<p>St Brigids Catholic Church is a heritage-listed Roman Catholic church at 28 Matthew Street, Rosewood, City of Ipswich, Queensland, Australia. It was designed by Reverend Andrew Horan and built in 1909 by RJ Murphy with alterations in 1935. It was added to the Queensland Heritage Register on 21 October 1992.</p><br>
<h2>History</h2><br>
<p>This large elaborate wooden church was built in 1909-1910 and replaced an earlier, smaller St Brigid&#39;s Church, also of timber. It was designed by Reverend Andrew Horan of the Ipswich parish who also donated the cost of the foundations. It was built on the day-labour system under the supervision of builder and contractor, RJ Murphy. A substantial amount of the labour was gratuitously performed by local residents.</p><br>
<p>Initially, Mass in the Rosewood district was celebrated in settlers homes, and after 1875 in a room at The Rising Sun Hotel. This practice continued until the first St Brigids Church was built in 1885. The locality was a prosperous one, with sugar, timber and dairying supporting the predominantly Irish and German population. The foundations of the second church were blessed on 13 December 1908 and the building, which could accommodate a congregation of 1000, was opened for Divine Services on 13 February 1910 by Archibishop of Brisbane James Duhig. Rosewood was the first country place in which, as a priest, Bishop Duhig had celebrated Mass.</p><br>
<p>St Brigid&#39;s Church remained part of the Ipswich parish until the appointment of Father Timothy Kelleher as Rosewood parish priest in 1915.</p><br>
<p>The interior of the northern wall was improved for the 1935 Jubilee Celebrations. Three stained glass windows by RS Exton & Co of Brisbane, and flanking murals on fibre supports by the important Queensland artist, William Bustard, were added. A scroll on the diagonal boards of the lower central section of this wall was probably painted about this time. After 1951 this part of the wall, including the top lancet-shaped sections of the vestry doors, was sheeted. It was painted with a new mural, using a photographic re-assisted technique. The scrolls on the lower sections of the side chapels were probably painted about this time. An early altar table used to celebrate Mass in settlers&#39; homes has been brought into the church.</p><br>
<p>The altar rail gates, one of the confessionals and the organ have been removed. The rib-and-pan roof was replaced after 1973 and the earlier dark weatherboards are now painted a light colour. Plantings on the main southern elevation and the bitumen roads either side of the church are recent.</p><br>
<p>The place has been identified in the 1997 Expanded Ipswich Heritage Study as a place of cultural heritage significance to the community.</p><br>
<h2>Description</h2><br>
<p>This is a large ornate weatherboard church. It consists of three flush gables, the central one taller and wider, facing Railway Street. In plan it is a simple broad rectangle. Small gabled porches project at the front, and each side. At the rear, a skillion-roofed central section adjoins with gabled landings.</p><br>
<p>The church is set on timber stumps, about 1 metre high, with battening between.</p><br>
<p>Roofs are of corrugated iron, with front and porch gables surmounted by a cross and decorated with triangular timber fretwork panels on curved metal brackets. Three square, capped, ventilators line the ridge of the main gable. Three small steep louvred and gauzed gables ventilate the outside roof slopes. Windows are lancet shaped. Seven, of multiple openings, are aligned along each side; others symmetrically arranged at front, and at the rear. They are operated internally.</p><br>
<p>Rear stairs to the western side porch have been removed for the installation of a ramp. A detached timber-framed toilet block is under construction, close to the rear western corner. The rear landing is tilted on its stumps and closed to access.</p><br>
<p>A timber, cross-framed belfry with a shallow pyramidal corrugated iron roof, and bell in place, stands apart, to the rear of the church.</p><br>
<p>The church is set back some 50 metres from the street with a triangular grassed forecourt, hedged in part, with tall dense native shrubs. A flame tree (Brachychiton spp) and a fire-wheel tree (Stenocarpus) have been planted on the central axis of the church and forecourt.</p><br>
<p>Internally, a main high pointed vault is flanked by smaller similar vaults each side. A central aisle and smaller side aisles lead to a highly decorated chancel and side chapels. These spaces are divided by timber posts, chamfered. Between the posts, curved, chamfered timber members meet to form a line of pointed arches, above which extends a frieze of white-painted, moulded timber uprights.</p><br>
<p>Above the frieze are panels of pressed metal linking into the pressed metal vaulted ceilings, all highly decorative and painted in shades of blue.</p><br>
<p>The floor is of 4 inch (100mm) boards of crows ash, carpeted in the chancel, along the aisles and path linking side porches.</p><br>
<p>Walls are lined in 4 inch (100mm) tongue-and-groove boarding, with lower and upper panels vertical, and a central section in diagonal boarding. The rear chancel wall is flat-sheeted, with large stained-glass windows, high under each vault. The central window depicts St Brigid, the left St Agnes and the other St Philomena. The central window is surrounded by an emblematic painting of foliage, grapes and wheat. Either side of the altar, this wall is painted with angels in shades of blue.</p><br>
<p>The altar and altar rail are pointed to resemble marble. Doors, either side lead into the flower rooms and sacristy. The central, closed, rear landing is used to store cleaning equipment.</p><br>
<p>At the opposite end of the church, above the entry, a gallery is supported on smaller intermediate posts. To the underside, a pressed metal ceiling, similarly elaborately painted, is of a different pattern from the vaulted ceilings. The gallery is approached by a timber stair, its balustrade crossing a window space. The gallery floor is raked, of 6 inch (150mm) boarding.</p><br>
<p>A confessional, flat-sheeted, stands in one corner to the right of the ground floor entrance.</p><br>
<p>The church, a large and striking form, set in flat extensive grounds, exhibits a highly ornate and interesting interior.</p><br>
<h2>Heritage listing</h2><br>
<p>St Brigids Church was listed on the Queensland Heritage Register on 21 October 1992 having satisfied the following criteria.</p><br>
<p>The place is important in demonstrating the evolution or pattern of Queensland&#39;s history.</p><br>
<p>St Brigid&#39;s Church, Rosewood, erected 1909-10, is significant historically for its close association with the development of the Rosewood district in the late 19th and early 20th centuries, and with the expansion of the Catholic Church in Queensland.</p><br>
<p>The place demonstrates rare, uncommon or endangered aspects of Queensland&#39;s cultural heritage.</p><br>
<p>The place is significant for the rare ecclesiastical mural by important Queensland artist, William Bustard.</p><br>
<p>The place is important in demonstrating the principal characteristics of a particular class of cultural places.</p><br>
<p>It is important in demonstrating the principal characteristics of a large, substantially intact timber country church built in the early 20th century.</p><br>
<p>The place is important because of its aesthetic significance.</p><br>
<p>The place has considerable aesthetic appeal, generated by the form, materials, decorative qualities (especially the gable decoration and pressed metal ceilings) and artworks, including stained glass windows and painted wall murals.</p><br>
<p>The place is significant for the rare ecclesiastical mural by important Queensland artist, William Bustard.</p><br>
<p>The place has a strong or special association with a particular community or cultural group for social, cultural or spiritual reasons.</p><br>
<p>The place is valued by the local community as part of Rosewood&#39;s heritage.</p><br>
<p>The Pittsfield Public Library is located at 110 Library Street in Pittsfield, Maine. The building it occupies is a Beaux Arts building designed by Albert Randolph Ross, and was built in 1903-04 with funding assistance from Andrew Carnegie. The building was listed on the National Register of Historic Places in 1983. It is one of the state&#39;s oldest Beaux Arts buildings, and one of the most architecturally distinctive in the town.</p><br>
<h2>Architecture and history</h2><br>
<p>The Pittsfield Public Library is set on a roughly square lot at the southwest corner of Library and Main Streets, just across the railroad tracks south of the town center. The building is oriented facing toward the corner, fronted by a grassy plaza, with a central domed section flanked by rectangular wings radiating to either side. The entrance is at the center, in a round-arch opening flanked by engaged columns and topped by a gabled Classical pediment. The building is constructed out of white brick, and rests on the granite foundation. The interior is organized with the librarian&#39;s desk at the center, with stacks radiating behind it, and reading rooms with bookcases in the wings. The basement has been adapted to house additional stacks.</p><br>
<p>The library&#39;s construction was accomplished through the efforts of local mill owner Robert Dodson, and received a funding grant from Andrew Carnegie. The designer was New York City architect Albert Randolph Ross, who also designed two other Maine libraries, including the Carnegie-funded library at Good Will-Hinckley.</p><br>
<p>Tallegalla State School is a heritage-listed former state school at Rosewood-Minden Road, Tallegalla, City of Ipswich, Queensland, Australia. It was built from 1879 to 1955. It was added to the Queensland Heritage Register on 2 February 1998.</p><br>
<h2>History</h2><br>
<p>The Tallegalla School was opened on 10 June 1879 as a state school for the local area known as the Rosewood Scrub. A timber school building and timber residence were erected at that time and the residence was replaced in 1931 by the present building.</p><br>
<p>The Rosewood Scrub, an area comprising what is now Tallegalla, developed in the late 1870s as settlers followed timber getters who cleared some of the dense vine scrub previously thought to be impenetrable. By 1880 fifty selections were taken up in the area, mostly by German migrants who were arriving in Queensland under migration schemes run by the Queensland Government aimed at encouraging closer settlement of rural areas. After the Land Act of 1868 land in the Rosewood Scrub, to the west of Brisbane, was opened for clearing and settlement. The area became known as Tallegalla and an official survey was completed in July 1872. A small township developed which comprised school, rail station, post office, two churches, hotel and cemetery. In 1997 very little remains of the Tallegalla township, with only the school and cemetery apparent.</p><br>
<p>Requests were made to the Queensland Government for the provision of a state school in the Tallegalla area in January 1876 by a school committee formed for the purpose of lobbying the government. The secretary of the School Committee, Mr John Dart, wrote a number of letters to the government in 1876 suggesting possible sites and seeking a formal survey of the area. A formal application for the establishment of a state school was lodged after a public meeting on 14 October 1876. The application suggested a two-acre site on a prominent corner of Portion 513, parish Walloon, owned by a local farmer, Wilhelm Arndt who was willing to donate the land from his 100-acre selection. The land offered by Mr Arndt was centrally located, near a local post office and on an elevated site visible from a great distance. According to the application form about fifty local children between the ages of 5 and 14 were expected to attend the school and a local subscription of about £50 toward building costs was expected. The two acres of land was officially surveyed on 6 November 1876 and the site was gazetted as a reserve for a school on 15 August 1878. This significant time delay in the registering of the school reserve resulted in the land not being excluded from Portion 513 when an survey was drawn of the larger block for the Certificate of Title. This situation was rectified in June 1938 when the land was officially excluded from the Title.</p><br>
<p>Construction at the school began, with local subscriptions totalling £56. The first structure on the site was a one roomed timber school building, apparently designed by Queensland Colonial Architect, Francis Drummond Greville Stanley, before the design of schools in Queensland became the domain of the Department of Education in about 1880. Stanley instigated in Queensland a system of standardised school designs which could be used in a number of locations, a system which occurred previously through default. The gabled roof building designed for use at Tallegalla was elevated on low timber stumps and was flanked on the north and south by full length verandahs which were partially enclosed at the two ends of the northern side and housed hand basins. The school remains much in the same form as its original design and was lined internally in 1926 and the southern verandah was enclosed gradually from 1955. A more significant change to the building occurred in 1938 when several openings were altered to allow for better natural lighting. Whereas the openings previously were designed to allow for uniform light from all directions, new thinking in the mid 1930s indicated that lighting from some directions was more conducive to studying. Associated with this work was the internal painting of the school.</p><br>
<p>Another important element of the school site was the teachers residence which was not completed with the original school building, though by 1880 plans had been made for its erection. Residences were an important element of school sites as it was thought they attracted better quality teaching staff. By 1880 the students at Tallegalla School were taught by Mr John Marquis, who replaced Mr Edward Henry Vivian Dunbar, the first head teacher at the school. In 1880 the School Committee raised sufficient funds to enable the Education Department to finance construction of a residence which was a simple four roomed cottage surrounded by verandahs. Many changes were made to this residence in the late nineteenth and early twentieth century before it was replaced in 1931. Alterations included adding a rear verandah in 1892, internal lining in 1895; the addition of a detached kitchen and bathroom in 1898 and the addition of two detached bedrooms in 1911 to house the large family of the then Head Teacher, Daniel Courtney.</p><br>
<p>By 1932 a new timber residence was constructed replacing the early residence. The tender of EJ Wilton from East Ipswich was accepted for the construction of the building for £514 and for construction to be complete within 8 weeks from the acceptance date which was 1 December 1932. The building was a standard Type 3 School Residence designed by the Works Department with examples of that type built throughout Queensland between 1929 and 1950. Construction of the building was completed in February 1933 and by 1937 the verandah of the building which was located on the south eastern corner was enclosed. Since then, a toilet has been added to the verandah space of the building.</p><br>
<p>Associated with this work was the removal of a detached bedroom wing from the original residence and its reconstruction as a play shed. An earlier play shed was constructed on the grounds by the School Committee in about 1906 but by 1932 this octagonal timber shade structure was deteriorating and thought to be a health hazard. The Department of Education were supportive of the removal of the detached wing for use as a replacement playshed if the work was done at no cost to the Department. By 1972 another steel framed playshed was constructed and the former building became used as a store.</p><br>
<p>The school grounds have seen significant changes during the life of the school. From the late 1880s, head teacher, John William Watkins, instigated a tree planting programme at the school which saw many of the trees which exist on the site today, including the avenue of jacarandas and figs lining the driveway.</p><br>
<p>The school closed in 1992 due to low student numbers.</p><br>
<h2>Description</h2><br>
<p>The Tallegalla School is sited on a ridge on the highest point of the surrounding landscape. The school is bordered by Minden-Rosewood Road and Twotree Hill Road. The site comprises a number of buildings, including the original school room, a teacher&#39;s residence from 1932, an early playshed and a latter playshed, several corrugated tanks on stands, two concrete septic tanks, and a number of large established trees and gardens.</p><br>
<p>Access is provided to the school via a driveway from Minden-Rosewood Road. The driveway curves eastward toward the school building and terminates in a small round driveway. Flanking the driveway are a number of established trees including several jacarandas, a Moreton Bay fig and a Bunya pine. The principal buildings are aligned parallel with Minden Rosewood Road, with the residence closest to the corner of the two roads and separated from the school site with a fence.</p><br>
<p>The school building is a one storeyed gable roofed structure, elevated on low timber stumps. The timber framed building is clad externally with horizontal weatherboards and internally with VJ boarding. The roof is clad with corrugated iron and this is also used for window awnings on the eastern and western elevations. The building has a rectangular plan with partially enclosed verandahs on the northern and southern elevations, over which the pitch of the roof becomes more gradual. A small, centrally located, open tread timber stair provides access to the northern elevation of the building which is lined with a semi-open verandah, only enclosed near the two ends to form small enclosures which were an original feature of the design. Flanking the stair are timber posts, through which a simple two rail timber balustrade runs, and forms the stair balustrade. Centrally located on this and on the southern face of the building are simple entrance doors. The entrance door on the northern elevation is flanked by two casement windows made from the original sash windows. The interior of the building is lined with VJ boarding on the walls and ceilings and the timber boarded floor is covered with carpet.</p><br>
<p>The elevated residence is an asymmetrical building with hipped and gabled corrugated iron clad roof. The timber framed building is clad externally with horizontal weatherboards and internally with VJ boards. The building comprises five principal room including a large kitchen with early stove recess, a bathroom and separate toilet and an enclosed verandah on the south eastern corner. Open tread timber stairs access the front, southern side of the house and the rear, northern elevation. The building has a number of casement windows in groups of four on the front elevation, groups of three lining the enclosed verandah, and, elsewhere, groups of two. Corrugated iron clad window hoods, with sides of timber battening, provide sun shading to many of the pairs of casements. Internally the building is clad with VJ boarding on the walls and ceilings and has a timber boarded floor. The internal doors are generally four panelled with high mid (or lock) rails.</p><br>
<p>The early play shed is a lowset, fully enclosed, timber framed and weatherboard clad building, with a gabled corrugated iron roof. The building has two timber doors on the northern facade both surmounted by operable transom windows. The doors are timber boarded and internally braced. The building has a number of early six paned vertical sash windows. Internally the space is undivided and has VJ timber boarded walls, timber floor and timber boarded ceiling. Early fittings, including shelving and cupboards are found inside.</p><br>
<p>The more recent playshed is a steel framed, open structure comprising corner posts supporting a shallow pitched iron clad gabled roof awning and a concrete slab floor. It is built into sloping ground and has two low concrete block lined, retaining walls. There are a number of corrugated iron water tanks on the site, all elevated on timber or iron frames. Two concrete septic tanks indicate where toilets once existed, to the north of the school building.</p><br>
<h2>Heritage listing</h2><br>
<p>The former Tallegalla State School was listed on the Queensland Heritage Register on 2 February 1998 having satisfied the following criteria.</p><br>
<p>The place is important in demonstrating the evolution or pattern of Queensland&#39;s history.</p><br>
<p>The Tallegalla State School is a remnant of a formerly larger settlement, Tallegalla, of which there are few remnants. The school was established in 1879 and reflects the closer settlement of the Rosewood Scrub area and reflects the development of rural country schools in Queensland</p><br>
<p>The place demonstrates rare, uncommon or endangered aspects of Queensland&#39;s cultural heritage.</p><br>
<p>The school building is a rare surviving example of a small timber school designed by colonial architect, FDG Stanley.</p><br>
<p>The place is important in demonstrating the principal characteristics of a particular class of cultural places.</p><br>
<p>The site, with intact school building, 1931 residence and former playshed is a good and characteristic example of a small rural state school.</p><br>
<p>The place is important because of its aesthetic significance.</p><br>
<p>The school grounds have considerable aesthetic significance as a local landmark, with large established trees and situated on an elevated site comprising well composed and prominent buildings within a picturesque garden setting.</p><br>
<p>The place has a strong or special association with a particular community or cultural group for social, cultural or spiritual reasons.</p><br>
<p>The school has important associations with the local community as a school as well as a local meeting place for about 115 years.</p><br>
<p>The place has a special association with the life or work of a particular person, group or organisation of importance in Queensland&#39;s history.</p><br>
<p>The school building has associations with FDG Stanley as one of his few surviving timber school buildings.</p><br>
<p>The Wright Family Houses area heritage-listed group of detached houses at 98/100/106 Mt Crosby Road, Tivoli, City of Ipswich, Queensland, Australia. It was built from onwards. No. 100 is also known as Oaklands and No. 106 is also known as Wrightlands. It was added to the Queensland Heritage Register on 30 January 2004.</p><br>
<h2>History</h2><br>
<p>The Wright family houses precinct at 98, 100 and 106 Mt Crosby Road, Tivoli, are 3 timber houses on adjoining allotments built -1903 for John and Elizabeth Wright.</p><br>
<p>The allotments on which these residences are situated were originally a part of the land purchased in 1864 as Portion 66, parish of Chuwar, County of Stanley (43 acres), by Josiah Bowring Sloman, part proprietor of the Queensland Times. The land appears to have remained unimproved during the 30 years of Sloman&#39;s ownership and by the mid-1890s it had been subdivided.</p><br>
<p>In September 1894, the title to the subdivisions on which the houses at 98 and 106 Mt Crosby Road now stand was transferred to Elizabeth Ann Wright, the wife of John Wright. Five years later Elizabeth was registered as the owner of the allotment where the main family house, known as Oaklands, was constructed and which is now delineated as 100 Mt Crosby Road. John Wright was born in 1837 at Coolbawm, County Kilkenny, Ireland, and married Elizabeth in 1862. He and his wife arrived in Moreton Bay on board the Naval Reserve in 1867 and in October of that year he moved to Ipswich to find work, while his wife and children remained in Brisbane. In the 1860s, Ipswich was an emerging centre of commercial and industrial activity and, despite the financial crisis of this period, it remained a place of opportunity for early pioneers. Coal mining was a burgeoning industry in the district at this time and Wright was from a long line of colliery owners in Ireland and had worked for several years in his fathers mine before embarking for Australia This experience secured him a job at the Old Tivoli Pit owned by Harry Hooper and John Robinson, where he remained until 1873. In that year he negotiated a lease with Josiah Sloman, who then owned Portions 65 and 66, for mining rights on the land and with the financial backing of John Blond, a Brisbane coal dealer, he opened a small mine known as Perseverance Mine. Wrights mining interests continued to expand over the years with the opening of the Eclipse mine in Tivoli as well as mines in other coal-bearing districts like Purga, Walloon, Burrum and Oakey. While the Eclipse mine was lost in the 1893 floods, along with 2 of John&#39;s sons, the family business remained strong and his youngest sons, Andrew and John, later became mine managers. The Wrights became the largest producer of coke in Queensland and in 1910 the Jubilee History of Ipswich reported that the Wrights held contracts with the Mt Crosby Pumping Station, the Ipswich Pumping Station, Queensland Woollen Company, Electric Light Company of Toowoomba and Queensland Railway.</p><br>
<p>Although John Wright&#39;s mining interests were spread over Queensland, he resided in Tivoli until his death in 1915 and acquired a distinct local patriotism. While described in The History of Queensland (1919) as a "man of quiet disposition, reserved, and unassuming", he was known to have supported many local charities and with his wife helped found a Sunday school in the area. The Wrights also became prominent freehold landowners in the North Ipswich district, with Brassall Shire Council Valuation Registers showing the family owned several estates by the early 1900s. Despite their numerous real estate interests, the Wrights favoured the allotments on Mt Crosby Road (formerly known as Tivoli Road and Junction Road) for their family homes. No documentary evidence exists to definitively date the main family residence at 100 Mt Crosby Road, however it is known to have been existence by January 1898 when it was described in The Queenslander as "one of the nattiest villas in North Ipswich". The adjoining properties at 98 and 106 Mt Crosby Road reputedly were built for Andrew Wright and John Wright junior probably by 1903, the year of the earliest extant Brassall Shire Council Valuation Register, which records that on the land now covered by 98, 100 and 106 Mt Crosby Road there existed 3 residences owned by Elizabeth Ann Wright.</p><br>
<p>The juxtaposition of these properties is as much a physical representation of the rising social and financial fortunes offered to Ipswich colliers of the late nineteenth and early twentieth centuries, as it is a reminder of the concept of the extended family and a way of life no longer common. The Wrights were a close-knit family and their houses were a nest of domesticity. Elizabeth Ann Wright retained ownership of the land on which Oaklands stands until her death in 1920, after which the house was reputedly left vacant until 1922 when Elizabeth Ann Barbet, the youngest daughter of John and Elizabeth Wright, became the registered owner. Four years later the property passed to Benjamin Morgan, a close friend of the Wright family whose father had reputedly built a hut of chaff bags in a gully below Oaklands. The estate remains in the Morgan family. The property at 98 Mt Crosby Road remained in the hands of Elizabeth Ann Wright until 1915 when the title was transferred to Andrew Wright. In 1931, Catherine Wright, the wife of Andrew, became the owner of the estate and retained the title until 1953. Since that time the property has passed to a number of different owners.</p><br>
<p>The house now known as Wrightson, at 106 Mt Crosby Road, was owned by Elizabeth Ann Wright until 1911 when the title to the property was transferred to John Wright junior. After his fathers death in 1915, John Wright reputedly moved to the Darling Downs to manage the familys mining interests in the region but Wrightson remained his property until 1924 when title to the estate was transferred to Robert Hutchins Hunter. Since that time the property has passed had 5 owners. The house has been renovated in recent years.</p><br>
<h2>Description</h2><br>
<p>The Wright Family Houses are located on large allotments fronting Mt Crosby Road in Tivoli, north of the Ipswich city centre. Each allotment is long with a narrower frontage to Mt Crosby Road. The allotments extends down a gully toward a branch of Sandy Creek, where Perseverance Mine was located. All three houses are well set back from the road and are of timber construction with a square floor plan.</p><br>
<h3>98 Mt Crosby Road</h3><br>
<p>The residence at 98 Mt Crosby Road has a short-ridge pyramid roof and is sheeted in corrugated iron. The front verandah has been removed. A section of side verandah on the southern side of the house remains with its iron lace balustrade, its posts, brackets and capitals, and an acroterian remains on at least one corner of the roof guttering. The iron lace is similar to or identical with that of the earlier house, Oaklands, at 100 Mt Crosby Road, and the brackets are similar or identical with those on the later house, Wrightson, at 106 Mt Crosby Road. Walls facing the former front verandah are single-skin, vertically-jointed boards with horizontal bracing. Under the main roof are 5 bedrooms, a sleepout, study, formal lounge with marble and tiled fireplace, dining room, living room, and a kitchen. A small hip-roof structure at the right of the house is sheeted in corrugated iron and may originally have functioned as a service wing or business office.</p><br>
<h3>Oaklands at 100 Mt Crosby Road</h3><br>
<p>Oaklands is surrounded by a well-established garden, which provides strong evidence of early garden layout and includes a number of mature fig trees in the front yard. Early tiled garden-edging remains lining the borders of the front path leading to the main entrance of the house. The house has a short-ridge pyramid roof clad in corrugated iron, with two corbelled chimeystacks of brick construction rising above. Paired decorative brackets to the eaves of the main roof are located on all facades of the house. The house is surrounded on 3 sides by a stepped verandah with a skillion roof. The rear verandah has been enclosed and extended. The front pediment features a decorative timber bargeboard and finial, and the verandah has been enclosed sideways-sliding sashes featuring panelled coloured glass. The original cast iron balustrades have been retained.</p><br>
<h3>Wrightson at 106 Mt Crosby Road</h3><br>
<p>The pedestrian entrance to the residence at 106 Mt Crosby Road is lined by garden beds, which retain some reference to the original garden layout and which screen the facade of the house from Mt Crosby Road. The well-established garden includes a number of mature pine and conifer trees in the front yard. The front boundary is enclosed with a timber-paling fence and the side perimeter is enclosed with a wire fence. There is one vehicular entrance onto the site from Mt Crosby Road leading to a later garage on the northern side of the property. The northern perimeter of the property abuts Tivoli State School and the southern side of the property adjoins Oaklands. The original timber stumps of the house have been replaced with concrete stumps and the sub-floor is enclosed with timber battens.</p><br>
<p>The house is timber-framed and externally clad on its exposed faces in 6 inch deep chamferboards. The main roof of the residence is pyramid shaped and sheeted in corrugated iron, with 2 brick chimneystacks rising above. The stepped verandah has a bull-nose roof profile. Access to the verandah is gained by a short flight of timber stairs. The decorative fretwork pediment above the stairs features a sunray motif, which is repeated in the timber brackets to the verandah posts and which was a common embellishment of Irish design. The front walls are unlined, vertically-jointed boards braced by horizontal beams. Dowel balustrading encloses the verandah and lattice infill panels have been installed in the front verandah bays. The northern side of the house is enclosed with a combination of early 20th century sliding and fixed windows with coloured glass. To the rear of the house is a recent covered patio area adjoining the house and a pool. A separate garage and an attached covered bay are located to the northern side of the building.</p><br>
<p>The early front door, which has a cast iron knocker, central door knob, fielded panels and bolection moulds, opens into a short central hallway which extends half the depth of the house. Internally, 2 rooms open off a short hallway. Both rooms have French doors opening onto the front verandah. The room to the left also has a sliding door opening in an area that includes 2 bathrooms, toilet and storage spaces, created by enclosing the southern verandah. At the end of the hallway a single glazed timber door with etched glass provides access to the living room, which has a white marble fireplace. To the right of the living room is a bedroom with French doors opening on to an enclosed area, which is an enclosed part of the verandah. Access from the living room to the kitchen, with its original brick fireplace, is gained through a doorway. The rear section of the house, which appears to be a 20th-century extension, is now used as a laundry, dining room and storage room. Substantial interior renovations, which are most evident in the rear section of the house and in the kitchen, have been carried out. The joinery and floors have been stripped of their original finishes.</p><br>
<p>There are timber floors throughout the house and all walls are lined with vertically-jointed tongue and groove boarding. Similarly, all ceilings are lined with vertically-jointed tongue and groove boarding, excluding the dining room which features what appears to be a pressed metal ceiling. All rooms have high picture rails. The hallway and living room both have bolection mould skirting boards, while all other rooms have plain skirting boards.</p><br>
<h2>Heritage listing</h2><br>
<p>Wright Family Houses was listed on the Queensland Heritage Register on 30 January 2004 having satisfied the following criteria.</p><br>
<p>The place is important in demonstrating the evolution or pattern of Queensland&#39;s history.</p><br>
<p>The Wright family houses are important in demonstrating the evolution or pattern of Queenslands history and in demonstrating the principal characteristics of a particular class of cultural place. Built for the collier and mining proprietor, John Wright and his wife, Elizabeth, these houses are representative of the burgeoning economic fortunes of the Ipswich region during the late 19th century. As Ipswich developed into a wealthy commercial and industrial centre of Queensland and as the coal industry continued to expand in the area, the construction of these 3 houses is indicative of the prospect of rising social and financial status offered in late-19th century Ipswich. The houses communicate a tangible link with the districts mining heritage.</p><br>
<p>The place is important in demonstrating the principal characteristics of a particular class of cultural places.</p><br>
<p>The Wright family houses are important in demonstrating the evolution or pattern of Queenslands history and in demonstrating the principal characteristics of a particular class of cultural place. Built for the collier and mining proprietor, John Wright and his wife, Elizabeth, these houses are representative of the burgeoning economic fortunes of the Ipswich region during the late 19th century. As Ipswich developed into a wealthy commercial and industrial centre of Queensland and as the coal industry continued to expand in the area, the construction of these 3 houses is indicative of the prospect of rising social and financial status offered in late-19th century Ipswich. The houses communicate a tangible link with the districts mining heritage.</p><br>
<p>The place is important because of its aesthetic significance.</p><br>
<p>The houses are also important because of their aesthetic significance, which contributes to the overall historical townscape of the Ipswich area. With its rich heritage, Ipswich abounds with significant examples of early Queensland architecture and as such these houses represent an important landmark in the area and their integrity as a group is strengthened by the direct connection between them.</p><br>
<p>The Sandstone Railway Culvert is a heritage-listed railway culvert at Wulkuraka, City of Ipswich, Queensland, Australia. It was built. It was added to the Queensland Heritage Register on 24 June 2005.</p><br>
<h2>History</h2><br>
<p>The separate colony of Queensland was established in 1859. The few inhabitants of the new colony looked to intensify economic exploitation of the land and increase the size of the population. The building of railways was seen to facilitate both of these aims and as such was given a high priority by the new Queensland government. Consequently, the Southern and Western Railway Bill was introduced to parliament in August 1863 and the government appointed Abram Fitzgibbon, an Irish engineer with international experience in railway construction, as Chief Engineer (later Commissioner for Railways). Fitzgibbon&#39;s first task was the construction of a railway between Ipswich and Toowoomba.</p><br>
<p>Planning for the new railway meant serious economic and geographic challenges had to be overcome. Earlier railway construction in the southern Australian colonies was modelled on the railways of Great Britain and featured broad gauge, double track, easy grades, wide radius curves and substantial station buildings. It was quickly discovered that the construction costs for such a rail system were beyond the budget of the fledgling Queensland colonial government. The natural geography around the Darling Downs also precluded an easy grade, with any railway requiring a steep ascent of the eastern escarpment of the Great Dividing Range and the crossing of several creeks and streams.</p><br>
<p>Fitzgibbon proposed a radical engineering solution to these challenges through the adoption of a narrow 3 feet 6 inch (1067mm) gauge. Standard gauge at the time was 4 feet 8½ inches (1435mm) and was in itself considered narrow when compared with other broad rail gauges then in use throughout the world. By using narrow gauge, savings on construction costs could be achieved. The disadvantages of such a decision meant sharper curves on ascending ranges, lower speeds, lighter bridges and as a consequence, smaller locomotives and rolling-stock. The use of narrow gauge was largely untried anywhere else in the world, except for small-scale narrow gauge operations in New Zealand and Wales.</p><br>
<p>Substantial cost savings were also to be made through the use of standard designs for bridges, buildings, houses and yards. At this time, the quality of Queensland timber was largely unknown and little was to be used on the first railway, except for sleepers. Bridges were to be built of iron with brick and stone culverts. It was only later that Queensland became a leader in wooden bridge design, with the emergence of elaborate timber designs and later more economical timber structures.</p><br>
<p>Construction of the railway was contracted to Peto, Brassey & Betts, a firm with considerable railway construction experience worldwide. A fixed sum contract was negotiated for the construction of the first line between Ipswich and Bigges Camp (today&#39;s Grandchester), with a follow on contract for four other sections of line between Bigges Camp and Toowoomba. Lady Diamantina Bowen, wife of the first Governor of Queensland, turned the first sod of earth for the first section of railway on 25 February 1864.</p><br>
<p>The first consignment of construction materials arrived in Ipswich by steamer on 15 August 1864. An initial line was laid down to the wharf in Ipswich to receive consignments of materials and move them to a workshops site on level ground above. Public pressure for a bridge across the river resulted in a change of plan and the terminus was moved to South Ipswich in the business centre. A bridge was constructed to carry both road and rail and was just completed in time for the opening of the first section of rail to Grandchester.</p><br>
<p>The first trial run along the line with a train was on 13 April 1865. The first section of line between Ipswich and Bigges Camp (a distance of twenty-one miles) was officially opened to traffic to great public fanfare on 31 July 1865. The line ran from the Bremer Bridge and passed the original workshops and running sheds (North Ipswich Railway Workshops) to the west and crossed Wide Gully. Extensions to the line were later made to Toowoomba (1867), Dalby (1868) and Warwick (1871).</p><br>
<p>The building of the Sadliers Crossing Railway Bridge and deviation, which opened in 1875, made the old line via Mihi Creek redundant and it fell out of use except for a short section to the Ipswich workshops and to service a coalmine. The line was officially closed on 26 April 1875.</p><br>
<p>Queensland Railways demonstrated the viability of the use of narrow gauge, thereby influencing other countries including Japan, Africa and New Zealand to also adopt the technology. The construction of the Ipswich to Bigges Camp railway, of which the Sandstone Railway Culvert at Wulkuraka is a part, set the precedent for the construction and design of the many lightly constructed and sinuous narrow gauge railways that have since been built around the world.</p><br>
<h2>Description</h2><br>
<p>The original line to Bigges Camp ran via North Ipswich roughly following the north bank of the Bremer River before crossing Mihi Creek and turning southwest towards today&#39;s Wulkuraka. The original line beyond Wulkuraka is still in use, although it has been duplicated, realigned and re-graded.</p><br>
<p>The sandstone culvert, a small brick-lined drain and the remains of railway line embankments are all found on the bushland reserve. The remains of the embankments begin in the northeastern corner of the property and end just short of the southern property boundary.</p><br>
<p>The sandstone culvert is situated in the northeastern corner of the reserve close to the property boundary. The area immediately adjacent to the culvert contains a number of trees of varying ages, and is thickly covered in tall grass and other scrub. The culvert measures approximately 2 metres in width and 2.5 metres in height. The length of the culvert from the southeastern entrance to the remains of the northwestern end is 16 metres.</p><br>
<p>The base and lower half of the culvert is constructed of poor quality grayish sandstone to a height of approximately 1 metre. These sandstone blocks are heavily weathered as a result of water erosion. The curved roof is made of fired red bricks built in two overlapping layers. Both the sandstone and upper brick structures feature lime mortar, which is in poor condition and is crumbling.</p><br>
<p>The southeastern end of the culvert remains intact. Inside the culvert, the middle section is largely intact though a small amount of graffiti is present on the upper brick walls. The northwestern end has disintegrated badly. At a point 10-12m from the Southeastern end, the lower sandstone and upper brick sections have collapsed and been washed away. Some of the scattered sandstone blocks have been pecked, suggesting that this side of the culvert was dressed for aesthetic purposes.</p><br>
<p>A small brick-lined drain is located along the railway line embankment to the southwest of the culvert. This drain is made from the same red bricks as found in the larger culvert. It is difficult to determine the overall condition of the drain as it is heavily silted up, though what is visible is in an average condition.</p><br>
<p>Significant physical elements of the place include:</p><br>
<p>The complex created by the presence of the culvert, the remaining railway line embankments and the small brick-lined drain</p><br>
<p>The sandstone used in the culvert, which is contemporary and probably from the same source as that used in the abutments found in the Heiner Road Railway Overpass</p><br>
<h2>Heritage listing</h2><br>
<p>Sandstone Railway Culvert and Remains was listed on the Queensland Heritage Register on 24 June 2005 having satisfied the following criteria.</p><br>
<p>The place is important in demonstrating the evolution or pattern of Queensland&#39;s history.</p><br>
<p>The Sandstone Railway Culvert and Remains at Wulkuraka are important in demonstrating the pattern of Queensland&#39;s history as a product of the first main line railway constructed in Queensland. It illustrates the unique development of the Queensland railway network and provides tangible evidence of the geographic, demographic and economic development of the fledgling Queensland colony in the 1860s.</p><br>
<p>The place demonstrates rare, uncommon or endangered aspects of Queensland&#39;s cultural heritage.</p><br>
<p>As physical evidence of Queenslands first railway, the place is an uncommon and endangered part of Queenslands cultural heritage. The sandstone culvert was constructed in 1864–65 and is contemporary to the abutments of the Heiner Road railway overbridge (Heiner Road Railway Overpass), making it one of the few surviving remnants of the first railway ever to be constructed in Queensland. The Sandstone Railway Culvert and Remains at Wulkuraka are also significant as uncommon and endangered elements of the oldest surviving 3 feet 6 inch railway found anywhere in the world.</p><br>
<p>The place has a special association with the life or work of a particular person, group or organisation of importance in Queensland&#39;s history.</p><br>
<p>The place has a special association with Abram Fitzgibbon, who made an important contribution as Queenslands first Commissioner for Railways and initiator of narrow gauge rail in Queensland. Fitzgibbons use of narrow gauge revolutionized railway design in Queensland, Australia and throughout the world. Fitzgibbon also brought with him a number of well-qualified railway engineers, providing valuable expertise in railway construction and design, thereby shaping the development of the modern Queensland rail network.</p><br>
<p>The Pest House in Stillwater Township, Minnesota, United States, is a former quarantine facility used by the city of Stillwater circa 1872 to 1910. It is a rare surviving example of a pest house, a common public health strategy of the late 19th and early 20th centuries, where people with contagious diseases were isolated. It was listed on the National Register of Historic Places in 1980 for having local significance in the theme of health/medicine. The original three-room Pest House has been converted into a private residence, with the addition of a porch on the southeast and a rear wing to the northwest.</p><br>
<h2>History</h2><br>
<p>In 1871 the Stillwater city council appointed a local board of health. One of its tasks was to prevent epidemics by isolating visitors or residents found to have contagious diseases. Thus the following year the city purchased a property on a hill outside town, on which was built the Pest House. It primarily served to isolate victims of smallpox, but also saw cases of scarlet fever, typhoid, and diphtheria. Stillwater ceased use of the Pest House in 1910, as hospitals were assuming the role of treating contagious diseases. The building was later converted into a private residence.</p><br>
<p>Håkås , formerly spelled Haagaas and Haakaas, is a hill and an area near the lake Øyeren in Båstad in Trøgstad, Østfold, Norway, 25 kilometres southeast of Oslo. It is also the name of three neighbouring farms in the immediate vicinity of the hill. In 2016 the Håkås nature reserve was established by the King-in-Council; consisting of the Håkås forests near Øyeren, it was fully protected due to its importance to biodiversity.</p><br>
<h2>History</h2><br>
<p>Håkås consists of three farms known as Håkås Nordre (Northern Håkås), Håkås Søndre (Southern Håkås) and Håkås Mellom (Middle Håkås), which were historically two and originally most likely one farm. Håkås borders Agnes to the north and Engen to the south. The Håkås hill is a forested hill around 185 metres above sea level, and ca. 15–30 metres above its surroundings on all sides. The main buildings of Håkås Nordre are found directly to the north of the hill.</p><br>
<p>Håkås is located in one of the oldest and most fertile agricultural areas in Norway. The Håkås farms are known since the middle ages, and are "considered to be among Båstad&#39;s best farms." At the time the record book of bishop Eystein (the "Red Book") was written in 1396, there were two Haukas farms here. As of 1723, there were three Hochaas farms. The largest farm is Håkås Nordre. The same family owned one or more of the Håkås farms at least from the 16th century to the late 19th century. The first known owner, Aslach of Håkås Nordre, is mentioned in 1555 and 1574. His son Einer Aslachsen (1565–1637) of Håkås Nordre and grandson Aslach Einersen (1600–1686) owned a large estate consisting of nearly a dozen wholly or partially owned farms in the district.</p><br>
<p>The name Haukáss is documented since 1379, when one of the farms is mentioned in a letter of 17 June 1379 published in the Diplomatarium Norvegicum, although the name is likely a good deal older than the 14th century, possibly dating back to the 1st millennium. Spelling variants include Haukáss, Haukas (1379, 1396), Haggaaiß (ca. 1475), Houkaas (1574), Hogaas (1593), Hockaas (1604), Hogos (1609), Hachos (1610), Haagaas (1612), Hochaas (1723), Haakaas, Hokaas and the current Håkås. The spelling Haagaas was commonly used until the early 20th century. The sound (represented by au in writing) in the first syllable was changed to (represented by å in modern Norwegian) under the influence of the vowel in the second syllable, during or around the 16th century. The modern Norwegian spelling of Haukáss would be Haukås.</p><br>
<p>Thor Christensen (1793–1863) and Anne Taraldsdatter (1797–1867), who owned Håkås Nordre (then spelled Haagaas Nordre), were the parents of Theodor Christian Haagaas (1823–1899), who was managing director of the sawmills of Saugbrugsforeningen, Norway&#39;s largest timber company. He married Nora Martha Petersen, daughter of Swedish-born Johannes Petersen (Petterson), who owned Veden Manor, and was the father of the educator Theodor Haagaas (1873–1961), who founded the Haagaas School in Oslo, which was thus ultimately named for Håkås. Theodor Christian Haagaas was also the maternal grandfather of the publisher Henrik Groth. Anne Taraldsdatter was a descendant of the family which had owned the farm at least since the 16th century, and of the abovementioned Aslach Einersen; her father owned the large neighbouring farm Bjørnstad while her mother was from Håkås Nordre.</p><br>
<p>The road Haakaasveien is named for the farms and the hill.</p><br>
<h2>Bech's Chapel</h2><br>
<p>Near Håkås Søndre (59.673138&deg; latitude, 11.255372&deg; longitude), there is a strange chapel called Bech&#39;s Chapel, built by the student and owner of Håkås Søndre Peter Christian Bech around 1816 as a memorial for himself. A lifelong student of theology, he died at Håkås Søndre in 1818, and carefully staged his own death. He is buried under the chapel, and his horse and dog are buried in front of it (the horse to the left and the dog to the right). An obituary by himself in Danish and Latin was placed inside the chapel. It reads:</p><br>
<p>Hugh Chatham Memorial Hospital is a historic hospital building located near Elkin, Surry County, North Carolina. The original rectangular section was built in 1930–1931, with additions made in 1937, 1947, and 1952. The original brick section is two stories over a partially above-ground basement in the Colonial Revival style/ It is eleven bays long and two rooms deep, with a slate-covered hipped roof with a central cupola and two rear dormers. The associated Nurses Home was built in 1932, and is a two-story-with-basement rectangular brick building in the Colonial Revival style. Frame side wings were added to Nurses Home in 1937. The hospital was converted to a nursing home and interior remodeled in 1973.</p><br>
<p>It was listed on the National Register of Historic Places in 2002.</p><br>
<p>Downtown Elkin Historic District is a national historic district located at Elkin, Surry County, North Carolina. The district encompasses 51 contributing buildings and 2 contributing structures in the central business district of Elkin. They were primarily built between about 1890 and 1950 and include notable examples of Early Commercial and Bungalow / American Craftsman architecture. Notable buildings and structures include the Gwyn-Foard House , Hugh G. Chatham Bridge , Liberty Tobacco Warehouse , Harris Building , USA Post Office  designed by the Office of the Supervising Architect under Louis A. Simon, former Elkins Town Hall  built by the Works Progress Administration, Dobbin&#39;s Store , and the Riverside Hotel .</p><br>
<p>It was added to the National Register of Historic Places in 2000. It has also been a part of the North Carolina Main Street Program since 1998 and is an accredited MainStreet community. Elkin&#39;s Main Street Advisory Board oversees the district and advises on beautification projects, assists with facade grants, and focuses on preserving the historical integrity of the downtown. You can learn more at www.elkinmainstreet.com. Many renovations have been completed recently, and the Reeves Theater is currently being renovated into a live music venue and cafe, scheduled to open in 2016, seating 300 people.</p><br>
<p>Elkins historical downtown is unusual as it is along the Yadkin River, and its Main Street is included along the route of the NC Mountains to Sea Trail. It offers various trails including the blue trail along the Yadkin River, which is accessible at Crater Park, two blocks south of Main Street. The Overmountain Victory Trail borders the west side of downtown next to Big Elkin Creek, and a Civil War marker is across from the library at Front St and W Main St. Youll also find various new murals in the downtown depicting historical information, trails and a mural dedicated to the Yadkin Valley Wine Region, AVA, in which Elkin resides.</p><br>
<p>North Carolina Granite Corporation Quarry Complex is a historic granite quarry and national historic district located at Mount Airy, Surry County, North Carolina. The district encompasses 22 contributing buildings, 1 contributing site, and 8 contributing structures in an area approximately one mile long and 1/3 mile wide. Notable contributing resources include the cutting shed , the office building , and a building originally used as a blacksmith shop. It is the world&#39;s largest open faced granite quarry. Granite from the quarry was used to build the United States Bullion Depository at Fort Knox, the Arlington Memorial Bridge in Washington, the Wright Brothers National Memorial at Kitty Hawk, and the Albert Einstein Memorial in Washington.</p><br>
<p>It was added to the National Register of Historic Places in 1980.</p><br>
<p>Mount Airy Historic District is a national historic district located at Mount Airy, Surry County, North Carolina. The district encompasses 187 contributing buildings in the central business district and surrounding industrial and residential sections of Mount Airy. They were primarily built between about 1880 and 1930 and include notable examples of Late Victorian and Bungalow / American Craftsman architecture. Located in the district are the separately listed W. F. Carter House and Trinity Episcopal Church. Other notable buildings include the Abram Haywood Merritt House , William A. Estes House , Thomas Fawcett House , J. D. Sargent House , T. Benton Ashby House , First Baptist Church , Mount Airy Friends , Presbyterian Church , Merritt Building , Banner Building , Prather Block , Midkiff Hardware Store , Welch Block , West Drug Store , Belks Building ,  Workmans Federal Savings and Loan ,  First National Bank , Bank of Mount Airy , USA Post Office , and the Sparger Brothers Tobacco Factory.</p><br>
<p>It was added to the National Register of Historic Places in 1985, with a boundary increase in 2012.</p><br>
<p>The Cruz Water Catchment, also known historically as Finona&#39;s Water Catchment, is a historic private water supply structure in the United States territory of Guam. It is located south of Guam Highway 9 in the village of Potts Junction in the central northern part of the island. It is a circular concrete structure 3.74 m in diameted, and is 2.55 m in height, of which 0.87 m is exposed above ground level. Its estimated capacity is just over 17,000 l. It was built, according to local oral history, about 1920, and was used to capture rainfall from a nearby house that was destroyed by Typhoon Karen in 1962. The catchment was used to provide water to as many as seven local households, making possible year-round living in an area otherwise lacking fresh water.</p><br>
<p>The structure was listed on the National Register of Historic Places in 1994.</p><br>
<p>The Jones P. Veazie House is a historic house at 88 Fountain Street in Bangor, Maine. Built in 1874-75, it is one of a small number of works of Bangor native George W. Orff to survive in the state, and is one of its finest examples of Second Empire architecture. It was listed on the National Register of Historic Places in 1988.</p><br>
<h2>Description and history</h2><br>
<p>The Veazie House is set on the west side of Fountain Street, in a residential area north of Bangors central business district. It is a 1-1/2 story wood frame structure, finished in flushboarded siding, and with a mansard roof. A 2-1/2 story tower, topped by a mansard roof with iron cresting, projects from the center of the south-facing facade. The tower is flanked on the first floor by porches extending to the sides of the house. The porch features a low elaborately-jigsawn balustrade, and brackets that are longer than those typical for the style. The corners of the house have paneled pilasters, and the main roofs cornice is irregularly studded with brackets. The windows in the dormers of the main roof and the tower have elaborate surrounds.</p><br>
<p>The land for this house was purchased by Jones P. Veazie in 1866, but the building was not started until 1874, and was finished in 1875, the year of Veazie&#39;s death. The building is one of eighteen known designs in Maine by Bangor native George W. Orff, who was trained in Boston and spent many years working in Minneapolis, Minnesota. This is one of the best-preserved of the few of these buildings to survive. Jones P. Veazie was a prominent local businessman who founded the Bangor Gazette.</p><br>
<p>Hofer Ranch is a historic ranch with ranch house, located at 11248 South Turner Avenue in Ontario, located in the Pomona Valley and San Bernardino County, in southern California.</p><br>
<h2>History</h2><br>
<p>Sanford Ballou purchased the ranch sight unseen in 1882, but he did not develop the property until he and his son Benton built a barn in 1898. Benton lived at and maintained the ranch, which mainly grew grapes, apricots, and peaches.</p><br>
<p>He built the ranch&#39;s main house in 1905 by significantly adding to an old school building on the property. The house has a vernacular California ranch house design, with a low roof and horizontal emphasis.</p><br>
<p>By 1915, the ranch had expanded to 900 acre and was farming grain crops as well, though these proved to be less profitable than fruit. The ranch primarily became a vineyard in the 1930s as nematode infestations and New Deal regulations hurt the profitability of other fruits.</p><br>
<p>The ranch was added as a Historic district to the National Register of Historic Places on July 8, 1993.</p><br>
<h2>Present day</h2><br>
<p>The State Line Marker is a historic boundary marker on the state line between Arkansas and Oklahoma. It is located down a path a short way north of a parking area on Talimena Scenic Drive in Ouachita National Forest, about 17 mi northwest of Mena, Arkansas. The marker is an octagonal cast iron pipe, with the legend "48 M" on the north face , "1877" on the south side , "ARK"  on the east side, and "CHOC"  on the west side. The pipe is mounted in a stone and mortar base installed by the United States Forest Service in 1974. The marker was placed in 1877 following a series of controversial surveys to demarcate the border between Arkansas and what was then Indian Territory.</p><br>
<p>The marker was listed on the National Register of Historic Places in 1976. This marker is one of the few surviving markers from this survey that is accessible to the public.</p><br>
<p>The Sam and Alfreda Maloof Compound is a historic residential complex located at 5131 Carnelian Street in Alta Loma, California. The complex includes the house and workshop of woodworker and furniture designer Sam Maloof, who designed the buildings himself. Maloofs house includes hand-carved redwood doors and windows, which Maloof gradually carved to replace the pre-made fixtures. Maloof also replaced many of the houses functional elements with his own creations, including door handles and surrounds, rafters, and even toilet seats. Maloof used the adjacent workshop and display room to build and show his furniture, and he experienced his greatest period of success in the 1960s and 1970s while working in the house. The house was relocated in the early 2000s when California State Route 210 was built through the area; it is now a museum of Arts and Crafts work.</p><br>
<p>The property was added to the National Register of Historic Places on November 9, 2010.</p><br>
<p>Hotel Metropole is a heritage-listed hotel at 253 Brisbane Street, West Ipswich, City of Ipswich, Queensland, Australia. It was designed by George Brockwell Gill and built in 1906. It was added to the Queensland Heritage Register on 21 October 1992.</p><br>
<h2>History</h2><br>
<p>The two storey brick hotel was constructed in 1906 to the design of prominent Ipswich architect George Brockwell Gill. In 1915 part of the surrounding property was resumed by the Queensland Railways Department. In 1925 the brewers Perkins and Co took over the lease until 1935 as part of a widespread accumulation of hotels by the company throughout Queensland. When Perkins & Co. merged with Castlemaine in 1928 to form Castlemaine Perkins the brewery held licences for 19 freehold hotels and 50 leasehold hotels including the Hotel Metropole in Ipswich.</p><br>
<p>The architect, George Brockwell Gill, designed many of the grand residences and public buildings in Ipswich from the 1880s to the 1930s. Some of his works include "Brynhyfryd" for Lewis Thomas (1889/90), Ipswich Girls Grammar School (1890/91), St Pauls Rectory (1895), the Ipswich Club House (1916), The Ipswich Technical College (1901), and supervision of the construction of the Walter Burley Griffin Incinerator in 1936. Gill emigrated from London and settled in Ipswich in 1886 where he commenced work as an architect for the firm of Samuel Shenton. Gill took over Shenton&#39;s practice in 1889 when Shenton retired. Gill had been elected Associate of the Queensland Institute of Architects in 1904 and Fellow by 1913. He was its Vice-President in 1914-16 and President in 1918-19.</p><br>
<p>The building has been used as hotel since opening in 1906 and continues as a hotel and nightclub today. In 1997, it was renamed The Harp of Erin, and later as the Silver Fern, but reverted to the Hotel Metropole name by the mid-2000s. In 2015, it contains the Waghorn gastropub and Club Metro nightclub, but retains the overall Hotel Metropole branding.</p><br>
<h2>Description</h2><br>
<p>The Hotel Metropole is a substantial two storeyed hotel with basement located on the north-eastern corner of Brisbane and Waghorn Streets at Ipswich. Built in 1906, the hotel is constructed of tuck pointed red brickwork of flemish bond heavily decorated with contrasting coloured brickwork and cement rendered dressings. The skyline is highlighted with decorative gables to the Brisbane Street parapet which conceals a hipped corrugated iron roof behind.</p><br>
<p>The principal facade to Brisbane Street is symmetrically composed around central loggia to ground and first floor. The main entrance to the building is via the ground floor loggia which is heavily decorated with painted cement rendered arches, columns and balusters and secured with cast iron grilles. Tessellated tiles line the floor. Additional arched entrances to bar areas are located either side of the loggia with a further entrance located off Waghorn street which currently opens into a more recently constructed beer garden that is fenced off from street access. The ground floor verandah to Brisbane and Waghorn Street elevations has timber posts, a cast iron valance and a recently replaced steel roof structure with curved Colorbond roof sheeting and slotted ogee guttering.</p><br>
<p>The first floor loggia has stilted arches of contrasting brickwork with columns, pilasters, keystones and other cement rendered elements. The remainder of the facade is relieved with contrasting cement rendered dressings, sills, string courses, pilasters, entablature and pediment. The Waghorn Street facade includes a first floor verandah with a balustrade and valance in a sunflower pattern which was common in Victoria on boom era houses and hotels and was registered as pattern no:VIC 444 by J Cochrane & G Scott 17 November 1887. At the rear, the "back of house" functions are expressed on the exterior of the building to Waghorn Street by a step in the parapet and the change in window treatment.</p><br>
<p>A timber framed cantilevered verandah with cast iron balustrade of a less elaborate detail is located on the rear elevation and overlooks the railway line. The exterior joinery is generally intact and comprises double hung windows with four light upper sashes to segmental arched windows, multi-paned fanlights with circular lights to other arched openings and four panel doors.</p><br>
<p>The main entrance to the building opens off the loggia and provides access to bars either side and to the entrance to the stair hall leading to the accommodation on the first floor. The floor is lined with later parquetry with rendered walls and a pressed metal ceiling.</p><br>
<p>The entrance to the main stair hall has a fixed arched fanlight above the door with the words "Hotel Metropole 1906" etched into it. The stair hall also has a pressed metal and contains a substantial and elaborately detailed cedar stair. An arched window with decorative leadlight.</p><br>
<p>The main bar area to the west of the hall has been substantially altered with the removal of several walls to form one main bar area on the principal corner of the building. Remnant walls have been retained as lintels to allow original plaster ceilings, cornices and ceiling roses to survive. A marble fireplace is located on the northern wall of the main bar and the floors are of timber covered with later linings. The bar area to the east of the hall has been heavily refurbished and little of its early interior is evident.</p><br>
<p>A kitchen, secondary stair and recently refurbished toilet facilities are housed at the rear of the building. The secondary stair provides access to the upper floor as well as to the basement and service entrance. The basement has a low floor to ceiling height and is used for storage.</p><br>
<p>The upper floor of the hotel generally retains its early layout and contains accommodation rooms and a common room on the western side of the stair hall. The eastern side has been altered and fitted out as a nightclub. The rear of the building houses single rooms and the bathrooms with internal timber partition walls lined with v jointed tongue and groove boards, timber floors and timber ceilings.</p><br>
<p>Much of the interior joinery on both levels is intact and generally appears to be cedar.</p><br>
<h2>Heritage listing</h2><br>
<p>Hotel Metropole was listed on the Queensland Heritage Register on 21 October 1992 having satisfied the following criteria.</p><br>
<p>The place is important in demonstrating the evolution or pattern of Queensland&#39;s history.</p><br>
<p>Erected in 1906, the Hotel Metropole demonstrates a period of renewed building activity in Ipswich around the turn of the 20th century. It was one of many substantial public brick buildings constructed during this period and the striking nature of the building also reflects the importance of the local hotel in communities of the era.</p><br>
<p>The place is important in demonstrating the principal characteristics of a particular class of cultural places.</p><br>
<p>The Hotel Metropole is a good example of a reasonably intact Federation hotel displaying fine detailing evidence of its original design throughout the building.</p><br>
<p>The place is important because of its aesthetic significance.</p><br>
<p>For its architectural and aesthetic value and as a landmark within the city which contributes to the Brisbane Street streetscape and to the townscape.</p><br>
<p>The place has a strong or special association with a particular community or cultural group for social, cultural or spiritual reasons.</p><br>
<p>The Hotel Metropole has special association with the local community of Ipswich as a place of social activity since its opening in 1906.</p><br>
<p>The place has a special association with the life or work of a particular person, group or organisation of importance in Queensland&#39;s history.</p><br>
<p>It is also important as a prominent and characteristic example of the work of George Brockwell Gill, the Ipswich architect responsible for numerous significant domestic and civic buildings in the city.</p><br>
<p>Baptist Church is a heritage-listed former church and 188 Brisbane Street, Ipswich, City of Ipswich, Queensland, Australia. It began as a simple gabled Gothic Revival building designed by Richard Gailey built in 1877, which was given an Art Deco makeover in 1938, designed by George Brockwell Gill. A memorial gate was added in 1954. In 2007 the site was sold, and the building converted for use as a performing arts space, known as Studio 188. It was added to the Queensland Heritage Register on 4 July 2006.</p><br>
<h2>History</h2><br>
<p>The former Ipswich Baptist Church, first designed by eminent Queensland architect, Richard Gailey and erected in 1877 on Brisbane Street, was originally a simple gabled brick building in a classical idiom. The church acquired adjacent land on Limestone Street and established a Sunday School hall and a manse there. An Art Deco-influenced refurbishment of the church was completed in 1938 under the direction of prolific Ipswich architect, George Brockwell Gill. A gateway comprising a gable roof supported on barley-twist columns was opened by the church in 1954 to honour those from the church who fought, suffered and died during World War II, and to provide an entrance to memorial grounds established next to the church on Brisbane Street. In 2004 the congregation established itself elsewhere and the church was sold to eventually be transformed into a performance venue by the Ipswich City Council in 2012.</p><br>
<p>Ipswich was one of the earliest settlements in Queensland, commencing as a convict out-station known as Limestone in 1827. From its inception as a free settlement in 1842, Ipswich was important as a port on the Bremer River located at the intersection of routes to the Darling Downs and Upper Brisbane Valley. Its people, together with many squatters, cherished the hope that the town might become the capital of the prospective Colony of Queensland, however, Brisbane assumed that role after separation from New South Wales in 1859. Nevertheless, Ipswich remained important as a major regional centre, being declared a municipality in 1860 and then a city in 1904.</p><br>
<p>The Ipswich Baptist congregation was the second to be formed in Queensland. Initially the colony&#39;s first Baptists met in Brisbane as part of a United Evangelical Church formed in 1849 under the leadership of Reverend Charles Stewart, a Baptist Minister, and including Presbyterians and Congregationalists. After the retirement of Stewart in December 1854, the Baptists separated from the union, forming an independent congregation in Brisbane in August 1855.</p><br>
<p>At Ipswich, the Baptists initially held combined services with the Congregational Church from the early 1850s. They commenced meeting independently in June 1859 in a hired bowling alley, and in January the following year officially formed a Baptist church with 7 members.</p><br>
<p>The congregation built its first church in August 1860: a small chapel constructed in the West Street garden of the churchs first pastor, Rev. Thomas Deacon (he died shortly before the chapels opening). In the mid-1870s, after Rev. J Straughen took office, the congregation experienced a surge in numbers growing from 38 in August 1875 to 78 in December 1876. During 1876 it became clear that the West Street chapel was too small, and the decision was made to erect a new church building. The Rev. Deacon&#39;s widow generously gifted the first chapel, and its site including the house, to the church trustees on the condition that they were used by them in Ipswich. Ultimately that property was sold and another on the main street of town purchased for a new church.</p><br>
<p>Tenders for the new church were invited in The Queensland Times on 7 October 1876. The firm Messers McKenzie and Co. was contracted for the brickwork and Messrs MacGregor and Brown for the woodwork.</p><br>
<p>The architect responsible for the design was Richard Gailey, who was a devout Baptist and would become Brisbanes longest-practising and most prolific private architect of the colonial era. Born in Ireland, Gailey trained to be an architect in Derry before travelling to Queensland in 1864 and deciding to settle here. He set up as an architect the following year and by 1868 was prospering to a degree that enabled him to marry a woman from Belfast. It is apparently after his wifes conversion to the Baptist faith, that he became a member at the Wharf Street church in Brisbane. For most of the work he did for the Baptists, he gave his services for free; the grandest monument he created for them being the Baptist City Tabernacle on the corner of Wickham Terrace and Upper Edward Street in Brisbane, built in 1889-90. His other notable works include: the Brisbane Courier Building in Brisbane&#39;s CBD (1885–87, now demolished), the Regatta Hotel at Toowong (1886), School House at Brisbane Grammar School (1887), the Smellie and Co. warehouse opposite the Brisbane Botanic Gardens (1888–89), the former Bank of New South Wales in Gympie (1890–91), Moorlands at the Wesley Hospital site at Auchenflower (1892) and the Walter Reid and Co. warehouse in Rockhampton (1892–93). At his death in 1924 at the age of 90 he was described as the "Doyen of Brisbane Architects" by The Brisbane Courier.</p><br>
<p>The Ipswich church was the fourth of at least 8 churches or chapels he designed for the Baptists during their greatest period of expansion between 1865 and 1890, and is now the oldest extant one in its original location. The only older church is that in Chapel Street in Nundah, which was built in 1876 to a design by Gailey but later moved from its original site on Fortescue Street in Spring Hill. The simplicity of the Ipswich church design — gable-roofed brick building with engaged piers, round-arched windows filled with stained, leadlight glass (red border and green lights) and gabled porch with decorative balustrade - was typical of Gailey&#39;s early work for the Baptists, which otherwise tended to be in timber. His later churches, most notably the City Tabernacle and the Baptist Church on Flinders Parade at Sandgate (1887), are more complex, reflecting the increased strength of the church and the capacity of the congregations they served.</p><br>
<p>On the Separation Day public holiday, 11 December 1876, Rev. J Straughen presided over a ceremony for laying the foundation stone of the new Ipswich church. A sealed bottle containing Ipswich newspapers and clippings, and a copy of a report read at the ceremony by the church secretary, Mr J Fletcher, were put into a prepared place under the foundation stone. Mr E Gregory, a foundation member of the Baptist church in Ipswich who was also responsible for establishing the Ipswich Herald (later The Queensland Times) laid the foundation stone. He used an ivory handled silver trowel, still held by the Ipswich Baptist Church, and engraved by Mr McCuskie of the North Ipswich railway workshops.</p><br>
<p>The church was officially opened just over 6 months later on 17 June 1877. It was approximately 25 m by 9.8 m in plan and about 5.5 m high (at the top of its gable) with a corrugated iron roof and a floor of milled boards. Contemporary descriptions of the church state that it could accommodate 350 people. The classical style employed in its design was common in 19th-century commercial and government buildings but relatively rare in churches. Where the classical style was used for a church, it was often by non-conforming denominations such as the Baptists.</p><br>
<p>The interior of the Ipswich church followed a layout that was typical of those for a Baptist congregation: designed around a symbolic axis, a raised dais was located in the centre of the southern end with a baptismal font, a fundamental part of Baptist worship, immediately beneath it. The pews were arranged symmetrically about the axis in front of the dais and the font.</p><br>
<p>The new church was completed during a period of economic buoyancy and increased building activity in Ipswich, the colonys "second town" according to the 1876 edition of the Australian Handbook. Queensland had experienced severe economic depression in 1866 with only gradual improvement occurring over the following decade. As the economy improved during the late 1870s, Ipswich entered a period of prosperity. In July 1877, The Queensland Times noted a considerable number of buildings planned, under construction or recently completed including the Lands Office, a new benevolent asylum (Ipswich Mental Hospital) and the Queensland Woollen Manufacturing Company mill. The citys retail and commercial heart centred on Brisbane Street and the area west of Nicholas Street known as "Top of the Town".</p><br>
<p>Baptist Sunday School had commenced at Ipswich by 1864. During 1900 a timber hall for that purpose was built facing Limestone Street on land acquired by the church. This building was designed by local architect, George Brockwell Gill. Funds for the hall, together with those to enable renovations to the church also carried out in 1900, were raised from bazaars, interest free loans and donations. The Ladies Work Society played a prominent role in fundraising through the sale of their craft work. In 1924 a manse was opened next to the hall and to the rear of the church.</p><br>
<p>After World War I and years of depression when congregation finances were limited, a scheme to substantially renovate the church was put forward in 1937 during the pastoral term of Rev. Gray A Parker. By the following year the remodelled church was complete, its "futuristic and perpendicular" facade in an Art Deco style that was popular between the world wars but unusual in churches. The front porch was completely replaced and fitted with stained glass, leadlight windows, with matching ones in the front wall, and all of the exterior walls were rendered. The interior alterations included a full-width polished timber vestibule with stained glass, leadlight windows (now removed, matching the design of other new windows in the facade and featuring an arrow and torch motif) and panelling of the vestry with polished timber. The design was completed by GB Gill, the architect for the Sunday School nearly 40 years previously, while the contractor was Mr HE Wildey. Dedication of the renovated church took place on 19 June 1938, when a number of pieces of church furniture were donated: a pulpit table, Communion chair, 2 pulpit chairs, oak hymn-board, crystal vases, pedestal and pulpit hymn book.</p><br>
<p>Born in London, Gill emigrated to the colonies in 1886 before settling in Ipswich, taking over an existing practice and establishing himself as an active member of the community for over 50 years before his retirement in 1943. Gill was elected Associate of the Queensland Institute of Architects in 1904 and Fellow by 1913. He was its vice-president from 1914 to 1916 and president from 1918 to 1919.</p><br>
<p>His early works include Brynhyfryd, a grand residence at Blackstone for Lewis Thomas (1889–90), and the original building of Ipswich Girls Grammar School (1890–91), for which he served as a member of the Board of Trustees and later was board Chairman. Later, more outstanding works in Ipswich, include the City View Hotel (1908), the Cribb and Foote department store (1911) and the Soldiers Memorial Hall in Nicholas Street (1921). Of the 16 buildings and 2 memorials Gill designed that are entered in the Queensland Heritage Register, the Ipswich Club House (1898) and the Hotel Metropole, a block further west of the church on Brisbane Street (1906), are notable examples of his skill with large timber houses and polychrome brickwork respectively.</p><br>
<p>The Art Deco-inspired refurbishment of the Ipswich Baptist Church is stylistically very different from Gill&#39;s other work, and it is plausible that he or a member of his office took inspiration from his work in supervising the construction of the Walter Burley Griffin Incinerator (now a theatre) in 1936 at Queens Park in Ipswich. Early in 1937, the year in which the church refurbishment was being planned, Walter Burley Griffin died unexpectedly aged 60 years while working in India.</p><br>
<p>The allotment adjacent to the church, purchased by the Baptists in about 1940, was dedicated as a war memorial in 1950 by which time it had come to be used informally as a park. The Rev. JH Bird, who had come to the pastorate in 1947, led a group of volunteers in terracing the area and laying its grass. Concrete steps were set into the terraced faces. On 25 March, the Ipswich Mayor, Alderman JT Finimore, officially opened the park as the Central Baptist War Memorial Grounds.</p><br>
<p>The memorial entrance to the park, a covered gateway with a plaque and wrought iron gates, was erected 4 years after the park was opened and dedicated by Rev. H Kestell Cornish on 25 April 1954. During the ceremony, the entire congregation led by ex-servicemen filed slowly through the gates. The memorial plaque bore the words "A tribute of remembrance to the men and women of this church who fought, suffered and died during the 1939-45 war" and was mounted on the front gable.</p><br>
<p>With a view to the approaching centenary of the Ipswich Baptist congregation, renovations were again undertaken in 1958. The church ceiling had to be replaced, the interior was painted and a cross (now removed) was installed in the apse on the rear wall. The refurbished church was reopened on 15 February 1959.</p><br>
<p>More changes took place in 1979. The platform area in the church was improved and a larger courtyard area was provided at the entrance. A sealed parking area was also established on the top terrace at this time (between the rear of the church and Baptist buildings on Limestone Street).</p><br>
<p>The final alterations to be made to the church by the Baptists were in the late 1990s. Between 1993 and 1994, a larger entrance was made into the church on its eastern side. A large covered area was added to this extension in 1998.</p><br>
<p>In 2004, the Baptists sold the church complex and built a new place of worship in the Ipswich suburb of Brassall. The former church stood vacant for a number of years, becoming a target for vandals, before McDonald&#39;s Australia Limited purchased it along with the other properties that had constituted the former Baptist Complex with its church and memorial ground on Brisbane Street, and the Sunday School hall and manse on Limestone Street.</p><br>
<p>In 2009, McDonald&#39;s demolished the hall and manse, and built a retaining wall between that site and the memorial ground and church, in order to construct a restaurant and car park on Limestone Street. It transferred the memorial ground, gate and church to Ipswich City Council in 2012; council then carrying out a substantial refurbishment of the site to create a youth theatrical venue called Studio 188 that operates as an adjunct to the Ipswich Civic Centre. The design for the transformation of the church and its grounds were completed by Gibson Architects, an Ipswich firm.</p><br>
<h2>Description</h2><br>
<p>The former Baptist Church and memorial gate stand at 188 Brisbane Street in an area of Ipswich called Top of the Town. The former is a rendered brick building with an Art Deco-influenced front elevation comprising a series of engaged piers and a porch, and a gabled, corrugated iron-clad roof; while the gate stands a few metres to the north against the street and consists of a gable roof supported on 6 barley-twist columns. The former church is set back from the street alignment and is raised above it by the steep slope of the site. Its visual dominance of the surrounding area is further embellished by the backdrop provided by the open space behind the memorial gate.</p><br>
<p>Entrance to the church is gained 3 ways: up a tall flight of concrete stairs to the front porch; through the memorial gate and up to a side extension via a recent stairway, and via a ramp that runs from the street and zigzags up the slope to the extension entrance. The sloping ground behind the gate and in front of the former church — cut through by the recently constructed interconnecting stair and ramp — is landscaped with beds of low shrubs and shaded by a number of trees. A concrete retaining wall separating the former church site from that at the rear, which addresses Limestone Street, forms a striking backdrop. A driveway providing access to premises on Limestone Street runs beside the south-western side of the church and is outside the heritage boundary for this place.</p><br>
<p>The Art Deco-inspired front elevation of the church is the key feature introduced as part of GB Gill&#39;s 1938 refurbishment and is made up of a series of engaged piers forming a parapet wall to the main face of the church and repeated in style on its porch. The detailing of the larger piers at each end and framing the centre, along with the smaller piers in the bays created by these, emphasises verticality, as well as solidity. The pattern of render is smooth for the piers and other built-up details, and rough cast in the bays. Double, glass-panelled entrance doors, approached by a flight of concrete steps from the footpath, provide access through the porch. A stained timber Latin cross is fixed to exterior of the door mullions. Tall, narrow windows with no arch at their heads and filled with coloured lead lights, open either side of the porch. Above it, as well in each porch side wall, there are shorter windows of otherwise similar dimensions. The central one is filled with fixed louvres. A set of stained timber, double doors open from the porch into the interior. These are high-waisted with coloured leadlight windows set into each top panel, the design of which features a narrow border, green background lights and a central arrow and torch motif. This patterning is extant in many of the early windows facing Brisbane Street.</p><br>
<p>The south-western elevation of the church, facing the driveway, has changed little from that designed by Gailey: 6 bays framed with shallow engaged piers connected top and bottom, the first 5 punctuated by tall, narrow windows with round-arches and sills, and that at the rear featuring both a narrow window, shorter than the others because of the sloping land, and a timber door with semicircular fanlight. The bays are rough cast render while the frame is smooth render. The windows are filled with 4 coloured lead lights, 3 of which pivot along the horizontal centre line. The rear elevation is again Gailey&#39;s design, rendered in a similar pattern with a rough cast face framed by smooth-rendered, engaged piers at each corner curving to the top plate connecting them under the gable end. A small, narrow window with round-headed arch and fixed louvres opens high into the centre of this wall.</p><br>
<p>The north-eastern elevation has a gable and hip roof extension appended to it (1994), made of rendered concrete block and timber roof framing with a suspended ceiling. A number of early windows taken from the church wall removed to make way for this extension have been in it. The extension fits generally inside the first and last wall bays of the earlier church. The leadlight glass used in all the original tall, narrow side windows features green rectangular lights inside a narrow red and then yellow border. The side entrance to the former church features a large set of double timber doors surrounded by a glazed frame.</p><br>
<p>The interior of the former church comprises the extension on the eastern side of the building where front-of-house facilities have been inserted, the former worship hall, which is now the theatre, and some back-of-house facilities in the southern part of the building where the vestry and flower room had been. The theatre space has a new stage at the southern end, behind which the proscenium wall stands with former door openings behind a black curtain. The walls and ceilings feature a regular grid of steel lighting gantries and the original windows are behind coloured screens, set off the wall by approximately 10 cm.</p><br>
<p>The memorial gate stands on the alignment with the street and comprises a gable roof, framed in timber, lined on the ends with weatherboards, and clad in corrugated metal sheeting. The roof is supported on 6 barley-twist columns with ionic capitals and founded on a low wall.</p><br>
<p>A low concrete wall, styled to resemble the front elevation of the church, runs the length of the allotment boundary with the street and footpath. It opens to allow access onto the site, with short piers at the entrance to the gate, the ramp, and the stairs leading to the former church (from north to south along Brisbane Street). A sign has been installed near to the ramp entrance (2012), which is not considered to be of cultural heritage significance. The new stair and ramp, and the landscaping in the area of the memorial ground behind the gate are not of cultural heritage significance.</p><br>
<h2>Heritage listing</h2><br>
<p>The former Ipswich Baptist Church was listed on the Queensland Heritage Register on 4 July 2006 having satisfied the following criteria.</p><br>
<p>The place is important in demonstrating the evolution or pattern of Queensland&#39;s history.</p><br>
<p>Constructed in 1877 to a design by renowned architect, Richard Gailey, and given its Art Deco-inspired exterior in 1938 by prolific local architect, George Brockwell Gill, the former Ipswich Baptist Church is the oldest Baptist church known to survive in its original location in Queensland; as such it is physical evidence of the early establishment and later strength of the Baptist congregation in Ipswich. Being the church of only the state&#39;s second congregation of Baptists, it also demonstrates the importance of Ipswich as a regional centre during the late 1870s.</p><br>
<p>The war memorial gate, located adjacent to the former church, is important in demonstrating the pattern of Queensland&#39;s history, being associated with the nationwide movement to honour those involved in conflicts such as World War II.</p><br>
<p>The place demonstrates rare, uncommon or endangered aspects of Queensland&#39;s cultural heritage.</p><br>
<p>The Ipswich church is the oldest known surviving Baptist church still in its original location in Queensland.</p><br>
<p>The Art Deco elevational treatment, applied to the church in 1938 when it was remodelled to a design by Ipswich architect, George Brockwell Gill, is rare for buildings of this type in Queensland; indicative of a preference among non-conforming churches for adopting an architectural style distinct from those employed in Roman Catholic and Anglican churches.</p><br>
<p>The place is important in demonstrating the principal characteristics of a particular class of cultural places.</p><br>
<p>The former Ipswich Baptist Church is important as an example of the early work of Richard Gailey, Brisbanes longest practising and most prolific private architect of the colonial era. It was the fourth of at least 8 churches Gailey designed for the Baptists, a body of work which culminated in the City Tabernacle in Brisbane (1889, Baptist City Tabernacle), the denominations principal place of worship in Queensland. The simplicity and restraint of the Ipswich churchs design is typical of Gaileys early work for the Baptists, his later churches being far more decorative.</p><br>
<p>The churchs 1938 Art Deco remodelling is important as an unusual example of the work of prominent Ipswich architect George Brockwell Gill. A resident and active community member of Ipswich where almost all of his work was done, Gills career spanned more than 50 years from the 1880s. Fourteen of his works in Ipswich alone are entered in the Queensland Heritage Register.</p><br>
<p>The memorial gate is important in demonstrating the principal characteristics of a commemorative structure located in a prominent place to act as a tangible and enduring reminder of those men and women from the church who fought, suffered and died during World War II.</p><br>
<p>The place is important because of its aesthetic significance.</p><br>
<p>The former Ipswich Baptist church and its memorial gate are important for the significant aesthetic contribution they make to the streetscape of Brisbane Street, one of Ipswichs most important thoroughfares. The verticality of its Art Deco front elevation — set back and raised up from the street with the slope of the site, and standing against a backdrop of open space behind the memorial gate — is visually striking. The aesthetic of the former church and its memorial gate is in strong contrast to the areas commercial character.</p><br>
<p>Bostock Chambers is a heritage-listed office building at 169-175 Brisbane Street, Ipswich, City of Ipswich, Queensland, Australia. It was designed by George Brockwell Gill and built in 1915. It was added to the Queensland Heritage Register on 21 October 1992.</p><br>
<h2>History</h2><br>
<p>The Bostock Chambers building on the corner of Brisbane and Ellenborough Streets was constructed in 1915 for the family business of E. Bostock & Sons, a prominent and well established surveyors and auctioneers in Ipswich. The building was erected at a time of renewed building activity in Ipswich at the beginning of the 20th century and is reflective of this boom.</p><br>
<p>Enoch Bostock had been a prominent member of the Ipswich community from the mid 19th century and created his own successful surveying, auctioneering and real estate business. Bostock established his first business premises in the former Queensland National Bank building on the corner of Brisbane & East Streets in 1878, later moving to premises in Nicholas Street as E Bostock and Sons. Enoch Bostock died on 9 April 1905 after which his sons continued the family business in Ipswich.</p><br>
<p>In 1914 the land on the corner of Ellenborough and Brisbane Streets was transferred to Henry Alexander Bostock and Frederick Rowland Bostock, Surveyors, and a mortgage was taken out for £2,000. A tender notice was advertised in The Queensland Times by prominent Ipswich architect George Brockwell Gill (a former associate of Enoch Bostock) on 26 September 1914 and the tender was accepted on 13 October 1914. Bostock Chambers opened in July 1915 and was featured in The Queensland Times of 8 July 1915.</p><br>
<p>The architect, George Brockwell Gill, designed many of the grand residences and public buildings in Ipswich from the 1880s to the 1930s. Some of his works include "Brynhyfryd" for Lewis Thomas (1889/90), Ipswich Girls Grammar School (1890/91), St Pauls Rectory (1895), The Ipswich Club (1916), the Hotel Metropole (1906), and supervision of the construction of the Walter Burley Griffin Incinerator in 1936. Gill emigrated from London and settled in Ipswich in 1886 where he commenced work as an architect for the firm of Samuel Shenton. Gill took over Shentons practice in 1889 when Shenton retired. Gill had been elected Associate of the Queensland Institute of Architects in 1904 and Fellow by 1913. He was its Vice-President from 1914–16 and President from 1918-19. George Brockwell Gills work has made a significant impact on the physical environment of Ipswich, his buildings forming a substantial proportion of the building stock in the CBD and in the suburban streets.</p><br>
<p>Bostock Chambers has been used as offices and retail outlets from its beginnings and remains as one of the most prominent commercial corner buildings in the Ipswich CBD.</p><br>
<h2>Description</h2><br>
<p>Bostock Chambers is an intricately detailed, two storey commercial building on the intersection of Brisbane and Ellenborough streets. It is complemented by adjacent buildings which form a coherent streetscape to Brisbane street. The neighbouring building, Colthup Chambers, was constructed as a separate structure and has almost identical detailing.</p><br>
<p>Bostock Chambers contains shops on the ground floor with offices on the first floor that are accessed via a stair from Brisbane street. It is constructed of face brick with rendered mouldings to the upper facade and parapet. The hipped roofline is concealed behind the parapet which contains the words "E. Bostock & Sons, estabd 1865" with the date of construction of the building, "1915", on the corner. The detailing to the upper floor windows is a distinctive feature of the building and includes elaborate rendered sills, and window hoods with timber brackets, fretwork and terracotta roof tiles. Each double-hung window has nine panes to the upper sash and a single pane to the lower sash.</p><br>
<p>The street awning to the lower floor is early, and has a pressed metal ceiling. Flat brick arches above fanlights and earlier openings are visible at the top of the awning. The ground floor shops open onto Brisbane street and are accessed from the rear through a courtyard containing a loading dock. A separate, single-storey building is set at an angle to the main two-storey building and houses a shop which addresses Ellenborough street. This shop contains a safe set low in one wall and a vault with a heavy metal door at the rear. The shops have been refurbished but some original fabric remains including fanlights to the shop doorways, marble thresholds and a pressed metal ceiling to the corner shop. The individual tenancies are separated by timber vj walls. The stair to the upper floor is intact with marble threshold, double timber doors and timber stair and handrail.</p><br>
<p>The upper floor is divided into separate rooms, formerly offices, which either face the street or the rear courtyard and are accessed from a central passageway. These rooms are now used for storage and an opportunity shop. The timber doors and windows are intact and the walls and ceilings are timber framed and lined with vj boarding. The central passageway opens to an elevated walkway, above the rear courtyard, leading to a toilet block set above the loading bay. These toilets are early but not original, and consist of two ladies and one gents divided by a corrugated iron screen. The only handbasin is external and located on the walkway.</p><br>
<h2>Heritage listing</h2><br>
<p>Bostock Chambers was listed on the Queensland Heritage Register on 21 October 1992 having satisfied the following criteria.</p><br>
<p>The place is important in demonstrating the evolution or pattern of Queensland&#39;s history.</p><br>
<p>The Bostock Chambers buildings is important in demonstrating the evolution of the CBD of Ipswich as a reflection of renewed commercial building activity following the turn of the 20th century.</p><br>
<p>The place is important because of its aesthetic significance.</p><br>
<p>The building has high aesthetic value as a prominent corner building in the heart of Ipswich contributing significantly to the streetscape of Brisbane and Ellenborough Streets and to the townscape as a whole. The western end of Brisbane Street is an unusually intact example of an early 20th century shopping centre and commercial district focussed around the street, and the Bostock Chambers building contributes to this particular characteristic significantly.</p><br>
<p>The place has a special association with the life or work of a particular person, group or organisation of importance in Queensland&#39;s history.</p><br>
<p>The building has special association with the Bostock family being the result of their successful business in Ipswich which commenced operation in the mid 19th century. The building still clearly bears their name. Bostock Chambers also has special association with the work of George Brockwell Gill as a significant example his work which included many significant civic, commercial and domestic buildings in Ipswich.</p><br>
<p>Charleville War Memorial is a heritage-listed war memorial at Edward Street, Charleville, Shire of Murweh, Queensland, Australia. It was designed by George Brockwell Gill and built in 1924 by R C Ziegler and Son. It was added to the Queensland Heritage Register on 21 October 1992.</p><br>
<h2>History</h2><br>
<p>The Charleville War Memorial was unveiled on 9 October 1924 by the Queensland Governor Sir Matthew Nathan.</p><br>
<p>It is thought to have been designed by George Brockwell Gill and cost £1000. The predominantly marble memorial honours the 310 local men who served in the First World War, including the 40 fallen.</p><br>
<p>The memorial was:"Erected by the citizens of Charleville and district, and Charleville sub-branch of the Returned Services League".The cast iron fence was subsequently erected some time between 1925 and 1933.</p><br>
<p>In 1864, the Queensland Government Gazette proclaimed the boundaries of the Warrego Pastoral District. This followed the arrival of farmers from New South Wales in search of sheep runs on the Upper Warrego River district. The town of Charleville was gazetted in 1868 and laid out by government surveyor William Alcock Tully in the usual grid form, allowing for the roads to be wide enough for large bullock trains to turn in. By 1880 the area had developed into a small town which continued to prosper as a resting point on the stock routes. Development was further encouraged by the Western railway which reached Charleville in 1888 and the establishment of Cobb and Co in 1890. Other businesses were established to support the growing infrastructure; however the pastoral properties continued to be the town&#39;s main asset.</p><br>
<p>Australia, and Queensland in particular, had few civic monuments before the First World War. The memorials erected in its wake became our first national monuments, recording the devastating impact of the war on a young nation. Australia lost 60,000 from a population of about 4 million, representing one in five of those who served. No previous or subsequent war has made such an impact on the nation.</p><br>
<p>Even before the end of the war, memorials became a spontaneous and highly visible expression of national grief. To those who erected them, they were as sacred as grave sites, substitute graves for the Australians whose bodies lay in battlefield cemeteries in Europe and the Middle East. British policy decreed that the Empire war dead were to be buried where they fell. The word "cenotaph", commonly applied to war memorials at the time, literally means "empty tomb".</p><br>
<p>Australian war memorials are distinctive in that they commemorate not only the dead. Australians were proud that their first great national army, unlike other belligerent armies, was composed entirely of volunteers, men worthy of honour whether or not they made the supreme sacrifice. Many memorials honour all who served from a locality, not just the dead, providing valuable evidence of community involvement in the war. Such evidence is not readily obtainable from military records, or from state or national listings, where names are categorised alphabetically or by military unit.</p><br>
<p>Australian war memorials are also valuable evidence of imperial and national loyalties, at the time, not seen as conflicting; the skills of local stonemasons, metalworkers and architects; and of popular taste. In Queensland, the digger (soldier) statue was the popular choice of memorial, whereas the obelisk predominated in the southern states, possibly a reflection of Queensland&#39;s larger working-class population and a lesser involvement of architects.</p><br>
<p>Many of the First World War monuments have been updated to record local involvement in later conflicts, and some have fallen victim to unsympathetic re-location and repair.</p><br>
<p>Although many different memorials were constructed throughout Queensland, the only other known one of this design is the Esk War Memorial. The Charleville memorial is attributed to Ipswich architect George Brockwell Gill due to design similarities with the Esk Memorial, known to be designed by Gill.</p><br>
<p>George Brockwell Gill was born in England and emigrated to Australia in 1886 and was soon employed by Ipswich architect Samuel Shenton. When Shenton retired in 1889, Gill took over the practice. He designed many substantial buildings in Ipswich including Ipswich Girls&#39; Grammar School and the Ipswich Technical College. He was active in public and church affairs and became president of the Queensland Institute of Architects in 1918. When he retired in 1943, his practice was taken over by Brisbane firm, Conrad and Gargett.</p><br>
<p>The memorial was constructed in Toowoomba by well known masonry firm, R C Ziegler and Son and then transported to Charleville. The firm of R C Ziegler and Son was established in Toowoomba in and produced many memorials throughout south western Queensland. The family company moved to Bundaberg where it was still operating in the mid 1980s.</p><br>
<h2>Description</h2><br>
<p>The First World War Memorial is situated in a park in Charleville; the park has an ornamental fence and gates and a path leads to the memorial. Also within the park are two guns or war trophies and a flagstaff.</p><br>
<p>The memorial itself is surrounded by a cast iron picket fence with fleur-de-lis finials and a centrally placed gate.</p><br>
<p>The Italian marble monument stands 23 feet from the ground. It sits on a terrazzo base step, the top of which is laid with light and dark tiles in a chequerboard pattern. Above this is the sandstone base of the monument. This is square in plan with corner buttresses and a simply moulded skirting and cornice. The base displays plaques on all faces, commemorating later conflicts.</p><br>
<p>Projecting from the centre of the base is a square pillar with engaged columns at each corner. The pillar is of Italian marble and bears leaded names of those who served in the First World War, including the fallen for whom the front panel is reserved. At the top of each face are carved shields bearing the stylised letters AIF (Australian Imperial Forces). The columns are made in three sections and have Doric order capitals and bases. They support a small cornice, surmounted by a larger cornice and frieze</p><br>
<h2>Heritage listing</h2><br>
<p>Charleville War Memorial was listed on the Queensland Heritage Register on 21 October 1992 having satisfied the following criteria.</p><br>
<p>The place is important in demonstrating the evolution or pattern of Queensland&#39;s history.</p><br>
<p>War Memorials are important in demonstrating the pattern of Queensland&#39;s history as they are representative of a recurrent theme that involved most communities throughout the state. They provide evidence of an era of widespread Australian patriotism and nationalism, particularly during and following the First World War.</p><br>
<p>The place is important in demonstrating the principal characteristics of a particular class of cultural places.</p><br>
<p>The monuments manifest a unique documentary record and are demonstrative of popular taste in the inter-war period.</p><br>
<p>Erected in 1924, the war memorial at Charleville demonstrates the principal characteristics of a commemorative structure erected as an enduring record of a major historical event. This is achieved through the use of appropriate materials and design elements.</p><br>
<p>The place is important because of its aesthetic significance.</p><br>
<p>The memorial is of aesthetic significance for its high degree of workmanship, materials and design. Memorials of this type are rare in Queensland. The only other known one of similar design is at Esk.</p><br>
<p>The place has a strong or special association with a particular community or cultural group for social, cultural or spiritual reasons.</p><br>
<p>As a memorial representing both the town and district, it has a strong and continuing association with a large part of the community as evidence of the impact of a major historic event and as the focal point for the remembrance of that event.</p><br>
<p>The place has a special association with the life or work of a particular person, group or organisation of importance in Queensland&#39;s history.</p><br>
<p>It also has special association with architect George Brockwell Gill, and with monumental masonry firm R Ziegler and Sons as an example of their work.</p><br>
<p>Ada Village Hall is the former center for local government in Ada, Minnesota, United States. Completed in 1904, it was also an important public meeting hall and social facility through the 1970s. Architecturally, the building is an excellent example of the combined city hall and fire hall buildings that were constructed in Minnesota during the early 20th century. It was listed on the National Register of Historic Places for having local significance to politics/government and social history.</p><br>
<h2>History</h2><br>
<p>The Village of Ada was founded in 1876. It was platted as a railroad town and served as a hub for transporting wheat from the Red River Valley to market. In 1881 the Village of Ada was incorporated and became the seat of Norman County. By the beginning of the twentieth century the town was expanding quickly. In 1904 civic improvements were made, which included the Village Hall. It was built to replace the previous village hall and fire hall that had been constructed shortly after 1881.</p><br>
<p>The hall was built during the spring and summer of 1904 and completed by October 1904. It was constructed of brick made at Ada&#39;s only brickyard. The formal, Neoclassical styling of the hall was meant to symbolize the democratic principles, strength, and order of American government. Built for approximately $6,000, it was a modest structure in comparison to other major construction in Ada during the period. The Ada Village Hall was one of three major public buildings in Ada that were designed by Omeyer and Thori. The firm also designed the Norman County Courthouse and the Ada High School. The firm designed hundreds of buildings in Minnesota and other midwestern states.</p><br>
<p>The entire city bureaucracy was located on the first floor of the building. The Ada Fire Department was headquartered in the hall until 1965. The police office and jail were located in the northern corner of the building until the 1970s. All local elections except school board elections were also held in the building. The Ada Village Hall was the principal public gathering place in Ada for many decades. The Ada Commercial Club and several other organizations held their meetings in the Hall. Most community functions, special events, and meetings were held in the second floor meeting room. There was a large assembly room, a kitchen, a dining area, and a small meeting room on the second floor that served the public. Meetings and events were held in one of the rooms on the second floor nearly every night of the week from 1904 through the 1970s. A portion of the building was used as a public library for nearly forty-five years. The library was established around 1914 by the Commercial Club and was operated by the Ada Public Library beginning in 1941. In 1959 the library was moved to the Zion Lutheran Church building.</p><br>
<p>The second floor of the Ada Village Hall was no longer used by the early 1980s. The First State Bank of Ada constructed a new building that included a community room. Most community organizations moved to that location. During the 1990s the second floor of the city hall was closed to the public. In 1998 the hall was added to the National Register of Historic Places. The first floor of the hall continued to serve as the city government offices until 2010. In 2012 a local retailer occupied the building but went out of business. As of 2014 renovation of the building was postponed due to the prohibitive cost.</p><br>
<p>City View Hotel is a heritage-listed hotel at 277 Brisbane Street, Ipswich, City of Ipswich, Queensland, Australia. It was designed by George Brockwell Gill and built. It was added to the Queensland Heritage Register on 21 October 1992.</p><br>
<h2>History</h2><br>
<p>The City View Hotel is a two-storey brick building, believed to have been completed in 1908. The architect was George Brockwell Gill. The site was a difficult triangular one adjoining a deep railway cutting excavated in 1875. Gill produced a skilful solution to the problem, locating an octagonal two-storey "tower" or bay on the apex to disguise the sharp truncation of the building, while the front facade presents as a traditional two-storey verandahed hotel. The hotel was built for T. Humphreys and the first manager was H. Hutting. The name refers to the hotel&#39;s position on the edge of the Ipswich CBD. In the 1980s, some of the brickwork was painted and a beer garden structure was erected on the western end. A two-storeyed brick bathroom and toilet annexe was built in the rear courtyard sometime between 1960 and 1980.</p><br>
<p>In December 2014, the hotel closed its public bar, citing falling patronage due to drink driving laws, anti-smoking legislation and hard economic times. However, the hotel continues to operate its accommodation and function businesses and might open a restaurant.</p><br>
<h2>Description</h2><br>
<p>The hotel is a two-storeyed brick building with a corrugated galvanised iron hipped roof. On the eastern end is an attached two-storey octagonal tower with ground-level porch. Extensive alterations have been made to the lounge bar to create a "cabaret-style" interior linked through the southern wall to a timber-framed single storey extension. A two-storeyed kitchen-domestics&#39; wing extends at the rear completing the L-shape of the original building.</p><br>
<h2>Heritage listing</h2><br>
<p>City View Hotel was listed on the Queensland Heritage Register on 21 October 1992 having satisfied the following criteria.</p><br>
<p>The place is important in demonstrating the principal characteristics of a particular class of cultural places.</p><br>
<p>It demonstrates the principal characteristics of a Federation-era provincial hotel.</p><br>
<p>The place is important because of its aesthetic significance.</p><br>
<p>Built, the City View Hotel is a well-detailed brick hotel which exhibits aesthetic characteristics valued by the community. It is prominently positioned at a major intersection and has landmark qualities.</p><br>
<p>The place has a special association with the life or work of a particular person, group or organisation of importance in Queensland&#39;s history.</p><br>
<p>It is the design of an important architect George Brockwell Gill and is a skilful and typical example of his well-detailed work.</p><br>
<p>Flour Mill is a heritage-listed former mill at 231 Brisbane Street, Ipswich, City of Ipswich, Queensland, Australia. It was designed by George Brockwell Gill and built from 1901 to 1902. It is also known as Bridal Mill, F.W. Johnson and Sons Motor Showroom, and Old Flour Mill. It was added to the Queensland Heritage Register on 21 October 1992.</p><br>
<h2>History</h2><br>
<p>The Flour Mill was built in 1901-1902 for the Ipswich Milling Company Ltd, one of a series of flour mills connected with Member of the Queensland Legislative Assembly Francis Kates. The architect was G.B. Gill and the contractors were Worley and Whitehead.</p><br>
<p>The son of a miller, Kates was born in Berlin and, after graduating from Berlin University, migrated to Queensland in 1858. He settled on the Darling Downs and gradually acquired properties and capital. He built the Allora Flour Mills in 1871. He was elected to the Queensland Legislative Assembly in 1878 and showed interest in the development of the rural sector, presenting a bill in parliament in 1885 for the establishment of an agricultural college in Queensland. He was also aware of Queensland&#39;s lack of self-sufficiency in wheat production and was involved in building additional mills, the Ipswich mill said to have been his eighth. Ownership of the property was in the name of his son, Francis Henry Kates.</p><br>
<p>When first completed in 1902, the main mill building at Ipswich consisted of a basement and three milling floors. The steam engine for the mill was imported from America; the boiler was "colonial" and used North Ipswich coal. In a photo, the skillion-roofed brick extension at basement level at the rear can be seen with two flues projecting through the roof. This extension is not mentioned in early descriptions but was probably the boiler room.</p><br>
<p>Also at the rear was a large corrugated galvanised iron and timber shed for grain storage, connected to a railway siding; the grain arrived in bags, not as bulk grain. The mill was capable of producing 35-40 tons of flour each week, marketed under the brand name "Snowcloud". Attached to the eastern side of the main building was a single storey section, used as a flour store.</p><br>
<p>Although the main grain supply was from Allora and other places on the Darling Downs, the company urged local farmers to grow wheat and offered to supply seed at cost price, apparently hoping to save transport costs.</p><br>
<p>Kates died in 1903, but the Ipswich property continued in the ownership of his son. In 1905, a photograph of the mill appeared in an advertisement for "Wigfull and Bland, Ipswich Flour Mills" using a brand name "Heatherbell&quot it is not known under what arrangement this change of brand occurred.</p><br>
<p>In May 1910, Cribb and Foote bought the property for less than the mills construction cost, using it to accommodate several departments while their new building was being erected. It seems to have then continued in use as the firms Stove Department. An awning with decorative timber brackets was erected over the footpath in front of the single storey section and a lift was built.</p><br>
<p>In 1926, the property was bought by the Johnson family and used as a car showroom. In September 1935, radio station 4IP was established in the top floor, entry being via an external staircase on the western side.</p><br>
<p>An awning was erected across the front of the building, incorporating the earlier Cribb and Foote section of awning; the date is not certain but was probably in the late 1920s as work appears to be in progress in a 1927 photograph.</p><br>
<p>Later uses of the mill included housing Paddy&#39;s Market and storing furniture. In the mid-1980s, the upper floor was used for a martial arts school and the lower floors became a bridal shop and fabric shop.</p><br>
<p>In 1985, the property was purchased by Beverley de Witt and it was converted into a restaurant, function room and shopping arcade in 1993. An additional two-storey wing was built at the rear of the mill section to house the function room.</p><br>
<h2>Description</h2><br>
<p>The Flour Mill is a complex of attached buildings. The main (former milling) section consist of three floors plus a basement; because of the steep slope, the basement is above ground level at the rear. The mill section is built of load-bearing polychrome brickwork, ornamented with pilasters, arches and string courses. There are pairs of windows on the upper two levels at the front and five windows on each level on the sides. The roof is corrugated galvanised iron with a raised louvred timber ventilator. The basement level extends at the rear and now has an outdoor eating area on top; the brickwork has been built up to form a flat floor for the eating area, but the line of the original skillion roof is still detectable.</p><br>
<p>The shopfront corresponding to the former mill contains a retail shop on the ground and first floor, with internal stairs connecting the two levels. The third floor of the mill is accessed by an external stair enclosed in corrugated galvanised iron.</p><br>
<p>At the rear of the original mill is a recently constructed wing with a brick base and corrugated galvanised iron-clad upper level, now containing a function room.</p><br>
<p>Attached to the eastern side of the mill is a single storey section (the former flour store) with an ornamental parapet bearing the date 1901. Behind this is the former corrugated galvanised iron-clad grain store. The single storey section contains a sandwich shop on the left and a passageway on the right leading to stairs which give access to the former grain store; one set of stairs leads up to a restaurant while the other leads down to a shopping arcade.</p><br>
<p>A street awning runs across the front of the entire building. The ceiling of the right-hand section of awning is pressed metal; the ceiling of the left-hand section is ripple iron. Above both shop-fronts are coloured glass fanlights.</p><br>
<h2>Heritage listing</h2><br>
<p>Flour Mill was listed on the Queensland Heritage Register on 21 October 1992 having satisfied the following criteria.</p><br>
<p>The place demonstrates rare, uncommon or endangered aspects of Queensland&#39;s cultural heritage.</p><br>
<p>Completed in early 1902, the mill is an unusual example of an industrial building constructed in a city CBD.</p><br>
<p>The place is important because of its aesthetic significance.</p><br>
<p>Although designed to carry out a basic industrial process, the flour mill is carefully detailed and ornamented and is important in exhibiting aesthetic characteristics valued by the community. It is part of the historic shopping precinct known as "Top of Town" and makes an important contribution to the streetscape.</p><br>
<p>The place has a special association with the life or work of a particular person, group or organisation of importance in Queensland&#39;s history.</p><br>
<p>The flour mill is associated with politician Francis Kates and his son Francis Henry Kates, and with the development of the family&#39;s milling enterprises.</p><br>
<p>The mill is associated with the important early retailer Cribb and Foote as their stove department; and with the early radio station 4IP which opened in 1935.</p><br>
<p>The place has special association with architect George Brockwell Gill as an example of his well-detailed brick commercial buildings.</p><br>
<p>Quart Pot Creek Rail Bridge is a heritage-listed railway bridge at Quart Pot Creek, Stanthorpe, Southern Downs Region, Queensland, Australia. It was built in 1886. It is also known as the Red Bridge. It was added to the Queensland Heritage Register on 21 October 1992.</p><br>
<h2>History</h2><br>
<p>The Quart Pot Creek Rail Bridge was constructed in 1886 as part of the Brisbane-Sydney interstate rail link.The major impetus to development in Stanthorpe occurred in 1872 with the start of the practice of alluvial tin mining after discoveries of the valuable metal in the area in the mid 1850s. Stanthorpe become the collective name for two townships that grew as a result of the mining boom and became the only centre on the pastoral Darling Downs to develop with mining based revenue.</p><br>
<p>The Quart Pot Creek Rail Bridge forms part of the Southern railway line (Toowoomba - Warwick- Wallangarra). The line reached Warwick in 1871 and was extended to Stanthorpe to serve the tin industry in 1881. The railway was then extended to the border with New South Wales. The Quart Pot Creek Bridge was built as part of this extension. The original plans were drawn in 1880 and the contract plans were drawn up in 1884. The line opened for traffic between Stanthorpe and Wallangarra, the change of gauge border station, on 4 February 1887. Interstate rail services commenced on 16 January 1888, linking Brisbane with Sydney, Melbourne and Adelaide. Plans to strengthen the 50-foot girder spans had first been drawn up in 1904 to permit the operation of heavier locomotives on the Sydney Mail and work began on the Warwick-Wallangarra section in 1910. The No.7 span was braced in 1913 to further accommodate 12-ton axle loads.</p><br>
<h2>Description</h2><br>
<p>The Quart Pot Creek Rail Bridge comprises 7 50-foot (15.2 metre) spans of 3 rivetted deck type metal double lattice girders supported on six concrete piers and two abutments. It has a total length of 106.7 metres. The centre girders, the pier tops and bedplates have been altered. The No.7 span has been braced. The bridge carries a single 1.07m gauge railway.</p><br>
<p>A plaque has been added to the bridge to outline its historical significance.</p><br>
<h2>Heritage listing</h2><br>
<p>Quart Pot Creek Rail Bridge was listed on the Queensland Heritage Register on 21 October 1992 having satisfied the following criteria.</p><br>
<p>The place is important in demonstrating the evolution or pattern of Queensland&#39;s history.</p><br>
<p>The Quart Pot Creek Rail Bridge is an important part of what was formerly the interstate link between Brisbane and Sydney. It is the fourth oldest bridge of its type in Queensland.</p><br>
<p>The place is important in demonstrating a high degree of creative or technical achievement at a particular period.</p><br>
<p>The bridge demonstrates a robust engineering design, which has allowed it to be upgraded whilst retaining its essential character.</p><br>
<p>Cherry Gully Tunnel is a heritage-listed railway tunnel on the Warwick - Stanthorpe Line, Stanthorpe, Southern Downs Region, Queensland, Australia. It was built from 1878 to 1880 by J & A Overend & Co. It is also known as Gorge Tunnel. It was added to the Queensland Heritage Register on 28 July 2000.</p><br>
<h2>History</h2><br>
<p>The exploitation of the mineral resources of Queensland was recognised by political interests in Queensland as being closely linked with the development of a railway system from the period of the late 1860s and early 1870s. This connection between political decisions and economic development was further linked and with the decision taken in 1877 to construct mineral railways running from Townsville to Charters Towers, Bundaberg to Mount Perry and Maryborough to Gympie. The extension of the Southern & Western Railway from Warwick to Stanthorpe was approved along with extensions to Roma and Emerald on the same day in the Queensland Parliament, 30 August 1877. The decision to construct separate railway systems with no connection to other parts of the Queensland Railway system was to result in a proliferation of separate railways throughout Queensland, (up to eleven by 1891). The system would not be unified until 1924 with the opening of the North Coast Line between Brisbane and Cairns.</p><br>
<p>The agitation for the construction of a railway from the town of Warwick to the mining centre of Stanthorpe was a major political and social rallying point for the population of the southern tablelands. The booming tin mining area around Stanthorpe provided the impetus for the extension of the railway south from Warwick. The railway had opened to Warwick on 9 January 1871. In 1873 a survey from Warwick to Stanthorpe was begun and the 41.5 mi to Stanthorpe was mapped. However this survey included two costly tunnels - one 29 chain in length to save a 1.75 mi detour and a 13 chain tunnel to save 2.5 mi. The permanent survey was then pressed forward, but the line that was surveyed passed through the centre of Warwick, and as a result meant expensive earthworks in the centre of the town.</p><br>
<p>A permanent survey was completed in 1876 to the 85 mi mark, which was 27 mi from Warwick. On this survey there were several deviations made to shorten the overall distance of the line. In 1878 the working plans for the section from Warwick to Stanthorpe were finally prepared. Tenders were called for on the 1st and 2nd sections Warwick — Stanthorpe at the end of January 1878. Section one ran to a point 20 mi south of Warwick, whilst Section two ran 20 mile to Stanthorpe.</p><br>
<p>Section 1 was awarded to J&A Overend and Co. for A£178,784 and J. Garget on Section 2 for A£105,983. Construction was described in the Commissioners&#39; Report as followsSection 1- operations were begun May 1878 vigorously- all stone culverts and many of the concrete ones completed. Open cuttings near the tunnel were well advanced but delayed due to the very hard rock encountered. Spring and Mineral Creek bridges were delayed...an average of 784 men were employed.By 1879 it was reported that good progress had been made on Section One, however delays were experienced due to the difficult nature of the rock at the tunnel site. On Section One the major work was the tunnel at Cherry Gully. This construction work known locally as the big tunnel.</p><br>
<p>Overend & Co established a major construction camp for the Cherry Gully tunnel at the works location. As mentioned previously the hard basaltic rock encountered caused great problems for the engineers and "navvies" on the line. The heading of the tunnel was not started until December 1878. To cope with these difficulties two shifts were started on the tunnelling effort.</p><br>
<p>In a new innovation for Queensland several kinds of drilling machines were experimented with but all failed. As a result of this hand drilling operations were resorted to. The use of rock drills in driving this tunnel may have been unsuccessful, however there is evidence of the use of rock drills in cuttings to the south of this tunnel as far as the head of Rosenthal Creek. The use of the rock drill is contemporary with the introduction of the Low patent rock drill into Victoria where it was used for driving the Mount Tarrengower tunnel at Maldon. Earthworks were also greater than expected due to the unstable nature of rock that was encountered.</p><br>
<p>In another innovation, and in an effort to effect savings during construction concrete was substituted as a building and lining material, instead of the more conventional brick. By reports from the contractor this was a success.</p><br>
<p>The 1879 Commissioners&#39; Report noted:All the stone culverts, and a large proportion of the culverts and drains in concrete have been completed. A considerable saving has been effected by the substitution of cement concrete for brickwork and masonry, both in culverts and bridges.At the time of the Commissioners report the main works remaining were the bridges over the Condamine River, Spring Creek and the Tunnel. Section Two was a case where the going was much easier. No.2 tunnel was situated at 84 mile 20 chains, and in common with railway construction of the time a camp would have been situated nearby to act as labour base for its workings. On Section Two some 325 men were employed at this time.</p><br>
<p>In 1880 Minister for Works, John Macrossan visited the railway works and made an inspection as far as Garget&#39;s Camp. The Stanthorpe Border Post and Stannum Miner reported on his visit.</p><br>
<p>The construction camps were temporary townships, and were supplied with drinking establishments, sometimes a school, contractor stores even places of worship. In common with many railway communities, much of the construction workforce was drawn from Irish ancestry. St Patrick&#39;s Day provided a good opportunity for celebration.</p><br>
<p>Cherry Gully and Big Tunnel Races- this event, inaugurated in honour of the natal day of Ireland&#39;s patron saint, the immortal patriarch, came off, as announced on the Racecourse specially prepared between Cherry Gully and Big Tunnel, first section and despite divers obstacles... afforded a couple of days real fun for the "boyds" on the line and visitors from a distance.</p><br>
<p>In April the Stanthorpe Border Post reported that good progress had been made at the south end of the tunnel, despite the "formidable nature of the granite bars to be displaced". Garget & Co apparently were proceeding well with their construction effort despite the dangers during blasting operations.</p><br>
<p>The opening of the line through to Cherry Gully was accomplished about five weeks late, but considering the difficulties experienced was an excellent effort for all concerned. The difficulties of driving and lining the tunnel had meant that three shifts of workers were eventually required on the work. Yet, the work using concrete to line the tunnel apart from the brick crown was a first in Queensland, and in all probability Australia.</p><br>
<p>The Queensland Times reported in October 1880 that the line was expected to open to Cherry Gully on 1 December. At this time the first ballast train was reported to be making its way over the Mineral Creek bridge and all the way up to the tunnel. It was anticipated..."that within three weeks contractors will have finished one of the most difficult railways constructed in the colony".</p><br>
<p>To provide water for steam locomotives on the line between Warwick and Stanthorpe a concrete dam had been built across a large gully near "the big tunnel" in 1879, and is an early example of a concrete dam wall constructed for storage purposes. The dam had a storage capacity of 400,000 impgal. The water tank and pipe from the dam were gravity fed, as the dam was situated in an elevated position. The construction of a new water supply at Glen Niven in 1914 meant that the tank was no longer needed as a major watering location for locomotives. From 1950 it was only in use for emergency purposes.</p><br>
<p>The line from Cherry Gully through to Stanthorpe was opened throughout on 1 May 1881, and was taken over by the railways on 1 November 1881.</p><br>
<h2>Description</h2><br>
<p>The centre of the Cherry Gully tunnel is situated 281 kilometres from Roma Street on the Southern Line between Warwick and Wallangarra. The straight tunnel is 272 metres long, semi-elliptical in section, and partially lined with concrete brick arches and features concrete portals.</p><br>
<h2>Heritage listing</h2><br>
<p>Cherry Gully Tunnel was listed on the Queensland Heritage Register on 28 July 2000 having satisfied the following criteria.</p><br>
<p>The place is important in demonstrating the evolution or pattern of Queensland&#39;s history.</p><br>
<p>The Warwick-Stanthorpe railway was one of several major railway lines approved by the Queensland Parliament in 1877, to access mineral fields throughout Queensland, but particularly of the Stannum district. The tunnel allows for an interpretation of the construction techniques of the latter part of the nineteenth century, especially with the use of drilling equipment, and the experimental use of concrete, in a railway context. As part of the development of the Southern line, and the eventual inter-colonial connection with New South Wales at Wallangarra, the tunnel was one of the major engineering works undertaken on what was in the period of 1889-1930 Queensland&#39;s busiest mainline. Its survival and ongoing use allows for the interpretation of the importance of the Queensland Railway network in the economic development of Queensland.</p><br>
<p>The place is important in demonstrating the principal characteristics of a particular class of cultural places.</p><br>
<p>The Cherry Gully Tunnel is important as a substantially intact example of innovative engineering technology used in association with railway construction.</p><br>
<p>Stanthorpe Soldiers Memorial is a heritage-listed war memorial at Lock Street, Stanthorpe, Southern Downs Region, Queensland, Australia. It was designed by Dornbusch & Connolly and built from 1925 to 1926 by N J Thompson & Sons. It is also known as Stanthorpe War Memorial. It was unveiled on 6th February 1926, by Sir William Glasgow, K.C.G. It was added to the Queensland Heritage Register on 3 August 1995.</p><br>
<h2>History</h2><br>
<p>Built in honour of the soldiers of the district who participated in the Great War, the Stanthorpe Soldiers Memorial was funded, as with many other such memorials across the state, by public subscription. Stanthorpes memorial took the form of a park and rest house located on Foxtons Hill described at the time by The Queenslander as one of the lonely hills overlooking Stanthorpe. The rest house was designed by Warwick architects Dornbush and Connolly and built by local contractors NJ Thompson and Sons; inside were seats and on the walls, five rolls of honour, one of which was reserved for the fallen. The Soldiers Memorial was officially opened on 6 February 1926 by Major General Sir William Glasgow, a commander of campaigns in Gallipoli and also in France, whose battlefields were to be memorialised in Australia by the naming of the towns of the soldier settlement area (Amiens, Pozieres, Bullecourt, and Fleurbaix) established near Stanthorpe soon after the War.</p><br>
<p>The first meeting to consider the erection of an honour board or soldiers memorial in Stanthorpe was held on 1 December 1918; a committee was formed to raise funds. The committee considered a possible site at Mt Marlay, the major lookout point for the town, however this was later rejected and by 1921, suggestions were being sought for other suitable schemes. Mr Fletcher favoured erecting a memorial on the proposed new cricket grounds; Mr Corden favoured a block of land owned by ER Hopper situated close to town and on a high position on Foxton&#39;s Hill which could be bought at a reasonable price; CF White suggested a rest house on the Hopper land and also using the land as a memorial park by erecting seats in convenient spots for the public. A public meeting was called resulting in the memorial committee agreeing on 21 May 1921 to pay a deposit on the Foxton Hill site and a committee was formed to draw up a development scheme for the park. It was proposed that Dornbusch and Connolly be asked to prepare plans of a rest house and submit estimates.</p><br>
<p>The site chosen was rough and rocky: the main park area (sub 22 now lot 33) fronted Lock Street with two smaller allotments (subs 5 and 6 now lots 16 and 17) fronting White Street. In 1923, the memorial site was formally acquired by the Committee, being held in the names of Charles Frederick White, James Vincent Scully, and Harry Wright. In September of that year, Dornbusch and Connolly were asked to prepare specifications in both local stone and concrete and tenders were to be called. Apparently due to lack of funds work on the rest house did not in fact commence until 1925. The memorial site was however already marked as such: a Turkish gun believed to have been brought to Australia as a war trophy by the commander of the Light Horse, Sir Harry Chauvel and his brother, Major Alan Chauvel (whose family summer house, "El Arish", adjoined the memorial site) was placed at what became the Lock Street entrance to the memorial. This entrance was also to be marked by a sign, a fence, and a stile.</p><br>
<p>It is not known if landscaping and planting was undertaken at the site prior to the erection of the rest house. Certainly by the 1930s photographs show that pines (believed to be Lone Pines) had been planted around the rest house; pines had also been planted on the western slopes of the site (adjoining "El Arish"). Wooden pegs (now lost) which recorded the names of fallen servicemen were placed below the memorial trees. By 1933, a blue light shone at night from the memorial making it visible from the town centre. Two memorial eucalypts were planted at the Scholz Street entrance which was also fenced. More recently, in the 1980s, the floor of the rest house was painted over to cover a "flag" and the pressed metal ceiling painted blue and stars affixed. The Turkish Gun has also been removed and now stands in front of the RSL building. In 1995 a timber fence and stile were removed from the White Street frontage.</p><br>
<p>For many years, Anzac Day was commemorated in Stanthorpe by a number of events commencing with a Dawn Service at the Soldiers Memorial, morning services at the various churches, and in the afternoon, a public service held at the Arcadia Theatre preceded by a march through the streets by returned soldiers. Afternoon tea was provided by the CWA for the families of returned service personnel. In more recent times the Dawn Service has been held at Weeroona Park.</p><br>
<p>Until 1963, when the memorial was transferred to the Stanthorpe Shire Council, it was maintained by public donations, including those collected for its upkeep at the annual Anzac Day Service. There also exists a long tradition of service to the memorial by local people (often returned servicemen) who were responsible for not only maintaining the memorial but also for the landscaping and planting of its grounds. These included Mr AH Hocking (who conducted working bees during the 1930s), Mr and Mrs AE Bateman, Mr Barton, Mr Ted Knight, Mr Jim Robertson, and during the 1980s, Mr Robert Dekeersgieter; more recently a local group, the Friends of the War Memorial and Local Residents Association has been formed.</p><br>
<p>Stanthorpe Shire Cultural Heritage Study report – The Stanthorpe Soldiers Memorial was built in 1926 to a design concept by architects Dornbusch and Connolly. The 6.15m x 4.6m building housed five Honour Rolls and after WWII the sixth was placed in the building. Further honour boards have been added to mark conflicts in which Australians have participated. The ground around the building has been landscaped.</p><br>
<h2>Description</h2><br>
<p>Located on Foxtons Hill a short distance from the Stanthorpe town centre the Stanthorpe Soldiers&#39; Memorial is a rugged parkland of some one and a half hectares crossed by walking paths leading to a rest house at the top of the hill. The site is bounded to the north by Lock Street and on the remaining sides by residential allotments including "El Arish" along part of the western boundary. The main entrance is from Lock Street; access can also be obtained from White Street via lots 16 and 17 and from Scholz Street to the south, the entry of which is marked by two large eucalypts which frame the view of the rest house up a long slope.</p><br>
<p>The site is rugged and rocky with exposed granite boulders and mixed vegetation. Landscaping is in a naturalistic manner with bush pathways (and some sets of concrete stairs), seats cut out of the rock along some paths, and stone walling and terracing. There is evidence of some formal planting along the pathways including yellow jasmine hedges. The site also contains a number of memorial trees including what are believed to be several Lone Pines which surround the rest house and stands of pines on the western edge of the site.</p><br>
<p>From Lock Street, the rest house is approached by several sets of concrete stairs on a path leading up the hill from the road. The rest house is set amongst exposed granite boulders on a flat site at the summit of the hill. There is a flagpole to the south and retaining walls and stairs to the south and west. Set on an east–west axis with views through arched openings including to the west, a panorama of Stanthorpe and the surrounding district, the rest house is a white painted concrete pavilion with a painted corrugated roof gabled in four directions. On the east and west gables in concrete raised lettering is the inscription "SOLDIERS&#39; MEMORIAL&quot on the north and south gables "1914–19".</p><br>
<p>The rest house is entered via arched openings to the north and south elevations. Inside the ceiling is pressed metal painted powder blue with gold plastic stars affixed; the floor has been painted red. Along the east and west walls are two long timber slatted seats. On the walls are five World War I honour boards of metal set into concrete mouldings, one of which is reserved for the names of the dead. In raised letters it reads: "TO THE MEMORY OF OUR GALLANT BOYS WHO FELL IN THE WORLD&#39;S WAR 1914–1919". The boards record the names in alphabetical order with no military ranks or honours indicated. There is also an honour board for World War II and a plaque for Korea.</p><br>
<h2>Heritage listing</h2><br>
<p>Stanthorpe Soldiers Memorial was listed on the Queensland Heritage Register on 3 August 1995 having satisfied the following criteria.</p><br>
<p>The place is important in demonstrating the evolution or pattern of Queensland&#39;s history.</p><br>
<p>Located on Foxtons Hill overlooking the town and surrounding district of Stanthorpe, the Soldiers Memorial comprising a rest house set within a rugged park is a remarkable memorial having no apparent parallel in the state. In common with many other memorials erected across the country, the Stanthorpe Soldiers Memorial was a prominent focal point for the town, however it is highly unusual in that it was not set within the towns centre, but rather on its outskirts: the memorial was thus a place of public memory and also of private pilgrimage.</p><br>
<p>The place demonstrates rare, uncommon or endangered aspects of Queensland&#39;s cultural heritage.</p><br>
<p>Located on Foxtons Hill overlooking the town and surrounding district of Stanthorpe, the Soldiers Memorial comprising a rest house set within a rugged park is a remarkable memorial having no apparent parallel in the state. In common with many other memorials erected across the country, the Stanthorpe Soldiers Memorial was a prominent focal point for the town, however it is highly unusual in that it was not set within the towns centre, but rather on its outskirts: the memorial was thus a place of public memory and also of private pilgrimage.</p><br>
<p>The place is important in demonstrating the principal characteristics of a particular class of cultural places.</p><br>
<p>With its memorial plantings and naturalistic landscaping including rock seats and walls and bush paths leading up the hill to the rest house, positioned so as to view the rising and the setting of the sun through its archways, the memorial is clearly intended as a place of both commemoration and contemplation.</p><br>
<p>The place is important because of its aesthetic significance.</p><br>
<p>The site, with its rough terrain and exposed granite boulders common to the region retains its wilderness quality as a stark landscape which is both peculiarly local, but also on a grander scale, making apparent symbolic reference to Gallipoli and the Turkish coast.</p><br>
<p>The place has a strong or special association with a particular community or cultural group for social, cultural or spiritual reasons.</p><br>
<p>The Stanthorpe Soldiers Memorial is a memorial to those who served in the Great (and other later) wars but is also a testament to the community who built the memorial and remain as its custodians.</p><br>
<p>The place has a special association with the life or work of a particular person, group or organisation of importance in Queensland&#39;s history.</p><br>
<p>The Stanthorpe Soldiers Memorial is a memorial to those who served in the Great (and other later) wars but is also a testament to the community who built the memorial and remain as its custodians.</p><br>
<p>El Arish is a heritage-listed house and gardens at 94 Greenup Street, Stanthorpe, Southern Downs Region, Queensland, Australia. It was built from 1880s & early 1920s to 1930s. It was added to the Queensland Heritage Register on 4 October 1996.</p><br>
<h2>History</h2><br>
<p>The garden and house which comprise El Arish were established in the early 1920s by Major Allan and Isabella Chauvel on the site of a former market garden in Stanthorpe.</p><br>
<p>The major impetus to development in Stanthorpe occurred in 1872 with the start of the practice of alluvial tin mining after discoveries of the valuable metal in the area earlier in the mid 1850s. Stanthorpe become the collective name for two townships which grew as a result of the mining boom and became the only centre on the pastoral Darling Downs to develop with a mining based revenue.</p><br>
<p>Stanthorpe was situated on part of the early Folkestone Run, which was occupied from November 1846 by Matthew Henry Marsh, who acquired 160 acres of the run on pre-emptive purchase in October 1852. Alford Greenup assumed the management of the run in 1868, and by 1878 as a result of the tin mining boom Marsh converted his run into the private township of Stannum, which is a Latin word meaning tin. The Government surveyed land on each side of Stannum and formed a township known as Stanthorpe, and the towns were incorporated. Public sales were held soon after the subdivision of the town into building allotments.</p><br>
<p>Portions 166 and 167 of what was the Folkestone Run, later the site of El Arish, were sold to Karl Wilhelm Scholz in 1878. Scholz had arrived on the Darling Downs from Germany in 1872. As the tin mines of Stanthorpe became depleted the town became more reliant on market gardening as a source of revenue and Scholz established a market garden on his selection soon after its purchase. He cleared all natural vegetation from the site by 1890, and planted vegetable crops for short-term income whilst the orchards and vineyards matured. At this time wide paling fences were built as boundaries and the rear of the site was terraced. The garden was very successful though part of it was established on seemingly inhospitable land with massive granite outcrops on the side of a hill. Scholz&#39;s produce was often awarded prizes at local agricultural exhibitions.</p><br>
<p>In 1915 Scholz sold his property to Walter Hall and Ephriam Albert Maddock, who sold it soon after in June 1919 to Charles Frederick White, a member of a prominent Armidale family. White owned the property for only 12 months before he sold it to Susan Isabella Chauvel (née Barnes), who was commonly known as Isabella. She borrowed £1150 from White for the purchase of the property. Isabella was married to Allan Chauvel and they owned and managed a pastoral property, Summerlands, in the Fassifern Valley. The purchase of the property in Stanthorpe was to provide the Chauvel family with a summer residence.</p><br>
<p>It was during the Chauvels ownership that the property in Stanthorpe was named El Arish recalling Allan Chauvels involvement in the First World War. Allan and his brother, Henry George Chauvel, later knighted, were born in Tabulam, New South Wales and grew up on a cattle station on the Clarence River. Family tradition dictated Henry and Allan&#39;s military involvement, firstly with the local Upper Clarence Light Horse established by their father, Charles Henry Edward Chauvel. When Allan and Henry moved with their family to a station in southern Queensland, Canning Downs South on the Darling Downs, the men continued their involvement with local volunteer light horse brigades. By the First World War Henry Chauvel who had also served in the Boer War, was chosen to command the 1st Light Horse Brigade. Allan Chauvel served in World War One, alongside his brother, as a major.</p><br>
<p>Henry, as one of the commanding officers, and Allan were involved in the 1916-17 Desert Column appeal which saw the advancement of the British troops across the desert into Palestine, driving the Turkish army from Aleppo on the northern borders of Syria. The Light Horse Brigade was the spearhead of the advancing forces. Under Henry Chauvels command the forces destroyed Turkish garrisons at Rafa in December 1916 and then, Maghaba in January 1917. This opened access for an assault on the principal Turkish positions near Gaza and Beersheba. After the attack on Maghaba the Light Horse Brigade found themselves without water and returned to a small village, El Arish where they re-stocked and celebrated their victory. El Arish is an Arabic word meaning "place of rest" and it is therefore appropriate that this name should be given to the Chauvel familys summer residence.</p><br>
<p>Allan and Isabella Chauvel had five children, of these the eldest son John become an Anglican church minister and Charles the second son was a renowned Australian filmmaker. Charles Chauvel and his wife, Elsa, were among the instigators of the Australian film industry in the 1920s and 1930s. Charles was born in 1897 in Warwick and was educated at Ipswich Grammar School and, from family reminiscences, it appears that his father, Allan, planned that Charles would remain on the land, continuing the Chauvel pastoral tradition. However Charles studied commercial art and took drama classes, and from 1920 worked for many early film-makers in both Australia and Hollywood. Late in 1923 he returned to Australia to begin his career making his own films. He returned to Hollywood many times over the next few years, seeking funding from large studios for his own locally made projects. Charles and Elsa Chauvel were given land in Stanthorpe by Isabella Chauvel on which they built a house, so that they could be nearer to his mother and continue assistance with Isabella&#39;s project which was the garden at El Arish.</p><br>
<p>According to family history, Allan and Isabella Chauvel had a cottage moved to its present location at El Arish soon after they acquired the property. Stanthorpe at this time was experiencing a transitional period when it became well known as a "sanatorium" and the destination of many summer holiday makers seeking retreat from city life. A general concern with ones health, after the influenza epidemic and the war, was manifest in the advertising of developing holiday destinations who claimed that fresh air, either by the sea or in the mountains was beneficial to ones well-being. Sea side resorts, like Southport, Burleigh Heads, and Redcliffe became very popular along with mountain resorts like Stanthorpe.</p><br>
<p>Supporting this new focus of the Stanthorpe economy, the Southern railway line which had been introduced in 1881 had been extended through to Wallangarra on the New South Wales/Queensland border in 1887, though was only finished in 1920 making Stanthorpe more accessible to a large population base. The town&#39;s location on the Granite Belt, produced an unusual landscape of granite outcrops amid lush vegetation which was attractive to prospective holiday makers. Stanthorpe, like the other towns developing at this time in the southeastern region of Queensland became serviced with an infrastructure vital for its role as holiday destination. Such services included private boarding houses and hotels, as well as facilities for a wide range of leisure activities such as golf, tennis, bowling, swimming, bush walking, horse racing and picnicking.</p><br>
<p>The Chauvels used El Arish as a summer residence where they could take advantage of, not only a more temperate climate, but increased social activity which was developing in Stanthorpe at the time. They would come from their pastoral property, Summerlands, in the Fassifern Valley, where Allan was involved in local politics. Upon their arrival in Stanthorpe work began on the creation of the marvellous garden upon the remnants of the market garden which, since the Scholzes departure had not been commercially used.</p><br>
<p>The garden which the Chauvels created was carefully planned to include some remnants of Scholzs garden including an early Williams pear tree and several Isabella grape vines. It is reputed that these vines were brought by Scholz to Australia from the south of France when he emigrated and were arranged in the garden on trellised arbours. The Chauvels garden in Stanthorpe took great advantage of many of the site&#39;s intrinsic qualities; making a feature of the aspect and incline of the land and the natural granite outcrops.</p><br>
<p>According to family history, the garden at El Arish was designed by Isabella and her son, Charles. They worked to create a garden which allowed a variety of experiences and views as one walked through the varying garden sections. A sense of enclosure is achieved in several of the smaller sections of the gardens, most importantly in the formal garden where the house, hedge and screening devices create smaller areas. This sense of enclosure is created also in other areas; in the bamboo grove and within screened and hedged sections of the formal garden. The paths built upon the terraces established by Scholz allow one to stroll through a created "natural" (but not native) environment. These paths terminate at a natural lookout on the highest point in the garden, from which one can orient oneself not only within the confines of the El Arish property but within Stanthorpe. The manner in which the garden affords these changing experiences, allowing both action and contemplation from one section to another is a characteristic feature of many famous gardens of the time.</p><br>
<p>In fact, El Arish has many characteristics of English Arts and Crafts gardens of the late nineteenth and early twentieth centuries which did inspire and influence many Australian garden designers. Notable British gardens of this type were the work of many acclaimed designers most significantly William Robinson and Gertrude Jekyll, who wrote widely in journals about their design philosophy as did others like British novelist Vita Sackville-West, a serious and dedicated garden enthusiast. These writings are thought to have influenced garden design in Australia, most evident in the work of acclaimed landscape architect, Edna Walling.</p><br>
<p>Many gardening ideas of the time are apparent at El Arish; contrived "wild" sections of plantings; emphasis on contrasting foliage, particularly involving sub-tropical plants and the use of rock- gardening, along with planning and layout ideas including the use of local quarried stone walling, a sense of enclosure, a myriad of paths and terraces and a consciousness of the local environment. The Chauvel family had many close family ties in Britain and during the involvement of the brothers Henry and Allan in the wars, their families spent time in England. Charles Chauvel was involved with the design of many of the gates and walls at El Arish, bringing hinges and gate fittings from a Spanish Mission in California from one of his trips to America. He is also thought to have constructed many of the dry-stone walls in the garden.</p><br>
<p>The El Arish garden was divided into several distinct compartments, a feature of many renowned gardens both in Britain and Australia of the time. These included a formal compartment to the west of the house; a large informal or stroll garden to the north and east of the house; a service compartment to the immediate south of the home and around the caretakers&#39; house on the south boundary of the property and an open park and woodland to the south of the house incorporating a wood and orchard; with another informal compartment containing the horse paddock to the south of this.</p><br>
<p>The formal compartment was created between the house and a hedge along the Greenup Street boundary of the property providing a conventionally formal entrance and view to the house; a place where guests could be greeted and entertained. This area was screened on the north by a rose arbour and gateway, and on the south by a bamboo grove. The plantings in this area were carefully planned in symmetrically composed beds with the manicured cypress hedge contributing to the general geometric nature of this section. A decomposed gravel path flanked by planted borders extended from the front gate on Greenup Street, in the hedge, to the front door of the house.</p><br>
<p>The informal compartments of the garden, including the stroll garden and the garden on the southern boundary of the property, were places for family and friends&#39; relaxation and recreation. The stroll garden incorporates that area developed on the northern side of the property by Scholz, where he produced several terraced areas conforming with the contours of the site. The Chauvels planned pathways through this area with several visual focal points, like specimen planting and small garden structures constructed from natural timbers and covered with wisteria and grape vines.</p><br>
<p>The open park and woodland to the south of the house at El Arish was identified in a recent study of the garden as an areas which "provided the visual setting for the buildings and garden areas while buffering the site from encroachment". In this area found to the south of the house was an orchard containing fruit and nut trees, a large lawn and a pine grove which obscured the tennis court and boundary fences from the house and the rest of the garden. The service compartments of the garden included the kitchen garden adjacent to the south of the house and the area around the caretakers&#39; cottage on the southern boundary.</p><br>
<p>The garden is almost entirely composed of exotic species. Three major specimen trees are found along the Greenup Street boundary, include a Lebanon cedar (Cedrus libani), several Walnut trees (Juglans regia) and a grafted Williams pear tree (Pyrus communis). Several hedges were planted, the most noticeable along Greenup Street a Cypress (X Cupressocyparis leylandii), and several smaller sections scattered throughout the garden Pink may (Crateagus laevigata), Yellow jasmine (Jasminum fruticans) and Pink may bush (Spiraea x bumalda). Some of the other, more notable plantings from the Chauvel era include the Century plants (Agave americana), Black bamboo grove (Bambusa nigra); the grafted English hawthorn (Crateagus monogyna); Red pyracantha (Pyracantha rogersiaria) and Orange pyracantha (Pyracantha angustitolia); English lavender (Lavandula augustifolia); many rose species including the Dorothy Perkins rose, Gallipoli or Rock rose, Red letter rose and Polsen Bedda rose; Banksia rose; Black boy rose; Mermaid rose; as well as a proliferation of Wisteria (Wisteria floribunda), Isabella grape vines (Vitis vinifera); honey suckles, a large number of flowering annuals including Hollyhock, Wallflower, Cosmos, Dahlia, Delphinium, Foxglove, Baby&#39;s breath, Jonquil, Alyssum, Stock, Forget-me-not and Zinnia. The many other notable trees include Japanese maple (Acer palmatum); Flowering dogwood (Cornus Florida); Flowering plum (Prunus x blirelana); English elm (Ulmus procera); English oak (Quercus robur), Deodar cedar (Cedrus deodara) and Crepe myrtle (Lagerstroemia indica).</p><br>
<p>The garden at El Arish has survived in a form retaining many of the characteristics of the early garden; the zoning system is still evident with surviving plantings and layout. Though the garden has diminished in size with the sub-division of the land, the formal garden remains largely intact as do large sections of the informal stroll garden and smaller sections of that section used as a service garden. Most of open park and woodland to the south of the house and the tennis court beyond this have been sub-divided from the garden.</p><br>
<p>The house was an integral part of the landscape produced at El Arish, providing a focus for the formal part of the garden and a buffer between the other sections. The house in which the Chauvel&#39;s lived was moved to its present site, though accounts vary as to the origin of the building with family reminiscences recalling the building used as both the earlier Scholz residence which was altered and extended, and also a cottage purchased from Killarney and moved to Stanthorpe. There are similarities between the extant house at El Arish and an early photograph of the Scholz residence, both are single skinned buildings with external framing and bracing, though many other details have been altered.</p><br>
<p>The house was intended as a summer residence, hence its light weight timber construction and verandahs, which may seem an inappropriate choice for a Stanthorpe residence where winter temperatures dictate a more insulated dwelling. Early photographs of the house from the Chauvel family, show a simple asymmetrical timber dwelling with low pitched hipped roof extending over a verandah on the principal entrance facade. The house has simple details; a traditional verandah balustrade with dowel balusters and square planned columns. Photographs of the house often feature a verandah screening device, either striped fabric awnings or timber blinds.</p><br>
<p>By the early 1930s it seems that Isabella was living at El Arish permanently, preferring the climate of Stanthorpe and the social opportunities the town presented, to that in the Fassifern Valley, where Allan still maintained the family property. Prior to the deaths of Allan and Isabella within nine months of one another in 1939, El Arish was their permanent home. On the death of Isabella, in whose name the title to the property was held, on 20 November 1939 El Arish was passed to her son, Charles Chauvel but by September 1940 the property was transferred to his sister, Jean Chauvel.</p><br>
<p>The task of maintaining the large garden and house at El Arish was an onerous one and Jean Chauvel subdivided the property a number of times, to reduce the scope of maintenance and to offset the financial burdens caused by death duties. Several houses now sit on what were sections of the service and informal garden to the south and southwest of the house. Jean also undertook many renovations to the house, demolishing the rear wing and making the home more habitable for the winter months.</p><br>
<p>During World War II El Arish was used to house a number of families and Jean was billeted to share another house in the town before leaving to serve in the war herself. Jean returned to El Arish and, in 1957 after appropriate training, opened the first kindergarten in the district which she operated until her retirement in 1975. The house was then renovated for use as two flats and passed through a number of hands before its purchase by the current owners, David and Carey-Lee Downs. Though the garden suffered from neglect during the years after the Chauvel&#39;s residence there, the Downs have made a significant contribution to its conservation.</p><br>
<h2>Description</h2><br>
<p>El Arish consists of a single-storeyed chamferboard residence, with a corrugated iron roof, set amidst a structured garden comprising distinct formal, informal and service areas. El Arish is located on the western slope of Foxton&#39;s Hill, adjoining the rugged landscape of the Stanthorpe Soldiers Memorial reserve at the rear, with the highest section of the property affording views over Stanthorpe a short distance to the west.</p><br>
<p>The residence is located towards the southern section of the site facing Greenup Street to the northwest. The formal garden compartment is located to the west and northwest, the informal stroll garden is located to the north and along the eastern boundary, and the service garden is located to the south of the residence.</p><br>
<p>The formal garden compartment is screened by a very large Cypress hedge along the western boundary to Greenup Street, and contains a geometric layout of gardens, hedges and shrubs with defined boundaries and a distinct pink and white theme. This garden was originally used to formally greet guests and create an impressions of the family&#39;s status, and the front verandah formed an adjunct to this garden for entertaining. Entry to El Arish is via a narrow arched opening in the hedge, facing northwest along the axis of Lock Street opposite, with a rustic timber gate with metal fittings. The northwest section of the formal garden contains a lawn, bisected by a concrete path leading to the residence, bordered by garden beds. The northern boundary of this section of the garden has a low stone wall, screen planting and a hedge, with a central gateway providing access to the informal stroll garden beyond. The gateway has a rustic timber gate with metal fittings, an arched metal lamp post with lantern, and a section of stone flagging with stone steps.</p><br>
<p>The western section of the formal garden is bordered by the driveway along the southern boundary and contains a reconstructed timber pergola supporting an Isabella grape vine at the southern end. The garden also contains a grafted Williams pear tree, which shades a stone bench seat, and the stump of a Walnut tree from the original Walnut grove, both of which are remnants of Scholzs market garden. The remains of a fish pond is located amidst remnant rose bushes, and hedges and shrubs divide the garden spatially with an accent on content and form. A large Black Bamboo, enclosing secluded pathways with stone edgings, screens the adjacent service garden compartment to the south of the residence. A non-original cricket practice net is located in the western corner.</p><br>
<p>The informal garden was designed to be more private, and intimate spaces were created for the family&#39;s enjoyment and relaxation. The garden has an overall rustic character which was intended to invite exploration in the manner of an English stroll garden. There are controlled entry points within the garden, with several route options and focal points. Mass plantings in scale with the garden spaces has been employed, rather than the emphasis being given to individual plants and diversity as in the formal garden. Tall specimen planting and obscured views of boundaries have been utilised to give the impression of increased space, with the garden seemingly extending over boundaries to the rugged landscape of the adjoining public space.</p><br>
<p>The eastern side of the informal garden rises steeply towards the adjoining Stanthorpe Soldiers Memorial reserve, and consists of natural rock surfaces and stone terracing, some of which dates from Scholz&#39;s market garden and has been built up to form a maze of planting and paths. Planting includes agaves and Century plants, and a path leads to a stone lookout on the eastern boundary which affords expansive views over El Arish and Stanthorpe to the west. The stroll garden contains narrow paths with several arched trellises, and a non- original concrete water tank has been constructed in the southeast corner.</p><br>
<p>The northern section of the informal garden is relatively level, and has a timber post and rail fence along the Greenup Street boundary. This section of the garden contains tall Oak and Cedar trees, with low stone walls and areas planted with bulbs and containing remnant rose bushes. A large wisteria and the remains of a rustic pergola are located to the northeast of the residence, and garden beds and areas of lawn with a clothes line and fruit trees are located to the east of the house. The remains of the original woodland area of the garden, which is outside of the current garden boundary, can be seen to the south on the adjoining property.</p><br>
<p>The service garden was designed as a work and service area, and includes a driveway, guest parking, rear entry, garage and small kitchen garden. The service garden also contains the foundation remains of the maintenance shed, and has obscured views towards the formal and informal gardens. The rear entry to the residence has non- original timber pergola, stone flagged path, a lamp post with a stone base and a small hedge.</p><br>
<p>The single-storeyed chamferboard residence has a hipped corrugated iron roof with projecting gables, stumps with timber batten infill, and a verandah on the northwest with timber posts, brackets, balustrade and lattice-screened entry. A gabled projecting bay on the northern side of the entry has casement windows, and the verandah wall has single-skin exposed framing and French doors. The northeast verandah has been enclosed with chamferboard, and a stone flagged terrace has been added. The southwest section of the front verandah has also been enclosed. The rear of the building has been altered, with an original rear wing having been removed and verandahs enclosed and extended. Windows are mainly casements, some with corrugated iron and timber batten sunhoods, and a corrugated iron garage has been built adjacent to the southeast corner of the residence.</p><br>
<p>Internally, the residence has been redesigned several times.</p><br>
<h2>Heritage listing</h2><br>
<p>El Arish was listed on the Queensland Heritage Register on 4 October 1996 having satisfied the following criteria.</p><br>
<p>The place is important in demonstrating the evolution or pattern of Queensland&#39;s history.</p><br>
<p>The development of Stanthorpe is unique within the pastoral and agricultural Darling Downs region, initially owing its growth and prosperity to tin mining, and in the early twentieth century to market gardening and summer holiday making. El Arish, which was originally a market garden and then a summer residence from the early 1920s, is one of the few surviving properties which reflects the contribution of both market gardening and tourism to the development of the town.</p><br>
<p>The place demonstrates rare, uncommon or endangered aspects of Queensland&#39;s cultural heritage.</p><br>
<p>Characteristic elements of the early market garden survive at El Arish including a rare and early Williams pear tree, Isabella grape vines, sections of dry stone walling and terraced sections of the garden which were incorporated into the later Chauvel garden. These elements are illustrative of the establishment of market gardens in and around Stanthorpe from the 1880s.</p><br>
<p>El Arish is a characteristic and rare example of a summer residence established in Stanthorpe in the 1920s during a period of intense tourist activity which saw many buildings constructed to support this new industry.</p><br>
<p>The garden at El Arish is an important and rare surviving example of a 1920s Queensland garden influenced by Arts and Crafts gardening ideals. It was designed by Isabella and her son, Charles, to allow a variety of experiences and functions within different areas. Many of the early features remain extant. The cypress hedge along Greenup Street is a marvellous feature of the garden and a rare example of a hedge of this size and extent in Queensland.</p><br>
<p>The place is important in demonstrating the principal characteristics of a particular class of cultural places.</p><br>
<p>El Arish is a characteristic and rare example of a summer residence established in Stanthorpe in the 1920s during a period of intense tourist activity which saw many buildings constructed to support this new industry. The timber residence was initially intended for use during the summer months. The name chosen for the property by the Chauvels was El Arish, meaning "place of rest", and this commemorates a town in the Sinai and recalled Allan Chauvel&#39;s involvement in the Middle East during World War I.</p><br>
<p>The place is important because of its aesthetic significance.</p><br>
<p>El Arish makes a significant aesthetic contribution to the Stanthorpe streetscape, and with its location at the base of the Stanthorpe Soldier&#39;s Memorial reserve, is a recognised local landmark. The separation of the garden into distinct areas provides a range of aesthetic experiences including formal plantings emphasising individual plants and diversity; geometric layouts of gardens, hedges and shrubs with defined boundaries; themed flowering displays; rustic stroll gardens inviting exploration; private and intimate spaces; tall specimen planting and obscured boundaries which give the impression of increased space with the garden seemingly extending over boundaries to the rugged landscape of the adjoining public space; natural rock surfaces; stone faced terracing; distant views; mass plantings in scale with garden spaces; and various garden structures.</p><br>
<p>The place is important in demonstrating a high degree of creative or technical achievement at a particular period.</p><br>
<p>The garden displays significant creative achievement in its design, choice of plantings and utilisation of the site.</p><br>
<p>The place has a strong or special association with a particular community or cultural group for social, cultural or spiritual reasons.</p><br>
<p>The first kindergarten in the Stanthorpe district was operated at El Arish from 1957 until 1975. Many residents of Stanthorpe attended the kindergarten and the property has a special association with the community for this reason.</p><br>
<p>The place has a special association with the life or work of a particular person, group or organisation of importance in Queensland&#39;s history.</p><br>
<p>El Arish is associated with several people of importance to Queensland history. The Chauvel family who developed the property as their summer residence have a long and acclaimed history in the Armed Forces in Australia. Allan Chauvels brother, Henry, was knighted for his service in World War I, where Allan served as a Major. Allan and Isabella Chauvels son Charles, who helped to plan the garden, was a renowned Australian film maker who, with his wife Elsa, made many early important films.</p><br>
<p>Masel Residence is a heritage-listed detached house at 98 High Street, Stanthorpe, Southern Downs Region, Queensland, Australia. It was designed by Charles William Thomas Fulton and built from 1937 to 1938 by Kell and Rigby. It is also known as Diamond Residence. It was added to the Queensland Heritage Register on 7 February 2005.</p><br>
<h2>History</h2><br>
<p>A substantial two-storeyed brick building, the former Masel Residence was erected in Stanthorpe in 1937-1938 for Dr Harry Masel and Una Masel and their family. Designed in 1936 by Charles William Thomas Fulton of Donoghue and Fulton Architects and constructed by Sydney builders Kell and Rigby, the building with its functionally zoned planning and abstract monumental facades was strongly influenced by European modernist architecture. One of the first examples of these trends in architecture in Queensland, it was the joint winner of Queensland&#39;s inaugural awards for meritorious architecture in 1938.</p><br>
<p>Settlement at Stanthorpe began around 1872 with the commencement of alluvial tin mining in the area. Originally two townships, it grew into a centre for that part of the Darling Downs. Dr Harry Masel, a general practitioner in Stanthorpe, acquired the title to a half-acre lot on High Street in 1936. Una Masel, Harrys wife, had an interest in contemporary architecture and commissioned Brisbane architect JP Donoghue to design a home for her family. The house was also to incorporate rooms for Dr Masels general practice, including waiting area, consulting and x-ray rooms and a laboratory. It was not uncommon during the first half of the 20th century for doctors to practice from their homes. In new homes, for example at La Scala residence built in Brisbane in 1914, purpose designed facilities were sometimes incorporated. Dr Masel was particularly interested in radiology and his surgery was subsequently fitted with a large X-ray machine, more commonly found in a hospital.</p><br>
<p>JP Donoghue already had a commission in Stanthorpe that may have brought him into contact with Dr Masel. He was the architect for the main block of Stanthorpe Hospital, erected in 1936. The Masel residence was designed by Charles Fulton, then an employee of JP Donoghue. The architectural practice Donoghue and Fulton was subsequently established and the Masel Residence, completed in 1938, was one of its first commissions. Kell and Rigby, builders from Sydney who were also working in Stanthorpe on the hospital, most likely built the house. Kell and Rigby, now a prominent construction firm, are still operating in Sydney.</p><br>
<p>During the 1930s the detached residence in a garden setting continued to be the most common form of housing in Australia. Houses were built in a range of styles such as Spanish Mission, Tudor Revival, Georgian Revival and various bungalow styles. A small number of houses were also built in styles inspired by European modernism. Modern architecture was the outcome of an attempt by European architects to invent new ways of building guided by rational principals of construction and associated aesthetic ideals rather than tradition. Typical features of interwar Modernist styles in Australia included parapet walls concealing low pitched or flat roofs, steel framed corner and strip windows, masonry walls devoid of decoration, rounded external corners, cantilevered concrete awnings and balconies, asymmetric composition and stairwells expressed as vertical elements contrasting with dominant horizontality. Low brick walls, hedges and extensive lawns were common in gardens.</p><br>
<p>The former Masel Residence introduced many features of this new and influential architectural vocabulary to Queensland. Unlike most Queensland houses, the Stanthorpe house was designed to suit the cold climate of the granite belt. Later buildings designed by Charles Fulton show more adaptations to the generally hot Queensland climate. The house for Dr Masel was published in national architecture journals, prior to construction in Building (1937) and after completion in Architecture (1940). Recognised as an important work of architecture at the time of its construction, the house was the winner of one of two medals awarded at the inaugural annual meritorious architecture awards of the Queensland chapter of the Royal Australian Institute of Architects in 1939. The awards were for outstanding examples of domestic architecture constructed in the previous five years. The home of Dr H Masel, Stanthorpe won the Country Division.</p><br>
<p>Charles Fulton was born in Sydney in 1906. He received his architectural training at the Sydney Technical College, was an articled pupil of FE Stowe, architect and civil engineer and subsequently worked as a draftsman for Rudder and Grout. In 1931-32 he travelled overseas working in London for B George Architects. During this period he made trips to Europe to look at buildings. He was particularly interested in the work of Dutch architect Willem Dudok, whose Hilversum Town Hall was influential in Britain and Australia in the early thirties. In 1933 he returned to Australia and settled in Brisbane where he was employed, initially by Hall and Cook and later by JP Donoghue. In 1937 he entered into partnership with JP Donoghue, an older and more established architect and became Lecturer in Charge of Architecture at the Brisbane Central Technical College. Fulton taught at the architecture school for 33 years and the Queensland University of Technology, in recognition of his contribution to architectural education, named its architecture facility the "Charles Fulton School of Architecture".</p><br>
<p>Charles Fulton was a key practitioner and teacher of modern trends in architectural design in Queensland during the late thirties and forties. The Masel residence, Nudgee Junior College at Indooroopilly (1938) and his own residence (1940) all received meritorious architecture awards in the early Royal Australian Institute of Architects Queensland Awards Programs. The practice of Donoghue and Fulton was also renowned for innovative hospital design and they were architects for the Townsville Hospital designed between 1935-39 (built 1951), the Kingaroy General Hospital and Nurses Quarters 1936-38, Goondiwindi Hospital 1939, Roma Hospital 1940, Nurses Quarters Nambour 1941-42 (demolished 1999). After the Second World War the partnership of Donoghue and Fulton was dissolved and Fulton took a new partner JM Collin. During this period Charles Fulton designed a number of notable hospital buildings including, Barcaldine Hospital main block and Staff Quarters (1953), Clermont Hospital main block (1955), Aramac nurses quarters (1957). These later buildings were characterised by low-pitched roofs, linear planning, cross ventilation, wide eaves or awnings and the use of modern materials. The firm that he founded continues as Fulton Trotter.</p><br>
<p>The Masel family owned the house for less than 10 years. Dr Masel moved to Brisbane at the end of the Second World War to further his specialization in radiology. After moving to Brisbane they became friends with the Fultons, their neighbours in Taringa and Charles Fulton later designed another house for the Masel family at Russell Terrace, Indooroopilly. The Masels sold their Stanthorpe house to Dr DT Rushton Smith. In 1949 the property was acquired by Laurence Diamond and remains in the Diamond family.</p><br>
<h2>Description</h2><br>
<p>Situated on the main street into Stanthorpe from the northeast, the former Masel Residence and consulting rooms is a brick and reinforced concrete building set in an established garden. Suburban houses extend along High Street to the east of the residence while institutional and commercial buildings predominate to the west. A school now adjoins the property on two sides. Other heritage buildings in High Street include the Stanthorpe Post Office, an imposing Arts and Crafts building which terminates the vista at the western end of High Street and the Central Hotel.</p><br>
<p>Solid, cubic and monumental, the house is a two-storey structure with some single-storey projections. These single storey sections include the former consulting rooms on the southern corner, a laundry and bathroom on the western corner, a garage at the rear and the eastern end of the living room, which supports a balcony above. Dominating the front facade is a centrally located curved stairwell with strip windows intersected by a continuous horizontal awning.</p><br>
<p>Exterior walls are finished in a face brick ranging in colour but predominantly red-brown. Brickwork is generally stretcher bond but incorporates header bricks where required to make sections of curved wall. English garden wall bond has been used to make the portion of parapet wall above the line of the roof and a soldier course terminates the top of the parapet. Windows are steel framed strip or corner windows. A dynamic asymmetric composition is created by the contrast between different building elements; curved corners are juxtaposed against right angles, horizontal proportions against the verticality of the staircase and carefully composed windows, emphasized by the fine horizontal planes of projecting concrete awnings, highlight the planar qualities of walls.</p><br>
<p>Low-pitched corrugated iron roofs are hidden from view behind brick parapet walls. Rainwater, collected in concealed box gutters, is discharged through the parapet walls into painted metal rainwater heads and downpipes. Metal ladders bolted to external walls provide access to the roofs.</p><br>
<p>Set behind the original low brick fence, the house faces southeast across High Street. An original metal gate in a simple geometric design opens onto a stone path that leads to the main entrance. Metal gates on the driveway match the design of the pedestrian gate but were constructed later by the Diamond family. Situated at the base of the stairwell, the main entrance opens into the residential quarters. A more modest entry further to the west, which originally provided access to the consulting rooms, has since been blocked by the construction of low brick walls. This former public entrance, now converted to a balcony, is closer to the street and is screened from the residential entry by a brick fin wall with a porthole opening. Cantilevered concrete awnings protect the entries as well as most of the doors and windows.</p><br>
<p>Located on the lower floor of the house are the former consulting rooms and the communal and utility rooms of the private residence. Bedrooms and a bathroom are located on the upper level. A double garage, with an extension used as a storeroom, is located at the rear of the house. Underground power and phone lines, the original arrangement, are connected to the house.</p><br>
<p>On entering the residence one passes under the mid-landing of a dogleg staircase with a solid timber balustrade that fills the entrance hall. A passage, which continues the entrance hall, bisects the house and leads to the rear garage. On the northeast side of the entrance hall is an L-shaped living and dining area arranged around a north-facing terrace. The living room has a brick fireplace and curved east-facing window. Steel framed French doors open from the dining and living area onto the raised terrace, which is connected to the garden by an elegant curved brick stair. The kitchen, which connects to the dining room via a pivot-hinged door, was renovated in the 1970s but retains some original cupboards. On the southwest side of the passage are a former maid&#39;s room and a small room originally designed as a bathroom but never fitted out. The laundry and a small shower and toilet are accessed externally.</p><br>
<p>A discreetly positioned door off the entrance hall connects the former consulting rooms, now used as an informal living area, with the residence. The internal walls have been removed between the waiting area, consulting and x-ray rooms. But the former laboratory remains intact.</p><br>
<p>The upper level contains three bedrooms, a nursery and a bathroom. The main bedroom, located on the eastern corner of the house, opens onto a private balcony. Positioned over the curved corner of the ground floor living room, the balcony overlooks the side garden and street. All the bedrooms have built-in wardrobes with timber veneer doors. A third level, located over the upper level bathroom and accessed via an external ladder, originally housed a header tank and hot water system.</p><br>
<p>The finish of the interior walls and ceilings is generally painted plaster but walls were originally finished with wallpaper. With the exception of wet areas, the floors are carpet over timber. The rich dark finish of the internal joinery, including timber veneered doors and timber architraves and skirtings, contrasts with the white walls. A recess in the reveals of the windows accommodates curtain tracks. A similar recess is located in the opening between the dining and living area and originally was fitted with brown velvet curtains. The original built-in heating system is no longer used but electric radiators remain in the walls of the former surgery and main bedroom. A system of electric bells located in the downstairs hallway, operates doorbells at the house and consulting room entries and connects the main bedroom to the former maids quarters. The house retains some original light fittings in the entry hall and dining room.</p><br>
<p>The planning of the house is typical of modernist designs of the period. There is an emphasis on open planning in the living and dining spaces, which flow out to the garden and occupy the most favourable orientation. Private and utility rooms are enclosed cubicles, separated from open plan areas. Corridors and vestibules are used to enhance privacy. Published plans of the house show how rooms were designed to accommodate particular furniture arrangements and indicate extensive use of built in furniture, for instance the fireplace area has a built-in sofa and bookshelves. The bookshelves remain but the sofa was never built.</p><br>
<p>The house is set in a large established garden of lawn, clipped hedges, shrubs and mature trees. Brick planter boxes associated with the terrace and entrance areas help to integrate the house into the garden. The land slopes gently towards the rear of the block. Partly terraced, it is divided by stone garden and retaining walls. The main lawn is located on the north eastern side of the house while the service yard and driveway occupy the south western part of the block. The driveway, originally gravel, is now paved. Access around the garden is via stone paths. The path to the front door has been rebuilt, using the original stones where possible. The circular path on the northern lawn was built by the current owner. Apart from the low front brick fence, the property is enclosed by a variety of non-original fences creating a secluded rear garden. The backyard originally contained a badminton court and remains of a concrete wading pool are visible near the northeast corner of the garage. Trees include a mature gum, English oak and white cedar.</p><br>
<h2>Heritage listing</h2><br>
<p>The former Masel Residence was listed on the Queensland Heritage Register on 7 February 2005 having satisfied the following criteria.</p><br>
<p>The place is important in demonstrating the evolution or pattern of Queensland&#39;s history.</p><br>
<p>One of the first examples in Queensland of a house in a modernist style, the former Masel Residence is an important building in the evolution of architecture in Queensland. During the 1930s most houses in Queensland were being designed in traditional or historically derived styles. The former Masel Residence demonstrates the influence of modernist architectural ideas and practices that developed initially in Europe and became the dominant trend in architecture after World War 2.</p><br>
<p>The place demonstrates rare, uncommon or endangered aspects of Queensland&#39;s cultural heritage.</p><br>
<p>The former Masel Residence was designed in a style which although influential was not widely used and is uncommon outside of Brisbane. It is unusually intact for an interwar house, preserving in original condition both its architecture and its garden setting.</p><br>
<p>The place is important in demonstrating the principal characteristics of a particular class of cultural places.</p><br>
<p>The house demonstrates, through the inclusion of a purpose-built surgery with separate entry, ways in which work and domestic environments were combined in the homes of medical practitioners during the first half of the 20th century.</p><br>
<p>The former Masel Residence is a striking example of a building in what is known as the interwar functionalist style and incorporates typical features of the style such as asymmetrical cubic massing, expanses of undecorated brick walls, steel corner and strip windows, curved brickwork corners, flat cantilevered awnings and a concealed roof.</p><br>
<p>The place is important because of its aesthetic significance.</p><br>
<p>The aesthetic qualities of the place are heightened by contrast with the otherwise traditional character of the surrounding Queensland country town. The house in its garden setting contributes to the distinctive character of the main street into Stanthorpe.</p><br>
<p>The place is important in demonstrating a high degree of creative or technical achievement at a particular period.</p><br>
<p>The former Masel Residence is a highly accomplished design and received an inaugural award for meritorious architecture in Queensland.</p><br>
<p>The place has a special association with the life or work of a particular person, group or organisation of importance in Queensland&#39;s history.</p><br>
<p>An early example of the work of one of Queensland&#39;s outstanding architects Charles Fulton, the house displays many of the characteristics of his work including an abstract sculptural form and the eschewing of internal decoration.</p><br>
<p>Central Hotel is a heritage-listed hotel at 140 High Street, Stanthorpe, Southern Downs Region, Queensland, Australia. It was built from 1908 to. It is also known as Quinns Hotel and Sheahans Hotel. It was added to the Queensland Heritage Register on 21 October 1992.</p><br>
<h2>History</h2><br>
<p>The Central Hotel, Stanthorpe was constructed in 1908-9 as Sheehan&#39;s Hotel. It was one of the largest buildings in the town at the time of construction.</p><br>
<p>The major impetus to development in Stanthorpe occurred in 1872 with the start of the practice of alluvial tin mining after discoveries of the valuable metal in the area earlier in the mid 1850s. Stanthorpe become the collective name for two townships which grew as a result of the mining boom and became the only centre on the pastoral Darling Downs to develop with a mining based revenue.</p><br>
<p>Stanthorpe was situated on part of the early Folkestone Run, which was occupied from November 1846 by Matthew Henry Marsh, who acquired 160 acres of the run on pre-emptive purchase in October 1852. Alford Greenup assumed the management of the run in 1868, and by 1878 as a result of the tin mining boom Marsh converted his run into the private township of Stannum, which is a Latin word meaning tin. The Government surveyed land on each side of Stannum and formed a township known as Stanthorpe. Stannum and Stanthorpe were incorporated forming the town of Stanthorpe. Public sales were held soon after the subdivision of the town into building allotments. The Central Hotel was constructed on land which formed part of the private township.</p><br>
<p>The Sheahan family, who later opened the Central Hotel, had arrived in Stanthorpe by 1872 when John Sheahan opened the Hibernian Hotel.</p><br>
<p>The Central Hotel was initially opened as Sheahans Hotel in 1909. An advertisement in Souvenir of the Stanthorpe District published by L.T. Hobson in 1908 proclaimed:The Public and Visitors requiring accommodation in Stanthorpe are reminded that Denis Sheahan will open his New Two Story Brick Hotel at the Beginnin f the New Year, 1909. Everything New and Up-to-date. Tariff: 4s. & 8s per day, Special arrangements re Permanent Boarders. The largest and best appointed Hotel in South-western Queensland, containing 30 Bedrooms and 4 Parlours. Rooms Large and Airy, with twelve foot wide Balcony all round. Table Unexcelled. The comfort of Patrons carefully studied. Hot and Cold Water Baths. The Proprietor guarantees the Purity and Quality of all his stock of Wines and Spirits; only the very best are served. Letters and telegrams receive prompt attention. Cab meets all trains. Phone No. 4.The hotel remained in the Sheahan family until the early 1920s when Queensland Breweries took ownership and leased the hotel to various managers until it was sold on again to a private owner in 1954. The hotel was known as Quinn&#39;s Hotel from at least 1960 - 1962 after the owner of the time, Lawrence Quinn. From 1962 - 1963 the hotel was called the Garden Hotel and in 1964 it became the Central Hotel.</p><br>
<p>In 1978 plans were submitted for a proposed drive-in bottle shop and lounge area together with provision for a liquor service point in the existing lounge of the hotel. The bottle shop now stands adjacent to the hotel on the western side. The ground floor of the hotel has undergone many changes however much of the original plan is still evident. The front public bar which would have originally been two parlours is now an open area, the remains of the dividing wall evident in the ceiling near the front entrance door. A former outdoor area which was formed by the original u-shaped plan of the hotel has been enclosed and is now a lounge area (most likely at the time of the bottle-shop construction).</p><br>
<p>The hotel still provides accommodation on the upper level, the rooms still in their original layout.</p><br>
<p>An unusual feature of the hotel is a glass bottle collection displayed in the front bar which is passed on from owner to owner with the hotel.</p><br>
<h2>Description</h2><br>
<p>The Central Hotel, Stanthorpe is a two-storeyed brick building built to the corner of High and Victoria Streets. The hotel has principal facades addressing both Victoria and High Streets and a smaller wing parallel to Victoria Street extending from the northern end of the building. The building is lined with a double-storeyed verandah featuring cast iron balustrading and valancing. The verandahs are supported by double timber posts with capitals.</p><br>
<p>A striking feature of the building is the parapet decorated with symmetrically positioned projecting arched and trianglular pediments. The decorative parapet is crowned on the front corner of the roof line with a multi-faced turret structure. Four brick chimneys are visible from the road.</p><br>
<p>The ground floor facades are lined with doors and windows with the main entrance being a double timber door with fanlight on the corner of the building. The upper floor verandah is also lined with glass panelled French doors gaining access to the bedrooms. The corner of the upper level has a large bay window from a bedroom.</p><br>
<p>A former rear verandah on the upper level has been enclosed at some stage and extending from the rear of this verandah is an addition which enclosed a formerly outdoor area in the centre of the originally U-shape building. This addition has a square lantern roof structure.</p><br>
<p>On the western side of the hotel facing Victoria Street is a drive-in bottle shop.</p><br>
<p>The interior of the hotel has been altered, the upper floor being the more intact example of the original design. On the ground floor the public bar extends the length of the High Street elevation and features exposed brick walls and decorative pressed metal ceilings. The bar itself runs lengthways down the room and there is a fireplace at the northern end.</p><br>
<p>Internal doors at either end of the bar access the rear section of the building. On the southern side of the building the door from the front bar accesses a small hallway with an entrance door to Victoria Street. The hall leads on to two parlour rooms with pressed metal ceilings and brick fireplaces to the west, and the main central staircase to the east. A newer spacious lounge area is located in a central position in the rear section of the building which has the afore mentioned lantern style roof. The upper floor is accessed by the central staircase with original timber balustrading. The ceiling over the staircase retains its decorative pressed metal. The stairs land onto a long north-south hallway which is clad with sheeting material and accesses a large doorway to the southern verandah. Three large bedrooms with original fireplaces line this hallway, all have doors to the verandahs. There are two narrow hallways running east-west on either end of the building each lined with bedrooms on either side. The southerly hallway still displays original Vertical Joint timber work and a decorative arch at its entrance. These hallways are connected by an intersecting hall along the former enclosed verandah at the rear of the building.</p><br>
<h2>Heritage listing</h2><br>
<p>Central Hotel was listed on the Queensland Heritage Register on 21 October 1992 having satisfied the following criteria.</p><br>
<p>The place is important in demonstrating the evolution or pattern of Queensland&#39;s history.</p><br>
<p>The Central Hotel, a large, two storeyed masonry building was one of the largest buildings in Stanthorpe when constructed in 1908 and demonstrates the development of the town in the early twentieth century, when several large masonry buildings, including the nearby post and telegraph office were constructed.</p><br>
<p>The place is important in demonstrating the principal characteristics of a particular class of cultural places.</p><br>
<p>The Central Hotel demonstrates the principal characteristics of large masonry hotels in regional centres of Queensland. Such hotels were designed to attract local custom and to provide superior accommodation for visitors. It remains substantially intact particularly on the first floor, and is a good example of its type in both design and function.</p><br>
<p>The place is important because of its aesthetic significance.</p><br>
<p>The hotel is a well composed building situated on a prominent corner contributing significantly to the principal street through Stanthorpe.</p><br>
<p>The place has a strong or special association with a particular community or cultural group for social, cultural or spiritual reasons.</p><br>
<p>The Central Hotel is significant for its association with the local community of Stanthorpe as a place of social gathering since the early 20th century.</p><br>
<p>The place has a special association with the life or work of a particular person, group or organisation of importance in Queensland&#39;s history.</p><br>
<p>The Central Hotel is also significant for its association with the Sheahan family for whom it was constructed. The Sheahans were prominent locals who ran several of the town&#39;s many hotels in the nineteenth and early twentieth centuries.</p><br>
<p>Sundown Tin and Copper Mine is a heritage-listed mine at Little Sundown Creek, Stanthorpe, Southern Downs Region, Queensland, Australia. It was built from to 1920s. It was added to the Queensland Heritage Register on 28 July 2000.</p><br>
<h2>History</h2><br>
<p>Tin was discovered at Sundown in 1893, and a reward claim was granted for 40 acres, but at that date there was no machinery on the ground. Mining had ceased in 1894 for want of equipment, and copper prices were at rock-bottom at that time.</p><br>
<p>The copper and tin deposits were on opposite sides of Little Sundown Creek, and were mined from different shafts. With rising prices the mine was operating again in 1897, and much development work was carried out in 1898. By 1899 a smelter must have been erected, as 470 tons of ore was smelted for 53 tons of matte containing 30% copper and 50oz silver per ton, and 20 men were employed. More ore was raised in 1900, but the mine was under exemption through 1901-1903, a time of low copper prices.</p><br>
<p>In 1904 the mine was described as having an open-cut on the tin portion, and on the copper section a tramway ran down 7 chains from the mine to the reverberatory furnace. The only building standing besides the furnace was the assay office. Firewood was swung across the creek to the furnace on wire ropes. The copper adit was driven 270 ft, with winzes and drives off it, and a shaft connecting to the surface 60 ft from the portal. The most recent smelting of 150 tons of ore produced 25 tons of matte containing 29% copper and 76oz silver and 6 dwt gold per ton matte. Mining recommenced in 1904, but was abandoned again in 1907, this time reputedly due to falling tin prices, though copper fell dramatically in 1907 as well. However, Kershaw and Dodds intended to erect a crushing works at the site the following year.</p><br>
<p>The mine was worked under tribute in 1909 - 1910. In 1911 -1912 work recommenced, with both copper and tin prices resurging. A road was cut to the site, and a shaft sunk in the bottom of the tin mine, which had previously been mined largely by open-cut. The old smelter was described as still being in good condition in 1913, but mining was clearly slow.</p><br>
<p>In 1914 the mine was taken over by the Sundown Tin and Copper Mining Company (N.L.) which erected a 10-head battery driven by a suction-gas plant, and built two fines dams. No work had been done for some time on the tin portion, but some had been going on for copper. In 1915 a calciner was erected, together with "another" Wilfley concentrating table and a 5 ft Berdan crushing pan, and a new shaft was sunk on the tin deposit. The new tin shaft had poppet legs erected over it in 1916, and a 16 hp Tangye winding engine and vertical boiler were installed. That year 69.5 tons of tin and 26 tons of copper concentrates were produced.</p><br>
<p>Work carried out in 1916-17 included the construction of flues for saving arsenic, the electric lighting of the mines and mill, the construction of a new concrete dam, a new elevated double rope line form the new tin shaft to the mill, new self feeders at the mill, and the redressing works was to be remodelled and shifted from its present location at the mill to the calciner. The battery consisted of the 10 head stamper, 4 classifiers, 5 Wilfley tables, 2 Berdan pans and several buddles. The single reverberatory furnace was used to calcine the tin concentrates and drive of arsenic and sulphur. In 1917 a Merton calciner was erected and flues for arsenic recovery constructed. It is likely that these replaced the old reverberatory furnace and calciner. Arsenic became and important product of the mines, the demand escalating during the prickly pear infestation. New shafts were sunk at both the tin and copper mines. The lack of water reduced output in 1918, only 23 tons of tin and 12.5 tons of copper concentrates being produced, but the new shafts were continued, the three compartment copper shaft having poppet legs and ore bins erected, and a cableway built to the battery bins. A new reverberatory furnace was built and a water pipeline laid to the Severn River. The Merton Furnace was described in 1918 as being for the roasting of arsenic concentrates, with the arsenic being condensed in 200 ft of "mud flues", while the new reverberatory furnace was for copper smelting.</p><br>
<p>Production in 1919 and 1920 was modest, and in 1921 the smelter treated 100 tons of ore yielding 20 tons of matte containing 37% copper, and 60oz silver per ton. Air compressors and rock drills were obtained, and the calciner and reverberatory furnace were in working order. 30 tons of arsenic and 5.4 tons of copper were produced in 1922, and 200 tons of arsenic in 1923. In 1924 the furnace and part of the mill was leased by Arsenic Limited to O.C Roberts Limited, who remodelled the furnace to treat high-grade ore, as a result of the Prickly Pear Land Commission letting a 12-month contract for the supply of Roberts Improved Pear Poison, which was manufactured at Wallangarra. The ore was to come form the nearby Beecroft Mine.</p><br>
<p>The arsenic works ceased operation in 1925, and tin does not seem to have been mined after 1923. There is no reference to copper after this date either.</p><br>
<h2>Description</h2><br>
<p>The tin mine area consists of the open cut, with a grided shaft in its floor, and a collapsed adit at the base of its work face. Above the open cut is the main shaft, located on a bench cut into the hillside, with a mullock tip, tripod steel poppet head and older timber shaft- head staging, over a three-compartment shaft. The concrete pad supporting one of the poppet legs is inscribed with the names "T Fredrick, S. Lynn, F. Meehan, GRM Kane". Adjacent to the shaft is a cutting dug into the wall of the benched area, which appears to have been used as a store or crib room. On the other side of the shaft is a bench cut into the slope, with a "Herman" winding engine facing the poppet legs.</p><br>
<p>The mill area consists of two sets of stepped concrete floors, identified on plans as the "New Works" (29.5 x 6.5m), and the "Old Works" (42x9m) 24m further to the west. These concrete floors have concrete machinery foundations, troughs and the bases of timber vats or tanks. The Old Works has the foundations for a stamper battery.</p><br>
<p>The ruin of a furnace, taken to be the Merton Furnace for arsenic roasting, is located above the New Works area, and consists of a collapsed large brick furnace, built with "Campbell" fire bricks, with a horseshoe shaped flue leading from it. The flue, which is collapsed, was an above ground 1.8m wide vault tunnel, and approximately the 200 ft length referred to in the literature. The height could not be determined. At the other end of the flue from the furnace is a large brick pile and 14m long plume of rubble consisting of a fallen chimney. The curve of the flue is supported on a platform built of stone, and a large number of 2.95m-long iron pipes lay scattered in this area. There is slag underlying part of the furnace, and it may have been built on top of the first reverberatory furnace slag heap.</p><br>
<p>Between the "arms" of the flue is an area of burnt and disturbed ground, which may be the site of the second reverberatory furnace, as a 12 x 19m slag heap extends from in front of this area. No ground features indicating the size or specific design of this smelter could be seen, but the loaf slag forms indicate the slag was cast into sand moulds, typical of reverberatory furnace practice.</p><br>
<p>East of the furnace are a number of sleepers, lengths of wire cable, and the base of the structure which could be the flying fox used to bring tin and copper ore to the mill site. However, this area of the site has been extensively disturbed by more recent bulldozing and earth moving activities.</p><br>
<p>The two dams are located below the Old Works site, and are earthen dams, riveted with timber on the downstream side, and both are broken. A large amount of tailings sand lines the creek above the dams, leaching the metallic salts and having a strongly sulphurous smell.</p><br>
<p>The Copper Mines are located about 140m east of the furnace site, and consist an adit near the creek, and a series of 3 shafts along the line of the reef running roughly s-w to n-e over the crest of the ridge, and mullock associated with the shafts. The main shaft is a three-compartment shaft. There is a collapsed ore bin and shute, and some concrete machinery pads, but no other substantial above- ground remains.</p><br>
<h2>Heritage listing</h2><br>
<p>Sundown Tin and Copper Mine was listed on the Queensland Heritage Register on 28 July 2000 having satisfied the following criteria.</p><br>
<p>The place is important in demonstrating the evolution or pattern of Queensland&#39;s history.</p><br>
<p>The Sundown Mine is of historical importance because of its combination of tin, copper and arsenic production, the primary product at any given time varying with the prevailing market condition. Thus at one site is a microcosm of the forces influencing the pattern of most mining in this region of southern Queensland. The Sundown Mine together with the Beecroft Mine and the Jibbenbar State Arsenic Works, is associated with the prickly pear eradication program.</p><br>
<p>The place demonstrates rare, uncommon or endangered aspects of Queensland&#39;s cultural heritage.</p><br>
<p>The remains of the Merton Furnace and condensing flue are rare pieces of the technology demonstrating arsenic extraction in Queensland. The arsenic mill and furnace, together with the nearby Jibbenbar and Beecroft mines, demonstrates a rare aspect of mining in Queensland, and the fact that the mine was aimed at producing toxic material puts the site at considerable risk from future contaminated site rehabilitation, so it is endangered.</p><br>
<p>The place has potential to yield information that will contribute to an understanding of Queensland&#39;s history.</p><br>
<p>The site has the potential to yield information about the highly volatile base metal mines industry. The combination of metals produced at the mine increases the potential of the site to contribute worthwhile research results.</p><br>
<p>White Swan Inn is a heritage-listed former hotel, now a detached house, at Stevens Road, Swan Creek, Southern Downs Region, Queensland, Australia. It was built. It was added to the Queensland Heritage Register on 21 October 1992.</p><br>
<h2>History</h2><br>
<p>The former White Swan Inn was built at Swan Creek in about 1876 as the residence of local farmer Edward Malone. Shortly after its construction the residence became a hotel, known as the White Swan Inn though it remained in this use for only ten years before becoming a residence again.</p><br>
<p>The Swan Creek district, situated about 11 kilometres from Warwick, was known as the Agricultural Reserve and comprised a tract of fertile country wedged between extensive pastoral holdings. Early settlers arriving in Swan Creek during the 1860s were successful in having the district surveyed and offered for sale in agricultural farm areas. 18 acres of the Warwick Agricultural Reserve, being portion 284, was granted to Joseph Thomas Wilson in May 1868 and it is on this land that the White Swan Inn was later built.</p><br>
<p>According to the titles information on the property, subdivisions 1 and 3 were transferred to Edward Malone by January 1880. However, it seems that the land was in Malone&#39;s possession many years prior to this. A roving correspondent for The Queenslander visited Swan Creek in 1876 and published descriptions of the area in several editions of the newspaper during October of that year in a series titled, Farming on the Darling Downs. The series has a description of a farm owned by Mr Edward Malone, who, at the time of the article was having some difficulties with his neighbour, a Mr Hughes, over road reserves and access for cattle.</p><br>
<p>The property owned by Edward Malone is described as 75 acres, of which 32 acres were under wheat cultivation. The correspondent noted that Malone was in the process of constructing a stone house on his property near an adjoining Church of England property. This house would appear to be the building known as the White Swan Inn today, which is situated alongside a former Church of England. Another mention of the house appears in an historical survey of the Swan Creek area published in the Warwick Daily News of September 1945. This talks about the White Swan Inn which was built as the residence of Edward Malone in about 1880, but after its construction became used as an hotel, namely the White Swan Inn, when Malone transferred his business from farmer to that of publican. A license was issued by the Licensing Court for a hotel at the White Swan Inn in 1878 though the publican&#39;s name is not mentioned. Early photographs of the White Swan Inn show a building much as it appears today, a single storeyed sandstone residence with shingled roof pierced by dormer windows.</p><br>
<p>Subdivision 3, on which the White Swan Inn was erected, was transferred from Malone to Matthew OSullivan in July 1884 and it seems the White Swan Inn continued to operate. According to the Warwick Daily News article of 1945 was managed by a Mr Ravenscroft. On Matthew OSullivans death on 24 February 1885 the estate was transferred to his widow, Mary Francis. On December 1887 Subdivision 3 was transferred to Bernard Hughes who returned the building to the former use of private residence. The house remained in the Hughes family until May 1872 when it was transferred to Colin and Edna Tyson.</p><br>
<p>By 1878 the Tysons implemented a building programme at their new home, which included the addition of a kitchen and living area at the rear of the house. Internally much work was undertaken during the Tysons stay in the house, including the realignment of internal stairs and the internal re-arrangement of the attic. In January 1989 the property was transferred to Neil and Donna Lomas and in March 1992 was transferred to Donna Lomas solely.</p><br>
<p>In September 2010, the property was sold to a Brisbane couple.</p><br>
<h2>Description</h2><br>
<p>The White Swan Inn is a one-storeyed building with a substantial attic above. It is constructed mainly of tooled sandstone laid in a coursed random pattern with has a corrugated iron hipped roof. The building is surrounded by a simply detailed verandah which sits on low stumps. The verandah roof is supported by timber posts and the soffit reveals battening for shingles though these have been replaced with corrugated iron sheeting.</p><br>
<p>The exterior of the building is symmetrical in appearance. Timber steps to the verandah are centrally located in front of the main entrance door which is flanked by French doors. These replace the original inward opening single doors which are currently stored in the garage. Dormer windows with weatherboard sidings are located within the hipped roof at both the front and rear of the building, and align with the French doors below. Stone chimney shafts with moulded corbelling are situated at either end of the building.</p><br>
<p>The symmetrically arranged interior is divided by a central hallway from the front door, and which incorporates a narrow stair leading to the attic at the rear. High quality timber doors of varying sizes open from the hallway into the three ground floor rooms. The two rooms on the northern side are of similar proportions and detailing with plaster walls and a ceiling of wide beaded boards. The room on the southern side of the building appears to have had a central dividing wall which has since been removed to create one large room. This room has plaster walls and ceilings. The rooms have chimneypieces with early over-mantles excepting the one in the room at the north-east corner. Both the large room and the smaller front room have French doors that open onto the verandah. All rooms have timber skirtings and simply moulded cornices.</p><br>
<p>The staircase is a reconstruction of the original and leads to an upstairs area which is divided into three rooms and a hallway. The hallway is lined with 300mm (approx) wide pine boards. The original shingle roof of the building survives under the corrugated iron. The external walls of the building project approximately one metre above the first floor level. Above these, plaster walls taper to meet a plaster ceiling both of which are divided by exposed timber rafters and collar ties.</p><br>
<p>A new addition of timber and brick has been built at the rear of the house and is joined to the original house at the end of the hallway. Near this new addition stands a brick fireplace, probably from the original kitchen building which no longer exists.</p><br>
<h2>Heritage listing</h2><br>
<p>The White Swan Inn was listed on the Queensland Heritage Register on 21 October 1992 having satisfied the following criteria.</p><br>
<p>The place is important in demonstrating the evolution or pattern of Queensland&#39;s history.</p><br>
<p>The former White Swan Inn is important in demonstrating the development of Swan Creek which was in an area formerly set aside as an Agricultural Reserve. The former White Swan Inn demonstrates the principal characteristics of a small sandstone house in Queensland, particularly of those constructed in the nineteenth century in and around Warwick.</p><br>
<p>The place is important because of its aesthetic significance.</p><br>
<p>The building contributes to the Swan Creek area where it is a prominent feature of a flat and sparse landscape. The residence is picturesquely situated and of aesthetic value.</p><br>
<p>The place has a special association with the life or work of a particular person, group or organisation of importance in Queensland&#39;s history.</p><br>
<p>The White Swan Inn has special associations with JT Wilson and Edward Malone, early European residents of the area.</p><br>
<p>The Dungcas Beach Defense Guns are an old World War II Japanese fortification in the United States territory of Guam. It consists of a tunnel dug in the coral limestone of the cliffs overlooking the beach on the northeast east side of Hagåtña Bay on the west side of the island. The tunnel has two guns mounted at openings facing the beach. This fortification was built by the 48th Independent Mixed Brigade of the 29th Division of the Imperial Japanese Army, during its occupation of the island 1941-44. The guns from this position were probably fired on landing Allied forces during the 1944 Battle of Guam, in which the United States retook the island.</p><br>
<p>The fortification was listed on the National Register of Historic Places in 1976.</p><br>
<p>The former Presque Isle National Bank building is a 19th-century commercial building at 422 Main Street in Presque Isle, Maine. Built in 1887, it is one of the most architecturally significant commercial buildings of northernmost Maine, and was listed on the National Register of Historic Places in 1986 for its architecture. It presently houses the Maine Farmers Exchange on the upper level, and retail stores below.</p><br>
<h2>Description and history</h2><br>
<p>The Presque Isle National Bank building is set on the east side of Main Street in downtown Presque Isle, in a row of brick and masonry building one to three stories in height. It is a two-story brick structure, set on a raised brick foundation, with a low-slope pitched roof, sharing party walls or directly abutting the neighboring buildings. The front facade is divided into three parts, with a central stair providing access to the second floor flanked by storefronts. The first floor consists of brick piers supporting granite lintels above the storefronts, which are plate glass and wood with recessed entries. The second-floor entrance is also recessed. Above each storefront is a three-part segmented-arch window, each with flanking brick pilasters. In the center is a brick segmented arch, under which is a granite block with the date "1887" incised on it. A belt course and corbelled cornice separate the second floor from the roof.</p><br>
<p>The commercial center of Presque Isle was completely destroyed by fire in 1884, and this building is one that was built afterward. It was built by the bank and a local businessman. The bank was a major financier of the growth of Aroostook Countys potato industry in the years between 1887 and its closure in 1933. The building was also home for many years to The Northern Star, a regional newspaper. It is now home to the Maine Farmers Exchange, a business that provides supplies to the regions farmers.</p><br>
<p>Combe Grenal, also known as Combe-Grenal, is an archeological site consisting of a collapsed cave and a slope deposit near Domme, Dordogne in Dordogne, France. It dates back to c. 130,000 to 50,000 Before Present .</p><br>
<p>First described by François Jouannet in 1812, it was again briefly described by Édouard Lartet and Henry Christy in "Cavernes du Perigord" published in Revue archéologique in 1864. In the 1930s, D. and E. Peyrony did excavations, but the cave was first thoroughly excavated by François Bordes from 1953 to 1965.</p><br>
<p>The site&#39;s stratigraphic sequence is 13 meters in depth and has 64 layers (65 layers in some sources). 55 layers are Mousterian while the 9 layers near the bottom are Acheulean. The oldest layers dates back to the end of the Riss glaciation and the youngest to the Würm glaciation.</p><br>
<p>The oldest Neanderthal remains was found in layer 60. There are also found remains in level 39 and 35. Most remains are found in level 25 which includes 24 cranial and post-cranial specimen estimated to date to about 75,000&ndash;65,000 years BP. In 2009, part of a incisor belonging to a child about 3 three years old (estimate 2&ndash;4 years) (Combe-Grenal Hominid 31) was discovered in layer 60. Estimated to be 130,000 years, this is the oldest human fossil in the region Aquitaine.</p><br>
<p>Archeologist Lewis Binford found that some stone tool cut marks on the jaw remains of reindeer, red deer and horses at Combe Grenal were similar to cut marks on caribous jaws that contemporary Nunamiuts hunted in Alaska. The Nunamiuts made the cut marks in order to get out the tongue and Binford assumed the Neatherthals left the marks for similar reason.</p><br>
<p>The Old Scott County Jail is a historic former county jail at 125 West 2nd Street in Waldron, Arkansas. It is currently home to the Scott County Historical and Genealogical Society. The building is a two story structure, built of fieldstone covered in concrete, with a flat roof and a stone foundation. It has a single entrance, which has sidelight windows, and its windows now have decorative shutters rather than iron bars. The jail was built in 1907-08, and was used for its original purpose until the 1930s, when it was adapted  for use as Waldron&#39;s public library. The library occupied the building between 1938 and 1947, and it was used for a time by local Boy Scout and Girl Scout organizations. It has housed the historical society since 1987.</p><br>
<p>The building was listed on the National Register of Historic Places in 2002.</p><br>
<p>The Entella is a very short river within the Metropolitan City of Genoa  in the Liguria region of northwestern Italy.</p><br>
<p>It and its tributaries flow from the Ligurian Apennines Mountains to the Ligurian Sea.</p><br>
<h2>Etymology</h2><br>
<p>The name Entella was given to the river by Ptolemy; it&#39;s maybe derived from entos (=inside) and elòa (=olive), due to the dark-green colour of the river banks of its upper basin. The name came into the popular use from the end of the 18th century; the river was previously called by common people Lavagna.</p><br>
<p>In 1914 the football club Foot-Ball Club Entella (now Virtus Entella) took its name from the river.</p><br>
<h2>Geography</h2><br>
<p>The Entella is formed by the confluence of the Lavagna and Sturla streams, near Carasco in the Province of Genova. The river then flows westwards at first before turning south before it meets the Ligurian Sea between Chiavari and Lavagna, in a large and in summer an almost totally dry riverbed.</p><br>
<h3>Tributaries</h3><br>
<p>Besides Lavagna and Sturla the only relevant tributary of the Entella river is the torrente Graveglia.</p><br>
<h2>History</h2><br>
<p>The Département de lEntelle or Dipartimento dellEntella of Ligurian Republic took its name at the end of the 18th century from the river.</p><br>
<p>Birch Point, also known as Clark&#39;s Point, is a peninsula in Machiasport, Maine. It separates Sanborn Cove to the north from Larrabee Cove to the south on the west side of Machias Bay, a short way south of the mouth of the Machias River. The point is of prehistoric and historic importance to the local Passamaquoddy people, as it is the site of large panels of rock art which have been listed on the National Register of Historic Places.</p><br>
<h2>Geography</h2><br>
<p>Machias Bay is a major indentation of the coast of Down East Maine, the easternmost part of the continental United States. The bay is fed from the north by the Machias River, and empties into the Gulf of Maine. Holmes Point is the northernmost of a series of projects on the west side of the bay, projecting eastward from a larger north-south peninsula separating the bay from Little Kennebec Bay to the west. The peninsula is shaped roughly like a clenched fist with the thumb extended to the east. The point, like other coastal landforms in the area, is partly a product of isostatic rebound, because of which sea level has been rising since the end of the last Ice Age.</p><br>
<h2>History</h2><br>
<p>Birch Point is estimated to have been a site of human activity for more than 3,000 years. This is based on part on analysis of the extensive panels of rock art found on tidally-washed parts of the peninsula. These panels were first formally described by Garrick Mallery in 1888, and are part of a much larger assortment of rock art found in southeastern Maine. Mallery described 57 figures, pecked into the rock faces by repeated blows of harder stone implements. The oldest figures are believed to be those closest to the water (and now often submerged), while the upper portions of the ledges on which they appear are free of art, corresponding to the Natives loss of control of the area in the 18th century.</p><br>
<p>The rock art sites were listed on the National Register of Historic Places in 1997 for their archaeological significance. In 2006 the coastal properties containing the rock art panels were given to the Passamaquoddy tribe by the nonprofit Maine Coast Heritage Trust in exchange for conservation easements on tribal land nearby.</p><br>
<p>Brave Boat Harbor Farm is a historic gentleman&#39;s farm at 110 Raynes Neck Road on the coast of York, Maine, United States. Developed in the early 1950s, it consists of a designed horticultural landscape with five structures, the most significant being a Colonial Revival house built at that time. The property was listed on the National Register of Historic Places in 2007.</p><br>
<h2>Description and history</h2><br>
<p>Brave Boat Harbor Farm is located on the north side of Brave Boat Harbor, a tidal inlet on the coast of southern Maine, and on the southeast coast facing the Gulf of Maine. The developed portion of the farm consists of 29 acre of rolling fields, grass meadows, garden areas, and a pond; most of the remainder of the property (which is over 100 acre) consists of undeveloped woodland. At the center of developed area are a house, cottage, and cluster of farm buildings, in whose immediate area is a designed garden landscape. All except the cottage were built between 1951 and 1954 in a deliberate homage to colonial-era farmsteads, by Calvin and Marion Hosmer. The property had for generations been in the hands of the Raynes family, but only had a small summer cottage (built about 1939) on it when it was acquired by the Hosmers in 1949. The pond also existed at that time, but was significantly reworked by the Hosmers as part of their landscaping activities.</p><br>
<p>The main house is a two-story wood frame structure, clad in stone veneer, with a hip roof and a partial concrete foundation. The house is five bays wide, with sash windows in most of the bays, and a central entrance flanked by sidelight windows, and topped by a transom window, all set under a segmented-arch pediment. The first floor windows are set in openings with slightly arched lintels, and the second-floor windows are set near the eave in the Federal style. The facade details are repeated on the south (ocean-facing) facade, and there are single-story extensions to the sides. The stone for the veneer was all locally gathered.</p><br>
<p>The barn, built in 1954, is a 1-1/2 story wood frame structure with a hip roof and a cupola on top. Its main facade is divided into five bays, the central one having rectangular batten doors, and the flanking bays having Dutch doors set under segmented arches with keystone decoration. Other farm-related outbuildings include an equipment shed, and an animal barn for housing cows and chickens.</p><br>
<p>The bridge is significant locally as the only Pratt through truss bridge remaining in Kosciusko County, and is important regionally as one of the few surviving spans built by the Bellefontaine Bridge and Iron Company.</p><br>
<p>Just west of the bridge was a ford across the Tippecanoe River. The Yellowstone Trail passed on the south side of the river. A marker has been maintained at this location. A post with yellows bands and a "Y" in a black circle In 1884, a new bridge across the Tippecanoe River was requested to connect Warsaw, on the south with a to Atwood and Etna Green on the north. It crossed the property of Robert Chinworth. Capt. David Braden working for the Bellefontaine Bridge and Iron Company agreed to erect a 140 ft span over the Tippecanoe River, at a total cost of $2520.00. The bridge opened in August, 1897. In 1924, with the construction of USA 30 the Chinworth Bridge was bypassed as it could not handle modern vehicular traffic. The Indiana State Highway Commission, created Tippecanoe Rest Area adjacent to the Chinworth Bridge.</p><br>
<p>In 1975, the enhanced 4-lane USA 30 was located north of the Chinworth Bridge. The bridge was closed to all vehicular traffic at that time. In July the Kosciusko County Historical Society obtained the Tippecanoe Rest Park from the State Highway Department. The KCHS dedicated the bridge as a historic landmark on July 6, 1975.</p><br>
<h2>Description</h2><br>
<p>The Chinworth Bridge was built by the Bellefontaine Bridge and Iron Company of Bellefontaine, Ohio. It is a 140 ft Pratt through truss. The trusses has eight panels, each 17.5 ft long, set on abutments of cut stone. The southern abutment has been altered over the years.</p><br>
<p>The trusses have horizontal and parallel top and bottom chords, 24 ft apart with inclined posts at each end. Diagonals are designed for tension with greater stress expected toward the span&#39;s end. A single counterbrace in the third panel and a pair in the fourth, each of 0.75 in round rods with turnbuckles.</p><br>
<p>Bracing at the upper chord and at the lower chord adds strength. To protect against swaying, a round iron rod runs diagonally from one truss to the other.</p><br>
<p>I-floor beams carry the span&#39;s deck. Sets of stringers carry the 14 ft timber running surface. The timbers were covered in 1927 by a bituminous coating. A latticed guardrail runs the length of each side of the deck. The bridge allows a clearance of 19 ft.</p><br>
<h2>Significance</h2><br>
<p>Chinworth Bridge is an example of a Pratt through truss bridge. Patented in 1844 Caleb and Thomas Pratt, the truss has vertical elements acting in compression and diagonal components acting in tension. A pin-connected Pratt through truss is "representative of perhaps the most common type of early-20th century truss bridges."</p><br>
<h2>Bibliography</h2><br>
<p>Comp, T. Allan and Donald Jackson. "Bridge Truss Types: a guide to dating and identifying."</p><br>
<p>American Association for State and Local History Technical Leaflet 95, History News. Vol 32, No. 5, May, 1977.</p><br>
<p>Cooper, James L. Iron Monuments to Distant Posterity: Indiana&#39;s Metal Bridges. 1870-1950. Indianapolis: Technical Publishing Services, 1987.</p><br>
<p>Cooper, James L. "Orion and the Chinworth Bridge." 1996.</p><br>
<p>Jackson, Donald C. "Great American Bridges and Dams." A National Trust Guide, Great American Places Series, The Preservation Press.</p><br>
<p>Preservation Information. Preserving Historic Bridges. National Trust for Historic Preservation.</p><br>
<p>Chinworth Bridge PC110157.jpgThe only Pratt through truss bridge remaining in Kosciusko County. One of the few surviving spans built by the Bellefontaine Bridge and Iron Company.</p><br>
<p>Chinworth Bridge PC110158.jpgA surviving spans built by the Bellefontaine Bridge and Iron Company.</p><br>
<p>Chinworth Bridge PC110163.jpgA Pratt through truss bridge in Kosciusko County.</p><br>
<p>The Princeton Ice Company built a dam in 1884 on former farmland so as to allow for the production of ice for sale to residents and businesses in Princeton, New Jersey. This company was the primary supplier of ice to the town during the era of the frozen water trade before the advent of artificial refrigeration. In 1902 a second dam was added so as to increase ice production capacity. The company dissolved itself in 1929, after technological change rendered the ice trade obsolete. The nearly 77 acre site has gone undisturbed in the decades since, apart from the 1958 addition of a colonial revival home designed by noted local architect, Rolf Bauhan.</p><br>
<h2>Mountain Lakes Preserve</h2><br>
<p>In 1987 the property was purchased for open space by Princeton Township and has since been known as the Mountain Lakes Preserve. None of the original buildings of the ice company are extant apart from foundations and a chimney. The former farm fields have reverted to forest. The house on the property is now home to the nonprofit, Friends of Princeton Open Space, and is used for wedding receptions and other events, the proceeds from which support the organization. The preserve is at the heart of the broader 400-acre Mountain Lakes Open Space Area, an interconnected network of trails and parks that includes views of Tusculum, the country estate of John Witherspoon, and historic Coventry Farm. In 2013 the town of Princeton received a Historic Preservation Award from the State of New Jersey Historic Preservation Office for the rehabilitation of the two dams on the site. An anonymous gift of $3 million was received to fund the rehabilitation.</p><br>
<p>The Smiley Park Historic District is a residential neighborhood and historic district in southern Redlands, California. The neighborhood is centered on Smiley Park, which was named for benefactors Alfred and Albert Smiley and includes the A. K. Smiley Public Library. Development in the district began in 1887 as much of Southern California grew rapidly due to the expanding citrus industry. Through the turn of the century, new residents mainly built Victorian homes, either in the form of larger Queen Anne designs or as smaller cottages. The Classical Revival style became popular around 1900, and after 1908 most new homes had American Craftsman designs. Growth in the district stopped in 1913 after a freeze crippled Redlands&#39; orange industry; development in the city did not fully resume until after World War I, and later homes were mainly built outside the district.</p><br>
<p>The district was added to the National Register of Historic Places on December 29, 1994.</p><br>
<p>The Faha Massacre Site is located just behind the Pigua cemetery in the village of Merizo on the United States island of Guam. The site is demarcated by four concrete pillars, connected by metal cables, with several crosses placed inside that area. A metal plaque mounted on a concrete block commemorates the thirty native Chamorro men who were slaughtered here on July 16, 1944 by members of the Imperial Japanese Army  during the Japanese occupation of the island during World War II. The IJA routinely forced Guam&#39;s native population to work on its construction projects. The men who were killed here were rounded up for a work crew; why they were killed is unclear, as there were no survivors. The massacre took place one day after the Tinta Massacre , and about one week before the liberation of the island began.</p><br>
<p>The site was listed on the National Register of Historic Places in 1991.</p><br>
<p>The Belding-Gaines Cemetery is a historic cemetery in Garland County, Arkansas. It is set on the north side of United States Route 270, about 5.3 mi east of downtown Hot Springs. It is a small wooded lot, about 1 acre in size, with twenty marked graves from the 19th century, and reported unmarked graves. The marked graves are divided into three distinct family groups: the Bassett family group, the Belding and Gaines group, and the Simpson group. The latter group is believed to include a significant number of former slave burials. Burials at the cemetery include those of some of the area&#39;s earliest settlers, including Ludovicus Belding and William H. Gaines.</p><br>
<p>The cemetery was listed on the National Register of Historic Places in 1993.</p><br>
<p>The Bellaire Court Historic District encompasses a former tourist court cottage complex at 637 Park Avenue in Hot Springs, Arkansas. The complex was built in the 1930s, when the advent of vacation travel by automobile rose to prominence. The complex is roughly L-shaped, with a long leg of the L perpendicular to the road, and the short leg at the rear, facing Magnolia Street. It is a single story structure with Craftsman styling, built out of wood and finished in stone veneer and brick trim. At the front of the complex is a manager&#39;s house, with cottage-style units lined behind it, each with a space that was originally a garage, but has since been filled in as part of a conversion to full-time residential units.</p><br>
<p>The complex was listed on the National Register of Historic Places in 2004.</p><br>
<p>The Kings Highway Historic District covers the portions of USA Route 206 and New Jersey Route 27 in New Jersey that connect Lawrenceville with Kingston through Princeton. This historic roadway dates to colonial times and was a portion of the Kings Highway that was laid out by order of Charles II of England to connect Boston with Charleston. It is lined with many institutions and sites that have played an important role in the History of the United States, including Princeton University and the Princeton Theological Seminary.</p><br>
<p>Along the road can be found five National Historic Landmarks, the Lawrenceville School, Morven, Maclean House, Nassau Hall, and the Joseph Henry House. The highway also runs through eight historic districts, from west to east, Lawrence Township Historic District, Princeton Battlefield / Stony Brook Village Historic District, Princeton Historic District, Jugtown Historic District, Kingston Mill Historic District, Lake Carnegie Historic District, Delaware and Raritan Canal Historic District, and the Kingston Village Historic District. The governor&#39;s mansion of New Jersey, Drumthwacket, independently listed on the National Register of Historic Places, is found on the road in the western part of Princeton.</p><br>
<p>The Clinton D. Gilson Farm is an outstanding example of a vernacular constructed farmstead for the late 19th century. The farm consists of outbuildings, the English barn, brooder houses, and a machine shop. The farm is located 3.5 mi northeast of Hebron, Indiana. The Clinton D. Gilson Barn was built in 1892 and is on the National Register of Historic Places. It is the dominant structure on the Gilson Farm. A windmill was once located on the west end of the barn and an elevator on the east end.</p><br>
<h2>Exterior</h2><br>
<p>The barn is a gambrel-roofed frame building. The barn is 80 ft long by 40 ft and 44 ft high. The eaves are 27 ft above the ground. A cupola is centered on the roof. The exterior of the barn was originally red siding with white trim along the roof and down the corners. In the 1950s a white gypsum siding was placed over the original wood siding. The foundation is built of cut stone hauled from Joliet Prison in Joliet, Illinois. The gambrel roof is covered with cedar shake shingles. The cupola has shuttered windows all four directions with four gables. A metal trim tops each gable.</p><br>
<h2>Interior</h2><br>
<p>The interior of the barn contains 12" x&#39;12" pegged beams. The main floor is at ground level and divided east and west into two sections. The east area has used for milk cows and is whitewashed; the west area housed horses and young cattle. The upper level consists of several haymow areas and still contains a hook used in the transporting of hay. Gas pipe for the original gas lamps is still in place; several lamps are in storage. When the barn was used for housed cows and horses, the upper floor was used to store up to 100 LT of hay. It was loaded into the mow by a horse drawn elevator.</p><br>
<h2>Significance</h2><br>
<p>Yangan Masonic Hall is a heritage-listed masonic hall at 36 King Street, Yangan, Southern Downs Region, Queensland, Australia. It was built from 1898 to 1957. It is also known as Yangan Masonic Temple and was formerly the Yangan School of Arts . It was added to the Queensland Heritage Register on 21 October 1992.</p><br>
<h2>History</h2><br>
<p>The Yangan Masonic Hall was acquired by the Yangan Lodge as their meeting place in 1912. Erected c.1898 it was built as Yangans first School of Arts when the town was developing as one of the Darling Downs small but prosperous towns.</p><br>
<p>The Yangan and Swanfels area (then named Loganvale) was explored by Allan Cunningham in 1827. In 1840 the Leslie brothers established Canning Downs, one of the station outposts being Heifer Creek whose first hut and stockyard were established at what became Yangan. The town developed to serve the industries of the Swanfels Valley: timber getting, sandstone quarrying, dairying, and mixed farming. Although a settlement (including a school, church, and police station) existed prior to 1884, it was the opening of the first stage of the Warwick to Killarney railway line (including a station at Yangan) on 2 June of that year which provided the real impetus for further development. The Warwick to Killarney line was one of the earliest of the state&#39;s branch lines built to service short distance traffic generated by farmers rather than squatters.</p><br>
<p>By 1900 Yangan had become "one of the most thriving centres on the line. Here there are two cheese factories which have done an inestimable amount of good for the whole district. The township which is growing larger every year, has several stores, a couple of black-smith shops, a hall... and two boarding-houses. There was also a very natty little School of Arts and reading room."</p><br>
<p>The Yangan School of Arts was formed in 1897. By the following year a single storeyed timber building had been erected according to plans and specifications prepared by MP Henricksen on a small 19 perch block owned by the Warwick Hospital Committee. As early as 1899, plans were afoot to enlarge the building to twice its existing size. In 1901 this work was undertaken by which time the institution included a library room and smoke room. The work costing £49.13.6 (including additions and the removal of the existing building further back on the site) was undertaken by contractor WP McDonald according to plans prepared by School of Arts caretaker C Berthelsen.</p><br>
<p>By 1909, further expansion including a billiard room was planned. The existing site was not apparently considered suitable for this and a new site was sought. For a time removal of the building to a new site was contemplated, however in June 1912 tenders were called for the erection of a new School of Arts building (without billiard room) on a site on the southern side of King Street purchased from the Railways Department. The new School of Arts building (Yangan School of Arts) was opened on 19 October 1912.</p><br>
<p>In the same year the Yangan Masonic Lodge acquired the first School of Arts building for some £40 (from the School of Arts) and the site for some £25 (from the Warwick Hospital Committee). An overdraft of £130 was arranged to meet the cost of purchase and improvements undertaken immediately with several of the Brethren giving freely of their labour for some weeks. The temple which became known as the Temple with the Long Stairs was officially dedicated on 11 September 1912.</p><br>
<p>The Yangan Lodge was formed in 1903 as no. 3082 under the English Constitution. Prior to its formation locals were members of other lodges such as St George&#39;s, Cunningham, and Killarney; early meetings were held at the Yangan Oddfellows Hall (now the Yangan Hall).</p><br>
<p>The first Queensland Masonic Lodge, known as the North Australian Lodge was established in Brisbane in 1859. As lodges were established in other Queensland towns, the type of Masonic Temple erected varied considerably; however the plan of the Lodge Room remains constant reflecting the highly symbolic and ritualised practices of the Masons.</p><br>
<p>In 1920 the Yangan Lodge became no. 107 of the Queensland Grand Lodge which was temporarily formed to enable lodges like Yangan which had worked under the English, Scottish, and Irish Constitutions to unite with the Grand Lodge of Queensland to form the United Grand Lodge of Queensland. With the union of the two Grand Lodges on 29 April 1921 Yangan became no. 148 on the roll of the United Grand Lodge of Queensland.</p><br>
<p>After the first World War, the Lodge began to expand again; one of the events of the district was the annual Yangan Masonic Ball. A number of improvements were made to the Lodge Room at this time including the purchase of the altar, organ, tracing boards, and various other furnishings. Battery powered electric light was installed c.1930 to replace kerosene lanterns and candles.</p><br>
<p>During World War II the activities of the lodge were severely curtailed: blackout conditions were enforced, installation banquets and formal dress for meetings were abandoned, and nearly all Offices were held by Past Masters.</p><br>
<p>Post war alterations included modifications to enable the removal of part of the wall between the Lodge Room and ante-room (1950s); and during the 1970s work included the remodelling of the Festive Board Room, alterations to provide a second external stairway, and the addition of a door from the Lodge Room directly to the outside in the event of fire. In 1994 repairs (including the reconstruction of the front stair and repainting) were undertaken.</p><br>
<p>Perhaps the most significant change to the site involved the building in 1957 of a concrete retaining wall, stairs, and pillars with lights at the street entry adding even more weight to Yangan&#39;s unofficial title, the Temple with the Long Stairs. This effect was even further accentuated by council works undertaken about this time to King Street which saw the street become in effect split into three levels, with the Yangan Masonic Temple in a commanding position on the highest level of all.</p><br>
<p>The post World War II period saw a decline in Yangan&#39;s fortunes epitomised by the closure of the Warwick to Killarney railway on 1 May 1964. By the late 1970s the Yangan Masonic Lodge was struggling to exist with rising costs, few candidates, and low attendances. Within a decade however it had overcome many of those difficulties to become once again a thriving lodge.</p><br>
<h2>Description</h2><br>
<p>The village of Yangan lies in the Swanfels Valley some 18 km to the east of Warwick, on the banks of Swan Creek. The Masonic Hall is a two-storeyed timber building on the northern side of King Street, the main street of Yangan. It sits on the high side of this street, on the south-western bank of Carey&#39;s Hill giving it commanding views over the valley. The site falls from the rear towards the street boundary where the entry to the site is formalised by a concrete retaining wall with concrete stairs, pillars with lights and fence posts with chain- wire panels between. Vehicular access to the site is from a secondary road running along the high side of King Street. To the rear of the site is a timber and corrugated iron outdoor toilet.</p><br>
<p>The building has two levels, including a long entry stair, on the low or south side of the site, with the ground then rising to just below the floor of the upper level at the rear. The southern or street elevation has a symmetrical verandah with a central gabled entry porch, and bull-nosed verandah roofs to either side. The name of the building is painted within the porch gable, and below is painted details of the foundation and consecration. Over the remainder of the building is a corrugated iron gable-ended roof with two roof vents. Above the entry is a cast iron lace archway, and to either side are lace spandrels between paired chamfered timber posts. To the corners are cast iron lace brackets, although some are missing and one has been replaced by a bracket from a window hood. Approach to the building is by the long timber stair. The verandah and stair have cast iron lace balustrade panels, with a timber handrail.</p><br>
<p>Externally, the building is clad in chamferboards. The windows are timber sash, or aluminium-framed glass louvres. All of the window hoods and the roof to the side entry are of metal deck. The entry doors are panelled French doors. There are two other external doors to the western side of the upper level, and one to the street elevation for the lower level.</p><br>
<p>Internally, the upper level is divided into the Lodge Room and the Ante-Room. The Ante-Room has a small storage area to one corner. Between the Ante-Room and the Lodge Room, the timber wall has been modified to include removable boarded panels which allows the seating to extend into the Ante-Room when required. The interior is painted light blue with brown trims, and to the Lodge Room a brown dado with stencilled frieze.</p><br>
<p>The interior walls are lined with wide beaded vertical boarding. The ceilings are of tongue and groove board, with a fretted ceiling rose to the Ante-Room. The ceiling to the Lodge Room is raked to the line of the collar-tie with moulded timber cornices at both junctions. The floor is also timber boards, with raised platforms to the perimeter for the seating. The furniture in the Lodge Room includes timber "thrones" denoting rank of office with desks, timber pews, lectern, bible pedestal, black and white linoleum floor centrepiece, triangular timber encased "G" suspended from the ceiling, and wall mounted tracing boards. Also mounted on the walls are various ceremonial items including sword-bayonets and gavels. The panelled entry door to the Lodge Room has brass knockers to both sides and a sliding eye- hole.</p><br>
<p>On the lower level is a small kitchen and dining area known as the Festive Board Room. Its walls are lined with fibrous cement sheet. In its centre is a chamfered timber post.</p><br>
<h2>Heritage listing</h2><br>
<p>Yangan Masonic Hall was listed on the Queensland Heritage Register on 21 October 1992 having satisfied the following criteria.</p><br>
<p>The place is important in demonstrating the evolution or pattern of Queensland&#39;s history.</p><br>
<p>Situated on the high northern side of Yangan&#39;s main street, the Yangan Masonic Hall with its long processional approach (giving rise to its title as the Temple with the Long Stairs) is a distinctive landmark and symbol of the former prosperity of the town in which only remnants of the main streetscape survive.</p><br>
<p>Erected as the first reading room and library of the Yangan School of Arts and later acquired and altered by the Yangan Masonic Lodge, the Hall has a commanding view of the district which it has served for nearly a century.</p><br>
<p>The place is important in demonstrating the principal characteristics of a particular class of cultural places.</p><br>
<p>The Masonic Hall is in essence a simple timber vernacular public building, but its decorative frontal emphasis of the gabled entry porch, verandah clad in filigree screen, long timber stair, and ceremonial approach is (in common with the present School of Arts building (Yangan School of Arts)) a deliberate gesture to demonstrate the civic prominence of the building, and to formally address the town&#39;s main street.</p><br>
<p>The place is important because of its aesthetic significance.</p><br>
<p>Situated on the high northern side of Yangan&#39;s main street, the Yangan Masonic Hall with its long processional approach (giving rise to its title as the Temple with the Long Stairs) is a distinctive landmark and symbol of the former prosperity of the town in which only remnants of the main streetscape survive.</p><br>
<p>The place has a strong or special association with a particular community or cultural group for social, cultural or spiritual reasons.</p><br>
<p>As the meeting place of the Yangan Masonic Lodge for over eighty years the Hall (and in particular the Lodge Room and its furnishings) is an integral part of the Masonic ceremonial tradition as practised by several generations of local Masons.</p><br>
<p>The Highland Historic District is a historic district encompassing some of the oldest parts of Highland, California. The district includes the citys original townsite, which was platted in 1891, and parts of a 1904 addition; significant development in the district continued through 1938. Development in Highland was driven by the citrus industry, Southern Californias dominant industry at the time; as Highland was located at the junction of the busy Palm Avenue and the newly completed Santa Fe Railroad, it became a natural industrial center. The district includes the numerous packing houses built along the railroad as well as the citys historic commercial core on Palm Avenue. The houses built in the district also reflect the citrus industrys influence on the city. Wealthy citrus growers lived in the large houses on West Main Street, while citrus workers lived in smaller cottages spread throughout the district.</p><br>
<p>The district was added to the National Register of Historic Places on April 5, 2001.</p><br>
<p>Yangan School of Arts is a heritage-listed school of arts at King Street, Yangan, Southern Downs Region, Queensland, Australia. It was built in 1912. It was added to the Queensland Heritage Register on 21 October 1992.</p><br>
<h2>History</h2><br>
<p>Formed in 1897, the Yangan School of Arts erected their second building in 1912 on land acquired from the Railways Department on the southern side of King Street, Yangan. At that time Yangan was one of a number of small but prosperous Darling Downs towns.</p><br>
<p>The Yangan and Swanfels area (then named Loganvale) was explored by Allan Cunningham in 1827. In 1840 the Leslie brothers established Canning Downs, one of the station outposts being Heifer Creek whose first hut and stockyard were established at what became Yangan. The town developed to serve the surrounding industries of the Swanfels Valley: timber getting, sandstone quarrying, dairying, and mixed farming. Although a settlement (including a school, church, and police station) existed prior to 1884, it was the opening of the first stage of the Warwick to Killarney railway (including a station at Yangan) on 2 June of that year which provided the real impetus for further development. The Warwick to Killarney line was one of the earliest of the state&#39;s branch lines built to service short distance traffic generated by farmers rather than squatters.</p><br>
<p>By 1900 Yangan had become "one of the most thriving centres on the Warwick-to-Killarney line. Here there are two cheese factories which have done an inestimable amount of good for the whole district. The township which is growing larger every year, has several stores, a couple of black-smith shops, a hall... and two boarding-houses. There was also a very natty little School of Arts and reading room."</p><br>
<p>The first School of Arts in Queensland was established in Brisbane in 1849. The Schools of Arts grew out of the Mechanics Institutes first established in Great Britain in the early 19th century as part of the popular education movement to train working men for Britain&#39;s industrial expansion. In Australia, Schools of Arts were often the only cultural and educational facility in newly established towns providing meeting rooms, halls, libraries, and technical education. Later as government assumed some of these responsibilities, the focus of the Schools of Arts became more recreational.</p><br>
<p>In Yangan, the School of Arts provided to subscribers a lending library and reading room (stocked with current journals and newspapers); its rooms were regularly rented to other local organisations. The School also provided a social focus for the district with (fundraising) entertainments regularly organised by the committee.</p><br>
<p>The first Yangan School of Arts building (erected ) was located on the northern (high) side of King Street. In 1912 it was acquired by the local Masonic Lodge becoming the Yangan Masonic Hall. As early as 1899, plans were afoot to enlarge the single storeyed building to twice its existing size. In 1901 this work was undertaken by which time the School of Arts included a library room and smoke room. Further expansion including a billiard room was soon planned. In 1909 the committee approached the Railway Department with regard to providing a new site for the School of Arts. At this time it was apparently envisaged that the existing building would be removed.</p><br>
<p>However, in June 1912, tenders were called for a new School of Arts building. The site chosen formed part of some 8 acres of Yangan land acquired by the Commissioner for Railways in 1884 to enable the building of the railway line from Warwick to Killarney. Resub 1 of sub 1 of portion 205 containing 18.5 perches (now lot 1) was acquired by Trustees, Redmond Brewer, Alexander Kemp jnr, and Thomas Kirkland on behalf of the School of Arts in September 1911. The adjoining resub 2 (now lot 2) was acquired by the School of Arts in December 1914.</p><br>
<p>The plans prepared for the new School of Arts by W Kemp to the specification of the School of Arts Committee provided for a three roomed (reading room, library, and committee room) single skinned timber building with latticed verandah set flush with the foot-path. The tender of Sam Fagg for the sum of £264 was accepted.</p><br>
<p>Hitching posts were erected outside the building and "SCHOOL OF ARTS" was painted on the front of the building which was opened on 19 October 1912 by the Minister for Railways on the occasion of a visit by a Parliamentary party to the district. A short article in the Warwick Argus described the School of Arts as "a well-found little institution of high public utility... on Saturday night 80 books issued from the library."</p><br>
<p>In April 1919, a World War I roll of honour was unveiled and a further roll of honour to World War II in 1949. During the post war period many such institutions were in decline. At the Annual General Meeting of the Yangan School of Arts in 1946 it was noted that support by the public was lacking but still, although the war had hampered the institution and owing to radio and pictures having their effect, still able to carry on. In 1947, a general meeting was held to consider the future of the institution.</p><br>
<p>Nearly fifty years later, despite the decline of the towns fortunes epitomised by the closure of the Warwick to Killarney railway on 1 May 1964, the Yangan School of Arts, unlike many of its sister institutions, lives on. Although with the recent introduction of a council mobile library service, the future of the School of Arts library is uncertain, the Yangan School of Arts remains a valuable local institution overseen by its Secretary of 43 years, Mr Gus Mauch with its facilities used by more than a dozen local groups including the local play group, Ladies Guild, Queensland Country Womens Association, Queensland Dairymen&#39;s Organisation, National Party, Returned and Services League, Graingrowers, Bush Firebrigade, and Sports Association.</p><br>
<h2>Description</h2><br>
<p>The village of Yangan lies in the Swanfels Valley some 18 km to the east of Warwick, on the banks of Swan Creek. The School of Arts is a single-storeyed timber building situated on the southern side of King Street, the main street of Yangan. It sits on a flat, grassy site facing the few remaining shops on the northern side of the street. There is a gravel driveway leading from a secondary road which runs along the low side of King Street. Also on the site is a timber and corrugated iron toilet block to the east, and a tennis shed clad in fibrous cement to the south, neither of which are of cultural heritage significance. To the west and south of the site are clay tennis courts, and to the east is the Police Station and lock-up. Further to the south is the corrugated iron structure of the former Grain Shed, built about 1922.</p><br>
<p>The building is a simple, timber-framed structure on low timber stumps, with a hipped corrugated iron roof. The street or northern facade has a symmetrical verandah with a central gabled entry porch, and bull-nosed verandah roofs to either side. A timber parapet divides this from the roof over the main body of the building. There is a frieze of flat pressed metal panels to the entry porch, and to the ends of the bull nosed roofs. The porch ceiling is of tongue and groove boards, the remainder being unlined. The verandah has a dowelled and cross-braced timber balustrade with diagonal lattice panels above. There is a pair of dowelled gates to the entry. The original gates were taller and remnants of these still exist stored under the building. The verandah also has chamfered timber posts with timber capitals, and a cast iron lace frieze with brackets. The lacework is continued as spandrels between the paired timber posts, and as an archway over the entry. Leading onto the verandah are three pairs of French doors with tilting fanlights. The central entry doors are panelled, whilst the doors to either side are glazed. The cladding to this northern facade is chamferboard, but on the other three faces and the parapet this has been replaced by fibrous cement planks.</p><br>
<p>The rectangular plan is divided into the Reading Room, the Library and the Kitchen (formerly the committee room). The Reading Room is accessed from the verandah by two of the French doors, the Library from the third, and the Kitchen from a later ledged and partly braced door on the eastern side. The three windows to the Reading Room are aluminium sliders, and the windows to the Library and Kitchen are timber sashes. All of the windows have ripple iron hoods with cast iron lace brackets. The two internal doors are panelled, also with tilting fanlights.</p><br>
<p>The internal wall lining to the Reading Room and Library is vertical tongue and groove boarding, apart from the eastern wall of the Library where it has been removed. The walls to the Reading Room have a timber picture rail. The Kitchen walls are lined with fibrous cement sheet. All of the ceilings are also tongue and groove boards, with two pressed zinc ceiling roses to the Reading Room, and one each to the Library and Kitchen.</p><br>
<p>Mounted on the walls of the Reading Room are two war memorial honour boards. A matching pair made from silky oak and marble, the one on the eastern wall being for World War I, and the one on the western wall being for World War II and Vietnam. Also in the Reading Room are two timber reading tables reputedly dating from the opening of the building. The Library still houses a substantial collection of books.</p><br>
<h2>Heritage listing</h2><br>
<p>Yangan School of Arts was listed on the Queensland Heritage Register on 21 October 1992 having satisfied the following criteria.</p><br>
<p>The place is important in demonstrating the evolution or pattern of Queensland&#39;s history.</p><br>
<p>In Queensland the Schools of Arts were the forerunners of the government operated public libraries, technical colleges, and cultural centres.</p><br>
<p>Formed in the late nineteenth century when the town was developing the infrastructure to support a thriving district, the Yangan School of Arts and its (second) building erected in Yangan&#39;s main street in 1912 are important reminders of those more prosperous times; the change reflected in the much reduced streetscape of King Street of which the School of Arts building and the Yangan Masonic Hall)are an important part.</p><br>
<p>The place demonstrates rare, uncommon or endangered aspects of Queensland&#39;s cultural heritage.</p><br>
<p>Unlike many of its sister institutions in the state, both the building (which houses the district&#39;s war memorials) and the institution survive.</p><br>
<p>The place is important in demonstrating the principal characteristics of a particular class of cultural places.</p><br>
<p>Somewhat atypical for an institution of this size, is the centrality of the Reading Room and Library (whose book collection survives) to the institution&#39;s functions.</p><br>
<p>The place is important because of its aesthetic significance.</p><br>
<p>The School of Arts is in essence a simple timber vernacular public building, but its decorative frontal emphasis of the gabled entry porch and verandah clad in filigree screen is a deliberate gesture to demonstrate the civic prominence of the building, and to formally address the town&#39;s main street.</p><br>
<p>The place has a strong or special association with a particular community or cultural group for social, cultural or spiritual reasons.</p><br>
<p>The Yangan School of Arts has for nearly a century fulfilled an important cultural, educational, and social role for the town and its district.</p><br>
<p>Allora Cemetery is a heritage-listed cemetery on Allora-Clifton Road, Allora, Southern Downs Region, Queensland, Australia. It was established in 1864. It was added to the Queensland Heritage Register on 27 April 2001.</p><br>
<h2>History</h2><br>
<p>Allora Cemetery on the Allora-Clifton Road is north west of Allora. While the cemetery was established in 1864, the oldest headstone dates from 1867. It has always been organised with denominational sections and includes monuments and memorials pertaining to those who lived in Allora and the surrounding district, including the William Mitchner Shelter-shed.</p><br>
<p>Allan Cunningham&#39;s exploration of the southern Darling Downs in 1827 first revealed the potential of the Darling Downs for pastoral and agricultural usage. In the 1840s pastoralists moved into the area and shepherds on Goomburra Run built huts at the base of Allora Mountain where it was easiest to cross the Dalrymple Creek. It became a popular camping place for teamsters on the Warwick-Drayton Road and was the beginning of Allora Township. The first inn was built in 1857 and the town was surveyed in 1859 with the first town land sales on 5 March 1860. During the 1860s as Allora became a service centre to the surrounding black soil farms the town acquired a police station, post office, national school, cemetery and courthouse.</p><br>
<p>In 1869 Allora was granted municipal status (Borough of Allora), but the railhead bypassed the town being established instead at Hendon. During the 1870s a flour mill, school of arts, saddlery and sawmill were opened. Allora continued to develop as the administration and service centre for the township and local wheat and dairy farmers.</p><br>
<p>The first burial in Allora Cemetery was that of John Rhinehart in 1864. Unfortunately the timber cross marking has grave has long since disappeared. Dr Sadjucis, a German, was the Allora doctor in the 1860s. He had a heart attack while on horseback at Spring Creek and was buried in Allora cemetery. However, the oldest extant headstone is that of Clifton Station manager Charles Henry Bullock, who was buried in the Church of England section in 1867.</p><br>
<p>An area of 16 acres 1 rood 15 perches was surveyed for a Cemetery Reserve at Allora in October 1879, but it was not gazetted until 1893. It seems that the Allora and Clifton councils managed the cemetery. The 1865 Cemeteries Act provided for the regulation of cemeteries throughout Queensland and required Trustees to make by-laws in accordance with the Act. However, it was not until July 1893 that public meetings were called to discuss electing of Cemetery Trustees so as to bring the local cemetery under this Act. The initial Trustees where Thomas Kennedy, James Dougall, William Deacon, James Dean, Patrick Kelley, Robert Cooke and Joseph Nemeth. The Allora Cemetery Reserve with seven Trustees was gazetted on 23 September 1893.</p><br>
<p>In line with government policy, the Allora Cemetery Trustees requested in February 1915 that the cemetery be placed under the control and management of the Allora Shire Council. This occurred on 13 March 1915. Since the amalgamation of local government areas in 1994 the Warwick Shire Council manages the cemetery and following further amalgamations in 2008, the Southern Downs Regional Council manages the cemetery.</p><br>
<p>The most prominent memorial, a convenience for the first stage of a burial ceremony and a retreat from the weather, was erected during 1925-26. It is the rectangular brick William Mitchner Shelter-shed located near the front gate and beside the central pathway. German born William Mitchner of Allora died in Toowoomba on 1 June 1918. Under his will £800 was to be used for the erection of a shelter-shed that included a sarcophagus, bust of himself and belfry. The bell was to be tolled whenever a funeral was approaching. His will directed that this shelter-shed be similar to but smaller and less expensive than the brick shelter-shed to be constructed at the Warwick General Cemetery. Also the amount of £150 was to be invested by the Allora General Cemetery trustees to provide income for the shelter-shed&#39;s maintenance for 50 years.</p><br>
<p>William Mitchner, born on 2 August 1841 in Germany, arrived in Allora about 1872 where he gained employment as a fireman or engineer in fellow German Francis Kates flourmill. Later he was a storekeeper in the shop that was replaced by the Commercial Hotel. He acquired interests in Allora, Warwick and Toowoomba and his death certificate gave his occupation as an investor. His inventory for probate revealed an estate of over $30,000. Mitchner left bequests to both the Warwick and Toowoomba hospitals, money for the Anglican and Catholic churches in both Warwick and Allora and money for the erection of an Anglican church in Hendon. For various reasons no Anglican Church was erected at Hendon and in the 1990s the invested money totaling over $50,000 was given to Alloras St Davids Anglican Church to assist with its maintenance.</p><br>
<p>Allora Shire Council called a public meeting for 28 February 1920 to discuss accepting the Mitchner cemetery bequest, as the Council felt it was not appropriate; probably because of Australian involvement in World War I. At the meeting some felt that they should refuse the bequest; however, it was suggested a shelter-shed would be a useful convenience. The meeting agreed to ask the Mitchner Trustees to pay for calling tenders, preparing plans and specifications and then the calling another public meeting.</p><br>
<p>Mitchner also left money to his family and hometown in Germany. As Australia was at war with Germany in 1918 legal problems arose from this bequest. The distribution of his estate went to the Full Court in Brisbane in 1921 and on appeal to the High Court of Australia in 1922. The Full Court ruled that the bequest to the Warwick Cemetery Trustees was valid but with the Allora Cemetery wanting to modify the design, as the amount was insufficient, the court felt this needed further examination. Perhaps these legal issues and cost of erecting the memorial explain why the Mitchner Shelter-shed was not put out to tender until 1925.</p><br>
<p>On 3 October 1925 the Allora Shire Council Cemetery Trust called tenders for a brick and concrete shelter-shed for the Allora Cemetery, to comply with the William Mitchner bequest. Plans and specifications were available from the shire office and tenders closed 17 October 1925. By May 1926 the Cemetery Committee had agreed to a tender for the bell in connection with the Mitchner bequest and the Warwick Cemetery Trustees had agreed to share the cost of a clay model for the bust. However, it is thought that Charles Astley created the Allora Mitchner bust and Petries Stonemasons were involved with the Warwick sculpture. The bell no longer tolls.</p><br>
<p>While it is usual for the family of the deceased to pay for the memorial this is not always the case. Alexander Cameron (1840-1882) was the first Allora Municipal Council clerk from 1860 to his death and in appreciation his fellow townsmen erected a small obelisk over his grave. His family plot also includes a small tablet in memory of his wife who died in 1944. Rev James Boyd Morrow (1856-1893) was the Allora Presbyterian Minister from 1888 to shortly before his death in Brisbane. A cortege of 50 buggies and 200 horsemen met the train at Hendon to escort the coffin back to Allora and his parishioners later erected an 18-foot high obelisk on a massive pedestal.</p><br>
<p>Irish born Samuel Gordon (1822-1902) became a Goomburra Station shepherd in 1858 and for a few years lived in a hut where Allora now stands. Gordon purchased the Drayton and Raff Streets corner in the first Allora town land sale. In 1864 he built Alloras second hotel, the Princess of Wales. Gordons tombstone includes names of children, several of whom died before they were six years of age. Australian Joint Stock Bank manager Travers Robert Goff was only 43 when he died in 1907; his eldest daughter Helen Lyndon, writing under the pseudonym Pamela Lyndon Travers, created the fictional character Mary Poppins.</p><br>
<p>Allora Cemetery includes memorials for townsmen and the people of the surrounding district including pastoralist George John Edwin Clark (1834-1907). He and his brother Charles purchased Old Talgai Station in 1868 and it became well known for high-grade merino wool. In 1876 George helped establish the Warwick Examiner and Times and was the Warwick member of the Queensland Legislative Assembly 1867-8. Brought up an Anglican he became a priest of the Catholic Apostolic (Irvingite) Church with a private chapel at Talgai. His son George Carr Clark (1864-1942) remained at Talgai until 1910 and is also buried in this rural cemetery. An early pioneer was William Naish (1838-1918) who worked as a shearer and fencer on Talgai Station where he found the Talgai Skull in 1886.</p><br>
<p>Edward Anderson (1822-1908) was one of the first Allora aldermen and mayor in 1870 and he was also responsible for many of the early buildings. Irish born Henry Ludgate (1840-1929) emigrated and joined the Queensland Police in 1865 and was transferred to Allora in 1874. Although he had several transfers his family stayed in Allora and after his retirement he served as an alderman from 1900 to 1913.</p><br>
<p>Many of the early pioneers still have descendants in the district. James Gwynne (1815-1875) and his wife Rhoda (1828-1912) arrived in Allora in 1862. Mrs Gwynne opened the first school and together they opened the first Allora Post Office. Publican John Holmes (1837-1901) was established in Allora by 1862 and was licensee of the Dalrymple, Crown and Royal Hotel at various times and some of his family still have business interests in Allora. William Deacon (1839-1927) and his wife Anne arrived in Allora in 1867 where he became the first Allora State School teacher. Mrs Deacon was active in Methodist Church affairs and wrote under the pen name of Patience Brown while William is better remembered as a successful businessman who served 39 years on the local Council. Bookkeeper George Shooter (1861-1942) and his wife Leila (1869-1955) worked on various stations before moving to the district as share farmers. Descendants still farm on part of what was Talgai West.</p><br>
<p>Mortality rates for children used to be very high, and like all cemeteries there are graves for the very young. Many are small plots and often have small tombstones like that of 9 month old Mary Ann Holmes who died 9 February 1867 and 15 month old Mabel Hancock who died 30 November 1887.</p><br>
<p>Some graves do not have headstones including those of Queen Charlotte and Kitty Kitty. It is believed that these were the last local Aboriginals and they were buried in the southeastern corner of the cemetery.</p><br>
<p>The cemetery contains two Commonwealth war graves, of a Captain and a Private of the Australian Army who died serving in World War II.</p><br>
<p>Allora Cemetery includes a columbarium and lawn cemetery. Mark Brelsford was buried in the latter in 1996. Brelsford, a plumber by trade, collected historical information and using pen and ink sketched many of the districts heritage places and he was responsible for two books Land of the Leslies and Sandstone and cedar.</p><br>
<h2>Description</h2><br>
<p>Farms surround Allora Cemetery which is just over 3 kilometres northwest of Allora. Pepperinas along the Allora-Clayton Road cyclone wire fence define the western boundary, as does a wet weather creek on the southern side.</p><br>
<p>This cemetery has the usual grid of roads and paths with signposts delineating each denominational section of the monumental burial ground. A central driveway is lined by evergreen cypress like trees and at the northern end a road separates the lawn cemetery from the Methodist and Catholic monumental sections. There is a brick columbarium near this entrance.</p><br>
<p>Facing the road and beside the central entrance is the largest memorial, the Mitchner Shelter-shed. A pedestrian gate and concrete path leads to this structure which is 5 metres square with 215 mm solid brick walls of Garden Flemish bond that are approximately 3 metres high. The corrugated iron roof rises to a square timber steeple capped by a domed mushroom and finial.</p><br>
<p>The main entrance, which faces west towards the road, has a central arched entrance separating a pair of arched glazed openings. The rear eastern wall also has a gothic arched opening. The northern and southern walls each have an off-centre rectangular double hung sash window. The exterior walls with pairs of corner buttresses are not painted except for the buttresses oblique planes.</p><br>
<p>The internal rear wall has a marble plaque stating that William Mitchner gave the shelter as a gift for the benefit of the public and that he was born 2 August 1841 and died 1 June 1918. The interior brickwork is painted. The concrete floor has been treated with terrazzo and the ceiling is fibro. The structure is hollow except for the blockwork walled toilet.</p><br>
<p>To the north and slightly further down the central roadway is a gravediggers shelter. It has a corrugated iron hip roof supported by timber posts and includes a small lockable shed.</p><br>
<p>Inscriptions on memorials reveal that many of the early settlers came from England, Scotland, Ireland and a few from Wales and Germany and other European countries. There are monuments and family grave plots pertaining to pioneers, immigrants and locally born, ministers, bank managers, teachers, publicans, builders, farmers and benefactors to the community.</p><br>
<p>Gravestones vary from simple upright tablets to more elaborate late Victorian types. There are obelisks, Celtic and Calvary crosses, urn-topped columns and horizontal slabs with tablets. There are single and family plots; while a few have cast-iron picket fencing, many have concrete kerbing. Some are the work of Warwick monumental masons like James McCulloch and others were transported from afar.</p><br>
<p>The cemetery grounds are well maintained although some monuments show deterioration and others have collapsed.</p><br>
<h2>Heritage listing</h2><br>
<p>Allora Cemetery was listed on the Queensland Heritage Register on 27 April 2001 having satisfied the following criteria.</p><br>
<p>The place is important in demonstrating the evolution or pattern of Queensland&#39;s history.</p><br>
<p>Allora Cemetery is important in demonstrating the evolution of Queensland history in that it provides evidence of the occupations, social status and demography of the Warwick district, particularly displaying the diversity since the 1860s of the town&#39;s cultural, religious and ethnic groups.</p><br>
<p>The place is important in demonstrating the principal characteristics of a particular class of cultural places.</p><br>
<p>Allora Cemetery survives as a good example of its type, with a variety of headstones and monuments illustrating changing public attitudes to commemoration of the dead. While monuments and headstones vary in size, quality and condition they reflect the social, religious and architectural history of Allora from the 1860s to the 21st century.</p><br>
<p>The place is important because of its aesthetic significance.</p><br>
<p>The form and design of the shelter-shed exhibits aesthetic characteristics valued by the community as do the diversity of headstones, grid layout with a central avenue of evergreen trees and layout of paths.</p><br>
<p>The place has a strong or special association with a particular community or cultural group for social, cultural or spiritual reasons.</p><br>
<p>The masonry Mitchner Shelter-shed was a given to the community by William Mitchner for the benefit of the community as a roofed rest area for use during interments, when visiting, refuge from the weather and as a meeting place. It has a special association with the Allora community for social, cultural and spiritual reasons.</p><br>
<p>The place has a special association with the life or work of a particular person, group or organisation of importance in Queensland&#39;s history.</p><br>
<p>The place has a special association with several notable individuals and families who have contributed to the historical evolution of Allora and district and to the mythology associated with pastoral and pioneering life.</p><br>
