A “Bill of Fare” is a menu or list of food offered for a meal. This Bill of Fare from the sailing ship Schomberg is handwritten in pen in hard-to-read script on the printed pages specifically for the Schomberg ship, of the Black Ball Line of Australian Packets. (‘Packets’ were vessels that had a regular trade run of cargo, passengers and mail; the sailing ship Schomberg was designed for long voyages between England and Australia.) These menus posed a puzzle as they have the handwritten dates of, May 10 and 12, 1856, by which time the Schomberg had sunk (she sunk on December 26, 1855). The donor of these pages of Bill of Fare is a stamp collector from Melbourne. He came across the menus in a package that he bought in 1980 at a stamp auction in Tasmania. He decided to give the menus to Flagstaff Hill this year during his annual family holiday in Warrnambool. A 1981 newspaper article about this donation included an interview with Flagstaff Hill’s curator Mr Peter Ronald, who said that the stationery of these menus is genuine. He went on to say that there would have been much stationery printed for use on the Schomberg although she sank on her maiden voyage. These menus could have been written at a dated late because the surplus Schomberg stationery could have been used for menus on other ships. We will probably never be sure of the answer but none-the-less the pages are still connected to the Schomberg. Below is what we believe the menu consists of although some of the writing is indecipherable - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - (first menu) Roast Mutton Boiled Mutton? Ox Tail Mulligatawny? Or possibly Ox Tail Vegetables? Mutton Pies? ------------------------------- Vegetables Potatoes ---------------------------------- Dessert Fruit Puddings? Saturday May 10, 1856 - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - AND - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - (second menu) Boiled Mutton Roast Mutton? Roast Geese? Ox Tail?? Calves Head Broth? ------------------------------- Vegetables Potatoes ------------------------------- Dessert Tarts? Rice Pudding? ?...Maids?? Monday May 12, 1856 - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Background of “SCHOMBERG” When SCHOMBERG was launched in July, 1855, she was considered the “Noblest ship that ever floated on water.” SCHOMBERG’s owners, the Black Ball Line (one of three companies by that name), commissioned the ship for their fleet of passenger liners. She was built by Alexander Hall of Aberdeen, UK at a cost of £43,103. She was constructed with 3 skins: one planked fore and aft, and two diagonally planked, fastened together with screw threaded trunnels (wooden rails). Her first class accommodation was luxurious: velvet pile carpets; large mirrors; rosewood; birds-eye maple; mahogany; soft furnishings of gold satin damask; an oak-lined library; and a piano. Overall she had accommodation for 1000 passengers. SCHOMBERG’s 34 year old master, Captain James ‘Bully’ Forbes, had promised Melbourne in 60 days at the launch, "with or without the help of God." James Nicol Forbes was born in Aberdeen in 1821 and rose to fame with his record-breaking voyages on the famous Black Ball Line ships MARCO POLO and LIGHTNING. In 1852 in the MARCO POLO he made the record passage from London to Melbourne in 68 days. There were 53 deaths on the voyage but the great news was of the record passage by the master. In 1954 Captain Forbes took the clipper LIGHTNING to Melbourne in 76 days and back in 63 days, this was never beaten by a sailing ship. He often drove his crew and ship to breaking point to beat his own records. He cared little for the comfort of the passengers. On this, the SCHOMBERG’s maiden voyage, he was going to break records. SCHOMBERG departed Liverpool on her maiden voyage on 6 October 1855 flying the sign “Sixty Days to Melbourne”. She departed with 430 passengers and 3000 tons cargo including iron rails and equipment intended to build the Melbourne to Geelong Railway as well as a bridge over the Yarra from Melbourne to Hawthorn. She also carried a cow for fresh milk, pens for fowls and pigs, and 90,000 gallons of water for washing and drinking. SCHOMBERG also carried 17,000 letters and 31,800 newspapers. The ship and cargo was insured for $300,000, a fortune for the time. The winds were poor as she sailed across the equator, slowing SCHOMBERG’s journey considerably. Land was first sighted on Christmas Day, at Cape Bridgewater near Portland, and Captain Forbes followed the coastline towards Melbourne. Forbes was said to be playing cards when called by the Third Mate Henry Keen, who reported land about 3 miles off. Due in large part to Forbes regarding a card game as more important than his ship, SCHOMBERG eventually ran aground on a sand spit near Curdie's Inlet (about 56 km west of Cape Otway) on 26 December 1855, 78 days after leaving Liverpool. The sand spit and the currents were not marked on Forbes’s map. Overnight, the crew launched a lifeboat to find a safe place to land the ship’s passengers. The scouting party returned to SCHOMBERG and advised Forbes that it was best to wait until morning because the rough seas could easily overturn the small lifeboats. The ship’s Chief Officer spotted the steamer SS QUEEN at dawn and signalled it. The master of the SS QUEEN approached the stranded vessel and all of SCHOMBERG’s passengers and crew were able to disembark safely. The SCHOMBERG was lost and with her, Forbes’ reputation. The Black Ball Line’s Melbourne agent sent a steamer to retrieve the passengers’ baggage from the SCHOMBERG. Other steamers helped unload her cargo until the weather changed and prevented the salvage teams from accessing the ship. Later one plunderer found a case of Wellington boots, but alas, all were for the left foot! Local merchants Manifold & Bostock bought the wreck and cargo, but did not attempt to salvage the cargo still on board the ship. They eventually sold it on to a Melbourne businessman and two seafarers. In 1864 salvage efforts were abandoned after two men drowned when they tried to reach SCHOMBERG. Parts of the SCHOMBERG were washed ashore on the south island of New Zealand in 1870, nearly 15 years after the wreck. The wreck of the SCHOMBERG lies in 825 metres of water. Although the woodwork is mostly disintegrated, the shape of the ship can still be seen due to the remaining railway irons, girders and the ship’s frame. A variety of goods and materials can be seen surrounding the wreck, by divers. Flagstaff Hill holds many items salvaged from the SCHOMBERG including a ciborium (in which a diamond ring was concealed in concretion), communion set, ship fittings and equipment, personal effects, a lithograph, tickets and photograph from the SCHOMBERG. These Bills of Fare are significant due to their connection to Flagstaff Hill’s collection of artefacts from the Schomberg, which is significant for its association with the Victorian Heritage Registered shipwreck S612. The collection is primarily significant because of the relationship between the objects, as together they have a high potential to interpret the story of the Schomberg. The Schomberg collection is archaeologically significant as the remains of an international passenger ship. The shipwreck collection is historically significant for representing aspects of Victoria’s shipping history and its potential to interpret sub-theme 1.5 of Victoria’s Framework of Historical Themes (living with natural processes). The collection is also historically significant for its association with the shipwreck and the ship, which was designed to be fastest and most luxurious of its day. The Schomberg collection meets the following criteria for assessment: Criterion A: Importance to the course, or pattern, of Victoria’s cultural history. Criterion B: Possession of uncommon, rare or endangered aspects of Victoria’s cultural history. Criterion C: Potential to yield information that will contribute to an understanding of Victoria’s cultural history. Menu, or Bill of Fare, on cream coloured stationery from the sailing vessel “Schomberg”. Two rectangular pieces of paper, each bears the printed words “Black Ball Line of Australian Packets, Bill of Fare, Ship, Schomberg”, a printed symbol of the Black Ball line (a black ball on a red flag) and a decorative border. Both pages are handwritten, in similar but different sized writing, with a Bill of Fare and a date, Page (1) dated May 10th 1856 and (2) dated May 12th ’56, (Both dates are AFTER the Schomberg sank in December 26th 1855.) Both pages have three fold lines spaced across their width. To be used for the return voyage.Printed on the pages ““BLACK BALL LINE OF AUSTRALIAN PACKETS.” “Bill of Fare, / SHIP / “SCHOMBERG”.” Handwritten list of food, and on one page “Saturday May 10 1856” and on the other page “Monday May 12” warrnambool, peterborough, shipwrecked coast, shipwreck coast, flagstaff hill maritime museum, flagstaff hill maritime village, maritime museum, great ocean road, flagstaff hill, sailing ship schomberg, shipwreck schomberg, black ball line of australian packets, bill of fare schomberg, menu schomberg 1856, food mid-1800’s, food on ships mid-1800’s, menu, may 10, 1856, may 12, 1856

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

10570 South African (Boer) War Memorial Bendigo. The monument commemorates those who died in service or were killed in action while serving in the South African (Boer) War. It is a bronze statue of a soldier on a granite base. Leader (Melbourne), 19 November 1904. “There was a large assemblage on the afternoon of 11th November, when the ceremony of unveiling the soldiers' memorial statue was performed by Brigadier-General Gordon in the presence of a muster of branches of the defence forces. The statue, which is in bronze, is mounted on a massive granite base, on the foot of which is the following inscription: — "Bendigo's tribute to the memory of the Australian soldiers who, in the South African war of 1899 - 1902 gave their lives for Queen and Empire. The statue was modelled by Mr. J. Walker, a young Bendigonian, who has been studying for two or three years under Mr. A. T. Woodward art instructor at the local school of mines.“ Ola Cohn recalled in her autobiography meeting John Walker as a sculpture student at the Bendigo School of Mines and that he had later received the commission for the Boer War Memorial although she neglects to mention its location. John Walker was born in Bendigo and first studied sculpture at the Bendigo School of Art. Walker, then went to England to study at the Royal College of Art London, and in Paris at the Académie Colarossi and Julian Academy. John Walker worked as a sculptor in both Bendigo and West Brunswick before turning to chicken farming in the Bendigo suburb of White Hills. The photo of A. T. Pattinson was taken by George Leake Massingham, a professional photographer, who had seven children, one of whom died at birth. After arriving in Australia from England, he established himself as a travelling photographer, an occupation he continued after his marriage. He travelled throughout country Queensland, Victoria and New South Wales, setting up studios along the way. The family ended up moving with him, travelling to Sydney, Narrandera, Bendigo, Newtown, Geelong and Deniliquin. Correspondence re Boer War Memorial Bendigo Boer War Memorial Bendigo. Letters and photo from and to Mrs Wilson, eldest daughter of Mr Arthur T. Pattinson who was a model for the Boer War sculpture. 10570a A black and white photo of Trooper Arthur T. Pattinson restored by BHS Volunteers. 10570b The original photo as sent by Mrs Wilson to Harold Curnow (Bendigo Historical Society) in 1962. The photo is mounted on heavy brown cardboard and has an old catalogue number of "P680" inscribed on it. The cardboard is torn and held together with sticky tape. On the front in italics is printed G.L. Massingham, Bendigo. 10570c Notes on the rear of the photo from Mrs Wilson state that "the photo is of Arthur T. Pattinson (Rusty), an Australian Light Horse trooper who served in the Boer War. The Boer War Memorial in Pall Mall Bendigo represents a trooper on guard. The sculptor was Jack Walker who used Pattinson as a model, and it is regarded as an excellent likeness." 10570d A letter from Harold Curnow back to Mrs Wilson on Jan 4th, 1963, acknowledging receipt of the photo and a letter received, noting the significance of the historical information. 10570e Handwritten letter 29/11/1962 from Mrs Wilson to Mr Curnow introducing herself as Mr. Pattinson's eldest daughter and answering the letter he wrote to her father. She mentions the bad health of her parents. Arthur modelled for the statue at least two to three times per week in a studio on the top floor of a building in Bull St. He was the original model to the best of her knowledge. Another model possibly Mr P. Handmear may have sat as a model for renovations (*). The rifle was a light horse rifle issued to Pattinson as he was still serving in 1904. Arthur and Handmear were boys together and very close. * Note - the plaster model was repaired prior to casting in metal. 10570f An obituary notice: 18/11/64 "On Nov. 17 at Frankston, Emma, wife of the late A. T. Pattinson (Rusty), late of Bendigo. 10570g Letter Nov. 20th, 1962, from Harold Curnow to Mr Arthur T. Pattinson, Kent St., Mornington, Vic. "Dear Mr Pattinson, Last week your brother, Brit., whom I have known for many years, supplied the Bendigo Advertiser with some interesting information regarding your role as the model for the late Jack Walker when he was making the statue for the Boer War Memorial here. Yesterday however, another claimant to the distinction of being the model was advanced in the Bendigo Advertiser by Mr Richard Marshall, of Moran Street, Bendigo who said that the soldier's model was Phillip Handmear. I understand that your brother has sent the newspaper cuttings on to you. When he called to see me yesterday, he suggested that I write to you for further particulars. Can you recall the discussion you had with Jack Walker when he approached you about acting as the model and do you remember how many times you posed for him, and whether the work was done in the house, in the yard, or in one of the outbuildings at Moran Street? In short, any details at all. At this point in time we are considering an interesting facet in Bendigo's history, so any seemingly unimportant incidents could really be useful if we knew about them. Have you any old newspaper cuttings mentioning your name in connection with the memorial? Do you remember any remarks that passed between you and Jack Walker during the long sessions you must have put in on this work? This could be very important. And do you recall where the rifle came from? Did you or Jack Walker borrow it from the military authorities? Back in 1934 Jack Walker recalled having had to pull the plaster model down and remake it when he discovered it was slightly off-balance and was slowly toppling forward. He told me he had to get his model to pose again. Do you know anything about this? Could it have been that he got Mr. Handmear in for the final stage of the work? That, of course, would apply only if you were not available. Incidentally, I never heard of Mr Handmear until I saw his name in yesterday's "Advertiser". In any case I intended contacting your brother or you to enquire whether any member of your family has an old photograph of you in your Boer War uniform, that is, one taken about the time of or just after the Boer War. I am sure that members of the Bendigo Branch of the Royal Historical Society would be most interested to see it. I hope you will have the time and inclination to consider the many points I have raised in this letter because the subject has aroused a lot of interest in Bendigo. Hoping you are well and quite as active as you wish, I remain, with all good wishes, Yours sincerely, Harold Curnow". john walker, jack walker, boer war memorial bendigo, arthur pattinson, soldiers' memorial bendigo

The discovery of the first telescope in 1608 can be attributed to Hans Lippershey of the Netherlands when he discovers that holding two lenses up some distance apart bring objects closer. He applies for a patent on his invention and this becomes the first documented creation of a telescope. Then in 1668, Newton produces the first successful reflecting telescope using a two-inch diameter concave spherical mirror. This opened the door to magnifying objects millions of times far beyond what could ever be obtained with a lens. It wasn’t until 1729 that Chester Moor Hall develops an achromatic lens (two pieces of glass with different indices of light refraction combined produce a lens that can focus colours to almost an exact point resulting in much sharper images but still with some distortion around the edges of the image. Then in 1729 Scottish instrument maker James Short invents the first parabolic and elliptic, distortion-less mirror ideal for reflecting telescopes. We now come to John Dollond who improves upon the achromatic objective lens by placing a concave flint glass lens between two convex crown glass lenses. This had the effect of improving the image considerably. Makers Information: John Dollond (1707-1761) London England he was a maker of optical and astronomical instruments who developed an achromatic (non-colour distorting) refracting telescope and practical heliometer. A telescope that used a divided lens to measure the Sun’s diameter and the angles between celestial bodies. The son of a Huguenot refugees Dollond learned the family trade of silk weaving. He became proficient in optics and astronomy and in 1752 his eldest son, Peter joined his father in an optical business, in 1753 he introduced the heliometer. In the same year, he also took out a patent on his new lenses. He was elected a fellow of the Royal Society in May 1761 but died suddenly in November and his share in the patent passed to his son Peter. In subsequent squabbles between Peter and the many London opticians who challenged his patent, Peter’s consistent position was that, whatever precedents there may have been to his achromatic lenses, his father had independently reached his practical technique on the basis of his theoretical command of Newtonian optics. As a result of maintaining his fathers patent, Dollond s became the leading manufacturer of optical instruments. For a time in the eighteenth and nineteenth century the word 'Dollond' was almost a generic term for telescope rather like 'Hoover; is to vacuum cleaner. Genuine Dollond telescopes were considered to be amongst the best. Peter Dollond (1731-1820) was the business brain behind the company which he founded in Vine Street, Spitalfields in 1750 and in 1752 moved the business to the Strand London. The Dollonds seem to have made both types of telescopes (reflecting and refracting), possessing the technology to produce significant numbers of lenses free of chromatic aberration for refracting telescopes. A Dollond telescope sailed with Captain Cook in 1769 on his voyage to observe the Transit of Venus. Thomas Jefferson and Admiral Lord Nelson were also customers of the Dollonds. Dollond & Co merged with Aitchison & Co in 1927 to form Dollond & Aitchison, the well-known high street chain of opticians, now fully part of Boots Opticians. They no longer manufacture but are exclusively a retail operation.    John Dollond's experiments in optics and how different combinations of lenses refract light and colour gave a better understanding of the divergent properties of lenses. That went on to inform and pave the way for the improvement of our understanding of optics that are represented today. Dollond was referred to in his time as the "Father of practical optics" as a leader in his field he received many prestigious awards. The telescope in the collection is a good example of one of Dollonds early library telescopes and its connection with one of England's 18th-century pioneers in optical development is in itself a significant and an important item to have within the collection. One tube ships day & Night Telescope brass inner tube with timber main tube covered in leather. Unavailable to inspect Inscriptions to determine authenticity.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, telescope, dolland, shipwreck-coast, flagstaff-hill-maritime-village, royal national life boat institution

This Dollond Day or Nigh telescope was designed to be used in any light conditions, as its name implies. Telescopes are optical instruments designed to make objects appear to be larger or closer. The discovery of the first telescope in 1608 can be attributed to Hans Lippershey of the Netherlands when he discovers that holding two lenses up some distance apart bring objects closer. He applies for a patent on his invention and this becomes the first documented creation of a telescope. Then in 1668, Newton produces the first successful reflecting telescope using a two-inch diameter concave spherical mirror. This opened the door to magnifying objects millions of times far beyond what could ever be obtained with a lens. It wasn’t until 1729 that Chester Moor Hall develops an achromatic lens (two pieces of glass with different indices of light refraction combined produce a lens that can focus colours to almost an exact point resulting in much sharper images but still with some distortion around the edges of the image. Then in 1729 Scottish instrument maker James Short invents the first parabolic and elliptic, distortion-less mirror ideal for reflecting telescopes. We now come to John Dollond who improves upon the achromatic objective lens by placing a concave flint glass lens between two convex crown glass lenses. This had the effect of improving the image considerably. Makers Information: John Dollond (1707-1761) London England he was a maker of optical and astronomical instruments who developed an achromatic (non-colour distorting) refracting telescope and practical heliometer. A telescope that used a divided lens to measure the Sun’s diameter and the angles between celestial bodies. The son of a Huguenot refugees Dollond learned the family trade of silk weaving. He became proficient in optics and astronomy and in 1752 his eldest son, Peter joined his father in an optical business, in 1753 he introduced the heliometer. In the same year, he also took out a patent on his new lenses. He was elected a fellow of the Royal Society in May 1761 but died suddenly in November and his share in the patent passed to his son Peter. In subsequent squabbles between Peter and the many London opticians who challenged his patent, Peter’s consistent position was that, whatever precedents there may have been to his achromatic lenses, his father had independently reached his practical technique on the basis of his theoretical command of Newtonian optics. As a result of maintaining his fathers patent, Dollond s became the leading manufacturer of optical instruments. For a time in the eighteenth and nineteenth century the word 'Dollond' was almost a generic term for telescope rather like 'Hoover; is to vacuum cleaner. Genuine Dollond telescopes were considered to be amongst the best. Peter Dollond (1731-1820) was the business brain behind the company which he founded in Vine Street, Spitalfields in 1750 and in 1752 moved the business to the Strand London. The Dollonds seem to have made both types of telescopes (reflecting and refracting), possessing the technology to produce significant numbers of lenses free of chromatic aberration for refracting telescopes. A Dollond telescope sailed with Captain Cook in 1769 on his voyage to observe the Transit of Venus. Thomas Jefferson and Admiral Lord Nelson were also customers of the Dollonds. Dollond & Co merged with Aitchison & Co in 1927 to form Dollond & Aitchison, the well-known high street chain of opticians, now fully part of Boots Opticians. They no longer manufacture but are exclusively a retail operation.    John Dollond's experiments in optics and how different combinations of lenses refract light and colour gave a better understanding of the divergent properties of lenses. That went on to inform and pave the way for the improvement of our understanding of optics that is represented today. Dollond was referred to in his time as the "Father of practical optics" as a leader in his field he received many prestigious awards. The telescope in the collection is a good example of one of Dollond's early library telescopes. Its connection with one of England's 18th century pioneers in optical development makes it a significant and an important item to have within the collection.Telescope: Dollond's Telescope, Day or Night model navigational instrument. Telescope is mounted on wooden tripod stand that has folding legs. Brass telescope with leather sheath over barrel, adjustable angle fitting with brass wing nuts that join the legs to the top frame, which is then joined to the telescope pole by an adjustable screw fitting. Manufactured by Dollond, London. Inscription reads "Dollond London, Day or Night" and "DOLLOND LONDON"flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, telescope, dollond, dollond london, day & night telescope, floor-standing telescope, optical instrument, john dollond, peter dollond, achromatic telescope, heliometer, light refraction, instrument maker, lens, transit of venus, astronomical telescope, concave lens, library telescope, dollond telescope, day or night, day or night telexcope, scientific instrument, navigation, navigational instrument, astronomy

Looking south along Main Road from the south side of the intersection of Bridge Street with Main Road. Anne Hunniford's Post Office and Burgoyne's store on left. Miss Harriet (Minnie) Williams's Cash Drapery Mart (est. 1902 and enlarged in 1906), also known as Eltham House on the right. Harriet (Minnie) Williams was born London, 1857, the daughter of George John Williams (1812-1895) and Jane Mansfield (1812-1895). In September 1885 she was operating Williams’s Drapery Establishment in premises on Main Road owned by R. Wallis who advertised them to let in September 1885. In 1902 she opened Williams’s Cash Drapery Mart at the southwest corner of Bridge Street and Main Road (opposite the Post Office), owned by W.J. Taylor. In 1906 she bought the premises and one quarter acre of land and expanded the business with a re-opening in April 1906. Harriet was also well-known and esteemed as an active worker in Methodist circles and also Superintendent of the Sunday School. Harriet fell ill in August 1907 and died 15 August. She is buried in Eltham Cemetery with her good friend Ada Ford. Note also the gas street lamp on right. Watson's Hotel on corner of Pitt Street visible in distance. The CBA bank building is hidden behind trees, the chimney and part roof visible. The photo was possibly taken by John Henry Clark of Clark Bros Photographers who operated from 25 Thompson Street, Windsor near Prahan 1894-1914. Evelyn Observer and Bourke East Record (Vic. : 1902 - 1917), Friday 30 March 1906, page 5 ________________________________________ ELTHAM. (FROM OUR OWN CORRESPONDENT.) For over three years Miss Williams has carried on a drapery business in very small and inconvenient premises opposite the Eltham post-office. Recently she bought the building and a quarter-acre of land from Mr. W. J. Taylor. Thus having a free hand, she at once matured plans to enlarge and improve the premises to make them suitable for her growing business. The result being that she consulted Mr Roach, contractor, of Heidelberg, put the matter in his hands, and now he has completed in a very satisfactory manner and up-to-date style extensive improvements. A large addition, of very neat and attractive design, with three large windows, has been built right along the front of the old building, and the counters and inside fittings are very neat and convenient, harmonizing well with the attractive outside appearance. Miss Williams has now got in a large now stock of goods, and is making extensive arrangements for a “reopening week," commencing 2nd April, during which time she will make 10 per cent reduction on all cash purchases in the form of gifts of that value. Miss Williams has gone to considerable expense and liability both, in the enlargement and improvement of the premises and in purchasing additional stock. We therefore trust that the public will stand by her by heartily and en masse patronizing her re-opening effort to show their appreciation of pluck in this advance movement. Google Street View Feb 2017: https://www.google.com.au/maps/@-37.7191341,145.1462046,3a,50.5y,191.91h,88.27t/data=!3m6!1e1!3m4!1sARwwqEQfMSfH9oTWWapPgQ!2e0!7i13312!8i6656 This photo forms part of a collection of photographs gathered by the Shire of Eltham for their centenary project book,"Pioneers and Painters: 100 years of the Shire of Eltham" by Alan Marshall (1971). The collection of over 500 images is held in partnership between Eltham District Historical Society and Yarra Plenty Regional Library (Eltham Library) and is now formally known as the 'The Shire of Eltham Pioneers Photograph Collection.' It is significant in being the first community sourced collection representing the places and people of the Shire's first one hundred years.Digital image (x2) 4 x 5 inch B&W Neg B&W Print 16 x 25 cmsepp, shire of eltham pioneers photograph collection, eltham, main road, anne jane hunniford, burgoyne store, christopher watson, commercial bank of australia, drapery store, eltham house, gas lamp, harriet (minnie) williams, post office, street lamp, watson's hotel, williams's cash drapery mart, clark bros. photo

Tatting is a form of knotted lace making using thread and a small shuttle. Twisted threads are tied around or through small, pointed shuttles that can be made of bone, mother of pearl, tortoise shell, steel or plastic. This produces a stable, strong lace using simple knots of two half hitches to make rings and chains embellished with picots.The origins of tatting are not clear but early versions of decorative knotting were used by the Egyptians on their ceremonial dress. Tatting also has elements of fishermen's net making techniques and the decorative knotting that was practiced by aristocratic women from the 15th century.Tatting, as we know it today, emerged in the first half of the 19th century. The new availability of mercerised thread from 1835 encouraged a burgeoning of lace crafts of all sorts. It was known in Italy as "occhi" and in France as "la frivolite". Tatting looks fragile but is both strong and durable. An article in a column named "Wives and Daughters" published in the Star newspaper in May 1910 describes the durability of tatting lace - "there is edging and insertion still in existence that have outworn two sets of pillow slips." In the 19th century and well into the 20th century, tatting was used like crochet and knitted lace for decorative edgings, collars, doylies, tray cloths etc. At first, different tatting patterns were passed along by word of mouth from person to person, however in time, patterns regularly appeared in newspapers and magazines well into the 1950's. A shuttle is a small tool that looks like a small boat "sailing" in and out of the thread. Tatting is called "schiffchenarbeit" in German, which means "the work of a little boat". There are two popular types of shuttles. The first has closed ends and a removable bobbin where the thread is wound around - often made from metal or plastic (as is item 8535.1). The second type has a post in the center where the thread is wound (e.g. item 8535.2). The ends of this bobbin are open but snug. Because it is constructed in two pieces, it can be made from materials like bone, ivory or mother of pearl. Shuttles hold a larger amount of thread (as compared with needles) which means fewer ends to weave in. Fishermen in the past are thought to have used large shuttles to weave cord into certain knots whilst making their fishing nets. Their methods were copied by weavers, who innovated by using threads and smaller shuttles to make lace. One type of tatting shuttle produced by "Aero" from the 1930's to the late 1960's was an anodized grey coated aluminium shuttle with a sharp pick at one end. In the 1970's it was superseded by the grey plastic "Aero" which has a removeable bobbin which you can put on the end of the shuttle to make thread winding easier and an embedded crochet hook for joining picots. The "Aero" company developed in Redditch, England - a town renowned as a centre for manufacturing needles. Firms run by Henry Milward and Abel Morrall were based in Redditch and by the 18th century Redditch was manufacturing one million sewing needles per year. Abel Morrall Ltd launched the "Aero" brand in 1936 and greatly expanded the firm's product line to include tatting shuttles and knitting needles. The classic plastic "Aero" tatting shuttle was manufactured in England from the early 1970's until the 1990's. These items are significant as examples of easily accessible handiwork tools that enabled women in the 1930s -1960s to be able to decorate and personalize their household linen and clothing.Shuttle no. 8535.1 is a beige, boat shaped plastic shuttle with enclosed ends, small round central indentations on both sides and an enclosed black removeable bobbin. The shuttle has a grooved point at one end to hold a bobbin and a small metal crochet hook at the other end. Shuttle no. 8535.2 is a beige, boat shaped metal shuttle with pointed ends that are open but snug, small round central indentations and two smaller circular markings (on both sides) and two internal posts with cream thread wound around.Shuttle no. 8535.1 - "AERO" / "ENGLAND" Shuttle no. 8535.2 - "AERO' / "ENGLAND" "39c" (written in ball point pen)flagstaff hill maritime museum and village, flagstaff hill, warrnambool, shipwreck coast, great ocean road, tatting shuttle, aero company, handwork, handwork tool, craft, handcraft, needlework, tatting

Harold Brocklebank Herbert (16.09.1891-1945) Harold Herbert was one of the first pupils at the school starting in 1891, commencing as a 15 years old he studied Applied Design and Architecture at the Ballarat Technical School of design attached to the Ballarat Fine Art Galery, transferring to the Ballarat Technical Art school attached to the Ballarat School of Mines. He was a certificated Art Teacher with the Victorian Education Department. His talents were identified by Ballarat’s Ponsonby Carew-Smith who rose to become Art Inspector with the Victorian Education Department. His teaching career included being appointed Principal of the Sale Technical Art School in 1898. Harold Herbert undertook further studies in England returning to Ballarat with all new entrepreneurial ideas. He worked at the Ballarat Technical Art School between 1915-19. Harold Herbert was involved with the design of the Ballarat Arch of Victory, and was responsible for the reproductions in ‘The Education Department’s Record of War Service. Had been principal of the Sale Technical Art School since 1898, and had undertaken further studies in England returning to Ballarat with all sorts of entrepreneurial ideas. In 1924 the Ballarat School of Mines Students’ Magazine reported “We are perfectly safe in claiming on behalf of our school, that no institution of its kind has turned out a greater number of men and women students who have since “made good” while some have achieved enviable prominence in the world of art. Amongst these later, the most brilliant is Harold B. Herbert whose work is so widely and justly appreciated throughout Australia and whose achievements are watched by his old school with the greatest pride. He commenced at the School when he was about 15 years of age, and followed a course of training very similar to what most students are doing the most valuable qualities shown by him during his career as a student were a passion for drawing and a capacity for taking pains, so essential in all artwork. He was appointed as Assistant Art Teacher at Ballarat on completion of his course, and later assistant in the office of Art Inspector. All of his spare time was devoted to out-door sketching and commercial drawing and he showed an ability in practical design for various crafts quite equal to the ability he has since displayed in depictive art. His return to this School as senior master and his departure to devote himself entirely to fine art are quite recent happenings with which all students are familiar. The wonderful exhibition he held in Melbourne on return from a sketching trip abroad has place him amongst the leading artists of Australia. Upon his death in 1945 the Ballarat School of Mines Student's Magazine recorded: "The death of the famous water-colour artist, Harold Herbert, will be a distinct loss to art in Australia. he was educated at the Ballarat Art School which it was situated in Sturt Street, and the gave promise of becoming a famous artist then. his talents were recognised, and in water-colour work he quickly made a name for himself. his landscapes in water-colour are in the principle galleries of the world, and many of them are to be found in the Ballarat gallery and in other provincial galleries. In 1941 he was appointed official war artist for the COmmonwealth, and he served in the Middle East and Syria. Exhibitions of his war pictures have been seen at different times in Melbourne."Portrait of a young man in a suit. He is Harold Brocklehurst Herbert, staffmember of the Ballarat Technical Art School (a division of the Ballarat Technical Art School). The photograph is a detail of the Ballarat School of Mines Magazine Committee, 1919. (http://victoriancollections.net.au/items/54923a682162f116140de59c)harold herbert, harold b. herbert, harold brocklebank herbert, ballarat school of mines, ballarat technical art school, art, arch of victory

Canwen Zhao was awarded the $10,000 We The Makers Acquisitive Prize for '35 Life' in 2023. Artist Statement: "35life" is a sustainable fashion project that transforms second-hand clothing materials into urban street outdoor-style products. Highlighting prominent Chinese classic red and green colours not only conveys eastern aesthetics but also adds a sense of unity to the clothing collection. The high-saturation and high-brightness full-colour palette keeps the clothing consistently "fresh," allowing any trendy colours to seamlessly integrate into the project's designs, thus extending the lifespan of the garments. Additionally, all clothing items can quickly transform into a stylish bag for convenient daily carrying and home storage. These bags are made from leftover fabric generated during the production process and serve as original packaging for sale. This approach not only reduces excessive packaging but also enhances the chances of resale in the second-hand market. The project draws inspiration from the traditional Chinese cultural concept of "huo feng ding," meaning "exchange the old for the new." it's also influenced by the designer's personal experience with health issues, making the designs suitable for individuals who can't be exposed to sunlight for extended periods, adapting to the changing urban lifestyle. 35life aims to provide visually pleasing and comfortable dressing experiences for urban dwellers who are busy with work and experience high levels of stress. Unlike traditional design patterns, this project adopts a unique design approach. It selects 3-5 pieces of raw materials based on their colours, and then disassembles them through structural lines. While retaining most of their functionality, these materials are rearranged and assembled on a flat surface before being shaped on a dress form. Subsequently, various ways of creating storage bags are derived from the initial clothing prototypes. After refining the designs, the final products are developed, and similar materials are used to create samples. Therefore, under this design methodology, even for the same garment, it is impossible to produce two identical pieces of clothing. Each garment is truly one-of-a-kind, which enhances its rarity and contributes to the longevity of the fashion pieces. The project includes various types of clothing, each with unique storage methods. This yellow look, named "elegant beach sunscreen monarch," draws its fashion inspiration from traditional Han Chinese attire and its storage concept from the Chinese cultural concept of "jiu jiu gui yi." the design employs flat pattern cutting, utilizing materials from the second-hand market such as beach towels, children's waterproof clothing, and women's dresses. Similar colours and patterns are reassembled through cutting and combining. For the sleeves, quick-drying, sun-protective sport fabric forms the base, overlaid with discarded silk fabric dyed with turmeric and plant dyes. This not only ensures functionality but also adds a sense of elegance. The length can be adjusted using drawstrings. Artist Bio: Zhao Canwen is a multidisciplinary fashion designer with a strong passion for integrating art, history, culture, and sustainable design. With over 15 years of experience in painting, she draws inspiration from ancient Chinese philosophy and aesthetics, which gives her a unique sense of beauty. After 8 years of fashion and art training, she possesses a keen insight into current trends and tends to combine art with commercial needs. Zhao's design style is diverse, characterized by a multidimensional approach, a focus on colour application, and storytelling through details.Outfit consisting of six pieces: - Orange plastic eye wear with green paint - Pair of red and green metal clip on earrings - Red beaded phone case with attached beads on string - Pair of red and green painted running shoes - Yellow and green hooded garment with red piping and zips - Brown bag with green beaded handlessustainable, fashion, we the makers, art, culture, design, chinese philosophy, prize

This hat and hat box 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” which 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’ 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. McDade is the surname of Dr Angus’ daughter Berry (Berenice) McDade nee Angus. This had belonged to her father Dr William Roy Angus, Surgeon and Oculist (1901 –1970), who wore it on the ship T.S.S. LARGS BAY when travelling from Australia to Scotland for extended studies to be a “Fellow” of the Royal College of Surgeons in Edinburgh in 1929. This bicorn, cocked hat was worn with narrow points towards the front and back. It is decorated with flat gold braid or ‘lace’ with a geometrical design. Regimental lace was worn on the uniform and headdress of regimental officers in the 19th century. Gold lace chevrons were worn on coats to signify rank. Drummers and Foot Guards also wore regimental lace to distinguish them from other military personnel. In the late 19th century the English and Welsh infantry officers’ uniforms displayed a rose-pattern lace. The gold bullion and underlying crimson ‘eyes’ have been used to signify the rank of the owner. Crimson eyes were used for military personnel, and blue eyes were used for naval personnel. Different numbers and colours of the bullion and eyes may have been used to represent different military ranks. The Regulations specify nine tassels and eleven underlying eyes but there could have been variations. We have not yet identified the rank for this particular hat but hats such as this were part of the Australian and British naval uniforms in the early 20th century. The gold button’s emblem features a cross with five stars, a crown, and the motto “AUT PACE AUT BELLO,” which translates as “either in peace or in war.” Museum Victoria has a similar button and writes that buttons with this design were used by the Victorian Volunteers in the nineteenth century. The Australian War Memorial Curator of Military Heraldry advised Museum Victoria that these buttons dated from 1880 to 1892 and were worn by regular, unranked soldiers. Tasmanian Midshipman Alan Casey, who served the British and Australian Navy from 1919 to 1933 and retired as a Lieutenant Commander, owned a similar officer's bicorn hat. His hat and epaulettes are in the Tasmanian Maritime Museum's collection. The Australian War Memorial has a hat that is very similar in design, described as an “Artillery Staff Officer’s cocked had with plume, worn by Volunteer Artillery Staff in the Victorian Colonial Military Forces”. That hat is different in that it has a plume and the braid and button are silver. Berry MdDade, the donor, has used the hat many times as a dress-up hat but doesn’t know the origin of it. The hat seems to fit the design of the Staff Officers in Victorian Volunteers in Colonial times, but the button on this hat was used for unranked volunteers. Also, military uniforms usually have very clear manufacturer’s labels, as they are made by reputable companies under contract to the Defence Department. The manufacturer’s mark is not discernible on this hat. The origin, original wearer and use of this particular hat is unclear. The military bicorn cockade hat belonged to Dr William Roy Angus and is part of the W.R. Angus Collection. It is significant for still being located at the site connected to Doctor Angus being the last Port Medical Officer in Warrnambool. The collection of medical instruments and other equipment is culturally significant, as 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. Black bicorn cocked hat and case. It appears to be part of a 19th-century Colonial full-dress naval officer's uniform. The long, narrow crescent-shaped hat is made of beaver fabric and the crown is lined with crimson silk and finished with a hand-stitched leather sweatband. On one flat side is a pleated black silk, lace cockade woven in the pattern of oak leaves and acorns. The cockade is overlaid with a double row of gold lace braiding secure with a Victorian Volunteer’s gold button. Wide diagonal bands of black lace braid trim are on each side of the gold braiding. The other side of the hat is plain. The front and back points of the hat each have seven gold bullion tassels with nine underlying twists of crimson ‘eyes’. The fitted metal carry case has a catch and a plaque on one side. The button bears a crown and cross with five stars and a motto. Inside the hat is a white name tag with clear adhesive over it, with black printed text with the name “Mc Dade”. The hat is part of the W.R. Angus Collection.The hat has no maker’s marks although there is a darker colour in the centre where there could have been a label. Inside the hat is taped a printed label; “Mc DADE 801 1032” Button’s emblem- a cross with five stars, under a crown, all within a buckled belt with the motto “AUT PACE AUT BELLO” [either in peace or in war] The plaque on the case has no legible marks.flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, dr w r angus, t.s.s. largs bay, berry mcdade, 19th century colonial military uniform, artillery staff officer’s cocked had, victorian volunteers, victorian colonial military forces, colonial militia, aut pace aut bello, cocked hat, cockade hat, bicorn hat, military bullion, oak leaves and acorns pattern, gold bullion tassels, military heraldry, w.r. angus collection., australian navy, british navy, uniform

A plaster replica of the 377 ozs gold nugget that was discovered in March 1861 in Robinson Crusoe valley at a depth of 5 feet by Mr John Knott and his son. It was the largest nugget found on the field. Value in 2016 $595,463. An article by the Bendigo Advertiser on Saturday 16 March 1861 describes the discovery "One of the largest pieces of gold that have been turned out of the ground on Bendigo, was yesterday brought to light in a small gully called Dead Bullock Gully, on the Kangaroo Flat side of Robinson Crusoe. The fortunate discoverers of the treasure are in this instance, as is generally the case, "fossickers," and where the nugget was found is in some old ground that has no doubt been turned over times innumerable within a few feet of the spot where the prize was lying hid. The exact weight of the nugget is 377 oz 6¾ dwts of as pure gold as ever came out of the ground. The finders are Mr John Knott and his son; the latter,a lad, being the party who actually found it, which he did under rather peculiar circumstances. He was down below in the old hole, putting a drive into an old pillar that had been left, when he drove his pick into the mass of gold, and partially discovered it. Under the excitement of the moment he cried out loudly, and his father, who was on top, immediately jumped down the hole, under the impression that his son had met with an accident, but fortunately found that he only required assistance in extracting the welcome stranger. The following is a description of the nugget. Length, twelve inches; width, six; while in some places it is of about two inches in thickness, in others it is only about half an inch. It has that peculiarity of form which from the days of the early finders of nuggets has enabled one to discover a resemblance to something either common or uncommon. We have had nuggets resembling frying pans, legs of mutton, dampers, and other articles in use in the rosy days of the diggings. In the present instance several parties who have seen the nugget assert that both in shape and size it is very much like an Australian Platypus, one of the ends of the nugget being exactly in formation like the snout of the animal. It will be exhibited today in the gold office of Mr Bannerman, and will, no doubt,attract the gaze of a crowd. Mr Knott states that at breakfast, before going to work in the morning, the boy mentioned to his mother that he had dreamt on the previous night that he would find a large nugget. May the similar dreams of every alluvial miner come as true as this realization of a prize worth between fourteen and fifteen hundred pounds in value."It has a sticker on it that says 'The Platypus 112'mining, models, plaster model of victorian gold nugget, https://trove.nla.gov.au/newspaper/article/87375584

Set of 24 pre-decimal current MMTB tram tickets. All black printing unless noted otherwise. A variety of small size (55H x 26W) or large format (68H x 31W). .1 - 3d - small, orange paper, Ac897588 .2 - 3d - large, orange paper, Ys 892567 with Stamina trousers ad on rear .3 - 3d - large, light orange paper, overprinted in blue "City Section" and "Vt" - Vt244469 .4 - 5d - small with stub, on pink paper, not numbered. .5 - 5d - small, pink paper, red printing, overprinted in in grey "City Section" and "Ff" - 441902 - with Stamina trousers ad on rear. .6 - 5d - large, pink paper, red printing, overprinted in in grey "City Section" and "We" - 473524 - with Stamina trousers ad on rear. .7 - 6d - small - off white, mauve printing, overprinted in in black "City Section" and "Ag" - 047835 with a John Randle City Salons hair dressing ad on rear. .8 - 6d - small - off white paper, orange printing, Eh 492103 .9 - 6d - large - on light red paper, red printing, overprinted in in black "City Section" and "Gd" 963257 with "Snows Stamina Centre" - sports trousers ad on rear. .10 - 7d - small on off white paper, blue printing overprinted in in black "City Section" and "Aa" 375081. .11 - 7d - small on orange paper, Vd691791 .12 - 7d - large on orange paper, G273245 with Stamina trousers ad on rear. .13 - 9d - small on purple paper, Za 891925, with Stamina trousers ad on rear. .14 - 10d - small on red paper, Bv 358942 .15 - 10d - large off white paper, fare in reverse blue print, O209545 with Stamina trousers ad on rear. .16 - 1/- small on brown paper, Ae669990 .17 - 1/2 - small on orange paper, Bb 327853 .18 - 1/5 - small on yellow paper, Af 412281 .19 - 1/6 - small on yellow paper, Dn214199 .20 - 1/9 - small on dark blue paper, Aw936165 .21 - 1/9 - small on light blue paper, Af 203197 .22 - 1/10 - small on green paper, Ad286494 .23 - 2/- - small on pink paper, Ab231151 .24 - 2/2 - small on light grey paper, Aa394570. Each ticket has section numbers on either side for In or Out trips.trams, tramways, mmtb, tickets, city section, pre decimal currency

Bendigo Town Hall - The Bendigo Choral Society - Eighth Grand Concert, 8th July 1919. (Net proceeds for Soldiers' Memorial Institute.) Artists: Miss Winnie Mayberry, Dorothy Penfold, A.R.C.M., Myrtle Knight, Mr. John Danks. Conductor: Mr. W C Frazier, A.R.C.O. Pianiste: Miss Muriel Hyett, L.A.B. Admission- 2/2 Reserved. 1/1 Ordinary. Subscribers may book at flights on and after 3rd July without extra fee. Holders of 2/2 tickets may also book without fee. Holders of 1/1 tickets may book paying the difference, 1/1. Patron: His Worship the Mayor Cr. Ambrose Dunston. President: Mr. H M Leggo. Vice-Presidents; Sir John Quick, Cr W Beebe, Mr. Oscar Flight, Mr. E S Cahill, Mr. D Berriman, Mr. A L Bolton, Mr. G E Bolton, Dr W J Long, Dr O Penfold, Mr. J G Oliphant, Mr. Alf E Wallis, Mr. A Whitehead, Mr. W Watts. From the performing Members: Mr. E H Collett, Mr. A W McGibboney. Conductor: Mr. W C Frazier, A.R.C.O. Sub-Conductor: Mr. E A Miller. Pianiste: Miss Muriel Hyett, L.A.B. Treasurer: Mr. W H Dolphin. Librarians: Mr. R J Druid and G L McCoy. Auditors: Mr. H T Bayton & Mr. D H Holden. Committee Office Bearers with Mesdames T Scott & Chisholm & Misses Colgan, Gail Field & Wheaton & Messrs. Sleeman, Jeffery, McClure, Brown, F J Walter & Frank Wittscheibe. Programme. 'Gloria' 12th Mass, 'Allegro Moto Vivace', 'My Heart is Weary', 150th Psalm, 'Blow, Blow, Thou Winter Wind', 'Land of Hope and Glory', 'Resting Place', 'Vesta', 'Hungarian Rhapsody', 'Eri tu' (Un Ballo in Maschera), 'O, Little Snowflake', 'Ave Maria', 'The Hunting Song', 'God Bless Our Splendid Men.' The Bendigo Choral Society. Has for its primary object, the desire of giving all those interested in this beneficial branch of Musical Culture, the opportunity of learning by becoming members, and hearing by becoming subscribers, the fine Choral works of the great composers. We feel that the splendid qualities of our gifted conductor, Mr. W C Frazier, are becoming more and more known to the public of Bendigo, and it is the constant Endeavour of . . . .Bolton Bros. Printers Bendigoprogram, theatre, the bendigo choral society

The Ballarat Technical Art School made many honour boards for schools and organisation in Victoria and interstate. Their own was made, but the names were not listed. The Ballarat School of Mines Annual Report for 1921 states: 'It has been decided, for the present, to record the names of our students who served in the warm, in an Honor Book, and to defer the erectin of an Honor Board until we can feel ssured that the Roll is complete. the wide spread occupations of our students has rendered it very difficult for us to secure detailed information of their service. A handsome Honor Book and Case has been designed and executed by the staff ad students of the technical Art School, and the engrossing of the names and military records will be proceeded with as soon as possible. The Technical Art School was quite busy with commissions. The SMB Annual Report of 1918 states: 'under the direction of the Art principal (Mr H.H. Smith), the work of the Art School continues to receive wide public recognition. Handsome Honor Boars have been designed and executed for the Sydney Sports' Club, the St Arnaud High School, the Birregurra State School, the Wendouree State School and the Ballarat Old Colonists' Club. The School also designed the certificates for the Young Workers' Patriotic Guild, the 'Herald" Shield for perpetual competition at the technical Schools' athletic meetings, the "Hansen" Shield for competition among the Northern District High Schools, two metal tablets for the Castlemaine high School, and a certificate for the Grampians Secondary Schools' Association. Numerous Honor Books and Mural cases have also been designed for State Schools.' Over 400 former students and staff of the Ballarat School of Mines served during World War One. The 1920 SMb Students' Magazine said' 'Many students left Australia with the first Contingent, and since then, the School has been represented on every field where Australians have fought, from the first landing at Gallipoli to the decisive victory on the 8 August 1918.' The influence of the school was appropriately shown in the fact that at least 13 of its students were officers in the Australian Mining Corps. The title page has the initials 'D.J.' which most probably stands for Donald I. Johnston, a teacher with the Ballarat Technical Art school from 1920 to 1949. The Ballarat School of Mines World War 1 Honor Book remained uncompleted for more than 90 years. The names of over 400 SMB staff and students who served their country were not inscribed until 2012, despite names, ranks and service records being compiled. A restoration project was instigated as part of the 140th anniversary of the Ballarat School of Mines in 2010. Names were inscribed into the book by Calligrapher Lyn Forrester. The University of Ballarat believed this project is important not only to SMB's history, but the families and descendants of those who served while studying or teaching at SMB. The restoration project involved names being hand written in calligraphy into the Honor Book and was funded with the assistance of the 'Restoring Community War Memorial Grant'. The memorial was designed and made by the staff and students of the Ballarat School of Mines Technical Art School under the direction of Principal Herbert H. Smith. In 1921 the Ballarat School of Mines Annual Report recorded: "It has been decided, for the present, to record the names of our students who served in the war, in an Honor Book, and to defer the erection of an Honor Board until we can feel assured that the roll is complete. The wide spread occupations of our students has rended it very difficult for us to secure detailed information of their service. A handsome Honor Book and case has been designed and executed by the staff and students of the Technical Art School, and the engrossing of the names and miliatary records will proceed with as soon as possible. The Ballarat Technical Art School and was involved with the design and manufacture of numerous WW1 memorials. When it came time to complete their own memorial, the Principal died, and the Honor Roll must have been overlooked in the confusion that ensued. There have been numerous theories about why the Honor Roll was never completed, one being that it was because the SMB Principal, Maurice Copland, literally worked himself to death organising repatriation classes for ex-soldiers who attended SMB. The Courier of 18 November 1922 said of Maurice Copland: “He put his very best into the work for the welfare of the soldiers; in fact, he did too much for the good of his physique, for he wore himself out in the services of the returned men. If ever there was a war victim the late Mr Copland was one. But for the stress of work entailed by those repatriation classes and the amount of general war work which he performed Mr Copland would probably have been with them today." Understandably, SMB was thrown into some disarray by their Principal's death and the Honor Book was not completed. The University of Ballarat would like to finally honor its SMB war veterans by completing the Honor Book and as a further mark of respect, dedicate the project to Maurice Copland. The Ballarat Technical Art School undertook many honor boards. The Ballarat School of Mines Annual Report 1918 states: "Under the direction of the Art Principal (Mr H.H. Smith), the work of the Art School continues to receive a wide public recognition. handsome Honor Boards have been designed and executed for the Sydney Sports' Club, the St Arnaud High School, the Birregurra State School, the wendouree State School and the Ballarat Old Colonists' Club. The School also designed certificates for the Young Workers' patriotic Guild, the "Herald" Shield for perpetual Competition at the Technical schools athletics meetings, the "Hansen" Shield for competition in the northern District High Schools, two metal tablets for the Castlemaine High School, and a certificate for the Grampians Secondary Schools' Association. Numerous Honor Gooks and mural cases have also been designed for State Schools." The 1920 Ballarat School of Mines Annual Report stated: Public appreciation of the High standard of design and artistic craft work produced by the students of the Art School, under the direction of the Principal (Mr Herbert H. Smith), continues to be demonstrated by the lage number of important commissions entrusted to the school, not only by the public bodies and business firms by the Education Department and public bodies all over the State." "Amongst the important local commissions received during the year was the designing and supplying of the Municipal Council's Address of Welcome Casket for presentation to His Royal Highness the Prince of Wales, the designing and supervising of a large four-light stained glass window for the Lydiard Street Methodist Church, ... and supply numerous honor books, honor boards, etc., for public institutions and school." "The School has been honored by, and has acceded to the request of the Education Department to supply designs for the title page, chapter headings and initial letters for the War Service Book which it is about to publish, Mr F. Tate, director of Education, recognising the students' work in this direction by an appreciative letter of thanks. The Education Department has also been instrumental in directing to the School applications from all parts of the State, including Melbourne, for the School to supply competitive sports shields, honor boards, books and designs for certificates, and various decorative objects. The School has therefor been responsible for much work coming to local Ballarat firms which would otherwise have found its way to Melbourne or other centres. In 2011, as the result of a 'Restoring Community War Memorials Grant' calligrapher Lynton Forrester was commissioned to record over 400 names into the honor book. A red leatherbound Ballarat School of Mines Honor Book. The book includes a title page relating to the Ballarat School of Mines and Industries. The Ballarat School of Mines Honor Book was not finally inscribed with names until 2011-2012. world war one, ww1, ballarat school of mines, world war 1, world war i, honour roll, calligraphy, don johnston, honor book, honor roll, copeland, maurice copeland, honour book, roll of honour, percy coltman, arthur e. tandy, leslie coulter

The Ballarat Technical Art School made many honour boards for schools and organisation in Victoria and interstate. Their own was made, but the names were not listed. The Ballarat School of Mines Annual Report for 1921 states: 'It has been decided, for the present, to record the names of our students who served in the warm, in an Honor Book, and to defer the erection of an Honor Board until we can feel assured that the Roll is complete. the wide spread occupations of our students has rendered it very difficult for us to secure detailed information of their service. A handsome Honor Book and Case has been designed and executed by the staff and students of the Technical Art School, and the engrossing of the names and military records will be proceeded with as soon as possible. The Technical Art School was quite busy with commissions. The SMB Annual Report of 1918 states: 'under the direction of the Art principal (Mr H.H. Smith), the work of the Art School continues to receive wide public recognition. Handsome Honor Boars have been designed and executed for the Sydney Sports' Club, the St Arnaud High School, the Birregurra State School, the Wendouree State School and the Ballarat Old Colonists' Club. The School also designed the certificates for the Young Workers' Patriotic Guild, the 'Herald" Shield for perpetual competition at the technical Schools' athletic meetings, the "Hansen" Shield for competition among the Northern District High Schools, two metal tablets for the Castlemaine high School, and a certificate for the Grampians Secondary Schools' Association. Numerous Honor Books and Mural cases have also been designed for State Schools.' Over 400 former students and staff of the Ballarat School of Mines served during World War One. The 1920 SMb Students' Magazine said' 'Many students left Australia with the first Contingent, and since then, the School has been represented on every field where Australians have fought, from the first landing at Gallipoli to the decisive victory on the 8 August 1918.' The influence of the school was appropriately shown in the fact that at least 13 of its students were officers in the Australian Mining Corps. The title page has the initials 'D.J.' which most probably stands for Donald I. Johnston, a teacher with the Ballarat Technical Art school from 1920 to 1949. The Ballarat School of Mines World War 1 Honor Book remained uncompleted for more than 90 years. The names of over 400 SMB staff and students who served their country were not inscribed until 2012, despite names, ranks and service records being compiled. A restoration project was instigated as part of the 140th anniversary of the Ballarat School of Mines in 2010. Names were inscribed into the book by Calligrapher Lyn Forrester. The University of Ballarat believed this project is important not only to SMB's history, but the families and descendants of those who served while studying or teaching at SMB. The restoration project involved names being hand written in calligraphy into the Honor Book and was funded with the assistance of the 'Restoring Community War Memorial Grant'. The memorial was designed and made by the staff and students of the Ballarat School of Mines Technical Art School under the direction of Principal Herbert H. Smith. In 1921 the Ballarat School of Mines Annual Report recorded: "It has been decided, for the present, to record the names of our students who served in the war, in an Honor Book, and to defer the erection of an Honor Board until we can feel assured that the roll is complete. The wide spread occupations of our students has rended it very difficult for us to secure detailed information of their service. A handsome Honor Book and case has been designed and executed by the staff and students of the Technical Art School, and the engrossing of the names and miliatary records will proceed with as soon as possible. The Ballarat Technical Art School and was involved with the design and manufacture of numerous WW1 memorials. When it came time to complete their own memorial, the Principal died, and the Honor Roll must have been overlooked in the confusion that ensued. There have been numerous theories about why the Honor Roll was never completed, one being that it was because the SMB Principal, Maurice Copland, literally worked himself to death organising repatriation classes for ex-soldiers who attended SMB. The Courier of 18 November 1922 said of Maurice Copland: “He put his very best into the work for the welfare of the soldiers; in fact, he did too much for the good of his physique, for he wore himself out in the services of the returned men. If ever there was a war victim the late Mr Copland was one. But for the stress of work entailed by those repatriation classes and the amount of general war work which he performed Mr Copland would probably have been with them today." Understandably, SMB was thrown into some disarray by their Principal's death and the Honor Book was not completed. The University of Ballarat would like to finally honor its SMB war veterans by completing the Honor Book and as a further mark of respect, dedicate the project to Maurice Copland. The Ballarat Technical Art School undertook many honor boards. The Ballarat School of Mines Annual Report 1918 states: "Under the direction of the Art Principal (Mr H.H. Smith), the work of the Art School continues to receive a wide public recognition. handsome Honor Boards have been designed and executed for the Sydney Sports' Club, the St Arnaud High School, the Birregurra State School, the wendouree State School and the Ballarat Old Colonists' Club. The School also designed certificates for the Young Workers' patriotic Guild, the "Herald" Shield for perpetual Competition at the Technical schools athletics meetings, the "Hansen" Shield for competition in the northern District High Schools, two metal tablets for the Castlemaine High School, and a certificate for the Grampians Secondary Schools' Association. Numerous Honor Gooks and mural cases have also been designed for State Schools." The 1920 Ballarat School of Mines Annual Report stated: Public appreciation of the High standard of design and artistic craft work produced by the students of the Art School, under the direction of the Principal (Mr Herbert H. Smith), continues to be demonstrated by the lage number of important commissions entrusted to the school, not only by the public bodies and business firms by the Education Department and public bodies all over the State." "Amongst the important local commissions received during the year was the designing and supplying of the Municipal Council's Address of Welcome Casket for presentation to His Royal Highness the Prince of Wales, the designing and supervising of a large four-light stained glass window for the Lydiard Street Methodist Church, ... and supply numerous honor books, honor boards, etc., for public institutions and school." "The School has been honored by, and has acceded to the request of the Education Department to supply designs for the title page, chapter headings and initial letters for the War Service Book which it is about to publish, Mr F. Tate, director of Education, recognising the students' work in this direction by an appreciative letter of thanks. The Education Department has also been instrumental in directing to the School applications from all parts of the State, including Melbourne, for the School to supply competitive sports shields, honor boards, books and designs for certificates, and various decorative objects. The School has therefor been responsible for much work coming to local Ballarat firms which would otherwise have found its way to Melbourne or other centres. In 2011, as the result of a 'Restoring Community War Memorials Grant' calligrapher Lynton Forrester was commissioned to record over 400 names into the honor book. A Victorian Blackwood World War I Honor Board holds a red leatherbound Ballarat School of Mines Honor Book. The book includes a title page relating to the Ballarat School of Mines and Industries. The Ballarat School of Mines Honor Book and case was not finally inscribed with names until 2012. world war one, ww1, ballarat school of mines, world war 1, world war i, honour roll, calligraphy, don johnston, honor book, honor roll, copeland, maurice copeland, honour book, roll of honour, percy coltman, arthur e. tandy, leslie coulter

A history of Eltham Post Office. Australia Post: Gold brought life to the township - Diamond Valley News, Tuesday July 2, 1985, p17 On February 1, 1854, the first Eltham Post Office was established, commencing an association between the township and the Postmaster-General's Department that has continued for 131 years. At that time, the number of permanent residents would have been fairly small, probably less than 200. The discovery of gold in June 1851, at Anderson’s Creek, some five miles away, and later at Caledonia Diggings, Queenstown (now known as St Andrews), about 14 miles to the north-east, brought large numbers of prospectors passing through the township, hopefully culling the creeks and gullies for the precious metal. This additional "floating population" brought a greater demand for supplies and for communication with the outside world, and so it helped in the development of Eltham. Today, Eltham is a thriving township. It boasts an excellent shopping centre, municipal offices, court house. post office and many other amenities. Eltham continued to develop at a leisurely pace. During 1860, a total of just over 8000 postal articles were handled at the Eltham Post Office. By 1862, the mail route was "to and from Melbourne by way of Eltham and Kangaroo Ground, three times a week, by coach". There was also a branch mail that operated between Eltham and Greensborough, three times weekly. This was also conveyed by coach. Some time between 1864 and 1868 the management of the post office passed from Thomas Hunniford to his daughter, Miss Anne Hunniford, who managed the Eltham Post Office until her death in 1928. A big improvement in communication was provided for Eltham residents when a telegraph office was established at the post office in 1877. During 1923 a manual telephone exchange was provided at Eltham, the first two subscribers being J.J. O’Connor and Eltham Police Station. In 1949 the manual exchange was replaced by an automatic exchange and there were some 150 subscribers. Following the death of postmistress Miss Anne Hunniford in 1928, B.M. Burgoyne was placed temporarily in charge of the office. In 1929, J. N. Burgoyne was appointed postmaster, and he in turn was succeeded by H. C. Burgoyne in 1951. The post office was moved to a new site in 1954, but continued under the charge of Mr Burgoyne. In January 1958 there was a further change of site when the post office was raised to official status and transferred to new premises in Main Rd. William Donoghue was acting postmaster when the new office was opened. In March 1958 Mr W.E. Tovey was appointed postmaster, followed by Douglas McG. Gilmour in 1959. William Donoghue was fully appointed in 1966 and Barry Reichelt followed in 1973, prior to the present postmaster, Peter Jolly in November 1982. Peter is a young man with 18 years' experience. He commenced his training as a postal clerk at the training school in Melbourne in 1968 and was promoted to postal clerk at the Brunswick Post Office in 1969. He was finally transferred as postmaster to Fawkner Post Office in 1980. He has been at Eltham Post Office for the past 2½ years. He is married with one child and lives in Montmorency. The Eltham Post Office employs a staff of 21, of whom seven are indoor staff, 12 are postmen and two are drivers. The postmen in Eltham have an uphill battle delivering mail because of the hilly terrain. Nine of the postmen deliver mail on motorbikes, and the two delivery vans are both four wheel drives. Eltham Post Office services basically a residential area, with deliveries to 5600 homes. This is growing at the rate of 600 homes every 18 months, i.e. about 32 homes per month. At the present rate we will need a new postman every 18 months.Digital file only - Digitised by EDHS from a scrapbook on loan from Beryl Bradbury (nee Stokes), daughter of Frank Stokes.anderson's creek, anne hunniford, b.m. burgoyne, barry reichelt, beryl bradbury (nee stokes) collection, eltham police station, eltham post office, eltham post office history, gold, h.c. burgoyne, j.j. o'connor, j.n. burgoyne, peter jolly, postmaster, telephone exchange, thomas hunniford, w.e. tovey, william donoghue

Synopsis: “In WW1 Melbourne a pioneering network of women at the Mission to Seafarers called the Ladies Harbour Lights Guild supported sailors who risked their lives at sea. The documentary “Harbour Lights” tells the remarkable story of the Ladies Harbour Lights Guild and the lives of seafarers in early 20th century Melbourne. It focuses on Melbourne’s iconic Mission to Seafarers building, its connection to the Great War and to a unique community of ships crew and volunteers. Featuring Melbourne historians, commentators, archivists and architects and rare footage and images of sailing and social life in and around the ports of Melbourne, this film will inform and connect audiences young and old.” Commissioned by Victorian Government The movie was produced in collaboration with the Mission to Seafarers Victoria. It was directed by Jary Nemo and written and produced by Lucinda Horrocks and Jary Nemo with executive producers Sue Dight and Gordon MacMillan. The film features: Jill Garner Kate Darian-Smith Chris McConville Janet Miller (curator) Gordon MacMillan (former seafarer and board committee member) Narrated by Sharon Turley. Music by Richard Chew (professor of the Arts Academy in Ballarat) The film was presented at several festival in Australia and abroad in 2020-2021. Credits: Narrator Sharon Turley Featuring (in order of appearance) Dr Chris McConville, Gordon MacMillan, Janet Miller, Professor Kate Darian-Smith and Jill Garner With Raul S Gantalao Jr, Escoto Lemuel, Ben Schroeder, Cinda Manins And Ian Fletcher, Yuan Jia, Uma Kothari, Gordon Lansley, William Reed and Cheka Samaranayake Directed by Jary Nemo Written and Produced by Lucinda Horrocks and Jary Nemo Music by Richard Chew Executive Producers Sue Dight and Gordon MacMillan Research advisors Geraldine Brault, Maria Culka, Professor Kate Darian-Smith, Ros Fletcher, Professor Uma Kothari, Dr Barbara Lemon, Catherine McLay, Dr Chris McConville, Janet Miller, Rick Mitchell, Duncan ‘John’ Perryman, Dr Annette Sheill and Peter Taylor Archival photographs, music and footage courtesy of Australian Red Cross Society, Central Highlands Libraries, Internet Archive, National Film and Sound Archive, National Library of Australia, Mackarness Family Personal Archives, Mission to Seafarers Victoria, Public Record Office Victoria, State Library of Victoria and US National Archives Music Harbour Lights. Music by Richard Chew. Westering. Music by Richard Chew. Twilight (Crépuscule) by Jules Massenet. Performed by Amelita Galli-Curci. I Love You So, Waltz from The Merry Widow by Franz Lehár. Performed by Elise Stephenson and Harry Macdonough with Orchestra. Harbour Lights 2. Music by Richard Chew. If I Could Fly by Walking Hearts featuring Jennifer Holm. Courtesy of Epidemic Sound. With thanks to Peter Barrow, Sarah Bartak, Lin Bender AM, Patty Braumueller, Csilla Csongvay, Emer Diviney, Moira Drew, Ian Fletcher, Ajith Jayasuriya, Ben Jones, Patience Jones, Cinda Manins, Madeleine Martiniello, Georgia Melville, Elisabeth Moglia, Tara Oldfield, Lyn Pasquier, Nigel Porteous, Rev’d Onofre (Inni) Punay, Dr Rosalie Triolo, Ben Schroeder, David Simpson, Cheka Samaranayake, Daria Wray, the Helen Macpherson Smith Trust and KPMG. A special thanks to The women of the Ladies Harbour Lights Guild 1906 to 1961 Produced in collaboration with The Mission to Seafarers Victoria Created with the support of The Victorian Government Licensing This film has been released under a Creative Commons BY-NC-ND 4.0 International license Acknowledgement of country Project production and development took place on the lands of the Kulin nation. We acknowledge Traditional Owners and pay our respects to Elders past, present and future. Production company A Wind & Sky Production Copyright with © Wind & Sky Productions MMXIX The film was launched on Wednesday 26th February 2020 at the Mission. Speech by Veterans Affairs. Amongst the guests were current and former volunteers (Maria Culka, Gordon MacMillan, Elisabeth Moglia), curators (Georgia Melville, Jay Miller, Geraldine Brault)18mn documentary mixed of photographs from teh collection and interviews about the Ladies Harbour Lights Guild work during WWIladies harbour lights guild, documentary, jay miller, janet miller, geraldine brault, lucinda horrocks, gordon macmillan, jary nemo, kate darian-smith, jill garner, chris mcconville, sharon turley, richard chew, footage, archive

Dick Richards joined the Ballarat School of Mines in 1914, and soon afterwards was granted leave to join an expedition to Antartica. In 1915 he sailed from Australia with the Antartic Exploraton Expedition, led by Sir Ernest Shackleton. Most Antarctic enthusiasts know of Ernest Shackleton's attempt to cross the continent, only to be thwarted by the sinking of the ship 'Endurance'. Dick Richards was the physicist and sled manager for Shackleton's Ross Sea Party - with the task to meet Shackleton on the other side of the continent. When Shackleton planned his transcontinental crossing he decided to use supply depots as loads of supplies were too heavy to pull. The depots would enable Shackleton's party to carry just enough to reach the Pole, relying on the depots which were to be left by the Aurora's crew every 60 miles, stowed in 2 sledge journeys in 1915 and 1916. Dick Richards spent 3 freezing years in Antarctica between 1914 and 1917. Richards' worst experience was when his ship Aurora, tethered offshore, was blown away in a gale leaving Richards marooned for two years with nine other men on the ice floe. The expedition, consisting of two teams, were attempting to cross Antarctica from opposite sides, linking up somewhere near the middle. "That was with pretty poor equipment by today's standards, and we did not make it." (Dick Richards) The Ross Sea Party arrived in McMurdo Sound aboard the Aurora in January 1915. The men planned to make two sledging trips to leave supply depots every 60 nautical miles to Mount Hope about 400 miles away. The going was tough as the sledges were overloaded. Temperatures were as low as minus 68F. In June 1916 the party crossed on foot to Cape Evans, occupied Scott's Hut (from his Terra Nova Expedition, erected in January 1911) in May 1915, for two months. On 10 January 1917 Richards was hunting for seals when he saw a ship on the horizon. It was 'The Aurora'. Picking up the relieved survivors 'The Aurora' arrived in New Zealand on 9 February 1917 to a hero's welcome. Joyce, Wild, Hayward and Richards later won the Albert Medal for their heroic devotion to duty. Later an inlet on the Antartic continent was named after Richards. Dick Richards wrote the following years after the ordeal "To me no undertaking carried through to conclusion is for nothing. And so I don't think of our struggle as futile. It was something the human spirit accomplished." Prime Minister Bob Hawke wrote in 1984 'Your incredible journey of almost 2000 miles across the Antarctic Wastelands - involving some 9 months in the field with makeshift equipment - and you're adherence to duty in the face of enormous difficulty, suffering from scurvy, and the death of comrades, will; be an inspiration to your countrymen of the future as it is to us today." After returning to Australia Dick Richards resumed his work at SMB as Lecturer in Physics and Mathematics, and developed many pieces of experimental equipment. During World War Two he acted as a scientific adviser in the production of optical apparatus in Australia. In 1946 he was appointed Principal and twelve years later he retired after a total of 44 years service. Dick Richards has been honoured through the naming of a Ballarat School of Mines prize - The R.W. Richards Medal. This medal later became a University of Ballarat prize. It has been awarded annually since 1959 to the Bachelor of Applied Science graduate considered to have achieved the most outstanding academic performance of their course. (See http://guerin.ballarat.edu.au/aasp/is/library/collections/art_history/honour-roll/honourroll_Richards,Dick.shtml )A man and lady inspect a bust of Richard (Dick) Richards by sculptor Victor Greenhalgh. The scultpure is at the Ballarat School of Mines. The man is Dick Richards, and the woman is his sister and wife of sculptor Victor Greenhalgh. Both Dick Richards and Victor Greenhalgh were former students and teachers at the Ballarat School of Mines. The bust of Dick Richards was Victor Greenhalgh's last work and was cast in bronze after his death. The bust was presented to the Ballarat School of Mines by Mrs V.S. Greenhalgh (widow of the sculptor and sister of the subject). At the presentation Victor Greenhagh's son said "the two men had been friends as well as brothers-in-law, were of similar age, both enjoyed red wine, beer and cricket and both were educationalists, one an artist the other a mathematician."dick richards, r.w. richards, richards, richard w. richards, victor greenhalgh, bust, sculpture, ballarat school of mines, antarctica, ross shore

Attached to his R.S.L. Membership Card along with the funeral notice, is a subsequent newspaper article written at the time of Walter West's death, which reads: Death of Pioneer Settler/ A pioneer settler of/ the Red Cliffs irigation/ district and one of the/ last men to be evacuated/ from Gallipoli, died sud/denly on Saturday night/ aged 84./ In 1922 Mr. Watler Thomas/ West came to Red Cliffs/ where he established Block/ 86 in the irrigation district./ He lived there until his/ death on Saturday after playing bowls at the Red/ Cliffs rinks on Saturday/ afternoon./ Mr. West was born in Jeparit and served with the/ 24th Battalion in Egypt and/ Gallipoli./ He was awarded the Mili/tary Medal in France in/ 1917 and the Military Cross/ in 1918 when he captured/ single handed an enemy/ machine gun post./ He settled at Red Cliffs/ on his return when the/ area was placed under irri-/gation./ For 25 years he operated/ a unique partnership with/ the late Mr. Martin Nippe, his adjoining property/ owner. The pair pooled their/ horticultural equipment for/ joint use./ Mr. West joined Mildura/ Legacy in 1942 and was an/ active member until his/ death./ The funeral will be held at the United Church, Red/ Cliffs this morning at 10.30Type written obituary, presumably used when Walter West,MC,MM, died.Walter West MC,MM/ Red Cliffs residents were saddened to learn of the sudden passing on Saturday last/ of Walter Thomas West MC,MM., a Pioneer/settler and well respected citizen./ "Wal" as he was affectionately known, was/ born at Dandenong some 84years ago./ He served with distinction in World War 1/ with 24th Battalion. He was an original ANZAC, and also saw service in/ Egypt and France. He received two awards for gallantry in the field - The Military/ Medal in France 1917 and the Military Cross in France/ in 1918 when he was responsible for the/ single handed capture of an enemy gun and crew./ He was an original soldier settler and developed/ his fruit block in Red Cliffs which is still/ operated by his son Tom. In 1922 he/ became an original Trustie of the Methodist/Church and was the last surviving original/ Trustie. He served on the Board of/ directors of the Red Cliffs Co-Operative Co.Ltd/ from 1954 to 1967, and was Chairman of Directors/ in 1963 and 1964. He showed a keen interest/ in youth activities and some excellent cricketers/ were produced as a result of his coaching of/ the Methodist Junior Cricket Team. He was an/ active and keen member of Mildura Legacy/ for 34 years, serving as President in 1947 and 1948./ He was secretary of the Cemetary Trust for many years, served on the Hospital Committee/ was a member of Memorial Lodge, a member of Red Cliffs Senior Citizens Club and a /member of Red Cliffs Sub-Branch R.S.L. since / it's inception./ He was a keen member of the Red Cliffs/ Bowling Club and took part in a club event on/ the day of his passing./ It was the pioneer settler and men with ability/ and initiative of Walter West that brought/ out the Community Spirit which resulted in/ the Red Cliffs we know today.1918, 1917, ww1, walter, thomas, west, mm, mc, 24th, battalion, aif, gallipoli, bullecourt

Two catalogues of goods to sell, from Ringwood Timber & TradingEditorial of 15201b includes a short history of the company. In 1937, Mr S Coopersmith and son, Frank (the present Managing Director) started a fruit case manufacturing business in North Melbourne under the name of The Cooper Case Co. The business flourished, and in 1940, recognising the possibilities in and around Ringwood, an old bush sawmill and an area of land on the Maroondah Highway, were secured. Subsequent purchases have since increased this area to approximately 15 acres. It was decided to widen the activities and scope of the business and two new firms were formed. Cooper Sawmilling Co., which operated a modern sawmill, and Ringwood Timber & Trading Co., which handled the output of the sawmill and introduced builders' and general hardware lines to meet the demands of this rapidly expanding area. As Ringwood grew, so too did the organisation which was created to serve it. The principals studied timber and hardware merchandising trends overseas, and after considerable investigation the new building on Maroondah Highway was completed in 1956. Today, acclaimed as one of the most modern mills and hardware stores in the Southern Hemisphere, combining up to date machinery and handling equipment together with unique drive-in facilities and a self-selection centre. Ringwood Timber & Trading Co. are proud to offer a service unparallelled to home builders. In conformity with modern commercial practice the various firms have since been incorporated under the Victorian Companies Act and the latest accounting methods and office equipment have been installed to provide an efficient and virile administration to control the entire manufacturing and trading activities. We have a staff of over 220 personnel, each trained in their particular field to provide you, our valued client, with expert advice, quality merchandise and second-to-none service to enable you to fulfil every need in and around your home.

This original letter was handwritten and dated 21 January 1884. The author is Eveline V. Carmichael, of 29 Montpellier Villa, Cheltenham. Eva Carmichael was the only woman survivor of the iron clipper LOCH ARD, which was wrecked on 1 June 1878, at the subsequently named Loch Ard Gorge near Port Campbell. The letter was written to Mr J Archibald, first curator of the Warrnambool Mechanics Institute Museum, and was in response to a letter he wrote to Miss Carmichael on 1 December 1883. A complete transcript of Eva’s letter is attached as a Hard Copy Supplementary File. The letter first addressed the subject of her reply. She writes, “Thank you very much for thinking of me with regard to the volume of Longfellows Poems that have been found by Mr HW Davis [at Loch Ard Gorge], the book is not mine, nor did it belong to any members of my family. We had a ‘Longfellows’, but our book had a green cover.” The rescued book is on display at Flagstaff Hill (541) and has a blue cover. Another interesting aspect to her letter is its reference to the only other survivor from the LOCH ARD. As a postscript she writes, “You will be glad to hear that Tom Pearce is now on board the HMS Solvent. I heard from him last month he wrote from the West-Indies and seemed well and in good spirits. I have not seen him since we parted in Melbourne. I believe he is to be married next year, or perhaps this, but I do not know the young lady.” Tom Pearce was the young, male, able seaman who had risked his life to save her. In the months after the shipwreck, an excited public press speculated of a romantic connection between the two survivors, but this was clearly not the case. HISTORY OF THE LOCH ARD The LOCH ARD belonged to the famous Loch Line which sailed many ships from England to Australia. Built in Glasgow by Barclay, Curdle and Co. in 1873, the LOCH ARD was a three-masted square rigged iron sailing ship. The ship measured 262ft 7" (79.87m) in length, 38ft (11.58m) in width, 23ft (7m) in depth and had a gross tonnage of 1693 tons. The LOCH ARD's main mast measured a massive 150ft (45.7m) in height. LOCH ARD made three trips to Australia and one trip to Calcutta before its final voyage. LOCH ARD left England on March 2, 1878, under the command of Captain Gibbs, a newly married, 29 year old. She was bound for Melbourne with a crew of 37, plus 17 passengers and a load of cargo. The general cargo reflected the affluence of Melbourne at the time. On board were straw hats, umbrella, perfumes, clay pipes, pianos, clocks, confectionary, linen and candles, as well as a heavier load of railway irons, cement, lead and copper. There were items included that intended for display in the Melbourne International Exhibition in 1880. The voyage to Port Phillip was long but uneventful. At 3am on June 1, 1878, Captain Gibbs was expecting to see land and the passengers were becoming excited as they prepared to view their new homeland in the early morning. But LOCH ARD was running into a fog which greatly reduced visibility. Captain Gibbs was becoming anxious as there was no sign of land or the Cape Otway lighthouse. At 4am the fog lifted. A man aloft announced that he could see breakers. The sheer cliffs of Victoria's west coast came into view, and Captain Gibbs realised that the ship was much closer to them than expected. He ordered as much sail to be set as time would permit and then attempted to steer the vessel out to sea. On coming head on into the wind, the ship lost momentum, the sails fell limp and LOCH ARD's bow swung back. Gibbs then ordered the anchors to be released in an attempt to hold its position. The anchors sank some 50 fathoms - but did not hold. By this time LOCH ARD was among the breakers and the tall cliffs of Mutton Bird Island rose behind the ship. Just half a mile from the coast, the ship's bow was suddenly pulled around by the anchor. The captain tried to tack out to sea, but the ship struck a reef at the base of Mutton Bird Island, near Port Campbell. Waves broke over the ship and the top deck was loosened from the hull. The masts and rigging came crashing down knocking passengers and crew overboard. When a lifeboat was finally launched, it crashed into the side of LOCH ARD and capsized. Tom Pearce, who had launched the boat, managed to cling to its overturned hull and shelter beneath it. He drifted out to sea and then on the flood tide came into what is now known as LOCH ARD Gorge. He swam to shore, bruised and dazed, and found a cave in which to shelter. Some of the crew stayed below deck to shelter from the falling rigging but drowned when the ship slipped off the reef into deeper water. Eva Carmichael had raced onto deck to find out what was happening only to be confronted by towering cliffs looming above the stricken ship. In all the chaos, Captain Gibbs grabbed Eva and said, "If you are saved Eva, let my dear wife know that I died like a sailor". That was the last Eva Carmichael saw of the captain. She was swept off the ship by a huge wave. Eva saw Tom Pearce on a small rocky beach and yelled to attract his attention. He dived in and swam to the exhausted woman and dragged her to shore. He took her to the cave and broke open case of brandy which had washed up on the beach. He opened a bottle to revive the unconscious woman. A few hours later Tom scaled a cliff in search of help. He followed hoof prints and came by chance upon two men from nearby Glenample Station three and a half miles away. In a state of exhaustion, he told the men of the tragedy. Tom returned to the gorge while the two men rode back to the station to get help. By the time they reached LOCH ARD Gorge, it was cold and dark. The two shipwreck survivors were taken to Glenample Station to recover. Eva stayed at the station for six weeks before returning to Ireland, this time by steamship. In Melbourne, Tom Pearce received a hero's welcome. He was presented with the first gold medal of the Royal Humane Society of Victoria and a £1000 cheque from the Victorian Government. Concerts were performed to honour the young man's bravery and to raise money for those who lost family in the LOCH ARD disaster. Of the 54 crew members and passengers on board, only two survived: the apprentice, Tom Pearce and the young woman passenger, Eva Carmichael, who lost all of her family in the tragedy. Ten days after the LOCH ARD tragedy, salvage rights to the wreck were sold at auction for £2,120. Cargo valued at £3,000 was salvaged and placed on the beach, but most washed back into the sea when another storm developed. The wreck of LOCH ARD still lies at the base of Mutton Bird Island. Much of the cargo has now been salvaged and some was washed up into what is now known as LOCH ARD Gorge. Cargo and artefacts have also been illegally salvaged over many years before protective legislation was introduced. One of the most unlikely pieces of cargo to have survived the shipwreck was a Minton porcelain peacock - one of only nine in the world. The peacock was destined for the Melbourne International Exhibition in 1880. It had been well packed, which gave it adequate protection during the violent storm. Today, the Minton peacock can be seen at the Flagstaff Hill Maritime Museum in Warrnambool. From Australia's most dramatic shipwreck it has now become Australia's most valuable shipwreck artefact and is one of very few 'objects' on the Victorian State Heritage Register. The LOCH ARD shipwreck is of State significance – Victorian Heritage Number S417 Flagstaff Hill’s collection of artefacts from LOCH ARD is significant for being one of the largest collections of artefacts from this shipwreck in Victoria. It is significant for its association with the shipwreck, which is on the Victorian Heritage Register (VHR S417). The collection is significant because of the relationship between the objects, as together they have a high potential to interpret the story of the LOCH ARD. The LOCH ARD collection is archaeologically significant as the remains of a large international passenger and cargo ship. The LOCH ARD collection is historically significant for representing aspects of Victoria’s shipping history and its potential to interpret sub-theme 1.5 of Victoria’s Framework of Historical Themes (living with natural processes). The collection is also historically significant for its association with the LOCH ARD, which was one of the worst and best known shipwrecks in Victoria’s history. A photocopy of a letter, handwritten in ink on both sides of 4 small sheets of thick, light blue paper. The letter is in neat cursive script. The writing originally covered 7 sides of the note paper and has been reproduced as 7 separate pages. It is dated 21 January 1884, five and a half years after the LOCH ARD shipwreck. The letter is from Eva Carmichael, one of only 2 survivors from that disaster, and is addressed to J. Archibald, first curator of the Warrnambool Mechanics Institute Museum. The copies include the reproduction of a typed index card which accompanies the original letter. The card states: “Photographic copy of the letter written by Eva Carmichael to Mr J Archibald, first Curator of the Warrnambool Museum. The original letter is kept with other documents, but the writing being on both sides of the note-paper it was not possible to read in its entireity when on display”.flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, loch line, loch ard, captain gibbs, eva carmichael, tom pearce, glenample station, mutton bird island, loch ard gorge, loch ard, survivor’s letter, eva carmichael, longfellow’s poems, warrnambool mechanics institute museum, joseph archibald, henry davis

Girton College Presenting Anything Goes, Capital Theatre Bendigo. a/ Flyer: 1.30pm Saturday 31st August 1991. $3.00 Bookings 42 4877. b/ Girton College Presents ''Anything Goes!'' 27th, 28th August, Capital Theatre, Bendigo. The Plot. Cast: John Elder, Genevieve Gilbert, Scott Williams, Amber McDonald, Brendon Marshall, Kaye Porter, Lok Thornton, Anna Ledwich, Jason Burns, Simon Evans, Sarah Tweed, Amelia Doble, Jane Phillips, Linden Whiting, David Pearse, Jenni Rosen, Nick Evans. Girls: Louisa Dalley, Caroline Davey, Allisa Gullan, Adam Middlemis, Alistair Hampton, Jarrod Harris, Adrian Currie, Mark Tierney, Ben Brown, James Brook, Georgia Laughton, Carolyn Macdonald, Lachlan King, Luke Tracey, Sally Branson, Michael Elphinstone, Natalie Lawson, Tanya Kairn, Matthew Evans, Sally Thorn, Emma Chuck, Natalie Davey, Geraldine Carney, Henry Chan, Rossetti Luk, Kelly Chuck, Corinne McAlpine, Tania Ray, Sally Morris, Rachel Roberts. Dancers: Rachel Campbell, Alisa Gullan, Kate Harris, Carolyn Macdonald, Rachel Millar, Jane Phillips, Carlie Sutton, Linden Whiting, Lisa Owen, Kim Davis. Sound: Bronwyn Letts, Anthea Moncrieff. Technical Lighting Spot: Davydd Griffiths, Matthew Whiting. Backstage: Emma Goulding, Dallas Anson, Sarah Carlile, Alix Osborn, Matthew Williams, Michael Porter, Kasie Watson, Alexandra Hocking, Nerida Clark, Lisa Bibby, Sher Anson, Emma Toon, Mandi Smith. Production Mrs R Pedersen, Mr R Cooke, Matthew Tilling, Michael Chittick, Mrs K Branson, Mrs A Leech with year 9 Design Students. Mr L Young, Mrs R Pederson, Mrs J Whiting, Brenda Macdonald, Pam Sutton, Mrs S Draffin, Kara Draffin, Miss M Somerville, Mr S Jackson, Mrs S Neale, Adelle Middlemis, Moira Christie, Wendy McKinlay, Shona Christie, Mrs V Jackman. Orchestra: Mr R Cooke, Maria Ciancio, Grant Welling, Susannah Breaden, Meredith Cox, Kylie Smith, Jane Davies, Jeremy Breaden, Mal Hausler, Norm Gray, Kevin Kieley, Neil Bassett, Kevin Simmonds, Betty Higgs, John Snowdon, Peter Stewart. We gratefully acknowledge the assistance of: Keith Macdonald, Macdonald's Spring Gully Nursery. Graham & Irene Keogh, Limerick Tavern. Ashman's Formal Hire. Program produced by Ms S Albion. Program designed by Jason Williams, Lok Thornton and Matt Robinson. Graphics by Broughton Snell and Amber McDonald. C & d/Tickets no.s K8 & K9, Girton College Presents Anything Goes! 7.30pm, Wednesday 28th August 1991 at the Capital Theatre Bendigo Adult $6 Conc. $3.entertainment, theatre, anything goes, girton college presenting anything goes, capital theatre bendigo. a/ flyer: 1.30pm 31st august 1991. $3.00 bookings 42 4877. b/ girton college presents ''anything goes!'' 27th, 28th 1991, capital theatre, bendigo. the plot. cast: john elder, genevieve gilbert, scott williams, amber mcdonald, brendon marshall, kaye porter, lok thornton, anna ledwich, jason burns, simon evans, sarah tweed, amelia doble, jane phillips, linden whiting, david pearse, jenni rosen, nick evans. girls: louisa dalley, caroline davey, allisa gullan, adam middlemis, alistair hampton, jarrod harris, adrian currie, mark tierney, ben brown, james brook, georgia laughton, carolyn macdonald, lachlan king, luke tracey, sally branson, michael elphinstone, natalie lawson, tanya kairn, matthew evans, sally thorn, emma chuck, natalie davey, geraldine carney, henry chan, rossetti luk, kelly chuck, corinne mcalpine, tania ray, sally morris, rachel roberts. dancers: rachel campbell, alisa gullan, kate harris, carolyn macdonald, rachel millar, jane phillips, carlie sutton, linden whiting, lisa owen, kim davis. sound: bronwyn letts, anthea moncrieff. technical lighting spot: davydd griffiths, matthew whiting. backstage: emma goulding, dallas anson, sarah carlile, alix osborn, matthew williams, michael porter, kasie watson, alexandra hocking, nerida clark, lisa bibby, sher anson, emma toon, mandi smith. production mrs r pedersen, mr r cooke, matthew tilling, michael chittick, mrs k branson, mrs a leech with year 9 design students. mr l young, mrs r pederson, mrs j whiting, brenda macdonald, pam sutton, mrs s draffin, kara draffin, miss m somerville, mr s jackson, mrs s neale, adelle middlemis, moira christie, wendy mckinlay, shona christie, mrs v jackman. orchestra: mr r cooke, maria ciancio, grant welling, susannah breaden, meredith cox, kylie smith, jane davies, jeremy breaden, mal hausler, norm gray, kevin kieley, neil bassett, kevin simmonds, betty higgs, john snowdon, peter stewart. we gratefully acknowledge the assistance of: keith macdonald, macdonald's spring gully nursery. graham & irene keogh, limerick tavern. ashman's formal hire. program produced by ms s albion. program by jason williams, lok thornton and matt robinson. graphics by broughton snell and amber mcdonald. c & d/tickets no.s k8 & k9, 7.30pm, 28th august 1991 adult $6 conc. $3.

The Spring Gully Gold Mining property consists of Gold Mining Lease No. 2986, Castlemaine, of about 21 acres situated on the Emu Reef, in Spring Gully Fryers. There are two shafts, distant about 300 feet from each other. From one of them large quantities of gold were obtained in former years by previous companies. ( Prospectus of the Spring Gully Mining CompanyMaroon hard cover book, brown leather binding on spine and corners, three hundred and eighty pages. Written on spine of book in gold leaf : 'Minute Book'. Handwritten minute entries from 14th September 1903 to 30th August 1915. Affixed to first page, newspaper clipping from the 'Herald' 13/9/05, with information about the Spring Gully Mine Fryerstown. Page eighty-one has two quotes affixed from 'The Yarraville Chlorination and Ore Reduction Works' High Street Yarraville, July 1905, for works associated with pyrites and blanket sand. Page nine, a handwritten letter affixed to minutes, applying for a block of land 250 feet north of main shaft. Signed by J.S. Potter, H. Hancock, G Murray and T. Tumney. 1.Page one hundred and one: three quotes from 'Edwards' Metallurgical Works' Specimen Hill, Bendigo for pyrites and blanket sand. 2.Page one hundred and fifty five: handwritten letter (copy) from A. Schonfelder re shaft work on the mine and mention of tributors 3. Affixed to inside cover: letter from the 'United Shire of Mount Alexander' April 15th. 1907, regarding the reconstruction of the Vaughan bridge over the Loddon River. 'the benefit that the mines in your district derive from the bridge being open for wood waggons and this being the main traffic and this being the principal cause of the bridges present condition'. 4. Prospectus of the Spring Gully Mining Company, Spring Gull, Fryerstown, two page folded document enclosed inside back cover of book. Prospectus incomplete. (10746.93a) 5. Carbon copy of letter to D.E. Williams Esq, Castlemaine from GlenAthol, Casewick Road, London, January 25th, 1907 regarding two gentlemen who were 'called upon to carry the 'Spring Gullys' through - Mr. H. 'is making a determined effort to bring the matter to a successful issue' Letter signed by George Allan. (10746.93b. 6. Carbon copy of letter from E. Williams, London re proposed new company to acquire the properties of Spring G.M. Coy, Spring Gully G.M. Coy. No. 1, Sth Spring Gully G.M. Coy, Sth Spring Gully G.M. Coy Extended (10746.93c) 7. Handwritten letter to the Chairman and Directors of the Spring Gully G.M. Co. re the appointment of 'Mr. Samuel Morse Battery Manager at once, or accept my resignation as Mining Manager, for we can't agree any longer' Signed by A. Schonfelder. 8. Notice of extraordinary meeting of shareholders in Spring Gully Gold Mining Company No Liability, 22nd November 1906 at Beehive Chambers, Bendigo. Signed W.G. Blackham (Blackham & Garvin) Manager of the Company. (10746.93e) The Minute Book is part of the Margaret Roberts Collection of mining documents.bendigo, margaret roberts, , goldmining, castlemaine, spring gully gold mine, fryertown

Town Hall, The Bendigo Choral Society. (Season 1920-First Concert) Twelfth Grand Concert. Wednesday, March 31st, 1920. Artists: Miss Dorothy Penfold, A.R.C.M., Miss Winnie Mayberry, Mr. E H Collett, Mr. E A Miller. Conductor: Mr. W C Frazier, A.R.C.O. Pianiste: Miss Eileen Hains, A.T.C.L. Patron: His Worship the Mayor (Cr J H Curnow). President: Mr. H M Leggo. Vice President: Sir john Quick, Cr W Beebe, Mr. Oscar Flight, Mr. E S Cahill, Mr. D Berriman, Mr. A L Bolton, Dr W J Long, Dr O Penfold, Mr. J G Oliphant, Mr. Alf E Wallis, Mr. A Whitehead, Mr. W Watts, Mr. Magnus Cohn, Mr. R H S Abbott, Mr. Geo. Mackay. From the performing Members: Mr. E H Collett, Mr. A W McGibbony. Conductor: Mr. W C Frazier, A.R.C.O. Sub Conductor: Mr. E A Miller. Pianiste: Miss Eileen Hains, A.T.C.L. Asst. Sec.: Mr. Fred A Wittscheibe. Treasurer: Mr. D H Holden. Librarians: Mr. R J Duguid. Assistants: Mr. H Veale & Mr. Mansell. Auditors: Mr. H T Bayton, A.A.I.S. & Mr. Harold Walker. Committee-Office Bearers: Mesdames T Scott & Chisolm, and Misses Colgan, Gall Field & Lethean, and Messers Sleeman, Jeffrey, McClure, Carwardine, F J Walter & Frank Wittscheibe. Subscribers may book at Flights on and after 25th March, without extra fee. Holders' of 2/2 tickets may also book without fee. Holders of 1/1 tickets may book by paying difference, 1/1. J Hudspeth, Hon Secretary, 85 Wills Street, Bendigo. Programme. Soloists: Soprano-Miss Dorothy Penfold. Contralto-Miss Winnie Mayberry. Tenor-Mr E H Collett. Bass-Mr E A Miller. Conductor: Mr W C Frazier. Pianiste: Miss Eileen Hains.In the excerpts for performances there breathes the whole of the Passion of the Messiah. The opening Chorus is in itself an epitome of the sacred event, beginning, as it does, with 'Worthy is the Lamb that was slain' to the triumphant 'Blessing and honor and glory and power be with Him for ever and ever' Commencing with solemn and beautiful chorus 'Behold the Lamb of God,' where the attention of the whole world is called to the supreme sacrifice, we are . . . Passion Music from the 'Messiah.' . . . . . Foreword for 1920. The Committee desire to express their thanks to all our patrons. It is very gratifying that our Conductor, Mr. W C Frazier, is more and more being appreciated at its true value. It is absolutely true that 'man connote live by bread alone,' and when the finer instincts are being fostered by the appreciation of good music . . . . J Hudspeth, 85 Wills Street.Bolton Bros., Printerstown hall, bendigo choral society

In the 1650s, the newest exciting development had arrived on Britain’s shores, this time it was tea from China. As it was brought back from overseas, tea was incredibly scarce and as such its price was very high; in 1664, the cost of tea was already 40s per pound, although this is not as high as what it would become when taxed in the 18th century. This resulted in only the social elite enjoying a cup of tea, and most commonly tea was enjoyed in coffee houses, and teapots were therefore not yet a household item. As the East India Company imported larger quantities of tea, it became more widely available and a larger section of the British population were able to enjoy it meaning that, by 1669, tea was available nearly everywhere. Likely due to the fact that tea was first enjoyed in coffee houses, the first known teapot resembles a coffee pot, with a tapering cylindrical shape and standing much taller than what we now know as a teapot at 13.5 inches tall. Into the 1680s, these teapots were given a conical cover for the spout that was fixed to the pot via a chain. As Queen Anne took the throne in 1702, teapots had become much more widely used and had formed two common groups. The first style of teapot was the pear shaped style which began to appear in 1705. The pear shaped pot usually had a domed lid and sometimes featured a finial. This form was generally supplied with a heater and stand as well as having a baluster shaped handle on one side. This iteration would disappear by 1725 but does make a reappearance in the 1740s, only this time as an inverted pear shape. The second group was the more spherical, or globular, shape which appeared in 1710. The globular teapot had a flush, hinged lid as well as a narrow moulded rim foot and a straight sided, tapering spout. Both generalised groups of teapots have polygonal examples – that is, teapots that are made up of straight sided segments – but six or seven sided teapots are incredibly rare. There is one known example of a seven sided globular teapot, made by Isaac Ribouleau in 1724. This is so unique because polygonal teapots are much more technically difficult and time consuming to make. Other than the occasional band of engraving round the shoulder of the teapot, they remain quite plain until c.1740 when scrollwork and chased shells begin to be applied for decoration. ‘Chasing’ is the process of decorating the front of a piece of metal by indenting the back, without cutting or engraving. From 1755 until 1770, silver teapots became incredibly uncommon and it is likely that this either reflects a change in drinking habits or changing trends producing a favour for porcelain. This dip in popularity could also be in response to the outrageous taxes placed on tea, up to 119%! In 1765, the Leeds creamware globular teapot seemed to kickstart a resurgence and this, combined with the Commutation Act of 1784 – which reduced tax on tea from 119% to 12.5% – saw teapots return in all their forms. It’s around this time, in 1780, that a form of teapot with a detachable, openwork stand appeared; however, the plain, oval teapot remained the most popular in the 1780s and 90s. In the later years of George III’s tenure on the throne, during the last decade of the 18th century, there was a revival of chasing and embossing teapots with flower and foliage designs. At the turn of the century, the spherical, partly fluted teapot with classical decoration was superseded by a more oblong shaped pot that sat on four spherical feet. This was then changed again when teapots became more melon shaped. It was at this time that the capacity of a teapot greatly increased and the previously wooden or ivory handles were replaced by silver handles with ivory washers for insulation. As Britain entered into the Victorian era, the design quality often suffered as there was a tendency to over-decorate the silver. In the early 19th century, the last major addition to the shape of the teapot, a raised collar was added between the cover and body. Whilst this seems to just be for decoration, there is some speculation that it could also be to prevent overspills. https://www.marklittler.com/silver-teapots-history/ This item shows that silver and silver plated teapots were used for tea making.Plain sliver teapot. Heavy oxidation. Dented.None.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, teapot, silver, siver plate, tea

Mary Ena married Keith John Robinson son of Isaac and Henrietta nee Raleigh of Creighton Melton. Mary and her father are photographed beside the Darlingsford house prior to her wedding in February 1930. Mary their first child was born in 1907. In circa 1980 she wrote about her parents and her early life. Page 1 of part of the original hand written script - Mother and father were married at the Methodist Church Melton by the Rev B E Williams on Aug 23rd 1906 and lived in the house beside the chaff mill for some years. [The family left Melton South in 1910. In 1911 they moved to the farm “Darlingsford” near the town of Melton home for their nine children born between 1907 - 1922 They had three daughters and six sons, the second boy died of diphtheria 1916 aged 5 years.] Page 2 Mary writes… Each winter Father would send a 20 ton truck to the Collingwood Central Methodist Mission to be distributed to the needy people in the area. Sr. Faith who was at the mission for many years became a very much loved friend of my parents and the family. I remember her as a prolific writer of childrens stories in the Methodist paper the “Spectator”. I still treasure a book sister Faith gave me for my birthday. Father and Mother gave the first donation of 10 pounds to open the fund to start “Yooralla” for crippled children all because a small boy asked for a bag of sweets for his brother who was crippled and not able to attend kindergarten. Sister Faith who was a small fragile woman with a tremendous spirit was a frequent visitor at our home where she loved the warmth, good food and the loving companionship of the family for many years. Later she ran the Chaucer Library in Collins just below Georges near the Athenaeum Theatre. Mother was an avid reader and many of the books she read came from this library. Page 4 – Mary writes….. Dad was always involved in district affairs ever ready to help someone in need, especially as a J. P. helping young people who may have been in trouble. He was always involved in the care of his [eight] brothers who were in need at times. He was an elder at the Scots Church Melton and Sunday School Superintendant when the Sunday School thrived. The anniversary became a special event with good singing supplemented by good music by Dad’s friends from Footscray saxophone and violin. The church would be packed both Sundays. The family home was open to all and sundry from the little Salvation Army lass from Bacchus Marsh driving a horse and jinker (without any experience) round the district. collecting, came looking for a bed for the night (and later crept into bed with me because she was terrified). The Methodist local preachers regularly spent several night and breakfast while visiting people in the Melton area. They were stationed at Bacchus Marsh and again drove a horse and jinker. One preacher I remember with gratitude was Mr Webster a retired school master and a fine man. Another was Pastor Tuttlebee again with no experience driving a horse and jinker. The first time he called Mother found him taking the winkers off the horse whilst it was still harnessed to the jinker. Another regular visitor was Mr Lister the federal member for Corio, he always stayed with us when he had meeting in this area. Another evening just as dusk another minister and his dear little wife were driving the horse and buggy to a new parish at Ballarat. They had asked at the Mac’s Hotel for accommodation, and their reply was we have no accommodation, go down to Mr and Mrs Barrie they will put you up for the night. They were most grateful to be taken in and cared for, somehow it seemed the most natural thing in the world that they would be welcome. A copy of Mary’s writing was given to her niece Wendy in 1990. Mary Ena Barrie's wedding daylocal identities

Town Hall, The Bendigo Choral Society. Souvenir program 3d. With and oval picture of Mr. W C Frazier A.R.C.O.-Conductor on front cover. Gounod's 'Faust'. For Bendigo Benevolent Asylum, 5000 pounds. Town Hall, Bendigo, Wednesday, June 14th, 1992, at 8pm. Principals: Miss Phyllis Hannaford (Mrs. J R Clark); Miss Essa McSwiney, L.A.B. Mr. E H Collett, Mr. E A Miller, Mr. Gerson Krost, Conductor: Mr. W C Frazier, A.R.C.O. Pianiste: Miss Eileen Hains, A.T.C.L. Picture of Benevolent Asylum on front cover. J G Austen, Secretary Appeal Fund. J Hudspeth & Z S Martin Secretaries Choral Society. Concert to commence at 8pm. Artists; Mr. Gerson Krost, Miss Essa McSwiney, Mr. E A Miller, Miss Phyllis Hannaford. Cast; Mrs. J R Clark, Miss Essa McSwiney, Mr. E H Collett, Mr. E A Miller. Choruses, etc. by Choral Society. In the Homeland Mr. Frazier found it the increasing practice to take the great opera masterpieces and give them on the concert platform in more of less liberal excerpts. With characteristic generosity. He purchased the copies and presented them to the Choral Society. Bendigo has thus an opportunity to hear the latest idea. We are sure the musical public will appreciate this, though of course. . .. It is interesting to note that when this great work was first performed in Paris, on March 19th, 1859, it was somewhat coldly received, to the composer's great grief, as he, with the instinct of genius, . . .. The Compact: Introduction: Faust, aged and worn, weary with long pondering over learned treatises, in a pessimistic mood wonder whether the work is worthwhile. Memories of an early love stir strangely in his being, and he, in his doubting mood, questions all things, in despair he would welcome death, and finding no answer from the heavens, he appeals to the powers of ill. To his great surprise, he is at once answered by Mephistopheles and a colloquy then ensues in which the Evil One promises him Gold? Glory? A Kingdom? No! No! It must be 'Youth!' That can be done also. Faust is dubious, but on Mephistopheles bringing a vision of beauteous Margarita at is dubious, but on Mephistopheles be 'Youth!' That can be done also. Faust is dubious, but on Mephistopheles bringing a vision of beauteous Margarita at her wheel he agrees and signs the compact. 'Up Here I am at thy command, Down There thou servest me!' At The Fair: Mephistopheles then asks Faust to the Fair where they mix with the revelry of the students, soldiers and merry maidens. He gets a glimpse of Margarita. The Evil One is again busy putting Suspicious and quarrelsome thoughts into good comrades' minds. . .. The Wooing: Poor Siebel, the ardent, faithful lover of Margarita, finds himself somewhat overshadowed by the young and handsome Faust. Mephistopheles in a mocking mood tells him that every flower that he plucks will perish in his hands. He finds this prediction verified when he plucks the flowers for his lady love, but when in faith he scouts the Evil One, he conquers, and the spell is broken. Faust, filled with an ardent and pure passion, approaches the dwelling of Margarita, with an offering of priceless jewels, provided by the . . .. . The Return of Valentine: Valentine, the soldier brother of Margarita, leaves for the wars, giving the care of his sister to her faithful lover, Siebel. On his return, covered with glory, and ardent to meet his people again, he hears the story of the flouting of Margarita by Faust. In this part the soldiers are welcomed home by their comrades in the male part of the song 'Fold the flag my brothers,' followed by the celebrated chorus (usually known as the 'Soldier's Chorus' Glory and love to the men of old.' It has been set, in this edition, for full choir. Mephistopheles, the evil genius, in a spirit of raillery, and exultant that his plans are working to . . . . The Price: Faust, repentant, desires to do justice to Margarita and again be her lover. Margarita is almost demented at the loss of her brother. Mephistopheles not to be cheated, thwarts the good impulse of Faust and demands his price. He also endeavors to make Margarita despair, but owing to the simple faith of the . . . . The End. A Question You give you name, your time, your pelf To ease your woe: But what do you give of your own self To pay the debt you owe? You open a Home for helpless ones, And you shut them in with care; Of what think you is their share? You talk and you write; you organise; All this, we know, is true; But how do you spread the spark divine, The deep-down soul of you? -A Simkins. Benevolent Asylum Appeal. The Committee of Management directing the works of the Asylum desire to bring before an always generous public the claims of the Instruction for financial support. The Appeal for 5000 pounds has been launched in the full belief that the case is a good one, and in the confident hope that it will be successful. The work carried on by the Asylum covers a big field, extending as it does from Swan Hill in the north and Melbourne in the south. Inmates from all parts of the State are given a comfortable home, and properly cared for in the eventide of their lives. There are at present in the Asylum 164 old men and women. In addition to this work the Committee thoroughly investigate and dispense relief in food to from 150 to 200 adults and from 300 to 400 children each week, and also issues a large number of blankets, boots and clothing garments to necessitous applicants. The recipients of this relief are principally widow and their little ones, and the wives and children who are dependents of miners suffering from the dread Miners' Complaint. The Committee in organizing this branch of its charity work, has, to a great extent, prevented a large amount of waste, through overlapping and duplication of effort. It now appeals to the public for the above amount in order that be may still be able to continue charity work among the poor and necessitous of Bendigo and District. 'Organized Charity is Love with Judgment.'Cambridge Press Printprogram, theatre, town hall, bendigo

FELDBAUER / TEAGLE Theodore Albert ‘Curly’ Feldbauer was born 15 October 1909 at Melbourne, the son of Theodore Henry (a naturalised German) and Jessie Margarette Feldbauer. The family moved several times during his childhood but before he was 20 he was living and working in the Eltham district. He became a well-known local sportsman. He played cricket for the Montmorency Imperials in 1929 and 1930 in the Eltham Cricket Association and excelled as a footballer and football coach. There are press references at the time to minor misdemeanours and accidents: evidently he was up for a brawl or two, but he was also able to do a recitation at a social night to launch the Eltham Girls Club in 1932. He married a local girl, Violet Amelda Teagle, in 1933, the 12th of 13 Teagle offspring who lived in Frank Street. Curly and Violet’s first child, June, was born the following year. By 1935 Curly was honorary secretary of the Research Cricket Club. He continued playing cricket regularly, mainly for Research, through till the 1940 season, after the war had begun. The girls started at Research State School in 1939 and 1940, respectively. They lived near Violet’s parents in Frank Street. Curly and Violet’s daughter, Valerie Waller recalls: “We lived near my Teagle grandparents, who had a cow. Dad took over the milking. He would rest his head against the cow and sing to her. When he left to join the army, it took weeks before she would settle down to allow anyone else to milk her.” Curly’s service record is not yet accessible from the National Archives of Australia. Valerie Waller gives us some insight into that period between Curly joining and ultimately embarking for Singapore: “Before he sailed to Singapore, Mum would travel by train, to Seymour, to spend a few hours with him. He sent her postcards and called her his “dear love”. His idea was that the sooner everyone eligible joined up, the sooner the war would be over. He had a great love for Australia.” “While he was a prisoner, Mum received a few postcards from him, not in his neat handwriting, but in block letter printing, to tell her he had received no mail or parcels from her. He must have felt we’d forgotten him, because, of course, Mum had sent lots of parcels and letters, and the Japanese hadn’t handed them on.” Theo was one of over 2,000 Allied prisoners of war held in the Sandakan POW camp in north Borneo, having been transferred there from Singapore as part of B Force. The 1,494 POWs that made up B Force were transported from Changi [Singapore] on 7 July 1942 on board the tramp ship Ubi Maru, arriving in Sandakan Harbour on 18 July 1942. Sergeant Feldbauer, aged 35, died as a prisoner of the Japanese on 27 March 1945 at Sandakan Number 1 Camp. The Japanese recorded his death from Malaria. He has no known grave, but it is believed to be at Sandakan Number 2 Camp. His death was not reported in Australia until some months later. Valerie noted: “I will never forget the sound my mother made when she received the telegram saying Dad had died months earlier, ostensibly from Malaria, but he died during the march. The sound still haunts me.” Violet’s husband Theo is recognised on the Eltham Roll of Honour, which was commissioned by the Eltham War Memorial Trust to be hung in the Baby Health Centre opened in 1952; the first of three buildings, the others being the Eltham Kindergarten and Children’s Library, that were established as the Eltham War Memorial a living memorial, with a specific focus for the welfare of children of the district. Violet and Theo’s son Albert, being the youngest child of the children of soldier fathers attending a school in the district, was given the honour of turning the first sod for the Eltham War Memorial Building, 15 July 1950. In Loving Memory of Violet Feldbauer Died 7. 11 .1982 aged 88 Loved wife of Theo (Curly) Died P.O.W. Borneo 1945 Re-united Alongside Violet lay her parents, John Thomas and Margaret TeagleBorn Digitaleltham cemetery, gravestones, charles louis layfield, edwina may layfield (nee teagle), john thomas teagle, margaret teagle, theodore feldbauer, violet feldbauer (nee teagle), annie lillian devine, frederick raymond devine, eltham war memorial, honour board, roll of honour