View allAll Photos Tagged statement.
Die Bundesministerin der Verteidigung, Annegret Kramp-Karrenbauer, gibt ein Statement zusammen mit dem Vorstandsvorsitzenden der Deutschen Bahn AG Richard Lutz und dem Vorsitzenden der CSU im Bundestag, Alexander Dobrindt, zu der Thematik kostenloses Bahnfahren für Soldatinnen und Soldaten im Bundesministerium der Verteidigung, am 17.08.2018.
©Bundeswehr/Andrea Bienert
Just a fun shot my new fashion footwear to get me on and off the boat since the flood.
So if you see an septuagenarian in pink wellies it's me, so stop and say giday.
Younghusband Murray River South Australia.
No question as to who would win in a confrontation be me and this wave. Slight reach and height advantage on me ha!
Spitalfields Market, City Of London This Stallholder in Spitalfields Market is such a character, and almost timeless. Camera:Nikon D90 Lens: Nikon 55-200
This avant garde big flower necklace one of a kind statement necklace was created by hand.
The body of this collar necklace is needle felted wool (100% wool), swarovski colorful cristal stone, light turkiz Czech beads and colorful embroidery thread.
My inspiration for this necklace comes from Russian folk art and Japanese manga culture.
by Nufar Livny Laskov
They may have a...
Our Daily Challenge - July 30, 2016 - "Passion"
... for Modeling, but Fashion Sense? Not so much.
Daily Dog Challenge 1735. "Mixed"
Today's Post (Fashion Statement) : www.bzdogs.com/2016/07/fashion-statement.html
Stop on by Zachary and Henry's blog: bzdogs.com - The Secret Life of the Suburban Dog
A bright and bold statement necklace fit for a queen of fashion! Tutorial blogged here: erinsiegeljewelry.blogspot.com/2013/08/fashionista-statem...
More info: www.craftivist-collective.com/Mini-Fashion-Statements
PRESS RELEASE 16.2.17:
Will you find a Mini Fashion Statement in your pocket this April?
As the world remembers the Rana Plaza disaster on 24 April, the Craftivist Collective will be launching a new craftivism kit to make and gently challenge people to think about how their clothing is made.
The collapse of a Bangladeshi factory in 2013 saw 1,138 garment workers killed and over 2,500 injured. There had been signs of structural failure the previous day, but workers were ordered to return to work regardless.
The Mini Fashion Statements kit is being launched in support of Fashion Revolution, a global movement born in the wake of the disaster, which calls for greater transparency, sustainability and ethics in the fashion industry.
The kit feature small scrolls on which makers all over the world are encouraged to write - slowly and in their neatest handwriting on their own or in groups - one of three provocative but not preachy messages designed to get both writer and reader thinking about the true cost of fashion and inspire them to play their part in improving the ugly side of the industry.
Shop-droppers not shop-lifters
The finished scrolls, tied with a pretty bow and featuring an invitation to “please open me”, a smiley face and a kiss, can then be ‘shop-dropped’ into the pockets of garments in fashion stores, or clothes worn by family, friends and colleagues.
This deliberately non-confrontational form of ‘guerilla activism’ using handcrafts is a designed as an alternative to some the more traditional aggressive types of activism.
Sarah Corbett, founder of the Craftivist Collective, said: “We help people learn the art of ‘gentle protest’. We want every part of the fashion industry to be beautiful, not just the clothes. Our pocket-sized scrolls are powerful and poignant little reminders of the role we can play as consumers. They’re designed to make us think about how the clothes we buy and wear are made, and how we might be able to help tackle problems like poor conditions for workers or the use of materials that are damaging to the environment.”
Asking #whomademyclothes
Orsola de Castro, co-founder and Creative Director of Fashion Revolution, said: “We want to unite the fashion industry and ignite a revolution to radically change the way our clothes are sourced, produced and purchased, so that what the world wears has been made in a safe, clean and fair way.
“The Craftivist Collective’s Mini Fashion Statements are a really simple, fun and creative way to be part of the Fashion Revolution. Made with love and placed into a pocket on a store's clothes rail, they surprise shoppers with a message that reminds us to be more curious about our clothes.
“They may be small, but they have the power to make shoppers stop and consider the people who make our clothes, their working conditions and human rights issues. This shows that activism doesn't need to shout from the rooftops, it can gently provoke from our pockets!”
The Mini Fashion Statement kits were pioneered by Sarah during workshops at Stockholm Fashion Week and Helsinki Design Week, and are the first non-stitched Craftivist Collective project. Sarah will be holding further workshops in London and Lincoln in early April to introduce people to the kits and teach them how to do ‘shop drops’ to distribute their mini fashion statements.
[Subhead:] Editor’s notes
CRAFTIVIST COLLECTIVE: Founded in 2009, the Craftivist Collective produces projects, products and kits to help individuals and groups across the globe change the world one stitch (or sentence) at a time using slow, gentle, beautiful activism. You can find out more at www.craftivist-collective.com
FASHION REVOLUTION: Fashion Revolution is a global movement calling for greater transparency, sustainability and ethics in the fashion industry. Fashion Revolution Week runs from 24-30 April 2017. For more information visit www.fashionrevolution.org
RESOURCES / CONTACT: Logos and product imagery, as well as quotes and interview opportunities, are available on request - please email press@craftivist-collective.com.
MINI FASHION STATEMENT KITS: Each kit features: a roll of high quality scrolls, each with an embossed Craftivist Collective logo; three different colours of ribbon (enough for 10 scrolls) to help make your messages stand out; ‘Crafterthought’ questions to reflect on as you write; two small free gifts; tips and message templates. They will available from 24 April at <a href=www.craftivist-collective.com/shop.
EVENT: Hackney, London: Thursday 6th April, Showroom Studio, 6.30-8pm. £10 You will learn the art of gentle protest, create beautiful small fashion statements supporting the organisation Fashion Revolution to put into the world as catalysts for change and practice the skill of shopdropping (the opposite of shoplifting).
Serbia 1 Slovenia 1
Translates roughly to "For Kosovo Serbs No Passports" "For Brazilian No Problems" Joke about Cleo a Brazilian who plays for Partizan Belgrade getting a Serbian Passport, but Kosovo Serbs not so fast...
I put up a tutorial to make this crocheted wreath on my blog. I've been obsessing over doilies for the past few months, creating my patterns, so lace is still on my brain.
read each of the statements and select the one which discribes how you feel / discuse
psychosocial therapies are part of the standard management of schizophrenic illnesses, but have not been subjected to systematic evaluation and are therefore not included in this guideline. This does not imply that they are not essential components of good practice.
The remainder of this section describes the evidence for the effectiveness of Education Programmes, Family Interventions, and Cognitive Behaviour Therapy in the management of schizophrenia. Section 3 provides recommendations for the application of these interventions in clinical practice, according to the phase of the illness.
Education programmes
Education Programmes are directed at either patients or carers/family members and have several aims. Improvement in knowledge of schizophrenia and its course and in compliance with treatment has been shown. There is also evidence of greater satisfaction with services provided. Some programmes go beyond the provision of information and take an educational approach to skills training or problem solving.
Education Programmes for patients may be undertaken in individual or in group settings. Simple information-giving is less effective than interactive sessions. The focus includes giving information about the course and management of the illness, including the importance of compliance with medication and the management of stress.
Providing carers and family members with information on the likely course of the illness, the treatments available, the importance of compliance and the services available is an essential element of good practice It may be undertaken as part of a Family Intervention programme
Specific techniques, e.g. use of homework or video, have not been shown to improve the assimilation of information, but a group setting has advantages
Family interventions
The aims of 'Family Intervention' include reduction of frequency of relapse into illness and reduction of hospital admissions, reduction in the burden of care on families and carers, and improvement in compliance with medication.
Some Family Intervention Programmes have targeted families where there are high levels of criticism, hostility and over-involvement. 'High expressed emotion' is a measure of these features and programmes which reduce this or reduce the amount of 'face to face' contact between the patient and family members have been shown to reduce the frequency of relapse. However, the measurement of expressed emotion is a research technique which is not practical for everyday use. Family Intervention Programmes which are not derived from this theoretical background have been shown to be effective.
Most intervention strategies contain more than one technique. Separating and defining the effects of the components of an intervention strategy is not possible at present as few studies examine the effect of a single technique and only a general description of interventions used in research studies is usually given. However, a number of practice guides have been published which give detailed descriptions of the techniques employed in some studies. Family Intervention has been shown to be effective with some variation in the components of the programme, but family sessions to address the problems identified in the analysis may not be effective if the patient is not included. Social skills training and vocational rehabilitation were included in some studies. These are not covered as separate interventions in the guideline.
Cognitive behaviour therapy
Cognitive Behaviour Therapy for psychosis is a modification of standard cognitive behavioural therapy. The aim is to modify symptoms (e.g. delusions, hallucinations) or the consequences of the symptoms which may be cognitive, emotional, physiological or behavioural. The treatment programme is intensive (involving about 20 hours of individual treatment) and based on an individually tailored formulation which provides an explanation of the development, maintenance and exacerbation of symptoms and of pre-morbid mood, interpersonal and behavioural difficulties.
There is now good evidence that treatment resistant symptoms (delusions, hallucinations) can be substantially reduced in a significant proportion of those who complete therapy. It is not yet clear who is most likely to benefit from treatment and many patients may be unwilling to participate. The treatment is well tolerated. However, reduction of symptoms has not been shown to lead to significant social or lifestyle improvements.
A combination of the following techniques has been shown to be most effective in lessening symptoms of psychosis resistant to other forms of treatment:
◦enhancement of cognitive behavioural coping strategies5
◦developing a rationale to explain symptoms28◦realistic goal setting
◦modification of delusional beliefs29◦modification of dysfunctional assumptions.
A number of these techniques are a refinement of normal good practice using a systematic approach.
'Early Intervention Studies' have aimed to identify prodromal symptoms or the 'signature' preceding relapse. The approach is not a form of cognitive therapy, but early intervention with medication or Cognitive Behaviour Therapy may be facilitated
Dear George Osbourne,
The economy. Ah, it's broken isn't it? Well done for that. Tell you what. why not waste £600 million on duplicating school places on someone's ideological whim? That'd help when there's a high school in Pakefield that needs £12 million to actually finish building it.
This is my response you your, err, "plan".
Love and kisses,
Blue Square Thing
A strike day, so in Norwich.
2011-11-30 & 333/365
Financial statements for businesses usually include income statements, balance sheets, statements of retained earnings and cash flows. For more information please visit us our website.
my desk is out of space for financial statement, and so is my mind.....i had a nightmare in the early morning.....Charts keep my mind busy when dreaming
According to the Gospel of John the Apostle, at the time of his crucifixion, Jesus spoke to John and the Virgin Mary from the cross. John records Jesus' statement, in his Gospel as "Woman, behold thy son and Behold thy Mother." John 19:26-27. It is alleged that John understood Jesus' words to indicate that John was to take Jesus' place as the son of Mary and John was to care for her as his mother. John allegedly came to Ephesus, Turkey between 38 AD and 47 AD to continue to spread the teachings of Jesus. It was at Ephesus that John is alleged to have written his contributions to the Bible, the Gospel of John, the Three Letters of John and the book of Revelation. Supposedly, in carrying out Jesus' dying directive, John brought the Virgin Mary to Ephesus with him. He established Mary in a small stone house near Ephesus, where she lived out the remainder of her earthly life until 48 AD. Today, the cottage where Mary lived is a chapel, venerated by many as a shrine.
Whille the Catholic Church has not taken a formal position on the matter. Pope Leo XIII recognized the house as an official place of pilgrimage in 1869,. Later, Pope Pius X granted a plenary indulgence for the remission of sins to all pilgrims who make the pilgrimage to the site Three Catholic popes, Paul VI, John Paul II and Benedict XIV, have visited the site.
I wonder what this guy's political persuasions are? :-D
I'm sure he's glad how those runoff elections in Georgia turned out.
I still don't understand how this guy (I saw him get out of his car) is a liberal yet drives a crossover. Well, it is a Subaru, at least. But I think a Toyota Yaris would have been more appropriate.
Taken with my flip phone at the West Caldwell, New Jersey ShopRite.
Photograph by: Ryan Nyenhuis
Sunday June 15th 2008, Fathers Day. Ryan and I woke with a plan. The plan being to sneak into the abandon R.L. Hearn Thermal Generation Power Plant which is located in the south east area of downtown Toronto. We wanted to photograph the beauty of decay.
We had made a trip over to the power plant a week prior to scout out the area, to see where guards were located and to find easy access inside.
Sneaking past the guard house located at the front of the property and making our way along the north west section of property towards the back of the plant where the barbed wire fence was weakest.
We then smoked three quarters of a joint together before working up the nerve to hop the fence. Ryan went first, watching him hop the fence and dart out into the yard and hiding behind scrap metal for cover then finally making it to the back of the building. Then it was my turn. What excitement that was, knowing your breaking the law to do something adventurous.
After getting onto the property we were standing at the back of the Hearn and looking for our way inside. To do so we had to hop up onto a metal fence post and from there had to reach up and grab a hold of plywood that covered up the tall entrance area. A good 15 foot climb up, over and in.
Once inside the first photo that was taken was the one of Ryan and I standing together, titled "final hours".
This place was like no other we had ever explored together. The shear size of it all was breathtaking and mind blowing at the same time. The beauty of destruction.
After the first photo was taken we started exploring the plant. Taking the necessary precautions we had come prepared with asbestos masks and flashlights.
We had made our way around on the ground floor, through locker rooms, showers, storage rooms. Then we started making our way up stairs to the 2nd and 3rd level offices, had the remainder of our joint together.
From the office levels we went back onto the factory area and started climbing the metal stairs up further still. Some photos show how high up we were in that building.
We then made ourselves up onto the roof. What a view from there looking out over the city core. Looking out over Lake Ontario we saw really dark storm clouds. Ryan pulled out a cigarette and had a smoke.
We were up on the roof for about a half hour before Ryan asked me "what do you want to do now man?". "Do you want to go home now or stay a bit longer and explore?". My camera battery had died at this point and being there any longer served no purpose for me. I was hesitant on a response because at the same time I wanted to keep exploring because the plan was to keep coming back weekend after weekend to explore and document the old structure.
I then agreed to keep exploring. We came in off the roof, coming down a level, walked through a doorway into a long looking dark room. All across the top level of The Hearn runs conveyor belts that run coal from one end to the other. Walking together along the metal grating flooring. Ryan was 2 feet in front of me.
I then ended up tripping over a small extruded piece of metal on the floor, and from that second on I pointed my flashlight directly onto the floor to see where I was walking.
Very shortly after this happens, in mid sentence Ryan just falls into blackness. All I see is from his waist up as he plunges into complete blackness and followed by about 4-5 seconds before hearing a sick crash far below.
I then look 2 feet in front of me and see there is no more floor. My imediant thought is that he is dead. Then my brain clicks "I have to get my best friend out of here".
I then tried my best to back track to get out of the building, taking a route that he and I had not taken to get to this point. All I knew is I had to get out of The Hearn and find someone that could help.
I don't even know how I got out of that place. When I did I came out on the back side of the building, ran around to the guard house screaming for help.
I screamed to the guard that my best friend just fell in there and is hurt really bad, he asked what we were doing in there and I told him we were just taking photos.
The guard then called like every paramedic, fire and police officer in the city. About 10 minutes after the call was made all I could hear were the sirens. Scared and relived at the same time I was.
Once they all showed up I told them Ryan was in there, that we were up high in the building and he fell. All the cops were telling me to retrace my steps, they wanted to see where we came in from. I screamed at them "we don't have time for that right now, my best friend is dying in there". I then started leading them to the front of the Hearn because I knew it was the closet way inside. We get to the front and all entrances were boarded up. One cops said to me "Ian there is no way in through this way, you have to show us where you came in from". I then demanded to the fire fighters that they bust this plywood down to get inside.
Once inside the cops started fucking with my mind, me being in total shock at the time they started asking me where we had explored, they wanted me to take them on what would have been a few hours of exploration, which we didn't have time for.
Then an officer finds his asbestos mask and glasses. My first thought is he was okay, that he somehow managed to crawl out under his own power. I was wrong. His mask and glasses had bounced off of objects on the fall and Ryan was nowhere to be found.
The police tried getting a hold of Rogers Communication to see if they could pin point his location with the cell phone he had on him. They ended up using thermal vision to locate him. He was trapped in a coal hopper located high up in the building.
I was escorted out at this point in time because I was too "hysterical" for the cops liking.
Two and a half hours went by, a fierce thunderstorm was passing through.
While they were working on getting Ryan out I was giving my statement to the police. Never gave one of those in my life. I told them everything that I am writing here right now, everything, even the joint smoking. I had Nothing to hide.
We went in undetected but I didn't care if the whole world was watching at this point, I was doing what any best friend would do. I was trying to save him. City Pulse News was there and I was trying to hide from them. I was scared that this is how his family would find out and how my family would find out, being Fathers days and all.
After two and a half hours of hell they finally got Ryan out. I watched them carry him out on a backboard and I yelled to him that I loved him.
Ryan was rushed to St. Micheal's Hospital, the best in all the city for trauma.
I followed about an hour after him, being escorted in a police car. On the drive one officer said to me "this is going to cost you and your buddy about a hundred thousand dollars for all that had to be done here today". What a jackass thing to say. I responded by saying "I don't give a fuck about money, take all I have from me I don't care, I'm loosing the most important person in my life right now".
We get to the hospital, I enter the trauma wing of St. Micheal's. They told me that I was going to be the one to call the home of the Nyenhuis'. I thought that was insane, and told them I could not make that call, that they would have to.
I then went into the waiting room, sat down. I remember the NBA finals were on the televisions in there and I ended up falling asleep somehow.
Waking to Stevie and Tammy's faces hours later (Stevie being Ryan's room mate and Tammy being Ryan's girlfriend).
Stevie told me that John and Cheryl were on their way and that we could go up stairs to the trauma ward to see Ryan.
The trauma centre, located on the 9th floor of St. Micheal's Hospital.
Hours passed by, as the night went on the news kept getting worse and worse about his condition.
I ended up leaving to come back to my apartment at 6am the following morning, I had to talk to my parents and try and shovel some food into my system. Still being in shock and never got treatment for shock when it happened.
I returned to the hospital at 3pm that day. Only to find nothing had changed with his condition.
Then came the worst words I ever had to hear, Ryan's father coming in the room and telling me it was time to say goodbye to Ryan.
We made our way into where he was being cared for. To see my best friend in the state he was in broke my heart. Blood coming out the back of his head, body black and blue bruised from head to toe, internal damage that could not be repaired, feeling his forehead and it being ice cold. He was laying there in front of us, dead. Machines were the only thing keeping him "alive".
I said my goodbyes to him, telling him that he can't leave me here, he can't leave the creation of Studies In Comfort behind, something that is so brilliant, that we were supposed to take over the world together and do all that was planned. I told him to haunt me.
I then looked at his eyes and saw tears. He may have been brain dead but I know he heard every word I said. Doctors did not give an explanation to what was coming out of his eyes.
If only I had said to Ryan "hey man watch your step" he might still be alive today. I have been told over and over again that I can not blame myself for what happened that day. I sometimes still do.
Ryan and I once had a conversation that if something ever happened to one of us that Studies In Comfort would stop, without a core creator there is no sense to continue it. Well I am going against those wishes. I can't lose what he and I created even before it took off the ground.
I now know my purpose in life. To carry on Studies In Comfort. I must continue on for him, finish off the 3 studio albums we had in the works and continue on with this art form.
Ryan died at the wheel and I have moved his lifeless body to the passengers seat and now a fucking insane madman is driving.
Ryan Nyenhuis, whos favourite artist was Nine Inch Nails, who lived on floor number 9, who wore a roman numeral 9 on his right arm, who died on the 9th floor at St. Micheal's Hospital, Toronto.
Thank you to 55 Division and all the paramedics and fire fighters who helped get Ryan out of that terrible dark place.
Ryan Nyenhuis is survived by his father, John, mother Cheryl, sisters, Jennifer and Leah, their beautiful children, myself and Studies In Comfort.
Ryan John Nyenhuis
July 28th 1981 - June 15th 2008
We love and miss you.
___________________________
All photographs were taken by Ryan Nyenhuis & Ian Levack with a Casio EX-Z1050 camera.
I have a bit of an obsession with glassware. In fact, my husband has restricted my glassware purchases to an as-needed basis-- for example, if one of our glasses break, only then am I allowed to purchase another. Yes, this may sound harsh, but if you saw our overflowing glassware cabinet you would understand his strict rules.
While I normally purchase clear glassware in curvy shapes and elegant forms, lately I have been loving colored crystal and glass stemware, particularly in vintage styles.
Colored glassware makes a stylish statement on any table top, especially when it comes to Holiday entertaining. Replacing your everyday clear-crystal with dramatically colored stemware will help to set the stage for an extraordinary event that leaves your guests feeling extra special.
Green and gold tumblers -- Pier 1
Champagne glasses in amethyst, moss and aquamarine -- Replacements
Renaissance stemware -- Gracious Style
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U.S. Secretary of State John Kerry makes a statement on Syria at the top of the Daily Press Briefing, at the U.S. Department of State in Washington, D.C., on December 15, 2016. [State Department photo/ Public Domain]
Image Available for purchase from www.ballaratheritage.com.au
Statement of Significance
What is significant?
The Cussen Memorial is a mausoleum located within the Roman Catholic section of the Boroondara General Cemetery, Kew (VHR0049). The sandstone memorial is built in the Gothic Revival style in the form of a small chapel with carvings, diamond shaped roof tiles and decorated ridge capping embellishing the exterior. The memorial occupies a landmark position within the Cemetery. The Cussen Memorial was constructed in 1912-13 by Leo Cussen in memory of his son Hubert. Leo Cussen (later Sir Leo) was appointed to the bench of the Supreme Court of Victoria in 1906, where he displayed the qualities which were to mark him, in the words of Sir Owen Dixon, as the 'greatest of all judges', combining legal expertise with great humanity and practicality. Sir Leo was considered by Sir Robert Menzies as 'one of the great judges of the English speaking world'. In addition to his duties as a judge, Leo Cussen accepted responsibility for the consolidations of the Victorian Acts of Parliament, which took place in 1915, and again in 1929. In 1922, after four years of labour over centuries of English legislation, he presented to the Victorian Parliament the Bill for the Imperial Acts Application Act, which was passed without amendment.
The architect for the Memorial was WP Conolly of the firm Kempson and Conolly. Conolly was one of the most prominent architects designing Catholic churches in Melbourne in the late nineteenth and early twentieth centuries. Cussen's choice of architect for the memorial reflects his Catholic connections in Melbourne. In 1930, Conolly was asked by Lady Cussen to make alterations to the Cussen Memorial to allow for additional tombs. In spite of being built initially for Hubert Cussen, the Memorial has been strongly associated with Sir Leo Cussen since his burial there in 1933 and is often referred to as the Leo Cussen Memorial.
How is it significant?
The Cussen Memorial is of architectural and historical significance to the State of Victoria
Why is it significant?
The Cussen Memorial is of architectural significance as a fine example of an early twentieth century mausoleum in the Gothic style, designed by WP Conolly, one of the most prominent architects designing Catholic churches in Melbourne in the late nineteenth and early twentieth centuries.
The Cussen Memorial is of historical significance for its association with Sir Leo Cussen, justice of the Supreme Court of Victoria from 1906 to 1933, a highly popular and respected judge, legal educator and scholar, who was responsible for the consolidation of Victoria's statutes in 1915 and 1929 and the consolidation of over 7000 English Acts applicable in Victoria in the Imperial Acts Application Act of 1922.
VHR Statement of Significance
What is significant?
Boroondara Cemetery, established in 1858, is within an unusual triangular reserve bounded by High Street, Park Hill Road and Victoria Park, Kew. The caretaker's lodge and administrative office (1860 designed by Charles Vickers, additions, 1866-1899 by Albert Purchas) form a picturesque two-storey brick structure with a slate roof and clock tower. A rotunda or shelter (1890, Albert Purchas) is located in the centre of the cemetery: this has an octagonal hipped roof with fish scale slates and a decorative brick base with a tessellated floor and timber seating. The cemetery is surrounded by a 2.7 metre high ornamental red brick wall (1895-96, Albert Purchas) with some sections of vertical iron palisades between brick pillars. Albert Purchas was a prominent Melbourne architect who was the Secretary of the Melbourne General Cemetery from 1852 to 1907 and Chairman of the Boroondara Cemetery Board of Trustees from 1867 to 1909. He made a significant contribution to the design of the Boroondara Cemetery
Boroondara Cemetery is an outstanding example of the Victorian Garden Cemetery movement in Victoria, retaining key elements of the style, despite overdevelopment which has obscured some of the paths and driveways. Elements of the style represented at Boroondara include an ornamental boundary fence, a system of curving paths which are kerbed and follow the site's natural contours, defined views, recreational facilities such as the rotunda, a landscaped park like setting, sectarian divisions for burials, impressive monuments, wrought and cast iron grave surrounds and exotic symbolic plantings. In the 1850s cemeteries were located on the periphery of populated areas because of concerns about diseases like cholera. They were designed to be attractive places for mourners and visitors to walk and contemplate. Typically cemeteries were arranged to keep religions separated and this tended to maintain links to places of origin, reflecting a migrant society.
Other developments included cast iron entrance gates, built in 1889 to a design by Albert Purchas; a cemetery shelter or rotunda, built in 1890, which is a replica of one constructed in the Melbourne General Cemetery in the same year; an ornamental brick fence erected in 1896-99(?); the construction and operation of a terminus for a horse tram at the cemetery gates during 1887-1915; and the Springthorpe Memorial built between 1897 and 1907. A brick cremation wall and a memorial rose garden were constructed near the entrance in the mid- twentieth century(c.1955-57) and a mausoleum completed in 2001.The maintenance shed/depot close to High Strett was constructed in 1987. The original entrance was altered in 2000 and the original cast iron gates moved to the eastern entrance of the Mausoleum.
The Springthorpe Memorial (VHR 522) set at the entrance to the burial ground commemorates Annie Springthorpe, and was erected between 1897 and 1907 by her husband Dr John Springthorpe. It was the work of the sculptor Bertram Mackennal, architect Harold Desbrowe Annear, landscape designer and Director of the Melbourne Bortanic Gardens, W.R. Guilfoyle, with considerable input from Dr Springthorpe The memorial is in the form of a small temple in a primitive Doric style. It was designed by Harold Desbrowe Annear and includes Bertram Mackennal sculptures in Carrara marble. Twelve columns of deep green granite from Scotland support a Harcourt granite superstructure. The roof by Brooks Robinson is a coloured glass dome, which sits within the rectangular form and behind the pediments. The sculptural group raised on a dais, consists of the deceased woman lying on a sarcophagus with an attending angel and mourner. The figure of Grief crouches at the foot of the bier and an angel places a wreath over Annie's head, symbolising the triumph of immortal life over death. The body of the deceased was placed in a vault below. The bronze work is by Marriots of Melbourne. Professor Tucker of the University of Melbourne composed appropriate inscriptions in English and archaic Greek lettering.. The floor is a geometric mosaic and the glass dome roof is of Tiffany style lead lighting in hues of reds and pinks in a radiating pattern. The memorial originally stood in a landscape triangular garden of about one acre near the entrance to the cemetery. However, after Dr Springthorpe's death in 1933 it was found that transactions for the land had not been fully completed so most of it was regained by the cemetery. A sundial and seat remain. The building is almost completely intact. The only alteration has been the removal of a glass canopy over the statuary and missing chains between posts. The Argus (26 March 1933) considered the memorial to be the most beautiful work of its kind in Australia. No comparable buildings are known.
The Syme Memorial (1908) is a memorial to David Syme, political economist and publisher of the Melbourne Age newspaper. The Egyptian memorial designed by architect Arthur Peck is one of the most finely designed and executed pieces of monumental design in Melbourne. It has a temple like form with each column having a different capital detail. These support a cornice that curves both inwards and outwards. The tomb also has balustradings set between granite piers which create porch spaces leading to the entrance ways. Two variegated Port Jackson Figs are planted at either end.
The Cussen Memorial (VHR 2036) was constructed in 1912-13 by Sir Leo Cussen in memory of his young son Hubert. Sir Leo Finn Bernard Cussen (1859-1933), judge and member of the Victorian Supreme Court in 1906. was buried here. The family memorial is one of the larger and more impressive memorials in the cemetery and is an interesting example of the 1930s Gothic Revival style architecture. It takes the form of a small chapel with carvings, diamond shaped roof tiles and decorated ridge embellishing the exterior.
By the 1890s, the Boroondara Cemetery was a popular destination for visitors and locals admiring the beauty of the grounds and the splendid monuments. The edge of suburban settlement had reached the cemetery in the previous decade. Its Victorian garden design with sweeping curved drives, hill top views and high maintenance made it attractive. In its Victorian Garden Cemetery design, Boroondara was following an international trend. The picturesque Romanticism of the Pere la Chaise garden cemetery established in Paris in 1804 provided a prototype for great metropolitan cemeteries such as Kensal Green (1883) and Highgate (1839) in London and the Glasgow Necropolis (1831). Boroondara Cemetery was important in establishing this trend in Australia.
The cemetery's beauty peaked with the progressive completion of the spectacular Springthorpe Memorial between 1899 and 1907. From about the turn of the century, the trustees encroached on the original design, having repeatedly failed in attempts to gain more land. The wide plantations around road boundaries, grassy verges around clusters of graves in each denomination, and most of the landscaped surround to the Springthorpe memorial are now gone. Some of the original road and path space were resumed for burial purposes. The post war period saw an increased use of the Cemetery by newer migrant groups. The mid- to late- twentieth century monuments were often placed on the grassed edges of the various sections and encroached on the roadways as the cemetery had reached the potential foreseen by its design. These were well tended in comparison with Victorian monuments which have generally been left to fall into a state of neglect.
The Boroondara Cemetery features many plants, mostly conifers and shrubs of funerary symbolism, which line the boundaries, road and pathways, and frame the cemetery monuments or are planted on graves. The major plantings include an impressive row of Bhutan Cypress (Cupressus torulosa), interplanted with Sweet Pittosporum (Pittosporum undulatum), and a few Pittosporum crassifolium, along the High Street and Parkhill Street, where the planting is dominated by Sweet Pittosporum.
Planting within the cemetery includes rows and specimen trees of Bhutan Cypress and Italian Cypress (Cupressus sempervirens), including a row with alternate plantings of both species. The planting includes an unusual "squat" form of an Italian Cypress. More of these trees probably lined the cemetery roads and paths. Also dominating the cemetery landscape near the Rotunda is a stand of 3 Canary Island Pines (Pinus canariensis), a Bunya Bunya Pine (Araucaria bidwillii) and a Weeping Elm (Ulmus glabra 'Camperdownii')
Amongst the planting are the following notable conifers: a towering Bunya Bunya Pine (Araucaria bidwillii), a Coast Redwood (Sequoia sempervirens), a rare Golden Funeral Cypress (Chamaecyparis funebris 'Aurea'), two large Funeral Cypress (Chamaecyparis funebris), and the only known Queensland Kauri (Agathis robusta) in a cemetery in Victoria.
The Cemetery records, including historical plans of the cemetery from 1859, are held by the administration and their retention enhances the historical significance of the Cemetery.
How is it significant?
Boroondara Cemetery is of aesthetic, architectural, scientific (botanical) and historical significance to the State of Victoria.
Why is it significant?
The Boroondara Cemetery is of historical and aesthetic significance as an outstanding example of a Victorian garden cemetery.
The Boroondara Cemetery is of historical significance as a record of Victorian life from the 1850s, and the early settlement of Kew. It is also significant for its ability to demonstrate, through the design and location of the cemetery, attitudes towards burial, health concerns and the importance placed on religion, at the time of its establishment.
The Boroondara Cemetery is of architectural significance for the design of the gatehouse or sexton's lodge and cemetery office (built in stages from 1860 to 1899), the ornamental brick perimeter fence and elegant cemetery shelter to the design of prominent Melbourne architects, Charles Vickers (for the original 1860 cottage) and Albert Purchas, cemetery architect and secretary from 1864 to his death in 1907.
The Boroondara Cemetery has considerable aesthetic significance which is principally derived from its tranquil, picturesque setting; its impressive memorials and monuments; its landmark features such as the prominent clocktower of the sexton's lodge and office, the mature exotic plantings, the decorative brick fence and the entrance gates; its defined views; and its curving paths. The Springthorpe Memorial (VHR 522), the Syme Memorial and the Cussen Memorial (VHR 2036), all contained within the Boroondara Cemetery, are of aesthetic and architectural significance for their creative and artistic achievement.
The Boroondara Cemetery is of scientific (botanical) significance for its collection of rare mature exotic plantings. The Golden Funeral Cypress, (chamaecyparis funebris 'aurea') is the only known example in Victoria.
The Boroondara Cemetery is of historical significance for the graves, monuments and epitaphs of a number of individuals whose activities have played a major part in Australia's history. They include the Henty family, artists Louis Buvelot and Charles Nuttall, businessmen John Halfey and publisher David Syme, artist and diarist Georgiana McCrae, actress Nellie Stewart and architect and designer of the Boroondara and Melbourne General Cemeteries, Albert Purchas.