The mallet was given to the College by the staff of St Mark’s Hospital, London to celebrate the inauguration of the Proctological (later Colonic and Rectal) Section, on 28 May 1963. It was presented by J.C. Stewart to Alan Lendon, then Vice-President and Chairman of the Court of Examiners. Although it is usually described as a gavel, the form of the piece is in fact that of an ancient stonemason’s mallet. The action required to use it is a straight up-and-down motion, unlike that of a normal gavel, which is handled like a hammer. Made of black bean, 22.5cm high and 12cm in diameter, the mallet rests in a wooden stand made of Queensland walnut, with a square base of English oak. The mallet and stand are housed in a travelling case covered in red leather and lined in red velvet and white satin. On the front of the stand are four crests, those of St Mark’s Hospital, the Royal College of Surgeons of England, the Royal Society of Medicine, and the Royal Australasian College of Surgeons. St Mark’s was founded in 1835 as a specialist hospital for the treatment of fistula in ano, a common condition in the days of travelling on horseback, and other anorectal disorders. Over the years the hospital developed into a centre for gastroenterology, colonic and rectal surgery, and many Australians went to further their training there. Some noted Fellows of the College, including Robert Officer, James Guest, Reg Magee, Brian Collopy and Adrian Polglase, and three Presidents, Mervyn Smith, Sir Edward Hughes and Russell Stitz, are alumni of St Mark’s. This mallet is a reminder of the establishment of a significant surgical section within the College, and is a fitting gift from an institution with which so many eminent Australian surgeons formed close ties.GAVEL ON STAND WITH PAINTED COATS-OF-ARMS IN RED LEATHER PRESENTATION BOXPLAQUE ON GAVEL: "PRESENTED BY THE STAFF OF ST. MARK'S HOSPITAL TO COMMEMORATE THE FOUNDING OF THE PATHOLOGICAL SECTION OF THE RACS 28TH MAY 1963"

Victor Raymond Hicks (11/8/1903–19/11/1995) born at Ballarat. Trained at Otira and accepted as candidate for the ministry in 1927. Ordained 1934. Married Lillian Harvey, 4 children. Appointments to Mitiamo, Matimuk, Woomelang, Wodonga, Kerang, Springvale, Brunswick, North Fitzroy, Geelong West, Kyneton and Brown Hill (Ballarat). Chaplaincy in WW2 and at Box Hill hospital. The article about the Mitiamo church: "Fifty years ago the Rev. Raymond Hicks was minister at Mitiamo as it celebrated its Golden Jubilee. He returned for the centenary this year and powerfully preached on 'Lengthen your cords, and strengthen your stakes' (Isaiah 54:2). He spoke of the great need of the church today to have a passion to lead men and women to Christ. Also sharing in the service were the Rev. Ray Scholl, a Mitiamo member before entering the ministry, and present minister, the Rev. M. Thalheimer. The centenary weekend began with an old fashioned tea meeting and concert. The Sunday school hall housed a comprehensive display of photos and historical records dating back to the Bible Christian days of 1884. Mrs Thirza Phelan has researched and written the church history. FOOTNOTE: The first minister, Mitiamo's the Rev. Daniel Daley, preached at the Golden Jubilee service—Mr Hicks has followed an ancient tradition."Colour photograph of Rev. V. Raymond Hicks standing outside the front of a wooden church porch.C&N identification.rev raymond hicks, home missionary, methodist ministry, otira

St Giles, also known as the High Kirk of Edinburgh is the principal place of worship for the Church of Scotland. It is very interesting for the mason's marks found on its many stone columns inside the church, and for its connections to the graveyard outside. According to wikipedia, "There is record evidence of a church here, very likely on the present site, in the year 854. In 1120 King Alexander I, rebuilt the church in the Norman style. Of this building characteristic features survived until 1798. During the fourteenth century, Edinburgh was captured and plundered by the English under Edward II. and Edward III., and twice St Giles was laid waste. After restoration, the church was more thoroughly ruined at the Burnt Candlemas in 1387, when Richard II. sacked the city. The western part of the fabric was soon in use again ; but the restoration of the choir and transepts, which were much enlarged, lasted on into the sixteenth century. In 1467 the city endowed St Giles as a collegiate church. It now became usual to speak of the nave, where the stonework was ancient, as the Old Kirk, while the eastern part of the building was called the New Kirk. When the movement for reform drew large crowds to St Giles, separate services began to be regularly held in the Old and New Kirks. Soon this was not enough, and the great church was partitioned off into smaller sections. In 1571 St Giles was seized by Kirkcaldie of Grange, and held by him as a stronghold for Queen Mary. This resulted in serious damage to the structure.Colour photograph of St Giles Cathedral, Edinburgh, Scotlandst giles cathedral, edinburgh, scotland, architecture

St Giles, also known as the High Kirk of Edinburgh is the principal place of worship for the Church of Scotland. It is very interesting for the mason's marks found on its many stone columns inside the church, and for its connections to the graveyard outside. According to wikipedia, "There is record evidence of a church here, very likely on the present site, in the year 854. In 1120 King Alexander I, rebuilt the church in the Norman style. Of this building characteristic features survived until 1798. During the fourteenth century, Edinburgh was captured and plundered by the English under Edward II. and Edward III., and twice St Giles was laid waste. After restoration, the church was more thoroughly ruined at the Burnt Candlemas in 1387, when Richard II. sacked the city. The western part of the fabric was soon in use again ; but the restoration of the choir and transepts, which were much enlarged, lasted on into the sixteenth century. In 1467 the city endowed St Giles as a collegiate church. It now became usual to speak of the nave, where the stonework was ancient, as the Old Kirk, while the eastern part of the building was called the New Kirk. When the movement for reform drew large crowds to St Giles, separate services began to be regularly held in the Old and New Kirks. Soon this was not enough, and the great church was partitioned off into smaller sections. In 1571 St Giles was seized by Kirkcaldie of Grange, and held by him as a stronghold for Queen Mary. This resulted in serious damage to the structure.Two colour photographs of the interior if St Giles Cathedral, Edinburgh, Scotlandst giles cathedral, architecture, mason's marks, stonemasons, church of scotland

St Giles, also known as the High Kirk of Edinburgh is the principal place of worship for the Church of Scotland. It is very interesting for the mason's marks found on its many stone columns inside the church, and for its connections to the graveyard outside. According to wikipedia, "There is record evidence of a church here, very likely on the present site, in the year 854. In 1120 King Alexander I, rebuilt the church in the Norman style. Of this building characteristic features survived until 1798. During the fourteenth century, Edinburgh was captured and plundered by the English under Edward II. and Edward III., and twice St Giles was laid waste. After restoration, the church was more thoroughly ruined at the Burnt Candlemas in 1387, when Richard II. sacked the city. The western part of the fabric was soon in use again ; but the restoration of the choir and transepts, which were much enlarged, lasted on into the sixteenth century. In 1467 the city endowed St Giles as a collegiate church. It now became usual to speak of the nave, where the stonework was ancient, as the Old Kirk, while the eastern part of the building was called the New Kirk. When the movement for reform drew large crowds to St Giles, separate services began to be regularly held in the Old and New Kirks. Soon this was not enough, and the great church was partitioned off into smaller sections. In 1571 St Giles was seized by Kirkcaldie of Grange, and held by him as a stronghold for Queen Mary. This resulted in serious damage to the structure.Colour photographs of tonemason's marks, St Giles Cathedral, Edinburgh, Scotlandmason's marks, st giles cathedral

St Giles, also known as the High Kirk of Edinburgh is the principal place of worship for the Church of Scotland. It is very interesting for the mason's marks found on its many stone columns inside the church, and for its connections to the graveyard outside. According to wikipedia, "There is record evidence of a church here, very likely on the present site, in the year 854. In 1120 King Alexander I, rebuilt the church in the Norman style. Of this building characteristic features survived until 1798. During the fourteenth century, Edinburgh was captured and plundered by the English under Edward II. and Edward III., and twice St Giles was laid waste. After restoration, the church was more thoroughly ruined at the Burnt Candlemas in 1387, when Richard II. sacked the city. The western part of the fabric was soon in use again ; but the restoration of the choir and transepts, which were much enlarged, lasted on into the sixteenth century. In 1467 the city endowed St Giles as a collegiate church. It now became usual to speak of the nave, where the stonework was ancient, as the Old Kirk, while the eastern part of the building was called the New Kirk. When the movement for reform drew large crowds to St Giles, separate services began to be regularly held in the Old and New Kirks. Soon this was not enough, and the great church was partitioned off into smaller sections. In 1571 St Giles was seized by Kirkcaldie of Grange, and held by him as a stronghold for Queen Mary. This resulted in serious damage to the structure.Three photographs of stonemason's marks, St Giles Cathedral, Edinburgh, Scotlandmason's marks, st giles cathedral

The design for the Shrine of Remembrance was selected by competition among Australian artists and architects. Eighty-three designs were submitted and the winning design was by two Melbourne returned-soldier architects, Philip Hudson and James Wardrop. The inspiration for the external outline came from one of the seven wonders of the ancient world—the mausoleum at Halicarnassus to Mausolus, King of Caria in South West Asia Minor. Although the country was faced with frightful unemployment and financial difficulty in the late 1920s and the 1930s, so great was the gratitude of the people that the huge amount required to build the Shrine was raised or promised within six months from the opening of the appeal in 1928. (https://www.shrine.org.au/About-Us/History) Lodge Bros were commissioned to build the Shrine of Remembrance in St Kilda Rd in the late 1920s. In 1947, Lodge Bros were manufacturing a further stage at the Shrine of Rememberance, that being the carving and fixing of the bluestone servicemen on the top of the 1939-1945 War Memorial at the Eternal Flame. When funding became available for the new undercroft development at the front of the Shrine in 2001, the Shrine Trustees were eager to explore the possibility of the original stonemasons who built the Shrine, to complete the new development. This came to fruition in 2002-2003 when Lodge Bros constructed all the exterior walls of the undercroft development. Phil Luchetta (Managing Director) was able to source and secure the use of the same granite from Tynong Victoria that was used in the original works of the 1930s.Photograpic image of Melbourne's Shrine of Remembrance.shrine of remembrance, melbourne, war memorial, lodge brothers, world war one, remembrance

An adze is an ancient and versatile cutting tool and has been in use for thousands of years. Adze are similar to an axe but with the cutting edge perpendicular to the handle rather than parallel. They have been used since the Stone Age. Adzes are hand tools used for smoothing or carving wood. The subject item was made by Ward & Payne of the Limbrick Works at Hillsborough, Sheffield England manufacturers of hand-forged tools. Their trademark registered in 1850 was a Letter "W" & "P" stamped into the steel. The firm was established by David Ward (1767-1822) in 1803 the company became David Ward & Sons, in 1837 after Ward's son Edward joined the firm. In 1845 Henry Payne the founder's son-in-law became a partner but died in 1850 after which the company reverted to the Ward family. The business then concentrated on making carving tools, chisels and gouges. In 1882 David Ward's grandson David Ward Jr. (1835-1889) purchased land and built a factory at Sheffield North known as the "Limerick Wheel". For a time Wards operated from both 106-114 West Street Sheffield and at Limbrick Road, Hillsborough on the river Loxley. By 1911 they had expanded into making spades, forks, sheep shears and many other types of edged tools including drills and wood planes. In 1967 Wilkinson Sword purchased all the company's share capital and continued to sell Ward & Payne tools until 1970 when a fire burned the factory down and housing development was built on the site.The subject item is significant as it gives a snapshot of the technological development of sailing ships and their operation before steam-powered vessels took over around the world. Tools such as the subject item demonstrate the traditional craftsmanship and skill of the shipwright and the aesthetic quality of the timber ships designs of the time. Adze with wooden handle curved painted green with patent number and maker's name inscribed on inside curve of blade. Inscribed "Patd 561 Ward" "2w". flagstaff hill, warrnambool, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, smoothing tool, hand tool, carpenders tool, adze, coopers tool, woodworking tools

MALCOLM BOYD Born Gippsland, Victoria In 1977 Malcolm Boyd graduated with a Diploma of Visual Arts from the Gippsland Institute of Advanced Education. It was at this time that he presented this work to the Jan Feder Memorial Ceramics Collection. Over thirty years later he still has a passion for ceramic history and design. Boyd operated the Black Cockatoo Pottery from around 1980-1995, starting in Essendon, then moving to Ascot Vale, Stratford, Bairnsdale and finally Fernbank in Gippsland. His handbuilt stoneware pots and clay sculptures are wood fired at his East Gippsland studio. He often uses ochre coloured dam banks on his property at Fernbank. The local clays are crushed, screened and blended with a white stoneware body to produce a number of shades and textures. All Malcolm Boyd's pot's are hand built using moulding, coiling, slabbing, and modelling techniques, and are high temperature fired (1300C) to allow some of the very ancient oriental glazes to mature. All works spend at least 20 hours in the wood fired kilns. This work is part of the Jan Feder Memorial Ceramics Collection which was amassed with funds raised by Jan Feder's student peers at the Gippsland Centre for Art and Design in the mid 1980s after Jan Feder passed away. Although many of the works are donated the intention of the collection was to purchase from visiting lecturers who became leading ceramic artists around the world, as well as from many of the staff who taught at the Churchill Campus. This work is part of the Jan Feder Memorial Ceramics Collection. Jan Feder was an alumna of the Gippsland Campus who studied ceramics on the campus. She passed away in the mid 1980s. Her student peers raised funds to buy ceramic works in her memory. They bought works from visiting lecturers who became leading ceramic artists around the world, as well as from many of the staff who taught there.malcolm boyd, ceramics, artist, artwork, jan feder memorial ceramics collection, gippsland campus, alumni

MALCOLM BOYD Born Gippsland, Victoria In 1977 Malcolm Boyd graduated with a Diploma of Visual Arts from the Gippsland Institute of Advanced Education. It was at this time that he presented this work to the Jan Feder Memorial Ceramics Collection. Over thirty years later he still has a passion for ceramic history and design. Boyd operated the Black Cockatoo Pottery from around 1980-1995, starting in Essendon, then moving to Ascot Vale, Stratford, Bairnsdale and finally Fernbank in Gippsland. His handbuilt stoneware pots and clay sculptures are wood fired at his East Gippsland studio. He often uses ochre coloured dam banks on his property at Fernbank. The local clays are crushed, screened and blended with a white stoneware body to produce a number of shades and textures. All Malcolm Boyd's pot's are hand built using moulding, coiling, slabbing, and modelling techniques, and are high temperature fired (1300C) to allow some of the very ancient oriental glazes to mature. All works spend at least 20 hours in the wood fired kilns. This work is part of the Jan Feder Memorial Ceramics Collection which was amassed with funds raised by Jan Feder's student peers at the Gippsland Centre for Art and Design in the mid 1980s after Jan Feder passed away. Although many of the works are donated the intention of the collection was to purchase from visiting lecturers who became leading ceramic artists around the world, as well as from many of the staff who taught at the Churchill Campus. Jan Feder Memorial Collection Presented by the artist in 1977. malcolm boyd, ceramics, stoneware, artists, artwork, jan feder memorial ceramics collection, alumni, woodfire

Ciborium is the ancient Greek word for the cup-shaped seed vessel of the Egyptian water lily "nelumbium speciosum" and came to describe a drinking cup made from that seed casing. These vessels were particularly common in ancient Egypt and the Greek East. The word "'ciborium'" was also used in classical Latin to describe such cups. In medieval Latin, and in English, "Ciborium" more commonly refers to a covered container used in Roman Catholic, Anglican, Lutheran and related churches to store the consecrated hosts of the sacrament of Holy Communion. It resembles the shape of a chalice but its bowl is more round than conical and takes its name from its cover, surmounted by a cross or other sacred design. This ciborium is part of a Communion Set that was recovered from the wreck of the Schomberg in 1975 after 120 years in the sea. Five years later during the cleaning of the ciborium, a diamond ring was found secreted in the underside of the ciborium's lid. This ring has since come to be called the Schomberg Diamond and is also on display as part of the Flagstaff Hill Museums Schomberg collection. In 1975, divers from Flagstaff Hill (Peter Ronald, former Director of Flagstaff Hill, Colin Goodall and Gary Hayden), found an ornate communion set at the Schomberg wreck site. The set comprised a jug, the ciborium, a chalice and a plate. The ciborium remained untouched for a number of years before restoration began and the marine growth was removed. In 1980 a piece of the lid broke off, revealing a glint of gold. As museum staff carefully examined the lid and removed marine growth, they found a diamond ring, which is currently on display in the Great Circle Gallery at Flagstaff Hill. The collection also holds ship fittings and equipment, personal effects, a lithograph, tickets as well as photographs from the Schomberg. ABOUT THE SCHOMBERG (October 6 to December 27, 1855)- When the ship Schomberg was launched in 1855, she was considered the most perfect clipper ship ever to be built. James Baine’s Black Ball Line had commissioned her for their fleet of passenger liners. The Aberdeen builders designed her to sail faster than the clippers designed the three-masted wooden clipper ship to be fast. The timber used for the diagonal planking was British oak with layers of Scottish larch. This luxury emigrant vessel was designed for superior comfort. She had ventilation ducts to provide air to the lower decks and a dining saloon, smoking room, library and bathrooms for the first-class passengers. The master for Schomberg’s maiden voyage was Captain ‘Bully’ Forbes. He drunkenly predicted at her launch that he would make the journey between Liverpool and Melbourne in 60 days. Schomberg departed Liverpool on 6 October 1855 with 430 passengers and 3000 tons of cargo including iron rails and equipment intended the build the Geelong Railway and a bridge over the Yarra from Melbourne to Hawthorn. The poor winds slowed Schomberg’s sail across the equator. She was 78 days out of Liverpool when she ran aground on a sand spit near Peterborough, Victoria, on 27 December; the sand spit and currents were not marked on Forbes’s map. The ship’s Chief Officer spotted the coastal steamer SS Queen at dawn and sent a signal. The master of the SS Queen approached the stranded vessel and all of Schomberg’s passengers safely disembarked.This ciborium is significant as an example of an item in common use in the mid-19th century that is still in use today. It is also important for it relationship with the famous Schomberg Diamond that was discovered by accident, hidden inside it. The ciborium is particularly significant in that along with other items from the wreck helped in part to have the legislation changed to protect shipwrecks, with far tighter controls being employed to oversee the salvaging of wreck sites around our coast. This salvaged item forms part of the Schomberg collection at Flagstaff Hill maritime museum. The collection as a whole is of historical and archaeological significance at a State level. Flagstaff Hill’s collection of artefacts from the Schomberg is also significant for its association with the Victorian Heritage Registered Schomberg shipwreck (VHR S 612). The collection is of additional significance because of the relationship between the objects salvaged, as together they help us to interpret the story of the Schomberg. The collection as a whole is historically significant for representing aspects of Victoria's maritime history and its potential to interpret social and historical themes from society at the time of the wreck.Silver engraved Ciborium or chalice with lid, part of the five-piece Communion Set. The chalice is a round cup with a long stem and a floral-shaped base with embossed decoration. It has a matching round lid that comes to a rounded apex on top. Engravings on chalice feature flowers and a Fleur-de-lis pattern.flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, schomberg, 1855, clipper ship, james baines & co, black ball line, luxury ship, emigrant ship, captain forbes, bully forbes, ss queen, peterborough shipwreck, communion set, religious service, communion service, ceremonial service, mass, ciborium, chalice, schomberg diamond

This is one of four bottles in our Collection that were recovered by a local diver from the quarantine area just inside the Port Phillip Heads. Ships were required to pull into this area to check for diseases etc before they could head up to Melbourne. Quite often they would drink and throw the bottles overboard. Handmade glass bottle, manufactured in 1850's - 1900's. Glass bottles and glass jars are in many households around the world. The first glass bottles were produced in south-east Asia around 100 B.C. and the Roman Empire around 1 AD. America's glass bottle and glass jar industry were born in the early 1600s when settlers in Jamestown built the first glass-melting furnace. The invention of the automatic glass bottle blowing machine in 1880 industrialized the process of making bottles. In 2019, plans were made to re-introduce milk glass bottle deliveries to Auckland in early 2020. The earliest bottles or vessels were made by ancient man. Ingredients were melted to make glass and then clay forms were dipped into the molten liquid. When the glass cooled off, the clay was chipped out of the inside leaving just the hollow glass vessel. This glass was very thin as the fire was not as hot as modern-day furnaces. The blowpipe was invented around 1 B.C. This allowed molten glass to be gathered at the end of the blowpipe and blown into the other end to create a hollow vessel. Eventually, the use of moulding was introduced, followed by the invention of the semi-automatic machine called the Press and Blow. In 1904 Michael Owens invented the automatic bottle machine. Before this time most glass bottles in England were hand blown. This is one of four bottles in our Collection that were recovered by a local diver from the quarantine area just inside the Port Phillip Heads. Ships were required to pull into this area to check for diseases etc before they could head up to Melbourne. Quite often they would drink and throw the bottles overboard. Handmade glass bottle, manufactured in the 1850s-1900s. The bottle gives a snapshot into history and a social life that occurred during the early days of Melbourne's development and the sea trade that visited the port in those days. Bottle, solid colour brown glass,concave base, tapering slightly wider towards shoulder then inwards towards neck; ring of glass just below opening. Base is blown glass; pontil mark on base. Label "c.1850's STUBBY ALE", "ENGLISH HAND MADE, CORK & WIRE SEAL", "PONTIL MARK ON BASE $6" flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, brown glass bottle, handmade glass bottle, handmade beer bottle, handmade late 19th century bottle

This is one of four bottles in our Collection that were recovered by a local diver from the quarantine area just inside the Port Phillip Heads. Ships were required to pull into this area to check for diseases etc before they could head up to Melbourne. Quite often they would drink and throw the bottles overboard. Handmade glass bottle, manufactured in 1850's - 1900's. Glass bottles and glass jars are in many households around the world. The first glass bottles were produced in south-east Asia around 100 B.C. and the Roman Empire around 1 AD. America's glass bottle and glass jar industry were born in the early 1600s when settlers in Jamestown built the first glass-melting furnace. The invention of the automatic glass bottle blowing machine in 1880 industrialized the process of making bottles. In 2019, plans were made to re-introduce milk glass bottle deliveries to Auckland in early 2020 The earliest bottles or vessels were made by ancient man. Ingredients were melted to make glass and then clay forms were dipped into the molten liquid. When the glass cooled off, the clay was chipped out of the inside leaving just the hollow glass vessel. This glass was very thin as the fire was not as hot as modern-day furnaces. The blowpipe was invented around 1 B.C. This allowed molten glass to be gathered at the end of the blowpipe and blown into the other end to create a hollow vessel. Eventually, the use of moulding was introduced, followed by the invention of the semi-automatic machine called the Press and Blow. In 1904 Michael Owens invented the automatic bottle machine. Before this time most glass bottles in England were hand blown. This is one of four bottles in our Collection that were recovered by a local diver from the quarantine area just inside the Port Phillip Heads. Ships were required to pull into this area to check for diseases etc before they could head up to Melbourne. Quite often they would drink and throw the bottles overboard. Handmade glass bottle, manufactured in the 1850s-1900s. The bottle gives a snapshot into history and a social life that occurred during the early days of Melbourne's development and the sea trade that visited the port in those days. Bottle, opaque brown glass, concave base, tapering slightly wider towards shoulder then inwards towards neck; ring of glass just below opening. Base is blown glass; pontil mark on base. "STUBBY 1850-1900 SMALL SIZE", ENGLISH 3 PIECE MOULD, HAND MADE TOP", "PAPER LABEL, CORK & WIRE SEAL $6flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, brown glass bottle, handmade glass bottle, handmade beer bottle, handmade late 19th century bottle

ELTHAM HERITAGE TOUR The Society excursion on 24th May 1992 was arranged by David Bick, leader of the team carrying out the Shire's heritage study. David selected a number of sites or buildings identified in the study, some of them lesser known components of the Shire's heritage. The tour commenced at the Eltham Shire Office at 10.00 am. Travel was by private car and mini-bus with stops at about twelve locations for commentary by David.It included a short walk in Hurstbridge and lunch at Kinglake. Highlights of the tour included: - 10 am Leave from Shire Offices - 3 Important Trees - A Physical Link to Eltham's First Settlers - Toorak Mansion Gates - A Surviving Farm House - An Intact Circa 1900 Main Street - First Settlers - Gold Miners, and Timber-getters - An Early Hotel - A Pioneering Homestead - Changing Eltham Shire - 20th Century - 4 pm Afternoon Tea and Finish Tour Extract from ELTHAM CULTURAL HERITAGE TOUR (Newsletter No. 85, July 1992, by Bettina Woodburn) "Now we drove through stands of pines to the Kangaroo Ground Lookout Tower, a most unusual War Memorial, World War I. The tower and a shed/residence (it had a chimney) were built from local sandstone. Below to the south and east of Melbourne spread 'suburbia'. Close by the landscape seemed so contrived - English fields and hedgerows! Although only about twenty inches deep, the soil of this ancient volcano, its crater lost under subsequent weathering, was rich, deserving the name of "Garden Hill". Now native trees are taking over again. In Kangaroo Ground itself stand the inevitable Store, School and Church - and two Norfolk pines and a monkey puzzle tree."Record of the Society's history and activities and highlighting various aspects of the Heritage Study undertaken by David Bick used to create the future heritage overlay for the Shire of Eltham and later Nillumbik Shire.Roll of 35mm colour negative film, 4 stripsKodak Gold 100 5095shire of eltham historical society, activities, heritage tour, kangaroo ground, kangaroo ground tower, war memorials, kangaroo ground memorial

ELTHAM HERITAGE TOUR The Society excursion on 24th May 1992 was arranged by David Bick, leader of the team carrying out the Shire's heritage study. David selected a number of sites or buildings identified in the study, some of them lesser known components of the Shire's heritage. The tour commenced at the Eltham Shire Office at 10.00 am. Travel was by private car and mini-bus with stops at about twelve locations for commentary by David.It included a short walk in Hurstbridge and lunch at Kinglake. Highlights of the tour included: - 10 am Leave from Shire Offices - 3 Important Trees - A Physical Link to Eltham's First Settlers - Toorak Mansion Gates - A Surviving Farm House - An Intact Circa 1900 Main Street - First Settlers - Gold Miners, and Timber-getters - An Early Hotel - A Pioneering Homestead - Changing Eltham Shire - 20th Century - 4 pm Afternoon Tea and Finish Tour Extract from ELTHAM CULTURAL HERITAGE TOUR (Newsletter No. 85, July 1992, by Bettina Woodburn) "Now we drove through stands of pines to the Kangaroo Ground Lookout Tower, a most unusual War Memorial, World War I. The tower and a shed/residence (it had a chimney) were built from local sandstone. Below to the south and east of Melbourne spread 'suburbia'. Close by the landscape seemed so contrived - English fields and hedgerows! Although only about twenty inches deep, the soil of this ancient volcano, its crater lost under subsequent weathering, was rich, deserving the name of "Garden Hill". Now native trees are taking over again. In Kangaroo Ground itself stand the inevitable Store, School and Church - and two Norfolk pines and a monkey puzzle tree."Record of the Society's history and activities and highlighting various aspects of the Heritage Study undertaken by David Bick used to create the future heritage overlay for the Shire of Eltham and later Nillumbik Shire.Roll of 35mm colour negative film, 4 stripsKodak Gold 100 5095shire of eltham historical society, activities, heritage tour, kangaroo ground, kangaroo ground tower, war memorials, kangaroo ground memorial

An oar is an implement used for water-borne propulsion. Oars have a flat blade at one end. Rowers grasp the oar at the other end. The difference between oars and paddles is that oars are used exclusively for rowing. In rowing the oar is connected to the vessel by means of a pivot point for the oar, either an oarlock, or a hole. The oar is placed in the pivot point with a short portion inside the vessel, and a much larger portion outside. The rower pulls on the short end of the oar, while the long end is in the water. By contrast, paddles, are held in both hands by the paddler, and are not attached to the vessel. Rowers generally face the stern of the vessel, reach towards the stern, and insert the blade of their oar in the water. As they lean back, towards the vessel's bow, the blade of their oars pivots in the oarlock, and the end in the water moves towards the stern, providing forward thrust. There also is another way of propelling a small craft it's called a sculling oar which is attached to the transom and used to propel a small vessels rather than using two oars as previously described. It is believed the subject item is just such an oar given it’s long blade associated with a sculling oar. For thousands of years vessels were powered either by sails, or by the mechanical work of rowers, or by paddlers. Some ancient vessels were propelled by both oars and sail, depending on the speed and direction of the wind. Wooden oars, with canoe-shaped pottery, dating from 5000–4500 BC have been discovered in a Hemudu culture site at Yuyao, Zhejiang, in modern China. The history of man using wooden oars to propel a boat has a considerable record in marine archaeology going back many centuries. The item is significant for marine archaeology as it gives a snapshot into how a small row boat was powered using a wooden sculling oar. A method of propelling a small boat still used today an example is the gondoliers in Venice using a sculling oar in a circular motion to propel his craft. Single sculling oar with long flat blade, two copper bands, on blade with rowlock fittingNoneflagstaff hill, warrnambool, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, boat oar, sculling oar, row boat

Druids are known to exist from around the 3rd century B.C. Their name may have come from a Celtic word meaning “knower of the oak tree.” Many of their ceremonies were carried out in oak groves, which they considered sacred and members were, at that time a mix of priest, judge, doctor and philosopher. The Druids enjoyed a revival in the 19th century and were taken up enthusiastically during the Victorian era. Druidry was believed to have been introduced into Australia in 1851 with the setting up of the first lodge in Melbourne under the name United Ancient Order of Druids. Unlike the Freemasons, the Druids were not a secret society and were not selective in who they let in, as long as they paid their dues and acted more like a benevolent society than a spiritual movement. "They originally operated when there were few benefits available from the government or employers and the introduction of sick leave and other employer provided benefits, combined with the gradual introduction of government subsidised medicine, caused the need for them to diminish." Druids House — in Swanston Street, was opened by the Lord Mayor in 1927 and was designed to be the movement's national head office. It was completed at a cost of 19,000 pounds. This photograph was believed to have been commissioned by the Druids of Bendigo to the Licensees of the Queens Head pub where they regularly met, situated on the corner of the Bendigo-Maryborough Rd & the Calder Alternate Hwy ( Lockwood Cross Roads). The old Marong Council offices were situated opposite from 1864 until around 1908 when new offices were then built in Marong. It is believed that this photograph and a photo of the pub were given to Marong Shire by descendants of the publicans, probably in the 90’s. Framed black and white group photographic portrait of 37 members of the Sandhurst Chapter of the Druids staged and shot outdoors. Each of the gentlemen is carrying a bouquet of flowers. The photograph has a gold inner mount with the second mount cut to give the impression of a frame. The outer mount is hand painted with botanical motifs and elaborate text c.t. DRUIDS Sandhurst Lodge/ No 247. l.c Presented to Mr and Mrs Chadwick / Lockwood / in recognition for kindness rendered.W. G. Robinson / Photo and J.H. Gribble / Long Gully / 1,11,10robinson photographer, j.h.b. gribble artist, chadwick, shire of marong, city of greater bendigo portraits, city of greater bendigo community groups

After the first world war there was a decision made to create a memorial. Legatees were involved in the process at various times and capacities. In particular Legatee Kemsley was vocal in idea of a structure over a utilitarian memorial (such as a hospital or a park) - see letter at 01182. Also that 25 sites were selected for consideration in 1921. Although the St Kilda Road site was favoured early on, by 1926 there was pressure to change to a "provision of square" and Cenotaph at the intersection of Spring and Bourke Streets. 'Melbourne Legacy decided to support and work for the Shrine of Remembrance as the National War Memorial.' It is notable that the initial design 'incorporated certain features of the Mausoleum at Hellicarnasus, which is listed as on of the Seven Wonders of the World and, also, many of the refinements of the ancient Grecian architecture.' This note describes how the ray of light shining on the Rock of Remembrance was 'something of an afterthought' as Philip Hudson (one of the architects) saw something similar on a trip abroad, in a chapel in France. The final paragraph is significant 'All materials in the Shrine are of Australian origin. Indeed, with the exception of the marble in the Shrine floor which was quarried at Carloola in NSW, and the Hawksbury freestone in the bas relief panels, the remaining materials are all of Victorian origin.' This account is written by a Legatee who was heavily involved in the building of the Shrine. It is presumed to be Legatee Kemsley but it is not certain (the handwriting might be a clue if more documents written by him are found). Also the date is not known. Items were in an envelope with other photos and programmes from different items relating to the Shrine of Remembrance - including discussions on its location and design. Labelled 'Shrine of Remembrance S1 - S14' it was part of an old archive numbering system, that showed there has been efforts in the past to collect, order and save items of Legacy's history. (01181 - 01190, 01206 - 01211).A record of the events that led to the construction of the Shrine of Remembrance as noted by a Legatee shortly after. There was an effort to record historical events for the "Archive Committee" which collected this an other documents relating to the Shrine together in a file (see items 01181 - 01190, 01206 - 01211)Four white foolscap pages of black type recording major events in the history of building the Shrine (starting from 1921). Plus several hand written notes which were the draft version, including notes on an envelope and on scrap paper of various sizes.Handwritten 'S1 History Shrine' in red pen on top left of first page. Handwritten notes on scrap paper.memorial, shrine of remembrance

Naturally, we tend to take commonplace objects for granted, because they have always been there. Yet how many of you actually have thought “hey, where do forks come from?” Well, it takes one trip to China and a 3-year-old laughing at your face because of your desperate attempt to eat with chopsticks to finally appreciate something so ordinary such as a fork. So, where do forks come from? The early history of the fork is obscure. As a kitchen and dining utensil, it is believed to have originated in the Roman Empire, as proved by archaeological evidence. The personal table fork most likely originated in the Eastern Roman (or Byzantine) Empire. Its use spread to what is now the Middle East during the first millennium AD and then spread into Southern Europe during the second millennium. It did not become common in northern Europe until the 18th century and was not common in North America until the 19th century. Carving fork from 1640. Source: Wikipedia/Public Domain Carving Fork from 1640. Source: Wikipedia/Public Domain Some of the earliest known uses of forks with food occurred in Ancient Egypt, where large forks were used as cooking utensils. Bone forks had been found on the burial site of the Bronze Age Qijia culture (2400–1900 BC) as well as later Chinese dynasties’ tombs.The Ancient Greeks used the fork as a serving utensil. Read also: Steven Spielberg to Remake the Classic Musical ‘West Side Story’ In the Roman Empire, bronze and silver forks were used. The use varied according to local customs, social class and the nature of food, but forks of the earlier periods were mostly used as cooking and serving utensils. The personal table fork was most likely invented in the Eastern Roman (Byzantine) Empire, where they were in everyday use by the 4th century (its origin may even go back to Ancient Greece, before the Roman period). Records show that by the 9th century a similar utensil known as a barjyn was in limited use in Persia within some elite circles. By the 10th century, the table fork was in common use throughout the Middle East. Bronze forks made in Persia during the 8th or 9th century.Source: Wikipedia/Public Domain Bronze forks made in Persia during the 8th or 9th century.Source: Wikipedia/Public Domain The first recorded introduction of the fork to Western Europe, as recorded by the theologian and Cardinal Peter Damian, was by Theophano Sklereina the Byzantine wife of Holy Roman Emperor Otto II, who nonchalantly wielded one at an Imperial banquet in 972, astonishing her Western hosts.By the 11th century, the table fork had become increasingly prevalent in the Italian peninsula. It gained a following in Italy before any other Western European region because of historical ties with Byzantium and continued to get popularity due to the increasing presence of pasta in the Italian diet. At first, pasta was consumed using a long wooden spike, but this eventually evolved into three spikes, design better suited to gathering the noodles. In Italy, it became commonplace by the 14th century and was almost universally used by the merchant and upper classes by 1600. It was proper for a guest to arrive with his fork and spoon enclosed in a box called a cadena; this usage was introduced to the French court with Catherine de’ Medici’s entourage. In Portugal, forks were first used at the time of Infanta Beatrice, Duchess of Viseu, King Manuel I of Portugal’s mother around 1450. However, forks were not commonly used in Western Europe until the 16th century when they became part of Italian etiquette. The utensil had also gained some currency in Spain by this time, and its use gradually spread to France. Nevertheless, most of Europe did not adopt the use of the fork until the 18th century. Read also: The 8 Most Famous ‘Functioning Alcoholics’ in History Long after the personal table fork had become commonplace in France, at the supper celebrating the marriage of the Duc de Chartres to Louis XIV’s natural daughter in 1692, the seating was described in the court memoirs of Saint-Simon: “King James having his Queen on his right hand and the King on his left, and each with their cadenas.” In Perrault’s contemporaneous fairy tale of La Belle au bois dormant (1697), each of the fairies invited for the christening is presented with a splendid “fork holder”. The fork’s adoption in northern Europe was slower. Its use was first described in English by Thomas Coryat in a volume of writings on his Italian travels (1611), but for many years it was viewed as an unmanly Italian affectation. Some writers of the Roman Catholic Church expressly disapproved of its use, St. Peter Damian seeing it as “excessive delicacy.” It was not until the 18th century that the fork became commonly used in Great Britain, although some sources say that forks were common in France, England, and Sweden already by the early 17th century. Spaghetti fork By Lady alys - Own work, CC BY-SA 3.0, https://commons.wikimedia.org/w/index.php?curid=6414948 Spaghetti Fork By Lady alys – Own work, CC BY-SA 3.0, The fork did not become popular in North America until near the time of the American Revolution. The curved fork used in most parts of the world today was developed in Germany in the mid 18th century while the standard four-tine design became current in the early 19th century. The fork was important in Germany because they believed that eating with the fingers was rude and disrespectful. The fork led to family dinners and sit-down meals, which are important features of German culture. https://www.thevintagenews.com/2016/08/31/priority-fork-came-italy-european-country-pasta/?chrome=1Serving fork, two prongs, with a shaped wooden handle. Badly rusted.None.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, food, meat, carving

8727.1 - Wooden frame, Dark stain with plastic inner frame where it is painted with a metallic looking silver. 8727.2 - Specimen banknote information sheet. 8727.3 - Fifty pound note (specimen). 8727.4 - One hundred pound note (specimen). 8727.5 - Ten pound note (specimen). 8727.6 - One pound note (specimen).8727.2 - National Australia Bank - Heritage Collection - Specimen Banknotes - Specimens of the National Bank of Australia Limited banknotes in circulation in 1910. Nineteenth century banknote designs were inspired by ancient Greek myths, with images of classical figures symbolising agriculture and trade. Intricate line patterns and borders were also featured to discourage forgers. Although local printers produced the National's early notes, highly skilled security printers, Bradbury Wilkinson and Co. of London, producers of banknotes for many Australian and European banks were engaged by the National to design and produce most of its banknotes. - © National Australia Bank Limited. 8727.3 - 50 - ADELAID - SOUTH AUSTRALIA - Pounds - FIFTY - On demand I promise to pay the bearer FIFTY POUNDS sterling at ADELAID 1st November 1893 - For National Bank Australia - SPECIMEN - ENTd - Manager 8727.4 - 100 - THE NATIONAL BANKOF AUSTRALIA - NEW SOUTH WALES - ONE HUNDRED - On demand I promise to pay the bearer ONE HUNDRED POUNDS sterling at SYDENY 1st January 1887 - For THE NATIONAL BANK OF AUSTRALIA - Manager - SPECIMEN - ENTd 8727.5 - MELBOURNE - 10 - POUNDS - THE NATIONAL BANK OF AUSTRALIA - LIMITED - SPECIMEN - On demand I promise to pay the bearer TEN POUNDS sterling at MELBOURNE - For NATIONAL BANK OF AUSTRALIA LIMITED - Manager - ENTd - VICTORIA 8727.6 - PERTH - WESTERN AUSTRALIA - 1 - THE NATIONAL BANK OF AUSTRALIA LIMITED - On demand I promise to pay the bearer ONE POUND sterling at PERTH - For NATIONAL BANK OF AUSTRALIA LIMITED - Manager - ENTd - SPECIMEN

The art of making glass can be traced back to 2600 BC in Mesopotamia. Egyptians practised making glass around 2500 BC. Artificial glass first appeared in the Egyptian or the Mesopotamian civilization, whereas they used tools made out of volcanic glass obsidian in the Stone Age. Ancient China, however, discovered how to make glass a little later. Glass beads are known to be one of the earliest products made out of glass. Their creation is thought to be primarily accidental. In the later Bronze Age, glassmaking came to a halt. Glass was a luxury material back then. Archaeological excavations suggest the use of glass in England during the middle ages. In the 10th century, stained glass found a place in cathedrals and windows of palaces. After the Renaissance, architectural methods changed substantially, leading to a decrease in stained glass as a building material. Domestic use of glass increased following the industrial revolution. Vessels, glass windows, and glass beads gained popularity in Europe during this period. During the 19th century, many people preferred glass windows and doors as a decorative option. In the late 19th century, some designers brought back stained glass in decorative windows. It was during this period that Mr Tiffany discovered several methods to make domed glass handicrafts. People discovered the true versatility of using glass as a building material only in the 20th century. With glassmaking technology receiving an industrial boom, you could produce several different types of glass. Toughened glass, laminated glass, bulletproof glass, and smart glass all boosted the use of glass in buildings. Today, several skyscrapers, small and big homes, and offices use glass in almost all aspects of construction and design. https://www.aisglass.com/glass-made-step-step-process/The invention and development of glass, both as domestic items and in building, has been nothing short of revolutionary. Prior to the use of glass for windows, the interior of buildings were extremely dark, even during sunny days. The use of glass domestic objects, that could be easily washed, led to improved hygiene.Cylindrical drinking glass with stepped relief around lipNoneflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, glass

The art of making glass can be traced back to 2600 BC in Mesopotamia. Egyptians practised making glass around 2500 BC. Artificial glass first appeared in the Egyptian or the Mesopotamian civilization, whereas they used tools made out of volcanic glass obsidian in the Stone Age. Ancient China, however, discovered how to make glass a little later. Glass beads are known to be one of the earliest products made out of glass. Their creation is thought to be primarily accidental. In the later Bronze Age, glassmaking came to a halt. Glass was a luxury material back then. Archaeological excavations suggest the use of glass in England during the middle ages. In the 10th century, stained glass found a place in cathedrals and windows of palaces. After the Renaissance, architectural methods changed substantially, leading to a decrease in stained glass as a building material. Domestic use of glass increased following the industrial revolution. Vessels, glass windows, and glass beads gained popularity in Europe during this period. During the 19th century, many people preferred glass windows and doors as a decorative option. In the late 19th century, some designers brought back stained glass in decorative windows. It was during this period that Mr Tiffany discovered several methods to make domed glass handicrafts. People discovered the true versatility of using glass as a building material only in the 20th century. With glassmaking technology receiving an industrial boom, you could produce several different types of glass. Toughened glass, laminated glass, bulletproof glass, and smart glass all boosted the use of glass in buildings. Today, several skyscrapers, small and big homes, and offices use glass in almost all aspects of construction and design. https://www.aisglass.com/glass-made-step-step-process/The invention and development of glass, both as domestic items and in building, has been nothing short of revolutionary. Prior to the use of glass for windows, the interior of buildings were extremely dark, even during sunny days. The use of glass domestic objects, that could be easily washed, led to improved hygiene.Moulded patterned glass butter dish. Base has been broken.None.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, glass, kitchen item, butter

The knitting machine is a recently designed instrument, especially when it is compared with its ancient counterpart, the loom. It enables the creation of many metres of fabric very quickly. A knitting machine is composed of a series of needles which mimic the process of manual knitting. The mechanism engages numerous mechanical elements simultaneously and enables the creation of many metres of fabric very quickly. In addition, a knitting machine can be setup to produce unique bolts of fabric. The density of the fabric may be modified and a knitting machine can produce double-faced effects. A doubled-faced effect creates colour combinations through the introduction of an additional colour to the knitting pattern. This knitting machine is a Coppo brand. It contains over five hundred needles and was produced in the 1960s. It is a representation of the best available in the world at that time. Originating from Italy, it was designed for commercial use. Through both precision and capacity, Italian artisans were seen to be the best in the world of textiles and knitwear. Through emigration, globalisation and the regularly available quantities of wool, Australia came to compete on this stage. The owner of this particular machine migrated from Italy in 1959. When she did, she brought with her a Dubied knitting machine. She later replaced it with this Coppo. When in Australia the owner began work as a piece worker, knitting jumpers and worked for some of the iconic names in the Australian knitting trade including ES Poratt and Alpin Manufacturing. The owner’s role progressed from a piece worker to a wool garment designer and she won many Wool Industry Awards in the 1970s and 1980s. Her high quality of work using and her individual custom designs were spoken about by many of her customers and she had a very large private clientele. She designed and knitted fully fashioned tailored jumpers for people for around 30 years.Knitting table sits on a stand with wide metal legs. Legs contain lettering 'COPPO torino'. Legs are connected via three thin metal poles as well as a metal band and the bed of knitting table at top. The connecting metal band has the lettering 'SUPER - COPTAL' attached. The Knitting table itself contains two beds and a bench at the rear. Attached to the bench is a thin metal structure for the elevation of yarn. It has four crane esk structures above on this metal structure. The bench is covered in a pale grey laminate in the imitation of wood. Attached to the knitting bed is a sliding contraptions containing two handles at the front followed by a complex semi-circle sliding mechanism used to move the knitting mechanism front and back.Left Stand. Lettering: Coppo Torino Right Stand. Lettering: Coppo Torino Centre Stand. Lettering SUPER - COPTALcoppo, knitting machine, design, italy, wool, business, migrants

This portrait was presented by the Victorian Bar to the Library in 1917 to commemorate Schutt’s fifty years as the Supreme Court Librarian. The portrait was presented at a ceremony presided over by Mr Mitchell KC who noted the “unanimity with which the members of the profession had adopted the suggestion that the eminent services of Mr Schutt should be recognised in this way.” Chief Justice Madden also spoke on this occasion and there were a number of judges and members of the legal profession present. John Schutt had been born in England in 1831 and migrated to Victoria as a young man, initially working as a school teacher he was appointed librarian, during Redmond Barry’s time in 1866. He started work in the Old Court in Russell street and would have supervised the move of the library to its new and greatly expanded premises in William Street in 1884. As well as secretary to the Library committee, he also acted as the Secretary of the Board of Examiners on occasion. After his death in 1919 in its obituary, the Williamstown Chronicle noted that Schutt was regarded as a Solon, an ancient greek law giver who gave wise advice. Away from the Court he was a councillor of many years standing in Williamstown, representing the Victoria Ward, what is now the suburb of Newport, it would appear Schutt street in Newport was named after him. His eldest son William Schutt was appointed a Supreme Court judge in 1919. The portrait of Schutt is a companion piece to the Sir Thomas a’Beckett picture painted shortly before the Schutt portrait and for the same client, they share the same frame design with gum leaf motif. This portrait was undertaken early in Meldrum’s career and before he had fully developed his theory of painting. Duncan Max Meldrum (1875-1955) was a controversial figure in his later years as he strongly opposed modernism and non-figurative art. His works are found in most of the state galleries, including a wide selection at the National Gallery of Victoria. This portrait is of interest for whom it portrays and as the work of a well known artistFull length portrait in oils of John Schutt. Schutt is standing up looking out the to the viewer. His hand rests on a small pile of books. He is dressed soberly in a three piece black suit. His white beard and hair all meticulously trimmed and realised. The props used in this painting provide the main colour as the background has become dark over the years. The books sit atop of a red and gold draped table. Behind Schutt is what appears to be a crimson velvet chair and he gives every appearence of having just arisen from the chair to engage with the viewer. The painting has an unusual light source at the foot of the painting with Schutt's legs providing shadows. Signed Meldrum lower right hand corner. Plaque inscription is John Schutt, Esq. Supreme Court Librarian

The early settlers of Victoria depended on horse drawn vehicles to farm, make roads and railways, deliver produce and transport people. Horse harnesses were an important requisite for all drivers and could be found wherever there were working horses. Horse Harnesses have played an essential role in different cultures throughout history. Simple, utilitarian horse harnesses made of leather straps and iron rings were being used in early China before AD 500 as well as ancient Greece and Rome allowing horses to pull chariots and ploughs. The Greeks and Romans were the first to use a "horse collar" which distributed the weight of the harness evenly across the horse's chest rather than relying on a "throat harness" that could damage a horse's throat or choke them. During the medieval period, European horse harnesses became more elaborate and decorative. Variations of different horse harnesses were also found in Native American and Middle Eastern cultures. Horse Harnesses usually have four basic components which include - 1. Communication - the bridle, bit and reins allows the driver to communicate instructions and commands to the horse, guiding its movement and direction. 2. Draft - the collar, hame straps, hames, traces and chains enables the horse to draw and pull the load efficiently by distributing the weight and transferring the pulling force to the vehicle. 3. Stopping - the breeching band, pole straps and breast strap helps to control or stabilise the horse and vehicle when moving downhill or stopping. 4. Support - the back pad, backband, belly band and back saddle keep the harness in the correct position and proper alignment. This dray harness is a plain, basic harness and reflects its working class origins. It was used by Mr. Oswald (Jack) Bourke with his horse and dray to firstly deliver drygoods from Sunbury to Melbourne in the 1930's and later (through the 1940's and 1950's up to 1961) when he worked on the garbage round for the Springvale City Council. This horse harness is a significant example of the equipment that was needed wherever horses were being used - particularly in the early years of Victoria's settlement by white settlers. Harnesses such as this example were used with drays, farming equipment, delivery carts and personal transportation.A leather and metal horse harness used with a horse and dray circa 1930's to the early 1960's. It is made up of a number of components. 1. A leather bridle with metal buckles and rings, blinkers and a metal single jointed, snaffle bit that has the initials M B stamped onto the leather. 2. A leather bridle with metal buckles and rings and a metal "straight bar" Eggbut snaffle bit. It has an elongated X design (with 4 dots) stamped onto the leather strap holders near each buckle. 3. A blue and white vinyl halter with one leather patched strap. The nose band and a chin strap are covered with woollen padding. 4. A pair of leather shaft protectors. They have lacing holes along each edge and a repeating design of small shapes (flowers, wings, crosses and arrowheads) which run along the front of each protector. 5. A leather strap with a stainless steel chain and catch and a maker's mark for "Glenn's Leather Goods, Pearcedale Victoria" stamped onto the end. 6. A wide leather strap covered with a webbing sleeve. It has two large metal rings and each end and one ring has a rope attached. 7. A leather strap comprised of three separate sections (two shorter and one longer) joined with two metal rings. The longer section has notches along its length and the shorter section at the other end has a buckle. It also had a maker's mark stamped on it but the mark is very worn and the writing is difficult to read. 8. An adjustable leather horse collar with two buckles and straps at the top opening and two "B's" stamped into the leather. The top of the collar is made from treated leather pieces stitched together and the underneath of the collar is untreated leather. It has a padded indentation running all the way around the collar for the hames to sit in. 9. Two pairs of long leather traces - each having a buckle and notched section at one end and each one is made with three lengths of leather spliced together. 10. A leather strap (with one spliced join) belonging to a horse harness with two shorter straps (each ending with a metal clip) attached to a steel D ring at one end. 11. Three assorted short leather straps - the top one has clips at each end and a buckle (for adjusting the length) in the centre, the middle strap has notches and a buckle and the bottom strap is white with notches and a buckle.Bridle with blinkers - "M B" Bridle - design showing an elongated X with a dot in each section stamped onto strap holder Shaft Protectors - stamped design of flowers, wings, crosses and arrowheads Strap with chain - "Glenn's leather goods / Pearcedale / Victoria" Leather Strap (with two metal rings) - Maker's stamp - "name indecipherable / SADDLER / ...OURNE" Collar - "B / B" Leather strap - flagstaff hill maritime museum and village, warrnambool, great ocean road, sunbury, springvale, dray, delivery dray, harness, horse harness, horse drawn vehicles, working horse, oswald (jack) bourke, bridle, horse collar, hames, shaft protectors

Before 1851, letters sent through the mail were charged by the number of sheets it contained and the distance it travelled. For example, a letter consisting of one sheet of paper was charged the single rate; a double letter, that is two sheets, was charged double the single rate, a treble letter, was charged three times the single rate, and so on. In other words, each additional sheet of paper increased the charge by one rate. In Great Britain. Sealing a letter in an envelope effectively put an end to postal clerks' ability to count the number of sheets in a letter and an alternative method of determining the postage had to be found. Overweight mailings had previously required the items to be weighed but with the introduction of the Uniform Penny Postage act of 1839, the public could mail a letter not exceeding a half-ounce in weight within the United Kingdom for one penny if prepaid, or two pence if paid on delivery. At about the same time that the adhesive postage stamps and envelopes made their appearance, postal administrations began to experiment with strategically placed street letter boxes, known as pillar boxes because of their round, pillar-like shape, that permitted the public to mail letters from a place other than from a post office. For all these reasons, the use of postal scales became the nucleus of every post office. Scales had been in use since ancient Egyptian times so their use for everyday commerce was not unusual in the 1800s. What was new in 1840 was their ubiquitous use throughout the postal system. No post office could function effectively without one. Although the earliest scales used in post offices did not differ markedly from the ones in general use as time went on they were adapted specifically for postal use. For example, a paper sleeve, also known as a weight sticker, was attached that showed the applicable rate of postage for any given weight. This innovation was quite a time saver as postal clerks no longer needed to weigh the item first and then refer to a separate chart to determine the required postage for that particular weight. Victorian postal scales were used in village Post offices in the late 19th century, of which there are many examples today for sale. No maker can be attributed to the manufacture of the item. Postal scales with weights,. Balance scale has brass fittings and is mounted on a rectangular wooden stand, with depressions for brass weights; which measure 1/2oz, 1oz, 2oz, "Young Aton REL., C.N.0.9."flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, scales and weights, balancing scales, postal scales, letter scale

Six year old Judith Furphy was the first person known to have been buried at Kangaroo Ground Cemetery in May 1851. The cemetery is situated on an ancient river bed with exposed Nillumbik sands. The rest of the district is formed from black volcanic soil which was hard to dig. According to local historian Mick Woiwod (deceased) the site may have been a burial ground for the local Wurundjeri people as the exposed softer sands were always their prefered camping sites. The Hon. Ewen Hugh Cameron who lived at Pigeon Bank and was the Member for Evelyn for 40 years (1874-1914) was buried here in 1915. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p39 The Wurundjeri people might have buried their dead on the site of the Kangaroo Ground Cemetery, according to local historian Mick Woiwod. Kangaroo Ground was a premier hunting ground, but camping on the black volcanic soil would have been uncomfortable. Unlike most of Kangaroo Ground, its cemetery, on an ancient river bed, comprises a rare exposure of Nillumbik sands – always the preferred campsite for Aboriginal people. The cemetery area is the only place where the soil was soft enough to dig a grave easily.1 Six-year-old Judith Furphy was the first person known to have been laid to rest at the Kangaroo Ground Cemetery. She died on May 17, 1851, from a chill caught by resting on wet grass. Local Andrew Ross wrote ‘..no public burying place existed nearer than Melbourne. The case being considered urgent, a general meeting of the settlers took place on the evening of the 17th……. The result was the selection of unoccupied crown land …….which was subsequently granted by Government for a public cemetery.’2 Judith was buried the next day on May 18. Her grave was marked by the trustees with a plaque, which unfortunately states nine years old, when she was probably only six. Judith came from an illustrious family. Her brother, Joseph, was the author of Such is Life and other works. Another brother, John, developed and manufactured the famous Furphy water cart, which distributed water to World War One soldiers along with the latest rumours. Hence the name Furphy entered the Australian idiom, as synonymous with ‘rumour’. Judith’s father Samuel helped build the first Kangaroo Ground church school. Inside, near the entrance of the cemetery, on Yarra Glen Road, stand a rotunda and a water tank. Occasional benches invite mourners to pause and remember. The gate with wrought iron and brick supports, bears the inscription ‘Erected by Sir Ewen and Lady Cameron in memory of their daughter, Flora Margaret’. These are only two of the famous people connected with this cemetery. The Hon. Ewen Hugh Cameron JP and MLA from 1874 to1914, who lived at Pigeon Bank, Warrandyte Road, was buried here in 1915. Unrelated, but with the same name, was Sir Ewen Cameron who had been Minister for Health and was laid to rest there in 1964. Sir Herbert Gepp, a leading industrialist and the former owner of Garden Hill, at Yarra Glen Road, was buried there in 1954.3 Many of the more imposing tombstones belong to the earlier graves. Unfortunately bushfires have cracked several. But this adds to the melancholy attractiveness of the cemetery, graced by some beautiful eucalypts, cypress and pines. Early pioneering families represented at the cemetery include Armstrong, Barr, Bell, Harkness, Jardine, Johnston, Rogerson, Stevenson, Thomson and Walters. Armstrong and Bell were among the first families to come to the district and Stevenson owned the district’s first sheep station. It took in much of present day Christmas Hills, which was the name he gave his sheep station. Harkness was the first to suggest a Kangaroo Ground school be built, and one of the first to suggest establishing the Eltham District Road Board. Many of these families leased pastoral land before the mid-century and bought land when it came on sale in 1849. In the cemetery’s early days sections were devoted to the major Christian denominations (mainly the Protestant) and one section was set aside for ‘other’ or ‘non-believers’. However in modern times burial plots have not been placed in areas according to religious beliefs.This collection of almost 130 photos about places and people within the Shire of Nillumbik, an urban and rural municipality in Melbourne's north, contributes to an understanding of the history of the Shire. Published in 2008 immediately prior to the Black Saturday bushfires of February 7, 2009, it documents sites that were impacted, and in some cases destroyed by the fires. It includes photographs taken especially for the publication, creating a unique time capsule representing the Shire in the early 21st century. It remains the most recent comprehenesive publication devoted to the Shire's history connecting local residents to the past. nillumbik now and then (marshall-king) collection, kangaroo ground, eltham-yarra glen road, agnes bell cameron, agnes cameron (nee bell), cameron family, edward aubrey haughton, eugene cameron, evelyn florence cameron, ewen hugh cameron, gravestones, jane armstrong, jane bell, jessie agnes haughton (nee cameron), jessie cameron, john donald cameron, kangaroo ground cemetery, neville cameron, simon armstrong, vera cameron, william bell armstrong, wurundjeri

Captain Frank Herbert King was born in the Parish of St. Saviors in the borough of Brougham London March 5th 1875. He was educated in theology at St. Augustine's College Durban University. He went on to serve for 2 1/2 years in South Africa during the Boer Wars and then re-enlisted in the A.I.F.16th November 1916 when he listed his address as "The Vicarage Sunshine Victoria" and listed his wife as "Kathleen King" “Revd McCoy announced his intention of moving to the parish of Deniliquin in October 1915. He was replaced by F.H. King. Though the parish could not house him, he came in November. King was a typical “new broom”. In January 1916, at his instigation, the parish agreed to change its hymn book to Ancient and Modern. This decision could be viewed as a “churchmanship” matter, one of many that happened in these years. He pushed through the building of the vicarage, from tender in January to blessed and occupied by June. At the Annual General Meeting, King described 1915 as a trying time in the church and looked forward to a happier and more prosperous time during 1916. At a special vestry meeting, 3 November 1916, King announced that he had accepted an appointment by the Archbishop for service at the front, and that he had been instructed to prepare to go abroad. It was decided in his absence the parish use lay-readers, with periodic visits by clergy for Holy Communion. On 12 November, King thanked the parish for their loyalty and their devotion to him and the church. In return the parish presented him with a wrist watch. The parish was not formally vacant; just without a vicar. In September 1917, the Archbishop wrote advising that King had resigned. He appointed the Rev. W. Green to the parish, but Green declined.”(1) He was sent to Egypt where he administered to the Australian Stationary Hospital Australian 3rd and 5th light horse brigades. His Army record states he was Invalided and Completion of Duty 12 July 1918. He was later awarded th Order of the British Empire (OBE) 1 “The Junction” a history of St Mark’s Sunshine The picture of Chaplain-Captain F.H. King was carried in the Bible of Sig. H. C. Roussac ( a Gallipoli veteran) during his service with the A.I.F. in France. It can only be assumed that F.H.King had a profound effect on Sig. Roussac.Cutting of a lithographic picture showing Chaplain-Captain F. H. King giving away "The Age" (News paper) to Australian troops in Egypt 1917 Chaplain-Captain F. H. King giving away "The Age" to Australian troops in Egypta.i.f. egypt, chaplain, f.h.king, light horse egypt, roussac, o.b.e., boer war