Wilfred Clarence Busse, born in Chiltern in 1898, His family moved to the region during the gold rush and continued to reside in the area, purchasing land adjacent the Murray River. Busse completed his secondary education at Wesley College in Melbourne then studied law at the University of Melbourne. Busse went on to become a barrister, often in the chambers of Sir Leo Finn Bernard Cussen (1859-1933) a judge of the Supreme Court of Victoria. He worked most of his life in Chiltern as a Barrister and Solicitor and gained the unofficial title of historian of Chiltern, leaving behind several manuscript histories and a scrap book. Busse was an avid fictional writer and in 1930 he published two novels. Time spent on a Victorian station in his early twenties, as well as careful documentary research, informed the writing of his historical novels of bush life. "The Blue Beyond; A Romance of the Early Days in South Eastern Australia” and "The Golden Plague: A Romance of the Early Fifties." "The Golden Plague” won the T. E. Role gold medal for the best historical novel which went on to become a best seller. Busse often drew inspiration for his novels from his younger years living Chiltern. His passion for the region lead him to write “The History of Chiltern” which was published in a serial form in the Chiltern Federal Standard from 1922-1923. Wilfred Clarence Busse was a member of Chiltern Athenaeum (where this object is now held) up until his death in 1960, he is buried in the Barnawartha Cemetery. Likely Silverplate due to the intensity of the tarnishing of the metal, with indecipherable hallmarks on the handle, the method of production and the maker mark are unclear. The delicate swirling fernlike motif on this particular butter knife appears to be stylised in either Art deco the decorative arts and craft style favoured in Europe between 1880-1930's and less representational than examples of Australiana flora captured in silversmithing from the 1850's onwards produced in Australia. It is likely that those producing silverware at the time would be drawing on the decorative arts movement while incorporating elements of the natural beauty in the flora of their newfound environment into the silverware they produced.Wilfred Clarence Busse was of social significance to Chiltern, he helped to document the cultural story of the area in his published works "The Golden Plague" and "The Beyond Blue" by recounting his own upbringing in a bush lifestyle. He was a respected Barrister and was the unofficial historian of the Chiltern Athenaeum for many years. This butter knife represents a window into the domestic life of this person who was well loved in the area, and it continues its relationship to Busse as well as Chiltern by being held within the very collection he helped to maintain in his life. Domestic objects tell us the story about how people lived, objects of daily use hold particular meaning in that they can tell us the story of an individual, we feel closer to their life and habits, it humanises and connects us across time. Wilfred Busse ate food, he buttered his bread and he did it with a wonderfully decorated silver butter knife.A tarnished metal butter knife with engraved and embossed spiral fern details on the knife and handlesilverware, wilfred clarence busse, busse, chiltern, chiltern athenaeum, federal standard, t. e. role, "the blue beyond, a romance of the early days in south eastern australia”, "the golden plague: a romance of the early fifties.", "the golden plague”, wesley college, university of melbourne, sir leo finn bernard cussen, supreme court of victoria, gold rush, murray river, “the history of chiltern”, silversmithing, decorative arts, floral, flora, australiana, australian flora, arts and craft movement, australian silver, cussen, cutlery, butter knife, knife, silverplate

This overcoat was designed and tailored by Dominex, a company that sold clothing in high end department stores such as Myer and David Jones in the 1940s through to the 2000s. As pictured in the accompanying advertising, Dominex looked to produce clothes for women to “casually, confidently wear … the exquisite styling and superb tailoring of… Dominex Coats”. This sentiment was carried by the company for more than 60 years. Amanda Morgan, a director of the Dominex fashion label in an interview from 2003 said “Not everybody wants sass, or sex, or high fashion for that matter. Au contraire. Our customers will be stylish, sophisticated and womanly, but we don’t do shoestring straps or asymmetrical lines." Dominex was a label specialising in exceptional quality "traditional" dressing for corporate wear. Their clothes looked to provide women with a return to the tried and true values of elegant, unpretentious, classic dressing. "Our look is European-influenced," Morgan explained further. "Inspired by Armani, Valentino, Chanel and Escada. Suits have been specially dyed in France to ensure the perfect shade of ice blue, lemon, grey, or slate. Fabrics are natural, silk and linen. Shapes are stylish, with an almost 1930s feel; classic pants, silk shirts, structured overcoats with elegant-length” Returning to this overcoat, it has a label on the inside which reads “Pure Wool Material by Godfrey Hirst of Geelong”. Nowadays Godfrey Hirst produce flooring products and are the largest manufacturer and exporter of residential and commercial carpets in Australasia. They have expanded into hard flooring and left their fashion days behind. This overcoat serves as a useful example of a different time for the company; before they made the change to concentrating exclusively on flooring, when they produced fabrics to be tailored for the height of Australian fashion. This overcoat was purchased and worn by Joan Waller, aunty of the donor, Kim Rosenow. Kim said her aunty was from Ballarat but frequently shopped in Melbourne to keep up with the latest trends. Her aunty Joan fitted the target demographic of Dominex well, as she needed to look sophisticated and elegant at social events and work. Kim donated the overcoat to the National Wool Museum in 2021. Green singled breasted overcoat with a narrow overlap and one column of buttons for fastening. The overcoat features notched lapels of a medium width and two large buttons of a green & dark green marble. The overcoat has two semi-visible jetted pockets at the hips. Internally, the overcoat features a black silk lining for comfort. It also features a stitched patch on the left side of the opening which reads “Pure Wool Material by Godfrey Hirst of Geelong”. At the collar, another patch reads “Dominex REGD”. At the cuffs, the overcoat finishes in a type of gauntlet cuff which stretches back over 200mm. The decorative finish utilises no buttons and has thick piping to accentuate this design feature. The overcoat finishes with a simple invisible hem at the bottom.Wording, gold. Patch stitched at collar: “DomineX / REGD.” Wording, black. Patch stitched at left off opening: “PURE WOOL MATERIAL BY / Godfrey Hirst / OF GEELONG”dominex, fashion, women's corporate wear, godfrey hirst, overcoat, wool clothing

St Laurence O'Toole church and cemetery is located in a rural setting at 801/821 Creswick-Newstead Rd, Sandon. Originally a small wooden school (22’x14’) was erected in Sandon by Father Patrick Smyth (who was involved in the Eureka Stockade movement) in 1859. It was also used for Mass and became known as a chapel. In June 1882 tenders were called for the construction of a brick Church by the Castlemaine architect, T.F. Kibble, and it was built at a cost of 1000 pounds. The church was blessed by Archbishop Goold on 06 May 1883 and dedicated to St Laurence O'Toole. The brick building demonstrates original design qualities of a Victorian Rudimentary Gothic style, including the steeply pitched, parapet gable roof form, together with a central steeply pitched, gabled porch that projects slightly from the main gable end. Other intact qualities include the exposed brick wall construction, lapped galvanised corrugated iron roof cladding, minor gabled porch at the rear, small ventilation dormers nearby the roof ridgeline, series of stone steps that lead to the central porch with its double pointed door opening and vertical boarded doors, simple rose window in the main gable end, pointed windows, brick buttresses with double lower copings, and the light masonry detailing (the banding marking the floor level within, buttress copings, window and door surrounds and quoins, and the drip moulds).(Shire of Mount Alexander: Heritage Study of the former Shire of Newstead, 2000) The visually connected cemetery demonstrates important visual qualities formed by the regular rows of graves and cemetery architecture, and the grassed and treed rural landscape. It is a rare and substantially intact example of a Victorian Catholic Church with a cemetery in its churchyard. Many headstones and cemetery architecture, date from the 19th century and represent some fine examples of masonry craftsmanship. Some refurbisments occurred during the 1940s and in 2002 a major restoration project was undertaken from roof to footings, by a dedicated band of volunteers and trades people. Work was completed mid 2003 and in November 2003 St Laurence’s was re-dedicated with the celebration of Mass and a picnic tea. Colour photograph of a long drop toliet at the Catholic Church, Sandon, Victoria.sandon, sandon cemetery, st laurence o'toole catholic church, sandon

St Laurence O'Toole church and cemetery is located in a rural setting at 801/821 Creswick-Newstead Rd, Sandon. Originally a small wooden school (22’x14’) was erected in Sandon by Father Patrick Smyth (who was involved in the Eureka Stockade movement) in 1859. It was also used for Mass and became known as a chapel. In June 1882 tenders were called for the construction of a brick Church by the Castlemaine architect, T.F. Kibble, and it was built at a cost of 1000 pounds. The church was blessed by Archbishop Goold on 06 May 1883 and dedicated to St Laurence O'Toole. The brick building demonstrates original design qualities of a Victorian Rudimentary Gothic style, including the steeply pitched, parapet gable roof form, together with a central steeply pitched, gabled porch that projects slightly from the main gable end. Other intact qualities include the exposed brick wall construction, lapped galvanised corrugated iron roof cladding, minor gabled porch at the rear, small ventilation dormers nearby the roof ridgeline, series of stone steps that lead to the central porch with its double pointed door opening and vertical boarded doors, simple rose window in the main gable end, pointed windows, brick buttresses with double lower copings, and the light masonry detailing (the banding marking the floor level within, buttress copings, window and door surrounds and quoins, and the drip moulds).(Shire of Mount Alexander: Heritage Study of the former Shire of Newstead, 2000) The visually connected cemetery demonstrates important visual qualities formed by the regular rows of graves and cemetery architecture, and the grassed and treed rural landscape. It is a rare and substantially intact example of a Victorian Catholic Church with a cemetery in its churchyard. Many headstones and cemetery architecture, date from the 19th century and represent some fine examples of masonry craftsmanship. Some refurbisments occurred during the 1940s and in 2002 a major restoration project was undertaken from roof to footings, by a dedicated band of volunteers and trades people. Work was completed mid 2003 and in November 2003 St Laurence’s was re-dedicated with the celebration of Mass and a picnic tea. Colour photograph of a brick church at Sandon, Victoria.sandon, sandon cemetery, st laurence o'toole catholic church, sandon

St Laurence O'Toole church and cemetery is located in a rural setting at 801/821 Creswick-Newstead Rd, Sandon. Originally a small wooden school (22’x14’) was erected in Sandon by Father Patrick Smyth (who was involved in the Eureka Stockade movement) in 1859. It was also used for Mass and became known as a chapel. In June 1882 tenders were called for the construction of a brick Church by the Castlemaine architect, T.F. Kibble, and it was built at a cost of 1000 pounds. The church was blessed by Archbishop Goold on 06 May 1883 and dedicated to St Laurence O'Toole. The brick building demonstrates original design qualities of a Victorian Rudimentary Gothic style, including the steeply pitched, parapet gable roof form, together with a central steeply pitched, gabled porch that projects slightly from the main gable end. Other intact qualities include the exposed brick wall construction, lapped galvanised corrugated iron roof cladding, minor gabled porch at the rear, small ventilation dormers nearby the roof ridgeline, series of stone steps that lead to the central porch with its double pointed door opening and vertical boarded doors, simple rose window in the main gable end, pointed windows, brick buttresses with double lower copings, and the light masonry detailing (the banding marking the floor level within, buttress copings, window and door surrounds and quoins, and the drip moulds).(Shire of Mount Alexander: Heritage Study of the former Shire of Newstead, 2000) The visually connected cemetery demonstrates important visual qualities formed by the regular rows of graves and cemetery architecture, and the grassed and treed rural landscape. It is a rare and substantially intact example of a Victorian Catholic Church with a cemetery in its churchyard. Many headstones and cemetery architecture, date from the 19th century and represent some fine examples of masonry craftsmanship. Some refurbisments occurred during the 1940s and in 2002 a major restoration project was undertaken from roof to footings, by a dedicated band of volunteers and trades people. Work was completed mid 2003 and in November 2003 St Laurence’s was re-dedicated with the celebration of Mass and a picnic tea. Details of the exterior of St Laurence O'Toole Catholic Church, Sandon in Central Victoria.sandon, sandon cemetery, st laurence o'toole catholic church, sandon, sandstone, foundations

St Laurence O'Toole church and cemetery is located in a rural setting at 801/821 Creswick-Newstead Rd, Sandon. Originally a small wooden school (22’x14’) was erected in Sandon by Father Patrick Smyth (who was involved in the Eureka Stockade movement) in 1859. It was also used for Mass and became known as a chapel. In June 1882 tenders were called for the construction of a brick Church by the Castlemaine architect, T.F. Kibble, and it was built at a cost of 1000 pounds. The church was blessed by Archbishop Goold on 06 May 1883 and dedicated to St Laurence O'Toole. The brick building demonstrates original design qualities of a Victorian Rudimentary Gothic style, including the steeply pitched, parapet gable roof form, together with a central steeply pitched, gabled porch that projects slightly from the main gable end. Other intact qualities include the exposed brick wall construction, lapped galvanised corrugated iron roof cladding, minor gabled porch at the rear, small ventilation dormers nearby the roof ridgeline, series of stone steps that lead to the central porch with its double pointed door opening and vertical boarded doors, simple rose window in the main gable end, pointed windows, brick buttresses with double lower copings, and the light masonry detailing (the banding marking the floor level within, buttress copings, window and door surrounds and quoins, and the drip moulds).(Shire of Mount Alexander: Heritage Study of the former Shire of Newstead, 2000) The visually connected cemetery demonstrates important visual qualities formed by the regular rows of graves and cemetery architecture, and the grassed and treed rural landscape. It is a rare and substantially intact example of a Victorian Catholic Church with a cemetery in its churchyard. Many headstones and cemetery architecture, date from the 19th century and represent some fine examples of masonry craftsmanship. Some refurbisments occurred during the 1940s and in 2002 a major restoration project was undertaken from roof to footings, by a dedicated band of volunteers and trades people. Work was completed mid 2003 and in November 2003 St Laurence’s was re-dedicated with the celebration of Mass and a picnic tea. Brick church at Sandon, Victoriasandon, sandon cemetery, st laurence o'toole catholic church, sandon

St Laurence O'Toole church and cemetery is located in a rural setting at 801/821 Creswick-Newstead Rd, Sandon. Originally a small wooden school (22’x14’) was erected in Sandon by Father Patrick Smyth (who was involved in the Eureka Stockade movement) in 1859. It was also used for Mass and became known as a chapel. In June 1882 tenders were called for the construction of a brick Church by the Castlemaine architect, T.F. Kibble, and it was built at a cost of 1000 pounds. The church was blessed by Archbishop Goold on 06 May 1883 and dedicated to St Laurence O'Toole. The brick building demonstrates original design qualities of a Victorian Rudimentary Gothic style, including the steeply pitched, parapet gable roof form, together with a central steeply pitched, gabled porch that projects slightly from the main gable end. Other intact qualities include the exposed brick wall construction, lapped galvanised corrugated iron roof cladding, minor gabled porch at the rear, small ventilation dormers nearby the roof ridgeline, series of stone steps that lead to the central porch with its double pointed door opening and vertical boarded doors, simple rose window in the main gable end, pointed windows, brick buttresses with double lower copings, and the light masonry detailing (the banding marking the floor level within, buttress copings, window and door surrounds and quoins, and the drip moulds).(Shire of Mount Alexander: Heritage Study of the former Shire of Newstead, 2000) The visually connected cemetery demonstrates important visual qualities formed by the regular rows of graves and cemetery architecture, and the grassed and treed rural landscape. It is a rare and substantially intact example of a Victorian Catholic Church with a cemetery in its churchyard. Many headstones and cemetery architecture, date from the 19th century and represent some fine examples of masonry craftsmanship. Some refurbisments occurred during the 1940s and in 2002 a major restoration project was undertaken from roof to footings, by a dedicated band of volunteers and trades people. Work was completed mid 2003 and in November 2003 St Laurence’s was re-dedicated with the celebration of Mass and a picnic tea. Colour photograph of a red brick church in Sandon. sandon, sandon cemetery, st laurence o'toole catholic church, sandon

St Laurence O'Toole church and cemetery is located in a rural setting at 801/821 Creswick-Newstead Rd, Sandon. Originally a small wooden school (22’x14’) was erected in Sandon by Father Patrick Smyth (who was involved in the Eureka Stockade movement) in 1859. It was also used for Mass and became known as a chapel. In June 1882 tenders were called for the construction of a brick Church by the Castlemaine architect, T.F. Kibble, and it was built at a cost of 1000 pounds. The church was blessed by Archbishop Goold on 06 May 1883 and dedicated to St Laurence O'Toole. The brick building demonstrates original design qualities of a Victorian Rudimentary Gothic style, including the steeply pitched, parapet gable roof form, together with a central steeply pitched, gabled porch that projects slightly from the main gable end. Other intact qualities include the exposed brick wall construction, lapped galvanised corrugated iron roof cladding, minor gabled porch at the rear, small ventilation dormers nearby the roof ridgeline, series of stone steps that lead to the central porch with its double pointed door opening and vertical boarded doors, simple rose window in the main gable end, pointed windows, brick buttresses with double lower copings, and the light masonry detailing (the banding marking the floor level within, buttress copings, window and door surrounds and quoins, and the drip moulds).(Shire of Mount Alexander: Heritage Study of the former Shire of Newstead, 2000) The visually connected cemetery demonstrates important visual qualities formed by the regular rows of graves and cemetery architecture, and the grassed and treed rural landscape. It is a rare and substantially intact example of a Victorian Catholic Church with a cemetery in its churchyard. Many headstones and cemetery architecture, date from the 19th century and represent some fine examples of masonry craftsmanship. Some refurbisments occurred during the 1940s and in 2002 a major restoration project was undertaken from roof to footings, by a dedicated band of volunteers and trades people. Work was completed mid 2003 and in November 2003 St Laurence’s was re-dedicated with the celebration of Mass and a picnic tea. Colour photograph of bushland behind a church at Sandon, Victoria.sandon, sandon cemetery, st laurence o'toole catholic church, sandon, landscape, road

The homes were presented by the donors for the use of the Old Colonists' Association of Ballarat. The homes fulfil the original 1888 aim of 'aid and assist indigent or suffering old colonists' and 'to provide the shelter of a home for old and indigent pioneers of the gold fields, their widows, or anyone connected with the association'. From the minute books: "Mr and Mrs F.J. Williams, both natives of Ballarat, offered to build a cottage on the Association's ground at Perry Park [now Charles Anderson Grove] something after a style of the Hassell Homes. That offer was immediately followed by another from Mr S.W.J. Clark, a member of the Council. Both offers were promptly and gratefully accepted." The Old Colonists' Association Ballarat Inc. is a not for profit charitable organisation providing accommodation for elderly people. It manages over 40 Home retirement village at Charles Anderson Grove Ballarat. Accommodation is offered at significantly below market rates. It has been providing low cost accommodation to the elderly since the 1920s. The Association Council overseas the running of this facility on a voluntary basis. One of the first objectives of the Association was "to provide the shelter of a hose for those Pioneers of the Goldfields whom the reverses of fortune have deprived of the means of procuring the comforts of life in their declining years." The first home at Charles Anderson Grove was built in 1925. Before that time the Association provided relief for needy pioneers. relief included monthly monetary payments, loads of firewood, medical assistance and distribution of Christmas boxed of groceries to deserving pensioners, and in some cases payment of burial costs. == Purposes == ::a) The dominant purpose of the Association is to give public benevolent relief as a charity, but providing independent living accommodation in our Retirement Village for person in need who are over 65. ::b) To raise funds by membership subscription, commercial and residential rents, donations, gifts and voluntary work, for the purpose of providing direct relief of poverty, distress, misfortune or helplessness. ::c) To maintain the important heritage and ongoing viability of the Old Colonists' Association.Two black and white images of Old Colonists' Association homes from a Special Christmas edition of the Courier in 1925. The top image shows 'Clark Cottage', erected by S.W.J. Clark, and the lower image shows the 'Williams Cottage' erected by Mr and Mrs F.J. Williams. The cottages are locate in Charles Anderson Grove, Ballarat. old colonists' association ballarat, old colonists' club, charles anderson grove, clark cottage, williams cottage, perry park, s.w.j. clark, f.j. williams, old colonists' assocoation

This swimsuit belonged to Brighton local Joyce Fuller, nee Harries (1920-2018), who wore it at Dendy Beach in the 1950s. Ada of California was a Melbourne swimwear company founded in the early 1950s by Brighton locals Ada and Toni Murkies. Born in Poland in 1922, Ada was 17 when the Second World War reached her doorstep. She and her family were torn from their home by Soviet soldiers and sent to a brutal labour camp in Siberia as part of a series of mass deportations. In order to escape the horrific conditions of the camp, Ada and her sister Barbara joined the Soviet-backed Polish Army. During her time in the military she became close with a handsome young Jewish officer, Lieutenant Antoni Murkies, who later became her husband. After the war Toni was awarded 15 medals including the highest Polish military honour, the Virtuti Militari. Ada was awarded 10 medals, including the Order of the Cross of Grunwald. Emigrating to Australia as postwar refugees in 1948, Ada and Toni arrived in Melbourne with little to their name. Working initially in garment factories and building their connections, by the mid-1950s the couple were able to start a company of their own, with Ada designing the garments and Toni managing the business. Within ten years, Ada of California swimwear was being sold in department stores throughout Australia, and the Murkies family were able to build a permanent home of their own in Brighton. By the early 1980s they had acquired several other major labels, including Watersun. Visiting Brighton Historical Society in 2019, Ada recalled this particular swimsuit style to be a popular one, particularly with older women, as the cinched waist and pleated modesty skirt suited many body types. This was important to her, as she wanted women of all ages and sizes to look and feel good in her swimwear, and she devoted much time and attention to the fit and finish of the garments. When the company began introducing padded bras, such as the one in this swimsuit, Ada insisted on using lacy floral lining and a small ribbon rosette in the centre gore, to give women a sense of quality, femininity and care in construction.Blue one-piece swimsuit with waist tie and short finely pleated overskirt. Sleeveless with thin elasticised straps. Inbuilt padded underwire bra with label and pale pink ribbon rosette on centre gore. Fastens with back zip.Label: "Ada / OF CALIFORNIA / 38"swimwear, brighton, dendy street beach, ada of california, ada murkies, toni murkies, joyce fuller, joyce harries

Conrad Wood (Woody) graduated from the Victorian School of Forestry in 1957, and after postings with the Forests Commission Victoria (FCV) at Swifts Creek and Sirex surveys, he gravitated into the Forest Protection Division in Head Office in the early 1960s. He championed the setting up of proper contractual arrangements for aviation and was involved in implementing the first ongoing, organised contracts for firebombing in eastern Victoria in the 1960s. An early recipient of a prestigious Churchill Fellowship, Woody travelled extensively throughout 1969 in North America and Europe studying aviation in forestry and firefighting. Afterwards he was very active amongst the Churchill alumni. Woody had a passion for innovation and new technology and was instrumental in introducing new aircraft types and new approaches for forest firefighting and forest management. Amongst many other things, he played a major role in organising the trial of a RAAF C130 equipped with MAFFS for firebombing in south-eastern Australia in 1982-84, even piloting the lead plane. His inimitable style was crucial in successfully bringing together the cultures of the myriad organisations involved. Con advocated for the introduction of helicopters. He developed aerial fertilising and seeding techniques for forest management. He even managed to get involved in cloud seeding experiments for forest fire suppression and for improving water yield. Along with aviation, Conrad was passionate about literature, football, politics, food, drink, motorbikes, gardening and Glen Iris, to name a few. He was a committed campaigner on social justice issues and for many years read for vision-impaired people on public radio. He died in 2014. This painting of Woody by notable Australian artist Joyce McGrath OAM (also a Churchill Fellow) was done in the 1980s. Joyce asked Conrad to sit for this portrait which she planned to enter the Doug Moran National Portrait Prize. The portrait hung in Churchill House in Canberra, but when a new building was erected, it was returned to the artist/owner. The painting is now owned by Clare Harwood and is on permanent loan to the Forests Commission Retired Personnel Association (FCRPA) and is displayed at DEECA's Altona Museum.Painting of Conrad Wood by Australian artist Joyce McGrath OAMbushfire, bushfire aviation

Graham Masters is a potter based at Sweenies Creek, just outside Bendigo, Victoria who specialises 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, Victoria with Neville Wilson and Thomas Metcalf. He left Maldon to set up his own pottery at Sweenies Creek in 1984. (1.) (Judith Pearce). Built in 1869, the (former) Strathfieldsaye Shire Hall is one of The City of Bendigo's earliest surviving public buildings. Designed by George Steane and built by George Pallett in 1869 the Strathfieldsaye Shire Hall has aesthetic significance as a purpose built Shire Hall designed in the Free Classical manner. It is also of importance as an early example of the novel system of cavity wall construction. The building is largely intact and unaltered. Other important elements include the arched portico of the main entrance with brick arched features on either side; the brick quoining and dressings to the round arch windows; the three gabled roof; and the matching chimneys that reinforce the symmetrical design. The Hall has social significance as a temporary schooling facility in the 1870s and as a flood refuge in 1889. The Strathfieldsaye Shire Hall is a brick building designed in the Free Classical manner. This style was favoured by the Public Works Department for a number of public buildings including Shire Halls and courthouses. The form includes a central taller volume flanked by matching smaller gables. In the case of the Shire Hall these would be occupied by the Shire Secretary and Shire Engineer whilst the larger volume was the council chamber. The portico at the front is designed with a flat arch in the centre and matching smaller arches each side. The face red brick is unadorned apart from a plain string course at the roof springing point, brick quoining and dressings to the round arch windows. There are matching chimneys that are located to reinforce the symmetrical design and the original roof is believed to have been slate but is now corrugated iron. Large wheel thrown ceramic platter with a shallow well, broad flaring ledge and raised on a high foot rim. Rim decorated with slab rolled gum trees protruding on centre left and right sides of plater. which reflect the low relief image of trees and the Strathfieldsaye Shire Hall on the surface of the plate. Glazed with golden brown and cream. Front centre top; 'Shire of Strathfieldsaye'. Front lower centre '1866 - 1991 - 125 Years'. Signed 'G Master / 1991' on rim centre right. Reverse; signed 'G Master' / 1991. Bendigo Pottery stamp.shire of strathfieldsaye, bendigo pottery

Steering Gear Operation: All steering was done from the stern of the ship and a steering mechanism was used to connect the rudder to the ship's wheel, often housed in a box-like construction behind the helm. The rudder was, in turn, mounted on a pintle or stern-post held in place by gudgeon's (sockets). The steering was activated with lines attached to the blocks on the two threads (half left hand, half right hand) of the steering gear. As the helmsman turned the helm in the direction in which he wished the ship to travel, the central screw of the steering gear, which was attached to the back of the helm, turned horizontally. This caused the rods on either side of the gear to move backwards or forwards at the same time, which then turned the pintle and rudder to port or starboard. A brief history of the Newfield (1889-1892): - The Newfield was an iron and steel sailing barque of 1306 tons, built in 1889 by Alexander Stephen & Sons Dundee (Yard No 89) for Brownelles & Co., Liverpool. The Newfield was on a voyage from Sharpness to Brisbane on 29 August 1892, with a cargo of 1850 tons of fine rock salt. The Cape Otway light had been sighted in squally, bumpy weather, but the captain was under the impression it was the King Island light. The ship’s chronometers were wrong, and orders were given to tack the ship away from the light, which headed it straight for the cliffs of the Victorian coast. The vessel struck rocks about 100 yards from shore, and five feet of water immediately filled the holds. The captain gave orders to lower the boats which caused a disorganised scramble for safety among the crew. The panic resulted in the deaths of nine men, including the captain when they drowned after the boats capsized in heavy seas. The seventeen men who regained the ship decided to wait until daylight and rowed to Peterborough in the ship’s jolly boat and gig after locals had failed to secure a rocket apparatus line to the ship. The Marine Board inquiry found the wreck was caused by a "one-man style of navigation" and that the captain had not heeded the advice of his crew.The Newfield wreck and its collection of recovered items are heritage listed and are regarded as historically significant. They represent aspects of Victoria’s shipping history and their potential for us today to interpret the maritime history and social themes of the time. The assemblage of various Newfield artefacts held in the Flagstaff Hill Museum is not only significant for its association with the shipwreck but helps archaeologists when examining the relationship between the objects to better understand our colonial marine past.Ship’s steering gear, cast iron, consists of a long round metal rod into which gears have been machined. The thread of the gear from one end to almost the centre winds in a left hand direction while the thread of the gear from the other end to almost the centre winds in the right hand direction. Each end of the rod has a metal coupler attached and two narrower round rods are also attached to the coupling, one each side of the gear rod, the same length as it and parallel to it. Two more ‘S’ shaped couplers are joined to the gear rod. Each of these have an opening through which the gear rod is threaded and can move along. There is another opening in these couplers through which one of the narrower rods is threaded. The other end of this coupler has half length metal rod attached to it by a bolt through the ring at the end of the rod. One end of the steering gear still has the brass hub of the ship’s wheel solidly attached. The hub no longer has its wooden spokes but the ten holes for the spokes can be easily recognised.Noneflagstaff hill, maritime museum, shipwreck coast, warrnambool, peter carmody, carmody, newfield, shipwreck, peterborough, south west victoria, rocket, rocket crew, shipwreck artefact, flagstaff hil maritime museum, steering, steering gear, screw steering gear, sailing ship

B&W photo of the Johns family of Selby. Photo appears to date from c. 1930s. They are outside, with a hedge directly behind them. L-r, Martha Johns, a young woman sitting in a wooden chair. She is wearing a floral summer dress with a dark bow at the neckline. Martha was born in 1916. A young man, William David (Dave) Johns, stands, wearing a three-piece suit and tie. His left hand rests on the back of the chair of the next woman. This older woman, Alice, sits at a small table and has her left hand resting on an open book. She wears a dark skirt, light patterned blouse, and dark cardigan flecked with a lighter colour. She is wearing a necklace and she has round-framed glasses. Another young man, Ernest Johns, stands to her right. He is also dressed in three-piece suit and tie. He has his right hand placed on his right hip. A young woman, Florence Johns, sits in a wicker chair. She is wearing a dark outfit with a pale collar. Her hair is parted on the side and braided into two plaits. An older man, William John Johns, sits in a wooden chair. He is wearing a three-piece suit and tie. His waistcoat buttons up high on his chest, more of an old style suit than the two young men. He has grey hair and a moustache. All members of the group are smiling slightly. The photo was taken at the family farm, Hillandale, in Selby. Information provided by Lyn Kershaw, daughter of Dave Johns.

This photograph was taken just a few years after the District division of the 'Melbourne District Nursing Society and After Care Hospital' separated in 1957. The District Division then became known as 'Melbourne District Nursing Service'. They moved into their Headquarters at 452 St. Kilda Road, Melbourne which was used as the Nurses Home as well as for Administrative purposes. The Sisters left from there each day to do their rounds and returned to do their book work before retiring at the end of the day. This photograph depicts the winter uniform worn at this time; a grey felt beret which had a red Maltese cross attached in the centre; a grey cotton frock and red cardigan, and a grey woolen coat, some with a grey belt, worn over their uniform.In 1885, 50 years after Melbourne was founded, it was recognized that nursing care was needed for the sick poor in inner Melbourne. The Melbourne District Nursing Society (MDNS), the first Society of its kind in Australia, was founded in February 1885 with one Trained nurse (Nurse), and a second employed six months later, working in the now CBD ie. from Spencer Street to Spring Street and from Victoria Parade to Flinders Street. From its inception the Society was at the forefront of health care. They provided high quality trained nursing care; educated their patients in the curing and prevention of disease; teaching the importance of cleanliness and good nutrition, both by verbal instruction and demonstration, even supplying soup and milk when needed. At that time they walked the streets and lane ways amid the slums of inner Melbourne carrying their nursing bag containing lotion and dressings, and supplying equipment on loan, such as feeding mugs, bedpans, air-cushions, splints, bed cradles feeding mugs and providing clean bed linen and nightdresses as necessary. Trained midwives began home births in August 1893 taking midwifery bundles and providing clothes for the babe and mother as needed. The Society were pioneers in recognizing the need for premises where patients too ill to be in their own home, but not ill enough to go to hospital, was needed, and the Society built, then opened, the After-Care Home, (later called After-Care Hospital), in 1926, for their patients, and patients from Hospitals. Many children were nursed there, some long term during the Polio epidemic; the Society employed two School Teachers. The Society now ran two divisions, the After-Care with its own Trained nurses (Sisters) and nurses and the District division. The Society were the first in Melbourne, in early 1928, to recognize some patients leaving the After-Care, and many at home, needed further social care and they set up ‘Almoners’ from their Committee to visit these patients and be intermediaries in getting them social assistance. It was late the following year before the first training of Almoners took place in Melbourne. In 1930 the Society employed a full time kindergarten teacher to visit poor children in their homes. That year the Society were pioneers in opening an Ante-Natal Clinic at the After-Care, setting a high standard with equipment, keeping records and providing leaflets with instructions in how to keep healthy during pregnancy, what complications to look for and what to do when labour commenced. In 1934 the Society were pioneers again when they opened the first Women’s Welfare Clinic in Melbourne giving advice on birth-control, at first attended by their own patients, but then accepting patients from public hospitals until their own clinics were opened. A Social Service Officer was employed at the After-Care who successfully gained better housing from the Housing Commission for families living under unsuitable conditions. In 1957 the Hospital and Charities Commission decided to take over the After-Care Hospital, so the 'Melbourne District Nursing Society and After-Care Hospital' separated and the 'Melbourne District Nursing Service' was formed, setting up Headquarters at 452 St. Kilda Road. Royal patronage was granted in 1966, now becoming the Royal District Nursing Service, (RDNS). Liaison with public hospitals began with a District nurse attached to a hospital visiting patients before going home. Education continued to be at the forefront of District with research by RDNS Educators and programs being implemented. Initial visits not only assessed the specific nursing situation but the situation as a whole. Their patients ranged in age from babes, children, adults to the elderly and referrals were taken from Hospitals, General Practitioners and allied Health facilities. Some of the care the Sisters provided is as follows: – Post-Natal care given to mother and babe, Wound Care following various types of surgery, accidents, burns, cancer, leg ulcers etc. Supervising and teaching Diabetic Care, including teaching and supervising people with Diabetes to administer their own Insulin, and administering Insulin to those unable to give their own injections. Administering other injections and setting up weekly medication boxes. The Sisters performed Catheterizations on adults suffering from conditions such as Quadriplegia, Paraplegia, Multiple Sclerosis (MS), Motor Neurone Disease (MND) and Guillan-Barre Syndrome, and when required at school on children for e.g. those with Spina Bifida. The Sisters visited those requiring Cystic Fibrosis support and care; those requiring Haemo-Oncology care, including visiting children at school; those requiring Home Enteral Feeding care, and those requiring IV therapy at home and home Dialysis. Palliative Care was given including pain relief with the use of syringe drivers, personal care as needed, and advice and support to both patient and family. The Sisters provided Stoma management to those needing Urostomy, Ileostomy and Colostomy care and those requiring Continence care. HIV/AIDS nursing care was provided; visits to Homeless Persons were made. Personal care was given to patients ranging in age and with varying mobility problems, such as Amputees, those with MS, MND, Guillan-Barre Syndrome, Poliomyelitis, Quadriplegia, Paraplegia, Acquired Brain Injury, to those following a Cerebrovascular Accident (Stroke), those with severe Arthritis and those with a form of Dementia. When necessary the elderly were assisted with personal care and advice given on safety factors with the use of hand rails, bath or shower seats, and hand showers. Rehabilitation with an aim towards independence remained at the forefront of the Sister’s minds and when possible using aids and instruction on safe techniques enabled the person to become fully independent. All care included giving advice and support to the patient and their Carers. The Sisters liaised with the persons Doctor, Hospital and allied Health personal when necessary.Black and White photograph of seven (some partly hidden) Melbourne District Nursing Service (MDNS) Sisters wearing full winter uniform of grey berets and grey long coats, with lapels, over their uniform which is partly seen on one Sister. Some are on a path, and others walking to the open metal gate; one Sister is between two tall, square, dark grey concrete columns. Looking at the photograph, two Sisters have turned left onto the footpath. These two Sisters are carrying oblong leather type bags in their left hand and the Sister between the columns is carrying a white soft material type bag. The Sisters seen have short dark hair under their berets. White plaques with the black numbers '452' are attached to the top 1/3 of each column and an arched grey concrete fence with brick top runs to the left. Behind this are two medium size leafless trees. A metal spiked fence runs from the column to the right of the photograph. Attached to this, near the column, is a white plaque with 'Melbourne District Nursing Service Headquarters' written in black. In the rear is a light grey two story Italian style building with a polygon shaped bay window to the left on the ground floor. It has a long window in the front and another on the side. To the right of this is a veranda with two concrete arches, separated by a roman column. A door can be seen behind the first arch. Above the bay window on the second story are three long arched windows, and to the right of that an arched opening with a roman column separating the partially seen next window. A concrete balustrade is seen at the front of the second story.melbourne district nursing service, headquarters, mdns, nurses, nurses uniforms, royal district nursing service, rdns

This sepia digital image shows the Austin car which was donated to the Melbourne District Nursing Society (MDNS) in !937 by the Rotary Club of Victoria. It was used by the Matron of the MDNS District Division to visit patients weekly. The photograph is taken outside the MDNS Headquarters at 39 Victoria Parade, Collingwood. The photograph appeared along with an article in The Age Friday May 7, 1937. The photograph appeared in the MDNS Annual Report of 1937. On page 8, mention is made of J.D Johnston Esq, President of the Rotary Club of Victoria, presenting the Austin vehicle to MDNS. Royal District Nursing Service (RDNS) has had various modes of transport over the last 130 plus years. At first, from 1885 as Melbourne District Nursing Society (MDNS), their Trained nurses (Nurses) walked the streets and lane ways amid the slums of central Melbourne. As the Society expanded public transport was used, and bicycles were bought by the Society in 1903 and used in inner areas until 1945. During the Spanish flu epidemic, in 1919, MDNS appealed for assistance to procure Motor vehicles so the Nurses could visit an influx of cases. Through trusts, grants and donations four 'Ford T Model' cars were procured which enabled the Nurses to triple their visits. Through constant use the cars were in such a poor state two were sold in 1922 and the others later. In 1922-23 three Peugeot cars were purchased and a woman Chauffeur, 'Miss Sword', was employed who lived in the Home and was also in charge of the garage. MDNS was expanding and a Motor Auxiliary was formed in 1929 to take the Trained nurses (Sisters) to patients, and some Sisters used their own cars; even a motorcycle was used by one Sister in 1933. All these forms of transport were intermingled and in the early 1950s, and now as Melbourne District Nursing Service, seven Ford Prefect cars were bought followed by twelve Ford Anglia cars 1955. Having received Royal patronage; the now Royal District Nursing Service (RDNS) had its own fleet of Holden vehicles by the mid 1960s and the Motor Auxiliary ceased operating in 1971 as by then all staff employed were required to have a driving licence. Seat-belts had been introduced to Victoria in 1959 and District fitted them to their cars from 1962, even though they did not become compulsory until 1970. The Holden vehicles were replaced with grey Holden Torana vehicles. After several years the fleet was changed to white Toyota Corolla vehicles. The Melways Directory of maps was introduced in 1966, which was a boon to the Sisters, though it was a few years before it went beyond Seville, so a large paper map was used by the Sisters visiting patients in the areas passed Seville. By 2009 there were 598 cars in the fleet and the Sisters travelled 9 million 200,000 kilometres – this is equivalent to 12 trips to the moon and back. In the foreground of this sepia photograph is a side-on view of a four door 1937 style small grey car with a nose shaped bonnet, parked on the road beside the kerb with the headlight facing to the right of the photograph.The bonnet joins onto a straight windscreen which adjoins a slightly curved hood running back along the car. This adjoins a back window which joins onto the sloping rear body of the car with a small protruding boot. Windows are seen above the body work of both facing doors and a smaller sloping window above the body work and rear wheel arch. On the drivers door is a Maltese cross and the words "Melbourne District" written above the Maltese cross and "Nursing Society" below it. In front of this door the body work forms a wheel arch and the headlight is attached between this body work and the bonnet. Rubber tyred wheels with solid hub caps are seen below each wheel arch. On the footpath, behind the bonnet of the car, four Melbourne District Nursing Society (MDNS) Trained nurses (Sisters) are standing. They are wearing dark grey coats over their grey uniforms with white collars, and brimmed grey hats with a Maltese cross on the light coloured headband. The Sister on the right has her left hand gripping the handle on top of her oblong nursing case. A metal spiked fence is behind the Sisters, which runs to the left into one of the two square concrete columns which sit either side of a path. A hedge is behind the fence, and behind this part of a building with three arched windows can be seen. A white plaque is attached to the fence near one of the columns.mdns, melbourne district nursing society, rotary club of victoria, mdns transport, rdns, royal district nursing service, rdns transport

Two Royal District Nursing Service (RDNS) Sisters are assisting a young male patient who has a movement disorder, to change position in his reclined chair.The Trained nurses (Nurses) of the Melbourne District Nursing Society (MDNS), later known as Royal District Nursing Service (RDNS), visited patients in their home and gave best practice care in many fields of nursing, and to people of many cultures, throughout its 130 years of expansion. Initial visits not only assessed the specific nursing situation but the situation as a whole. Their patients ranged in age from babes, children, adults to the elderly and referrals were taken from Hospitals, General Practitioners and allied Health facilities. Some of the care the Trained nurse (Sisters) provided is as follows: – Post-Natal care given to mother and babe, Wound Care following various types of surgery, accidents, burns, cancer, leg ulcers etc. Supervising and teaching Diabetic Care, including teaching and supervising people with Diabetes to administer their own Insulin, and administering Insulin to those unable to give their own injections. Administering other injections and setting up weekly medication boxes. The Sisters performed Catheterizations on adults suffering from conditions such as Quadriplegia, Paraplegia, Multiple Sclerosis (MS), Motor Neurone Disease (MND) and Guillan-Barre Syndrome, and when required at school on children for e.g. those with Spina Bifida. The Sisters visited those requiring Cystic Fibrosis support and care; those requiring Haemo-Oncology care, including visiting children at school; those requiring Home Enteral Feeding care, and those requiring IV therapy at home and home Dialysis. Palliative Care was given including pain relief with the use of syringe drivers, personal care as needed, and advice and support to both patient and family. The Sisters provided Stoma management to those needing Urostomy, Ileostomy and Colostomy care and those requiring Continence care. HIV/AIDS nursing care was provided; visits to Homeless Persons were made. Personal care was given to patients ranging in age and with varying mobility problems, such as those with MS, MND, Guillan-Barre Syndrome, Poliomyelitis, Quadriplegia, Paraplegia, Acquired Brain Injury, to those following a Cerebrovascular Accident (Stroke), those with severe Arthritis and those with a form of Dementia. When necessary the elderly were assisted with personal care and advice given on safety factors with the use of hand rails, bath or shower seats, and hand showers. Rehabilitation with an aim towards independence remained at the forefront of the Sister’s minds and when possible using aids and instruction on safe techniques enabled the person to become fully independent. All care included giving advice and support to the patient and their Carers. The Sisters liaised with the persons Doctor, Hospital and allied Health personal when necessary.A coloured photograph showing two Royal District Nursing (RDNS) Sisters with a young male patient who is lying in a reclined chair. The Sister standing on his left is smiling; she has short straight dark hair, and is wearing a RDNS light blue apron over her royal blue dress and darker blue long sleeve cardigan. The Sister on the right hand side of the patient's chair is laughing. She has blonde hair and is slightly bent over the chair as her left hand is supporting his left leg. She is wearing the RDNS summer uniform of the day - a white short sleeve blouse under a royal blue V neck tunic style frock. Her right arm is bent and resting on top of the patient's chair and pillow. The young man has short dark hair and is smiling and looking towards the left of the photograph. He is wearing a dark blue long sleeve top and his right arm is extended toward the Sister on the left hand side of the photograph. His legs are over his coverings with his left leg bent at the knee. He is wearing light coloured pants and has a pink and white striped slipper on his foot. His pillow is white, and coverings seen are blue and white check, white, and a pale pink sheepskin. A wood board wall is in the background. A vase of flowers are standing on the part of a round low table that can be seen in the right hand rear corner. A pale lilac wall can be seen on the right hand side. A small section of a dark patterned carpet can be seen.royal district nursing service, rdns, rdns uniform, rdns patient care

The RDNS Sister is giving Post Natal care to the Mother and babe. She is wearing her RDNS summer uniform which is a white short sleeve blouse under a royal blue V necked tunic dress with the RDNS insignia emblazoned on the upper left.In August 1893 Melbourne District Nursing Society (MDNS), commenced a Midwifery Service with Nurse Fowler, who was trained in General nursing and Midwifery nursing, being the first Midwife employed. Mothers were assessed for suitability of a home birth or if they required delivery at the Women’s Hospital. The Midwife worked in conjunction with the Doctors at the Women’s Hospital and if a complication arose the patient was transferred to their care. Following birth they gave Post-Natal care to both the mother and babe. In 1898 the service ceased due to lack of funds but recommenced in 1906, and in the August 1925 Annual Report the number of MDNS home births was recorded at 478. MDNS built the After-Care Home and an Anti-Natal Clinic was opened in 1930. The last Ante-Natal clinic was held there in December 1951 and the MDNS Midwifery service ceased in February 1952. In 1964 MDNS commenced a Post-Natal Service with general and midwifery trained MDNS nurses working from a room at Footscray Hospital, and visiting early discharged Footscray Hospital maternity cases at home. Now as Royal District Nursing Service (RDNS), this service was extended to a Domiciliary Infant and Maternal Care, (DIMC) service operating from most Centres and visiting early discharged, often 24 hours after birth, maternity cases from hospitals to give post-natal care to the mother and babe.Black and white photograph of a Royal District Nursing Service (RDNS), Sister visiting a family in their home. The family are sitting on a dark coloured couch. From left to right:- The father, who has short dark hair and is wearing a light coloured patterned shirt and dark pants, is looking at his young blond haired daughter who is sitting on his right knee. She is wearing a light coloured top and darker coloured bib and brace pants. The mother, who has long dark hair and wears glasses,.is next to him and is smiling and looking towards the RDNS Sister. She is wearing a long sleeve buttoned grey top and darker coloured slacks, and is holding her babe in her lap with both hands supporting the baby's head. The babe has sparse dark hair and is wrapped in a white bunny rug. Next is a young girl, who has short dark hair and is wearing a light coloured top, darker coloured slacks and has her hands on the top of her left striped sock. Seated on the far right is the RDNS Sister, who has short straight dark hair, and has her face turned towards the child and mother. She is wearing her RDNS uniform of a short sleeve white blouse under a dark V neck tunic style dress which has the RDNS insignia on its upper left. The Sister has a pen attached to the V neck of the tunic and is holding a note book in her hands. She has a watch with a dark band attached to her left wrist. In the background part of a wooden and glass door can be seen and a patterned wallpapered adorns the wall behind the couch.Photographer stamp. Quote No EA 28melbourne district nursing society, mdns, royal district nursing service, rdns, dimc, mdns midwifery, rdns domiciliary infant and maternal care

Set of 60 A3 sheets, comprising a folder of GA Drawings – from Keith Kings, held with black plastic semi elastic black clip or retaining strip. All drawings have been scanned (about 50% were already scanned, e.g. the first sheet) and placed on the Depot Tramcar Mechanical component listing. Order of drawings as received has been retained and listed as follows. R1146 – General Data of Tramcars – 24-9-1924 R11-927 – SW6 and W6 – Advertising Panel Location R11-928 – W7 Advertising Panel Location R9529 – Class W7 GA List of Tramcar GA Arrangement Drawings dated 13/12/1974 Cover sheet – “Melbourne and Metropolitan Tramways Board – Electric Tramcars Index - lists Class, numbers and Drawing Nos. R1266 – Cable Train – Dummy and 4 wheel trailer R3799 – Cable train – Dummy & 4 wheel trailer R3422 – Cable train – dummy & Bogie trailer PMTT 161 – Combination Car R3076 – Class A – Combination Car Dropped ends PMTT – 163 - Bogie car with dropped centre compartment PMTT – 700 – Bogie Car with dropped centre compartment and longitudinal rattan saloon seats R3078 – Dropped Centre bogie car – Maximum Traction R4571 – Dog Transport Car – class C converted PMTT 162 – Summer car (old type) – F class PMTT 164 – Summer car – G class R3079 – Class L R7416 – Class L PMTT 160 – Bogie Closed Car – (O class) R9787 – Class G – All night tram style R3077 – Class G – All night tram style R8999 – Class A tramcar Coburg type Original – S class R5963 - Class A tramcar Coburg type Original – S class (modified) R3093A - Class T R4382 – Class T arrangement for one-man operation Car 178 R3756A – class U R2461 – class W – W class converted to W2 R2460 – class W1 R2459 – class W2 R4646 – class SW2 R9525 – class SW2 R3071 – class W3 R3812 – class W4 R4678B – class W5 R9601 – class CW5 R5818 – class SW5 R12-052 – Class W5 – sliding door conversion R4771A – class SW6 (reversible seats) R6408A – class SW6 (Tubular Fixed Seats) R8617 – class SW6 and W6 R9529 – class W7 R10-129 – Class VR car R8332 – PCC type car R2462 – class X R1811 – types of electric cars – class X Safety car R2463 – class X1 R3080 – Class X2 R2464 – class Y R2465 – class Y1 R10-946 – All electric tram – 1041 R11-333 – class Z1 and Z2 trams R11-387 – class z outside dimensions R11-563 – Class Z tram (101-115) R11-580 - class Z3 tram R12-062 – Class A tram T4000-12 – double ended 6 axle articulated LRV – a possibly arrangement R6928 – PCC Car – double end operation R9980 – Freight car 17 – former V class passenger car See Reg Item 5639 for a similar document.trams, tramways, drawings, tramcars, cable trams, tramcar design, preston workshops, mmtb

Built in 1878, the orange polychromatic brick structure replaced a slab building which had been used since 1951. The building has changed little with its handsome bricks buttressed on both sides, a slate roof and a Celtic cross on top of the front gable. The carved wooden pulpit and 18 pews are original. The cathedral-style ceiling is fully lined with tongue-and-groove pine boards and the floor is also pine. The walls have arched oblong leadlight windows. In 1977 the congregaton decided not to join the Uniting Church, whcih amalgamated some Presbyterian churches with all the Methodist and Congregational churches in Australia. Together with the store and school, the church is one of Kangaroo Ground's three public buildings. Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p91 The small Presbyterian church in Main Road, Kangaroo Ground, has been a spiritual centre for more than a century. Built in 1878, the orange polychromatic brick structure replaced a rude slab building, which had been used as both a church and school since 1851. Earliest settlers, who were Scottish farmers, had worshipped together since 1841 in a barn owned by farmer James Donaldson and led by a layman called Smith.1 However, from 1843, the Reverend Peter Gunn conducted church services. Prominent early church members include the Donaldson, Bell and Cameron families. In 1851, Samuel Furphy (father of author Joseph) built their first church building, a 30 feet x 18 feet (9m x 5.5m) slab structure on half an acre (0.2ha) donated by Mr Donaldson. Conditions could be very uncomfortable in extreme weather.The green slabs of timber and sapling logs, covered partly with mud, had centimetre-wide cracks, allowing rain and wind through, when not blocked out by folds of paper.2 However this did not deter the first couple marrying there in 1857: John Wilson of Nillumbik and Christina Macpherson of Christmas Hills. The Reverend Peter Gunn seldom visited so it was usually left to Andrew Ross, the settlement’s first teacher and founder of the newspaper The Evelyn Observer, to lead the divine services instead.3 In 1877 the settlers raised £355/19/- and hired architect, Charles Maplestone and builder, Mr Self, to construct today’s church building. Each family rented a pew or pews for ten shillings a half-year; they also paid quarterly subscriptions for the minister’s stipend.4 It was not until 1886 that the church celebrated its first wedding, that of John Bell (junior) from Violet Bank and Elizabeth Charlton of Cunis Nillen. The Sunday School’s first recorded meeting was also held that year. In 1892 a weatherboard vestry was built, and the following year John Bell donated a church bell, which the fire brigade used as a warning for several years. Conditions have varied greatly during the century. In 1893 the Reverend Darroch had to travel more than 2000 miles (3220km) to attend to his scattered parishioners. Then in the Depression, the minister Mr Brown, subsisted only on lodgings with no stipend. The Sunday School ceased for many years because of the small population, but reopened in 1949. The building has changed little with its handmade bricks buttressed on both long sides, a slate roof and a Celtic cross on top of the front gable. The carved wooden pulpit and 18 pews are original and in fine condition. The cathedral-style ceiling is fully lined with tongue-and-groove pine boards and the floor is also of pine. The walls have arched oblong leadlight windows. One window has stained glass commemorating Mrs Jessie Agnes Cameron and her ancestors – the pioneering Bell family. It depicts The Sower because the family comprised farmers who came to a strange land to sow the seeds of their faith as much as their crops. Thistles signify their Scottish ancestry and the pigeons are a symbol of Pigeon Bank, the Kangaroo Ground farming property where Jessie Cameron was born.5 Other historical ties are seen on two marble memorial tablets and carved wooden chairs dedicated to former members. The Church still has the original Bible with gold edged paper, presented by the women of the congregation in 1871, although it is no longer used. In 1977 the Presbyterian congregation decided not to join the Uniting Church, which amalgamated some Presbyterian churches with all the Methodist and Congregational churches in Australia. Together with the store and school, the church is one of Kangaroo Ground’s three public buildings.This collection of almost 130 photos about places and people within the Shire of Nillumbik, an urban and rural municipality in Melbourne's north, contributes to an understanding of the history of the Shire. Published in 2008 immediately prior to the Black Saturday bushfires of February 7, 2009, it documents sites that were impacted, and in some cases destroyed by the fires. It includes photographs taken especially for the publication, creating a unique time capsule representing the Shire in the early 21st century. It remains the most recent comprehenesive publication devoted to the Shire's history connecting local residents to the past. nillumbik now and then (marshall-king) collection, kangaroo ground presbyterian church

The Eltham Community and Reception Centre was Australia's first public mud-brick building. Commissioned in 1977 by Eltham Shire Council, led by Shire president (and architect) Robert Marshall, architects Whitford and Peck were asked to design a multipurpose facility in mud-brick and timber. The official opening was performed by the Hon. R.J. Hamer; E.D., M.P., Premier of Victorai on Saturday, April 22, 1978. Architects: Whitford & Peck Pty Ltd Quantity Surveyor: D.J. Cant & Associates Structural Civil Engineers: Charlett & Moore Pty Ltd Landscape: Peter Glass, Dennis Edwards Mech Elec: Lobley Treidel & Partners Pty Ltd Acoustics: Riley Barden & Kirkhope Builder: L.U. Simon Pty Ltd Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p177 The Wiggles performed there, so has the ABC’s Play School. New citizens have made their vows, volunteers have been honoured, school children have performed, weddings celebrated and people mourned at funerals. Since 1978 the Eltham Community and Reception Centre at the corner of Pitt Street and Main Road, has provided a beautiful and quintessential Eltham environment for people from all over Melbourne. Recognised as Australia’s first public mud-brick building, the centre was built partly on the site of the parsonage of the former Methodist Church (now the Uniting Church).1 Commissioned by the Eltham Council headed by President Robert Marshall, architects Whitford and Peck were asked to design a multipurpose facility in mud-brick and timber. Following public consultation, it was agreed to build a centre for dances, exhibitions, films, plays or concerts. The results – at a cost of around $620,000 – captured the Eltham rustic style. The building – in soft tones of mud-brick and timber and immense floor-to-ceiling windows – overlooks the Diamond Creek and sporting fields. Eltham’s strong artistic heritage is reflected in the centre. Although the lighting is not ideal for a gallery and labels cannot be placed on walls, the centre hosts the Nillumbik Art Awards and displays around ten to 20% of the Nillumbik Shire Art Collection, usually for around a year at a time.2 On permanent display, close to the entrance, is local artist Clifton Pugh’s White Choughs in the Landscape. Further to the right is the Walter Withers Gallery, named after a local member of the Heidelberg School of artists. As part of the Eltham Gateway opposite the Eltham Hotel, the centre stands on what was once part of the Eltham Town Centre along this section of Main Road, then known as Maria Street. On the same site once stood the house and flour mill owned by Henry Dendy, best known as the founder of Brighton, although he lived longer in Eltham. Beside the drive is a wheel-rim tool with accompanying plaque, illustrating a technology important during the horse-powered age and now almost completely gone, as has the blacksmith’s shop that had housed it nearby. The implement is a platform for fitting iron tyres to the wooden rims of cartwheels. Beneath it is a capsule placed in 1985 to commemorate Victoria’s 150 years, which is to be opened in 2035. Although the plants, forming part of the landscaping by Peter Glass and Denis Edwards, are largely indigenous and other native species, some exotic plants are protected as an important link with the site’s past. Planted at the front around 1920, is a large Peppercorn tree with two joined trunks growing from the base, and close by is a Bhutan Cypress (Cupressus torulosa). Three other Peppercorn trees fringe the drive. The building includes two halls – the larger seating 250 people – and a large foyer overlooking trees and ovals. Both halls have retractable rear walls providing varying spaces as required, and guests can use several external decks. A site for outdoor theatre has been carved out of the natural slope outside the entrance. The Bricklayers Union refused to use the traditional mud-bricks, which weigh more than 22kg. As a result the mud-bricks were redesigned to reduce their weight and were laid back-to-back to produce a wall of normal thickness.3 The centre’s massive timber frame is reminiscent of timber bridge construction, with infill panels of mud-brick.4 In accord with the rustic style are colossal rough-sawn posts, bolts and steel brackets. The combination of mud-brick, exposed feature timber framing and creative design in this centre, characterises Eltham’s innovative buildings and the social movement behind them from the 1940s to the 1970s.This collection of almost 130 photos about places and people within the Shire of Nillumbik, an urban and rural municipality in Melbourne's north, contributes to an understanding of the history of the Shire. Published in 2008 immediately prior to the Black Saturday bushfires of February 7, 2009, it documents sites that were impacted, and in some cases destroyed by the fires. It includes photographs taken especially for the publication, creating a unique time capsule representing the Shire in the early 21st century. It remains the most recent comprehenesive publication devoted to the Shire's history connecting local residents to the past. nillumbik now and then (marshall-king) collection, eltham community and reception centre, mudbrick construction

Ural Owls are one of the largest nocturnal birds of prey and are distributed across Northern hemisphere land masses from Scandinavia in the west, across Russia and China to Japan in the east. They average between 500-640mm in length, have large ears, a very long tail, and wing spans up to 1340mm. Ural Owls display reverse sexual dimorphism. They have a range of calls and sounds that vary between regions and among subspecies. Ural Owls prefer mature primary forest habitats that are not too dense, but adapt to a range of environments, including damp heathland and high elevation mountain forests. The species is considered nocturnal but may be more correctly described as ‘cathemeral’, due to frequent daylight activity in the taiga zone. Ural Owls are non-migratory and highly territorial. They prefer to hunt from a perch into open areas of forest, seeking small mammal prey, such as voles, as well as birds, amphibians, and invertebrates. Ural Owls have a broad, rounded head and a well-developed round facial disc with a small V-shaped indentation. They tend to be plain greyish-brown to whitish overall, though some subspecies display darker colour variation. The underparts are pale cream to grey-brown and boldly overlaid with dark brown streaking. Ural Owls lack the richer colour tones of other Strix owls. Their flight style gives the appearance of a large bird. The eyes are dark brown and relatively small, and the bill is yellowish. Tarsi and toes are feathered grey and the talons are yellowish brown with darker tips. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century. This Ural Owl is an average sized specimen with a broad, rounded head and characteristic V-shaped facial marking between the eyes. Overall plumage is plain and consistent in colour and pattern, with white, brown and grey streaks. The eyes are large and the bill is small and yellow. This specimen stands on a wooden perch with identification tags attached to its leg.Swing tag: Strix noctua / Athene noctua, [illegible] / near leiden / 26 Mai 1860. / Holland / Other tag: N38 / Strix noctua / Holland. / Metal tag: 4062 /taxidermy, taxidermy mount, burke museum, australian museum, owls, birds of prey, heart-shaped faced owl, nocturnal birds, predator birds, carnivore, territorial owl, animalia, large owl, long-tailed owls, ural mountains, taiga zone owls, cathemeral, monogamous, iucn red list, strix, wood owl, attacking owl, long-tailed owl, large-eared owl, owls with facial disc

This is a set of nine photographs of cartographic typesetting equipment and personnel in Cartographic Squadron at the Army Survey Regiment, Fortuna, Bendigo circa 1968 to 1979. The rooms on the top floor of Fortuna Villa where the photos were taken were formally the nursery and boys bedrooms during the Lansell family’s occupation of the building. The Fotosetter type setting machine replaced the letterpress method of type production in 1956. Its operator entered the text using a type order provided by cartographic draughtsmen/ draughtswomen. The type was output on a film positive, which was contacted onto strip film. The text was cut out by cartographic draughtsmen/ draughtswomen and affixed onto type sheets using bees wax. Cartographic Squadron’s CPL Arty Lane specialised in the operation of the Fotosetter type setting machine for many years, as shown in photos .3P and .4P. For more information on the Fotosetter, see page 71 of Valerie Lovejoy’s book 'Mapmakers of Fortuna – A history of the Army Survey Regiment’ ISBN: 0-646-42120-4. The computer based Editwriter Model 7500 typesetting system was introduced in 1975 as a replacement to the aging Fotosetter. It was operated by a specialised technician, who generated a large variety of map type styles and sizes quickly and reliably, as well as text panels. Output on Copy proof adhesive backed stripping type film replaced messy wax and spray adhesives in 1978. The Editwriter capability supported all RASvy units and its contractor type setting requirements. SGT Jim McDonald operated the Editwriter for a couple of years in the late 1970’s. He is seen in photos .7P and .8P. reading off a type order and entering text into the computer. See item 6181.23P, photo .1P for a reduced scale photo of SGT Jim McDonald undertaking this task. Also see item 6123.12P photos .1P and .2P featuring CPL Paul Richards, who was another technician that operated the Editwriter for several years in the 1980s. The Editwriter was also operated by SSGT Pat Lumsden, as featured in photo .9P taken in 1979. The Monotype Photolettering Machine seen in photos .5P and .6P is understood to be in service for a shorter period, as it was not as productive compared to the Fotosetter and Editwriter. This is a set of nine photographs of cartographic typesetting equipment at the Army Survey Regiment, Fortuna, Bendigo, c1968 to c1979. Black and white photos are on photographic paper and scanned at 300 dpi. .1) - Photo, black & white, c1960s, Fotosetter type setting machine, unidentified technician. .2) - Photo, black & white, c1960s, Fotosetter type setting machine. .3) to .4) - Photo, black & white, c1968, Fotosetter type setting machine, CPL Arty Lane. .5) to .6) - Photo, black & white, c1970s, Monotype Photolettering Machine, unidentified technician. .7) to .8) - Photo, black & white, c1979, Typesetting machine, ‘Editwriter’ Model 7500, SGT Jim McDonald. .9) - Photo, black & white, 1979, Typesetting machine, ‘Editwriter’ Model 7500, SSGT Pat Lumsden.Personnel and equipment are identified in photos .1P to .3P. on a card. A description is provided: ‘Fotosetter: This model was used from 1956 to 1974. Where photograph was taken: Army Survey Regiment. Person in Photograph: Arty Lane. Approx date photograph taken: 1968. Any Misc Information: All type on maps was set on this machine. The operator of the machine (Ex SGT Lane) joined the Army in 1956 and was discharged in 1977. Also with Survey from 1942 to 1946. Information given by: Arty Lane’. Photo .9P is dated 1979 on the back.’royal australian survey corps, rasvy, army survey regiment, army svy regt, fortuna, asr, carto

This is a set of 10 photographs of Cartographic Squadron technicians undertaking map production tasks in at the Army Survey Regiment, Fortuna, Bendigo circa 1968 to 1975. Production was undertaken on the top floor of Fortuna Villa. The Fotosetter type setting machine shown in photos .1P and .2P. replaced the letterpress method of type production in 1956. CPL Arty Lane specialised in the operation of the Fotosetter type setting machine for many years. For more information on the Fotosetter, see page 71 of Valerie Lovejoy’s book 'Mapmakers of Fortuna – A history of the Army Survey Regiment’ ISBN: 0-646-42120-4. The computer based Editwriter Model 7500 typesetting system shown in photos .3P and .4P. was introduced in 1975 as a replacement to the aging Fotosetter. It was operated by a specialised technician, who generated a large variety of map type styles and sizes quickly and reliably, as well as text panels. Output on Copy proof adhesive backed stripping type film replaced messy wax and spray adhesives in 1978. The Editwriter capability supported all RASvy units and its contractor type setting requirements. The Aristo Co-ordinatorgraph shown in photos .5P to .7P was introduced in 1962. It was a large heavy steel framed light table with a scribing head that moved in a XY direction using a vernier calibrated measuring scale to 0.001 of an inch. Whilst hand operated it was much quicker and accurate than manual grid and graticule calculation, plotting and scribing. The history of co-ordinatorgraphs is covered in more detail with additional historic photographs, in pages 50 to 51 and page 88 of Valerie Lovejoy’s book 'Mapmakers of Fortuna – A history of the Army Survey Regiment’ ISBN: 0-646-42120-4. The scribing process as shown in photos .8P to .9P was the cartographic process of drafting features such as drainage, relief, vegetation, roads and culture on specially coated map reproduction material. The cartographic technician scribed out the map feature such as a contour to a specified line width on the map sheet, using a tool affixed with a sapphire tipped cutter. The quality control edit (Proving) stage of map production shown in photo .10P was the first opportunity to independently and systematically inspect a proof of the map.This is a set of 10 photographs of cartographic Squadron technicians undertaking map production tasks at the Army Survey Regiment, Fortuna, Bendigo, c1968 to c1975. The photographs were on 35mm colour slides and scanned at 96 dpi. They are part of the Army Survey Regiment’s Collection. .1) to .2) - Photo, colour, c1968, Fotosetter type setting machine, CPL Arty Lane. .3) to .4) - Photo, colour, c1975, Typesetting machine, ‘Editwriter’ Model 7500. .5) - Photo, colour, c1960s, PTE Desi Asaris and CPL Kalen Sargent operating Aristo Co-ordinatorgraph equipment. .6) - Photo, colour, c1970s, L to R: CPL Desi Asaris, CPL John Bennett, operating Aristo Co-ordinatorgraph equipment. .7) - Photo, colour, c1970s, L to R: CPL John Bennett, CPL Desi Asaris operating Aristo Co-ordinatorgraph equipment. .8) - Photo, colour, c1970s, L to R: CPL Desi Asaris scribing drainage, CPL John Bennett. .9) - Photo, colour, c1970s, CPL Desi Asaris scribing drainage. .10) - Photo, colour, c1970s, L to R: CPL Desi Asaris, CPL John Bennett and their supervisor WO2 Roger Rix inspecting features on an aeronautical chart proof. .1P to .10P There are no annotations stored with the 35mm slides.royal australian survey corps, rasvy, army survey regiment, army svy regt, fortuna, asr, carto

Irish-born Thomas Sweeney is regarded as the first settler in Eltham. He was transported to Sydney in 1823 after being convicted of arson. He was granted his freedom in 1838 and married Margaret Meehan in the same year. They moved to Melbourne and in 1842 Thomas purchased 110 acres beside the Yarra River in the vicinity of present-day Sweeneys Lane. He called the property ‘Culla Hill’ and built a small slab hut (reputedly with Wurundjeri help; Margaret is said to have run an informal hospital for them in return). This was followed in 1846 by more substantial buildings consisting of a three-roomed Irish-style ‘longhouse’ and a barn made of stone and handmade bricks, with doors large enough to accommodate a fully loaded wagon. When the gold rush came, Thomas prospered by selling meat and potatoes to the prospectors, enabling him to purchase a further 308 acres in 1856. He promoted the construction of a bridge over the Plenty River and the establishment of a school at Eltham. Roman Catholic Church services were held at Culla Hill in the early years. When he died in 1867, he was regarded as a respected member of the community. Thomas and Margaret are buried in Eltham Cemetery with many of their descendants. Their first son John continued to farm Culla Hill until his death in 1909. Culla Hill passed out of the Sweeneys' possession in 1939. The house and barn remain today, though lesser outbuildings have gone. The facade of the house is much the same as it was in the 1840s. Sacred To the memory of Thomas Sweeney Who died Sep 6th 1867 Aged 65 years May his soul res in peace Also his wife Margaret Died Oct 3rd 1884 aged 73 years And their daughters Annie Died Aug 22nd 1860 aged 21 years Johanna Died Aug 19th 1872 aged 22 years Margaret Died 7th Sep 1913 aged 72 years R.I.P. Also In Memory Of John Sweeney Died 24th May 1909 Aged 65 years Also of his wife Ellen Died 8th March 1910 Aged 64 years R.I.P Also In Memory Of Caroline Infant daughter of John & Ellen SweeneyBorn Digitalannie sweeney, eltham cemetery, gravestones, johanna sweeney, john murray, margaret sweeney, mary ellen drain, mary murray, thomas drain, thomas sweeney

Edendale Farm is Nillumbik Shire Council's environment centre situated in Gastons Road, Eltham between the railway and the Diamond Creek. The homestead on the property was built in 1896 and is of historical significance, being the subject of a Heritage Overlay under the Nillumbik Planning Scheme. The Edendale property was originally part of an extensive land purchase in 1852 from the Crown by pioneer Eltham farmer Henry Stooke. He initially purchased 51 acres and later expanded his holdings by purchasing another three adjacent Crown allotments extending northerly from Josiah Holloway's Little Eltham subdivision. Despite clearing the land, Stooke did not build on this property, choosing to live on his property "Rosehill" at Lower Plenty. In 1896 Thomas Cool, Club Manager of the Victoria Coffee Palace in Melbourne purchased 7 acres of the original Stooke land and built the house now known as Edendale. Cool did not farm the land, instead using it as a gentleman’s residence, retiring to Eltham at weekends. In 1918 he purchased an additional 7 acres but in 1919 he sold the property. Later owners included J.W. Cox, the Gaston family and D. Mummery. In the 1980s the Eltham Shire Council purchased the site for use as a Council depot, but this use did not proceed. Subsequently, it was used as the Council pound. The Edendale Farm Pet Education and Retention Centre was established in the summer of 1988/1989 and was set up to replace the existing dog kennels with a high standard pet retention centre. The design style of the building was established to compliment the features of the existing house. It was equipped with 10 retention pens, a veterinary room and a pet education area where school children and other interested parties learnt about pet care procedures. It was later developed into a community farm and was run by an advisory committee and in 2000 it became an Environment Centre. In early 2006 an advisory committee was established for the development of a master plan for future development at Edendale Farm. The committee included Russell Yeoman, a former long-time shire planner and founding member of the Eltham District Historical Society. At the time of filming the Master Plan and future for Edendale was about continuing to develop Edendale as a centre of environment learning and looking at expanding displays and school program, running a lot more of life-long learning and workshops around sustainable living.jim connor collection, edendale community farm, edendale farm, eltham, gastons road

The subject item is believed to be a "Chinese style stoneware liquor bottle used to store "Tiger Whiskey" (rice wine). These Chinese liquor bottles are made of glazed pottery known as brown stoneware and have been made throughout the centuries by many makers until well after American Prohibition. Later varieties from the mid 20th century are commonly found in the USA with the raised lettering "Federal Law Forbids Sale Or Re-use of this bottle" a sure sign of post-1934 manufacture. This example is interesting as it has a British Minton mark of two triangles on the base indicating a date of 1879 and was likely exported to Australia by Minton. These ceramic bottles virtually always have irregularities and flaws which indicate a product has been hastily manufactured, in any event, this is a fine example of a relatively common item that may have been copied by Minton and sold as a decorative domestic item for display or mass produced for storing liquor. Giles Family: The pair of ceramic bottles were given to Vera Giles by Jim Thompson and are just many 19th century items of furniture, linen and crockery donated to Flagstaff Hill Maritime Village by, Vera and Aurelin Giles. The items are associated with Warrnambool and the Giles Family history. Items donated by the family have come to be known as the “Giles Collection”. Many items in the Lighthouse Keeper’s Cottage were donated by Vera and Aurelin Giles and mostly came from the home of Vera’s parents-in-law, Henry Giles and his wife Mary Jane (nee Freckleton) who married in 1880 and whose photos are on display in the parlour. Henry was born at Tower Hill in 1858, and was a labourer on the construction of the Warrnambool Breakwater before leaving in 1895 for around seven years to build bridges in NSW. Mary Jane was born in 1860 at Cooramook and she attended Mailor’s Flat State School and where she eventually was to become a student teacher. After which she became a governess at “Injemiara” where her grandfather, Francis Freckleton, had once owned land. Henry and Mary’s family consisted of six, some of the children were born at Mailor’s Flat and later some children at Wangoom. They lived with their parents at Wangoom and Purnim west, and this is where Henry died in 1933 and Mary Jane in 1940. A significant item of lead-glazed ceramic with the possibility it was made by the Minton potteries in England who were renowned for making quality pottery. The item style is in all probability a copy of a Chinese liquor bottle that was in common use throughout the British colonies and America up until the mid 20th Century. The Giles family collection has social significance at a local level, because it illustrates the level of material support the Warrnambool community gave to Flagstaff Hill when the Museum was established.Chinese liquor bottle one of a pair, lead glazed ceramic, dark brown and blue/black. Part of the Giles Collection.Mark of a double triangle, apex touching, on base, (Minton mark for 1879).flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, vase, pottery, ceramic ornament, domestic ware, late 19th - early 20th centuy ornament, giles collection, henry giles, tower hill, cooramook, warrnambool breakwater, mailor’s flat, wangoom, 19th century household goods

The subject item is believed to be a "Chinese style stoneware liquor bottle used to store "Tiger Whiskey" (rice wine). These Chinese liquor jugs are made of glazed pottery known as brown stoneware and have been made throughout the centuries by many makers until well after American Prohibition. Later varieties from the mid 20th century are commonly found in the USA with the raised lettering "Federal Law Forbids Sale Or Re-use of this bottle" a sure sign of post-1934 manufacture. This example is interesting as it has a British Minton mark of two triangles on the base indicating a date of 1879 and was likely exported to Australia by Minton. These ceramic bottles virtually always have irregularities and flaws which indicate a product has been hastily manufactured, in any event, this is a fine example of a relatively common item that may have been copied by Minton and sold as a decorative domestic item for display or mass produced for storing liquor. Giles Family: The pair of ceramic bottles were given to Vera Giles by Jim Thompson and are just many 19th century items of furniture, linen and crockery donated to Flagstaff Hill Maritime Village by, Vera and Aurelin Giles. The items are associated with Warrnambool and the Giles Family history. Items donated by the family have come to be known as the “Giles Collection”. Many items in the Lighthouse Keeper’s Cottage were donated by Vera and Aurelin Giles and mostly came from the home of Vera’s parents-in-law, Henry Giles and his wife Mary Jane (nee Freckleton) who married in 1880 and whose photos are on display in the parlour. Henry was born at Tower Hill in 1858, and was a labourer on the construction of the Warrnambool Breakwater before leaving in 1895 for around seven years to build bridges in NSW. Mary Jane was born in 1860 at Cooramook and she attended Mailor’s Flat State School and where she eventually was to become a student teacher. After which she became a governess at “Injemiara” where her grandfather, Francis Freckleton, had once owned land. Henry and Mary’s family consisted of six, some of the children were born at Mailor’s Flat and later some children at Wangoom. They lived with their parents at Wangoom and Purnim west, and this is where Henry died in 1933 and Mary Jane in 1940. A significant item of lead-glazed ceramic with the possibility it was made by the Minton potteries in England who were renowned for making quality pottery. The item style is in all probability a copy of a Chinese liquor bottle that was in common use throughout the British colonies and America up until the mid 20th Century. The Giles family collection has social significance at a local level, because it illustrates the level of material support the Warrnambool community gave to Flagstaff Hill when the Museum was established.Chinese liquor bottle one of a pair, lead glazed ceramic, dark brown and blue/black. Part of the Giles Collection.Mark of a double triangle, apex touching, on base, (Minton mark for 1879).flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, vase, pottery, ceramic ornament, domestic ware, late 19th - early 20th centuy ornament, giles collection, henry giles, tower hill, cooramook, warrnambool breakwater, mailor’s flat, wangoom, 19th century household goods

The glass medicine bottle is an example of an early 20th-century medicine bottle. Moulton glass was blown into a two-piece mould and a tool with an inscription was used to stamp the base. The mouth was added after the bottle was blown. The bottle has encrustations and residue on the surface of the glass. The cargo of the Falls of Halladale included medicine. It was made by Ayer & Co. and its shape and maker's mark matches one of Ayer's early style bottles that contained J.C. Ayer's Hair Vigor, which was made from about 1868 to 1915. James C. Ayer, born in Connecticut, US in 1818, was a medicine manufacturer. His first medicine was Cherry Pectoral, for pulmonary illness. His medicine was very popular in the 1850s. Ayer died in 1878. A section of his home town Groton Junction was nameed 'Ayer' in his honour. The FALLS of HALLADALE 1886 – 1908: - The sailing ship Falls of Halladale was an iron-hulled, four-masted barque, used as a bulk carrier of general cargo. She left New York in August 1908 bound for Melbourne and Sydney. In her hold was general cargo consisting of roof tiles, barbed wire, stoves, oil, benzene, and many other manufactured items. After three months at sea and close to her destination, a navigational error caused the Falls of Halladale to be wrecked on a reef off the Peterborough headland on the 15th of November, 1908. The captain and 29 crew members survived, but her cargo was largely lost, despite two salvage attempts in 1908-09 and 1910. The Court of Marine Inquiry in Melbourne ruled that the foundering of the ship was entirely due to Captain David Wood Thomson's navigational error, not too technical failure of the Clyde-built ship. The Falls of Halladale was built in1886 by Russell & Co., at Greenock shipyards on the River Clyde, Scotland for Wright, Breakenridge & Co of Glasgow. The ship had a sturdy construction built to carry maximum cargo and was able to maintain full sail in heavy gales, one of the last of the 'windjammers' that sailed the Trade Route. She and her sister ship, the Falls of Garry, were the first ships in the world to include fore and aft lifting bridges. The new raised catwalk-type decking allowed the crew to move above the deck in stormy conditions. The medicine bottle is an example of medicine containers in the late 19th to early 20th century. It is also significant for its association with the historic cargo ship Falls of Halladale, wrecked in local waters in the early 20th century. The ship is listed on the Victorian Heritage Register, No. S255. It was one of the last ships to sail the Trade Routes and one of the first vessels to have fore and aft lifting bridges. The ship is an example of the design, materials and fittings of a late-19th-century sailing vessel. Its cargo represents several aspects of Victoria’s shipping trade. The wreck is now protected as a Historic Shipwreck under the Commonwealth Historic Shipwrecks Act 1976.Clear glass bottle with a green tinge. The bottle has a rolled applied lip, narrow mouth, slim neck, rounded shoulders and straight rectangular body and an indented base. The body has side seams and irregular thicknesses of glass. Glass has imperfections and bubbles, and one shoulder is missing. An embossed inscription is on the base. The bottle was recovered from the wreck of the Falls of Halladale. "AYER"flagstaff hill, maritime museum, maritime village, warrnambool, great ocean road, shipwreck coast, falls of halladale, iron ship, four-masted ship, sailing ship, clipper ship, windjammer, shipwreck, peterborough, 1908 shipwreck, russell & co., fore and aft lifting bridges, medicine bottle, health care, ayer, j c ayer & co., james c ayer, hair vigor, men's hair care, personal care