This student homework entitled "Computer Awareness" is part of Record Series 35. Student Work. In 1982 Lauren Rose (Class of 1984) completed an assignment for Year 10 on Computer Awareness. Lauren had to answer a series of questions and think about what she thought was the impact of computers and speculate about what she thought would happen in the future. In 1982 computers where not yet an essential part of office administration or learning at school. Lauriston was still teaching students how to use electric typewriters in 1984. Computer Awareness folder comprised of four A4 ring binder pages, includes responses to questions regarding the importance of computer awareness in the emerging digital age.

"Surburban tickets of the Victorian Railways - H K Atkinson" published 1991 notes on page 123 "Edmondson tickets issued from trams were held in small pouches in the conductor's bag and were punched with a special date punch (ie. 1 to 31) to denote the day of issue." It is thought that the month would have been used as well, otherwise people could recycle tickets for each day of the month. No punch for these yet seen by the Museum. Three envelopes of months held, two of them have not been opened and checked.Yields information VR Ticket systems.Two sets of steel punches with days and months of the year expressed in two letters. Months contained within three paper envelopes each marked "VR Elwood conductors ticket punches and Months of the Year"trams, vr trams, railways, tickets, elwood tram depot

Hygieia (Ύγεια, lit., “healing”) probably began as an abstraction, which later became personified. She does not appear to be a deity of extremely ancient origin, and there has been much scholarly debate as to exactly where and when worship of her first developed. Her cult most likely arose in the territory of Sikyon, where she was worshipped along with Asklepios, the legendary god of medicine. In later times Hygieia came to be regarded as the daughter of Asklepios, although her cult was not introduced to Epidauros, his principal sanctuary, until at least the 4th century BC. The earliest large-scale devotion to her is found in the aftermath of the Plague of Athens (420BC). The cult of Hygieia was taken to Rome, along with that of Asklepios (Æsculapius), in 293BC, to avert a pestilence. Here she gradually became integrated with the old Italian god Salus. Towards the end of the pagan era both Hygieia and Asklepios lost their specific associations with medicine, and became general protective deities. A beautiful wooden statue representing Hygieia, the Greek goddess of health.The figure is highly polished, which brings out the intricate grain of the timber. In it, the sculptor has endeavoured to combine the qualities of a classical pose with a contemporary yet timeless surreal sensuality. It will stand on a stone pedestal about 90cm high, and be placed in a prominent location in the Melbourne headquarters. The College’s statue is semi-abstract in style, carved from a single piece of jarrah. The piece of timber from which it is fashioned was salvaged from the remains of a century-old shearing shed on Rifle Downs, at Darkan in the south-west of Western Australia.

Newspaper clipping from The Sun (?), undated, late 1970? about Parliament (Victorian) being told by the Minister for Fuel and Power (Mr. Balfour) that the City of Ballarat wanted to scrap its trams, following a question from Mr. Trezise (ALP Geelong North) in the Legislative Assembly. No decision had yet been made. Also quotes the Secretary of the Ballarat Trades and Labor Council, Mr. A.C. Williams saying that Ballarat people would protest this decision. On rear of cutting has an item about the Noongah Enquiry, an inquiry into the sinking of the Noongah. Appears to be from a Melbourne Paper, different typeface to that of the Courier.trams, tramways, closure, parliament, ballarat

Yields information about the appearance and the use of ESCo tram 12 in Victoria St and has a strong association with those photographed on the steps of the tram.Digital Copy of a photograph purchased by David Critchley from E-bay, of ESCo No. 12 in Victoria St Ballarat, c1925, possibly at the King St loop. Tram has the destination of Orphanage, a Viceroy Tea advertisement, a Coliseum roof advert and an "Pay as You Leave" sign. Note the positioning of the tram number on the route footsteps. The tram still has track brakes and the footstep boards are yet to be cut back or shortened. Tram has four men in suits standing on the running board with the driver or motorman in the doorway of the tram as well. Image not to be formally published without owners permission or knowledge.On the rear of the print is a stamp of "Alpha Print Box Hill" with the number "88"trams, tramways, esco, victoria st, orphanage, motormen, tram 12

Set of four hand written notes on off white paper. .1 - "Car 1041"All electric" Destination Indicators - giving a list of the destination blind fitted to prototype tramcar 1041 - dated 13-7-73. .2 - "Tail light modifications to W2's - gives a list of W2's yet to be fitted and notes on dates. .3 - "W2 Overhauls" - giving a list of W2's and dates of overhauls. - 1973? .4 - "Able bodies W2 trams (1973) - list of W2's in use?, depot, dates of overhaul and some comments in red ink.trams, tramways, 1041, destination roll, lights, w2 class, preston workshops, overhauls, tram 1041

Set of 2 black and White Photographs of the construction of the body or frame of prototype tramcar 1041 at Preston Workshops. .1 - "1041-traverser-31 Jan 1973 - Preston - MMTB". showing the tramcar body on temporary workshop bogies on a traverser. the side panelling is largely completed but the drivers cabs are yet to be panelled. On the rear has a noted in ink. "Started 17 May 1972 / Progress @ 31/Jan. 1973" / i.e. 8 months. Photo possibly taken 31/1/1973. .2 - "1041-on-PCC trucks - Preston MMTB" - As above but in the yard at the workshops. Two copies held.On the rear of the photograph has the MMTB stamp and Reference number on some. A caption is in pencil on the top of each photograph, reflected in description.trams, tramways, 1041, prototype tramcar, new tramcars, tramcar bodies, preston workshops, traverser, tram 1041

Black and white photographs of the construction of the junction at Gertrude and Nicholson St c1955. On the right hand side of the photograph are two buses showing the Destination of Northcote. The former cable tram track in Nicholson St is yet to be removed - shows the offset between the tracks and the wood blocks. Possibly only the junction tracks have been completed at this time as there appears to be an excavation and a hut in the distance. There is a detour sign indicating that possibly vehicles used the completed section and that trackwork was underway for Gertrude St. The overhead has been erected. In the background is Osborne House. signs for The Age, The Sun and Peters Ice Cream. Early 1955?trams, tramways, trackwork, rails, track materials, track repairs, sleepers, equipment, cable trams, gertrude st, nicholson st, overhead

Photocopied article titled 'The Deep Mines of Bendigo. Gold at 2, 070 feet'. From The Argus (Melbourne, Vic.: 1848 - 1954), Friday 16 March 1888, page 5. Article mentions gold being found at the greatest depth at which that metal has yet been obtained in Australia. Mentioned are the six deepest shafts in the Bendigo district. They are: Lansell's No 180, Victory and Pandora, Victoria Quartz, North Old Chum, New Chum Victoria and the Great Extended Hustler's. There was a deeper shaft at Stawell, the Magdala. Also mentioned are yields, amounts crushed, dividends paid and calls.document, gold, victoria hill, the deep mines of bendigo, the argus 16/3/1888, new chum and victoria, lansell's no 180, victory and pandora, victoria quartz, north old chum, new chum victoria, great extended hustler's, the magdala at stawell, mr w w barker, mr robert jackson

A colour postcard to advertise accommodation at Riverside Cottages in Marysville.A colour postcard to advertise accommodation at Riverside Cottages in Marysville.Romantic self-contained Riverside Cottages on the Steavenson River Surrounded/ by Stateforest. Hand feed King Parrots from your luxury country Cottage./ A secluded peaceful and romantic getaway yet only 1.2km from main street. MARYSVILLE/ Victoria Australia STAMP www.dreamer.com.au 129 Falls Rd. Marysville Vic 3779 (03)5963-3388 E-mail : [email protected], victoria, australia, riverside cottages, accommodation, postcard

This tea caddy, an attractive item, was given to Margaret Fletcher (date of presentation unknown). A tea caddy in the 19th century was a valued object as tea was expensive and was bought in small quantities. The two side containers are for green and black tea and the middle one was for blending the tea mixtures. The caddy was lockable so that domestic workers etc could not have easy access to a valuable commodity. The local provenance of this object and the identity of Margaret Fletcher have not yet been established. She may be related to John Fletcher, the Warrnambool cordial maker or James Fletcher, the Warrnambool lawyer. This tea caddy is of great interest as an attractive artefact from the 19th century and as an example of a household item no longer in use. It is also of interest because it was given to Margaret Fletcher, possibly a local Warrnambool person. This is a polished wood container made in a casket style. The wood is believed to be Coramandel. The casket has curved sides and is on a base with four legs. The lid has a brass hinge and a gold lock with the key and the lock mechanism missing. Inside are three compartments, two with hinged lids with leather tops and zinc linings. The middle compartment has a glass container set in a wooden compartment. The inscription is on a brass plate inside the casket. ‘Presented to Margaret Fletcher as a Mark of Respect’. margaret fletcher, history of warrnambool

Pocket Gospel of St John, issued to 'Men of H.M. Forces' on active service in 1914-1916. Contains a message from Field Marshal Frederick Sleigh Roberts, 1st Earl Roberts, VC, KG, KP, GCB, OM, GCSI, GCIE, VD, PC, FRSGS, at that time retired after his distinguished military career yet still active in public life, and less than three months before he died of pneumonia when visiting troops in France. Includes some hymns and music as well as the passages from the Gospel of St John. Brown coloured booklet of multiple white pages, discoloured by age.Handwritten notes on title page written in red ink that are no longer decipherable.wwi, scripture gift mission, naval and military bible society

Ivy May Child is standing 3rd from the right. The other people are unidentified as yet. Ivy May Child (1910 – 1989) was the daughter of Arthur Edward (Ted) Child (1878 – 1964) and Ethel May Madden (1888 – 1970). Ted Child was the son of Matthew Francis Child (1839 – 1933) and Martha Jeeves (1857 – 1926). He was the grandson of one of the early pioneers Francis Child. Ivy grew up on the family property on Childs Road and took many photographs. Ivy married Henry William Burgess (1906 – 1968) in 1944.Black and white photograph of a group of two men and seven women posed in front of a pavilion like structure.On reverse: Ivy M Childivy child, ivy may child

A photo of President G. M. Swan with a group of school boys with Appeal tins. Also a police band on Swanston Street and a trading table set up by the Legacy Widows outside Legacy house. The widows clubs ran a craft stall outside Legacy house for many years to help with fundraising during Legacy Week. Also the author Patsy Adam-Smith is in one photo. She went on to be a celebrity of the year for Legacy in 1994. Of note is that the Queen Victoria Hospital has been demolished and the new QV shopping centre has not yet been built.A record of Legacy Week in 1992.Colour photo x 3 of Legacy Appeal in 1992.Printed on the back "707 0131 N N N 1 2" and 708. On Kodak paper. legacy week, badge week, legacy appeal

Yields information about the activities inside the depot by the BTPS showing difficulties and the provision of overhead troughing.Set of 7 digital images scanned from 35mm slides of early activities at the BTPS depot c1973. .1 - Noel Forster assisting another member adjust the brakes on a bogie tram inside the depot. .2 - cleaning old paint off a bracket arm with a kerosene blow torch. .3 - repainted trolley pole base at the depot .4 - interior view after the troughing has been positioned. .5 - ditto .6 - view of the depot from the overhead truck - 26, 28 and 40, one road yet to be commenced. .7 - interior view of the depot with workers - Peter Rees, Andrew Cook and Graeme Jordantrams, tramways, btps, trackwork, depot, tramcars, overhead, tram 26, tram 27, tram 40

Pru Sanderson, in her groundbreaking ‘City of Kew Urban Conservation Study : Volume 2 - Development History’ (1988), summarised the periods of urban development and subdivisions of land in Kew. The periods that she identified included 1845-1880, 1880-1893, 1893-1921, 1921-1933, 1933-1943, and Post-War Development. These periods were selected as they represented periods of rapid growth or decline in urban development. An obvious starting point for Sanderson’s groupings involved population growth and the associated economic cycles. These cycles also highlighted urban expansion onto land that was predominantly rural, although in other cases it represented the decline and breakup of large estates. A number of the plans in the Kew Historical Society’s collection can also be found in other collections, such as those of the State Library of Victoria and the Boroondara Library Service. A number are however unique to the collection.The Kew Historical Society collection includes almost 100 subdivision plans pertaining to suburbs of the City of Melbourne. Most of these are of Kew, Kew East or Studley Park, although a smaller number are plans of Camberwell, Deepdene, Balwyn and Hawthorn. It is believed that the majority of the plans were gifted to the Society by persons connected with the real estate firm - J. R. Mathers and McMillan, 136 Cotham Road, Kew. The Plans in the collection are rarely in pristine form, being working plans on which the agent would write notes and record lots sold and the prices of these. The subdivision plans are historically significant examples of the growth of urban Melbourne from the beginning of the 20th Century up until the 1980s. A number of the plans are double-sided and often include a photograph on the reverse. The Goldthorns Hill Estate subdivision was first put up for auction in 1925. The subdivision took its name from the mansion ‘Goldthorns’, shown on the plan between Normanby Road and Lady Loch’s Drive. Contemporary advertisements describe forty-three home sites being fro sale, yet only forty-one appear on this plan. Buyers were lured by the prospect of the proposed extension of the Burke Road tram to High Street. Discerning buyers were advised that only one house could be built per allotment, and that houses needed to be constructed of brick, stone or concrete and have a slate or tiled roof.goldthorns avenue -- kew east (vic.), lady loch drive -- kew east (vic.), argyle road -- kew east (vic.), lady brassey drive -- kew east (vic.), campbell street -- kew east (vic.), goldthorns -- kew (vic.), subdivisions -- kew east (viv.), goldthorns hill estate

Photograph shows Geelong power station after completion. Power house building on the SW corner of Corio Tce. and Yarra Sts, Geelong, with new furnace room on the left, turret removed from the corner of the building, a third floor added on the Corio Tce. side but offices and concreted company name above where the trams entered the depot from the street not yet built. Date between 1924 and 1928 (based on photograph of Pengelly tramcar arriving and recently received, secondhand Melbourne tramcar). The ground floor offices facing Corio Tce. appear to be boarded up.Yields information about the Geelong Power station c1926Black and white print on paper.Plate number 1-8 in ink on back of photo.tramways, geelong, mesco, power station

Colour photograph of Ballarat No. 18 at the View Point terminus in Wendouree Parade. Photograph has the conductor (and driver?) standing by the front of the tram, after the pole has been turned. Destination sign yet to be changed from View Point. Photo shows the tram stop arrangements with painted pole, "End of Section", "Cars Stop Here" sign, timetable sign and on the back of the pole a Section insulator connection box. Tram has two roof advertisements, SEC "Electric Cooking" and the Whites Florist Sturt St. shop advertisement and a "Pay as you Enter" sign. In the background is the Macarthur St. tram line. Photo dated 6/11/1962. On Kodacolor paper."60Ed" in blue ink, date stamp 6 Nov 1962" in red ink.view point, wendouree parade, tram stops, tram 18

Photocopy of an article written by Ian Anderson (past president of Melbourne Legacy) for the Victorian Historical Magazine, 149th issue, August 1967, which was taken from his address to the Society on Tuesday 23 May 1967. It describes the founding of Legacy and the role of founding legatees. It summarises the work Legacy was doing with finding work for returned servicemen, and then focusing more on looking after the needs of war widows and their children. The magazine is available at the State Library of Victoria, Melbourne, but has not yet been digitised to read on line. In the article Legatee Anderson condenses the information published in "The Torch", "There goes a Man" and "Legacy: the first Fifty Years".An indication of the high regard in which Legacy was held and its importance in Victorian history.White A4 paper x 7 pages, a photocopy of a document.'H64/1' (see Item 00937) in black ballpoint, 'History Legacy' in blue ballpoint, on page 1. history, founding legatees

Rose Series postcard No. P 4827 titled "Fitzroy Street St Kilda Vic" showing two W2 class tramcars at the intersection of Fitzroy Street and The Esplanade St Kilda. Tram W2 class No. 362 is inbound while W2 548 is outbound to St Kilda Beach at Ackland Street. The St Kilda Cenotaph, dedicated on 25th April 1925, and a small part of the Catani Gardens are on the left side. Tram Route number boxes appear to not be in use yet and W2 No 548 look very new with its unique St. Louis EIB64 trucks (bogies) . St. Kilda Junction appears in the distant background. Yields information about Fitzroy Street, St Kilda early1930s.Postcard - printed real photograph with Rose Stereograph Co. name on the rear and remnants of blue card on the rear.trams, tramways, w2 class, tram 362, fitzroy st, st kilda, the esplanade, tram 548

A central tableau is beautifully lit to expose choreographed arrangements of plants, animals, objects and food. Grounded in a photographic aesthetic that echoes Dutch Old Master paintings, they examine the industry and practices that have so effectively brought damage to traditional Aboriginal culture, the natural environment of the Australian continent – and the globe. Each image explores an aspect of the devastating impact of colonisation on Australia’s First Nations peoples, and the global repercussions of environmental degradation. The translation of the French in the title of this series, “Natures mortes” is dead nature. Yet in the simmering emotional register of each image lies an inherent belief in the individual over environment, and the redemptive nature of culture. australian first nations art, photography, colonialisation, environment

A central tableau is beautifully lit to expose choreographed arrangements of plants, animals, objects and food. Grounded in a photographic aesthetic that echoes Dutch Old Master paintings, they examine the industry and practices that have so effectively brought damage to traditional Aboriginal culture, the natural environment of the Australian continent – and the globe. Each image explores an aspect of the devastating impact of colonisation on Australia’s First Nations peoples, and the global repercussions of environmental degradation. The translation of the French in the title of this series, “Natures mortes” is dead nature. Yet in the simmering emotional register of each image lies an inherent belief in the individual over environment, and the redemptive nature of culture. australian first nations art, photography, colonialisation, environment

A central tableau is beautifully lit to expose choreographed arrangements of plants, animals, objects and food. Grounded in a photographic aesthetic that echoes Dutch Old Master paintings, they examine the industry and practices that have so effectively brought damage to traditional Aboriginal culture, the natural environment of the Australian continent – and the globe. Each image explores an aspect of the devastating impact of colonisation on Australia’s First Nations peoples, and the global repercussions of environmental degradation. The translation of the French in the title of this series, “Natures mortes” is dead nature. Yet in the simmering emotional register of each image lies an inherent belief in the individual over environment, and the redemptive nature of culture. australian first nations art, photography, colonialisation, environment

A central tableau is beautifully lit to expose choreographed arrangements of plants, animals, objects and food. Grounded in a photographic aesthetic that echoes Dutch Old Master paintings, they examine the industry and practices that have so effectively brought damage to traditional Aboriginal culture, the natural environment of the Australian continent – and the globe. Each image explores an aspect of the devastating impact of colonisation on Australia’s First Nations peoples, and the global repercussions of environmental degradation. The translation of the French in the title of this series, “Natures mortes” is dead nature. Yet in the simmering emotional register of each image lies an inherent belief in the individual over environment, and the redemptive nature of culture. australian first nations art, photography, colonialisation, environment

A central tableau is beautifully lit to expose choreographed arrangements of plants, animals, objects and food. Grounded in a photographic aesthetic that echoes Dutch Old Master paintings, they examine the industry and practices that have so effectively brought damage to traditional Aboriginal culture, the natural environment of the Australian continent – and the globe. Each image explores an aspect of the devastating impact of colonisation on Australia’s First Nations peoples, and the global repercussions of environmental degradation. The translation of the French in the title of this series, “Natures mortes” is dead nature. Yet in the simmering emotional register of each image lies an inherent belief in the individual over environment, and the redemptive nature of culture. australian first nations art, photography, colonialisation, environment

Before metric measurement was introduced land was measured in chains and links. The chain was a precision part of a surveyor's equipment. It required frequent calibration, yet needed to be sturdy enough to be dragged through rough terrain for years. A standard survey chain is 66 feet (or 20.117m) long and made up of 100 links. Each link is 7.92 inches (approximately 201mm) long, measured from the inside of the loop. The handles are for tensioning the chain in use, they are not part of the length of the chain. In pre-metric units, there were 80 chains to 1 mile (equals 1.609km) This surveyor’s chain has an 8-inch link pitch, with markers at 10 link intervals. This metal surveyor’s chain (or Gunter's Chain) has an 8-inch link pitch, with markers at 10 link intervals, and handles at either end. A Surveyor’s Chain was 66 feet long, and made up of 100 links connected by two rings. A link in measurement includes the two rings at each end. gunter's chain, survey chain, surveyor s chain, perch, rood, surveying

This book could be described as the summing up of a theory of physical appearances, devised by a painter and demonstrated by paint. The foundation of this theory was laid down first in Paris by Max Meldrum early 1900s. A review calls the book "the most outstanding book on the craft of painting yet published in any language. Max Meldrum was born in Edinburgh, Scotland on 03 December 1875. His family arrived in Australia and Max Meldrum attended the National Gallery School, winning the Victorian Travelling Scholarship in 1899. It was deaccessioned and transferred from the Ballarat School of Mines library so would have been used by students and staff of the Ballarat Technical Art School, a division of the Ballarat School of Mines. Red fabric hard covered book of 298pp, includes colour plates that have been pasted into the book. The book inlcudes 11 colour prints and 11 line and tone diagrams. These diagrams in clude Major and Minor Dark and liLight Disturbances; Speed Values and Form; Complex Light Disturbance; Experiments in Definition and Inclination; Apparatus for the Analysus of Visual Phenomena by Distance; Set of Patches; Modern and Obsolete Methods of Approach, Tonal Analysis on "St John's Parad"'; Chromatic Analysis of "St John's Parade". This book was part of the Ballarat Technical Art School LibraryA review has been pasted in the front..max meldrum school, max meldrum, art, science of appearances, appearances, color plates, tonalism, ballarat school of mines library, ballarat technical art school