This photograph was taken in the Mount Pilot Chiltern National Park. This park is located near Chiltern in Victoria. It's most notable landmarks include Mt Pilot and Woolshed Falls. It also has many mines from the Gold Rush in the late 1800s. It is home to much flora and fauna, including the tiger quoll. The tiger quoll, also known as the spotted-tail quoll, is a marsupial that gives in the Mount Pilot Chiltern National Park. It is also main land Australia's largest carnivorous marsupial. It can weigh up too four kilograms and looks similar to either a possum or a spotted cat. It has red and brown fur with distinct spots. The tiger quoll is found along the Great Dividing Range, which includes Victoria, New South Wales and also near the border of Queensland. It lives in forests, rainforests and coastal heathlands and woodlands. In 2004 a team of volunteers from the Wooragee Landcare group as well as some of the Department of Sustainability and Environment staff set out to find the tiger quoll following the 2003 bushfires. Since the bushfires, concern had arisen for it because it hadn't been seen since the bushfires. They attempted to find traces of the quoll through finding and identifying their droppings as well as DNA testing. This photograph was taken during this search. This photograph represents the work that goes into protecting a important species like the tiger quoll. The tiger quoll is a significant species because it is main land Australia's largest carnivorous marsupial. As a result of this, there has been much work done to preserve and protect it. This photograph was taken when the Wooragee Landcare group went to ensure the survival of this species, highlighting how the tiger quoll is being protected. This photograph also demonstrates the impacts of the 2003 bushfires in the Mount Pilot Chiltern National Park. This is seen through the burnt trees featured in the picture. Landscape coloured photograph printed on gloss paperReverse: WAN NA 0ANA0N0 NNN 0 1636 / [PRINTED] (No.7) / 921quoll, mount pilot chiltern national park, national park, 2003 bushfires, search, endangered, beechworth, wooragee landcare group, wooragee landcare, wooragee, possum, australia, victoria, department of sustainability and environment, photograph, 2004, spotted-tailed quoll, great dividing range, spots, fur, forests, rainforests, woodlands, coastal heathlands, spotted quoll, spotted quoll habitat

The book includes articles of interest to Victoria's TAFE teachers. John McMahon's 'The Strong Providers of early Technical and Further Education' includes Mechanics' Institutes, changes in technical education, government interference post the 1890s Economic Depression, Fink Royal Commission, 1910 Victorian Secondary Education Act, Frank tate, Apprentice Trade Training Board pre 1918, Industrial Retraining of Soldiers (Repatriation).Green and black soft covered booklet with articles relating to TAFE. The editorial group for this issue was Dick Mack (Footscray), Roger Mcfarlane (Ballarat School of Mines), Peter Skilbeck (Hawthorn), Ken Eckersall (Hawthorn) and Jo gregory (Office of the TAFE Board) Contents: * A Future for TAFE by Des Thornton * The Changing Context of TAFE by Ken Eckersall * The Strong Providers of Early technical And Further Education by John McMahon * What TAFE Colleges are doing about Blackburn * Youth Programs, TAFE and the Meaning of Life! by Russell Cook * A New Model of Support Teaching in TAFE by Leonie Morgan * Integration of People with disabilities into TAFE by Leonie Morgan * Commonwealth Initiatives to Promote Women in Non-Traditional Training and Employment by Laurel Black * Multicultural education in two Colleges: Some Practical Achievements by Fiona Worthy * Teaching Writing in ESL Through the Word Processor: A Case Study by John Humann and Dennis Farrugia. * What Further Studies Mean to Me by Mike Healy * Industrial release Programs for Carpentry and joinery TAFE Teachers by Geoff Rodgers * So That's What You Can Do!: A CDO Role Analysis by Kevin Vallance * Monitoring Technological Change by Barry Brinkworth * Apprentice Training: An Update on Research by Bob Hayes. ballarat school of mines, tafe, technical and further education, technical education, peter skilbeck, roger mcfarlane, mcfarlane

The Melbourne District Nursing Society (MDNS) Trained nurses (Sisters) are receiving their morning briefing from Matron D. Tupper before leaving their Headquarters at 39 Victoria Parade, Collingwood to go to their areas (districts) in the Melbourne suburbs to give nursing care to patients in their homes The Sisters averaged 30 calls a day each, mainly wound dressings; personal care, mostly sponges in bed; and injections (insulin and diabetes management). The Trained nurses of the Melbourne District Nursing Society (MDNS), later known as Royal District Nursing Service (RDNS), visited patients in their home and gave best practice care in many fields of nursing, and to people of many cultures, throughout its 130 years of expansion. Initial visits not only assessed the specific nursing situation but the situation as a whole. Their patients ranged in age from babes, children, adults to the elderly and referrals were taken from Hospitals, General Practitioners and allied Health facilities. Some of the care the Sisters provided is as follows: – Post-Natal care given to mother and babe, Wound Care following various types of surgery, accidents, burns, cancer, leg ulcers etc. Supervising and teaching Diabetic Care, including teaching and supervising people with Diabetes to administer their own Insulin, and administering Insulin to those unable to give their own injections. Administering other injections and setting up weekly medication boxes. The Sisters performed Catheterizations on adults suffering from conditions such as Quadriplegia, Paraplegia, Multiple Sclerosis (MS), Motor Neurone Disease (MND) and Guillan-Barre Syndrome, and when required at school on children for e.g. those with Spina Bifida. The Sisters visited those requiring Cystic Fibrosis support and care; those requiring Haemo-Oncology care, including visiting children at school; those requiring Home Enteral Feeding care, and those requiring IV therapy at home and home Dialysis. Palliative Care was given including pain relief with the use of syringe drivers, personal care as needed, and advice and support to both patient and family. The Sisters provided Stoma management to those needing Urostomy, Ileostomy and Colostomy care and those requiring Continence care. HIV/AIDS nursing care was provided; visits to Homeless Persons were made. Personal care was given to patients ranging in age and with varying mobility problems, such as those with MS, MND, Guillan-Barre Syndrome, Quadriplegia, Paraplegia, Acquired Brain Injury, to those following a Cerebrovascular Accident (Stroke), those with severe Arthritis and those with a form of Dementia. When necessary the elderly were assisted with personal care and advice given on safety factors with the use of hand rails, bath or shower seats, and hand showers. Rehabilitation with an aim towards independence remained at the forefront of the Sister’s minds and when possible using aids and instruction on safe techniques enabled the person to become fully independent. All care included giving advice and support to the patient and their Carers. The Sisters liaised with the persons Doctor, Hospital and allied Health personal when necessary.This photograph depicts five Melbourne District Nursing Society (MDNS) Sisters of varying heights standing in a row. They are wearing their grey long sleeve uniform dresses which have peaked collars, a pocket on the upper left and lower right, and white buttons down the centre. They are all wearing their grey brimmed hats over their short dark curled hair. From left to right is Sister (Sr) J Faust, who is looking down at a clipboard she is holding in her left hand which has paper held on it by a black bulldog clip. There is writing on the top sheet of white paper and she is holding a pen in her right hand poised near a section of writing on the paper. Next is Sr. M Sexton who is looking at the camera, then Sr. B Nunn who is looking towards a mainly hidden person on the far right. The next two are Sr E Blair, who has items in her lower pocket, and Sr B White who are both looking at the clipboard and paper held by Sr. Faust. In the far lower right corner of the photograph you can see the fingers of hands holding a sheet of paper. There is no further vision of this person.Operator 59. Finisher 30melbourne district nursing society, mdns, mdns uniforms, royal district nursing service, rdns, sister j. faust, sister m. sexton, sister b. nunn, sister e. blair, sister b. white

Yields information about the City Loop area and its operation. Eight (8) Digital images taken by George Coop during the period 1968 - 1970, of trams at the City Loop. .1 - 33, 17 and two other single truckers parked in the loop with motor vehicles and parking meters. No. 33 has an Eureka Roofing Tile Advert. .2 - 28? passing two track workers cleaning the west end points with a bogie car and three single truckers in the loop. In the background are Patersons and Dickins Food Store. .3 - No. 12 parked at the east end of the loop, hard up against the tram in front. Shows the Section Insulator. .4 - As for .1, front on photo with the destination of City and a "Pay as You Enter". The Dickins sign can be seen. .5 - as for .2, No. 35 leads the queue. Has the Woolworths Big W store in the background. .6 - view from the rear (12, 30, 17) with No. 33 being driven out of the loop. .7 - View from the rear, 33 has moved out of view. Has the T&G (Temperance and General) building in the view. .8 - No. 31 moves over the points at the west end of the loop. The tram has the Destination of Gardens via Drummond North, a Twin Lakes advert and a SEC Electric Cooking Advert.trams, tramways, city loop, sturt st, trackwork, overhead, tram 33, tram 17, tram 26, tram 12, tram 35, tram 31

Lily and William Wishart lived during this period in 'Noranook', Fernhurst grove, Kew. There are numerous contemporary accounts of the social and civic activities of Lily Wishart as mayoress of Kew. In a description of a 'Mayoral At Home' in the Kew Recreation Hall, a report in The Australasian (10 Aug 1907, p.46) described the event thus: MAYORAL AT HOME In the Kew Recreation-hall on Thursday evening the Mayor and Mrs. W. Wishart gave an at home to between two and three hundred guests. ... Prior to the musical programme, the mayor and mayoress held a reception, standing on a dais at one side of the room. Mrs. Wishart was gowned in black glace silk, trimmed with handsome lace applique, and she wore a cream Maltese lace scarf over her shoulders, and held a bouquet of cardinal carnations.' This may be the dress in the collection. Another interesting and relevant report is an account in The Argus (19 March 1907, p.6): 'WOMEN'S WORK EXHIBITION The mayoress of Kew (Mrs. W. Wishart) invited the ladies of the district to meet in the mayor's room, town-hall, Kew, at half past 3 o'clock tomorrow afternoon, to consider steps to be taken locally in support of the proposed Exhibition of Women's Work.'The dress is locally significant as the work of a skilled home-dressmaker in Kew, who was also a leading civic figure in the municipality. One tends to think of amateur dressmakers as women who could not afford to purchase clothes from a retailer. Clearly, 'women's work' and the skills that educated and wealthy women acquired in the period allowed them to fashion their own garments.Full length evening dress in four parts. Undergarments include two items: a basic black silk petticoat and an upper black silk slip, the latter with two bands of ruffles. The lace dress is in two parts: a bodice and a skirt. The black, high-necked bodice is constructed of silk organza to which guipure lace has been extensively applied. The bodice has long puffed sleeves, gathered on the forearm to form a wide band of lace and ribbon at the wrist. The skirt is constructed of the same black fabric with descending bands of gathered black silk ribbon, used as ornamentation. The skirt also features a long train. Apart from the donor information about its provenance, the style of the dress can confidently be dated to the period 1900-1910. The dress was made and worn to civic functions by Mrs Lily Wishart, Mayoress of Kew in 1906-7. Earlier items belonging to William and Lily Wishart entered the collection as early as 2002. The dress was donated by a descendant of a friend of Lily Wishart in 2020. The photograph of the dress and its components attached to the record needed to be digitally enhanced so that details of the dress could be viewed online, as the fabric of the dress is an intense black. A physical assessment of the dress is included in the condition report.fashion & design collection - kew historical society, australian fashion - 1900s, evening dresses, lily clara wishart, fashion design, fashion -- 1900s

This item is part of a larger collection donated to the Kew Historical Society by Anna French. The collection includes personal items from the donor's family, as well as items given to the donor and her mother by a family friend, Lucy Merritt (Jean) Hornby. The item is from that part of the collection inherited or assembled by Jean Hornby. The collection is significant given Jean Hornby's mother's descent from Robert Hornby (1854-1935) and Eva Merritt (1865-1959); her mother the chid of a family who settled in Kew in the 1850s, this providing a chain of provenance for items dating to the mid-nineteenth century, when her maternal forebears arrived in Melbourne. Other items represent Jean Hornby's contribution to her local and wider community.This 19th century photograph includes significant architectural details of an important hotel in Sunbury, Victoria. Additionally, it was taken by a local photographer - CHR Christianson - who operated the Sunbury [photographic] Studio. Silver albumen print, mounted on board, of the original Royal Hotel on the corner of Brook and Evans Streets, Sunbury, Victoria.The single-storey, rendered brick building with a corrugated galvanised iron roof includes a number of pieces of information that may assist in dating the photograph. The licensee's name above the door appears to be M.A. Williams. To the left of the door on the external wall is a painted sign: 'BILLIARDS". Another painted sign on the front of the building reads "ROYAL HOTEL [illegible] BILLIARDS." An attached building at right may be the residence of the licensee. Specific architectural features of the building include a corner doorway with a lamp above, three sash windows and a larger square lead-light window to the right of the doorway. The latter identifies the space behind as the "BAR". On the footpath in front of this building is a grill set into the footpath to enable deliveries to a cellar. At least four figures can be identified in the photograph: a woman in the doorway, a man to her right, leaning against the wall, and two other men at the right hand side of the building. Beyond the boundary of the building is a sloping footpath to a bluestone edged gutter. An elm [sic] within a protective, picketed surround is in front of the building. C.H.R. Christianson is identified on the reverse as the photographer. Reverse in pencil: Royal Hotel Billards Sunbury / CHR Christianson photographerroyal hotel -- sunbury (vic.), chr christianson -- photographer, hotels -- sunbury (vic.), recreation -- billiards

The Melbourne and Metropolitan Board of Works (MMBW) plans were produced from the 1890s to the 1950s. They were crucial to the design and development of Melbourne's sewerage and drainage system. The plans, at a scale of 40 feet to 1 inch (1:480), provide a detailed historical record of Melbourne streetscapes and environmental features. Each plan covers one or two street blocks (roughly six streets), showing details of buildings, including garden layouts and ownership boundaries, and features such as laneways, drains, bridges, parks, municipal boundaries and other prominent landmarks as they existed at the time each plan was produced. (Source: State Library of Victoria). This plan forms part of a large group of MMBW plans and maps that was donated to the Society by the Mr Poulter, City Engineer of the City of Kew in 1989. Within this collection, thirty-five hand-coloured plans, backed with linen, are of statewide significance as they include annotations that provide details of construction materials used in buildings in the first decade of the 20th century as well as additional information about land ownership and usage. The copies in the Public Record Office Victoria and the State Library of Victoria are monochrome versions which do not denote building materials so that the maps in this collection are invaluable and unique tools for researchers and heritage consultants. A number of the plans are not held in the collection of the State Library of Victoria so they have the additional attribute of rarity.Original survey plan, issued by the MMBW to a contractor with responsibility for constructing sewers in the area identified on the plan within the Borough of Kew. The plan was at some stage hand-coloured, possibly by the contractor, but more likely by officers working in the Engineering Department of the Borough and later Town, then City of Kew. The hand-coloured sections of buildings on the plan were used to denote masonry or brick constructions (pink), weatherboard constructions (yellow), and public buildings (grey). A detail plan of part of Studley Park bordered by the major streets of Hodgson Street, Stevenson Street and Studley Park Road. Included on the plan are a number of significant Studley Park mansions in existence at the beginning of the 20th century. The unnamed street shown in the middle of the plan is McEvoy Street. The most important house still extant is Campion House, formerly named Dalsraith [Dalswraith] and Glendalough, owned since the 1940s by the Society of Jesus. Campion House can be seen on the corner of Hodgson and Studley Park Road. Its stables at the rear of the block have now been incorporated into a contemporary residence. An interesting feature of the plan is the 1910 annotation by Ed Seitz, professional designing engineer. Is Seitz the contractor who modified the MMBW original?melbourne and metropolitan board of works, detail plans, mmbw 1291, cartography

Set of 6 documents associated with the provision of low floor tram stop platforms along route 96, East Brunswick to St Kilda. .1 - Pamphlet - 20 pages centre stapled, titled "Route 96 Project - Have your say: Stop 133 Fitzroy St and Acland Street Early designs" Includes a feedback form. Dated 2013. .2 - Drop in DL card - for general update on Nicholson St between Kay Street and Fitzroy North and Brunswick Road. March 2019 .3 - 6 fold A3 to DL - "Route 96 is being upgraded so everyone can catch the tram" - shows the program and map for the provision of 9 stops and timeline. The later was not achieved. 2 copies held. .4 - 6 fold to DL, special size sheet - for the redevelopment of stop 125 Port Junction - shows the siding for the Tramcar Restaurant, and stop 124 at the world trade centre. Dated 2013 .5 - 8 fold to DL - special size paper (has been torn into two), for the Acland St options, and Fitzroy St at the junction with the Light Rail line. Again not all work undertaken. Dated 2013. Have logos of PTV, Yarra Trams and Department of Transport.trams, tramways, route 96, tram stops, fitzroy st, acland st, platform stops, nicholson st, brunswick rd, port junction, clarendon st, whiteman st

This a cropped reproduction of a photograph taken by Charles Nettleton in c. 1868. Founded in 1856, the Lying-in Hospital was the second hospital to be established in Melbourne, after the Melbourne Hospital. It was, however, the first lying-in hospital in the Australasian colonies. The hospital was founded in a converted private house "Fairmont", which was located at 41 Albert Street, Eastern Hill (now East Melbourne). In 1858, the 'Lying-in Hospital' was relocated and opened in Madeline St, North Melbourne (now known as Swanston St, Carlton)." (The Women's) The building pictured here was eventually demolished in 1938 to make way for further extensions to the building. The original site in Albert Street was demolished in 1960, and the site is now occupied by the Melbourne Fire Brigade. A section of the wrought iron gates from the original site in Albert Street is held in RANZCOG's historical collection.Reproduction photograph of the front of a building. The building is three stories high. The lowest floor has eight large windows, with a door at centre, on the front side. One side window can also be seen at bottom right. There is a small flight of stairs leading up to the door. The second floor has eight windows in the same locations as the first floor, plus one additional window at centre instead of a door. The top floor is much smaller, with three small windows facing the front of the building. There are trees in the grounds in from of the building. House and grounds are enclosed behind a fence. There is a gate in the fence opposite the front door. Three figures are visible on the path outside the fence. One is at the centre of the image, and the other two are in the right hand corner. Text printed below image reads 'THE LYING - IN HOSPITAL circa 1870'. The image has been mounted and framed in a black wooden frame. An old display label for this image is attached to the back of the frame. handwritten text on backing board at back of work reads 'Probably prior to 1867 (J. Nattrass, 1968). Tape residue visible on backing board at upper right. A chain and two hooks have been added to the frame for hanging.

This music stand set of shelves is one of many 19th century items of furniture, linen and crockery donated to Flagstaff Hill Maritime Village by, Vera and Aurelin Giles. The items are associated with the Giles Family and are known as the “Giles Collection”. Many of the items of furniture, linen and crockery in the Lighthouse Keeper’s Cottage were donated by Vera and Aurelin Giles and mostly came from the simple home of Vera’s parents-in-law, Henry Giles and his wife Mary Jane (nee Freckleton) whose photos are in the parlour. They married in 1880. Henry, born at Tower Hill in 1858, was a labourer on the construction of the Breakwater before leaving in 1895 to build bridges in N.S.W. for about seven years. Mary Jane was born in 1860 at Cooramook. She attended Mailor’s Flat State School where she was also a student teacher before, as family legend has it, she became a governess at “Injemiara” where her grandfather, Francis Freckleton, once owned land. Henry and Mary’s family of six, some of whom were born at Mailor’s Flat and later children at Wangoom, lived with their parents at Wangoom and Purnim west, where Henry died in 1933 and Mary Jane in 1940. THE SHELVES During the years 1869-1935 there were well over 250 registered bamboo furniture producers in Britain. The earliest recorded firm was Hubert Bill of 14 Little Camden St, London N.W., who claimed to have been established in (1869 the first bamboo furniture maker), while Daniel Jacobs & Sons of Hackney Road, London, were still in business in 1915, after 45 years of production. Design, quality, price and methods of construction were fairly consistent throughout the whole period, but it was the imaginative and often eccentric choice of subject matter that marked the differentiation between the various firms. While most produced standard tables, stands and fire-screens, the more adventurous offered for sale items such as Corner shelve units, charcoal barbecue grills and musical tea tables. Shelves were often covered with embossed leather paper designs, at first imported from Japan and then later produced in England. Some firms incorporated the knobbly roots of the bamboo stems into their designs, generally to form feet. Occasionally handles to drawers and cupboards were made with these roots although they were more commonly carved as imitations. Handles were mostly of cheap metal or brass. The ends of the bamboo canes were capped with stamped metal or turned bone, ivory or wooden discs. Methods of construction fell into three categories. First and most common is that of pegging. Bamboo stems being hollow, thick dowels can easily be glued into the joints. Some firms farmed out this work of `plugging' the ends of the canes to part-time workers at home. The second method, that of pinning, was far less satisfactory as bamboo tends to split lengthwise and therefore the jointed pieces eventually disintegrated. The most efficient method was that patented in 1888 (patent No 2383) by the firm of W. F. Needham in Birmingham. It consisted of metal shoes and covers for all joints which were made by wrapping a metal strip around the stems and soldering the overlapping ends. Some joints were further strengthened by a small pin or screw. Needham was by far the largest and most successful manufacturer and their individual and superior method of construction undoubtedly gained them their reputation. A. Englander & Searle of 34 Gt Eastern St and 31 Mare St, Hackney, London, were a firm particularly concerned with methods of construction. Although they seem to have entered the bamboo furniture market at a comparatively late date, about 1898, they produced inexpensive bamboo, aimed particularly at the export trade. The company stated in their catalogue that bamboo furniture “can be exported in one piece or it can be exported in pieces and put together again. The fixing up is much facilitated by a system of marking and numbering. Further, no glue is required for putting together as the screw system only is applied”. This method of construction best fits the Etagere in the Flagstaff collection and it is believed to have been made by A Englander & Searle, exported in a knock down form to Australia, purchased in kit form from a dealer hear and put together by the owner. The Etagere is a significant item as it highlight furniture fashion of the late Victorian era. This item was highly sort after in its time and although mass produced, not many examples remain, so this example is a valuable addition to the Flagstaff collection. It is believed that the construction method used is by a notable and respected maker of bamboo furniture and that its production was aimed at the export market and probably came to Australia in kit form.Bamboo shelves: decorative free standing Etagere comprising three large shelves and one small shelf. Shelves are made of wood used to store either orange or bacon boxes (as there are no knots in the wood, imported from South America and cheap to recycle). Shelves are covered with embossed leather paper. Frame is made from tortoise shell bamboo (brown lacquer applied to simulate tortoise shell appearance). Ends of bamboo canes are covered with metal shoes and fixed with a pin. Other bamboo joints are fixed with round head steel screws. This item is part of the Giles Collection.Noneflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, bamboo shelves, bamboo etagere, victorian furniture, furniture, bamboo furniture, embossed leather paper, simulated bamboo, tortise shell, a englander & searle, giles collection, henry giles, tower hill, cooramook, warrnambool breakwater, mailor’s flat, wangoom, 19th century furniture

This image is a copy of a photograph depicting the front façade of the Mayday Hills Hospital by an unknown photographer. The date this photograph was captured has not been recorded but due to the appearance of the water fountain in the front garden, it can be estimated to be during the 1930s. The fountain does not remain on the site today but stood in the same location, alongside other physical markers, to that in photographs dating to the 1930s. This allows an estimated date of 1930s for this photograph. Beechworth's Mayday Hills was chosen as the site of Victoria's newest asylum, at the time, due to the landscape and altitude. The hilltop atmosphere and the native fauna, it was argued, would assist in the cure of the patients kept at the hospital (Wood 1985, 122). The positioning of the hospital had a beneficial effect on the rural town. A pamphlet published by James Ingram and Son (1849) reveal that famous landmarks in Beechworth which included the Post Office, Gaol, Courthouse and Asylum "demonstrate the appreciation of Beechworth by the Government not only as as important district center, but also as a site unrivaled as a sanitarium". There were other locations in contention at the time, but ultimately Beechworth was chosen (Craig 2000, 33). Prior to the creation of the Asylum in Beechworth, those charged with having mental illnesses or, as it was termed, "insanity" were unable to be properly cared for in the Gaol (which is where they were often sent). John Buckley Castieau wrote, in 1861 for the Ovens and Murray Advertiser, that the Gaol was unable to properly care for those classified then as "insane" but that they would endeavor to treat them above the other inmates (which he notes is not always the case in other establishments). Castieau wrote this in favour of supporting the building of the Mayday Hills Hospital in Beechworth. It was stated that at the time the Mayday Hills Hospital was built, there were 83 prisoners kept in the Gaol who were to be rehoused to the Hospital on the grounds of "insanity". The classification as someone as "insane", in this period of time is a reflection on the inability to cure and understand illnesses of the mind during the mid to late 1800s. Opening on the 24th of October 1867, the Mayday Hills Hospital was originally named the "Ovens Lunatic Asylum", a title which is very much a product of its time. Whilst controversial, changes to the name is part of the history of the Hospital and can provide much insight into the understanding of mental illness throughout history and the use/disuse of this term provides information into the reception/changing opinions of mental illness in society. The Hospital would later become known as the "Mayday Hills Asylum" and/or "Mayday Hills Hospital" with the latter being the most commonly used title. An article in the Ovens and Murray Advertiser notes that on the 7th of March 1865, the foundation stone of the Hospital was laid (it would officially open in 1867) and that it was such a moment of accomplishment and joy for Beechworth that a letter to the editor even suggested that there should be a holiday dedicated to the day the foundation stone as laid. This reveals an extent to which the townspeople of early Beechworth valued the construction of the Hospital in their town. It provided the town with a sense of prestige and honour.At first glance, the remains of the Mayday Hills Hospital in Beechworth, Victoria, inspire tragedy, trauma and beauty. The buildings themselves, with their Italianate style Renaissance architecture designed by J.J. Clark (Craig 2000, 49 & Smith 2016, 203) reflect a bygone period of European and Australian history. The gardens provide a sense of tranquility and beauty. The experience of those within these walls remains a valuable area of study to provide a more complete understanding. This particular hospital is considered the fourth of its like and one of three identified as the largest of their kind. The Mayday Hills Hospital is a sister to the Kew and Ararat Asylums in Melbourne which are both located in relative proximity. Understanding the role of the Mayday Hills Hospital in Beechworth history is integral to understanding the development of the goldfields town, but also for providing important information as to the history of caring for, and the reception of, mental illnesses in Australian and wider European history. Mayday Hills provides a case study which can be researched through oral history, an analysis of the grounds/buildings and through images like this postcard which portray the structure in a highly deliberate manner. Images like this depict the strong façade of the Hospital and provide a glimpse into the tranquility of the gardens. This has been done deliberately to provide a sense of comfort and healing about the building to those looking from the outside. Further research into the importance of the Hospital in Beechworth and it's connection to the town will be supported through images like these kept in the Mayday Hills photo album in the collection of the Burke Museum.Black and white rectangular photograph printed on gloss photographic papermental hospital, insane asylum, mayday hills mental hospital

The toothed whales (also called odontocetes, systematic name Odontoceti) are a parvorder of cetaceans that includes dolphins, porpoises, and all other whales possessing teeth, such as the beaked whales and sperm whales. Seventy-three species of toothed whales are described. They are one of two living groups of cetaceans, the other being the baleen whales (Mysticeti), which have baleen instead of teeth. The two groups are thought to have diverged around 34 million years ago (mya). Toothed whales range in size from the 4.5 ft (1.4 m) and 120 lb (54 kg) vaquita to the 20 m (66 ft) and 55 t (61-short-ton) sperm whale. Several species of odontocetes exhibit sexual dimorphism, in that there are size or other morphological differences between females and males. They have streamlined bodies and two limbs that are modified into flippers. Some can travel at up to 20 knots. Odontocetes have conical teeth designed for catching fish or squid. They have well-developed hearing, that is well adapted for both air and water, so much so that some can survive even if they are blind. Some species are well adapted for diving to great depths. Almost all have a layer of fat, or blubber, under the skin to keep warm in the cold water, with the exception of river dolphins. Toothed whales consist of some of the most widespread mammals, but some, as with the vaquita, are restricted to certain areas. Odontocetes feed largely on fish and squid, but a few, like the killer whale, feed on mammals, such as pinnipeds. Males typically mate with multiple females every year, but females only mate every two to three years, making them polygynous. Calves are typically born in the spring and summer, and females bear the responsibility for raising them, but more sociable species rely on the family group to care for calves. Many species, mainly dolphins, are highly sociable, with some pods reaching over a thousand individuals. Once hunted for their products, cetaceans are now protected by international law. Some species are attributed with high levels of intelligence. At the 2012 meeting of the American Association for the Advancement of Science, support was reiterated for a cetacean bill of rights, listing cetaceans as nonhuman persons. Besides whaling and drive hunting, they also face threats from bycatch and marine pollution. The baiji, for example, is considered functionally extinct by the IUCN, with the last sighting in 2004, due to heavy pollution to the Yangtze River. Whales occasionally feature in literature and film, as in the great white sperm whale of Herman Melville's Moby-Dick. Small odontocetes, mainly dolphins, are kept in captivity and trained to perform tricks. Whale watching has become a form of tourism around the world. Reference: https://en.wikipedia.org/wiki/Toothed_whaleWhale teeth were much prized for use in scrimshaw work.Whale tooth. Significant staining and yellowing. Broken at base, and missing the root.Noneflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, whale tooth, whaling, whaling industry, whales

Angus McMillan named the Avon River after the river of the same name in his native Scotland. In 1840 he established a pastoral run at Bushy Park, north-west of the township. William Odell Raymond established a run in the area in 1842, and built his house, Strathfieldsaye, during 1848–54. European settlement did not take place without resistance, and in return, massacres were inflicted by Angus McMillan and others on Gunai people, especially between the years of 1840 and 1850. (wikipedia) The first application for the 'Bushy Park' run appears in the “Port Phillip Gazette” on 13 August 1843. It was taken up by Angus McMillan, who also took up the 'Boisdale' run for his employer Lachlan Macalister at the same time. In March 1844 a Licence to occupy the 16,000 acre 'Bushy Park' was granted to McMillan. In the late 1840s Andrew Martin and Matt McCraw built Angus McMillan's Bushy Park homestead. Aboriginal killings in Gippsland area most often were never formally recorded, but lived on in folklore, mainly in place names pinpointing what some historians now refer to as "massacres", and others as "conflicts". There is Boney Point, on Lake Wellington, Butchers Creek, near Metung, Slaughterhouse Gully, at Buchan, Skull Creek, at Lindenow, and, notoriously, Warrigal Creek, at Woodside. "Here, according to a couple of contemporary - though not eyewitness - reports, between 50 and 150 blacks were killed in an orgy of revenge after the murder and mutilation of a leading Scots settler, Ronald Macalister. If anybody had any doubts about the fitness of commemorating McMillan's name, no one voiced them then. Gippsland was, and still is, dotted with stone cairns tracing his route from Omeo, down the Tambo Valley to the fertile plains where he was to make (and lose) his fortune. And where, according to a growing body of opinion, he was to lead the "Highland Brigade", a band of armed settlers, against the Kurnai. History is fiction agreed on, and it is written by the winners. For most of the past 150 years, McMillan has been hailed as a trail-blazing pioneer. The legend began to crumble 20 years ago with publication of new histories, which at first outraged Gippsland historical societies and old residents, but which have gradually changed the way McMillan is viewed. ... Still, not all McMillan's contemporaries agreed with the "Highland Brigade" and its methods. Henry Meyrick, an English-born squatter, wrote to relatives in disgust about his neighbours. He estimated that 450 had been killed, and wrote: "Men, women and children are shot down whenever they can be met with. Some excuse might be found for shooting the men by those who are daily getting their cattle speared, but what they can urge in their excuse who shoot the women and children I cannot conceive." (http://www.theage.com.au/articles/2002/04/26/1019441303552.html, accessed 20 September 2016.) The Gippsland electorate is called 'McMillan' in his honour. Black and white image of a man wearing a coat and beret. He is Scottish born Victorian Squatter Angus McMillan of Bushy Park, Gippsland.angus mcmillan, squatter, aboriginal massacre, bushy park, gunai, avon river, pioneer

SS0261 is the covering letter from Beth Little, dated 31/3/1969, which states: "Please fined enclosed the photographs I took of Landy's 80 yr. old home which was moved just before last Christmas to another site on their estate...it was built by some people by the name of Patterson and originally included the Byways Estate and other land which extended up to about Lillis Crt. The land known as Byways Estate was sold off to a Mr Best by a later owner so far as I can find out.." Written on back of photographs: SS0261a:From about where the feed shed was. SS0261b:Looking up driveway towards the east. Landys home (formerly Patersons). Byways estate area (East Ringwood) SS0261c:Eastern side of house (officially the front). SS0261d:Stable and feed shed now demolished. Wooden tank on right-hand side. SS0261e:Southern side. Well to left of far end of house wall

Tin printed in gold and blue text and with a white lid.FRONT: Phosphate Aerator - McKenzie's Excelsior - Baking Powder - 4 ozs. Net - Clifford, Love McKenzie Pty. Ltd. DIRECTIONS FOR USE - McKenzie's "EXCELSIOR" Baking Powder is produced under careful laboratory control to ensure reliable results. It may, for this reason, be used with complete confidence in all climates. Use this Making Powder as required by your Recipe. The great advantage, however, of using Baking Powder and Plain Flour instead of Self-Raising Flour, is that you can vary the amount of rising if you wish to do so. To make your own Self-Raising Flour, thoroughly mix together 1-ozs (two level dessertspoons) of "EXCELSIOR" Baking Powder and 1-lb. (flour and a half cups) of Plain Flour, and sift several times through your fFour Sifter. USE A DRY SPOON - KEEP THE TIN CLOSED - Clifford Love McKenzie Pty. Ltd. Australia

Nicholas Caire was born on Guernsey in the Channel Islands in 1837. He arrived in Adelaide with his parents in about 1860. In 1867, following photographic journeys in Gippsland, he opened a studio in Adelaide. From 1870 to 1876 he lived and worked in Talbot in Central Victoria. In 1876 he purchased T. F. Chuck's studios in the Royal Arcade Melbourne. In 1885, following the introduction of dry plate photography, he began a series of landscape series, which were commercially successful. As a photographer, he travelled extensively through Victoria, photographing places few of his contemporaries had previously seen. He died in 1918. Reference: Jack Cato, 'Caire, Nicholas John (1837–1918)', Australian Dictionary of Biography.An original, rare photograph from the series 'Views of Victoria: General Series' by the photographer, Nicholas Caire (1837-1918). The series of 60 photographs that comprise the series was issued c. 1876 and reinforced a neo-Romantic view of the Australian landscape to which a growing nationalist movement would respond. Nicholas Caire was active as a photographer in Australia from 1858 until his death in 1918. His vision of the Australian bush and pioneer life had a counterpart in the works of Henry Lawson and other nationalist poets, authors and painters.Albumen Silver Photograph, mounted on Board.printed in ink on support l.c.: CENTRAL AVENUE, FITZROY GARDENS / COPYRIGHT REGISTERED. printed in ink on support reverse c.: VIEWS OF VICTORIA. / (GENERAL SERIES.) / No. 2. / CENTRAL AVENUE, FITZROY GARDENS. / The Fitzroy Gardens have, for several years past, become one of the most popular places for public resort- / attributable, no doubt, to the great variety of picturesque scenes they contain. Shrubs and flower plants, of almost / every description, can be seen growing in rich profusion within the enclosures, studded here and there with choice / pieces of statuary. The subject of the present illustration is but one of the many to be found within their precincts. / The distance of these gardens from the Melbourne Post Office is about one mile. printed in ink on support reverse l.c.l.: J.W. FORBES, Agent, printed in ink on support reverse l.c.: ANGLO-AUSTRALASIAN PHOTOGRAPHIC COMPANY, MELBOURNE. printed in ink on support reverse l.c.r.: 10 Temple Court, Collins Street West.nicholas caire (1837-1918), landscape photography

Nicholas Caire was born on Guernsey in the Channel Islands in 1837. He arrived in Adelaide with his parents in about 1860. In 1867, following photographic journeys in Gippsland, he opened a studio in Adelaide. From 1870 to 1876 he lived and worked in Talbot in Central Victoria. In 1876 he purchased T. F. Chuck's studios in the Royal Arcade Melbourne. In 1885, following the introduction of dry plate photography, he began a series of landscape series, which were commercially successful. As a photographer, he travelled extensively through Victoria, photographing places few of his contemporaries had previously seen. He died in 1918. Reference: Jack Cato, 'Caire, Nicholas John (1837–1918)', Australian Dictionary of Biography. The 1860s marked the beginning of the era of reserves and missions. Six Aboriginal reserves were established during the 1860s. These were under the control of the Board for the Protection of Aborigines. Four were Christian missions receiving government aid. These were Lake Tyers (Anglican) and Ramahyuck (Presbyterian/Moravian) in eastern Victoria for the Gunai/Kurnai clans; Ebenezer (Moravian) in north-west Victoria for the clans of the Wimmera and Lower Murray; and Lake Condah (Anglican) in south-west Victoria. The other two were secular government controlled reserves: Framlingham which, like Lake Condah, was established for the Mara-speaking Gunditjmara and Kirrae-wurrung people of south-west Victoria; and Coranderrk, located about 60 kilometres north-east of Melbourne, for the Kulin clans of central Victoria. In 1863, after a period of devastation to the Kulin people, Coranderrk was established at the junction of the Yarra River and Badger Creek. Reference: http://coranderrk.com/, accessed 24 December 2016An original, rare photograph from the series 'Views of Victoria: General Series' by the photographer, Nicholas Caire (1837-1918). The series of 60 photographs that comprise the series was issued c. 1876 and reinforced a neo-Romantic view of the Australian landscape to which a growing nationalist movement would respond. Nicholas Caire was active as a photographer in Australia from 1858 until his death in 1918. His vision of the Australian bush and pioneer life had a counterpart in the works of Henry Lawson and other nationalist poets, authors and painters.Albumen silver photograph mounted on boardprinted in ink on support l.c.: SCENE NEAR "CORRANDERRK" STATION. / COPYRIGHT REGISTERED. printed in ink on support reverse c.: VIEWS OF VICTORIA. / (GENERAL SERIES.) / No. 9. / SCENE NEAR "CORRANDERRK" STATION. / This scene was taken from the hill near Rourke's Bridge, on the Healesville Road, and displays in the foreground / the River Yarra. The roadway which is seen in the mid-distance has lately been constructed by the Government, / as the old tracks which formerly existed, were liable to be swamped by the periodical overflowing of the River. Mount / Ridell can be seen in the extreme distance immediately behind the roadway. / Corranderrk is the local habitation / for the natives of this district, and is situated on the right hand side of the picture, about a mile and a half / from the roadway. printed in ink on support reverse l.c.l.: J.W. FORBES, Agent, printed in ink on support reverse l.c.: ANGLO-AUSTRALASIAN PHOTOGRAPHIC COMPANY, MELBOURNE. printed in ink on support reverse l.c.r.: 10 Temple Court, Collins Street West.nicholas caire (1837-1918), coranderrk aboriginal station, aborigine, yarra river, badger creek, first peoples, aboriginal and torres straight islander

A black and white postcard of Marysville Chalet that was produced by the Valentine Publishing Co Pty. Ltd. as a souvenir of Marysville.A black and white postcard of Marysville Chalet that was produced by the Valentine Publishing Co Pty. Ltd. as a souvenir of Marysville.V.6. VALENTINE'S/ POST CARD A GENUINE PHOTOGRAPH The Chalet/ Tues 3rd Dear Jean + Lloyd/ This is where Bev & I have got to/ we are staying at this place & having a great old/ time, especially Bev. She was out riding all the afternoon/ yesterday with a crowd of young folk. At night they/ make whoop-ee & dance & everything & all the old dears/ including yours truly sit by the fire & knit & listen/ We have been two trips in the bus one all day/ trip staying for dinner on the way. Anyway I'll be/ tellling you all about it when I see you again if/ ever says you. I hope you all well including/ Mrs Mac. We are going home on Sunday, so I'll be/ seeing you as soon after as I can./ Your loving cousin Mgrt XXmarysville, victoria, australia, the marysville chalet, guest house, poontawan, steavenson hotel, albert harrison, margaret harrison, elise ackerman, ralph ackerman, john van ranglerooy, joe keithard, kathy keithard, louisa goding, accommodation, valentine publishing co pty ltd, postcard, souvenir, v.6.

In 2001 RBS and RVIB worked on a joint project to assist sighted people to learn Grade 1 Braille. This CD-ROM was produced to enable people to be able to learn and practice at home.1 CD-ROM with text and BrailleNot all keyboards are suitable for use with this program. To gauge usability launch Notepad or Wordpad and press the s, d, f and j, k, l keys simultaneously. If all six letters appear your keyboard can be used as a virtual brailler. Minimum system requirements: 32MB of Ram; Pentium 166mhz; Microsoft Internet Explorer 4.0; Quicktime Browser plugin and Macromedia Flash plugin (included in installation). NB: Video may take one minute to load. Display: At least 800 x 600, high colour (16 bit). Installation: The CD-ROM will automatically run the setup procedure. For best results run the program from your hard drive. If the setup fails to start automatically, double click My Computer or Windows Explorer, double click the CD-ROM drive icon, then double click the setup icon. This CD-ROM is a joint project by the Royal Blind Society and Royal Victorian Institute for the Blind.royal blind society of new south wales, education, royal victorian institute for the blind

Postcard from WWI soldier William West (1268) of the 29 Infantry Battalion, 5th Pioneers Battalion while posted in France to his family at home, 1917. Mentioned in postcard George Buse 2208 born Yarraville who enlisted on 10/9/1914 aged 21 years 3 months. He embarked on 20/10/1914 and returned to Australia in 1919. He was a Driver with the 10th ASC,Embroidered silk postcards were first made in 1900 for the Paris Exposition. The popularity of silk postcards peaked during the First World War 1914 - 1918.They were mostly embroidered by French women in their homes and then sent to the factories for cutting and mounting on cards. Many of the cards were illustrated with patriotic symbols, flags, slogans, or sentimental texts. During the First World War, many Allied officers and soldiers based in France sent silk embroidered postcards to their loved ones back homeWhite rectangular postcard with embroidered pink flowers, green foliate and blue winged butterfly decoration on front. Handwritten message on the back.Front: "To my dear Wife" (embroidered) Back: "To Enid from dad xx / xxxxxx / France / Feb 26/2/1917 / My Dear Alice / Just a PC to let you I'm still well and hope are all the same I have not see Joe lately I may see him sometime or the other I hope you enjoyed yourself on your holidays they will do you good. I'm in a rest station I have not been too well I think I will be back with the battalion in a few days you can tell ??[ma]?? I met Pugger Loney he is in the 15 ambulance he looks well and it just as fat as ever I'm goin gover to see youn George Buse tomorrow well I have not much new to tell only all is well so I will now close with best love from loving husband Will xxxxxxxx"wwi, postcard, embroidered postcard, william west 1268, george buse 2208

Clipped copy of a subdivision advertisement on cardboard backing. Sales notations on numbered allotments in Andersons's Creek Road (later Warrandyte Road) and Wonga Road, Ringwood. Handwritten title reference - LP7305. Captions - This Estate commands extensive views of mountain, hill and dale including Dandenong and Great Dividing Ranges, Mt. Macedon, Keilor Plains, etc. The outlook cannot be surpassed. Climate invigorating, mountain air, good rainfall. Land undulating, splendid drainage; soil, sandy loam on gravel subsoil. Permanent water supply is practically assured. The district has a splendid train service, with electrification in the near future. Electric light & telephone connection can be arranged. Keep in mind this estate is only 1 mile 25 chains from the up-to-date town of Ringwood which has all the trading conveniences of a semi-suburban town and is the centre of one of the largest fruit growing districts in the state. Distance from Melbourne by first class motor road, 16 miles.

The White-Throated Needletail is a highly sociable bird commonly seen in large flocks containing a hundred plus birds. This species is also known to mingle with birds of different species. They have a distinctive white throat and undertail. This species is mainly airborne, however they are known to reside in trees when on land. They can mainly be spotted along the north and east parts of Australia. This species is listed as vulnerable and threatened in the Australian Capital Territory, Queensland and Victoria. Since this is a taxidermy mount, it is not an accurate depiction of the White-Throated Needletail. The species should have a predominantly grey-brown plumage, with the exception of the throat and undertail which are white. There should also be a green tint to the species feathers. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.This White-Throated Needletail had grey-brown feathers. It has distinctive white patches on its throat and under the tail. The back of the bird is a light brown with a white patch in the center of the back. This specimen stands upon a wooden mount and has an identification tag tied around its leg. The bill is short and the wings are long and pointed. The bird's tail is short and square in shape with protruding feather shafts which give a spiky appearance.2a / Spine-Tailed Swift / See catalogue, page 7taxidermy mount, taxidermy, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, white-throated needletail, australian birds

Common Starlings are a noisy bird that typically inhabit urban and rural areas, especially those with short grass for easy foraging, though can occasionally be found in open forests or along costal areas. They are native to a wide area of Eurasia and the North of Africa, though have been introduced to North America, some nations in South America, Fiji, South Africa, Australia, and New Zealand. They live in large flocks that fly together in strong unison, and have a range of loud calls. Male Common Starlings usually have brown eyes, in contrast to the light coloured eyes of the taxidermy mount. Otherwise, the specimen bears a reasonable resemblance to a typical Common Starlings. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.This male Common Starling is covered in black feathers that each have a metallic orange edge. This gives the appearance of small dots across its head and neck, larger dots along its underbelly and back, and lines along the outer feathers of the wings. Its beak is yellow and its eyes are a light blue with a black pupil. The bird is stretched tall with its head turned towards the left and slightly tilted right. The specimen stands on a brown, wooden perch with a circular bar, curved stand, and circular base. The left leg has a metal tag and a swing-tag tied around it and the right leg has two swing-tags tied around it, one of which is torn.Metal Tag: 4256 Swing-Tag 1: Sturnus vulga[illegible]is / male, adult / 25 January 1861 / near Leiden / Swing-Tag 2: Tris grey-brown / Feet black - brown / Bill brown / 4256 / Swing-Tag 3 (torn): ng / e Page 58taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, starling, european starling, common starling, european bird

The Tawny Frogmouth, although often mistaken for an owl, is a nocturnal Australian bird of the Podargidae family that is more closely related to the nightjars. They are widespread in terms of distribution and can be found all across mainland Australia and Tasmania in a diverse variety of habitats from woodlands, forests and urban areas. Masters of camouflage, the Tawny Frogmouth sleeps during the day on tree branches in a stiff upward facing position (as with this specimen) to mimic broken tree branches, their feathers assist in this deception as the mottled grey and brown colours blend into the environment seamlessly. This specimen differs in colours from the usual appearance of a Tawny Frogmouth, as the beak is usually a olive-grey to blackish tone and the plumage is generally more dominantly grey all over the bird. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.This Tawny Frogmouth has a broad head and a creamy beige coloured wide triangular beak with a hooked tip. The plumage on the head and back of the bird is a combination of darker and rufous browns, mottled with streaks of cream and grey. The underside of the bird from the bottom of the beak to the tail tip is a lighter cream colour with streaks of rufous-brown. The feet are an orange-brown colour. This specimen is adopting the skyward looking pose associated with the species, mimicking dead tree branches.1a. / More-Park / See Catalogue, page 7 /taxidermy mount, taxidermy, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, australian birds, tawny frogmouth, frogmouth

Red Headed Woodpeckers can be found in Southern Canada and a large portion of the United States of America, generally migrating to the south if they originated in the northern regions. Their habitat is open forests or savannahs. They are classed as omnivores, finding food from pecking at wood or in flight. The Red Headed Woodpecker is threatened in Canada and some areas of the United States due to deforestation, lack of deadwood for nesting, competition with other birds, and a lack of food. They are an important part of the ecosystem, controlling insect populations and pollinating flora. Red Headed Woodpeckers typically have a beautiful, vibrant red neck and head, a stark white chest, black back, and black wings with white secondary remiges. They have a large chisel-like beak, suitable for foraging for their food. Their heads are rounded and they have short tails. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.This Red Headed Woodpecker is a small to medium-sized bird found in North America. This specimen is tricoloured: it has a red head and neck, a white chest, a black back, and black wings with white secondary remiges. It has a large chisel-like beak. This specimen has pest or humidity damage on the neck and head area. This specimen is standing on a wooden mount with a swing tag attached to it's leg.Swing-tag: 151a. Unnamed / Catalogue page, 60 /taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, red headed woodpecker

The photograph on the obverse side of the postcard was taken in Egypt on 4 March 1916, during World War I. Depicted are three unidentified Australian soldiers part of the Australian Imperial Force. They are dressed in military uniforms. Each of these men are seated atop a camel's back. All three camels are draped in - what are believed to be - traditional Egyptian textiles, including tassels, carpets and beads. In the background, we can see a triangular pyramid and the Great Sphinx of Giza. The Australian Imperial Force (AIF) were established by the Australian government in August 1914. This announcement marked the beginning of Australia's involvement in World War I. Immediately, men were recruited to serve the British Empire in the Middle East and on the Western Front. The first contingent of the AIF departed Australia by ship in November 1914. England was their destination. Although, their convoy was diverted to Egypt after the Australian High Commissioner in London, Sir George Reid, and the British military authorities unanimously agreed that the overcrowded military camps in England were unsuitable for so many men over winter. The AIF disembarked in Alexandria, Egypt on 3 December 1914, and the men moved to training camps near Cairo. It was in Egypt that the AIF and the New Zealand Expeditionary Force (NZEF) formed one united corps - the Australian and New Zealand Army Corps (ANZAC). This group of troops trained in the desert beneath the pyramids until March 1915.The record is historically significant due to its connection to World War I. This conflict is integral to Australian culture as it was the single greatest loss of life and the greatest repatriation of casualties in the country's history. On 25 April 1915, members of the Australian Imperial Force landed on Gallipoli in Turkey with troops from New Zealand, Britain, and France. This specific event holds very strong significance within Australian history. The record has strong research potential. This is due to the ongoing public and scholarly interest in war, history, and especially the ANZAC legend, which is commemorated annually on 25 April, known as ANZAC Day. The record's unique research potential is strengthened by its relationship to a historically significant site: the Egyptian pyramids. Since the postcard was produced in 1916, the record can be used as primary evidence for historians and conservationists studying these sites, or how these sites have evolved over time. The record may also be a useful resource for those interested in the history of Egyptian textiles. Furthermore, it may also provide insight into international relations between Egypt and Australia in the past and present.Sepia rectangular postcard printed on paper.Obverse: 172 / Reverse: 6536 / CARTE POSTALE / 4/3/16 / Rough riders under / the shadow of the / pyramids /military album, army, war, wwi, world war i, egypt, pyramid, great sphinx of giza, textiles, australian imperial force, aif, uniform

The history of metal packaging began in Bohemia in the 1200s. Metal has been produced for a very long time. But the first metal used for packaging was tin. In particular, it was the process of tin plating that was invented in Bohemia. Before this no other metal was economically able to be used for packaging. Later, in 1667 Andrew Yarranton, and English engineer, and Ambrose Crowley brought the method to England. Here it was improved by ironmasters including Philip Foley. Then by 1697, John Hanbury had a rolling mill at Pontypool in South Wales. The method they developed involved rolling iron plates using cylinders. This process enabled more uniform blank plates to be produced than was possible by just hammering the tin. https://www.shilohplastics.com.au/history-of-metal-packaging/ Fuller's Earth is any clay material that has the capability to bleach or dissolve oil or other liquids without the use of harsh chemical treatment. Modern uses of Fuller's Earth include as absorbents for oil, grease, and animal waste (cat litter) and as a carrier for pesticides and fertilisers. Minor uses include filtering, clarifying, and decolorising; active and inactive ingredient in beauty products; and as a filler in paint, plaster, adhesives, and pharmaceuticals. Fulling is an important step in the production of woollen garments, and can be traced back to ancient times. Cuneiform texts from Mesopotamia mention a raw material, which was delivered to fullers for the finishing of cloth. https://en.wikipedia.org/wiki/Fuller%27s_earth The use of tin to protect and store items, revolutionised the world. Fuller's Earth is a widely used product.Container of cylindrical sheet metal with perforated lid, used by Duerdin and Sainsbury Ltd, Sellers of Franbert's Fuller's Earth. Colour printed paper deteriorating. ‘Nett Contents 3½ oz.’ Ingredients still inside.Tin very rusty.'Franbert's Fuller's Earth. For the Toilet and Nursery. Protects the skin & Improves the Complexion. Nett Contents 3½ oz.'flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, tin, tin plating, containers

The Bedpan Toilet device is a special tool designed for people who are unable to get out of bed to use the bathroom. It helps them go to the toilet comfortably and conveniently without having to leave their bed. The device is placed under the person's bottom, and it has a container that collects urine or stool. It is easy to clean and can be emptied into a toilet or sink. The Bedpan Toilet device allows individuals who are confined to bed due to illness or injury to maintain their dignity and independence by providing them with a practical solution for using the bathroom while staying in bed. The word bedpan was first seen in the literature of John Higgins in 1572, and one of the oldest known bedpans is on display in the Science Museum of London. It is a green, glazed earthenware bedpan that has been dated to the 16th or 17th century. At that time, bedpans were made from materials including pewter, brass, pottery, glass, and porcelain. Bedpans were not a commonplace item in hospitals until the late 1800s. Florence Nightingale, who worked as a nurse in the United Kingdom from the mid to late 1800s, recorded death rates and causes for soldiers in military hospitals during the Crimean War and then correlated them to corresponding sanitisation procedures. As a result, Nightingale proposed several methods to improve the sanitary conditions in both military and civilian hospitals, including the addition of bedpans in order to reduce infection exposure from urine or faeces. https://www.wikiwand.com/en/Bedpan The use of bedpans is significant, as it allows a patient who cannot move much, to remain in bed and perform toilet functions.Bed pan ceramic white glaze with handle. Labelled "The New Slipper Bed Pan". Has specific instructions for use under the maker's label.‘THE NEW SLIPPER BED PAN. This slipper should be passed under the patient in front between the legs. If a flannel cap is made for the blade fastened by strings under the handle considerable comfort will be afforded.’ flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, nursing, bedpans, hygiene