Presented to Joyce Hucker for objects entered in the Australian Sheep Breeders' Association 1972 Show. Hucker began working with unspun wool and making dyes from the natural sources from her garden and the farm trees around her. From knitting and croceting articles, she progressed to felting and a 'wrapping' technique, always using unspun wool. She was a successful exhibitor at many craft shows and was always willing to pass on her experience and knowledge to others, often travelling widely to help groups requiring a demonstration.Presented to Joyce Hucker for items entered in the Australian Sheep Breeders' Association 1975 Show.Australian Sheep Breeders' Assn, 1975 Showagricultural shows, hucker, mrs joyce

Presented to Joyce Hucker for objects entered in the Australian Sheep Breeders' Association 1972 Show. Hucker began working with unspun wool and making dyes from the natural sources from her garden and the farm trees around her. From knitting and croceting articles, she progressed to felting and a 'wrapping' technique, always using unspun wool. She was a successful exhibitor at many craft shows and was always willing to pass on her experience and knowledge to others, often travelling widely to help groups requiring a demonstration.Presented to Joyce Hucker for items entered in the Australian Sheep Breeders' Association 1975 Show.Australian Sheep Breeders' Assn, 1975 Showagricultural shows, hucker, mrs joyce

This dress was made for the Melbourne Show in 1993 and won 3rd prize. It was designed by Jean Inglis who was inspired by the Blue Triangle Butterfly (Scientific name: Graphium sarpedon choredon). The Warp was 2/24 commercially brought black wool with a “tie down” thread of black polyester and Weft of the same 2/24 wool 2 ply. Jean utilised a twill technique devised by Theo Morgan in creating the dress. The dress was handwoven by Jean Inglis with the help of Ruth Rondell with some of the pattern and final sewing. Black dress stretching from below the knees, reaching up to the neckline and down to the hands in the sleeve. The dress has three butterflies attached to the front approximately 50mm in diameter going from right knee to left hip in a nonvisible diagonal line. Lower half of dress has ten thin blue & green lines of varying lengths, reaching a max height of the hip. The neck of dress has four frills of blue and green colour. The longest two frills are in the centre pointing diagonally outwards towards the hands. The second layer of frills is shorter and further around the neckline towards the shoulders. The dress is completed with a cape of blue and green colour with a thick black seam separating each segment of colour. The cape sits on the shoulders and droops to a height of the hips. At the rear, the cape reaches the height of the rump. The cape has two draw strings for tying to the shoulders. wool, butterflies, melbourne show, butterfly

The elaborate fancy cotton braid known as Cornelli work on this jacket is a technique of embroidery or applique of cotton thread and braid that became popular in the nineteenth century. It was used on French doll's clothing where elaborate the Cornelli wear was stitched on for decoration. The examples used in this family also included that on men's railway uniforms and bandsmen's uniforms. This jacket belonged to Eleanor Burke (nee McKew) Mrs Mary Taffe's mother and came to Hymettus at Ballarat when she arrived here to live from Donald with husband Michael in 1945.This jacket displays elaborate fancy cotton stitching and braid known as Cornelli work, a technique of embroidery or applique of cotton thread and braid that became popular in the nineteenth century. This lady's jacket is a good example of a style popular at the end of the nineteenth, early twentieth century.

This photograph was taken on Friday the 27th of August 2004 as part of an event called 'Direct Seeding Expo'. This event was one of many held by the Wooragee Landcare Group in the early 2000s which aimed to educate the local community on certain agricultural and biodiversity conservative techniques. This particular event took place at the property of Lisa and Marcus O'Connor in Wooragee. This photograph shows a demonstration being given on a Hamilton Tree Seeder (a soil ripper). This machine is used to loosen tough, compact soil in order to prepare it for the planting of seedlings.This photograph is significant as it provides evidence of a project undertaken by the Wooragee Landcare Group in the early 2000s to educate members of the public on alternative and potentially more efficient methods of planting seedlings. The Wooragee Landcare Group has been instrumental in the co-ordination of programs relating to biodiversity protection in the local area, providing great assistance to landholders.Portrait coloured photograph printed on gloss paperReverse: WAN NA EONA2N2. ANN+ 2 4240 / wooragee, wooragee landcare group, marcus and lisa o'connor, direct seeding expo, direct seeding, seeding, seedlings, soil ripper, soil ripping, ripper, hamilton tree seeder, alternative planting, seeding methods

Graham MASTERS, Sweenies Creek Pottery Potter Graham Masters was based at Sweenies Creek outside Bendigo. He specialised in a patented technique of low relief stoneware depicting Australian animals and landscapes. He obtained a Diploma of Art and Design in Ceramics from the Bendigo Institute of Technology in 1973, then operated a pottery for a year in Bendigo before becoming an employee, then a partner at Maldon Pottery with Neville Wilson and Thomas Metcalf. Masters left Maldon to set up his own pottery at Sweenies Creek in 1984. A stoneware plate commemorating the 125th anniversary of the Shire of Strathfieldsaye. It features the Shire Hall and courthouse, with gum trees to the left.graham masters, sweenies creek pottery, shire of strathfieldsaye, strahfieldsaye shire hall, anniversary

This image shows a semi-aerial view of a property along a river adjacent to Beechworth in approximately 1900. The photographer has capitalised words in the label, indicating that 'The Precipice' may have suggested a particular rather than a general vantage point to local people at the time. Although the exact location of the photograph is yet to be determined, Beechworth Gorge is popular today with hikers and nearby Mt Stanley is noted for its views. Lantern slides, sometimes called 'magic lantern' slides, are glass plates on which an image has been secured for the purpose of projection. Glass slides were etched or hand-painted for this purpose from the Eighteenth Century but the process became more popular and accessible to the public with the development of photographic-emulsion slides used with a 'Magic Lantern' device in the mid-Nineteenth Century. Photographic lantern slides comprise a double-negative emulsion layer (forming a positive image) between thin glass plates that are bound together. A number of processes existed to form and bind the emulsion layer to the base plate, including the albumen, wet plate collodion, gelatine dry plate and woodburytype techniques. Lantern slides and magic lantern technologies are seen as foundational precursors to the development of modern photography and film-making techniques.This glass slide is significant because it provides insight into Beechworth's built environment and natural landscape in the early Twentieth Century, around the time of Australia's Federation. It is also an example of an early photographic and film-making technology in use in regional Victoria in the time period.Thin translucent sheet of glass with a square image printed on the front and framed in a black backing. It is held together by metals strips to secure the edges of the slide.Obverse: Image from The Precipice. /burke museum, beechworth, lantern slide, slide, glass slide, plate, burke museum collection, photograph, monochrome, views, landscapes, farmsteads, rivers, beechworth gorge, mt stanley, emulsion, the precipice

This slide shows an image taken in c.1900 of the Beechworth Railway Station. The Beechworth Railway Station was officially opened on the 29 of September 1876, to allow for quicker and easier transportation of goods and supplies from Beechworth to Melbourne via Everton and Wangaratta. The railway station was heavily used for transportation running two trains a day and was a vital link to Melbourne from it's opening until it's closure in 1976. Lantern slides, sometimes called 'magic lantern' slides, are glass plates on which an image has been secured for the purpose of projection. Glass slides were etched or hand-painted for this purpose from the Eighteenth Century but the process became more popular and accessible to the public with the development of photographic-emulsion slides used with a 'Magic Lantern' device in the mid-Nineteenth Century. Photographic lantern slides comprise a double-negative emulsion layer (forming a positive image) between thin glass plates that are bound together. A number of processes existed to form and bind the emulsion layer to the base plate, including the albumen, wet plate collodion, gelatine dry plate and Woodburytype techniques. Lantern slides and magic lantern technologies are seen as foundational precursors to the development of modern photography and film-making techniquesThis glass slide is significant because it provides insight into Beechworth's social amenities and religious infrastructure in the late Nineteenth Century. It is also an example of an early photographic and film-making technology in use in regional Victoria in the time period.Thin translucent sheet of glass with a circular image printed on the front and framed in a black backing. It is held together by metals strips to secure the edges of the slide.burke museum, beechworth, lantern slide, slide, glass slide, plate, burke museum collection, photograph, monochrome, beechworth railway station, railway station, transport, railway history, railway

Dry stone construction as a technique is used for much more than paddock walls. Across the volcanic plains of western Victoriaare marvelous sheep dips, stock loading ramps, huts, dams, retaining walls, and the rich and largely undiscovered heritage of indigenous dry stone structures. Dry stone walls indicate many aspects of our rural environment; the geological beginnings of the way the landscape was created, the patterns of early settlement by pastoralists and squatters, the types of stock that grazed the land and the methods of cattle and sheep management, of the efforts to thwart the spread of rabbits .... "For the casual but interested observer dry stone walls are good to look at, to photograph, to get up alongside and see the way they are constructed, to appreciate the varying shapes and sizes of stones and learn of the techniques of keeping often quite rounded stones in place. Apart from walls and other dry stone structures on grazing land we can also see dry stone techniques used in other places and in other phases of our history. Indigenous Australians have built, and continue to build, structures for shelter or hunting or trapping eels and fish in rivers and estuaries around the country. At spots around our coast line there is evidence of simple stone structures built by early maritime explorers. Prospectors in early mining encampments used dry stone construction to build retaining walls or the low walls of rudimentary shelters. If the future of dry stone walls in the Australian landscape is to be assured. wall owners and local governments have to accept and embrace their custodial role in assuring the preservation and celebration of walls. This is not an easy task, but, along with putting the necessary statutory mechanisms to ensure their retention, it is a task that must be pursued. The Dry Stone Walls Association of Australia has as its primary goal the increase in awareness of wall owners and local governments of the importance of dry stone walls. It also seeks to increase the level of training of skilled and semi skilled wallers, and the gaining of rudimentary skills by farmers so that they can maintain their own walls". Melton Star Weekly article about the Stone Wallslandscapes of significance

Sweenies Creek Pottery was located at 1507 Strathfieldsaye Rd, Axe Creek. Owned and run by Graham Masters, he specialises in a patented technique of low relief stoneware depicting Australian animals and landscapes. Graham Masters graduated from Bendigo Institute of Technology in 197 with a Diploma of Art and Design in Ceramics. He operated a pottery for a year in Bendigo, before working at Maldon Pottery, Maldon, Victoria, with Neville Wilson and Thomas Metcalf. He left Maldon to set up his own pottery at Sweenies Creek in 1984 and has been there ever since. ceramics, sweenies creek pottery, graham masters, australian studio pottery

Sweenies Creek Pottery was located at 1507 Strathfieldsaye Rd, Axe Creek. Owned and run by Graham Masters, he specialises in a patented technique of low relief stoneware depicting Australian animals and landscapes. Graham Masters graduated from Bendigo Institute of Technology in 197 with a Diploma of Art and Design in Ceramics. He operated a pottery for a year in Bendigo, before working at Maldon Pottery, Maldon, Victoria, with Neville Wilson and Thomas Metcalf. He left Maldon to set up his own pottery at Sweenies Creek in 1984 and has been there ever since. Pierced lidded container by Sweeney Creek Potteryceramics, sweenies creek pottery, australian studio pottery

The extensive fashion and design collection of the Kew Historical Society has been assembled over a number of decades. One subsection of this collection is shoes, designed and manufactured for Australian women by Australian and European designers. Many of the shoes, while often mass-produced, were generally constructed by skilled artisans using traditional shoe-making techniques. The shoes date from the 1890s to the 1980s. Footrest Shoes were manufactured in High Street Preston, on the west side not far up from Dundas Street, but well before Bell St. Preston is a suburb of Melbourne.Pair of dark green leather women’s court shoes with a green fabric bow at the front, manufactured by Footrest, Australia.Footrest, Australia. Made by Footrest /Leather Uppers Linings & Soleswomen's shoes, footrest shoes, footwear, ladies footwear

Shane JONES (1955- ) Born Melbourne Shane Jones is a graduate with a Masters in Fine Arts from Monash University, He practices art 'en plein air' and in the studio. Shane Jones' realist works feature the trompe l’oeil (trick the eye) tradition and he is considered one of Australia's foremost artists in this technique. The hyper-realist style of art creates an illusion that the objects depicted are the real thing while not being photographic. This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.A painting of a long white cloth being held by a white and a black hand. The identity of the subject is hidden, and the figure is absent. The unknown rather than the anonymity inhibits Shane Jones' imagery. art, artwork, shane jones, oil, oil on canvas, visual arts

Heather SHIMMEN (1957- ) Born Melbourne, Victoria Heather Shimmen is a painter and printmaker who ises etching, lithographic and linocut techniques. She often uses mixed media and collage. Throughout her prints Heather Shimmen interleaves personal histories. Between 1976 and 1978 Heather Shimmen studied Fine Art Painting at RMIT in Melbourne. During that time she was taught for one year by George Baldessin This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007. Framed linocut with fabric overlayart, artwork, heather shimmen, shimmen, linocut, printmaking, edition, bird, hand, tree branch, bee, moth, princt council australia, pca, available

This document was sent from Sydney Legacy to assist Melbourne Legacy with fund raising. In 1974 Sydney Legacy raised $4,070 using this technique, and $163,883 in 1984 . The Citizens Committee was made up of non Legatees who were prominent within the business community. A prominent leader of industry was selected to chair the committee. The committee only met three times a year. The document sets out in detail the formation of the Torch Appeal Committee, Format of the invitation, Programme for the luncheon, Table lay out for the Official Top Table, Publicity, and 5 general points to be noted. Although being separate entities, Legacy clubs all over Australia were prepared to share their ideas with other Legacy Clubs and thoughts for the common good.White foolscap paper with black typeTop left hand corner, blue biro L/ R Foskett, pencil, P.T/. 8901517 Top right hand side, blue biro, Ring P.D. Centre, title in black type enclosed in rectangle of asterisks. Lower right, Preparred by: Marilyn J. Roberts Appeals Director 10/12/85 Bottom, for A.T.H. meeting on Tues 21 Jan 1986 at 2- 16 also Patron(s0fundraising, committee

This photograph was taken on Friday the 27th of August 2004 as part of an event called 'Direct Seeding Expo'. This event was one of many held by the Wooragee Landcare Group in the early 2000s which aimed to educate the local community on certain agricultural and biodiversity conservative techniques. This particular event took place at the property of Lisa and Marcus O'Connor in Wooragee. This photograph shows farmer and Greening Australia Project Officer James Scholfield giving a demonstration on the Hamilton Tree Seeder (a soil ripper). This machine is used to loosen tough, compact soil in order to prepare it for the planting of seedlings. This photograph is significant as it provides evidence of a project undertaken by the Wooragee Landcare Group in the early 2000s to educate members of the public on alternative and potentially more efficient methods of planting seedlings. The Wooragee Landcare Group has been instrumental in the co-ordination of programs relating to biodiversity protection in the local area, providing great assistance to landholders.Landscape coloured photograph printed on gloss paperReverse: WAN NA EONA2N2. NNN 0 4240 / lisa and marcus o'connor, direct seeding expo, direct seeding, seedlings, seeding methods, wooragee landcare group, wooragee, james scholfield, greening australia project, hamilton tree seeder, soil ripper, ripper

The most common technique to measure fuel moisture content in Victorian forests until recently was the Speedy Moisture Meter - which is essentially a pressure cylinder. Originally developed in England during the 1920s for measuring moisture in wheat and other grains it was adapted for Australian forest fuels in the 1950s. Fuel was first ground using a Spong domestic food mincer, often attached to the bullbar of a vehicle, and a small measured (using the beam balance) sample placed into the Speedy together with a measured amount of calcium carbide and then sealed. The chemical reaction between the moisture in the fuel and the calcium carbide created acetylene gas; the pressure of which was read on the external dial which gave the read-out as the moisture content (percentage of net weight) of the sample. There were important techniques with preparing the minced samples, using the chemical and the subsequent cleaning of the Speedy to give reliable readings, but it was quick, inexpensive, robust, portable and practical in the field - it gave readings which were reproducible to within +/- 0.5% moisture content. It was used routinely before igniting a fuel reduction burn or measuring fuel moisture differentials on slash burns. In about 1996, Karen Chatto and Kevin Tolhurst from the Department’s Creswick Research Station developed the Wiltronics Fuel Moisture meter which measured electrical resistance.First reliable tool for measuring bushfire fuel moisture content in the fieldSpeedy Moisture Meter in wooden boxmanufacture's marks and instructions on usebushfire, forests commission victoria (fcv)

This image depicts people walking down the street in the early 1900s, giving a glimpse into everyday life of the Edwardian era in rural Australia. The image also captures the Beechworth Post Office, located on the corner of Ford and Camp Streets. The stone post office building was built in 1858 to replace the inadequate wooden building on the same location. It was built from granite sourced from the area and features Architectual designs of the era including a hipped slate roof and a colonnaded entrance surmounted by a parapet. Lantern slides, sometimes called 'magic lantern' slides, are glass plates on which an image has been secured for the purpose of projection. Glass slides were etched or hand-painted for this purpose from the Eighteenth Century but the process became more popular and accessible to the public with the development of photographic-emulsion slides used with a 'Magic Lantern' device in the mid-Nineteenth Century. Photographic lantern slides comprise a double-negative emulsion layer (forming a positive image) between thin glass plates that are bound together. A number of processes existed to form and bind the emulsion layer to the base plate, including the albumen, wet plate collodion, gelatine dry plate and Woodburytype techniques. Lantern slides and magic lantern technologies are seen as foundational precursors to the development of modern photography and film-making techniquesThis glass slide is significant because it provides insight into Beechworth's social amenities and religious infrastructure in the late Nineteenth Century. It is also an example of an early photographic and film-making technology in use in regional Victoria in the time period.Thin translucent sheet of glass with a square image printed on the front and framed in a black backing. It is held together by metals strips to secure the edges of the slide.burke museum, beechworth, lantern slide, slide, glass slide, plate, burke museum collection, photograph, monochrome, 1900s, edwardian era, architecture, granite building

MEDIUM: Photo/collage DESCRIPTION: Photo collage Green wooden outer frame with glass front Image and yellow board inner frame under glass. The complete image is made up of 18 individual photographs compiled together to make one image. The image is of Disney Florida’s 25th Anniversary; here the artist captures the excitement and colour of such an event. The textural quality this collage technique offers is an interesting one. Each photograph has an individual quality about it, the outer perimeters of each print having lighter or darker edges to its neighbouring print. Continuous lines do not always meet; the tops of spiers are at times cut off. The tonal qualities of each print also vary, some slightly, some dramatically different to each other. Signed "Massimo'96" proper right hand corner in image - Vertical script.photograph, world, di, sora, massimo, collage, disney, florida

This is the last Ballarat School of Mines (SMB) scrapbook. In 1998 SMB merged with the University of Ballarat, a predecessor institution of Federation University Australia. Yellow covered Spirex Sketch Book with news clippings relating to the Ballarat School of Mines. Clippings include Shae McDonald, Women's Lifestyle Expo. 3BBB Ready for big move, last Founders' Day, Founders' Day Cake, Peter Hiscock, Ararat Campus, Geoff Fisken, Peter Bailey wins Skills Olympics, Safeway Food Hygiene Contract, Alison Lanigan, Food handling, Gary Allen, Koala-Catching technique, Andrew Vassiou, Dave Knowles, Fire Protection Australia, Creswick Forestry School, TAFE cute, China links, Shenzhen Polytechnic, Ron Wild, David James, Camp Street revamp, SMB Farewell. Heather Durant, Faye Hunt, Peter Ryan, Ian Pym, Pam Davies, Ann Kerr, HEather Dixon, Bill Gribble, Kaye McFarlaneballarat school of mines scrapbook, ballarat school of mines, time capsule, merger

Peter GEORGAKIS Peter Georgakis completed his secondary education in Colac. He completed a Bachelor of Fine Arts at University of Ballarat (now Federation University). The following year he successfully completed an Honours, Creative Fine Arts. He was the recipient of the 2012 Martha Pinkerton Award. This artwork was purchased at the University of Ballarat End of Year Exhibition for the collection by Vice Chancellor David Battersby. This item is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.Abstract ArtPeter GEORGAKIS Peter Georgakis focuses on exploring the concept of cognitive distortions and their relationship towards the physical and figurative. By utilising and relating a variety of figurative and physical imagery, he depicts the fragmentation and explosion of an interior visual landscape within distorted thought processes. This work portrays a wide array of distorted cognitive responses in a very visceral and disordering application. His works convey and visualise this response by using a variety of different software, including medical imaging, sound to image and experimental visualisation techniques. With such software applications, he has been able to digitally manipulate figurative and physical imagery in an unorthodox manner. Through this lens of a variety of software applications, he has been able to experiment and explore a vast range of cognitive distortions and their relationship towards the physical image. art, artwork, printmaking, peter georgakis

Schuss was advertised as Victoria’s Official Ski Journal It was issued monthly from 1935 to 1961 except during the war when summer issues covered two months. This continued after the war, but it averaged 10 issues annually over its 25 year life. Schuss was published by the Ski Club of Victoria which had a membership of 38 Ski Clubs and demanded to be recognised as the prime authority on skiing in the state. The other 30 ski clubs with 85% of the members disagreed and the politics of skiing became heated. These clubs formed the Federation of Victorian Ski Clubs with their own journal, Ski Horizon. With the establishment of the Victorian Ski Association, Ski-Horizon published its last issue in Nov - Dec. 1955 and the role of the official journal was fully taken over by “Schuss”. This item is significant because it contains stories, images and information documenting the development of the ski facilities at Falls Creek.The journal features stories and events chronicling developments in Victoria and internationally. The cover includes a photo of the Jane Tinsley running in the slalom on the Bull Run by Eric Burt. Pages 200 - 202 feature a detailed tribute to George Fitzgerald, a pioneer of Omeo and the Bogong High Plains. Page 216 gives a brief description of Falls Creek as part of an article "Available Ski Resorts in Victoria" followed on Page 221 by an article declaring the opening of the Village Ski Tow on the Queen's Birthday weekend. The first ride was given to Bernhard Plohberger, the Tow Manager and Ski School Instructor. Other developments at Falls Creek were outlined. Page 229 features an advertisement for the new Falls Creek Ski School where Bernhard Plohberger would teach the "Wedeln Technique"schuss journal, the ski club of victoria, george fitzgerald of shannonvale, bernhard plohberger

The Soviet Union was one of the first countries to realize the unique potential of parachute forces. As early as 1927 there were reports of parachute troops being used against bandits in Central Asia. Within the next two to three years Leonid G. Minov began to organize the first military parachute units. He traveled to the United States to study parachute strategy and techniques employed in air rescue missions. He returned to his country with a supply of American-made Irvin parachutes. In April 1930, Soviet industry produced its first run of domestic parachutes, not surprisingly patterned on the Irvin style.Red felted wool beret withblack leather hat trimfabric informatiion labelt i.e. dry cleanrussian front 1918-1919, russian paratroopers history of russian paratroopers, history of change in aircraft to cater for paratroopers

'Interweave One' is a quilt made by Judy Turner in 2000. It consists of a woollen background and coloured woollen yarn which have been machine couched to the background. The techniques used to make it include quilting and machine couching. This quilt was an entrant in "Expressions 2000: the wool quilt prize"; an acquisitive exhibition held by the National Wool Museum from 16 Sept. 2000 to 3 Dec. 2000 (extended until 2 Feb. 2001) for contemporary art quilts, with the first prize winning $2000. 'Interweave 1' was selected as a highly commended entrant of this exhibition. It was catalogue entry no. 21.Quilt, black woollen background with coloured woollen yarn couched to the surface in a cross pattern.INTERWEAVE ONE / 76 X 126 CM / 2000 / JUDY TURNER / 31 BERTEL CRES / CHAPMAN / ACT 2611 / AUSTRALIA / PH 02 62886465quilting handicrafts, quilting, handicrafts, judy turner, expressions, wool quilt prize, national wool museum, quilt

This image shows a pathway in the gardens adjacent to Beechworth's Town Hall at the beginning of the Twentieth Century, around the time of Australia's Federation. The pathway leading to a circular rotunda or covered seating area with a steep conical roof is lined with shrubs set in grass verges that appear to be covered with snow. It is unknown whether the snowfall or a factor to do with the gardens occasioned the taking of the image, which at the time may have been an exotic practice. Climate records going back to 1908 indicate that snow in winter is not unusual due to Beechworth's elevation and orientation, and the Town Hall itself was built in 1859. Lantern slides, sometimes called 'magic lantern' slides, are glass plates on which an image has been secured for the purpose of projection. Glass slides were etched or hand-painted for this purpose from the Eighteenth Century but the process became more popular and accessible to the public with the development of photographic-emulsion slides used with a 'Magic Lantern' device in the mid-Nineteenth Century. Photographic lantern slides comprise a double-negative emulsion layer (forming a positive image) between thin glass plates that are bound together. A number of processes existed to form and bind the emulsion layer to the base plate, including the albumen, wet plate collodion, gelatine dry plate and woodburytype techniques. Lantern slides and magic lantern technologies are seen as foundational precursors to the development of modern photography and film-making techniques. This glass slide is significant because it provides insight into Beechworth's social amenities and climate in the early Twentieth Century, around the time of Australia's Federation into one nation. It is also an example of an early photographic and film-making technology in use in regional Victoria in the time period. Thin translucent sheet of glass with a circular image printed on the front and framed in a black backing. It is held together by metals strips to secure the edges of the slide.burke museum, beechworth, lantern slide, slide, glass slide, plate, burke museum collection, photograph, monochrome, town hall, town hall gardens, snow, rotunda, magic lantern, indigo shire, north-east victoria, nineteenth century, 1900s, twentieth century, emulsion slides

Human beings appear to have been making their own ceramics for at least 26,000 years, subjecting clay and silica to intense heat to fuse and form ceramic materials. The earliest found so far were in southern central Europe and were sculpted figures, not dishes. The earliest known pottery was made by mixing animal products with clay and baked in kilns at up to 800°C. While actual pottery fragments have been found up to 19,000 years old, it was not until about ten thousand years later that regular pottery became common. An early people that spread across much of Europe is named after its use of pottery, the Corded Ware culture. These early Indo-European peoples decorated their pottery by wrapping it with rope, while still wet. When the ceramics were fired, the rope burned off but left a decorative pattern of complex grooves on the surface. The invention of the wheel eventually led to the production of smoother, more even pottery using the wheel-forming technique, like the pottery wheel. Early ceramics were porous, absorbing water easily. It became useful for more items with the discovery of glazing techniques, coating pottery with silicon, bone ash, or other materials that could melt and reform into a glassy surface, making a vessel less pervious to water. https://en.wikipedia.org/wiki/CeramicThe discovery and development of ceramics in numerous shapes, form and materials, revolutionised the world.White ceramic container, glazed with single groove around circumference near lipNoneflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, ceramics