Set of two reports from The Parliamentary Standing Committee on Railways. .1 - 8 pages - stapled report titled "General Scheme of Tramways for the Metropolis", dated 24/7/1923, examining the MMTB's General Scheme for Tramways (See Reg Item 2088, 2089 and 2098), includes financial position of the Board, tramway or railways, the scheme itself, committee recommendations and view of the railway's commissioners. .2 - 8 pages - stapled report titled "East Northcote and Ivanhoe Railless Electric Tramways" - dated 26/10/1922 - looking at proposal for a Railless tramway (trolley bus), district to be served for residential districts, proposals, annual costs, expenses, alternative routes, betterment tax or municipal guarantee, effect on railway revenue, view of the committee and recommendations. Note: These document are available as a pdf on the Parliament of Victoria website..2 - has "Mr. Lormer" in ink on top left hand corner.trams, tramways, mmtb, general scheme, tramways, development, parliament, railways, finances, construction, trolley buses, railless, northcote, ivanhoe

Henry Watts (1828_1889) Died at Melbourne, 16th December, 1889. He was a good microscopist. His botanical studies were chiefly devoted to algae, both fresh-water and marine, and while living for many years at Warrnambool he was a contributor of algae to Harvey, who figured Wrangelia wattsii, Harv., and Crouania wattsii, Harv., in his “Phycologia Australica " He was the author of "On the Fresh-water Algae of Victoria " (Trans. Roy. Soc. Vict., 1861-4, 67) ; .also a paper "On Fossil Polyzoa" (ib.. 82); "A Trip to Mt. Macedon in Search of Fresh-water Algae" (Wing's S. S. Record, iii., 252); "On a Species of fresh-water Algae from Victoria" (Vict. Nat., i., 21); "Some Recent Additions to our Knowledge of Microscopic Natural History" (ib., iii., I33) (includes lists of fresh-water algae and Desmidieae ), First librarian (1881-2), also a vice-president of the Field Naturalists' Club of Victoria. He is further commemorated by Acacia wattsiana. F. v. M. www.anbg.gov.au/biography/watts-henry.html . Henry Watts worked as a bootmaker in Timor and Liebig streets Warrnambool in the 1860’s but it was as an amateur scientist that Watts gained public notice.For an exhibiton in Melbourne in 1861 Henry Watts prepared a collection of over 100 different species of seaweed from the Warrnambool district. It is recorded in the Examiner in 1863 that he had been elected as an honorary member of the Bristol Microscopical Society of England He was a member of the Warrnambool Horticultural society and in 1865 he opted to become a flower distiller.At the 1866 MelbourneExhibition, Henry Watts exhibited 44 bottles of his perfumes. He had a keen interest in microscopes and microscopic organisms.He spent many hours combing the caves and examining the guano of local bats. This letter is written to Professor Quekett advising him that he has sent a collection of packets of samples of diatomaceae asking him to examine and name the same.. Professor Quekett was a famous microscopist of the Victorian era with the Quekett microscopist club one of the oldest in the world dedicated to the use of the microscope and its discoveries. Henry Watts was one of Warrnambool’s first botanists and marine scientists. He also established a flower distilling and perfume manufacturing business in Warrnambool. In 1861 he sent a collection of over 100 species of seaweed to the Melbourne Exhibition.Framed, handwritten letter, ink on blue paper. Transcript of letter is typed black on white paper. Five small numbered pieces of paper containing specimens of diatomaceae collected from marine and fresh water areas around Warrnambool.Names Henry Watts, Professor Quekett. Handwritten along the bottom of the frame, “The above was bought at a London Auction for $12-10-00 by Miss Eddey a Melbourne Book shop Proprietress and recently presented to the W.F.N. Club.: warrnambool, henry watts, watts henry, botanist,microscope, microscopic, quekett, john thomas quekett

The book includes navigational information, tables and maps, diagrams and formulas. It was written for Examiners and Students studying for their nautical Mates and Masters marine qualifications— notes have been handwritten inside the front and back covers. Notes in point form: 1. I have seen the back of a torpedo EBoat or UBoat in my starboard side 2. I _ _ _ to - - - - - - - - - Port side 3. at a distance ----------- 4. Enemy surface vessel in sight __________ 5. suspicious vessel in sight 6. enemy (undecipherable) 7. I have cut a _ _ _ adrift with my _ _ 8. FI_ _ WISE _ _ _ 9. STARWISE 0. OPEN FIREThis relatively rare book provided up-to-date navigational information during World War II. It was to be used by Examiners to assess whether students qualified to be a Ship's Mate or Ship's Master. The contents of the book were based on maritime knowledge gained over centuries. It is an aid to understanding the navigational methods of the time and the changes and improvements in more recent history.Title: Tait's Home Trade Guide: to the Board of Trade Examinations for Mates and Masters Author: James Tait, Extra Master Publisher: Brown, Son and Ferguson, Ltd. Glasgow, Great Britain Date: Revised Edition 1943 Further Information: Fourteenth Edition 1941, Reprinted Edition 1943. Revised and brought up to date by Captain H. T. Jefferys, Extra Master Printed by Nautical Press, Brown, Son & Ferguson, Limited, 52-58 Darnley Street, Glasgow Hardcover, small book, royal blue cover, silver embossed text on spine. Textbook for Mariners. Includes tables and maps, diagrams and formulas, and navigational information. The inside covers of this book contain handwritten calculations, diagrams and notes that refer to navigation. Notes inside the back cover refer to an enemy vessel and OPEN FIRE.Spint, in silver embossing "TAIT'S HOME TRADE GUIDE" Handwritten inside the back cover "R.A.D. / MOORE / PT. WELCH" Included with the text inside the back cover "Gascoyne" "506" and "RCM"flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, james tait, nautical text book, navigational text book, examination text book, brown, son and ferguson limited, 1943 nautical text book, world war ii text book, wwii text book, torpedo, open fire, pt welch, vessel gascoyne, e-boat, u-boat, marine technology, world war ii, wwii, ww2, navigation exams, ship's mate, ship's master

Mavis Direct (Directway IMP P 2.23.0 - Thompsons Almont Mare (Almont)) Mare. Foaled 1921 (1st Foal) won the St Patrick's Day Cup off scratch over 1 3/4 miles worth £95 (Winner £70 plus silver cup) at Northall Park Tasmania on 17th March 1928, ridden by AJ Gregg defeating Bundaberg 2nd and Field Voyage 3rd. Winning Time 4.20.5 (Note: Result and story published in the Launceston Examiner on 19 Mar 1928 states that the owner at the time was M McLeod not T Allan as per trophy)1928 St Patrick's Day Cup won by Mavis Direct at Northall Park, Tasmania. Owner T Allan. Rider AJ GreggTwo Handled Cup Shaped TrophySt Patrick's Cup / Presented by / Co-op Brewery / Won by / Mavis Direct / Owner T Allan / Rider AJ Gregg / March 17 1928 At bottom underneath trophy: Epns "Lewbury"trophy, harness horse, mavis direct, 1928, co-op brewery, t allan, aj gregg, lewbury, st patrick's cup

The Fundamentals of Legacy was a paper offered to the Fortieth Annual Conference of the Legacy Clubs of Australia, held in Ballarat from 7th to 10th November 1968, by the Sydney Legacy Club. It was presented by Legatee Daniel S. Aarons, past president of the Legacy Club of Sydney (1946-47). By resolution of the Conference it was printed by Legacy Co-ordinating Council for distribution upon their request to Legacy Clubs. The first part of the brochure examines birth of Legacy growing from the seeds of comradeship that were sown in war service. Comradeship from the deep friendship forged in war time. The second part examines the personal service that is fundamental to Legacy. It includes a story of burial after a fierce battle at Pozieres in August 1916 where the writer witnessed a mate pledge to the deceased "don't worry, our friends, we will look after your widows and children". The final words of the of the brochure. "Legacy is a magnificent monument whose foundations made from everlasting materials, Mateship, Comradeship, and Friendship. The edifice upon that foundation was erected by the dedicated, personal service of a mere few thousand Legatees of whom it may truly be said, that, Never in the history of social service Has so much been done for so many By so few." The notation H65 in blue pen shows that it was part of the archive project that was trying to capture the history of Legacy. A record of speech at a Legacy Conference being reprinted for distribution among Legacy Clubs.Brochure on white paper with black type x 8 pages about The Fundamentals of Legacy.Handwritten H65/1 in blue pen. history, speech

The School of Mines Ballaarat Annual Report 24 January 1882, Additional Examination Statute, Certificates Granted by Council, Copy of letter received from the Honble. Francis Ormond MLC, Extracts from Visitors' Book, Fees, Form of Bequest, Life Governors, Museum open to Visitors, Office Bearers, Paper of Particulars, Report of the Curator of the Museum and Library (with plans), Report of the Superintendent of Laboratories, Report of the Lecturer in Telegraphy, Report of the Lecturer in Mechanical Engineering, Statement of Receipts and Expenditure for the year 1881, Subjects and Lecturers, Subjects and Examiners, Subscriptions and Donations from 1 January to 31 December 1881, The Lignite Deposit at Skipton (with Section and Plan)Ballarat School of Mines Annual Report. Pale brown booklet of 64 pages. A plan of the Ballarat School of Mines shows the position of the Botanical Gardens, and the Ballarat School of Mines Museum. Geological Sketch Map of Country in the Neighbourhood of Skipton and Plan showing site of Coal Discovery. Skipton Coal Discovery - Section of Windlass Shaft. .2) is a leatherbound copyballarat school of mines, coal, plan, ballarat school of mines botanical gardens, ballarat school of mines museum, museum, annual report, james oddie, w. p. bechervaise, s. e. friggis, f. j. martell, w. h. nicholls,, e. i. rosenblum, h. r. caselli, thomas mann, theos. williams, f. m. krause, alf. mica smith, walter d. campbell, w. h. shaw, charles kent, andw. berry, robert adam, wm. lant carpenter, henry parkinson, h. b. de la poer wall, w. h. brockenshire, arthur parker, c. davies, simon richards, c. r. blackett, david jones, wilberforce dyke, kr. r. krauel, duncan love, william ralph heaton, edward dowling, octavius vaughan morgan, william denton, e. h. grimwade, james hunter, the honble. francis ormond, ferdinand krause, a.a. buley, j. cosmo newberry, w.c. kernot, john lewis, j.m. bickett, james bickett, fees, annie barnett, annette budden, isabel clinton, john dimsey, agnes pobjoy, charlotte shaw, bernard o'dowd, bernard patrick o'dowd, josiah wasley, ferdinand von mueller, william kernot, john lynch, william henderson, henry richards caselli, w.p. berchervaise, e.i. rosenblum, w.h. nicholls, lignate, samuel figgis, mary drury, w. longley, botanical reserve, botanical gardens, francis ormond, george russell, william foster stawell, w.j. clarke, rivett henry bland, john warrington rogers, j. lonie, s.e. figgis, r.f. hudson, w. robertson, e.l. rosenblum, theophilus williams, andrew berry, henry sutton, h. rosales, state school classes, calcutta international exhibition, examinations, h.b.m ship bounty, certicates, walter charles kernot, william tunbridge, mary skelton, cartherine moran, mary rose usher, margaret ellen brophy, william burbridge, andrea tuxen, elizabeth curnow, francis campigi, james s. morrison, arthur hogue

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

The photograph depicts eleven vignettes relating to the murders of Captain Lee Weller, Charles Burgess and Arthur Preston by Frank Butler (born Richard Ashe, alias Frank Harwood). Some historians consider Butler to be Australia's first serial killer. Butler submitted written advertisements to the classified columns of the Sydney Morning Herald newspaper looking for people to join him in prospecting for gold. Butler took his victims into the Blue Mountains in New South Wales and told fabricated stories of gold mines worth thousands of pounds. He then made his victims dig their own graves under the guise that they were digging for gold. He would then shoot them, take their valuables, and bury them.Sepia rectangular photograph printed on matte photographic paper mounted on card.Obverse: 1897 / Butler's inseparable Friend / Cap ' Lee Weller / The Victim Burgess / A OT Preston / Frank Harwood / alias / Butler / J. Mulhall & Son / discoverers of Burgess grave / Butlers supposed Wife / Frisco / Examining Burgess corpse at Black Range near Parkes NSW / The Swanhda / His Prospecting Tools / Burgs Waggonette used for Prospecting sold Butler / (?) / The Butler Tragedies Reverse: BMMA03308 / Removal story of the / 1997.3119 / Butler murders near / Parkes NSW 1897 / 84 - 35 - 1 / Enterprise Photo Company, / 26 Elizabeth Street, / SYDNEY. /entertainment album, captain lee weller, charles burgess, arthur preston, frank harwood, frank butler, crime, blue mountains, new south wales, murder, tragedy, gold, gold mine, sydney morning herald, swanhilda, richard ashe

Digitised video (3.20GB) Duration: 63 minutes. Recorded May, 2021 (Video is available for viewing at Ringwood & District Historical Society Archives by appointment)Presenter: Dr Jeff Kildea is an Honorary Professor in Irish Studies at the University of New South Wales. In 2014 he held the Keith Cameron Chair of Australian History at University College Dublin. He is the author of numerous books and articles on the Irish in Australia including Hugh Mahon: Patriot, Pressman, Politician, Anchor Books Australia, Melbourne, 2017 (Vol 1) and 2020 (Vol 2). This talk examines the background to Mahon’s expulsion from parliament and how it led to his being ostracised by his fellow Australians including his neighbours at Ringwood.

Digital image of a BTPS training / qualification day held on 28/11/1976, at East Preston depot: From left: Richard Gilbert, Peter Hill, Paul Nicholson, Bruce Davey and Jack Chadwick standing between trams 16W (the only tram at the time on the MMTB network with a manual lap brake) and Z16. Peter Winspur advised 18/5/2020: Paul was an M&MTB driver at the time. Peter Hill would have been doing his first day and Jack Chadwick qualified as driver on that day along with Paul. We managed to train Peter in a few weeks as he was back on 19 December! Just in time for the summer running. Inspector Bruce Davey was the trainer/instruction/examiner driver. Image supplied by Paul Nicholson 17/5/2020. See Reg Item 7775 for a photo of just the two cars.trams, tramways, btps, training, z class trams, east preston, mmtb, tram 16w, tram 16

Handwritten notes from the Bendigo Advertiser 5/7/1910 Page 3. 'New Chum Mines. Yesterday, Mr H. V. Whetelaw, officer in charge of the local survey branch, Mines Dep't accompanied by Inspector Ross, made their first inspection. Water has reached the 3224 ft. level. Now 1530 feet of water in shaft, including the workings below the 3324 ft. level. Bailing been carried on at the Victoria Quartz, Lansell's 180, 222, and New Chum Consolidated. It will take a week or more to get the Lazarus plant in readiness. Then the shaft will have to examined. At Lansell's 222, the water is 18 ft. below the No 18 level, New Chum Consolidated - 18 ft. below, the 1910 ft. Plat.' Bendigo Advertiser- New Chum Mines - 5/7/1910 Page 3. Document from Albert Richardson Collection of mining history.gold, drainage problems, new chum drainage association, victoria quartz drainage problems, bendigo advertiser 5/7/1910 page 3, mr h v whitelaw, mines dept, inspector ross, victoria quartz, lansell's 180, 222, new chum consolidated, lazarus, albert richardson

Set of two ""Supplementary Running Journal", used by Conductors to enable the checking of tickets by Examiners. Was to be filled out prior to the commencement of journey and placed in the clip provided. Has space for date, punch mar, each fare time and Signature and Number. Both have punch marks .1 - Used 11-8-1935, possibly on a cable car, signed at R. Elliott, completed in pencil, car 476. Has part of a depot stamp in the bottom right hand corner. .2 - Form 3/134, Aug 66, used 8-1-69 by conductor No. 1267, ? from Malvern Depot, car 275. Completed in ink. Has the Malvern depot stamp on the rear. Re item 1 - Andrew Cox investigated this and found that W2 456 was at Coburg at the time and that though very fuzzy, could be Coburg depot stamp.trams, tramways, tickets, conductors, revenue journal, inspectors, cable trams, coburg depot

This stone Grinder or pounder was used as part of an indigenous grinding food preparation method, by the original inhabitants of the Kiewa Valley and its region. In conjunction with its grinding stone was used not only to grind seeds and but also to dig up eatable roots and leaves and served with the regions Bogong moth. This method of food preparation has survived in its basic form for centuries and is still used by master chiefs in modern eateries. This item has been registered with Aboriginal Affairs in Wangaratta, Victoria. Dhudhuroa elder Alan Murray has examined this tool, in Feb 2015, and said it was also used for sharpening axe heads as well as pounding food items. This item has a very significant historical and social aspect to it. Firstly it demonstrates the division of labour within a indigenous tribe. It was an era when the female had a definitive role within the family and the broader social indigenous tribal group of, gathering and preparing non animal(hunted) food. Hunted food was the domain of the initiated males of the tribe.Secondly it demonstrates the ability to fashion implements from raw materials(rock) into effective tools for the purpose of preparing a meal for human consumption. This was in an era where inter family and intra family participation in an indigenous tribal social protective environment was at a very high level. The Kiewa Valley/Mount Bogong region was an area where annual "get together" indigenous tribes for feasting, bartering and settling of disputes highlighting the importance of a regional gathering. Grooved stone, carved to a cylindrical shape with a relative pointed end tip one side (grinding or pounding end) and a rough other end (holding end} Made from Rhyolite stoneThere is a worn grove in the top side due to this tool being used for axe sharpening. indigenous, aboriginal, stone grinding, meal preparation, natural environment, pounding stone

Carole WILSON (1960- ) Born Canberra, Australia Carole Wilson is an artist living and working in Ballarat, Victoria where she is Associate Professor in Visual Arts and Deputy Dean in the School of Arts. Carole studied at both the Canberra School of Art and Philip Institute of Technology, now RMIT, in Melbourne and completed a PhD at the University of Ballarat in 2001. Her original training was in printmaking and she was a founding member of Jillposters, feminist poster group, in 1983 and worked at Another Planet Posters, Melbourne. For over a decade Carole Wilson has utilised discarded and salvaged materials such as floral carpets, maps and atlases to create works which engage with aspects of botany, garden history, travel and historical ornament. In recent years she has undertaken residencies in Italy, the US, Malaysia and The Netherlands which have all had a significant impact on her work. 'Woven Mantra: A Visual Expression of Meditation' is the title of Carole Wilson's thesis undertaken for a PhD - Visual Arts at the University of Ballarat in 2001. The research project examines the links between spiritual practice and visual art. More specifically, the research examines the relationships between repetition of a manta, and repetition of an image. 2010- Senior Lecturer in Visual Arts, Honours and Research Degrees Co-ordinator 2009-2011 Lecturer in Studio Practice and Postgraduate Co-ordinator 1999-2008 Lecturer in Visual Arts (Sessional) 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 artwork by Carole Wilson.art, artwork, carole wilson, wilson, university of ballarat, doctorate, arts academy, mixed media, monoprint, haberdashery

The Shire of Warrnambool operated toll gates from 1866 to 1869 as a means of revenue rai sing for road construction. There were three toll gate locations – on the main Belfast (Port Fairy) Road at Dennington Bridge, on the Woodford Road at Russells Creek and on the Geelong Road at the Allansford Bridge. The toll gates were unpopular and unprofitable for the lessees as travellers were able to avoid the tax by skirting around the gates. They had toll houses besides the gates. The printers of these tickets, Fairfax and Laurie were the lessees at the time of the Warrnambool Examiner newspaper. This paper, founded by Richard Osburne and John Wilkinson, and published with some gaps from 1851 to 1880, is a key source today of Warrnambool’s history at that time. These toll gates tickets are significant because:- 1. They date back to the 1860s and were only issued from 1866 to 1869. 2. They are the only artefacts we hold of the time when toll gates were operating in our local district 3. They are the best example of how the Shire of Warrnambool in its early history raised revenue for road building and maintenance This is a book of toll gate tickets for sale at the Main Belfast (Port Fairy) Road Toll Gate. The tickets (about 50) are yellow and in duplicate with provision to detach the outer ticket for the purchaser to keep. The tickets (two shillings and sixpence) are bound with an adhesive tape and the cover is mottled in pattern (brown and blue). There are also four loose tickets in blue (3 shillings). Back Cover: ‘136’ Tickets in book: ‘Shire of Warrnambool, Main Belfast Road, Toll Gate 2s 6d., Fairfax and Laurie, Printers’ Loose tickets: ‘Shire of Warrnambool, Main Belfast Road, Toll Gate, 3s.’ shire of warrnambool, toll gates

The Shire of Warrnambool operated toll gates from 1866 to 1869 as a means of raising revenue for road construction. There were three toll gate locations – on the main Belfast (Port Fairy) Road at Dennington Bridge, on the Woodford Road at Russells Creek and on the Geelong Road at the Allansford Bridge. The toll gates were unpopular and unprofitable for the lessees as travellers were able to avoid the tax by skirting around the gates. They had toll houses besides the tollgates. The printers of these tickets, William Fairfax and Henry Laurie, were the lessees at the time of the Warrnambool Examiner newspaper. This paper, founded by Richard Osburne and John Wilkinson, and published with some gaps from 1851 to 1880, is a key source today of Warrnambool’s history at the time. These toll gate tickets are significant because:- 1. They date back to the 1860s and were only issued from 1866 to 1869 2. They are the only artefacts we hold of the time when toll gates were operating in our local district 3. They are the best example of how the Shire of Warrnambool in its early history raised revenue for road building and maintenance. These are eleven toll gate tickets, ten for the Belfast (Port Fairy) Road toll gate and one for the Woodford Road toll gate. One is mounted on a Swintons store label (6 pence) and four are mounted on cardboard (2 shillings, sixpence, and two shillings and sixpence) and six are loose (three shillings, two shillings and sixpence and threepence). The Belfast Road tickets are yellow, green, blue and cream and the Woodford Road one is white. All have black printing. There is also an undated newspaper cutting with information on the toll gate tickets. Belfast Tickets: Shire of Warrnambool, Main Belfast Road, Toll Gate and the price Woodford Road: Shire of Warrnambool, Woodford Road, Toll Gate, 1s 6d Six of the eleven tickets also have ‘Fairfax and Laurie, Printers’ The sixpence ticket on card has the name R P Christian in ink written on the back of the card. shire of warrnambool, toll gates, r p christian, woodford road, main belfast road, swintons pty ltd

Optometrists are trained to examine eyes and prescribe visual aids such as spectacles. The optometer pictured in the media section of this document dates from the 1800s. The optometer was used with various lenses to determine the refraction of the eye. Refraction means the extent to which light is bent by an individual's eye. The result can determine how short-sighted or long-sighted they are, and the strength of spectacles required. In the second half of the 1800s, ophthalmologists also devised instruments to measure the separate components of vision. Dr Jules Badal developed the pictured instrument in 1876. It was based on an optometer invented by William Porterfield in 1759. The brass stands look as though they were made for an optometer to be table mounted, with heavy brass stands and designed to hold a cylindrical object securely as would be required by an optometer. Stands appear to have been very well made and very early probably early to mid 19th Century by a well known scientific instrument maker given there are no inscriptions or marks to indicate the time period made or maker it is difficult to assume significance to these items at this point in time as well as the items are incomplete.The brass stands believed to be for mounting an early Optometer an (ophthalmic instrument) Noneflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, stands for scientific instrument