided to become a stage performer. She chose her maternal surname, "Vélez", as her stage name and her mother introduced Vélez and her sister Josefina to the popular Spanish Mexican vedette María Conesa, "La Gatita Blanca". Vélez debuted in a show led by Conesa, where she sang 'Oh Charley, My Boy' and danced the shimmy. Aurelio Campos, a young pianist, and friend of the Vélez sisters recommended Lupe to stage producers, Carlos Ortega and Manuel Castro. Ortega and Castro were preparing a season revue at the Regis Theatre and hired Vélez to join the company in March 1925. Later that year, Vélez starred in the revues 'Mexican Rataplan' and '¡No lo tapes!', both parodies of the Bataclan's shows in Paris. Her suggestive singing and provocative dancing was a hit with audiences, and she soon established herself as one of the main stars of vaudeville in Mexico. After a year and a half, Vélez left the revue after the manager refused to give her a raise. She then joined the Teatro Principal but was fired after three months due to her "feisty attitude". Vélez was quickly hired by the Teatro Lirico, where her salary rose to 100 pesos a day. In 1926, Frank A. Woodyard, an American who had seen Vélez perform, recommended her to stage director Richard Bennett, the father of actresses Joan and Constance Bennett. Bennett was looking for an actress to portray a Mexican cantina singer in his upcoming play 'The Dove'. He sent Vélez a telegram inviting her to Los Angeles to appear in the play. Vélez had been planning to go to Cuba to perform, but quickly changed her plans and traveled to Los Angeles. However, upon arrival, she discovered that she had been replaced by another actress.

While in Los Angeles, Lupe Vélez met the comedian Fanny Brice. Brice recommended her to Flo Ziegfeld, who hired her to perform in New York City. While Vélez was preparing to leave Los Angeles, she received a call from MGM producer Harry Rapf, who offered her a screen test. Producer and director Hal Roach saw Vélez's screen test and hired her for a small role in the comic Laurel and Hardy short Sailors, Beware! (Fred Guiol, Hal Yates, 1927). After her debut, Vélez appeared in another Hal Roach short, What Women Did for Me (James Parrott, 1927), opposite Charley Chase. Later that year, she did a screen test for the upcoming Douglas Fairbanks feature The Gaucho (F. Richard Jones, 1927). Fairbanks was impressed by Vélez and hired her to appear in the film with him. The Gaucho was a hit and critics were duly impressed with Vélez's ability to hold her own alongside Fairbanks, who was well known for his spirited acting and impressive stunts. Her second major film was Stand and Deliver (Donald Crisp, 1928), produced by Cecil B. DeMille. That same year, she was named one of the WAMPAS Baby Stars. Then she appeared in Lady of the Pavements (1929), directed by D. W. Griffith, and Where East Is East (Tod Browning, 1929), starring Lon Chaney as an animal trapper in Laos. In the Western The Wolf Song (Victor Fleming, 1929), she appeared alongside Gary Cooper. As she was regularly cast as 'exotic' or 'ethnic' women that were volatile and hot-tempered, gossip columnists took to referring to Vélez as "Mexican Hurricane", "The Mexican Wildcat", "The Mexican Madcap", "Whoopee Lupe" and "The Hot Tamale". Lupe Vélez made the transition to sound films without difficulty. Studio executives had predicted that her accent would likely hamper her ability to make the transition. That idea was dispelled after she appeared in the all-talking Rin Tin Tin vehicle, Tiger Rose (George Fitzmaurice, 1929). The film was a hit and Vélez's sound career was established. Vélez appeared in a series of Pre-Code films like Hell Harbor (Henry King, 1930), The Storm (William Wyler, 1930), and the crime drama East Is West (Monta Bell, 1930) opposite Edward G. Robinson. The next year, she appeared in her second film for Cecil B. DeMille, Squaw Man (Cecil B. DeMille, 1931), opposite Warner Baxter, in Resurrection (Edwin Carewe, 1931), and The Cuban Love Song (W.S. Van Dyke, 1931), with the popular singer Lawrence Tibbett. She had a supporting role in Kongo (William J. Cowen, 1932) with Walter Huston, a sound remake of West of Zanzibar (Tod Browning, 1928) which tries to outdo the Lon Chaney original in morbidity. She also starred in Spanish-language versions of Universal films like Resurrección (Eduardo Arozamena, David Selman, 1931), the Spanish version of Resurrection (1931), and Hombres en mi vida (Eduardo Arozamena, David Selman, 1932), the Spanish version of Men in Her Life (William Beaudine, 1931) in which Lois Moran had starred.

In 1932, Lupe Vélez took a break from her film career and traveled to New York City where she was signed by Broadway impresario Florenz Ziegfeld, Jr. to take over the role of "Conchita" in the musical revue 'Hot-Cha!'. The show also starred Bert Lahr, Eleanor Powell, and Buddy Rogers. Back in Hollywood, Lupe switched to comedy after playing dramatic roles for five years. Denny Jackson at IMDb: "In 1933 she played the lead role of Pepper in Hot Pepper (1933). This film showcased her comedic talents and helped her to show the world her vital personality. She was delightful." After Hot Pepper (John G. Blystone, 1933) with Edmund Lowe and Victor McLaglen, Lupe played beautiful but volatile, characters in a series of successful films like Strictly Dynamite (Elliott Nugent, 1934), Palooka (Benjamin Stoloff, 1934) both opposite Jimmy Durante, and Hollywood Party (Allan Dwan, a.o., 1934) with Laurel and Hardy. Although Vélez was a popular actress, RKO Pictures did not renew her contract in 1934. Over the next few years, Vélez worked for various studios as a freelance actress; she also spent two years in England where she filmed The Morals of Marcus (Miles Mander, 1935) and Gypsy Melody (Edmond T. Gréville, 1936). She returned to Los Angeles the following year where she appeared in the final part of the Wheeler & Woolsey comedy High Flyers (Edward F. Cline, 1937). In 1938, Vélez made her final appearance on Broadway in the musical You Never Know, by Cole Porter. The show received poor reviews from critics but received a large amount of publicity due to the feud between Vélez and fellow cast member Libby Holman. Holman was irritated by the attention Vélez garnered from the show with her impersonations of several actresses including Gloria Swanson, Katharine Hepburn, and Shirley Temple. The feud came to a head during a performance in New Haven, Connecticut after Vélez punched Holman in between curtain calls and gave her a black eye. The feud effectively ended the show. Upon her return to Mexico City in 1938 to star in her first Mexican film, Vélez was greeted by ten thousand fans. The film La Zandunga (Fernando de Fuentes, 1938) co-starring Arturo de Córdova, was a critical and financial success. Vélez was slated to appear in four more Mexican films, but instead, she returned to Los Angeles and went back to work for RKO Pictures. In 1939, Lupe Vélez was cast opposite Leon Errol and Donald Woods in the B-comedy, The Girl from Mexico (Leslie Goodwins, 1939). Despite being a B film, it was a hit with audiences and RKO re-teamed her with Errol and Wood for a sequel, Mexican Spitfire (Leslie Goodwins, 1940). That film was also a success and led to a series of eight Spitfire films. Wikipedia: "In the series, Vélez portrays Carmelita Lindsay, a temperamental yet friendly Mexican singer married to Dennis 'Denny' Lindsay (Woods), an elegant American gentleman. The Spitfire films rejuvenated Vélez's career. Moreover, they were films in which a Latina headlined for eight films straight –a true rarity." In addition to the Spitfire series, she was cast in such films as Six Lessons from Madame La Zonga (John Rawlins, 1941), Playmates (David Butler, 1941) opposite John Barrymore, and Redhead from Manhattan (Lew Landers, 1943). In 1943, the final film in the Spitfire series, Mexican Spitfire's Blessed Event (Leslie Goodwins, 1943), was released. By that time, the novelty of the series had begun to wane. Velez co-starred with Eddie Albert in the romantic comedy, Ladies' Day (Leslie Goodwins, 1943), about an actress and a baseball player. In 1944, Vélez returned to Mexico to star in an adaptation of Émile Zola's novel Nana (Roberto Gavaldón, Celestino Gorostiza, 1944), which was well-received. It would be her final film. After filming wrapped, Vélez returned to Los Angeles and began preparing for another stage role in New York.

Lupe Vélez's temper and jealousy in her often tempestuous romantic relationships were well documented and became tabloid fodder, often overshadowing her career. Vélez was straightforward with the press and was regularly contacted by gossip columnists for stories about her romantic exploits. Her first long-term relationship was with actor Gary Cooper. Vélez met Cooper while filming The Wolf Song in 1929 and began a two-year affair with him. The relationship was passionate but often stormy. Reportedly Vélez chased Cooper around with a knife during an argument and cut him severely enough to require stitches. By that time, the rocky relationship had taken its toll on Cooper who had lost 45 pounds and was suffering from nervous exhaustion. Paramount Pictures ordered him to take a vacation to recuperate. While he was boarding the train, Vélez showed up at the train station and fired a pistol at him. During her marriage to actor Johnny Weissmuller, stories of their frequent physical fights were regularly reported in the press. Vélez reportedly inflicted scratches, bruises, and love-bites on Weissmuller during their fights and "passionate love-making". In July 1934, after ten months of marriage, Vélez filed for divorce citing cruelty. She withdrew the petition a week later after reconciling with Weissmuller. In January 1935, she filed for divorce a second time and was granted an interlocutory decree that was dismissed when the couple reconciled a month later. In August 1938, Vélez filed for divorce for a third time, again charging Weissmuller with cruelty. Their divorce was finalised in August 1939. After the divorce became final, Vélez began dating actor Guinn "Big Boy" Williams in late 1940. They were reportedly engaged but never married. Vélez was also linked to author Erich Maria Remarque and the boxers Jack Johnson and Jack Dempsey. In 1943, Vélez began an affair with her La Zandunga co-star Arturo de Córdova. De Córdova had recently moved to Hollywood after signing with Paramount Pictures. Despite the fact that de Córdova was married to Mexican actress Enna Arana with whom he had four children, Vélez granted an interview to gossip columnist Louella Parsons in September 1943 and announced that the two were engaged. Vélez ended the engagement in early 1944, reportedly after de Córdova's wife refused to give him a divorce. Vélez then met and began dating a struggling young Austrian actor named Harald Maresch (who went by the stage name Harald Ramond). In September 1944, she discovered she was pregnant with Ramond's child. She announced their engagement in late November 1944. On 10 December, four days before her death, Vélez announced she had ended the engagement and kicked Ramond out of her home. On the evening of 13 December 1944, Vélez dined with her two friends, the silent film star Estelle Taylor and Venita Oakie. In the early morning hours of 14 December, Vélez retired to her bedroom, where she consumed 75 Seconal pills and a glass of brandy. Her secretary, Beulah Kinder, found the actress's body on her bed later that morning. A suicide note addressed to Harald Ramond was found nearby. Lupe Vélez was only 36 years old. More than four-thousand people filed past her casket during her funeral. Her body was interred in Mexico City, at Panteón Civil de Dolores Cemetery. Velez' estate, valued at $125,000 and consisting mostly of her Rodeo House home, two cars, jewelry, and personal effects were left to her secretary Beulah Kinder with the remainder in trust for her mother, Mrs. Josephine Velez. Together with Dolores del Rio, Ramon Novarro, and José Mojica, she was one of the few Mexican people who had made history in the early years of Hollywood.

Sources: Denny Jackson (IMDb), Wikipedia, and IMDb.

And, please check out our blog European Film Star Postcards.

D7K_0942.jpg by MOTOKI Plasticboystudio

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Lupe Velez in The Wolf Song (1929) by Truus, Bob & Jan too!

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French postcard by Europe, no. 650. Photo: Paramount. Lupe Velez in The Wolf Song (Victor Fleming, 1929).

Lupe Velez (1908-1944), was one of the first Mexican actresses to succeed in Hollywood. Her nicknames were 'The Mexican Spitfire' and 'Hot Pepper'. She was the leading lady in such silent films as The Gaucho (1927), Lady of the Pavements (1928), and Wolf Song (1929). During the 1930s, her well-known explosive screen persona was exploited in a series of successful films like Hot Pepper (1933), Strictly Dynamite (1934), and Hollywood Party (1934). In the 1940s, Vélez's popularity peaked after appearing in the Mexican Spitfire films, a series created to capitalise on Vélez's well-documented fiery personality. She had several highly publicised romances and a stormy marriage. In 1944, Vélez died of an intentional overdose of the barbiturate drug Seconal. Her death and the circumstances surrounding it have been the subject of speculation and controversy.

Lupe Vélez was born María Guadalupe Villalobos Vélez in 1908 in the city of San Luis Potosí in Mexico. She was the daughter of Jacobo Villalobos Reyes, a colonel in the army of the dictator Porfirio Diaz, and his wife Josefina Vélez, an opera singer according to some sources, or vaudeville singer according to others. She had three sisters: Mercedes, Reina and Josefina, and a brother, Emigdio. The family was financially comfortable and lived in a large home. At the age of 13, her parents sent her to study at Our Lady of the Lake (now Our Lady of the Lake University) in San Antonio, Texas. It was at Our Lady of the Lake that Vélez learned to speak English and began to dance. She later admitted that she liked dance class, but was otherwise a poor student. Denny Jackson at IMDb: "Life was hard for her family, and Lupe returned to Mexico to help them out financially. She worked as a salesgirl for a department store for the princely sum of $4 a week. Every week she would turn most of her salary over to her mother, but kept a little for herself so she could take dancing lessons. By now, she figured, with her mature shape and grand personality, she thought she could make a try at show business." She began her career as a performer in Mexican vaudeville in 1924. She initially performed under her paternal surname, but after her father returned home from the war, he was outraged that his daughter had decided to become a stage performer. She chose her maternal surname, "Vélez", as her stage name and her mother introduced Vélez and her sister Josefina to the popular Spanish Mexican vedette María Conesa, "La Gatita Blanca". Vélez debuted in a show led by Conesa, where she sang 'Oh Charley, My Boy' and danced the shimmy. Aurelio Campos, a young pianist, and friend of the Vélez sisters recommended Lupe to stage producers, Carlos Ortega and Manuel Castro. Ortega and Castro were preparing a season revue at the Regis Theatre and hired Vélez to join the company in March 1925. Later that year, Vélez starred in the revues 'Mexican Rataplan' and '¡No lo tapes!', both parodies of the Bataclan's shows in Paris. Her suggestive singing and provocative dancing was a hit with audiences, and she soon established herself as one of the main stars of vaudeville in Mexico. After a year and a half, Vélez left the revue after the manager refused to give her a raise. She then joined the Teatro Principal but was fired after three months due to her "feisty attitude". Vélez was quickly hired by the Teatro Lirico, where her salary rose to 100 pesos a day. In 1926, Frank A. Woodyard, an American who had seen Vélez perform, recommended her to stage director Richard Bennett, the father of actresses Joan and Constance Bennett. Bennett was looking for an actress to portray a Mexican cantina singer in his upcoming play 'The Dove'. He sent Vélez a telegram inviting her to Los Angeles to appear in the play. Vélez had been planning to go to Cuba to perform, but quickly changed her plans and traveled to Los Angeles. However, upon arrival, she discovered that she had been replaced by another actress.

While in Los Angeles, Lupe Vélez met the comedian Fanny Brice. Brice recommended her to Flo Ziegfeld, who hired her to perform in New York City. While Vélez was preparing to leave Los Angeles, she received a call from MGM producer Harry Rapf, who offered her a screen test. Producer and director Hal Roach saw Vélez's screen test and hired her for a small role in the comic Laurel and Hardy short Sailors, Beware! (Fred Guiol, Hal Yates, 1927). After her debut, Vélez appeared in another Hal Roach short, What Women Did for Me (James Parrott, 1927), opposite Charley Chase. Later that year, she did a screen test for the upcoming Douglas Fairbanks feature The Gaucho (F. Richard Jones, 1927). Fairbanks was impressed by Vélez and hired her to appear in the film with him. The Gaucho was a hit and critics were duly impressed with Vélez's ability to hold her own alongside Fairbanks, who was well known for his spirited acting and impressive stunts. Her second major film was Stand and Deliver (Donald Crisp, 1928), produced by Cecil B. DeMille. That same year, she was named one of the WAMPAS Baby Stars. Then she appeared in Lady of the Pavements (1929), directed by D. W. Griffith, and Where East Is East (Tod Browning, 1929), starring Lon Chaney as an animal trapper in Laos. In the Western The Wolf Song (Victor Fleming, 1929), she appeared alongside Gary Cooper. As she was regularly cast as 'exotic' or 'ethnic' women that were volatile and hot-tempered, gossip columnists took to referring to Vélez as "Mexican Hurricane", "The Mexican Wildcat", "The Mexican Madcap", "Whoopee Lupe" and "The Hot Tamale". Lupe Vélez made the transition to sound films without difficulty. Studio executives had predicted that her accent would likely hamper her ability to make the transition. That idea was dispelled after she appeared in the all-talking Rin Tin Tin vehicle, Tiger Rose (George Fitzmaurice, 1929). The film was a hit and Vélez's sound career was established. Vélez appeared in a series of Pre-Code films like Hell Harbor (Henry King, 1930), The Storm (William Wyler, 1930), and the crime drama East Is West (Monta Bell, 1930) opposite Edward G. Robinson. The next year, she appeared in her second film for Cecil B. DeMille, Squaw Man (Cecil B. DeMille, 1931), opposite Warner Baxter, in Resurrection (Edwin Carewe, 1931), and The Cuban Love Song (W.S. Van Dyke, 1931), with the popular singer Lawrence Tibbett. She had a supporting role in Kongo (William J. Cowen, 1932) with Walter Huston, a sound remake of West of Zanzibar (Tod Browning, 1928) which tries to outdo the Lon Chaney original in morbidity. She also starred in Spanish-language versions of Universal films like Resurrección (Eduardo Arozamena, David Selman, 1931), the Spanish version of Resurrection (1931), and Hombres en mi vida (Eduardo Arozamena, David Selman, 1932), the Spanish version of Men in Her Life (William Beaudine, 1931) in which Lois Moran had starred.

In 1932, Lupe Vélez took a break from her film career and traveled to New York City where she was signed by Broadway impresario Florenz Ziegfeld, Jr. to take over the role of "Conchita" in the musical revue 'Hot-Cha!'. The show also starred Bert Lahr, Eleanor Powell, and Buddy Rogers. Back in Hollywood, Lupe switched to comedy after playing dramatic roles for five years. Denny Jackson at IMDb: "In 1933 she played the lead role of Pepper in Hot Pepper (1933). This film showcased her comedic talents and helped her to show the world her vital personality. She was delightful." After Hot Pepper (John G. Blystone, 1933) with Edmund Lowe and Victor McLaglen, Lupe played beautiful but volatile, characters in a series of successful films like Strictly Dynamite (Elliott Nugent, 1934), Palooka (Benjamin Stoloff, 1934) both opposite Jimmy Durante, and Hollywood Party (Allan Dwan, a.o., 1934) with Laurel and Hardy. Although Vélez was a popular actress, RKO Pictures did not renew her contract in 1934. Over the next few years, Vélez worked for various studios as a freelance actress; she also spent two years in England where she filmed The Morals of Marcus (Miles Mander, 1935) and Gypsy Melody (Edmond T. Gréville, 1936). She returned to Los Angeles the following year where she appeared in the final part of the Wheeler & Woolsey comedy High Flyers (Edward F. Cline, 1937). In 1938, Vélez made her final appearance on Broadway in the musical You Never Know, by Cole Porter. The show received poor reviews from critics but received a large amount of publicity due to the feud between Vélez and fellow cast member Libby Holman. Holman was irritated by the attention Vélez garnered from the show with her impersonations of several actresses including Gloria Swanson, Katharine Hepburn, and Shirley Temple. The feud came to a head during a performance in New Haven, Connecticut after Vélez punched Holman in between curtain calls and gave her a black eye. The feud effectively ended the show. Upon her return to Mexico City in 1938 to star in her first Mexican film, Vélez was greeted by ten thousand fans. The film La Zandunga (Fernando de Fuentes, 1938) co-starring Arturo de Córdova, was a critical and financial success. Vélez was slated to appear in four more Mexican films, but instead, she returned to Los Angeles and went back to work for RKO Pictures. In 1939, Lupe Vélez was cast opposite Leon Errol and Donald Woods in the B-comedy, The Girl from Mexico (Leslie Goodwins, 1939). Despite being a B film, it was a hit with audiences and RKO re-teamed her with Errol and Wood for a sequel, Mexican Spitfire (Leslie Goodwins, 1940). That film was also a success and led to a series of eight Spitfire films. Wikipedia: "In the series, Vélez portrays Carmelita Lindsay, a temperamental yet friendly Mexican singer married to Dennis 'Denny' Lindsay (Woods), an elegant American gentleman. The Spitfire films rejuvenated Vélez's career. Moreover, they were films in which a Latina headlined for eight films straight –a true rarity." In addition to the Spitfire series, she was cast in such films as Six Lessons from Madame La Zonga (John Rawlins, 1941), Playmates (David Butler, 1941) opposite John Barrymore, and Redhead from Manhattan (Lew Landers, 1943). In 1943, the final film in the Spitfire series, Mexican Spitfire's Blessed Event (Leslie Goodwins, 1943), was released. By that time, the novelty of the series had begun to wane. Velez co-starred with Eddie Albert in the romantic comedy, Ladies' Day (Leslie Goodwins, 1943), about an actress and a baseball player. In 1944, Vélez returned to Mexico to star in an adaptation of Émile Zola's novel Nana (Roberto Gavaldón, Celestino Gorostiza, 1944), which was well-received. It would be her final film. After filming wrapped, Vélez returned to Los Angeles and began preparing for another stage role in New York.

Lupe Vélez's temper and jealousy in her often tempestuous romantic relationships were well documented and became tabloid fodder, often overshadowing her career. Vélez was straightforward with the press and was regularly contacted by gossip columnists for stories about her romantic exploits. Her first long-term relationship was with actor Gary Cooper. Vélez met Cooper while filming The Wolf Song in 1929 and began a two-year affair with him. The relationship was passionate but often stormy. Reportedly Vélez chased Cooper around with a knife during an argument and cut him severely enough to require stitches. By that time, the rocky relationship had taken its toll on Cooper who had lost 45 pounds and was suffering from nervous exhaustion. Paramount Pictures ordered him to take a vacation to recuperate. While he was boarding the train, Vélez showed up at the train station and fired a pistol at him. During her marriage to actor Johnny Weissmuller, stories of their frequent physical fights were regularly reported in the press. Vélez reportedly inflicted scratches, bruises, and love-bites on Weissmuller during their fights and "passionate love-making". In July 1934, after ten months of marriage, Vélez filed for divorce citing cruelty. She withdrew the petition a week later after reconciling with Weissmuller. In January 1935, she filed for divorce a second time and was granted an interlocutory decree that was dismissed when the couple reconciled a month later. In August 1938, Vélez filed for divorce for a third time, again charging Weissmuller with cruelty. Their divorce was finalised in August 1939. After the divorce became final, Vélez began dating actor Guinn "Big Boy" Williams in late 1940. They were reportedly engaged but never married. Vélez was also linked to author Erich Maria Remarque and the boxers Jack Johnson and Jack Dempsey. In 1943, Vélez began an affair with her La Zandunga co-star Arturo de Córdova. De Córdova had recently moved to Hollywood after signing with Paramount Pictures. Despite the fact that de Córdova was married to Mexican actress Enna Arana with whom he had four children, Vélez granted an interview to gossip columnist Louella Parsons in September 1943 and announced that the two were engaged. Vélez ended the engagement in early 1944, reportedly after de Córdova's wife refused to give him a divorce. Vélez then met and began dating a struggling young Austrian actor named Harald Maresch (who went by the stage name Harald Ramond). In September 1944, she discovered she was pregnant with Ramond's child. She announced their engagement in late November 1944. On 10 December, four days before her death, Vélez announced she had ended the engagement and kicked Ramond out of her home. On the evening of 13 December 1944, Vélez dined with her two friends, the silent film star Estelle Taylor and Venita Oakie. In the early morning hours of 14 December, Vélez retired to her bedroom, where she consumed 75 Seconal pills and a glass of brandy. Her secretary, Beulah Kinder, found the actress's body on her bed later that morning. A suicide note addressed to Harald Ramond was found nearby. Lupe Vélez was only 36 years old. More than four-thousand people filed past her casket during her funeral. Her body was interred in Mexico City, at Panteón Civil de Dolores Cemetery. Velez' estate, valued at $125,000 and consisting mostly of her Rodeo House home, two cars, jewelry, and personal effects were left to her secretary Beulah Kinder with the remainder in trust for her mother, Mrs. Josephine Velez. Together with Dolores del Rio, Ramon Novarro, and José Mojica, she was one of the few Mexican people who had made history in the early years of Hollywood.

Sources: Denny Jackson (IMDb), Wikipedia, and IMDb.

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Blackwell House Strathalbyn 1869. Double sash windows with curved tops. In 1912 a butcher purchased it and named it Blackwell House and operated a butcher shop from here. by denisbin

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Strathalbyn.

A Special Survey of 4,000 acres was taken out along the Angas River in 1839 for George Hall (secretary to Governor Gawler) and William Mein and others. Land was surveyed from the mouth of the Angas along the river to about where Macclesfield is now situated. Other contributors to the Mouth of the Angas Special Survey were Strathalbyn settlers including: 806 acres purchased by Dr John Rankine, Blackwood Park; 166 acres purchased by William Rankine, Glenbarr; 410 acres purchased by Donald McLean; 81 acres purchased by Edward and Charles Stirling of Hampton and later the Lodge. William and Nicol Mein kept 728 acres for themselves but George Hall (who kept about 930 acres) was a Colonial Office employee with an eye on speculation. He also paid £4,000 for the Great Bend Special Survey along the River Murray from Morgan to Blanchetown but it was claimed this was taken for Governor Gawler but in Hall’s name to avoid scandal! But the land was not worth £1 per acre! The Meins were graziers and also took out Occupational Licenses for leasehold land in 1843. They were Scots so they donated £600 for the building fund for the Presbyterian Church in Adelaide in 1840. But in 1843 they dissolved a business partnership in Adelaide and they appear to have left the colony perhaps to join their relatives in NSW. Meins did not stay on to become Strathalbyn pioneers unlike the Rankines, McLeans and Stirlings. The other prominent early founder was William Dawson- hence the creek flowing in front of Glen Barr is the Dawson Creek which enters the Angas River in Strathalbyn. Dawson Banks is another of the grand old properties in Strathalbyn.

Stirlings chose their land to the north of the town and built Hampden and the Lodge; John Rankine chose his land to the north of the town and built Blackwood Park whilst brother William Rankine chose land to the south on Dawson Creek and built Glenbarr house. The first public building in the fledgling town of Strathalbyn was the Strathalbyn Hotel erected in 1840 and the second was probably St. Andrews Presbyterian Church which opened in 1844 with additions in 1869. As most of the settlers were Scottish the name chosen for the town was Scottish and the first church was Presbyterian. The first farmer to produce a crop was David Gollan. His interest in wheat led him to open the first flour mill in 1850 in the centre of the town. Mill Bridge adjacent to the flourmill bridged the Angas River. As the town progressed quickly a local council was formed in 1854 with the Stirlings, Rankines and Archibald McLean (investor in Langhorne Creek) being among the first councillors. The Stirlings were especially important to Strathalbyn. Edward Stirling (the father) joined into a partnership with (Sir) Thomas Elder and Robert Barr Smith in 1855. Stirling stayed with the company as it funded the Moonta and Wallaroo copper mines in 1861 then he withdrew but remained as an investor in the mines. The company went on to become Elder Smith and Co the most successful SA 19th century company. Edward Stirling had two sons, (Sir) Edward Stirling a famed surgeon who lived at St. Vigeans at Stirling and (Sir) Lancelot Stirling, local Member of Parliament for the Strathalbyn district, sheep and cattle breeder and company director. The Stirlings lived in the family home Hampden until it burnt down around 1870. Then they moved into the Lodge which was extended and remained the family home for Sir Lancelot Stirling after his father Edward died in 1873. Lancelot lived there until he died in 1932. The Stirlings of Strathalbyn also owned and operated Nalpa Station on Lake Albert. The Lodge is now the centre of a new suburban development at Strathalbyn.

From the beginning Strathalbyn prospered because of its access to water from the Angas River, its reliable rainfall, its genial climate for cropping and from the patronage of its wealthy founders. The town was laid out in 1840 and blocks sold at that time. The discovery of silver, lead and zinc at nearby Wheal Ellen mine in 1857 further boosted the growing town. The mine closed a short time later but re-opened in 1869 and operated until closure in 1888. It briefly re-opened from 1910-14 for the last phase. Until recently Strathalbyn had another zinc mine conducted by Terramin Mining which started operations in 2007. The zinc from here was sent to Nyrstar refinery at Port Pirie for smelting. The mining occurred 360 metres below the ground surface. The mine had a life of five years and closed in late 2013 ending the jobs of 115 local people. But Strathalbyn has always had a range of local industry. A foundry operated in the town from the mid 1850s as well as the usual businesses of blacksmith, saddlery etc, and the town handled coach services to Wellington via Langhorne Creek from around 1854. It was also one of the first towns in SA to have its own gas works started by David Trenouth in 1868. By 1870 the small urban centre of Strathalbyn had gas street lights! The gas works operated until 1917 when an electrical service took over power provision. From an early date Strathalbyn also had its own newspaper and printing press the Southern Argus housed in Argus House which was built 1867/68. The Southern Argus which is still published, is SA’s oldest country newspaper. In 1912 it established an offshoot - the Victor Harbor Times. In terms of transportation and the transport of goods Strathalbyn prospered as it was the terminus of the horse drawn tram service from Port Elliott and Goolwa in 1869. That is why the Terminus Hotel is so named. In 1884 that line was converted to a broad gauge rail line for steam engines and linked at Mt Barker with the line to Adelaide. Strathalbyn had a flour mill from 1850 as noted above and in the 1860s the town had its own brewery. The heyday of business boom for Strathalbyn was in the 1860s and 1870 when so many of the fine town buildings were erected. Heritage buildings are shown on map above and they include:

Commercial Street/Dawson Street.

•At the northern end of Commercial Street on the corner with North Parade is the Doctor’s Residence. 26 North Parade. Dr Herbert built a grand 8 roomed residence here in 1858. Dr Ferguson purchased it in 1869 and added and altered the verandas. Dr Shone bought it in 1897. Dr Formby took it over in 1907 and kept it until he sold it to Dr Fairley in 1979! Note the double chimneys and the ogee(S shaped) gutters above the bay windows and the 1850s French windows.

•On the northern end of Commercial Street is the Wesleyan Methodist Church which was built in 1874. It replaced the demolished Methodist church built in 1854. Built of random stone, semi rounded windows etc. It became the only Methodist church at the time of Methodist amalgamations in 1900 .It closed around the time of amalgamation with the Presbyterians and Congregationalists in 1977. The Hall was added in 1939.

•Blackwell House, 18 Commercial Street. A two storey bluestone structure from the 1860s. It was much altered in 1912 when the parapet along the roof was removed, the slate replaced with iron and the upper balcony added.

•The former Power House 1917 –when gas works closed. Became Council Chamber 1939 when ETSA arrived.

•Coleman Mill store. Fine stone building with few windows. Built 1864. Coleman bought the mill from Gollan.

•1850 flour mill which was sold to Laucke’s in 1938. Commercial Rd and Mill Street an imposing four storey structure. Note the four storeys, purple sandstone, and little windows.

•Beside the mill is Water Villa house. The earliest part dates from 1849 and the Italianate bay window sections are 1879. David Gollan the owner of the 1850 flour mill built this as his residence. It is a mixture of stones. Note the French doors in the old original part of the house onto the veranda.

•Argus House, 1868. 33 Commercial Street. It was a print works and residence and shop.

•Post Office 1911. 37 Commercial Street.

•Savings Banks of South Australia. A fine two storey structure for the bank and manager’s residence. Built in 1930. It has rough stone, prominent gables, repeating arches, wooden doors, and terra cotta tiles.

•Church of Christ. Opened in 1873.Limestone walls, arched windows.

•Masonic Hall built in 1896 but Lodge established 1866.Additons 1912 and 1957.

Rankine Street/Albyn Terrace.

•Strathalbyn Police Station (1855) and Court House (1865) now the National Trust Museum.

•National Bank 2 Albyn Terrace. Squared stone blocks, two storeys and a dominant building. Elaborate porch and balcony and decorative window surrounds etc. Erected in 1869. Nearby Norfolk Island pine was planted in 1895.

•Tucker & Sons solicitors at 8 Albyn Terrace. Have a look at all the shops along Albyn Terrace a great 19th century streetscape still largely intact. It was used in the film “Picnic at Hanging Rock.”

High Street.

•London House general store at 7 High Street 1867. Now an antiques shop. Cobb and Co used to use the stables at the rear for the daily coaching service to Adelaide. London House had the first telephone in Strathalbyn in 1883.

•Robin Hood hotel erected in 1855 and still standing. 18 High Street.

•The Strathalbyn library 9 High Street. Opened 1922 with a classical façade with good symmetry.

•The Town Hall at 11 High Street. 1874 opened as a two storey stone structure with fancy parapet as an institute building. The parapet is supported by paired brackets.

Other locations- Chapel Street, East Terrace and South Terrace.

•St. Andrews Uniting Church (formerly Presbyterian) 1844 for main church with transept added 1857. Manse erected 1854. 1869 tower completed, bell donated by Edward Stirling. Clock installed 1895. Church hall on the opposite corner was built in 1911.

•Former Primitive Methodist Church 1861 was sold to the Anglican Church as a church hall in 1901 following the Methodist amalgamation. It was sold to the Foresters Lodge in 1912(when Anglicans purchased the former Catholic Church) and much later it as sold to the Scouts.

•St. Barnabas Catholic Church 2 Chapel Street. This was a late addition to Strathalbyn being erected in 1913. But Catholic services began in 1881 when a Catholic church was consecrated in Rowe St. The first priest arrived in 1906. A presbytery as built 1911 in East Tce and then church two years later. The 1881 church was sold in 1913 as Anglican parish hall called St. Barnabas. It is on the corner of Rowe and Murray street.

•Christ Church Anglican Church 7 East Terrace. The tower on Christ Church was erected from donations on the death of Sir Lancelot Stirling in 1932. The tower opened in 1933 but the church was built in 1871.

•Railway Station on South Terrace erected 1883 in time for opening of broad gauge line to Adelaide and start of branch line trains to Milang from Sandergrove siding.

•Two storey residence attached to Rowe’s foundry in South Terrace. Britannia House as it is known was built in 1855.

Britannia Foundry in Strathalbyn founded in 1869. Two storey House however was built in 1855 for William Rowe. Foundry ceased operations in 1878. by denisbin