This glass slide captures a scene from a male hospital ward at Mayday Hills Mental Asylum. Also known as the Beechworth Lunatic Asylum, Mayday Hills was officially opened on the twenty-fourth of October 1867 and was commissioned following lobbying from Beechworth Municipal Council concerning a need for better living conditions for individuals confined to the town's gaol. These individuals, as well as many others who were brought from surrounding institutions, exhibited behaviours that were deemed to be unfit for mainstream society. At its peak, the asylum consisted of sixty-seven buildings and housed over twelve-hundred patients and five-hundred staff. At the time of Australian Federation in 1901 - just a year after this photograph was taken - the patient population numbered six-hundred and seventy-four. The asylum was officially closed in 1996. It is listed on the Victorian Heritage Register as being architecturally significant. The extensive complex of buildings are examples of Italianate-style, which is strongly associated with asylums of the 1860s - the period in which construction of this particular asylum began. Today the asylum offers tours to visitors, including daytime history tours and night-time ghost tours. Lantern slides, sometimes called 'magic lantern' slides, are glass plates on which an image has been secured for the purpose of projection. Glass slides were etched or hand-painted for this purpose from the Eighteenth Century but the process became more popular and accessible to the public with the development of photographic-emulsion slides used with a 'Magic Lantern' device in the mid-Nineteenth Century. Photographic lantern slides comprise a double-negative emulsion layer (forming a positive image) between thin glass plates that are bound together. A number of processes existed to form and bind the emulsion layer to the base plate, including the albumen, wet plate collodion, gelatine dry plate and woodburytype techniques. Lantern slides and magic lantern technologies are seen as foundational precursors to the development of modern photography and film-making techniques.This glass slide is socially and historically significant as it is representative of the lives of the nurses and patients at Beechworth Mayday Hills Asylum in the early twentieth century. It is also historically significant as it is representative of the changing style of treatments and attitudes towards mental illness. Thin translucent sheet of glass with a circular image printed on the front and framed in a black backing. It is held together by metal strips to secure the edges of the slide.Obverse: h /lantern slide, slide, glass slide, plate, burke museum collection, photograph, monochrome, mayday hills, mayday hills hospital, mayday hills asylum, beechworth lunatic asylum, beechworth mental asylum, psychiatric hostpital, beechworth, burke museum, beechworth municipal council, beechworth patients, psychiatric patients, victorian heritage register, 1900, 1900 mayday hills, italianate style, 19th century asylums, asylums victoria, male ward mayday hills

Taken in the year 1900, this glass slide captures an image of St. Joseph's Church, a Roman Catholic Church that is still present today at 9 Church Street, Beechworth. This was one of many churches that was established in Beechworth during the second half of the nineteenth-century. This trend began with a focus on Anglican faith; however, in the early 1850s, Father Patrick Smyth, a priest from Maynooth, Ireland, advocated for the establishment of a Roman Catholic Church in the town. Roman Catholicism quickly grew to be the second largest religious group in the area; this was primarily due to the work of Father William Tierney, a priest from Dublin who arrived in Beechworth in 1859. Tierney personally fostered the growth of many Catholic schools and churches in Beechworth, as he viewed it to be a significant area for the prosperity of the religion. St. Josephs Church was officially established in 1866, with the Bishop of Melbourne, Dr Goold, laying the foundational stone of the building. The estimated cost of the building in its entirety was approximately twenty-thousand pounds. Further additions to the building - including a second aisle, tower and spire - were proposed for the church, but were ultimately never built. Lantern slides, sometimes called 'magic lantern' slides, are glass plates on which an image has been secured for the purpose of projection. Glass slides were etched or hand-painted for this purpose from the Eighteenth Century but the process became more popular and accessible to the public with the development of photographic-emulsion slides used with a 'Magic Lantern' device in the mid-Nineteenth Century. Photographic lantern slides comprise a double-negative emulsion layer (forming a positive image) between thin glass plates that are bound together. A number of processes existed to form and bind the emulsion layer to the base plate, including the albumen, wet plate collodion, gelatine dry plate and woodburytype techniques. Lantern slides and magic lantern technologies are seen as foundational precursors to the development of modern photography and film-making techniques.This glass slide captures social and historical significance as it represents the development of Beechworth as a prosperous and thriving town; a development that occurred during the second half of the nineteenth-century. It also shows the development of religious institutions in the area, specifically the growth of Catholicism. Thin translucent sheet of glass with a circular image printed on the front and framed in a black backing. It is held together by metal strips to secure the edges of the slide.burke museum, beechworth, lantern slide, slide, glass slide, plate, burke museum collection, photograph, monochrome, churches beechworth, st. joseph's church, catholicism beechworth, roman catholic churches beechworth, father patrick smyth, father william tierney

1. Jacket, Khaki wool/polyester fabric. Service Dress style. Gold colour plastic buttons with shank and metal split ring. Buttons have raised emblem - Rising Sun Emblem. Collar, shoulder epaulettes, four front pockets with button down flap. Left sleeve - oval patch Rising Sun Badge, patch crossed Rifles, patch Australian Coat of Arms - Warrant Officer. Right sleeve - patch - Parachute Wings, patch, Australian Coat of Arms - Warrant Officer, 1st Class. Khaki colour polyester fabric lining with white cotton manufacturers label inside left side. 2. Trousers, khaki wool/polyester fabric. Service Dress Style, with fob pocket, two side pockets, one back pocket with button down flap. Plastic buttons, metal zipper fly, Khaki colour polyester fabric waist and pocket lining. White manufacturers label back pocket. 3. Shirt, Khaki colour cotton/polyester fabric, long sleeves, shoulder epaulettes, two front pockets with button down flap. Plastic buttons. White cotton manufacturers label, back, below collar. 4. Necktie - khaki colour wool/polyester fabric with polyester fabric lining tie. Two manufacturers labels - black and white cotton with black ink print. 5. Belt - black webbing with brass buckle and keepers. Emblem on reverse sides of buckle. Manufacturers Information on label - black ink print. 1. ADA/MADE IN CHINA/ OCT 2016/ CC30BK/ ^/ NSN: 8405 66 162 6289/ SIZE 105S/ NAME:/ PM KEYS NO:/ OUTER 60% WOOL/ 40% POLYESTER/ LINING/ 100% POLYESTER/ DRY CLEAN ONLY/ DO NOT WASH/ IRON UNDER DAMP CLOTH/ WARM IRON". 2. As above with NSN: 8405 66 162 6077" 3. 'ADA/100M/ NSN 8405 66 088 7104/ SIZE??/ NAME/ SERVICE NO./65% POLYESTER/ 35% COTTON/ MADE IN AUSTRALIA" 4. "ADA" ADA/ MADE IN CHINA/ MAY 2016/ 60% WOOL/ 40% POLYESTER/ DRY CLEAN ONLY" 5. Etched emblem on buckle "^". uniform, army, service dress

Coleridge, Michael Members of 5 Platoon, B Company, 7th Battalion, the Royal Australian Regiment (7RAR), just north of the village of Phuoc Hai, beside the road leading to Dat Do. United States Army Iroquois helicopters are landing to take them back to Nui Dat after completion of Operation Ulmarra, the cordon and search by 7RAR of the village of Phuoc Hai. Operation Ulmarra was part of Operation Atherton, conducted by 2RAR/NZ (ANZAC) (the ANZAC Battalion comprising 2nd Battalion, The Royal Australian Regiment (2RAR) and a component from the 1st Battalion, Royal New Zealand Infantry Regiment) and7 RAR. Left to right Private Peter Capp (kneeling), Pte Bob Fennell (crouching, facing camera), Corporal Bob Darcy (left of Fennell), Pte Neal Hasted (centre, front), Pte Ian Jury (cnetre, back, holding rifle), Pte Colin Barnett (front, right), Lance Corporal Stan Whitford (left of Barnett), the helicopter marshal at right is Pte John Raymond Gould. The United States Army Iroquois UH-1D helicopter is operated by 2 Platoon, 162nd Assault Helicopter Company, 11th Combat Aviation Battalion. (having achieved almost the status of an icon, this image was chosen for, and is etched on, the Vietnam Memorial on Anzac Parade, Canberra ACT, dedicated in October 1992)operation ulmarra, operation atherton, 7 rar, iroquois, dat do, phuoc hai, 2nd battalion royal australian regiment, 2 rar/nz, pte peter capp, pte bob fennell, cpl bob darcy, pte neal hasted, pte ian jury, pte colin barnett, l/cpl stan whitford, pte john raymond gould, 162nd assault helicopter company

This image appears to show nurses at what is now the Mayday Hills Mental Asylum arriving for work in approximately 1900. These individuals are part of a long history of nursing in Beechworth. Three medical or social welfare facilities opened in the mid-1800s as part of a push by the township to become a regional centre for Government services. These were the Ovens District Hospital (opened in 1857), the Ovens Benevolent Asylum (opened in 1863), and the Beechworth Mental Hospital (opened in 1867 and renamed Mayday Hills Hospital at Centenary celebrations in 1967). It was recognised that the unsettled living conditions, poverty and relative isolation of the Goldfields environment could produce 'mental disturbances' which required local treatment facilities as services in Melbourne were too far away. Carole Woods' publication 'A Titan's Field' describes activities undertaken by patients at Beechworth Mental Hospital as including monthly balls and occasional concerts as well as work to make the facility self-supporting such as farm work and making clothes. She mentions a report in 1870 that the approximately 300 patients were clean and neat with 'no-one in restraint or seclusion' but that by 1905 the organisation had 623 patients which placed strain on building infrastructure such as heating and water supplies, leading to high turnover of nurses and other issues. A program of building works to extend and improve facilities followed over subsequent decades. Lantern slides, sometimes called 'magic lantern' slides, are glass plates on which an image has been secured for the purpose of projection. Glass slides were etched or hand-painted for this purpose from the Eighteenth Century but the process became more popular and accessible to the public with the development of photographic-emulsion slides used with a 'Magic Lantern' device in the mid-Nineteenth Century. Photographic lantern slides comprise a double-negative emulsion layer (forming a positive image) between thin glass plates that are bound together. A number of processes existed to form and bind the emulsion layer to the base plate, including the albumen, wet plate collodion, gelatine dry plate and Woodburytype techniques. Lantern slides and magic lantern technologies are seen as foundational precursors to the development of modern photography and film-making techniques This glass slide is significant because it provides insight into Beechworth's social and medical amenities in the early Twentieth Century, around the time of Australia's Federation into one nation. It is also an example of an early photographic and film-making technology in use in regional Victoria in the time period.Thin translucent sheet of glass with a rectangular image printed on the front and framed in a black backing. It is held together by metals strips to secure the edges of the slide.Obverse: i /burke museum, beechworth, lantern slide, slide, glass slide, plate, burke museum collection, photograph, monochrome, magic lantern, indigo shire, north-east victoria, nineteenth century, 1900s, twentieth century, emulsion slides, nursing, nurses, mental hospitals, lunatic asylums, asylums, social services, social welfare, insane asylums, mental health, infrastructure

This image appears to show nurses at what is now the Mayday Hills Mental Asylum in approximately 1900. These individuals are part of a long history of nursing in Beechworth. Three medical or social welfare facilities opened in the mid-1800s as part of a push by the township to become a regional centre for Government services. These were the Ovens District Hospital (opened in 1857), the Ovens Benevolent Asylum (opened in 1863), and the Beechworth Mental Hospital (opened in 1867 and renamed Mayday Hills Hospital at Centenary celebrations in 1967). It was recognised that the unsettled living conditions, poverty and relative isolation of the Goldfields environment could produce 'mental disturbances' which required local treatment facilities as services in Melbourne were too far away. Carole Woods' publication 'A Titan's Field' describes activities undertaken by patients at Beechworth Mental Hospital as including monthly balls and occasional concerts as well as work to make the facility self-supporting such as farm work and making clothes. She mentions a report in 1870 that the approximately 300 patients were clean and neat with 'no-one in restraint or seclusion' but that by 1905 the organisation had 623 patients which placed strain on building infrastructure such as heating and water supplies, leading to high turnover of nurses and other issues. A program of building works to extend and improve facilities followed over subsequent decades. Lantern slides, sometimes called 'magic lantern' slides, are glass plates on which an image has been secured for the purpose of projection. Glass slides were etched or hand-painted for this purpose from the Eighteenth Century but the process became more popular and accessible to the public with the development of photographic-emulsion slides used with a 'Magic Lantern' device in the mid-Nineteenth Century. Photographic lantern slides comprise a double-negative emulsion layer (forming a positive image) between thin glass plates that are bound together. A number of processes existed to form and bind the emulsion layer to the base plate, including the albumen, wet plate collodion, gelatine dry plate and Woodburytype techniques. Lantern slides and magic lantern technologies are seen as foundational precursors to the development of modern photography and film-making techniques.This glass slide is significant because it provides insight into Beechworth's social and medical amenities in the early Twentieth Century, around the time of Australia's Federation into one nation. It is also an example of an early photographic and film-making technology in use in regional Victoria in the time period.Thin translucent sheet of glass with a circular image printed on the front and framed in a black backing. It is held together by metals strips to secure the edges of the slide.burke museum, beechworth, lantern slide, slide, glass slide, plate, burke museum collection, photograph, monochrome, magic lantern, indigo shire, north-east victoria, nineteenth century, 1900s, twentieth century, emulsion slides, nursing, nurses, mental hospitals, lunatic asylums, asylums, social services, social welfare, insane asylums, mental health, infrastructure

Taken in approximately 1900, this glass slide captures an image of a Mayday Hills Mental Asylum nurse. Also known as the Beechworth Lunatic Asylum, Mayday Hills was officially opened on the twenty-fourth of October 1867 and was commissioned following lobbying from Beechworth Municipal Council concerning a need for better living conditions for certain individuals confined to the town's gaol. These individuals, as well as many others who were brought from surrounding institutions, exhibited behaviours that were deemed to be unfit for mainstream society. At its peak, the asylum consisted of sixty-seven buildings and housed over twelve-hundred patients and five-hundred staff. At the time of Australian Federation in 1901 - just a year after this photograph was taken - the patient population numbered six-hundred and seventy-four. The designated site of the institution was chosen due to its scenery and altitude. It was argued that these picturesque surroundings would assist in curing the hospital's patients of their ailments. The asylum was officially closed in 1996. It is listed on the Victorian Heritage Register as being architecturally significant. The extensive complex of buildings are examples of Italianate-style, which is strongly associated with asylums of the 1860s - the period in which construction of this particular asylum began. Today the asylum offers tours to visitors: both daytime history tours and night-time ghost tours. Lantern slides, sometimes called 'magic lantern' slides, are glass plates on which an image has been secured for the purpose of projection. Glass slides were etched or hand-painted for this purpose from the Eighteenth Century but the process became more popular and accessible to the public with the development of photographic-emulsion slides used with a 'Magic Lantern' device in the mid-Nineteenth Century. Photographic lantern slides comprise a double-negative emulsion layer (forming a positive image) between thin glass plates that are bound together. A number of processes existed to form and bind the emulsion layer to the base plate, including the albumen, wet plate collodion, gelatine dry plate and woodburytype techniques. Lantern slides and magic lantern technologies are seen as foundational precursors to the development of modern photography and film-making techniques.This glass slide is socially and historically significant as it is representative of the lives of the nurses who worked at Beechworth's Mayday Hills Asylum in the early twentieth century. Thin translucent sheet of glass with a portrait image printed on the front. It is held together by metal strips to secure the edges of the slide.burke museum, beechworth, lantern slide, slide, glass slide, plate, burke museum collection, photograph, monochrome, mayday hills, mayday hills mental asylum, beechworth asylum, beechworth asylum nurses, psychiatric nurses, psychiatric care, 1900 mayday hills, victorian heritage register, italianate style, 19th century asylums, asylums victoria

Taken in approximately 1900, this glass slide captures an image of two Mayday Hills Mental Asylum nurses. Also known as the Beechworth Lunatic Asylum, Mayday Hills was officially opened on the twenty-fourth of October 1867 and was commissioned following lobbying from Beechworth Municipal Council concerning a need for better living conditions for certain individuals confined to the town's gaol. These individuals, as well as many others who were brought from surrounding institutions, exhibited behaviours that were deemed to be unfit for mainstream society. At its peak, the asylum consisted of sixty-seven buildings and housed over twelve-hundred patients and five-hundred staff. At the time of Australian Federation in 1901 - just a year after this photograph was taken - the patient population numbered six-hundred and seventy-four. The designated site of the institution was chosen due to its scenery and altitude. It was argued that these picturesque surroundings would assist in curing the hospital's patients of their ailments. The asylum was officially closed in 1996. It is listed on the Victorian Heritage Register as being architecturally significant. The extensive complex of buildings are examples of Italianate-style, which is strongly associated with asylums of the 1860s - the period in which construction of this particular asylum began. Today the asylum offers tours to visitors: both daytime history tours and night-time ghost tours. Lantern slides, sometimes called 'magic lantern' slides, are glass plates on which an image has been secured for the purpose of projection. Glass slides were etched or hand-painted for this purpose from the Eighteenth Century but the process became more popular and accessible to the public with the development of photographic-emulsion slides used with a 'Magic Lantern' device in the mid-Nineteenth Century. Photographic lantern slides comprise a double-negative emulsion layer (forming a positive image) between thin glass plates that are bound together. A number of processes existed to form and bind the emulsion layer to the base plate, including the albumen, wet plate collodion, gelatine dry plate and woodburytype techniques. Lantern slides and magic lantern technologies are seen as foundational precursors to the development of modern photography and film-making techniques.This glass slide is socially and historically significant as it is representative of the lives of the nurses who worked at Beechworth's Mayday Hills Asylum in the early twentieth century.Thin translucent sheet of glass with a portrait image printed on the front. It is held together by metal strips to secure the edges of the slide.burke museum, beechworth, lantern slide, slide, glass slide, plate, burke museum collection, photograph, monochrome, 1900 mayday hills, mayday hills, beechworth mental hospital, beechworth mental asylum, beechworth asylum nurses, psychiatric nurses, psychiatric care, victorian heritage register, italianate style, 19th century asylums, asylums victoria

This glass slide presents an image of the Old Beechworth Post Office and was taken in the year 1900. The building displayed within the image is not that of the post office in its original form; the post office originally consisted of only a simple wooden building. With the establishment and growth of new towns across Victoria, as well as an increased need for more consistent communications with the City of Melbourne, this modest building was soon deemed inadequate. In 1858 it was brought into the style of the changing times, with the tall clock tower added in 1865. This transition aligned with a pattern of refurbishment and conversion of many Beechworth buildings (which could be seen during the 1860s-70s), aiding in the growth and prosperity of the town. Early makeshift homes were turned into more substantial dwellings, featuring elements such as weatherboard, brick, and granites materials, and gabled or hipped roofs with iron lacework fringing the verandah. These refurbishments were temporarily halted in March of 1867 when a fire swept through the town, damaging many buildings including the post office. This led to further reconstructions on the building, including heightening of the clock tower, and in 1870 the two-storey Italianate style building was completed. The Old Beechworth Post Office itself also holds significance due to its connection with one of Australia's most infamous families. It reportedly played an important role in communicating the news of the 1880 murders of police at Stringybark Creek by the Kelly Gang. Lantern slides, sometimes called 'magic lantern' slides, are glass plates on which an image has been secured for the purpose of projection. Glass slides were etched or hand-painted for this purpose from the Eighteenth Century but the process became more popular and accessible to the public with the development of photographic-emulsion slides used with a 'Magic Lantern' device in the mid-Nineteenth Century. Photographic lantern slides comprise a double-negative emulsion layer (forming a positive image) between thin glass plates that are bound together. A number of processes existed to form and bind the emulsion layer to the base plate, including the albumen, wet plate collodion, gelatine dry plate and woodburytype techniques. Lantern slides and magic lantern technologies are seen as foundational precursors to the development of modern photography and film-making techniques. This glass slide captures social and historical significance as it displays the Old Beechworth Post Office in 1900, a building that demonstrates the prosperity and growth of Beechworth as a town during this time period. This slide also holds a level of aesthetic significance due to the Italianate style building that is featured in its image; a style that became very popular during the nineteenth-century. Thin translucent sheet of glass with a square image printed on the front and framed in a black backing. It is held together by metal strips to secure the edges of the slide.Obverse: x / burke museum, beechworth, lantern slide, slide, glass slide, plate, burke museum collection, photograph, monochrome, beechworth post office, beechworth post office kelly gang, 1900, 1900 beechworth, growth of beechworth, 1867 beechworth fire, old beechworth post office, beechworth post office reconstructions, italianate style, italianate style buildings, italianate style beechworth post office

This picture shows an angle of Beechworth Primary School (State School number 1560) which is also pictured in the building's entry in the Victorian Heritage Register (VHR record 1718). The school began as a national school in 1858 as an alternative to Wesleyan and Anglican schools already operating in the area. Its name was changed to Common School number 36 in 1862 and the Beechworth Academy prior to being taken over by the Education department in 1873. The new premises were built in 1875 utilising the skills of architect Henry Bastow though the original design may be attributable to the firm Wharton and Vickers. The design was used with modifications for other schools in Victoria, including the Competition School in Errol Street, North Melbourne. The school moved to the building pictured from its original premises in Loch Street, designed by Thomas Dalziel, which later became the office of the Ovens Advertiser. The school was opened on 2 July 1875 by former Beechworth resident G.B. Kerferd, who was then the Premier of Victoria. The image shows approximately ninety older students at the school in approximately 1900. There are approximately equal numbers of boys and girls pictured, with most of the individuals pictured appearing to be between the ages of twelve and fifteen. Although the school had more than 1000 students enrolled at its height, enrolments had declined to 304 in 1890. Also visible is a fringe of sequoia pines which were planted by the school children as a project lasting through to the late 1930s. Lantern slides, sometimes called 'magic lantern' slides, are glass plates on which an image has been secured for the purpose of projection. Glass slides were etched or hand-painted for this purpose from the Eighteenth Century but the process became more popular and accessible to the public with the development of photographic-emulsion slides used with a 'Magic Lantern' device in the mid-Nineteenth Century. Photographic lantern slides comprise a double-negative emulsion layer (forming a positive image) between thin glass plates that are bound together. A number of processes existed to form and bind the emulsion layer to the base plate, including the albumen, wet plate collodion, gelatine dry plate and woodburytype techniques. Lantern slides and magic lantern technologies are seen as foundational precursors to the development of modern photography and film-making techniques.The image is significant because it sheds light on the educational infrastructure present in Beechworth in the early part of the Twentieth Century, including the prevalence of education for students after current-day primary-school age and the education of girls. It also provides insight into the building and design practices used by Government departments at the time. Thin translucent sheet of glass with a circular image printed on the front and framed in a black backing. It is held together by metals strips to secure the edges of the slide.Obverse: L / burke museum, beechworth, lantern slide, slide, glass slide, plate, burke museum collection, photograph, monochrome, schools, education, high school, primary school, common school, state school, state school 1560, common school 36, beechworth academy, g.b. kerferd, thomas dalziel, henry bastow, victorian heritage register, beechworth primary school, girls education, boys education, public schools, education department, pines, trees, sequoias, competition school

Chiltern Pharmacy, now called Dow's Pharmacy, opened in 1859 at a time when the township of Chiltern was experiencing a second-wave gold rush that redistributed the balance of commercial and social activity in the region. David McEwan, father of Prime Minister John McEwan, was one of the first pharmacists practicing at the business. It was purchased in 1929 by pharmacist Hilda Dow who ran the business with her apprentice and husband, Roy Dow, until they closed the business in 1968. In 1988, after founding the North East branch of the National Trust, the Dows donated the premises with its entire fittings and stock. Some of the more than 4,000 items in stock at the time of closure in 1968 were present in the shop when the Dows took charge in 1929 and date to the late Nineteenth Century (around the time this image was taken). Hilda Dow (nee Grey) was born in 1897, the daughter of a police magistrate. She enrolled to study at the Victorian College of Pharmacy in 1919 and worked initially for Poynton's Pharmacy in Morwell before purchasing the Chiltern Pharmacy that was later named after her. She was a member of the Pharmaceutical Society of Victoria, a hospital committee and Board, the Red Cross and the Infant Welfare Association and held office for the Chiltern branch of the Country Women's Association. Her sister Helene Grey received an OBE for her work as Lady Superintendent of the Royal Melbourne Hospital. Although Hilda Dow was not Australia's first female pharmacist (this was Caroline Copp in 1880) the preservation of the pharmacy and the stories it presents sheds light on the general issue of recognition for female medical pioneers in Australia. Lantern slides, sometimes called 'magic lantern' slides, are glass plates on which an image has been secured for the purpose of projection. Glass slides were etched or hand-painted for this purpose from the Eighteenth Century but the process became more popular and accessible to the public with the development of photographic-emulsion slides used with a 'Magic Lantern' device in the mid-Nineteenth Century. Photographic lantern slides comprise a double-negative emulsion layer (forming a positive image) between thin glass plates that are bound together. A number of processes existed to form and bind the emulsion layer to the base plate, including the albumen, wet plate collodion, gelatine dry plate and woodburytype techniques. Lantern slides and magic lantern technologies are seen as foundational precursors to the development of modern photography and film-making techniques.This image is significant as it provides insight into social and commercial infrastructure available in the North-East region of Victoria in the late Nineteenth and early Twentieth Centuries. The business pictured is also associated with a Prime Minister of Victoria and some of Victoria's first female medical and pharmaceutical practitioners. Thin translucent sheet of glass with a circular image printed on the front and framed in a black backing. It is held together by metals strips to secure the edges of the slide.burke museum, beechworth, lantern slide, slide, glass slide, plate, burke museum collection, photograph, monochrome, hilda dow, roy dow, chiltern pharmacy, dow's pharmacy, chiltern, indigo shire, north east victoria, history of pharmacies, women in pharmacy, women in medicine, women in business, david mcewan, john mcewan, national trust, national trust victoria, north-east victoria national trust, heritage buildings, industrial heritage, helene grey, pharmaceutical society of victoria, victorian college of pharmacy, country women's association, caroline copp, royal melbourne hospital, red cross, infant welfare association

Miners from Snake Valley lobbied the Victorian Government in 1855 to make land available for sale for farming purposes as an alternative occupation and income for people who wished to stay in the region but move away from gold mining. A secondary motivation was to increase the supply of fresh produce and decrease prices of items that otherwise needed to be transported from Melbourne or other regions. Forty-three country lots were initially offered in the Three Mile area, ranging in size from two to ninety acres and costing from £1 to £3 per acre. An additional eighty-five country lots were auctioned later in the year, in addition to many smaller suburban lots. More lots were offered than sold, initially, but this represented conditions of sale requiring the total purchase cost up front which many people interested in purchasing could not afford, especially as land purchased for farming would accrue substantial additional costs for clearing and labour before becoming productive. Further lobbying activities and the election of parliamentary members sympathetic to the cause took place through the 1850s. Ovens Parliamentary Member, Daniel Cameron, was re-elected in 1856 on a platform of surveying the land for public selection with deferred payment options. Land reform remained an issue in the area through the 1850s and early 1860s, impacting broader decisions in the new State of Victoria relating to voting rights, use of Crown land and the farming of land that wasn't always suitable for the purpose. This photograph depicts Beechworth in approximately 1900, after several waves of land sales resulted in increasingly levels of development. Lantern slides, sometimes called 'magic lantern' slides, are glass plates on which an image has been secured for the purpose of projection. Glass slides were etched or hand-painted for this purpose from the Eighteenth Century but the process became more popular and accessible to the public with the development of photographic-emulsion slides used with a 'Magic Lantern' device in the mid-Nineteenth Century. Photographic lantern slides comprise a double-negative emulsion layer (forming a positive image) between thin glass plates that are bound together. A number of processes existed to form and bind the emulsion layer to the base plate, including the albumen, wet plate collodion, gelatine dry plate and woodburytype techniques. Lantern slides and magic lantern technologies are seen as foundational precursors to the development of modern photography and film-making techniques.This glass slide is significant because it provides insight into Beechworth's built environment and infrastructure in the early Twentieth Century, around the time of Australia's Federation. It is also an example of an early photographic and film-making technology in use in regional Victoria in the time period.Thin translucent sheet of glass with a square-edged image printed on the front and framed in a black backing. It is held together by metal strips to secure the edges of the slide.burke museum, beechworth, lantern slide, slide, glass slide, plate, burke museum collection, photograph, monochrome, indigo shire, north-east victoria, farming, squatters, miners, agriculture, land-clearing, land reform, daniel cameron, land sales, three mile, snake valley, tarrawingee

Photo - see pdf file for further information. Number Brief Description GAG1 51 Sandringham GAG2 50 Sandringham GAG3 50 side Sandringham GAG4 Depot Sandringham_ GAG5 426 Camberwell Depot GAG6 822 St Kilda Rd GAG7 496 St Kilda Rd GAG8 347 Caulfield GAG9 440 Princes Bridge GAG10 190 Camberwell GAG11 190 Camberwell GAG12 Ys Camberwell GAG13 Interior Camberwell Depot GAG14 921 Camberwell GAG15 613 Camberwell Depot GAG16 613 front Camberwell Depot GAG17 887 Bourke St opening_ GAG18 888 Victoria St North Richmond GAG19 888 Victoria Pde GAG20 888 887 Malvern Depot GAG21 888 887 Malvern Depot GAG22 888 Victoria Pde GAG23 1033 North Fitzroy Depot GAG24 957 1033 Bourke St GAG25 1033 Nicholson St East Brunswick GAG26 1001 East Preston Depot GAG27 980 East Preston Depot GAG28 980 Dandenong Rd GAG29 Tower wagons Bourke St at Swanston St GAG30 Tower wagons Nicholson St GAG31 988 tower wagons Nicholson St GAG32 988 tower wagons Bourke St at Russell St GAG33 Albion Tower wagon Clifton Hill GAG34 988 tower wagon Bourke St at Russell St GAG35 988 East Preston Depot GAG36 Cleaner 7 Bourke St GAG37 988 turning from Nicholson St into Victoria Pde GAG38 991 Bourke St GAG39 View down Bourke St from 988 GAG40 988 Nicholson St GAG41 988 Smith St GAG42 988 High St GAG43 988 testing overhead Bourke St GAG44 1003 Nicholson St into Gertrude St GAG45 988 Clifton Hill GAG46 988 Nicholson St GAG47 988 1003 Nicholson St GAG48 988 Bourke St looking west from Elizabeth St GAG49 988 Bourke St looking east from Swanston St GAG50 988 1003 and tower wagons Nicholson St GAG51 988 Clifton Hill GAG52 988 East Preston Depot GAG53 190 Etched saloon door window Yields infomation about VR Tramways, Bourke Street trams and AETA tours. Geoff Grant was a Herald Sun photographer.Assembled album in a black presentation folder of 53 photographs from the Geoff Grant Collection - 27 sleeves All photographs have been scanned and placed on the Museum's G drive. A list of all photographs with details where possible has been compiled. tramways, trams, sandingham, camberwell depot, bourke st, new tramways, tower wagons, tours, victoria parade, east preston, aeta tours

This image shows six older Chinese men standing in a row with two younger non-Chinese men outside a small wooden business or official building in the Beechworth region, circa 1900. The two non-Chinese men are wearing clothes of the period that indicate relative prosperity (such as three piece suits, top hats, and a pocket handkerchief), whereas most of the Chinese men are wearing Western-style working clothes of the era. One Chinese man at the far right of the image is wearing similar garments to the non-Chinese men, including a bowler hat and longer, more tailored suit jacket. Chinese miners were a significant cultural group in Beechworth's gold rush period. Carole Woods' history of Beechworth, 'A Titan's Field', details that there were approximately 60 Chinese people in the area in 1855, more than 1000 in 1856 and 4700 (a quarter of the population) in 1857, despite the introduction in 1855 of official policies such as additional taxes formulated by the Victorian Government to limit access by Chinese immigrants. Most Chinese miners in the region came from southern China and had formerly worked as merchants, mechanics, farmers and shop-keepers. Chinese people were subjected to a 'protectorate' system, ostensibly to minimise the potential for conflict with other groups; this system required Chinese people to live in designated 'hygienic' camps with paid Chinese headmen who supervised the village and enforced the protectorate's rules. Chinese people were required to purchase an annual protection ticket to fund this system. The protectorate system was abolished in 1861, before this image was taken in approximately 1900, but it may still provide insight into social stratification or relationships between and within cultural groups in Beechworth resulting from such practices. Lantern slides, sometimes called 'magic lantern' slides, are glass plates on which an image has been secured for the purpose of projection. Glass slides were etched or hand-painted for this purpose from the Eighteenth Century but the process became more popular and accessible to the public with the development of photographic-emulsion slides used with a 'Magic Lantern' device in the mid-Nineteenth Century. Photographic lantern slides comprise a double-negative emulsion layer (forming a positive image) between thin glass plates that are bound together. A number of processes existed to form and bind the emulsion layer to the base plate, including the albumen, wet plate collodion, gelatine dry plate and Woodburytype techniques. Lantern slides and magic lantern technologies are seen as foundational precursors to the development of modern photography and film-making techniques.This glass slide is significant because it provides insight into Beechworth's cultural and social relationships in the early Twentieth Century, in particular the experiences of Chinese miners. It is also an example of an early photographic and film-making technology in use in regional Victoria in the time period.Thin translucent sheet of glass with a circular image printed on the front and framed in a black backing. It is held together by metals strips to secure the edges of the slide.burke museum, beechworth, lantern slide, slide, glass slide, plate, burke museum collection, photograph, monochrome, magic lantern, indigo shire, north-east victoria, nineteenth century, 1900s, twentieth century, emulsion slides, chinese, chinese miners, protectorate system, protection licence, immigration, racism, classism, social groups, cultural groups, taxes, hygiene camps

This lantern slide shows the Ovens District Hospital (also called the Ovens Goldfields Hospital) in Beechworth in approximately 1900. The Hospital was built as part of a community push to develop the infrastructure needed for a permanent town in the 1850s. At the time there was no hospital located between Melbourne and the NSW town of Goulburn and it was recognised that the nature of mining and agricultural work predisposed people to serious injury. The community voted in 1853 to raise funds for a hospital and a voluntary committee elected from people who contributed £2 or more annually determined the organisation's management policies, which aimed to provide care for poor people at rates levied according to the person's means. Ongoing operations of the hospital were primarily supported by Government grants, however. The foundation stone was laid at a site in Church Street at a ceremony held 1st September 1856 which was attended by 2000 people using a locally crafted trowel with a tin ore handle and pure gold blade. The hospital, which was designed by J.H. Dobbyn, cost £2347. The hospital had two wards, a dispensary, apartments for a resident surgeon and the matron, an operating theatre and a board room. Further medical facilities including services to meet the cultural and health needs of the local Chinese community were later added, in addition to a Palladian-style cut-granite face built in 1862-63. It functioned as the region's primary hospital until surpassed by the Wangaratta Hospital in 1910. In the 1940s much of the building materials were salvaged and repurposed, with the exception of the facade which was restored in 1963 by the Beechworth Lions Club and still stands today. The facade featured on the covers of local history volume 'Beechworth: a Titan's Field' by Carole Woods and heritage-focused travel guide the 'Readers Digest Book of Historic Australian Towns'. Lantern slides, sometimes called 'magic lantern' slides, are glass plates on which an image has been secured for the purpose of projection. Glass slides were etched or hand-painted for this purpose from the Eighteenth Century but the process became more popular and accessible to the public with the development of photographic-emulsion slides used with a 'Magic Lantern' device in the mid-Nineteenth Century. Photographic lantern slides comprise a double-negative emulsion layer (forming a positive image) between thin glass plates that are bound together. A number of processes existed to form and bind the emulsion layer to the base plate, including the albumen, wet plate collodion, gelatine dry plate and woodburytype techniques. Lantern slides and magic lantern technologies are seen as foundational precursors to the development of modern photography and film-making techniques.This glass slide is significant because it provides insight into Beechworth's built environment and infrastructure in the early Twentieth Century, around the time of Australia's Federation. It is also an example of an early photographic and film-making technology in use in regional Victoria in the time period.Thin translucent sheet of glass with a round-edged square image printed on the front and framed in a black backing. It is held together by metal strips to secure the edges of the slide.Obverse: Y /burke museum, beechworth, lantern slide, slide, glass slide, plate, burke museum collection, photograph, monochrome, ovens district hospital, indigo shire, north-east victoria, hospital, palladian architecture, granite, community fundraising, community infrastructure, j.h. dobbyn, beechworth lions club, ovens goldfields hospital, chinese community

Norma Bull in a window of 'Medlow', 1920s Her brother (Ronald) Richard was a keen photographer and is believed to have taken the photographs of the family and in the grounds of 'Medlow'. Norma Catherine Bull (7 September 1906 – September 1980) was an Australian painter, printmaker and etcher best known for the paintings and sketches she made in Britain during World War II. Norma was the daughter of Richard Joseph Bull (1874-1927) and Catherine Grace Perrier (1884-1972). Her father was the Director of Bacteriology at Melbourne University. Richard and Catherine had 2 children. Norma was born in Hawthorn in 1906 and her brother Ronald Richard was born in Surrey Hills in 1912, where in 1911 Richard bought a property at 42 Warrigal Road, Surrey Hills developed by Colonel William Cairncross, known as ‘Willcyrus’ and renamed ‘Medlow’ by the Bulls. As a child, Norma was a high achiever both intellectually and artistically. She was educated at Fintona, where she matriculated as Dux of the School and winner of an exhibition in French. She won a scholarship to attend the University of Melbourne where she studied French, Zoology, Philosophy, English and History, leading to a Bachelor of Arts in 1929. Following this she studied painting and drawing at the National Gallery Art School for seven years. Whilst most of the students of the 1930s were inspired by Modernism, Norma followed more traditional styles and became known for her etchings and realistic depiction of urban scenes. Her work was strongly influenced by the conservative nature of the National Gallery Art School under Bernard Hall, and she remained a traditionalist all her life. In 1938, she was awarded the Sir John Longstaff Scholarship in Fine Art. This enabled her to travel to England to study at the Royal Academy in London. She arrived in April 1939 and after the outbreak of war, she worked as a volunteer at a First Aid Clearing Station and applied to become a war artist. In 1941, she was given a sketching permit by the War Artists Advisory Committee to record bomb damage in the Bristol area. In 1947, an exhibition of her 205 wartime works entitled “Two Hemispheres”, opened at Australia House in London. Many were acquired for major collections in England including the Victoria and Albert Museum, the Imperial War Museum and the Royal Collection. The “Two Hemispheres” exhibition toured Australia in 1948 and for over twelve months she followed Wirth’s Circus around the country, painting aspects of circus life. From then on she lived at Medlow’, From 1960 she was secretary of the Fellowship of Australian Artists. She was a finalist in the Archibald Prize on 2 occasions and is remembered through a biennial Art Prize, ‘The Norma Bull Portraiture Scholarship’ which is administered by The Victorian Artist’s Society. She continued to paint landscapes and seascapes in her traditionalist style. She had holiday homes at Anglesea and Bright. After she died in September 1980, 31 of her works were bequeathed to Bright Art Gallery. A black and white photograph of a lady holding a sun umbrella and sitting in a window frame.miss norma bull, medlow, house names, warrigal road, surrey hills, mr ronald richard bull

These specifications were for the Bank of Australasia building on the corner of Timor and Kepler Streets in Warrnambool. The two-storey stone Regency building was built by Roberts & Co. in 1859 and it still stands today, a hundred and sixty years later. Above the doorway, the words "BANK OF AUSTRALASIA" were etched into the stone. In 1856 Roberts & Co. built the Warrnambool Post Office on Timor Street, and in 1858 purchased land on Timor Street. The Bank of Australasia was incorporated by the Royal Charter of England in March 1834. The bank began in Australia on 14th December 1835, opening in Sydney. The Acting Superintendent of the bank at that time was David Charters McArthur. He was Superintendent from 1867-to 1876. The Melbourne branch opened on 28th August 1838 in a two-roomed brick cottage on the north side of Little Collins Street, where two huge mastiff dogs were used at night to guard the bank. The government also provided an armed military sentinel. Due to the bank's rapid growth, a new building for the Melbourne branch was opened in 1840 at 75 Collins Street West. By 1879 the bank had been upgraded to a magnificent two-storey building on the corners of Collins and Queens Streets, with the entry on Collins Street. In 1951 the Bank of Australasia amalgamated with the Union Bank to form Australia and New Zealand Bank, now known as the ANZ. Then in 1970, the ANZ merged with both the ES&A and the London Bank of Australia to form the ANZ Banking Group Limited. The ANZ Banking Group Ltd kindly donated a variety of historic items from the Bank of Australasia. BANK of AUSTRALASIA, WARRNAMBOOL – In 1854 Warrnambool had two banks, the Union Bank and the Bank of Australasia. Later, completely different bank businesses opened; in 1867 the National Bank of Australasia, then in 1875 the Colonial Bank of Australasia. The original Warrnambool branch of the Bank of Australasia was established in July 1854, and operated from a leased cottage on Merri Street, close to Liebig Street. The bank later bought a stone building previously erected by drapers Cramond & Dickson on the corner of Timor and Gibson Streets. Samuel Hannaford was a teller and then Manager at the Warrnambool branch from 1855 to 1856 and the Warrnambool Council chose that bank for its dealings during 1856-57. In 1859 Roberts & Co. was awarded the contract to build the new Bank of Australasia branch for the sum of £3,000. The land was on a sand hill on the northeast corner of Timor and Kepler Streets and had been bought in 1855 from investor James Cust. The new building opened on May 21, 1860. The bank continued to operate there until 1951 when it merged with the Union Bank to form the ANZ Bank, which continued operating from its Liebig Street building. Warrnambool City Council purchased the former Bank of Australasia building in 1971 and renovated it, then on 3rd December 1973 it was officially opened as the Art Gallery by Cr. Harold Stephenson and Gallery Director John Welsh. The Gallery transferred to the purpose-built building in Liebig Street in 1986 and the old bank building is now the Gallery club. Staff at the Bank of Australasia in Warrnambool included the following men but others were also involved: Samuel Hannaford, Teller then Manager from 1855-1856; W H Palmer, Manager from January 1857 until November 1869 when the Teller Basil Spence was promoted to Manager; H B Chomley, Manager from April 1873 and still there in 1886; A Butt, Manager in 1895-1904; J R McCleary Accountant and Acting Manager for 12 months, until 1900; A Kirk, Manager 1904; J Moore, staff until his transfer to Bendigo in December 1908; J S Bath was Manager until 1915; C C Cox, Manager until April 1923; Richard C Stanley, Manager 1923 to April 1928. The document with the building specifications for the Bank of Australasia, Warrnambool has historical significance as it was the basis for the building housing the Bank from early 1860. The document is also a historical record of the specifications and the builders of the mid-1800s in Warrnambool. The document is also significant for its association with Roberts & Co. which also built the Warrnambool Post Office. The document is significant for its association with the Bank of Australasia in Warrnambool, the first bank in Warrnambool, established in 1854. The bank continued to operate until its merger in 1951 when it became the ANZ Bank, which is still in operation today. The Bank was an integral part of the establishment and growth of commerce in Colonial Warrnambool and throughout Australia.Building Specifications; five large cream-coloured pages, folded in half to make a book. Handwritten text in black ink. Rectangular paper sheets were folded in half parallel to the short sides then stapled together near the fold A remnant of green tape suggests it was used to seal the binding. The specifications relate to the Bank of Australasia's Timor Street branch in Warrnambool, 1860.Handwritten in pencil on front cover "Completion date 18th March 1860" "Cost £2,860 sterling" Script handwriting, black ink on cover "Specifications / Bank of Australasia / Warrnambool"flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, commerce, banking, bank of australasia, australia & new zealand bank, anz bank, david charters mcarthur, 1860, regency building, specifications, bank building, roberts & co.

The Trustees of the Australian Ex-Prisoners of War Memorial have defined a Prisoner of War to be a person who was captured by a common enemy and/or interned in a neutral or non-combatant country. To be defined an Australian Prisoner of War, the person needs to be either an Australian Born person serving in the Uniform of an Australian Service; or in the Uniform of a friendly country, or Born Elsewhere and serving in the Uniform of an Australian Service. A Prisoner is a person who has lost personal privileges, suffers deprivation of liberty or is unable to return home or dies in captivity.Colour photograph of a War Memorial designed by Peter Blizzard. The granite wall of the Australian Ex-Prisoners of War Memorial features a listing the names of Australian Prisoners and was opened on the 6th February 2004 by General Peter Cosgrove AM MC to recognise and remember over 36,000 Australians who became Prisoners of War during the Wars of the 20th Century. In 2008 the Memorial became the First Military Memorial of National Significance outside Canberra. The Memorial which was designed by Peter Blizzard OAM, symbolises that all Australian prisoners embarked on a journey to serve away from their homeland and acknowledges the hardship, deprivation, brutality, starvation and disease endured by Prisoners of War during their capture and the scars that many continued to endure upon their repatriation to Australia. Heritage Victoria describes the memorial in the following way" "A JOURNEY OF HONOUR, REMEMBRANCE AND HEALING - The Australian Ex-Prisoners of War Memorial is a dramatic and highly symbolic tribute to the sacrifice made by more than 35,000 young Australian service men and women in four theatres of war. At the heart of the monument is a stark, 130 metre long, highly polished black granite wall, engraved with the names of all Australian prisoners of war. The names on this 'honour roll' are listed in historical order from the Boer War in 1899, through to the Korean War in 1953. It is a testament to the contribution made by so many. Standing sentinel at the centre of the Memorial are six huge basalt obelisks, etched with the names of all the countries where Australians were held prisoner of war. The obelisks stand in a large reflective pool, set back from the central pathway, symbolising the distance that separated Australia's prisoners of war from their homes and their loved ones. Opposite the pool is a larger obelisk flanked by flagpoles and a ceremonial stone on which to lay wreaths. The central pathway is itself symbolic, with each of the paving stones cut in the shape of a railway sleeper. The pathway defines 'the journey' taken by the prisoners of war and the journey visitors take around the monument. At the end of the granite wall where the pathway ends, visitors face a large stone engraved simply 'Lest We Forget'. Water flows from beneath the stone, along the base of the granite wall and into the reflection pool in which the obelisks stand. This cycle of flowing water, symbolising spirituality, healing, cleansing, birth and rebirth, guides visitors on their journey through the Memorial." ballarat, ballarat botanical gardens, peter blizzard, ballarat north gardens, war memorial, prisoner of war, prisoners of war

DESCRIPTIONColour photograph of a War Memorial designed by Peter Blizzard. The granite wall of the Australian Ex-Prisoners of War Memorial features a listing the names of Australian Prisoners and was opened on the 6th February 2004 by General Peter Cosgrove AM MC to recognise and remember over 36,000 Australians who became Prisoners of War during the Wars of the 20th Century. In 2008 the Memorial became the First Military Memorial of National Significance outside Canberra. The Memorial which was designed by Peter Blizzard OAM, symbolises that all Australian prisoners embarked on a journey to serve away from their homeland and acknowledges the hardship, deprivation, brutality, starvation and disease endured by Prisoners of War during their capture and the scars that many continued to endure upon their repatriation to Australia. Heritage Victoria describes the memorial in the following way" "A JOURNEY OF HONOUR, REMEMBRANCE AND HEALING - The Australian Ex-Prisoners of War Memorial is a dramatic and highly symbolic tribute to the sacrifice made by more than 35,000 young Australian service men and women in four theatres of war. At the heart of the monument is a stark, 130 metre long, highly polished black granite wall, engraved with the names of all Australian prisoners of war. The names on this 'honour roll' are listed in historical order from the Boer War in 1899, through to the Korean War in 1953. It is a testament to the contribution made by so many. Standing sentinel at the centre of the Memorial are six huge basalt obelisks, etched with the names of all the countries where Australians were held prisoner of war. The obelisks stand in a large reflective pool, set back from the central pathway, symbolising the distance that separated Australia's prisoners of war from their homes and their loved ones. Opposite the pool is a larger obelisk flanked by flagpoles and a ceremonial stone on which to lay wreaths. The central pathway is itself symbolic, with each of the paving stones cut in the shape of a railway sleeper. The pathway defines 'the journey' taken by the prisoners of war and the journey visitors take around the monument. At the end of the granite wall where the pathway ends, visitors face a large stone engraved simply 'Lest We Forget'. Water flows from beneath the stone, along the base of the granite wall and into the reflection pool in which the obelisks stand. This cycle of flowing water, symbolising spirituality, healing, cleansing, birth and rebirth, guides visitors on their journey through the Memorial."australian ex-prisoner of war memorial, peter blizzard, prisoner of war, ballarat north gardens

DESCRIPTIONColour photograph of a War Memorial designed by Peter Blizzard. The granite wall of the Australian Ex-Prisoners of War Memorial features a listing the names of Australian Prisoners and was opened on the 6th February 2004 by General Peter Cosgrove AM MC to recognise and remember over 36,000 Australians who became Prisoners of War during the Wars of the 20th Century. In 2008 the Memorial became the First Military Memorial of National Significance outside Canberra. The Memorial which was designed by Peter Blizzard OAM, symbolises that all Australian prisoners embarked on a journey to serve away from their homeland and acknowledges the hardship, deprivation, brutality, starvation and disease endured by Prisoners of War during their capture and the scars that many continued to endure upon their repatriation to Australia. Heritage Victoria describes the memorial in the following way" "A JOURNEY OF HONOUR, REMEMBRANCE AND HEALING - The Australian Ex-Prisoners of War Memorial is a dramatic and highly symbolic tribute to the sacrifice made by more than 35,000 young Australian service men and women in four theatres of war. At the heart of the monument is a stark, 130 metre long, highly polished black granite wall, engraved with the names of all Australian prisoners of war. The names on this 'honour roll' are listed in historical order from the Boer War in 1899, through to the Korean War in 1953. It is a testament to the contribution made by so many. Standing sentinel at the centre of the Memorial are six huge basalt obelisks, etched with the names of all the countries where Australians were held prisoner of war. The obelisks stand in a large reflective pool, set back from the central pathway, symbolising the distance that separated Australia's prisoners of war from their homes and their loved ones. Opposite the pool is a larger obelisk flanked by flagpoles and a ceremonial stone on which to lay wreaths. The central pathway is itself symbolic, with each of the paving stones cut in the shape of a railway sleeper. The pathway defines 'the journey' taken by the prisoners of war and the journey visitors take around the monument. At the end of the granite wall where the pathway ends, visitors face a large stone engraved simply 'Lest We Forget'. Water flows from beneath the stone, along the base of the granite wall and into the reflection pool in which the obelisks stand. This cycle of flowing water, symbolising spirituality, healing, cleansing, birth and rebirth, guides visitors on their journey through the Memorial."australian ex-prisoner of war memorial, prisoner of war, ballarat north gardens, peter blizzard

THE DISCOVERY OF STAINLESS STEEL Harry Brearley Since the dawn of man colonies have raced against each other to uncover new technologies, to be the first to stamp their names on a discovery, and although we’ve evolved over millions of years, the urge to be the first remains at the very core of our nature. This sense of passion and pride can lead some of the more unscrupulous humans to claim others discoveries as their own. Of course many breakthroughs are genuinely made in tandem, or are simultaneously occurring, but unless you can categorically prove that you were the pioneer of these incredible findings, then the other party involved will always dispute the fact. And so we come to stainless steel. The first point to note is that ‘inventor’ is a very ambiguous term. Is this the first person to think, to document, to patent, or to produce? The second point is that stainless steel wasn’t truly defined until 1911, so are we to cast aside those chromium-iron alloys that don’t quite meet the minimum requirement of 10.5% chromium? It seems like anyone and everyone has a different claim to being labelled the ‘inventor’ of stainless steel; from Britain, Germany, France, Poland, the U.S.A., and even Sweden. The cogs were set in motion by Englishmen Stoddart and Faraday circa 1820 and Frenchman Pierre Berthier in 1821. These scientists, among others, noted that iron-chromium alloys were more resistant to attack by certain acids, but tests were only carried out on low chromium content alloys. Attempts to produce higher chromium alloys failed primarily because of scientists not understanding the importance of low carbon content. In 1872 another pair of Englishmen, Woods and Clark, filed for patent of an acid and weather resistant iron alloy containing 30-35% chromium and 2% tungsten, effectively the first ever patent on what would now be considered a stainless steel. However, the real development came in 1875 when a Frenchman named Brustlein detailed the importance of low carbon content in successfully making stainless steel. Brustlein pointed out that in order to create an alloy with a high percentage of chromium, the carbon content must remain below around 0.15%. Thus ensued two decades of stagnation for the development of stainless steel, and while many scientists attempted to create a low carbon stainless steel, none succeeded. Hans Goldschmidt It wasn’t until 1895, when Hans Goldschmidt of Germany developed the aluminothermic reduction process for producing carbon-free chromium, that development of stainless steels became a reality. In 1904 French Scientist Leon Guillet undertook extensive research on many iron-chromium alloys. Guillet’s work included studies on the composition of what would now be known as 410, 420, 442, 446 and 440-C. In 1906 Guillet went on to analyse iron-nickel-chrome alloys, which would now be considered the basics of the 300 series. However, while noting the chemical composition of his alloys, Guillet failed to acknowledge the potential corrosion resistance of his materials. Albert Portevin In 1909 Englishman Giesen published an in-depth work regarding chromium-nickel steels, while the French national, Portevin, studied what is now regarded as 430 stainless steel. However, it wasn’t until 1911 that the importance of a minimum chromium content was discovered by Germans P. Monnartz and W. Borchers. Monnartz and Borchers discovered the correlation between chromium content and corrosion resistance, stating that there was a significant boost in corrosion resistance when at least 10.5% chromium was present. The pair also published detailed works on the effects of molybdenum on corrosion resistance. It is at this point we introduce Harry Brearley, born in Sheffield, England in 1871, he was appointed lead researcher at Brown Firth Laboratories in 1908. In 1912 Brearley was given a task by a small arms manufacturer who wished to prolong the life of their gun barrels which were eroding away too quickly. Brearley set out to create an erosion resistant steel, not a corrosion resistant one, and began experimenting with steel alloys containing chromium. During these experiments Brearley made several variations of his alloys, ranging from 6% to 15% chromium with differing levels of carbon. On the 13th August 1913 Brearley created a steel with 12.8% chromium and 0.24% carbon, argued to be the first ever stainless steel. The circumstances in which Brearley discovered stainless steel are covered in myth; some enchanted tales of Brearley recite him tossing his steel into the rubbish, only to notice later that the steel hadn’t rusted to the extent of its counterparts, much like Alexander Fleming’s experience 15 years later. Other more plausible, (but less attractive), accounts claim it was necessary for Brearley to etch his steels with nitric acid and examine them under a microscope in order to analyse their potential resistance to chemical attack. Brearley found that his new steel resisted these chemical attacks and proceeded to test the sample with other agents, including lemon juice and vinegar. Brearley was astounded to find that his alloys were still highly resistant, and immediately recognised the potential for his steel within the cutlery industry. The Half Moon Brearley struggled to win the support of his employers, instead choosing to produce his new steel at local cutler R. F. Mosley. He found difficulty producing knife blades in the new steel that did not rust or stain and turned to his old school friend, Ernest Stuart, Cutlery Manager at Mosley’s Portland Works, for help. Within 3 weeks, Stuart had perfected the hardening process for knives. Brearley had initially decided to name his invention ‘Rustless Steel’, but Stuart, dubbed it ‘Stainless Steel’ after testing the material in a vinegar solution, and the name stuck. And that’s how Harry Brearley discovered stainless steel…. well, not quite… During the 5 year period between 1908 and Brearley’s discovery in 1913 many other scientists and metallurgists have potential claims to Brearley’s title. In 1908 the Germans entered the fray, the Krupp Iron Works in Germany produced a chrome-nickel steel for the hull of the Germania yacht. The Half Moon, as the yacht is now known, has a rich history and currently lies on the seabed off the east coast of Florida. Whether the steel contains the minimum 10.5% chromium content remains inconclusive. Employees of the Krupp works, Eduard Maurer and Benno Strauss, also worked from 1912-1914 on developing austenitic steels using <1% carbon, <20% nickel and 15-40% chromium. Not happy with Europe hogging the glory, the USA got in on the act. Firstly, Elwood Haynes, after becoming disenchanted at his rusty razor, set out to create a corrosion resistant steel, which he supposedly succeeded in doing during 1911. Two other Americans, Becket and Dantsizen, worked on ferritic stainless steels, containing 14-16% chromium and 0.07-0.15% carbon, in the years 1911-1914. Elwood Haynes During 1912 Max Mauermann of Poland is rumoured to have created the first stainless steel, which he later presented to the public during the Adria exhibition in Vienna, 1913. Finally, a recently discovered article, which was published in a Swedish hunting and fishing magazine in 1913, discusses a steel used for gun barrels, (sound familiar?), which seems to resemble stainless steel. Although this is purely speculation, the Swedes have still made an audacious claim that they were in fact responsible for the first practical application for stainless steel. That concludes the shambolic discovery of stainless steel! Although there is much mystery and speculation behind the discovery of this wonderful material, there is no question that without the combined effort of all the above scientists and metallurgists, (and all the many more that were not mentioned), we would not have such a rich and versatile metal at our fingertips. https://bssa.org.uk/bssa_articles/the-discovery-of-stainless-steel/#:~:text=On%20the%2013th%20August%201913,the%20first%20ever%20stainless%20steel. This stainless steel container was donated to Flagstaff Hill Maritime Village by the family of Doctor William Roy Angus, Surgeon and Oculist. It is part of the “W.R. Angus Collection” that includes historical medical equipment, surgical instruments and material once belonging to Dr Edward Ryan and Dr Thomas Francis Ryan, (both of Nhill, Victoria) as well as Dr Angus’ own belongings. The Collection’s history spans the medical practices of the two Doctors Ryan, from 1885-1926 plus that of Dr Angus, up until 1969. ABOUT THE “W.R.ANGUS COLLECTION” Doctor William Roy Angus M.B., B.S., Adel., 1923, F.R.C.S. Edin.,1928 (also known as Dr Roy Angus) was born in Murrumbeena, Victoria in 1901 and lived until 1970. He qualified as a doctor in 1923 at University of Adelaide, was Resident Medical Officer at the Royal Adelaide Hospital in 1924 and for a period was house surgeon to Sir (then Mr.) Henry Simpson Newland. Dr Angus was briefly an Assistant to Dr Riddell of Kapunda, then commenced private practice at Curramulka, Yorke Peninsula, SA, where he was physician, surgeon and chemist. In 1926, he was appointed as new Medical Assistant to Dr Thomas Francis Ryan (T.F. Ryan, or Tom), in Nhill, Victoria, where his experiences included radiology and pharmacy. In 1927 he was Acting House Surgeon in Dr Tom Ryan’s absence. Dr Angus had become engaged to Gladys Forsyth and they decided he would take time to further his studies overseas in the UK in 1927. He studied at London University College Hospital and at Edinburgh Royal Infirmary and in 1928, was awarded FRCS (Fellow from the Royal College of Surgeons), Edinburgh. He worked his passage back to Australia as a Ship’s Surgeon on the on the Australian Commonwealth Line’s T.S.S. Largs Bay. Dr Angus married Gladys in 1929, in Ballarat. (They went on to have one son (Graham 1932, born in SA) and two daughters (Helen (died 12/07/1996) and Berenice (Berry), both born at Mira, Nhill ) Dr Angus was a ‘flying doctor’ for the A.I.M. (Australian Inland Ministry) Aerial Medical Service in 1928 . The organisation began in South Australia through the Presbyterian Church in that year, with its first station being in the remote town of Oodnadatta, where Dr Angus was stationed. He was locum tenens there on North-South Railway at 21 Mile Camp. He took up this ‘flying doctor’ position in response to a call from Dr John Flynn; the organisation was later known as the Flying Doctor Service, then the Royal Flying Doctor Service. A lot of his work during this time involved dental surgery also. Between 1928-1932 he was surgeon at the Curramulka Hospital, Yorke Peninsula, South Australia. In 1933 Dr Angus returned to Nhill where he’d previously worked as Medical Assistant and purchased a share of the Nelson Street practice and Mira hospital from Dr Les Middleton one of the Middleton Brothers, the current owners of what was once Dr Tom Ryan’s practice. Dr L Middleton was House Surgeon to the Nhill Hospital 1926-1933, when he resigned. [Dr Tom Ryan’s practice had originally belonged to his older brother Dr Edward Ryan, who came to Nhill in 1885. Dr Edward saw patients at his rooms, firstly in Victoria Street and in 1886 in Nelson Street, until 1901. The Nelson Street practice also had a 2 bed ward, called Mira Private Hospital ). Dr Edward Ryan was House Surgeon at the Nhill Hospital 1884-1902 . He also had occasions where he successfully performed veterinary surgery for the local farmers too. Dr Tom Ryan then purchased the practice from his brother in 1901. Both Dr Edward and Dr Tom Ryan work as surgeons included eye surgery. Dr Tom Ryan performed many of his operations in the Mira private hospital on his premises. He too was House Surgeon at the Nhill Hospital 1902-1926. Dr Tom Ryan had one of the only two pieces of radiology equipment in Victoria during his practicing years – The Royal Melbourne Hospital had the other one. Over the years Dr Tom Ryan gradually set up what was effectively a training school for country general-practitioner-surgeons. Each patient was carefully examined, including using the X-ray machine, and any surgery was discussed and planned with Dr Ryan’s assistants several days in advance. Dr Angus gained experience in using the X-ray machine there during his time as assistant to Dr Ryan. Dr Tom Ryan moved from Nhill in 1926. He became a Fellow of the Royal Australasian College of Surgeons in 1927, soon after its formation, a rare accolade for a doctor outside any of the major cities. He remained a bachelor and died suddenly on 7th Dec 1955, aged 91, at his home in Ararat. Scholarships and prizes are still awarded to medical students in the honour of Dr T.F. Ryan and his father, Dr Michael Ryan, and brother, John Patrick Ryan. ] When Dr Angus bought into the Nelson Street premises in Nhill he was also appointed as the Nhill Hospital’s Honorary House Surgeon 1933-1938. His practitioner’s plate from his Nhill surgery states “HOURS Daily, except Tuesdays, Fridays and Saturday afternoons, 9-10am, 2-4pm, 7-8pm. Sundays by appointment”. This plate is now mounted on the doorway to the Port Medical Office at Flagstaff Hill Maritime Village, Warrnambool. Dr Edward Ryan and Dr Tom Ryan had an extensive collection of historical medical equipment and materials spanning 1884-1926 and when Dr Angus took up practice in their old premises he obtained this collection, a large part of which is now on display at the Port Medical Office at Flagstaff Hill Maritime Village in Warrnambool. During his time in Nhill Dr Angus was involved in the merging of the Mira Hospital and Nhill Public Hospital into one public hospital and the property titles passed on to Nhill Hospital in 1939. In 1939 Dr Angus and his family moved to Warrnambool where he purchased “Birchwood,” the 1852 home and medical practice of Dr John Hunter Henderson, at 214 Koroit Street. (This property was sold in1965 to the State Government and is now the site of the Warrnambool Police Station. ). The Angus family was able to afford gardeners, cooks and maids; their home was a popular place for visiting dignitaries to stay whilst visiting Warrnambool. Dr Angus had his own silk worm farm at home in a Mulberry tree. His young daughter used his centrifuge for spinning the silk. Dr Angus was appointed on a part-time basis as Port Medical Officer (Health Officer) in Warrnambool and held this position until the 1940’s when the government no longer required the service of a Port Medical Officer in Warrnambool; he was thus Warrnambool’s last serving Port Medical Officer. (The duties of a Port Medical Officer were outlined by the Colonial Secretary on 21st June, 1839 under the terms of the Quarantine Act. Masters of immigrant ships arriving in port reported incidents of diseases, illness and death and the Port Medical Officer made a decision on whether the ship required Quarantine and for how long, in this way preventing contagious illness from spreading from new immigrants to the residents already in the colony.) Dr Angus was a member of the Australian Medical Association, for 35 years and surgeon at the Warrnambool Base Hospital 1939-1942, He served as a Surgeon Captain during WWII1942-45, in Ballarat, Victoria, and in Bonegilla, N.S.W., completing his service just before the end of the war due to suffering from a heart attack. During his convalescence he carved an intricate and ‘most artistic’ chess set from the material that dentures were made from. He then studied ophthalmology at the Royal Melbourne Eye and Ear Hospital and created cosmetically superior artificial eyes by pioneering using the intrascleral cartilage. Angus received accolades from the Ophthalmological Society of Australasia for this work. He returned to Warrnambool to commence practice as an ophthalmologist, pioneering in artificial eye improvements. He was Honorary Consultant Ophthalmologist to Warrnambool Base Hospital for 31 years. He made monthly visits to Portland as a visiting surgeon, to perform eye surgery. He represented the Victorian South-West subdivision of the Australian Medical Association as its secretary between 1949 and 1956 and as chairman from 1956 to 1958. In 1968 Dr Angus was elected member of Spain’s Barraquer Institute of Barcelona after his research work in Intrasclearal cartilage grafting, becoming one of the few Australian ophthalmologists to receive this honour, and in the following year presented his final paper on Living Intrasclearal Cartilage Implants at the Inaugural Meeting of the Australian College of Ophthalmologists in Melbourne In his personal life Dr Angus was a Presbyterian and treated Sunday as a Sabbath, a day of rest. He would visit 3 or 4 country patients on a Sunday, taking his children along ‘for the ride’ and to visit with him. Sunday evenings he would play the pianola and sing Scottish songs to his family. One of Dr Angus’ patients was Margaret MacKenzie, author of a book on local shipwrecks that she’d seen as an eye witness from the late 1880’s in Peterborough, Victoria. In the early 1950’s Dr Angus, painted a picture of a shipwreck for the cover jacket of Margaret’s book, Shipwrecks and More Shipwrecks. She was blind in later life and her daughter wrote the actual book for her. Dr Angus and his wife Gladys were very involved in Warrnambool’s society with a strong interest in civic affairs. Their interests included organisations such as Red Cross, Rostrum, Warrnambool and District Historical Society (founding members), Wine and Food Society, Steering Committee for Tertiary Education in Warrnambool, Local National Trust, Good Neighbour Council, Housing Commission Advisory Board, United Services Institute, Legion of Ex-Servicemen, Olympic Pool Committee, Food for Britain Organisation, Warrnambool Hospital, Anti-Cancer Council, Boys’ Club, Charitable Council, National Fitness Council and Air Raid Precautions Group. He was also a member of the Steam Preservation Society and derived much pleasure from a steam traction engine on his farm. He had an interest in people and the community He and his wife Gladys were both involved in the creation of Flagstaff Hill, including the layout of the gardens. After his death (28th March 1970) his family requested his practitioner’s plate, medical instruments and some personal belongings be displayed in the Port Medical Office surgery at Flagstaff Hill Maritime Village, and be called the “W. R. Angus Collection”. The W.R. Angus Collection is significant for still being located at the site it is connected with, Doctor Angus being the last Port Medical Officer in Warrnambool. The collection of medical instruments and other equipment is culturally significant, being an historical example of medicine from late 19th to mid-20th century. Dr Angus assisted Dr Tom Ryan, a pioneer in the use of X-rays and in ocular surgery. Medical box; rectangular stainless steel base and separate lid, from the W.R. Angus Collection.warrnambool, flagstaff hill maritime museum, great ocean road, dr w r angus, dr ryan, surgical instrument, t.s.s. largs bay, warrnambool base hospital, nhill base hospital, mira hospital, flying doctor, medical treatment, stainless steel medical container, medical container, stainless steel

(Contained in an album originally put together by Harry Gilham. Photos subsequently relocated to photosafe archival storage.) [2001]Colour photographkangaroo ground, war memorial tower, kenneth jack, plaques

Shunde Polytechnic is in district of Guangdong, Chine. District has an age-old tradition of being the centre of trade, textile industry.Glass object with etching of a building and name of institution.Chinese writing: Shunde Polytechnic in English. Symbol of institution.shunde polytechnic, china, guangdong sheng, trade, textile industry, ornament, etched glass

On 26 August 1967 members of 5 Platoon, B Company, 7 RAR were lifted by United States Army Iroquois helicopters from their location beside the road leading to Dat Do, and returned to their base at Nui Dat in Phuoc Tuy Province. These soldiers had completed the cordon and search of the village of Phuoc Hai, part of Operation Ulmarra. This iconic image is etched on the Vietnam Veteran's Memorial on Anzac parade in Canberra. Brown timber frame with grey mount containing photograph/print of three helicopters above group of soldiers in the fieldMembers of 5 Pl, B Coy, 7RAR Just north of the village of Phuoc Hai, In August 1967vietnam, 5th platoon b coy 7 rar, operation ulmarra

Built for William and Anna-Maria Greenlaw in the early 1880s, and with interiors decorated by the Paterson Bros, Villa Alba remained in private ownership until 1949. From 1950, the house was owned by a number of institutions. By 1984, the Villa Alba Preservation Society had been formed, and three years later, the Mount Royal Hospital granted a 25-year lease to Kew Council. In 2004, the title to Villa Alba was passed by the Victorian Government to The Villa Alba Museum Incorporated. The Museum, at 44 Walmer Street, Kew, is now a cultural institution committed to the collection, study and display of 19th century interior decorative finishes, and the components of 19th and 20th century interior decoration.This is one of a number of historically and aesthetically significant photos of the interiors and exterior of Villa Alba when it was still owned by the Mount Royal Hospital, showing twentieth century accretions and deterioration of the historic fabric of the building. This was a benchmark survey against which future conservation and restoration activities can be measured.In December 1987, Mockridge Stahle & Mitchell Pty Ltd Architects prepared ‘Villa Alba Survey: A Report on the fabric for Mount Royal Hospital’ of which this photograph is a part. Photo of exterior of Villa Alba showing corner of slate roof with downpipes.villa alba museum, conservation photographs, victorian architecture, etched glass, slate roofs, victorian downpipes

Purchased with the assistance of the Crafts Board of the Australia Council, 1979Metal, Pewtergippsland, artwork, permanent collection